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Your veil of the saffron colour makes my eyes drunk.
The jasmine wreath that you wove me thrills to my heart like praise.
It is a game of giving and withholding, revealing and screening again;
Some smiles and some little shyness, and some sweet useless struggles.
Rabindranath Tagore Nobel Laureate Indian Poet ( 1861-1941)
I saw a video last night by Bryan Peterson that showed how to make this image, and decided to try it myself. This was done by shooting through a windows screen that was sprayed with an emulsion of water and cooking oil, and an out of focus colorful scarf behind the screen. I used all three of my Kenko extension tubes in order to get close to the screen. Here's a link to that video which is on Adorama's learning center ..... www.adorama.com/ALC/Article.aspx?googleid=0013661&ali....
The only change I did to Bryan's technique was to aim a Strobie 130 flash through a snoot to brighten up the background. The strobe was in manual mode and was triggered by a Tiny Trigger from scottrobertstudio.com.
Other pictures featuring bright colors and emulsions can be seen in my pretentiously named, Emulsion Art set. www.flickr.com/photos/9422878@N08/sets/72157625787156195/...
Water Fountain and Flowers grace this historic building with Fall Foliage in the background, Aspen, Colorado.
When the Wheeler Opera House first opened its doors to theatergoers on April 23, 1889, the building symbolized prestige, progress and culture for the citizens of Aspen. Only ten years earlier, the first pioneer prospectors had come over the continental divide from Leadville and into the Roaring Fork Valley. Soon Aspen boomed from a muddy camp with three prospectors into a town with brick and stone businesses and an opera house that was among the largest, most-substantial and best-furnished buildings.
From the start of construction in 1888 to the end of World War II, the Wheeler Opera House saw good times, dark times, and quiet times. Construction on the Wheeler Block begun in early June 1888 by Jerome Byron Wheeler. Wheeler had already made his name in Aspen history as the man who finally completed a working smelter for reduction of silver ore, finally making silver mining profitable and realizing the dream of Aspen's many mine-holding interests. Designed as an urban, multi-use building, the Wheeler Opera House was to reflect Aspen's meteoric growth during the 1880s into a full-fledged city. Its basement was to house a barber shop and storage space; the main floor a large clothing store, bank and ticket booth; the second floor six offices; and the third floor, the opera house.
As stone cutters worked at "dressing up the corners" of the building, townspeople noticed that the east wall looked strange, with an apparent concavity. During the rebuilding of that wall, as a swinging scaffold twenty-five feet above the sidewalk gave way, four workmen fell. As a result of this accident, an editorial in the Aspen Daily Times started a campaign to build Aspen's first hospital, which was completed in September 1891.
The opening of the Wheeler on April 23, 1889, was hailed as "one of the most notable events in the history of Aspen's most eventful year." Every seat in the house was sold as first-nighters in full dress took their places. Shortly after eight o'clock the curtain was raised and the big, glamorous, and elegantly costumed Conried Company presented a comic opera, The King's Fool. When the performance ended, celebrations of the theater opening continued through the night.
To reach the auditorium of the Wheeler, patrons used the main entrance on Hyman Avenue. The ticket office was located on the ground floor under the wide stairway, which was finished with a highly-polished wood balustrade. On the third floor at the top of the stairs was the ladies retiring room and cloakroom adjoining the auditorium. Modern and dazzling lighting equipment enhanced the house. The chandelier, a work of art, was suspended for the handsomely frescoed ceiling by a wire rope. This chandelier was the crowning glory of the house, hand-made of hammered brass, trimmed with silver and set with three dozen incandescent lights, each with an opalescent shade, flaring out at the end in the form of a flower. The sloped floor and padded seats permitted visual and physical comfort. The splendid surroundings of fine woodwork, elegant draperies and frescoed walls all superbly lighted by the handsome chandelier created an aesthetic atmosphere to remove patrons for the work-a-day world of the mining town.
The Wheeler stage offered what a modern city theater of the time might have had: eight dressing rooms, the finest obtainable scenery produced by professionals, the very latest lighting equipment and appliances and, finally, a technician to handle the equipment and build any new stage mechanism needed.
The famous "Olio" curtain, a representation of the Brooklyn Bridge, was designed by two New Yorkers, world famous for their scenic art, and painted by no less than Chicago's opera house scene painter Burke. It pictured not only the bridge and the East River, but ships from over the world.
With the opening of the opera house, Aspen became part of what was known as the Silver Circuit - mining towns that drew big-name entertainment. Offerings at the Wheeler from 1889 through early 1894 included traveling companies that brought Shakespeare, minstrels, vaudeville, comic opera, extravaganza, burlesque, melodrama, concerts, lecturers, and even boxers. Home talent performers presented concerts, musical programs, and some plays and operettas.
The glory days of the Wheeler Opera House were short-lived. With the demonetizing of silver in 1893, the Wheeler became a place of town meetings and benefits for a city that was struggling to survive in a world that had deemed silver worthless.
Although the Wheeler didn't close, it made little news until 1912 when two fires ripped through the three-story building in one week, gutting the opera house. The first fire occurred after a moving picture show at 10:30 p.m. on November 12, presumably caused by defective electric wiring.
The second fire, attributed to arson, occurred only nine days after the first. It was devastating. The ¾" headline of the town paper exclaimed, "Fiendish Firebugs Again Rampant in Our City, Wheeler Opera House Partially Destroyed, the Prettiest Little Structure of Its Kind Between Pueblo and Salt Lake City is Sacrificed to the Venom of a Degenerate Unfit to Remain Upon Earth."
The fire was actually started in three places; in or near the box seats; among the scenery on the stage; and in the locked ushers' room, originally the ladies' retiring room. It was discovered a few minutes past 2am and the Fire Department did not have it controlled until 4am. On stage a chimney effect developed due to the unfortunate positioning of a skylight directly above the stage. Flames were pulled upwards through all the sets and scenery and then spread out over the auditorium into the attic between the roof and ceiling. The heavy timber trusses became charred, but remained structurally sound. The auditorium ceiling's wooden lath burned next and the plaster, having lost its support, fell in chunks covering the specially fabricated opera chairs. Heat became so intense that the steel support cable for the beautiful electric chandelier melted and it too came crashing down.
The Wheeler had a special place in the hearts of Aspenites and its destruction was particularly lamented by the town newspapers:
"It makes one almost sick to go through the main entrance, the door through which all of us have passed so many times to be amused and to enjoy a few happy hours. May the Lord help the one who started the fire in this magnificent structure - the people of Aspen won't, that is sure." - November 22, 1912 Aspen Democrat Times
After the fires, the opera house sat vacant. To stop the vandalism and protect the public, the space was closed off from the rest of the building. The street-level spaces, mostly undamaged, continued to be occupied by local businesses. But the laughter and applause of an audience didn't ring through that third floor again until more than 30 years later.
Wheeler 1930'sDuring the Wheeler's dark decades, the children of Aspen used it as their playground. One of Glenn Beck's fondest memories of childhood, was playing in the Wheeler Opera House. The top-floor windows were broken out. And flocks of pigeons lived up in the theater. "We could go up the back stairway of the store and finally crawl out right under the stage. We played cops and robbers. There was a rope from the top of the ceiling. We could get on the balcony and swing clear over the stage. It was a long way across."
In June 1946, the Aspen Company leased the opera house and other unrented portions of the Wheeler building from the City with the required intention to improve and repair the building. It had "fallen into disrepair and (was) rapidly deteriorating due to the financial inability of the City of Aspen."
Lilian Gish 1984Elizabeth Paepcke, often cited as the "matriarch of modern Aspen" and, with her husband Walter, a major force behind the town's renaissance as a cultural center, decided that the opera house must be restored. But this renovation did not even attempt to recapture the grandeur of the original. "The seats were plain wooden benches," says Jim Markalunas, "and you had to watch where you sat because of pigeon droppings."
Over the years, the improvements continued on a piecemeal basis. Around 1960, seats were put in and the walls became a rich red with stenciled gold fleurs de lis. Elizabeth Paepcke bought a crystal chandelier to replace the one lost in the fires of 1912. Through the 1960s and '70s, the Wheeler was used mostly as a movie house. By the late '70s the City of Aspen, which had acquired the building for back taxes during the early part of the century, started to grapple with the question of whether to sell or renovate the theater. The council decided on renovation. A committee was appointed to explore how the job should be done, and finally an election was held and voters were asked to approve a real estate transfer tax that would fund the restoration and pay the theater's maintenance and operating costs. The tax was approved by the voters in 1979. The $4.5 million restoration was completed in 1984.
The Wheeler Opera House reopened with a Gala Public Opening on Friday, May 25, 1984 with a performance of George Bernard Shaw's Arms and the Man. The following night featured a modern dance program by Moses Pendleton, a founder of the Pilobolus Dance Company, who was hailed as one of the country's most innovative choreographers. Sometime-Aspenites James Levine, conductor and director of the Metropolitan Opera, and Lynn Harrell, internationally renowned cellist, played a special concert on Sunday, with Levine on piano and Harrell on cello. The gala concluded with a salute to the silent film, The Wind, which stared Lillian Gish. Miss Gish was on hand for the screening, with Denver ragtime and jazz pianist Hank Troy and violinist Becky Burchfield accompanying the silent film.
Some of the names that have graced the Wheeler's intimate stage since the 1984 opening include: Harry Connick Jr., Lily Tomlin (she workshopped her Broadway show "Signs Of Intelligent Life" over the course of many weeks here!), The Eagles (twice), Lyle Lovett (too many times to count), Jewel, Sugar Ray, INXS, George Carlin, Dave Chappelle, Sheryl Crow, Tony Bennett, Faith Hill, Burt Bacharach, Bernadette Peters, Linda Eder, Art Garfunkel, the PBS shows "A Prairie Home Companion" and "Wait Wait ... Don't Tell Me!", Pat Metheny & Brad Mehldau, Linda Ronstadt, James Taylor, and of course Aspen's own adopted son John Denver (and whose life is still celebrated here every October).
Twenty four years after its latest renovation the Wheeler continues to serve Aspen as a world class theater, performance venue and town meeting place and is still considered not only the crown jewel of the town, but indeed the art and soul of Aspen.
Khammouane Province shows Children Under 5 mortality rates of 29/1,000 with high maternal and infant malnutrition. CU5 stunting remains at 30% and over 59% and 62% of CU5 suffer from anemia and sub-clinical vitamin A deficiency, respectively. The province has one of the lowest exclusive breast-feeding rates in Lao PDR and many children fail to consume sufficient and diverse food at each meal: Only 1 in 5 children of 6 to 23 months receive the recommended number of meals and variety of food per day. Geographical remoteness prevents especially ethnic minority women from accessing adequate antenatal care and postnatal care from health centres.
French postcard by Les productions J.N. Ermoliev / Tobis for the screening of the film at the Paris cinema Marivaux. Colette Darfeuil as the evil Sangarre, who plots together with Ivan Ogareff (Charles Vanel) in the French sound film Michel Strogoff (Jacques de Baroncelli, Richard Eichberg, 1936), based on the novel by Jules Verne.
Coquettish Colette Darfeuil (1906 – 1998) was a French actress with beautiful green eyes who made 110 films between 1920 and 1953.
Colette Darfeuil was born as Emma Henriette Augustine Floquet in Paris in 1906. As a girl, she was discovered by young director Pierre Colombier in the Gaumont studios when she accompanied a friend who would play a part as an extra. She made her film debut in Les étrennes à travers les ages/New Year gifts through the ages (1920, Pierre Colombier) with Dolly Davis. This was a short, silent comedy with animated sequences of women down the ages all wanting something different from what they got as New Year presents. Three years later, her film career really started with leading roles in Le retour à la vie/ Back to life (1923, Jacques Dorval) and Château historique/Historic castle (1923, Henri Desfontaines) with Thomy Bourdelle. In Germany she appeared in Der Mann im Sattel/The man in the saddle (1925, Manfred Noa) with Ernö Verebes and Angelo Ferrari. There she later also appeared in the comedy Was eine Frau im Frühling träumt/ What a woman dreams about in spring (1929, Curt Blachnitzky). But she mostly appeared in French films, such as the dramas La flamme/The Flame (1926, René Hervil) with Charles Vanel, and Sables/Sand (1929, Dimitri Kirsanoff) with Gina Manès. She had started her career as a brown-haired ingénue but in time turned into a blonde sophisticated lady.
Colette Darfeuil made an easy transition from silent to sound with Abel Gance’s science-fiction film La fin du monde/The End of the World (1931). HaL Erickson at AllMovie: “As a comet speeds along on a collision course with Planet Earth, the world prays for a miracle. Scientist Victor Francen races against time to avoid the cataclysm, while Francen's religious-fanatic brother (played by director Gance) puts his fate in the hands of God. Meanwhile, the governments of the world adopt near-fascistic methods to keep their panicking minions under control. Once all hope is abandoned, virtually all of civilization degenerates into a drunken orgy, replete with rape and bestiality. The worst is reserved for last, as the ever-approaching comet causes a plethora of natural disasters before the final ‘Big Bang.’“ The 1930’s were a busy decade for Darfeuil. It started with films like Cendrillon de Paris/Cinderella of Paris (1930, Jean Hémard) and the comedy Voici dimanche/Here is Sunday (1930, Pierre Weill) with Tony D’Algy. She played leads in Pour un soir..!/For one night...! (1931, Jean Godard) opposite the young Jean Gabin, and the Guy de Maupassant adaptation Le rosier de Madame Husson/Mrs. Husson's Virginity Prize (1932, Dominique Bernard-Deschamps) featuring Françoise Rosay. Rex Ingram and his wife Alice Terry directed her in a supporting part in the Arab adventure Baroud (1932) with Pierre Batcheff. The British director shot his only sound film in Morocco, at the heyday of the French colonial empire, to retire shortly afterwards from the film industry. Russian director Fyodor Otsep directed her in the drama Mirages de Paris/Paris Illusions (1933) with Jacqueline Francell. This was an alternate language version of Großstadtnacht/Big city night (1932, Fyodor Otsep) with Dolly Haas and Trude Berliner in Darfeuil’s role. Other films include Pour être aimé/To be loved (1933, Jacques Tourneur) with Pierre Richard-Willm, the Fernandel comedy Les bleus de la marine/The new recruits of the Navy (1934, Maurice Cammage), and with Buster Keaton Le roi des Champs-Élysées/The King of the Champs Elysees (1934, Max Nosseck).
Colette Darfeuil had a successful career, but never managed to become a real star. She often played seductive femme fatales, sometimes even vulgar characters. She was one of the pretty partners of the legendary silent star Iwan Mosschukin in the sound version of Casanova (1933, René Barberis). She was directed by her husband Pierre Weill in Le train d'amour/Love Train (1935). During the 1930’s she mixed such starring parts with supporting roles in films like La chanson du souvenir (1936, Serge de Poligny, Detlev Sierck a.k.a. Douglas Sirk), the French language version of the Ufa production Das Hofkonzert/The Court Concert (1936, Douglas Sirk), both starring Márta Eggerth. A success was the adventure film Michel Strogoff/Michael Strogoff (1936, Jacques de Baroncelli, Richard Eichberg) starring Adolf Wohlbrück a.k.a. Anton Walbrook. This was another alternate language version of a German production, Der Kurier des Zaren/The Czar’s Courier (1936, Richard Eichberg) based on the novel by Jules Verne. In Belgium she played in several comedies by Gaston Schoukens, such as Bossemans et Coppenolle (1939) with Raymond Aimos, and in Italy she made the romantic comedy L'amore si fa così/Love you so (1939, Carlo Ludovico Bragaglia). She had a supporting part in the war drama Untel père et fils/Heart of a Nation (1945, Julien Duvivier) with Raimu and Michèle Morgan. The film about how the people of Paris cope with the strains and struggles of war was shot in 1940 but not released in France until November 1945 because of WW II. It was released in the US in 1943. After the war she appeared in Jacqueline Audry’s Les malheurs de Sophie/The Misfortunes of Sophie (1946). That year, her mother died and from that point on she only accidentally worked for the cameras. In 1952, she played opposite Michel Simon in La fille au fouet/ Girl with the Whip (1952, Jean Dreville). She also played in the German version, Das Geheimnis vom Bergsee (1952, Jean Dreville). It was her last film. Aged 92, Colette Darfeuil died in 1998 in Montfort- l'Amaury, France. She was divorced of film director Pierre Weill and was the widow of producer René Bianco.
Source: Pascal Donald (CinéArtistes) (French), Hal Erickson (AllMovie), AlloCiné (French), Les gens du Cinéma (French), Wikipedia (German and French) and IMDb.
There isn't a time I can remember when Aladdin was not a part of my life. I have no memory of seeing Aladdin in theaters with my family, because I was so young. But, I do remember all the merchandise that was released with the film...namely the dolls! Every time the Aladdin cartoon series aired on television, my sister and I dropped whatever we were doing to watch it. We were truly bummed out when the show was canceled. One of the reasons we loved getting cable television when I was nine, was the fact that we got the Toon Disney Channel...which ran episodes of the Aladdin cartoon. My parents bought us Aladdin on vhs tape, but we eventually had to replace it around 2004. Somehow, we managed to ruin that vhs tape as well, but fortunately, we found the same '04 edition on dvd at the flea market during the summer of 2014. That dvd turned out to be faulty after a few uses, so we once again had to track down another! I guess my sister and I watch Aladdin so much, that we have a habit of ruining the tapes! We also always loved the sequels, Return of Jafar and Aladdin and the King of Thieves. I still vividly recall the day I first saw Aladdin and the King of Thieves on vhs. It was around my birthday, when I spotted the display at CVS while shopping with my mom. She said I could pick the tape or Palace Wedding Jasmine as part of my birthday gift. Even though I desperately coveted the Jasmine doll, I chose the vhs, so Colleen and I could share it. For years and years, I always regretted not choosing the Jasmine doll. But realistically, Jasmine would have been destroyed within a year, like most of our childhood Aladdin dolls. Upon reflection, my childhood would have felt a little empty without Aladdin and the King of Thieves being in it!
Besides the movies, my sister and I collectively had hoards of Aladdin merchandise when we were young. We had the Sega video game, which we played every Saturday morning religiously. I owned a purple Aladdin lunchbox which I took to school with me, and Colleen had a green pencil case. We somehow managed to hang onto both the lunch box and the pencil case over the years. Then there were our Aladdin paper dolls--Aladdin was mine, Jasmine was Colleen's. We both always got into heated fights over who played with Jasmine. Jasmine's head had to be taped together more times than I can count, because we both played with her so much. Aladdin also saw play...but he was nude most of the time. I somehow lost both his outfits. Not to mention, while at the hair salon one day, I let another little girl play with Aladdin...and she chose to draw on the back of him! I also had a palace figurine set that came with Aladdin, the Sultan, and Jasmine. Our dog, Haley, ate Jasmine's head one day while I was walking down the hallway. Years later, I still resented Hayley for destroying my beautiful Jasmine figurine. I bought the Aladdin Polly Pockets too--poor Jasmine lost both her hands, but I still have the set. Colleen and I even had Aladdin clothes. Our childhood wardrobes consisted of swimsuits, shirts, and even underwear that were adorned with Aladdin cartoons. Basically, whatever merchandise was marketed for Aladdin, chances are, my sister and I wanted it.
It's no surprise given my long history of obsessing in the movie Aladdin, that I have accumulated a ridiculous number of Aladdin dolls over the years. The dolls, of all the merchandise, were always my favorite, and usually the thing I whined the most about not having. It seemed as though Colleen and I never had luck with our Aladdin dolls when we were kids. My sister's black, rambunctious (and might I say disgustingly smelly) dog, Hayley, devoured several of our dolls in the course of a few years. Hayley consumed Colleen's brand new Water Surprise Jasmine doll within the first week of her arriving home from the store. To be honest, my younger self couldn't be trusted any more with the Aladdin dolls than Hayley. It was a habit of mine to steal Colleen's coveted Aladdin dolls when she was at school. Sometimes I would take only Jasmine's necklace to use on my Sun Jewel Kira, other times, I would steal just Aladdin's lamp. One day, I worked up the nerve to borrow the Aladdin doll. Even though I was very young, I still vividly remember sneaking into Colleen's closet, digging through her laundry basket of Barbie dolls, and snagging Aladdin. Mom warned me not to play with Colleen's stuff, but that certainly did not stop me. Apparently, according to Colleen, I broke Aladdin's head that day...which she was NOT happy about. I conveniently blocked out my memory of decapitating Aladdin! Mom and Dad unintentionally rewarded me that day, as I got to keep the broken Aladdin, since they bought Colleen a replacement Water Jewel Magic Aladdin. Colleen felt ripped off, because her old Aladdin doll came with more clothing and accessories than her new doll.
I used to beg Colleen everyday to borrow her beautiful Jasmine doll. One day, she foolishly let me have my way, by giving me the privilege of carrying Jasmine around the grocery store. I lost Jasmine, who was wearing her purple dress, that day while we were shopping. Colleen was furious with me, and for years and years, she hung the entire incident over my head. I was certainly not any more trustworthy with my own Aladdin dolls. I don't know where my beloved childhood Musical Princess Jasmine went. She was either lost like Colleen's Jasmine doll, our she was one of Hayley's meals. I made my Perfume Jasmine and "Classics" Jasmine doll bald not long after I bought them. Poor "Classics" Jasmine was my birthday gift when I turned four years old. I still recall picking her out at Toys 'R' Us, along with the So Much to Do! Kitchen playset. Water Jewel Magic Jasmine and Aladdin, as well as Colleen's Perfume Jasmine were the only dolls who survived our early childhood unscathed. Well, Water Jewel Magic Jasmine didn't completely escape carnage....her head fell off on multiple occasions and Dad had to super glue her back together. Regardless, she was the surviving Jasmine doll that I always played with until I bought my Sparkling Jasmine in 2002.
Although our luck with Aladdin dolls was not the best in our early years, the acquisition of my Sparkling Jasmine in 2002 shifted things. She was the first Jasmine to be in stores since the My Favorite Fairytale lady (who I had missed out on getting). I was so unbelievably ecstatic the day Mom, Dad, Colleen, and I were at Target and I saw the most stunning Jasmine doll ever. Sparkling Jasmine's purple ensemble was unique, and I loved her less bug eyed facial screening. To me, she most resembled the character I loved, and I was so grateful that I was able to afford her. The last Jasmine doll I had been so taken with was the Holiday Princess lady. But due to her "fanciness" I declined from asking Mom or Dad if I could get her. Although she wasn't outrageously priced in retrospect, she was at least double the price of my less than $15 Sparkling gal. Jasmine became a fast favorite, of course it helped that her only competition was our sad, repaired Water Jewel Magic Jasmine. Coincidentally, I had been playing with Water Jewel Magic Jas right around this time, casting her as a poor farm girl who ran away from home. Obviously, Water Jewel Magic Jasmine was dethroned when Sparkling arrived. Sparkling Jasmine was my most prized possession for several years. She was the apple of my eye, and her beauty could not be matched. I bought her numerous Barbie fashion packs that would go splendidly with her purple makeup. Wherever I went, Jasmine was sure to tag along. Kid Kore Katie, Colleen's favorite doll, who was sold with a poodle, soon became Jasmine's traveling companion. We took the dolls to the pool, the beach, in the woods, to the movie theaters, to restaurants....everywhere and anywhere we traveled! Along the way, other Aladdin dolls joined the cast. During a beach themed doll scene, Colleen gave our childhood Water Jewel Magic Aladdin a new identity. He became Leroy, the hard working, nerdy, reliable guy. Leroy and Jasmine fell in love, and the rest is history! We would crank up my Britney Spears albums and have Jasmine sing to Leroy. Sometimes he would duet with her when male singers guest starred on the songs. They would take flying unicorn rides on my Starlight Unicorn (who did not actually feature wings), named Ocean. Jasmine's furry/hoofed friends were always nearby--Ocean and Muffin my Puppy Ruff dog I got when I was two/three. The family soon became the "Arabache" clan. Jasmine's family showcased her adopted sister Katie, and her two sisters/sometimes daughters Reggie and Myra. Leroy's side consisted of his wheelchair bound sister, Becky, and his featherbrained brother Bradley. Winning London Mary-Kate and Ashley and Pet Pals Skipper, aka Robin, were also part of the family, but changed sides. There were also usually Kelly and Krissy dolls added once we decided to have Jasmine and Leroy start their own family (one was Stroll 'N Play Krissy, aka Natasha, the other usual was 1995 Bathtime Fun Kelly, aka Stephanie). Once I got Xpress It! Yasmin, she too was a staple in our games, sometimes featured as Leroy's sister, other times as Jasmine's. Bradley was our decapitated "Classics" Aladdin from childhood. Reggie and Myra were our two Perfume Princess Jasmine minis. Ironically, I had always been jealous of Colleen's much neater Perfume Jasmine, even though I already had my own. Myra, who was my original doll, had an earring chewed off by a guinea pig and virtually no hair. Colleen gave me her Jasmine doll, who I renamed as Reggie--she was the smarter, more "mature" twin who was also the head troublemaker. Myra was the sweet, incontinent one who always asked for "Mommy" or "Daddy," and who was notorious for toting a massive stuffed Pooh Bear with her. Despite the scruffiness of some of our oldest Aladdin dolls, they were incorporated into the newer games. It was also around this time that we found "replacements" for a few of them. Colleen bought another, much fresher Water Jewel Magic Aladdin, who we named Lennon, at an outdoor flea market. He subbed in for Leroy on occasion, since his arms weren't faded and his hair paint was intact. We also scored a very mint looked "Classics" Aladdin for $5 at the town flea market (which is notoriously over priced). She decided to make him the father of Leroy and Bradley, and he was dubbed "Frank." We always envisioned Leroy and Bradley having an overbearing mother, but nobody was permanently cast in the role. As adults, we feel that Bratz Portia would have been the perfect leading lady! For several years our doll family remained more or less unchanged until our favorites began to deteriorate. I bought Princess Party Jasmine as a temporary substitute when Sparkling Jasmine balded and began to fade from too many pool excursions. But she just wasn't the same, which is why I eagerly bought a secondhand Sparkling Jasmine in 2004 or 2005. She was purchased a little bit too late though, because by that point we had phased out of the Arabache clan and were playing with a new doll family. These days, the members of the Arabache household still make appearances in photos and Youtube skits. We always cast the original dolls, despite having minter counterparts. But my skills as a doll restorer have helped our poor childhood friends look substantially better, so they aren't the raggedy faces we used to play with anyways! The "Leroy and Jasmine" era will forever be Colleen's and my favorite time in our doll playing history. Of course, it was all that more special since we incorporated several beloved Aladdin dolls!
It was not only my love for the film, but also my "not so great" childhood experiences, that drove me to collecting so many Aladdin dolls. It was surprisingly unintentional that I first began buying so many Aladdin dolls. My original focus when beginning to collect dolls again in 2011 (I took a few years off from dolls when I was a teenager) was on Hercules dolls and the Hunchback of Notre Dame dolls, as well as a few random Disney dolls. I remember I wanted Water Surprise Jasmine and Holiday Jasmine first. Not long after, I couldn't resist buying a brand new Water Jewel Magic Jasmine, since I have a long history with our childhood doll. Then, one day, I won Rajah Friendship Jasmine on eBay somehow. I was fueled with anger after losing a bid on Fashion Secrets Megara. I took all that frustration and turned it towards bidding on Jasmine. I couldn't believe I won her!!! She was the first bid on eBay I ever won that was opposed. The day she arrived, I opened her up right away, and I couldn't help but desire more Aladdin dolls. So, I used Margo Rana's "Disney Dolls Guide", as a map for which Jasmine and Aladdin dolls I wanted. One of my main targets from the get go was Palace Wedding Jasmine--a doll I coveted from the moment I saw her at CVS as a child. She was the most expensive individual doll in my collection, but worth every penny. I was able to make another childhood dream come true that first year, when I found a perfect set of Magic Carpet Aladdin and Jasmine dolls online. I had pined for them each time we were at my friend's house, and I saw her sister's dolls set up in her bedroom! Within my first year of collecting, I had nearly all the dolls in the Aladdin section of her book. It's become an addiction of mine to buy Aladdin dolls as an adult. I've taken long breaks from purchasing anymore of them, but it just takes one doll to send me into a frenzy. That's actually how my third Aladdin shelf happened. I simply wanted to buy Glitter Princess Jasmine and Sparkle Princess Jasmine on eBay. Then I found Genie of the Lamp, Gem Princess Jasmine, Enchanted Tales Aladdin, and several more dolls over the course of the next two months. I couldn't cram another doll on my other two Aladdin shelves, so I evicted all my Cindy dolls from the top shelf. My Aladdin expansion made me very happy, as I not only had a fabulous new display to look at, but I also was able to put just about all my duplicated Aladdin dolls on display!
My Aladdin dolls all have a history, whether I made memories with them as a child or an adult, I cherish each and every one. They've been a staple in my dolly world since I was too young to remember. I am so grateful that a few of our oldest dolls are still standing, like Bradley, Leroy, and our original Water Jewel Magic Jasmine. All have required an extensive amount of work--from new bodies, to partial reroots, to paint touch ups. My Sparkling Jasmine needed some of the most lengthy restoration as she was so heavily played with. Despite being able to fix up these dolls, Colleen and I still always have trouble turning away Aladdin duplicates. Colleen was over the moon to find a boxed Water Jewel Magic Aladdin, renamed Luxor, in 2018 at the flea market. I was secretly glad that a third Sparkling Jasmine joined the family in 2013 in the "60 Doll Bin." She most captures the spirit of my forlorn childhood doll (but when she was brand new, not trashed). I'm without a doubt torn whenever I see an Aladdin/Jasmine doll I don't "need" floating around a secondhand venue. Of all the Disney movies dolls were produced for, I have the most Aladdin dolls hands down. The majority are the 90s-early 2000s era produced by Mattel, as they are the cream of the crop in my opinion, due to nostalgia! But I also have expanded my collection to include Disney Store dolls and later Mattel releases, even those with gaudy molded clothes. Aladdin dolls have left a mark on every era of my dolly history. They were the coolest Disney dolls to have in our household, and also the ones most likely to be lost or destroyed, during our early years. When I was eleven to thirteen, Aladdin dolls were key cast members of the most sentimental time in our doll playing history. It wouldn't have been the same if we had another Disney couple or a random Barbie and Ken instead of Leroy and Jasmine. And of course, it was the Aladdin section in Margo Rana's book that drove me bonkers and fueled my inner doll addict when I first dabbled back into collecting as a nineteen year old. Although there aren't many Aladdin dolls I don't have, I still find that my family is constantly expanding, and I never tire of adding more! My Aladdin dolls always have the best display spaces reserved for them, in the same way that I always hold a special place for them in my heart that no other dolls can ever touch!
The empty seats were filled up with people soon.
빈 좌석은 곧 사람들로 채워졌다.
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Thank you for 2,000 hits!
The Ritz, 6th Street, Austin, TX
Another image from last Saturday's photowalk on 6th street. The Ritz theater did an advanced screening of Robert Rodriguez's Predators movie during the SXSW Film Festival.
The Ritz has changed hands many times but recently a local movie theater chain called Alamo Drafthouse renovated and took over this building. The Alamo has several locations in town and what makes it unique is they serve a full lunch or dinner menu during the movie. The basically ripped out every other row of seats and replace them with long tables. You get to order and eat during your movie viewing experience. The food is pretty good too and not overpriced.
Horror movie screening night at Station 1 Books, Pompton Lakes NJ
Canon EOS Rebel X Camera
Canon EF 24 - 85mm lens
FPP Beta Test L200 bw film
Processed in FPP76 straight up 6 min @ 68 degrees F
Epson v700 scan
Widely observable in the rolling hills of Tuscany we discovered two of the ugliest concrete blocks we have ever explored. But never judge a book by its cover! This old ruin is actually filled with left behind furniture and natural decay. It’s this combination that made us fall in love with urban exploration in the first place! To experience some amazing sights and to learn the full story, make sure to watch our adventure report:
Horror movie screening night at Station 1 Books, Pompton Lakes NJ
Canon EOS Rebel X Camera
Canon EF 24 - 85mm lens
FPP Beta Test L200 bw film
Processed in FPP76 straight up 6 min @ 68 degrees F
Epson v700 scan
”The Vast of Night” Q&A Session. Cast and director. (9/12/2019). Toronto International Film Festival (9/12/2019)
While I would have loved to have bought three She Ra dolls to model all her fashions, I guess I’m very happy to get similar Wonder Woman bodies lovingly gifted to me from @natalunasans.
While I would have preferred Lara sculpts for She Ra and Adora, I knew I wanted Collectors level of face screening for the dolls to model She Ra’s clothes AND have them all use the same sculpt. And funnily enough, around the time I got She Ra, I ended up thrifted THREE Mackie sculpt holiday dolls, which all suited my needs.
2009 Holiday Barbie has a very pink toned facial screening, which works for the toy-only She Ra dress design since the original toy had pink lips and heavier make up than the cartoon. I also like her best on the more doll like body and Barbie boots.
2011 Barbie has shorter hair than the others, and comparatively lighter make up, which is perfect for Adora since she’s comparatively lighter and has shorter hair than when she turns into She Ra. With her Hippolyta body she fills out her suit perfectly.
2013 Barbie has darker make up than the other two and longer hair, plus she’s tanned so she’s the best out of the three to play She Ra, especially since her Diana Prince body suits her really well.
So yeah, I find it funny not only the three dolls share the same sculpt, they share the same line and their differences suit the different outfits…
A mobile Mammography Screening Unit from the Royal Liverpool and Broadgreen University Hospitals NHS Trust carrying out Breast Screening examinations on the edge of Huyton Town Centre, Merseyside.
I assume it was working in conjunction with the nearby Knowsley Clinical Commissioning Group Walk-in Centre.
After a year-long hiatus due to the novel coronavirus pandemic, Special Olympics Michigan began hosting in-person sporting events this weekend. Athletes competed in snowshoeing and Nordic skiing in both Grand Rapids and Detroit. Healthy Athlete events provided health and hearing screening.
These shots are from the event in Grand Rapids, hosted at the new Special Olympics Michigan Unified Sports & Inclusion Center.
Horror movie screening night at Station 1 Books, Pompton Lakes NJ
Canon EOS Rebel X Camera
Canon EF 24 - 85mm lens
FPP Beta Test L200 bw film
Processed in FPP76 straight up 6 min @ 68 degrees F
Epson v700 scan
Horror movie screening night at Station 1 Books, Pompton Lakes NJ
Canon EOS Rebel X Camera
Canon EF 24 - 85mm lens
FPP Beta Test L200 bw film
Processed in FPP76 straight up 6 min @ 68 degrees F
Epson v700 scan
Sen. Bill Nelson, D-Fla. provides remarks before a discussion about NASA's journey to Mars and the film "The Martian," Tuesday, Sept. 29, 2015, in Grosvenor Auditorium at the National Geographic Society Headquarters in Washington. NASA scientists and engineers served as technical consultants on the film. The movie portrays a realistic view of the climate and topography of Mars, based on NASA data, and some of the challenges NASA faces as we prepare for human exploration of the Red Planet in the 2030s. Photo Credit: (NASA/Joel Kowsky)
Horror movie screening night at Station 1 Books, Pompton Lakes NJ
Canon EOS Rebel X Camera
Canon EF 24 - 85mm lens
FPP Beta Test L200 bw film
Processed in FPP76 straight up 6 min @ 68 degrees F
Epson v700 scan
....Unfortunately, this was the "best" shot of Brad Pitt I could manage, Pitt was in Toronto for the premiere screening of film "12 Years A Slave" also co-starring Chiwetel Ejiofor, Alfre Woodard, Sarah Paulson & Benedict Cumberbatch ....
Former NASA astronaut Leland Melvin, left, and NASA astronaut Stephanie Wilson, pose for photograph with 6-year old Armani Bonds prior to the screening of the NASA produced documentary “The Color of Space” at Howard University’s Cramton Auditorium in Washington, Saturday, June 18, 2022. Premiering on Juneteenth, the federal holiday commemorating the end of slavery in the United States, “The Color of Space” is an inspirational documentary that tells the stories of NASA’s Black astronauts determined to reach the stars. Photo Credit: (NASA/Bill Ingalls)
On January 14, 2023, the annual Polar Bear Plunge at Wildwood took place featuring 875 plungers for Special Olympics New Jersey, helping to provide year-round sports training, competition, leadership opportunities, and health screenings to thousands of athletes. All of these programs and services are always completely FREE thanks to fundraising events like this.
Photo by Rudy Milan Photography
Dan Berger is Cartoonist behind Natural News
Patrick Swayze's death came as a shock to many people. But not to his own cancer doctor: they know that the five-year survival rates of people being treated with chemotherapy for pancreatic cancer are virtually zero. And Swayze was only the latest in a long list of celebrities dying after being treated with chemotherapy and other toxic forms of western medicine...
... The reason so many celebrities are harmed or killed by the cancer industry is quite simple: the cancer industry is a for-profit business. It makes money by treating cancer, not by curing or preventing cancer...
Continue reading: The truth about chemotherapy and the cancer industry by Mike Adams, the Health Ranger.
All our posts about cancer, chemotherapy and screenings. See more comics.