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I have a photo fo Delores and her daughter earlier in my photostream that I had taken at Minneapolis Pride 2017.
I didn't know her name then, but she was a standout . . . in her wheel chair on the curb in the midst of revelers of many generations . . . but obviously not of her own generation. Her presence at Gay Pride told me she was young between the ears and comfortable with the changes of Life that marches on no matter how we might protest.
This year, June 2019, I saw Delores again, and although I had skipped her in 2018, because I already had a photo, I stopped. I had a few moments to talk with her and clasped strong, warm hands between mine. You can feel a vibrancy when you touch another person . . or lack . . .but Delores was "vital" and loving the excitement around her. I left another card and moved on.
Today, September 23, her daughter called and told me "Mother has died." She asked me if I remembered the pix I took (she still had my card). How could I forget ? Not many nonagenarians at a Gay Pride Parade, eh?
Tearfully, she told me Mother had been in a horrible car accident . . . the driver causing the accident was texting. In the other car, one survivor, one killed, and Delores suffered a chronic hip injury that confined her to a nursing home for 4 years and then the wheelchair.
You know, I am somewhat a cautious skeptic when it comes to "angels" and a definite "please" called Heaven. That theological perspective causes some consternation among some of my colleagues and former congregants.
However, I'm absolutely clear that there is another "state of being" either thru Eternity whatever form that may be . . . and perhaps even being recycled through another lifetime. And I know that in that space of Eternity I will meet at least one Angel named Delores 😇. . .
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Scene from an old naturalized borrow pit. Tamarack and Spruce.
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Even as a cloud, you like to stand out sometimes!
Sogar als Wolke will man sich ab und zu mal von der Masse abheben.
Credits: ESA/NASA
931_2715
The standout bow steals the show on this simple but beautiful dress of rustling, royal blue taffeta. I wonder how many boys in the 50s and 60s had their heads and hearts turned by dresses such as this.
The standout example of an operator picking up work on contract following the demise of Yourbus on 4 October was Hulleys taking on the Sunday 11. Whilst the company is an established provider of work for DCC, the 11 links Derby and Ilkeston which stand a good few miles south east of Hulleys' Peak District heartland. The service covers the Monday to Saturday daytime route of the Black Cat between Derby and West Hallam, and 59 around West Hallam and Shipley View. The number was also used by Midland General and later Notts & Derby between 2012 and 2018 to denote the now-withdrawn former Felix Black Cat journeys which they inherited after Wellglade purchased Felix. Rumour has it that the service will be withdrawn in late February for reasons of funding.
Today's traction was Optare Solo KN54XYP (24), seen here passing the Newdigate Arms at West Hallam with the 10:00 journey from Derby. This vehicle was purchased last October to help cover the additional work taken on from Yourbus, which chiefly refers to the 110/111. It was pressed into service at short notice carrying full livery of its previous operator, Connexinons Buses, and has subsequently gained Hulleys fleetnames on the nose. Given that Hulleys presently have a Wright-bodied Scania on loan from Connexions, then the unsuspecting passenger might form the erroneous conclusion that Hulleys have adopted white and green as a new colour scheme. The Solo was new to Stagecoach Midlands, serving additionally with Stagecoach Western prior to moving to Connexions.
Any info on this one would be welcome and interesting.
One of the standout exhibits for me at Welland Rally 2025, entered by Mr G Smith of Bridgend. Didn’t see it move so this was the best shot I could get.
Some old signwriting/vinyls were visible (but undecipherable) on the body, including a website, possibly indicating that it has been used for modern work/promoting a business sometime after its original life.
Possibly it is unregistered...listed in the programme as reg. FG18 (presumably refers to the model, not the reg) and physically displaying the reg CG007... on a plate that also shows "Dairy Crest CF3 2XF, a Cardiff postcode.
U of M Amplatz Children's Hospital fascia... Which shifts colors as you walk by (Minneapolis, Minnesota)
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.