View allAll Photos Tagged Think
#Why not have a photo series collecting different t shirts. After all there must be 10001 different ones! Another one of my Street Photography Projects.
See more here www.flickr.com/photos/runninginsuffolk/albums/72177720329...
I was reading this article "Why Wordle" By Steven W. Anderson this morning and decided to try one out. I thought the "Think Different" monologue from the classic Apple commercial might be a nice choice. View large.
You can see my photo of the wall mural of the monologue at the Apple Campus here.
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UPDATE 12/16: Welcome all TUAW visitors.
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Apple's "Think Different" monologue.
"Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They invent. They imagine. They heal. They explore. They create. They inspire. They push the human race forward. Maybe they have to be crazy. How else can you stare at an empty canvas and see a work of art? Or sit in silence and hear a song that’s never been written? Or gaze at a red planet and see a laboratory on wheels? We make tools for these kinds of people. While some see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who actually do."
Wordle image created by the www.wordle.net/ web application and is licensed under a Creative Commons Attribution 3.0 United States License.
... we took Minnie with us today. But, the weather just sucked...rain on top of rain!
We're all bummed. A deep, thoughtful girl, she has the sweetest face, I love
her little pixie nose...visiting Jillybug Manor...this is a custom by pariszhenpink!
"Think where man’s glory most begins and ends, and say my glory was I had such friends."
(William Butler Yeats - Irish poet, 1865-1939)
This picture was shot at Munshi Ghat in Varanasi (Benaras).
These old friends sat in the shadow facing the Ganges and they were enjoying their conversation...
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Think Cool - Just remembering how cool and fresh this water and fountain looked in Illinois makes me cooler when it is hot and dry in Arizona.
cardstock: recollections/110/white, stampin' up strawberry slush
stamps: sweet stamp shop unicorn/monogram it
ink: memento tuxedo, various copics, fresh ink/grass
tsurutadesigns.blogspot.com/2015/08/think-pretty-thoughts...
HÔm nAy nhỚ....
nhỚ đỂ nGÀy mAi quÊn
buỒn lẮm
nhƯng k hỀ khÓc
vÌ đà hỨa rỒi
cÓ lẼ..
điỀu dUy nhẤt cÓ thỂ lÀm
lÀ quÊn Đi ThÔi….
________________________
YêU mà kHông gẶp KhÔnG gẦn
NếU nHư tHế
gỌi lÀ yÊu xA à
xA mÀ gẦn
gẦn mÀ xA
quAn trỌng lÀ trOnG lÒng cÓ nhAu thÔi
kHi xA nhAu rỒi
cÓ nG buỒn
cÓ nG vUi
cÓ nG cưỜi
cÓ nG khÓc
cÓ nG muỐn đy
cÓ đỨng chỜ
nhƯng k cÓ Ai muỐn giỮ cẢ
....!~
___________________________
đỂ biẾt cẦn cÓ nhAu nhƯ thẾ nÀo
tẠm xA nhAu
đỂ nỤ cưỜi giẢ tẠo lẠi xuẤt hiỆn
tẠm xA nhAu
đỂ quÁ khỨ mÃi lÀ quÁ khỨ
tẠm xA nhAu
đỂ biẾt hẠnh phÚc lÀ thỂ nÀo
tẠm xA nhAu
đẾ niỀm vUi lẴng xuỐnG
tẠm xA nhAu
đỂ nỖi buỒn dÂnG lÊn
tẠm xA nhAu
đỂ quÊn đI tẤt cẢ
!~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Tình yêU nàO cŨng vậy , cỨ đến rỒi lại đi . CỨ yêU thật nhiềU rỒi lại tìm đến sỰ chia tay ....
...CÓ nhỮng cuỘc chia tay đầy phấn kích nhƯng mang lại cảm giác dễ chịu chO đỐi phưƠng ....
...NhƯng cŨng cÓ nhỮng cuỘc chia tay ... nhẹ nhàng , im lặng nhƯng mang đầy nỖi đaU ....
...NỖi đaU sẽ đưỢc hằn xé trOng tim tỪng ngày vì ... chẵng baO giỜ hiểU đưỢc lí dO vì saO ... mình chia tay ....
...k cãi nhaU , k giận , k xUng đỘt , mà chỉ là cái im lặng đÔi bên .
...Sự im lặng để nÓi lên tất cả nhỮng việc đang xảy ra trưỚc mắt mình ....
Phía saU cái nắm tay.
........Là sỰ đắn đO giỮa việc đi và Ở.
*Phía saU nhỮng ngÓn tay siết chặt
........Là sỰ sỢ hãi và âU lO.
*Phía saU nỤ hÔn.
........Là sỰ thèm khát hƠi ấm và lành lặn.
*Phía saU tình yêU.
........Là 2 cOn người thẨm lẶng
*Phía saU chỮ yêU.
........ĐÔi khi là dấU chấm hết.
........ĐÔi khi là chấm cảm.
........ĐÔi khi là chấm hỎi.
........ĐÔi khi là bỎ lỬng.
........ĐÔi khi là ba chấm.
*Phía saU cỦa phía saU.
........ĐÔi khi là điểm kết thÚc.
........ĐÔi khi là điểm dỪng.
........ĐÔi khi là bắt đầU...
........ ĐÔi khi là trống rỗng
CuỘc sỐng giỐng nhƯ cOn đưỜng 1 chiềU.
Và mÓn qUà qUý nhất cỦa cuỘc sỐng....... ĐÔi khi là quá khỨ và kỉ niệm
Sẽ bé nhỎ giỮa cuỘc đỜi......... hạt cát nhỎ bé trOng sa mạc rỘng lỚn ..
Sẽ đi gÓp nhặt chO mình nhỮng hạt bỤị thỜi gian, nhỮng dấU chân cuỘc đỜi, nhỮng tàn giÓ cát mênh mang ...
Sẽ thả tâm tƯ tình cảm cỦa mình vàO đÓ..... rỒi giÓ cuỐn đi đâU thì đi
Sẽ vỤng dại chạm vàO 1 cành hỒng đang rỉ máU,........... nhƯng gai đã làm chính mình
chảy máU ....
Ngày mai ...sẽ lại là chính mình - đi trên cOn đưỜng cỦa riÊng mÌnh !!!!!
KeEp mOviNg fOrWaRd !!!!!!!!!~~~~~~~~~~~
fav + Note + cm nhiệt nhé :) i* tất cả
The green box seating structure (okay, I have no clue what it is, exactly) on the first floor foyer of the Lasserre Building at the University of British Columbia. (Metro Vancouver/University Endowment Lands, BC, Canada)
(Part of Guess Where Vancouver, Mar. 12/2008)
Look and think before opening the shutter. The heart and mind are the true lens of the camera.
~ Yousuf Karsh
I've found shooting with film to be a very different experience than using a digital camera. While using my digital I usually like to work a subject from various distances and angles, shooting from all different perspectives to decide later which I prefer. Pressing the shutter on my Retina Reflex is an event. Each frame has value, or at least cost, and comes along with a build up of anticipation that lasts much longer than the split second it takes for a digital to spit out an image preview. In fact, I'm finding that a roll of film lasts me longer than I would like before I'm able to find enough quality subjects to fill it.
This image is from a test shoot with my donor camera. You can see the two missing leatherette pieces which cover the screws securing the front assembly.
Please take a look in Lightroom =)
You can see the reconstruction of this camera, along with some photos taken with it over the period of 53 years HERE
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In honor of Breast Cancer Awareness Month I decided to make Think Pink Cupcakes.
I found the recipe in 500 Cupcakes and while I didn't fall in love with the taste they are pretty decent.
Look for the recipe featured on blog in the next couple of days!
Explored #323
Had to post another Monty pic, to balance out the stranger pic!
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He looks like he takes the same size loafers as me...hmmm....he's get a high instep...no socks like me....
It’s half closed.
__________
This is the third year this cactus has flowered in the spring. The flowers are the largest cactus flowers I have ever seen. Last year they were 11 inches, which equals 29.74 centimeters, in diameter. To see them fully opened to their maximum size, you have to look early in the morning before the sun warms them and they begin to close.
It was the summer of 1994. I had just moved back home from New York City, tail between my legs. New York was too big, too much—more than I can handle. I headed home on a Greyhound Bus, with a vintage Singer sewing machine as my carryon.
So.
Here I was at home on the farm, with a trunk full of costumes and wigs and accessories.
I'm not sure how I cajoled her into doing it, but my mom donned the bustle and skirt I created for a character named Betsy Ross Perot. Miss Perot filmed interviews during the 1993 presidential debate at my alma mater. She was a fun character to play, but a bit danger prone. During the Bill Clinton rally in Forest Park, I fell into a large hole, spraining my ankle. Fortunately, the bustle gave me a little bounce on impact.
The wig was a monster, composed of several spools of hair weave, innumerable braids, hair pins and clips – all piled atop several Santa Claus beards that I teased to near George Clinton levels.
Mom finished off her look with a little powder and lipstick (offset by a starlet mole) and some questionably "authentic" sunglasses from Liberty Island. The bodice was just a mess, held together with safety pins. To call it deconstructed would be a great kindness.
And down to the milk barn we went! We trudged through the fields and crept around my grannie's old farmhouse. What I remember most is my laughing as I advanced each shot in my 35 mm camera. She was such as ham, working our corncob runway!
I also remember her complaining about how stupid this was and how these photos would never see the light of day. She seized the negatives after I had them processed. Later that summer, I moved to St. Louis and lived there for 17 years.
I found these photos when I moved back to Kentucky after my mother died. They were tucked inside my baby book.
I'd forgotten all about them.
She, clearly, had not.
2002 when Ford was running Think. They decided it was not their time for an electric car, so the Think didn't come to market in the USA, even though this page says it's coming. Picked up this flyer at the Detroit Auto Show.
Now it may finally come to America, without Ford.
I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.
I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.
I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.
In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?
The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.
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Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.
You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.
In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.
I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.
So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.
But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.
The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.
The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.
However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Simon Knott, June 2006, updated July 2010 and January 2017
I don't think Lupo registrations went earlier than a T reg, I believe they were launched in summer 1999 so this July registered car must be one of the first. Curiously the Lupo was launched two years after its SEAT Arosa sister car which I always found bizarre.
Speaking of the Arosa, this Lupo has had a set of tailights fitted off the SEAT and they do set it off lovely; as do the black alloys. The mileage is also very low too; showing 56k in December.
If you think the E46 M3 is sexy, you HAVE to see this purpose-built BMW E46 M3 race car. Absolutely awesome.
RallyWays photos from SEMA 2014.
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“I think that sometimes it’s better to be alone and learn to be independent, especially when you’re very young. Teenagers often think that you have be in a relationship, you have to have a boyfriend or a girlfriend. While relationships and friendships can be great, I’ve often been disappointed by them. There was a point in my life when my parents were going through a divorce, and I was learning that relationships, no matter how strong they seem, don’t always last. It probably doesn’t apply to most people, but for me it was important to learn to be alone and depend on myself to make me happy rather than other people.”