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Western Marsh Harrier (Circus aeruginosus) male display flight Germany_w_0040
It's that time again, when our Marsh Harriers return from Africa & Iberia to get read for the coming breeding season. Males, like this lovely adult, arrive first, patrolling their 'patch' calling as they fly in soft nasal-whining call repeated twice.
Although the temperature is still pretty cold with ground frost these birds will wait, assess what has changed since last season and generally feed and wait until the arrival of his mate or another suitable mate if she fails to arrive. Migration over long distances can be hazardous.
The western marsh harrier (Circus aeruginosus) is a large harrier, a bird of prey from temperate and subtropical western Eurasia and adjacent Africa. It is also known as the Eurasian marsh harrier. The genus name Circus is derived from the Ancient Greek kirkos, referring to a bird of prey named for its circling flight (kirkos, "circle"), probably the hen harrier. The specific aeruginosus is Latin for "rusty"
Remember God's previous answers to prayer to have faith for the ones you're waiting on. - Kevin Shorter
sooc
I cant give you all the answers, because we spend our whole lives searching for them. And sometimes our questions are very different. So my answers may not make sense to you, and yours may not be of use to me. We each have our own unique journeys, our own paths and decisions. We are so very different and yet we are somehow the same. All I can tell you is that if you push yourself, if you listen to what you need - life can be beautiful. Life is beautiful, you can see it if you just open your eyes. You will find your own path, and you will make your life count. I believe in you, and there is your answer.
His 10th anniversary gift may have been the new haircut from me, but Ezra also asked for a very special gift - it just took a little time to set it up :)
EOS 60D+Sigma 50mm F1.4 EX DG HSM
* If you have requests or comments, please describe these in photo comment space.
July 18, 2023 The Hill Live brings together caregivers, patients, clinical experts, and lawmakers to answer these questions and more as we discuss the fight against Alzheimer’s and breakthroughs in providing relief to those who suffer from agitation and aggression.
Alzheimer’s disease affects about 55 million people worldwide, including 6.5 million Americans, and has no cure. Some patients with Alzheimer’s sometimes show signs of extreme aggression or become restless and anxious as their brains lose the ability to negotiate with new stimulus.
Agitation is a common neuropsychiatric symptom in Alzheimer’s dementia and one of the most complex and stressful aspects of caring for people living with the condition. It is reported in approximately half of people with Alzheimer’s dementia and is associated with earlier alternative living placement.
What do patients, caregivers and families navigating the complexities of agitation associated with Alzheimer’s need to know? How are researchers and doctors better understanding risk factors and diagnoses? What policy actions can prioritize research, detection and treatment? And what are the access considerations for patients and their caregivers as they navigate this difficult symptom?
LOCATION
National Press Club Holeman Lounge, 529 14th St. NW, 13th Floor, Washington, DC 20045
God, I have many questions and few answers only
This image is NOT for donation, if you are interested in some image, please contact me andrade@abaimagen.com
Dot not use IT ! Copyright
At the end of the first fit-check day, 12 days before launch, the prime crew of the Soyuz TMA-20 (Dmitry Kondratyev, Paolo Nespoli, Cady Coleman) and the back-up crew (Anatoly Ivanishin, Satoshi Furukawa, Mike Fossum) are questioned about any discrepancies, complaints or requests. These will need to be addressed before the next final fit-check,a few days before launch. Baikonur, 4 December 2010
Dodici giorni prima del lancio, alla fine della giornata della prima ispezione da parte dell’equipaggio, l’equipaggio titolare (Dmitry Kondratyev, Paolo Nespoli, Cady Coleman) e l’equipaggio di riserva (Anatoly Ivanishin, Satoshi Furukawa, Mike Fossum) fanno rapporto indicando le discrepanze che hanno trovato e eventuali richieste addizionali. Tutto dovrà essere sistemato per la prossima e ultima ispezione che avverrà pochi giorni prima del lancio. Baikonur, 4 Dicembre 2010
Credit: ESA
Sin Edición . Ne Ŝanĝita . Not Edited
Ciudad de México, México
Q&A: Knowing which way to follow, even is not clear
- are the questions for the answers we already have real questions? Or am I just trying to get away with murder?
-if cigarettes killed your father, is it possible that they raped your mother?
-If freedom is a lady, then are feelings a young girl looking for an husband? Or freedom is just another word for nothing left to lose? Should I talk like this?
- When I'll be dead, will it be useful to bring me a cup of coffee, so that I can come back to life?
-To defend democracy, do we also have to practice it?
-Is masturbation at least sex with someone you love?
-A part for the mistakes we make, are we completely useless? Why am I looking forward to be useful for someone?
-If we want someone to take care about, should we really buy a dog? And what about the human touch of a dog?
-If pop music is just the moderne way to say " fuck me", could we say rock music was just the old way to say "fuck you"?
-If she's got him by the balls, is it so bad, or it just depends on the grip?
-if someone shoots you in a dream, should he wake up and apologize?
-Is Texas No Limit Hold'Em the Cadillac of Poker?
-Did God create the man just because a dildo can't open tans?
-If she says " we have to talk about something serious", how can I be sure we do to do it dressed?
-Is Jazz a "form", or it's just a collection of tags and tricks?
- If you can't spot the sucker in the first half hour at the table, are you the sucker?
-If they ask you "how many roads must a man walk down before you call him a man)", does it make sense to answer " twentythree"? More? Less? Would you suggest I shouldn't answer?
-In a poker table, can you lose what don't put in the pot? Can you win much either?
-Isn't it easier to fight against the bottle when you're drunk?
-If Elton John calls you and says he wants his shirt back, should you buy a new one?
-Is it possible to have a first date with a girl who's born after Metallica's Master Of Puppets, or then you have to say you like Bon Jovi and puppets?
-When it rains, are we supposed to dance in the time between a drop and the next one?
-Does the american dream smell like vaseline?
-I'm fully convinced that Silvester Stallone speaks exactly like Bruce Springsteen. Do they both look insane?
-Is a Jewish princess with sunglasses, a brand new nose and titanic tits a smart way to work it out?
- Does cheating get it faster or it's just an hangover we don't deserve?
-What would Eddie Vedder think about me now? Would he think about me now? Am I too old to worry about Eddie Vedder's opinion?
-If the Red Hot Chili Peppers published "californication" 8 years ago, is it completely true that I'll be 30 just in time fon another "californication"?
-Can the Radiohead be the ones to blame if I don't have success with girls?
-What am I supposed to do with a full of aces if he goes "all in"? Do you think I should act like a ragged clown? Do you think i'm numb?
-In the poker game of life, are women the rake? Or in the rake game of life, women are a poker?
-Can you say to a girl "we have a depravation agreement, you can't leave me now" and still wait for her to come back?
-Do we need friends when we're right?
-If you're a dogman, half a dog and half a man, are you yourself's best friend?
-Is the coffee smell in the morning a good reason to wait until she wakes up?
-Is a Jack Daniel''s without a cigarette an incomplete sin? I mean, is it worhty?
-Is it wisdom not to get drunk all togheter, so that someone can drive home? How many times we think it's wisdom, and actually we're just afraid?
-Am I just too drunk to write something serious, or it's that having a bottle in front of you will always be better then a frontal lobotomy?
Weel, all those are just questions to the answers I already have,,, I just wanna know your answers... choose a question, and have some fun!
Let me explain a couple of things.
Time is short. That's the first thing.
For the weasel, time is a weasel.
For the hero, time is heroic.
For the whore, time is just another trick.
If you're gentle, your time is gentle.
If you're in a hurry, time flies.
Time is a servant if you are its master.
Time is your god if you are its dog.
We are the creators of time...
the victims of time
and the killers of time.
Time is timeless. That's the second thing.
You are the clock, Cassiel.
from Faraway so close (Wim Wenders)
My photo red means 'i love you' is being featured on the Yahoo! Answers front page to complement a question in the Best of Answers module.
Thanks, Dave!
St George, Stowlangtoft, Suffolk
Given that our parish churches almost without exception underwent restorations in the 19th Century, it should be obvious that when we enter a medieval church, we are encountering a Victorian vision of the medieval. Even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
Inevitably, the question arises of what was there before the restoration and what wasn't. The obvious answer is that we must assume that nothing is as it first appears.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak in winter, but in summer the churchyard here is verdant and golden, as beautiful a place as any in the county. The church is large, and yet unusually narrow. It sits on a mound that has been cut down on one side by the road. In the churchyard you'll find the well-known memorial to the art critic Peter Fuller and his unborn son, killed in a car crash in 1990.
In the churchyard wall there is what appears to be broken medieval window tracery, which is worth noticing, for hereby hangs a tale.
St George is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain the tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall itself isn't medieval, so where had it been all those years? Is it possible that the current window tracery is not medieval at all?
Stowlangtoft church featured in Simon Jenkins' book England's Thousand Best Churches, which sends plenty of visitors to its locked door, and may help stave off the inevitable for a while, for there is no real congregation here any more and the church is moribund. Regular services are held across the fields at Pakenham, and St George is now only used on special occasions. The key is kept across the road, where the very nice lady told me in February 2018 that the church is now headed for redundancy. It seems likely that care of it will be conveyed into the hands of the Churches Conservation Trust.
You step in through the chancel door (the lock here is very awkward, but do persevere) and if you are anything like me you will head straight down to the west end where you will find the font. Likethe window tracery, it asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic, Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it. However, as at Woolpit, Ringham only copied animals here, and the weirder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue, as it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is East Anglian. Rickards acquired it after finding it in storage in Ipswich docks. It presumably came from one of the Ipswich churches. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. The faux-medieval roundels in the windows of the nave are clearly not medieval at all, but were in fact the work of the young Lucy Rickards, daughter of Samuel Rickards himself. Some are clearly to the young girl's design, and Pevsner notes that others are copied from medieval manuscript illustrations in the British Museum, although the Holy Kinship and Presentation in the Temple roundels at least are very close copies of the Flemish roundels of the same subjects in Nowton church on the other side of Bury St Edmunds.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval figure glass in the upper tracery of some of the windows, including St Agnes holding a lamb and four Old Testament prophets. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk, and Mortlock thought the stalls the finest in England.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey.
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's unexpectedly gorgeous St George, which serves the same purpose. He's not an artist I usually admire, but it is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. The carvings were once brightly painted, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one. Taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back. An injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill, but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland from the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally, and they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, when St George is taken on by the CCT they might even be able to leave it open.
Yes, it was the Yellow-orange Fly Agaric (Amanita muscaria var. formosa)... the GUESS WHAT from two days before .....
A slightly poisonous Fungus or mushroom (or would you all call it toadstool then?) ... so not to use for pizza ... lol .... nor for mushroom dinners ....
Besides you want some physical problems ....or visions or deliriums ... it was used as halluzinogen in former times....
But beautiful it is ... one of the most beautiful mushrooms i know, seems to have jumped directly out of the fairy-tale universes .....
Sorry, the photographic quality is not the best. I have some wonderful pictures, taken with my macro lens, but somehow i cant upload them to flickr , as i am not at home and surfing only on a stick .....
So this image taken by the i-phone must do it for now ....
Wish you all great and tasty lunch - and dinner - meals ..... maybe mushrooms,, too , but not from this species ..... LOL
Love is the answer
to so many questions
it has the power
to make a heart soar
or break it in an instant
it comes in many forms
and levels of intensity
we wish for it
we work at it
we worry about it
at times we curse it
we love with all we are
even when it may be difficult
to love ourselves
we love a friend
nurture a child
adore a spouse
worship our God
not all love is true
often not returned
but as they say
it is better to have loved
for we are far
better a person
to be one who
has loved
and more importantly
allowed to BE loved.
Zulu had to be found, I knew that. Mr. Patton's lead seemed to be the only real one I had. Acting on instinct, I followed it. I dug up a bunch of financial records of Mr. Patton's. One of which was a gasoline bill for a large airplane. Where had it stopped for gas? Just a few hundred miles shy of Antarctica. This made the lead seem solid, and so I chased it.
I readied a jet to leave for Antarctica within the next five days, with Alfred piloting. Only he could know of this. I packed the suit I had designed for combat against Mr. Freeze, as Antarctica would be consistently below -20 degrees.
The plane ride took a while. During the flight, one thought would not leave my mind; why WAS Zulu even in Antarctica? Least of all with Bloodfall...
Once the cowl was over my head, Alfred opened one of the cargo doors for me to jump out of.
"Good luck, Master Wayne." He called out as I plummeted down towards the freezing earth below.
I landed atop an icy plateau, giving me a good view of my surroundings. To the left it was, well...mostly ice and more snow, but to the right I could make out a small grey building no more than ten kilometres away. I decided there might be some decent leads there, if anywhere.
I glided down off the plateau and landed in a snowbank. Luckily, my suit took most of the edge off the cold. I could clearly see the building now, and I began to jog towards it.
When I finally reached the building, I was fairly tired. The door was swinging open in the wind and making a spooky sort of whispering sound, beckoning me inside.
Once inside, a sudden uneasiness hit me. Was Zulu being held here? Had she gone insane and become a hermit? I had no idea, but I didn't feel good about even being there.
I climbed a short set of stairs. At the top were several dead bodies of men in odd militaristic black armour. Strangely, they all held German Heckler and Koch guns. Interesting. As I continued down the hall, I saw several more bodies, until I nearly tripped over one. Its head was barely on its shoulders, the blood sprayed on the wall had dried. Weeks old by now. I glance farther down the hall to see a large blade stuck in the wall. I walk up to it and begin tug. It takes a lot of effort, but it finally comes out. I look down at it once and immediately realize something disturbing; the blade is Zulu's, and there is blood on the hilt.
"When the gods wish to punish us, they answer our prayers.”
Oscar Wilde
Yoko Ono's Wish Tree at the Hirshhorn Museum and Sculpture Garden
We were reviewing for our National Achievement Test (NAT) today and it was absolutely boring. The studying part, I mean. But in total, today was F U N.
I keep my answers small and keep them near;
Big questions bruised my mind but still I let
Small answers be a bulwark to my fear.
The huge abstractions I keep from the light;
Small things I handled and caressed and loved.
I let the stars assume the whole of night.
But the big answers clamoured to be moved
Into my life. Their great audacity
Shouted to be acknowledged and believed.
Even when all small answers build up to
Protection of my spirit, I still hear
Big answers striving for their overthrow
And all the great conclusions coming near.
Photo captured on the Second Beach Trail via Minolta MD W.Rokkor-X 24mm F/2.8 Lens. Olympic National Park. Coast Range. Olympic Peninsula. Clallam County, Washington. Late May 2016.
Exposure Time: 1.3 sec. * ISO Speed: ISO-100 * Aperture: F/22 * Bracketing: None
The Postcard
A postcard bearing no publisher's name with artwork by Bob Wilkin.
The card was posted in Notting Hill on Wednesday the 7th. August 1957 to:
Mrs. R. Butler,
Fir Tree Cottage,
Lower Way,
Thatcham,
Berks.
The message on the back of the card was as follows:
"Had a nice time.
Peg & Fred".
Oliver Hardy
So what else happened on the day that the MacCreadys posted the card?
Well, the 7th. August 1957 was not a good day for Oliver Hardy, because he died of cerebral thrombosis on that day.
Oliver Norvell Hardy, who was born on the 18th. January 1892, was an American comic actor and one half of Laurel and Hardy, the double act that began in the era of silent films and lasted from 1926 to 1955.
Oliver appeared with his comedy partner Stan Laurel in 107 short films, feature films, and cameo roles.
He was credited with his first film, Outwitting Dad, in 1914. In most of his silent films before joining producer Hal Roach, he was billed on screen as Babe Hardy.
-- Oliver Hardy's Early Life and Education
Oliver Hardy was born Norvell Hardy in Harlem, Georgia. His father, Oliver, was a Confederate States Army veteran of the American Civil War who had been wounded at the Battle of Antietam on the 17th. September 1862, and was a recruiting officer for the 16th. Georgia Regiment.
The elder Oliver Hardy assisted his father in running the remnants of the family's cotton plantation. He then bought a share in a retail business, and was elected full-time Tax Collector for Columbia County, Georgia.
Hardy's mother, Emily Norvell, was the daughter of Thomas Benjamin Norvell, who was descended from Hugh Norvell of Williamsburg, Virginia, and Mary Freeman.
The elder Hardy and Emily married on the 12th. March 1890; it was her second marriage, and his third.
The family moved to Madison, Georgia, in 1891, with Norvell's father dying less than a year after Norvell's birth. Hardy was the youngest of five children. His older brother Sam drowned in the Oconee River; Norvell pulled him from the river, but was unable to resuscitate him.
As a child, Hardy was sometimes difficult. In the fifth grade he was sent to Georgia Military College in Milledgeville. In 1905, when he was 13, Norvell was sent to Young Harris College in north Georgia for the fall semester which he completed successfully.
Norvell Hardy had little interest in formal education, although he acquired an early interest in music and theater. He joined a theatrical group, and later ran away from a boarding school near Atlanta in order to sing with the group.
Norvell's mother recognized his talent for singing, and sent him to Atlanta to study voice and music with singing teacher Adolf Dahm-Petersen. Oliver skipped some of his lessons in order to sing in the Alcazar Theater for $3.50 a week.
In 1912, he signed up for a course at the University of Georgia as a law major for the fall semester just to play football. He never missed a game.
-- The Change of Name
As a teenager, Hardy began styling himself as "Oliver Norvell Hardy", adding the first name "Oliver" as a tribute to his father. He appeared as "Oliver N. Hardy" in the 1910 U.S. census, and he used "Oliver" as his first name in all subsequent legal documents, including marriages and divorces.
Hardy was initiated into Freemasonry at Solomon Lodge No. 20 in Jacksonville, Florida which helped him with room and board when he was starting out in show business. He was inducted into the Grand Order of Water Rats along with Stan Laurel.
-- Oliver Hardy's Early Career
In 1910, The Palace, a motion picture theater, opened in Hardy's hometown of Milledgeville, and he became the projectionist, ticket taker, janitor and manager.
He soon became obsessed with the new motion picture industry, and was convinced that he could do a better job than the actors that he saw on-screen.
A friend suggested that he move to Jacksonville, Florida, where some films were being made, which he did in 1913. He worked in Jacksonville as a cabaret and vaudeville singer at night, and at the Lubin Manufacturing Company during the day.
It was at this time that he met Madelyn Saloshin, a pianist, whom he married on the 17th. November 1913, in Macon, Georgia. The following year he made his first movie, Outwitting Dad (1914), for the Lubin studio, billed as O. N. Hardy.
In his personal life, Hardy was known as "Babe" Hardy, and was billed as "Babe Hardy" in many of his later films at Lubin, such as Back to the Farm (1914). The name "Babe" originated from an Italian barber taking great pleasure in patting powder onto Hardy's freshly scraped chin, uttering “nice-a babee, nice-a babee." His fellow actors quickly latched on to this, and "Babe" became his lifelong nickname. In the Laurel and Hardy silent film, Big Business, Stan can clearly be seen shouting “Babe” when trying to to get his attention.
Hardy was a big man, standing 6 feet 1 inches (1.85 m) high, and weighing up to 300 pounds (c. 136 kg); his size placed limits on the roles that he could play. He was most often cast as the villain, but he also had roles in comedy shorts, his size complementing the character.
By 1915, Babe Hardy had made 50 short one-reel films at Lubin. He moved to New York and made films for the Pathé, Casino and Edison Studios. He returned to Jacksonville, where he made films for the Vim Comedy Company. That studio closed after Hardy discovered that the owners were stealing from the payroll.
Hardy then worked for the King Bee studio, which bought Vim, and worked with Billy Ruge, Billy West (a Charlie Chaplin imitator), and comedic actress Ethel Burton Palmer. He continued playing the villains for West well into the early 1920's, often imitating Eric Campbell to West's Chaplin.
Between 1916-1917, Hardy experienced a brief directorial career. He is credited for directing or co-directing ten shorts, all played by him.
In 1917, Hardy moved to Los Angeles, working freelance for several Hollywood studios. He made more than 40 films for Vitagraph between 1918 and 1923, mostly playing the "heavy" for Larry Semon.
In 1919, he separated from his wife, ending with a provisional divorce in November 1920 that was finalized on the 17th. November 1921.
On the 24th. November 1921, he married actress Myrtle Reeves. This marriage also proved to be unhappy, and Myrtle was said to have become an alcoholic.
In 1921, Hardy appeared in the movie The Lucky Dog, produced by Broncho Billy Anderson and starring Stan Laurel. Hardy played the part of a robber trying to hold up Stan's character. They did not work together again for several years.
In 1924, Hardy began working at Hal Roach Studios with the Our Gang films and Charley Chase. In 1925, he starred as the Tin Man in the Wizard of Oz.
Also that year he was in the film Yes, Yes, Nanette!, starring Jimmy Finlayson and directed by Stan Laurel. (In later years, Finlayson was frequently a supporting actor in the Laurel and Hardy film series.)
Hardy played a supporting role in Isn't Life Terrible? with Charley Chase and Katherine Grant (1925).
Hardy also continued playing supporting roles in films featuring Clyde Cooke and Bobby Ray. Hardy played two other shorts directed by Laurel, Wandering Papas and Madame Mystery, both in 1926.
In 1926, Hardy was due to appear in Get 'Em Young, but he was unexpectedly hospitalized after being burned by a hot leg of lamb. (... How can a hot leg of lamb put you in hospital?)
Stan Laurel had been working as a gag man and a director at Roach Studios, so he was recruited to fill in. Stan Laurel continued to act, and appeared in 45 Minutes from Hollywood with Hardy, although they did not share any scenes together.
In 1927, Laurel and Hardy began sharing screen time together in Slipping Wives, Duck Soup (no relation to the 1933 Marx Brothers' film), and With Love and Hisses.
Roach Studios' supervising director Leo McCarey recognized the audience reaction to the two, and began teaming them together, which led to the start of a Laurel and Hardy series later that year.
They began producing a huge body of short movies, including The Battle of the Century (1927) (with one of the greatest pie fights ever filmed), Should Married Men Go Home? (1928), Two Tars (1928), and Unaccustomed As We Are (1929, marking their transition to talking pictures).
Other shorts included Berth Marks (1929), Blotto (1930), Brats (1930), Another Fine Mess (1930), Be Big! (1931), and many others.
In 1929, Laurel and Hardy appeared in their first feature, in one of the revue sequences of Hollywood Revue of 1929, and the following year they appeared as the comic relief in a lavish Technicolor musical feature entitled The Rogue Song. This film marked their first appearance in color, yet only a few fragments of this film survive.
In 1931, they starred in their first full-length movie Pardon Us, and they continued to make features and shorts until 1935. The 1932 film The Music Box won an Academy Award for best short film, their only effort to receive such an award.
-- Oliver Hardy's Later Career
In 1937, Hardy and Myrtle Reeves divorced.
Oliver made Zenobia with Harry Langdon in 1939 while waiting for a contractual issue to be resolved between Laurel and Hal Roach. Eventually, however, new contracts were agreed upon, and the team was lent to producer Boris Morros at General Service Studios to make The Flying Deuces (1939).
While on the lot, Hardy fell in love with Virginia Lucille Jones, a script girl whom he married the next year. They enjoyed a happy marriage for the rest of his life.
In 1939, Laurel and Hardy made A Chump at Oxford and Saps at Sea before leaving Roach Studios. They began performing for the USO, supporting the Allied troops during World War II.
In 1941 Laurel and Hardy were signed by 20th. Century-Fox (as well as Metro-Goldwyn-Mayer in 1942). These studios produced films on a larger scale, and initially the comedians were hired only as actors in the B-picture division, forced to yield the writing and editing decisions to the production teams.
The films proved very successful, and gradually both Laurel and Hardy were allowed more creative input. Laurel and Hardy completed eight features during the war years, with no loss of popularity.
M-G-M's two-picture pact expired in August 1944, and Fox's series of six Laurel & Hardy pictures ended when the studio discontinued B-picture production in December 1944.
In 1947, Laurel and Hardy went on a six-week tour of the United Kingdom. They were initially unsure of how they would be received, but they were mobbed wherever they went. The tour was lengthened to include engagements in Scandinavia, Belgium, France, and a Royal Command Performance for King George VI and Queen Elizabeth.
They continued to make live appearances in the United Kingdom and France until 1954, often using new sketches and material that Laurel had written for them.
In 1949, Hardy's friend John Wayne asked him to play a supporting role in The Fighting Kentuckian. Hardy had previously worked with Wayne and John Ford in a charity production of the play What Price Glory? while Laurel began treatment for his diabetes a few years previously.
He was initially hesitant, but he accepted the role at Laurel's insistence. Frank Capra invited him to play a cameo role in Riding High with Bing Crosby in 1950.
During 1950–1951, Laurel and Hardy made their final film Atoll K (also known as Utopia). It was a simple concept; Laurel inherits an island, and the boys set out to sea where they encounter a storm and discover a brand new island, rich in uranium, making them powerful and wealthy.
However, the film was produced by a consortium of European interests, with an international cast and crew that could not speak to each other. In addition, Laurel had to rewrite the script to make it fit the comedy team's style, and both suffered serious physical illness during the filming.
Laurel and Hardy made two live television appearances: in 1953 on a live broadcast of the BBC show Face the Music, and in December 1954 on NBC's This Is Your Life. They also appeared in a filmed insert for the BBC show This Is Music Hall in 1955, their final appearance together.
On screen, Laurel and Hardy fitted together perfectly, physically, emotionally, temperamentally, and comedically. In real life, however, they weren't all that close, and didn't socialize together that often. Hardy saw himself as an act-for-hire, a professional who would show up and do the work.
The pair contracted with Hal Roach, Jr. to produce a series of TV shows based on the Mother Goose fables in 1955. They were to be filmed in color for NBC, but the series was postponed when Laurel suffered a stroke and required a lengthy convalescence.
Later that year while Laurel was recovering, Hardy had a heart attack and stroke from which he never recovered.
-- The Death of Oliver Hardy
Hardy suffered a mild heart attack in May 1954, and he began looking after his health for the first time in his life. He lost more than 150 pounds (68 kg) in a few months which completely changed his appearance.
Letters written by Laurel refer to Hardy having terminal cancer, and it was speculated that this was the reason for Hardy's rapid weight loss. Both men were smokers; Hal Roach said that they were:
"A couple of freight train
smoke stacks".
Oliver Hardy suffered a major stroke on the 14th. September 1956 that left him confined to bed and unable to speak for several months. He remained at home in the care of his wife Lucille.
After suffering two more strokes in early August 1957, Oliver slipped into a coma, and died from cerebral thrombosis on the 7th. August 1957, at the age of 65.
After Oliver was cremated, his ashes were interred in the Masonic Garden of Valhalla Memorial Park Cemetery in North Hollywood.
Stan Laurel was inconsolable at the loss of his "dear pal and partner." He was absolutely devastated by Hardy's death, and never fully recovered from it; Stan's wife told the press that he became physically ill upon hearing that Hardy was dying.
Stan's doctor advised Laurel against attending the funeral, due to his own poor health, and Laurel said that:
"Babe would understand."
-- Legacy of Oliver Hardy and Stan Laurel
-- There is a statue of Stan Laurel and Oliver Hardy outside the Coronation Hall Theatre, Ulverston, Cumbria, England.
-- Oliver Hardy's star on the Hollywood Walk of Fame is located at 1500 Vine Street, Hollywood, California.
-- There is a small Laurel and Hardy Museum in Hardy's hometown of Harlem, Georgia, which opened on the 15th. July 2002. The town holds an annual Oliver Hardy Festival.
-- The biographical film Stan & Ollie (2018) starred Steve Coogan as Laurel and John C. Reilly as Hardy.
-- Final Thoughts From Oliver Hardy
"We never see ourselves
as others see us."
"If you must make a noise,
make it quietly."
"A knick-knack is a thing that
sits on top of a whatnot."
"You're actually using your brain.
That's what comes from associating
with me."
"You know, there's a right and
wrong way to do everything."
“As a child, I got into a habit that I still have. One could call it lobby watching. I sit in the lobby of any hotel where I stay and just watch people. I like to watch people. Once in a while, someone will ask me where Stan and I dreamed up the characters we play in the movies. They seem to think these two fellows aren’t like anyone else. I know they are dumber than anyone else, but there are plenty of Laurels and Hardys in the world. Whenever I travel, I am still in the habit of sitting in the lobby and watching the people that walk by – and I can tell you I see many Laurels and Hardys. I used to see them in my mother’s hotel when I was a kid: the dumb, dumb guy who never has anything bad happen to him, and the smart, smart guy who’s dumber than the dumb guy, only he doesn’t know it.”
“Those two fellows we created, they were nice, very nice people. They never get anywhere because they are both so dumb, but they don't know they're dumb. One of the reasons why people like us, I guess, is because they feel superior to us.”
"I don't know much, but I know
a little about a lot of things."
"Well here's another nice
mess you've gotten me into."
The last quote was earlier used by W. S. Gilbert in both The Mikado (1885) and The Grand Duke (1896). It was first used by Hardy in The Laurel and Hardy Murder Case in 1930.
Oliver Hardy's last words were spoken to his beloved wife Lucille, who nursed her darling 'Babe' through his final illness. He said:
“I love you.”
The question that everyone has ever asked themselves is this.Which strokes the inner zeal and wakes up the potent desire to reach the higher levels #MotivationalQuestion #ZealPuller @WomenOneOnline.
www.womenone.online/singlepost.php?page/Women/post/Answer...
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Explore #356, September 24, 2008
(I don't own any Elder Scroll names,locations,etc.. They are property of Bethesda) I opened the heavy doors of Fort Dawnguard,the rusty hinges moving slowly. The fort itself was glorious more than ever.
Young vampire hunters training,and veterans cleaning their bloody weapons.
I walked up to one of the guards
-Where's Isran?
Guard- Dead..sir. Dour is in charge now.
-Dour?
Guard- Yes sir. Here he comes now.
A hooded man walked up to me
-I'm guessing you're Dour.
Dour- Correct. I was one of the solider in the raid of Castle Volkihar. It's an honor to meet you, Chosen One.
Dour stretched his arm forward,shaking my hand
-Hmm,I like what you've done with the place. Anyway.to get to the point,I need your help. I've been noticed by one Champion of Molag Bal. He wants me to pay for killing Harkon.
Dour- You got yourself in deep crap. We've been getting reports of multiple Vampire raids all over the Nine Holds,lead by..the Champion. A brute Vampire,strong enough to kill a bear with just one punch.
-I met him,he's not that scary.
Dour- Must be one of the copy cats he sends to scare the hell out of villagers. You have not met the real Champion, He never goes in alone.
When Dour finished,one of the soliders yelled "VAMPIRES! WE'RE UNDER ATTACK BY VAMPIRES!"
AN: HIIII PEEPLS!
Not the best build I know,butt oh well. So,cliffhanger! I'll be focusing on Skyrim and SW maily,and not as much on other builds. Next scene wil be pretty epic,so get ready! Fav,comment,all that good stuff and I'll see y'all later!
a woman leans in a near perpetual stoop, making sure this area of the Boudhanath temple was pristine. no small task, given the dust, winds, and thousands of pilgrims and tourists that circumnavigate the structure every day. she was not paid to do this. it was not her job, but her calling.
EXIF: 85mm, f/4.5, 1/1250 sec, ISO 100, hand held, no flash, raw.