View allAll Photos Tagged because
Because all my girls are flavored. LOL
Kula got a new wig!>w<~♥ YAY! Finally, she's the way I wanted (maybe I will change the eyechips, but they're ok for now!^^), I can't help, I love sweet/childish dolls, she looks like a little girl with these ponytails! My fave hairstyle too!♥
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É que todas as minhas meninas são sabor-alguma-coisa!xD
Ai a peruquinha nova da Kula!♥ Num é linda? ;.; Eu amei e agora ela está do jeitinho que eu queria (e nem sabia que queria a princípio!xD), talvez eu só mude os eyechips (os dela e da Candy, pra ficarem iguais) mais pra frente!^^ Adorei que, apesar da franjinha, dá pra ver as sobrancelhas dela, porque acho as sobrancelhas da Prunella o equivalente pullipístico das sobrancelhas do Tae Tantus: DIVAS!=D
Comprei também apliquezinhos, como dá pra ver... infelizmente, mais uma vez, os da Candy não são do jeito que eu quero, hauhuaha, quando comprar na Leeke de novo faço a terceira tentativa!xD Queria deixar a Kula e a Candy combinando, vamos ver quando consigo! E quero roupas iguais pras duas também!*_* Vamos ver quando consigo²!xD
Minha menininha mais charmosa!*_*~♥
Sorry about it being blurry. In case you can't read it:
1 Double = 2 Single
1 Triple = 3 Single
Slow down and go over that complex math for a second. You're probably wondering why you have smoke comming out of your ears. Its because Cottonelle just blew your mind!
“Because all gave some, and some gave all.”
Celebrate the special connection that General Logan has to Memorial Day in Logan Circle on Monday, May 30th at 1:00pm
Monday’s program, starting at 1:00pm, includes a wreath-laying ceremony with the Honorable Eric Fanning, Logan Circle neighbor and newly appointed Secretary of the Army; and live musical performances by the Washington Capitals’ Bob McDonald and the Brassivity Brass Quintet.
Memorial Day is a day of thanks for the valor of others, a day to remember the splendor of America and those who are at rest. It’s a day to be with the family and remember. We encourage our friends and neighbors to bring a blanket and picnic lunch for you and your family, including those with four legs, to this year’s annual Logan Circle Memorial Day Observance.
See: www.anc2f.org/blog/2016/05/26/memorial-day-celebration-in...
Taken on 1st July 2016 of the Chester part of the “We're Here Because We're Here” project. Thousands of volunteers took part in a modern memorial to mark the centenary of the Battle of the Somme. ‘we’re here because we’re here’ was a UK-wide event commissioned by 14-18 NOW, conceived and created by Turner Prize-winning artist Jeremy Deller in collaboration with Rufus Norris, Director of the National Theatre. Produced by Birmingham Repertory Theatre and the National Theatre, in collaboration with 27 organisations (including Chester based StoryHouse).
For more information about the project see:
To see pictures that the general public and people involved in the project see the hashtag:
#WeAreHere.
The events unfolded throughout the day on various news sites and ended in an official release to explain the project. See the various links:
Somme marked by uniformed men across UK with #wearehere
www.bbc.co.uk/news/in-pictures-36683549
Artists behind 'ghost soldiers' project revealed
www.bbc.co.uk/news/entertainment-arts-36682140
#Wearehere: Somme tribute revealed as Jeremy Deller work
www.theguardian.com/stage/2016/jul/01/wearehere-battle-so...
Moving UK-wide art event honours fallen Somme soldiers
www.bbc.co.uk/programmes/articles/5HXGNLBg3PyNpQQpCbrPF4R...
Storyhouse takes part in 14-18 NOW’s UK-wide work by Jeremy Deller to commemorate the centenary of the Somme
www.storyhouse.com/storyhouse-takes-part-in-14-18-nows-uk...
#Wearehere :Chester remembers The Somme
thechesterblog.com/2016/07/01/wearehere-chester-remembers...
because a face without freckles is like a sky without the stars, why waste a second, not loving who you are?
..because it's still not snowing and it won't even on my birthday (the 5th Januare).. but I hope for the best.
Because my wife said.. take that hoochie mommas pic.. sooooooooo I did FLW tournament Clewiston 2011
(for further pictures or information please go to the end of page and by clicking on the link you will get them as soon as possible!)
The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
I never study a church before I go, maybe that's a fault on my part because I might miss something important and so have to go back. But for me, it's the wonder as you walk through the porch or door into the church, not knowing what to expect.
St Mary's looks like a typical Suffolk church from the outside, nice proportioned tower, good quality flint knapping. And yet once you enter, your breath is taken away by the glorious restored ceiling.
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It is not easy to find Huntingfield; even the signposts do not bear its name until you are within the parish boundary. Yet this shallow valley, divided by the infant river Blyth, with church and parsonage on one bank and manor house on the other, has been owned by some notable families in England's history.
The church is a Grade 1 Listed Building, largely due to its amazing Victorian painted ceiling.
The existing church certainly dates from the 11th century but there are signs that there had been a chapel here long before.
Some fragments of carved stones are set into the wall of the tower. At the beginning of this century they were turned up by a ploughman in a field called 'Chapel Field', a little to the south of the present church. They are fragments from a Saxon stone coffin and standing cross of the 10th century, long since disappeared.
The oldest part of the church is the wall between the nave and the north aisle which was the solid outer wall of the original twelfth century church. That church would have been small and dark, the whole building probably standing within the area of the present nave. The light would have come from small high windows of which one still remains above the two round-headed arches.
This wall has been altered at least twice. It was first broken through when the north aisle was built, and again in the nineteenth century when the arches were given their present 'Norman' curves. That first church was built by the family who took their name from the village and lived in the manor for 250 years, the Lords de Huntingfield.
The chancel was added in the thirteenth century.
By the end of the fourteenth, the south side of the nave had been altered and both aisles had been built in the fashionable Gothic style with its pointed arches. The five small high, or clerestory, windows on the south side of the nave would have provided light into the nave, the advent of affordable glass having made such things possible.
The east window of the south aisle has all that remains of the medieval glass that would once have filled many of the windows. There is a record of what was still to be seen here in the sixteenth century which lists the memorial windows with the coats of arms borne by the families who once owned the Manor.
The windows of the south aisle are particularly pretty and date from the fifteenth century. Their Perpendicular style is indicated by their familiar flat-topped shape. The porch is also from the fifteenth century.
The font dates from the fourteenth century.
The ceiling painting is very special and is explained on a separate page. The work was carried out in the 19th century while William Holland was rector. At the same time the organ and vestry were added with the Vanneck family vault beneath.
The ceiling is a masterpiece of Victorian church decoration, painted from end to end in brilliant colours, with carved and coloured angels, with banners, crowns and shields, all in the medieval style and of a most intricate and detailed finish.
The scheme of decoration is important as it reflects the ecclestiastical devotion of the late Victorian period clergy and their patrons, combined with the heightened liturgical practices of the Oxford Movement.
It was painted by Mildred Holland, the wife of William Holland who was rector for 44 years from 1848 until his death in 1892. The church was closed for eight months from September 1859 to April 1860 while she painted the chancel roof. Tradesmen provided scaffolding and prepared the ceiling for painting but there is no record to show that she had any help with the work, and legend has it that she did much of it lying on her back. We may imagine Victorian ladies wearing tight laced corsets and many petticoats, and wonder how she managed the ladders, scaffolding and hard labour of painting. She had an adviser on her schemes, a Mr. E. L. Blackburne F.S.A., an authority on medieval decoration.
The twelve large panels of the chancel ceiling each show an angel holding either a scroll with the words of the canticle 'Blessed be the Lord God of Israel', or the emblems of the Passion: the cross, the hammer and nails, the scourge, the lance, the crown of thorns and the reed.
Two pelicans in their piety (pecking their breasts to feed their young) are in the last small panels.
Between the beam ends of the chancel roof there are Bible verses in Gothic lettering,
then two tiers of panels; the lower have pictures of the Lamb of God alternating with`the Keys of Heaven. Above, are crowned monograms.
Above the Chancel Arch, the Lamb of God is depicted with the words 'Glory, Honour, Praise and Power unto the Lamb for Ever and Ever', lines taken from the Book of Revelation.
Three years later Mildred Holland began to paint again in the nave. In 1866 her husband William makes a note 'scaffolding finally taken down, September Ist'. The whole cost of repairing the nave roof, preparing it for painting and for materials amounted to £247.10s.7d of which £16.7s.6d was for 225 books of gold leaf and £72 for colours. William Holland's notes show that between 1859 and 1882 a total of £2,034. 10s.0d was spent on the church restoration, of which, apparently, he gave all but £400.
Recent research has found the complete record of William Holland's work in restoring and furnishing the church. These are available for interested students.
The figures on the nave roof are of the twelve apostles and two female saints. Each is painted in the lower tier with their traditional symbols and again in the upper tier clothed in heavenly raiment holding scrolls bearing their names.
Note that Saints Margaret and Andrew are both included as there is a tradition that these two saints were specially venerated here. There are niches for statues in the south aisle which may have held statues of them. The cult of St Margaret of Antioch grew in the 10th century and her veneration was brought back to England by crusaders. Her inclusion here may hint at an early date for the church's foundation.
Mildred Holland died in 1878; William served on until 1892, a total of forty years. He gave the font cover in memory of his wife and also the brass lectern with its graceful angels and winged dragons. Their graves are in the churchyard to the west of the entrance gates. Side by side they lie, beneath a table tomb alongside a standing cross.
It is natural to speculate about the roof. It is of a single hammer-beam construction, arch-braced principals alternating with hammer-beams ending in carved angels. The angels in the nave carry a crown or a banner, those in the chancel have heraldic shields bearing arms. The question all ask is: are these angels genuinely medieval work which escaped the axes of the post-Reformation Puritans, (and remember that William Dowsing, the arch-destroyer, came from nearby Laxfield) or are they all the handiwork of Victorian craftsmen?
Traditional East Anglian hammer-beam roofs generally terminate in a carving of some sort, and the de la Poles made angel roofs in the churches of their manors, even taking Suffolk carpenters to Ewelme in Oxfordshire to make one there. But our angels are too perfect to be so old. Entries in a tradesman's account of 1865 would seem to settle the matter; or do they?
The fourteenth and fifteenth centuries were times of great development and two families, both wealthy and influential, used their means to beautify and rebuild the churches on their manors including St Mary's. Keeping up with the neighbours is not a new fashion. Both left their marks on the font which, standing on restored steps and with a splendid cover, shows two heraldic shields.
The shield facing south depicts the arms of de Ufford while that on the north side is of de la Pole.
The de Ufford shield is that of Sir William de Ufford, Earl of Suffolk during the reign of Edward III. He held Framlingham Castle for the King and owned several manors in Suffolk. Among these were Parham, where he built the church, and Huntingfield.
The other shield is that of Michael de la Pole, Lord Chancellor and Earl of Suffolk, who married Catherine, daughter and heiress of Sir John Wingfield of Wingfield Castle. He succeeded to the manor of Huntingfield through his wife, and died in 1389. The shield shows both of their arms.
Michael de la Pole's has three polecat faces while Catherine Wingfield's has three open wings. Both are puns on their names. (For another heraldic pun look for the arms of Huntingfield being held by one of the angels in the roof: three hunting horns on a 'field'.)
In Ufford church you can see a medieval font cover which was a model for ours when it was made in the nineteenth century. In Wingfield church there is a font so like ours that it was probably made by the same craftsman.
www.stmaryshuntingfield.org.uk/history.htm
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There is nowhere else in Suffolk quite like St Mary. Huntingfield is one of the county's most obscure villages; there are hardly any signposts to it. It is the nearest village to the great pile of Heveningham Hall, and perhaps these two facts are not unconnected. But it is worth getting out the old Ordnance Survey map, because here at St Mary was a remarkable 19th century restoration.
In the second half of that century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration. Internal decorations were, perhaps, the bespoke work of the architect; witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich.
Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others; as, for example, Salvin's Flixton St Mary. What was the driving force behind Victorian revisionism? Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a ferment of new ideas and the reaction to them. The changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial; but gradually, they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe.
By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where it was the local vicar who drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
What the vicar of Huntingfield had, and many other ministers didn't, was a visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband, the Reverend William Holland, kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'.
J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. He did, however, refit the little windows in the south clerestory. But you come here to see the painted roofs, which are perfectly splendid. Beware if you come with children, or it will cost you a fortune in pound coins to activate the illuminations.
The font cover is not part of Mildred Holland's work; rather, it is her memorial, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.
Curiously, Ann Owen, the wife of the vicar of nearby Heveningham, produced the stained glass there; a novel is waiting to be written about these two women.
For such an obscure village, St Mary has had its share of influential patrons. Four major families in particular have left their mark here. Before the Reformation, the de la Poles and Uffords, whose shields you'll find on the font, and in later years the Cokes and the Pastons, both more usually associated with Norfolk.
But, as I have said, you don't come to Huntingfield because of important dead people. Look up, look all around, and see the true memorial to Mrs Holland. It does not have the gravitas of Lound, or the piety of Kettlebaston. And I really love it for that. I think this is a place that should be better known, and not just because of the way it contrasts with the less successful 19th century restorations at neighbouring Cookley and Walpole.
What we have here is as fine a display of 19th century folk art as you'll find anywhere in the county.
Simon Knott, 2001 (updated 2007)
We went out here because I felt that a science-fictionish girl needed a radar antenna in the background. This is about the best timing of the sky. It's bright enough to see by, but the sky isn't blown out.
This is where I forgot my G7 (oops) at home, so I had to "make do" with my film cameras.
Certain photographers I know would have broken down in tears at this point. Not THIS whacko. Anyways, you really want to view full size, because there's loads of details there to see. Remember, I took this with my medium format camera and my medium format camera will kick your digital SLR's butt. :D
...because no matter what it seems you can always find some of mine lying around. weird, i know, but when my hair is longer it just seems to find its way everywhere.
for the August Alphabet Set!!
"The Berca Mud Volcanoes are a geological and botanical reservation located in the Berca commune in the Buzău County in Romania. Its most spectacular feature is the mud volcanoes, small volcano-shaped structures typically a few meters high caused by the eruption of mud and natural gases.
As the gases erupt from 3000 meters-deep towards the surface, through the underground layers of clay and water, they push up underground salty water and mud, so that they overflow through the mouths of the volcanoes, while the gas emerges as bubbles. The mud dries off at the surface, creating a relatively solid conical structure, resembling a real volcano. The mud expelled by them is cold, as it comes from inside the Earth's continental crust layers, and not from the mantle.
The reservation is unique in Romania. The mud volcanoes create a strange lunar landscape, due to the absence of vegetation around the cones. Vegetation is scarce because the soil is very salty, an environmental condition in which few plants can survive." (Wikipedia)
111/365
Today I cut my own hair...and it came out pretty awesome haha surprisingly Im not bald. It took me forever though and after we went out and I didn't bring my camera because I assumed Id be home before midnight so I could make it to a parking garage for a shoot (since the light was gone). But instead we decided to spontaneously go to the horse auction...which I havent been to in years. So that was fun fun. I got home at like 1130 1145 and got this image done (although my camera says it was 1 am..ugh). I didnt finishing editing until after though. Oh well, Im pretty happy with at least taking the picture on the correct day.
Because I'm like 2 meme's too late, and I do have every intention of doing them all. Life has just been extremely hectic.
I decided to clean out my purse today and thought it'd be a good opportunity to do it.
I just tossed all the trash and kept everything else the same.
And I'm also wearing my sunglasses 'cause I can't find my normal eyes X_X
I've mainly tagged people who tagged me, so don't think I'm asking you to do it again lol
As we were in the area we called into Strumpshaw Fen but were disappointed that there was so little to photograph so simply because it was there I clicked this black swan
No it had not migrated from its native Australia but years ago they were added to waterfowl collection and obviously some escaped and now breed in this country.
They can be rather aggressive to other swans.
Because this flight (MH123) lands in Sydney, there is a Western dish served to passengers. The fish is served with some creamy and milky sauce. In this dish, the main source of carbohydrates are the potatoes. Meanwhile on the left are some crunchy baby carrots and broccoli. It was near to midnight when I had this.
My 365 for today is depressing enough. Add to that I am really down right now, over something completely different than the topic of that photo. I hate arguing and I hate it even more if it is my fault or if I did something to make it worse. I also hate the topic of said argument because it makes me very sad whenever it comes up, and I feel like I should be the bigger person but my pride sometimes gets in the way, and my stubborness says it is reasonable for me to get my way somewhat in this, whether or not it is true.
So, here is a Day 316 Alternate. I just don't want to end 2007 on such a depressing note, because about 3/4 or more of this year has been absolute bliss.
What have I done in 2007?
-Started the year making weekly (yes, weekly usually) trips to NYC from Florida that had carried over from the year before. Was dating a guy (my first semi serious BF since my divorce in 2004), that didn't work out, kept going up there, met new friends, had a LOT of fun, started the process to move there.
-Discovered this group called 365 Days on Flickr (I have been a member since 2005 but never really used the site), and decided it would be a good way for me to get in the habit of using my camera every day and maybe getting more creative.
-Discovered this fellow 365-er who was really hot and a COMPLETE FLIRT to all the ladeez but I could not stop coming back to him, I was so totally drawn to him (for many reasons, not just the photos of his ass he posted). Found out he was single and got the nerve to talk to him.
-Fell head over heels in love with said Random-hugeflirt-365er and moved across country to be with him, never thinking I would meet my love "on the internet".
-My father passed away. We were not close.
-Moved in with that hot random flirty 365-er with the nice ass.
-Lost my job of 10 years and after a 6 week 'vacation' found a new job I quite like and am rather happy with.
-Lost our dog...was Dave's dog for 8+ years but always felt like mine from the moment I met him.
-Not only embraced my new love and life, but all the things that came with it - kids, ex-wife, ex-in-laws, many years of memories I was not involved in, all without having any of my own support network remotely near to lean on when I was confused, frustrated, or felt like I was doing something wrong. I have to say, I think I have been handling it pretty well.
-FINALLY experienced real, true, deep, calming love. The kind of love I think we all dream of but many do not get to have.
I wouldn't change a thing of it though - okay, I would change a FEW things (I mean let's be honest here) - seriously, Dave + the kids are so great. Having a S.O. with kids and an ex-wife is something I have never experienced. I think I have a few things to learn but apparently (from others who have been through the same who I am able to confide in) I am dealing with it pretty well. I may never have kids so I feel so lucky to have 2 awesome kids in my life, and there is of course the bonus of pre-pregnancy boobs intact ;-)
I am very much looking forward to 2008 with my "new" family and new life. I wouldn't give it up for anything. I hope it doesn't give me up.
Because a ewe's cervix is longer and more complicated, artificial insemination is often performed laparoscopically. With laparoscopic AI, the semen is deposited directly into the uternine horn, by passing the cervix. In cows, an insemination rod or pipette can be used to transverse the cervix.
So this is the reason i love taking pictures. THAT moment where you look around and pretty much everything is perfect. aside from the fact that i couldnt feel my fingers while taking this, i was in total bliss. it was super hard to shoot though because to my left huge waves were crashing into the rocks causing mist to get on my lens ,which you can see in the picture. other then that though the colors and lighting was to die for. it was a rather spiritual experience.
Because I have nothing to say about Newtown here are some Newtown statistics from 2006 census. Population 7,896, non-english backgrounds 1,458, New Zealand born 2,451, Maori descent 852, couples with children 513, one parent families 309, owned dwellings 858, rented dwellings 1,713. I'm sorry If you are asleep now.
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Because we're dealing with gasoline, be extra careful about safety. Make sure you have a fire extinguisher ready nearby. Wear surgical gloves and protective eyewear. Ensure that the work area is well ventilated. Also, you'll be working under the car, so make sure you put the car securely on stands. You absolutely do not want the car to fall on you!
To make Step 5 easier, buy 6 clamps for the fuel line hoses. See photo.
Because of the great fire wall of Chinese policy, it's so hard to cross the limit to visit flickr, so I could not reply my dear friends, I'm so sorry about that and please forgive me,thank you so much and hope my friends can still hit on me！由于中国网络原因，访问flickr很困难，速度很慢，所有暂时没有办法一一回应各位好友，请朋友们见谅！还请各位好友继续关注我！
My pro account is out of time，thank you my friends here for supporting me what a long time！！May I have a pleasure to receive a pro gift from you？我的pro账号到期了，感谢朋友们长期以来的热心支持！！有好心人能赞助一个pro账号给我吗，在此先表感谢！！
If you want to use or buy this image，please contact me. 版权所有，转载请联系本人。
I chose this book because of the persian theme. I wanted something colorful, with gold, beads, and so on...
The fabric is hand dyed with curcuma and onions.
I used a wide varieties of stitches :
stem, back, split stitch, laizy daisies, bullions, french knots, oyster stitch, cast-on stitch, whipped spider web, satin stitch, double chain stitch, eyelet, coral stitch, lattice work, wheatear stitch
I do not own the book. You can see the original cover here :
www.jedessine.com/c_21658/l-heure-des-mamans/actu/idees-c...
Because of the use of an ultra-wide Sigma lens there is much distortion and lens flare but I hope that these flaws are not too distracting.
(for further pictures or information please go to the end of page and by clicking on the link you will get them as soon as possible!)
The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
JURY DISTINCTION FOR CATEGORY 1. OBJECT OF STUDY
Series "My voice in images" 3/5
Copyright CC-BY-NC-ND: the young participants, Sylvia Garcia Delahaye and Lavinia Johnson
We developed “Ma voix en images” (My voice in images), a participatory research method using photography to give children and young people an opportunity to express themselves on social issues and public policies that concern them. As part of an SNSF research project, the method allowed them to express their views on the subject of child poverty. The project benefited from the support of artist Valérie Frossard.
Here is an excerpt from what they said:
Border “In fact, there are people who don't have much money, these are people who want to cross the border but they can't because Switzerland says 'yeah, you don't have enough money so you can't cross'.”
Comment of the jury │Situated in between art and photographic documentation, the series tells a highly expressive and compelling story of social integration and fracture. The creative approach manages to give a voice to those whom we rarely listen to, while protecting their privacy and avoiding an intrusive gaze. A rare visual glimpse into participatory social science, resulting in a set of expressive and hopeful images.
--
Nous avons développé «Ma voix en images», une méthode de recherche participative qui utilise la photographie pour donner l’occasion aux enfants et aux jeunes de s’exprimer sur les questions sociales et les décisions publiques qui les concernent. Ils ont pu mettre en image leurs perceptions sur le sujet de la pauvreté infantile dans le cadre d’un projet financé par le Fonds national suisse et qui a bénéficié du soutien de l’artiste Valérie Frossard.
Extraits de leurs propos:
Frontière «En fait y’a des personnes qui ont pas beaucoup d’argent c’est des personnes qui veulent passer la frontière mais elles peuvent pas parce que la Suisse elle dit ‘ouais t’as pas assez d’argent donc tu passes pas’.»
Commentaire du jury │ Cette série d’images entre art et documentation photographique nous entraîne dans une histoire poignante d’intégration et de fracture sociale. L’approche utilisée parvient à donner une voix à celles et ceux que nous écoutons rarement, tout en protégeant leur vie privée et en évitant le voyeurisme. Un rare témoignage visuel des sciences sociales participatives qui résulte en des images expressives et teintées d’espoir.
--
Wir haben mit «Meine Stimme in Bildern» eine partizipative Forschungsmethode entwickelt, die mit Fotografie arbeitet. Sie ermöglicht es den Kindern und Jugendlichen, ihre Meinung zu gesellschaftlichen Fragen und staatlichen Entscheiden auszudrücken. In Bildern hielten sie ihre Gedanken zum Thema Kinderarmut fest. Die Arbeit entstand im Rahmen eines vom SNF finanzierten Projekts, das von der Künstlerin Valérie Frossard unterstützt wurde.
Auszüge aus ihren Äusserungen:
Grenze «Es gibt Menschen, die nicht viel Geld haben und die über die Grenze wollen, aber nicht können, weil die Schweiz sagt 'tja, du hast nicht genug Geld, also kommst du nicht rein'.»
Kommentar der Jury │ Diese Bildserie, eine Mischung aus Kunst und Fotodokumentation, führt uns eine berührende Geschichte von Integration und gesellschaftlicher Spaltung vor Augen. Mit dem verwendeten Ansatz erhalten diejenigen eine Stimme, denen wir selten zuhören, ihre Privatsphäre bleibt jedoch vor Voyeurismus geschützt. Ein seltenes visuelles Zeugnis aus den partizipativen Sozialwissenschaften in Form von ausdrucksstarken, hoffnungsvollen Bildern.
"Because life is amazing, and we can, in the capital of a world learning to <3 better :) "
Washington, DC's Capital TransPride was on May 20, 2017, hosted by The Studio Theatre
Published in: A landmark victory for trans rights under the ADA.
Thank you for Publishing my Photo, and for Honoring Trans Lives Taken in 2017, INTO – Ted Eytan, MD
Ad-Deir: named by Bedouins because of the crosses carved on the inside back wall during its Christian use in Byzantine times. Since there are no tombs inside, ad-Deir could not have been a tomb. A flat, wide bench exists on each side of the room suggesting that it was a cultic place. Perhaps men celebrated symposia (ritual banquets) here in honour of one of the Nabataean kings.
Patron: perhaps Obadas I, king of the Nabataeans (r.c.96-86 BCE), son of King Aretes II; or Obodas II (r.c.62-59 BCE).
- Trong con tim này chỉ có anh thôi
- Hãy hứa là sẽ mãi luôn bên em
- Cùng đến những chân trời xa xôi
- Này người yêu có biết
- Đêm từng đêm em vẫn luôn mong chờ
- Giọng nói ấm êm,của anh mãi trong lòng em
- Cùng nắm tay ta chung đôi
- Và lời em hát,hãy lun nắm tay em trên đường đời
- Cùng nhau ta vẽ lên thiên đường tình yêu...của riêng 2 chúng ta
- Ngập ngừng em nói,"yêu anh em sẽ bên anh đến trọn đời"
- Sẽ ko cách xa anh đâu,tình yêu mãi luôn vẹn nguyên
- Cùng nắm tay ta chung đôi
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- fav cho Pin hay cmt cũng đc nhưng đừng chùa nhé :D
* YÊU TẤT CÃ MỌI NGƯỜI :-*