Code 3 Buses
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At work we have to go from Code Yellow to Code Orange. You will know I am talking about measures that have to be taken against the spreading of the Covid-19 virus.
My photo of a begonia symbolises Code Orange in the communication towards employees: it is orange, but with a hint of yellow: we are trying to look upon the bright side!
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...and poor little Sphynxie...he was scared out of his skin!
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Bento Mesh Head: Genus Baby Face
Bento Mesh Body: Maitreya Lara
Face/Body Applier: Emma by Glam Affair
Crow Tattoo: Code Janitor (cg.linden)
Hair: Allison by DOUX
Ensemble: Eternal Love by BOUDOIR
Hecate Headwear: [sYs]
Mishi Eys Applier: .euphoric
Diamond Dew Eyeshadow: #Mewsery
Sphynxie Sugar Ghost: Culprit
Build & Pose: "Don't Kiss a Clown" by Something New
SIM: *Uri Jefferson's Freakshow* Halloween 2020 @ maps.secondlife.com/secondlife/Luxury%20Hills/65/81/1000
Last spring, this male mountain bluebird is enduring a storm of heavy, wet snow while perched in a cattle pasture. Even in such weather, they do their best to find insects, insect eggs, or insect pupae.
The great grey owl is much better adapted for handling such inclement weather, but over the years, I have been very impressed with the tenacity of mountain bluebirds as they cope with wild swings in the spring weather.
Weston-super-Mare's new lamp posts have been marked with Morse Code on them. The Morse Code givess the street name the post is sighted. This one is Pier Square.
@
(Nuclear Code)
C'est une chanson pour les enfants
Qui naissent et qui vivent entre l'acier
Et le bitume, entre le béton et l'asphalte
Et qui ne sauront peut-être jamais
Que la terre était un jardin………...……….
(It's a song for kids
Who are born and who live between steel
And bitumen, between concrete and asphalt
And who may never know
That the earth was a garden ......... ... ..........)
Georges Moustaki
Proverbs 18:11 King James Version (KJV)
11 The rich man's wealth is his strong city, and as an high wall in his own conceit.
SL Model - June
Photo by - CountChanel
arrow tip mx - CountChanel
Location - Abandoned Manor Studio
SL File - 044
♫ Blutengel - She Wears Black (Official Music Video)
The Series Sixty-two was a model produced by Cadillac from 1940 through 1964 when it was renamed “Calais” for the 1965 model year. It was one of Cadillac’s most popular models. For the 1949 model year, the Series Sixty-two spawned the “Coupe deVille.”
For the 1953 model year the world was introduced to the very first Series Sixty-two Eldorado. The Series Sixty-two convertible was one of America’s most luxurious convertibles. Cadillac’s magnificent new design and craftsmanship were dramatically displayed in the 1957 Cadillac Series Sixty-two convertible.
Cadillac for the 1957 model year was completely redesigned. A Cadillac convertible was the celebrity among Cadillacs. There was no more gracious manner in which to enjoy open-air touring than the 1957 Series Sixty-two convertible. Its aristocratic flair was dramatic and pronounced.
Apart from the Biarritz convertible, the Series Sixty-two convertible was the most elegant convertible built in the land. It was the synthesis of two motoring worlds; it had all the panache of a ragtop and the comfort of a luxury car. Style code #6267F Series Sixty-two convertible had a base price of $5,225. (Cadillac repairs today run up tabs along these same dollar amounts…amazing)
The 1957 Cadillacs were all-new in design from the 1956 models. The 1957 cars presented a new sleekness in every line as witnessed by the Series Sixty-two convertible. They were built almost 3” lower in overall height.
The front end ensemble was boldly aggressive. It retained the “Dagmars.” The sweep of its new fender lines extended back to the redesign of the iconic Cadillac tail fins.
The convertible’s silhouette was highlighted by chrome-framed wheel openings and extended contour lines to both front and rear fenders. The fender skirts were dropped for a cleaner more contemporary look at the time.
All Cadillac bodies were built by the Fleetwood Division of Fisher Body under relentless quality control procedures. The Series Sixty-two convertible rode upon a long 129.5” wheelbase, had the luxury length of 220.9” and an 80” wide stance.
The Cadillac 6.0 litre 365 CID 16-valve V8 engine had five main bearings, intake silencer, and hydraulic lifters. It was constructed with cast iron, block and cylinder heads. The engine was equipped with a Rochester 4-bbl downdraft Quadrajet carburetor with equalized manifold, and automatic choke. It produced 300 hp @ 4,800 rpm with 542 Nm of peak torque @ 2,800 rpm. Performance was rated as 0-60 mph in 11.2 seconds, 0-100 mph in 33.1 seconds with a top speed of 119 mph. It could do the ¼ mile @ 81 mph in 18.1 seconds.
The Cadillac Series sixty-two convertible was a triumph of motoring distinction. Its unmatched comfort and spacious dignity was the finest expression of Cadillac’s dramatically new styling. In the way it looked and the way it drove, the 1957 Cadillac Series Sixty-two convertible introduced a brand new measure of excitement to modern luxury motoring…done in the manner only the “Standard of the World” could provide. This is another classic encore presentation…in the continuing saga of “As the Standard of the World Turns.”
notoriousluxury.com/2014/06/21/1957-cadillac-series-sixty...
When I was working on this it reminded my of those DNA coding trays thus the title. Base image created using a Canon PowerShot camera and processed using Photoshop, and Redfield filters.
Happy Sliders Sundy!
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A rusty plate with the unavailable soviet zip code from 1980s in my grandparents' village.
Почтовый индекс детства
impressions @ red-light district
"Tunnel of Tears" by Keith Sonnier (USA)
Zentrum für Internationale Lichtkunst e.V., Unna (GER)
www.lichtkunst-unna.de/de/museum
opposite view - from the other door: