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A Merry Christmas to all of you that have taken the time to view and comment on my photostream. It's most appreciated. I plan to have a break from the ever downward spiralling Flickr until the New Year. Get out there and enjoy your photography.
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I have a pristine 74 Raleigh Professional with Campagnolo Nuovo Record/Cinelli/Mavic along with an excellent 83 De Rosa Professional (also known as Super Prestige) w/Campy Super Record, Mavic GL330 tubulars etc. Point of mention is I have yet to ride either after this Raleigh Professional Track hit the road. Fitted with Campagnolo Pista Group along with the amazing Fiamme Ergal rims, this sub 18lb beast is more fun than dark chocolate and red wine.
The 73-74 Raleigh Team Colors are perhaps the best of the Raleigh track options, surely more subtle and aesthetically appealing than the later team colors. The build appears to be a take on the Carlton samples. Just a great bike and a pure classic. It's interesting to see who recognizes it on the road. Some have no idea, riding by without a glance but the rare few that do have to pull up and chat.
- kh
After commenting on Kelly Ward-Black’s recent post about my admiration for Ms. Benatar, I thought I would post my attempt to capture her vibe.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
For the first time, I went for a weekend visit to Gemma's and we had a great time! We packed loads into a couple of days.
Saturday morning we were up early to go to Dovedale in the Peak District. What a stunningly beautiful place it is! So picturesque! I loved every minute.
Because it's a well known area of outstanding natural beauty, it gets busy early so we made sure we arrived as soon as the car park opened. That meant it was reasonably quiet walking outwards, but coming back there were so many people!
I showed the pictures to my Sister wjhen I got home and she loved them so much, she took her family there camping the very next weekend!
Here was the point we turned around and headed back to the car.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Trying on a couple of choices of dress for my Christmas choir concert at Hull City Hall. I did ask the other members of the choir and we ended up choosing the first of the two dresses for the concert.
Comments always appreciated - I love to hear your feedback! xx
It's June, it's summer so it's an opportunity to try out some new outfits. And a bit of a departure from my usual dresses, trying out a denim mini skirt and (yikes!) bare legs!
Comments always appreciated - I love to hear your feedback! xx
I had a visit from my friend Fiona, who had never been out dressed in the daytime before, so it was a big moment.
She was such a natural though, she wasn't fazed at all and took it all in her stride. We had a wander round Hull town centre, shopping, seeing some of the sights and a drink in a pub in the old town. It was a lovely afternoon!
In Queens Gardens in the city centre. Queens Gardens is where the Pride Parade will have the party next month - really looking forward to that!
Fiona was also taking a selfie on her phone, lol!
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I decide I wanted to make a new Batman figure since the one I made for the DC project is not great. This one and the figs following this one are inspired by 2 things. The DCAU suit primarily the suits worn in The New Batman Adventures as well as the Arkham games.
The legs have e-tape boots and the knee pads are painted. The underwear (overwear?) was something I went back and forth on but I decided I’d do it cause it’s just that iconic. The belt is made of of varies bits of paper, plastic and procreate as well as the LBM belt piece.
The torso has some sculpted muscles and I think these are much better that the other ones of the other Batman fig. The emblem is TNBA inspired and the bits on the sides are Arkham city inspired.
The arms have some e-tape gauntlets and some dry sculpted fins. It is one piece for the fins separated by painted lines.
The cowl was a 2012 cowl cut in half and the head was a head from the LBM line. The cape was a regular LEGO cape.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Having missed our annual weekend in Newcastle last year we were really looking forward to it this time round, and it didn't disappoint!
Friday night we met up with two friend we hadn't seen in a long while.
Steph came with us to Eazy Street bar first off, then on to The Stand comedy club for a night of stand-up comedy which she really enjoyed - something she had not done before in female mode so it was a new experience for her, and a very enjoyable night for us all. I do love a bit of live comedy.
After the comedy we went on to our favourite Newcastle venue, Rusty's where Fiona came to meet us too. Was a fantastic evening, and so lovely to catch up with two dear friends.
Hotel selfies before heading out.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Seems I had a very twitchy shutter button finger this night back in January - I took loads of photos!
Trying out a new (to me) long sleeved velvet dress, quite a classy looking dress, if I do say so myself!
Not entirely sure about it. It shows off my figue in a very flattering way, which I love, but I'm not totally sold on the neckline.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
A hatful of photos from a night in at home!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Seems I had a very twitchy shutter button finger this night back in January - I took loads of photos!
Trying out a new (to me) long sleeved velvet dress, quite a classy looking dress, if I do say so myself!
Not entirely sure about it. It shows off my figue in a very flattering way, which I love, but I'm not totally sold on the neckline.
Comments always appreciated - I love to hear your feedback! xx
The last of the January photos. I've managed to catch up a bit over the last few days for a change - it is always so easy to fall behind and build up a backlog.
One of my current faves, this grey dress is simple but sexy. One of the first dresses to go in my suitcase if I'm going away for a weekend anywhere.
Speaking of which, I have to go and get ready now for a weekend in Birmingham. I hope you all have a great weekend too, whatever you are doing! xx
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The following "spot-on" comments by Valerie Lawson titled “Happily Ever After: The Ballets Russes’ Romeo and Juliet” are from the website Behind Ballet. They were first posted on December 5, 2011 at:
www.behindballet.com/happily-ever-after-the-ballets-russe...
“Tantrums and tears, catcalls and goggles, a visit from the police and a pink dressing gown slung on a peg. It could only be a scenario created by Diaghilev, the ringmaster of the Ballets Russes.
“In 1926, Diaghilev orchestrated a surrealistic version of Romeo and Juliet in which the lovers elope, departing the stage by plane in leather coats and airmen’s caps, complete with goggles. The scenario may seem Monty Pythonesque, but the months before – and after – the ballet’s premiere were far from funny. Following the first performances in Monte Carlo, the Ballets Russes presented the work in Paris, where the opening night was disrupted by a riot. Diaghilev could not have been happier. He thrived on scandal and outrage.
“The chaos accompanying the ballet’s creation was inevitable, considering the mélange of collaborators. Choreographed by Bronislava Nijinska, with an entr’acte by George Balanchine, the Ballets Russes’ production was danced to a score by the English composer Constant Lambert, with design by two leading surrealist artists.
“Diaghilev persuaded the Russian ballerina, Tamara Karsavina, to dance the role of Juliet, while Serge Lifar, Diaghilev’s lover at the time, danced the part of Romeo. Karsavina did not approve of Lifar’s partnering skills, but she hid her distress.
“Diaghilev initiated the work, commissioning Lambert, then 20, who called his score Adam and Eve. Diaghilev promptly changed that to Romeo and Juliet, then set about dictating the scenario. The story would take place during a rehearsal of a ballet based on Shakespeare’s play. Lambert was not impressed, but undeterred, he asked the distinguished portrait painter Augustus John to design the ballet. Diaghilev dismissed that idea, commissioning instead a friend of Lambert’s, the English artist Christopher Wood. But Wood, too, was dismissed, as Diaghilev decided that no designer was necessary. As the ballet was about a rehearsal of a ballet, there was no need for any scenery, he told Lambert. However, after a visit to France, Diaghilev changed his mind once again.
“At an exhibition in Paris he admired the works of the surrealist artists Max Ernst and Joan Miró. He bought paintings by both as a gift for Lifar, then commissioned the artists to design Romeo and Juliet.
‘“For a long time’, wrote the author, Arnold Haskell, ‘the Russian ballet had been considered bourgeois by the Surrealist group … the obvious thing to do was to commission décor from some of the group and win them over that way.’
“The designers travelled to Monte Carlo, where Ernst painted curtains representing day and night and Miró painted a front cloth. For the first scene, set in a rehearsal studio, Miró scattered some everyday bits and pieces – a barre, some screens, and that pink dressing gown centre stage. Lambert was horrified, telling his mother that the designers were ‘Tenth-rate painters from an imbecile group called the Surrealists’.
“In the second scene, depicting the performance of Romeo and Juliet, the tragedy unfolded in the usual way, but after the death of Juliet, Romeo – and a very much alive Juliet – donned their aviator costumes. The ballet ended with Karsavina, apparently representing a plane in flight, hoisted to a horizontal position on Lifar’s shoulders.
“The premiere at the Theatre de Monte Carlo on May 4 went well enough but when the ballet opened in Paris it was greeted with catcalls, whistles and fisticuffs, led by diehard surrealists who objected to Ernst and Miró being led astray by a capitalist venture (the Russian ballet).
“When the curtain rose to reveal Miró’s décor, a shower of leaflets fell from the upper balconies. Written in red ink by two founding members of the surrealist movement, Louis Aragon and André Breton, the leaflets were captioned ‘Protest!’
“Diaghilev was prepared. He had alerted the police to a probable disturbance and told the conductor to continue, even as the yelling drowned out the music. As Haskell wrote, the ‘plunge into modernism brought a scandal that was dear to him and convinced him he was on the right track’.
“But the life of this madcap Romeo and Juliet was brief. It took Prokofiev’s powerful score, written a decade later, to bless the ballet with its long life.”
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Gracias por vuestros comentarios.Thanks for your comments
Durante el reinado de Sancho VII "el Fuerte" (finales del s.XII, inicios del s.XIII) se construyó en Olite un primer castillo defensivo, sobre un núcleo de época romana. Posteriormente, este fue mejorándose bajo el reinado de sus sucesores Teobaldo I y Teobaldo II, de la casa de Champagne. Este primer recinto es conocido como Palacio Viejo o Palacio de los Teobaldos, y es donde se ubica el Parador Nacional. En su disposición interna actual no queda ningún vestigio de aquella época. Los reyes de Navarra solían acudir a él de manera esporádica, al igual que a las otras residencias repartidas por el viejo reino. Cada monarca tenía preferencias por determinadas mansiones, pero ninguna podía considerarse como su residencia fija. Este carácter "nómada" comenzó a desaparecer con Carlos II "el Malo" (segunda mitad del s.XIV) cuando, una vez fracasados sus intentos por hacerse con la corona de Francia (1360), decidió centrarse en el gobierno de su reino, siempre en continua alerta ante los constantes ataques de castellanos y aragoneses. Se sabe también que durante esta época, existían dos palacios menores contiguos, uno de los cuales correspondía al Infante Luis, hermano y lugarteniente de Carlos II.
Las obras de ampliación que dieron lugar al recinto que hoy conocemos, se realizaron durante el reinado de Carlos III "el Noble", de la casa de los Evreux. Aunque nacido en Francia, la mayor parte de su juventud la pasó en Olite, lo que explica su predilección por esta villa. Durante sus primeros años de reinado se vio obligado a resolver la compleja herencia política de su padre, pero una vez hecho esto, pudo desarrollar una vida cortesana plena y llena de esplendor, propio de un reinado estable. Los primeros trabajos fueron obras de reparación: tejados, pintura, etc.. El siguiente paso consistió en resolver el problema de la falta de espacio. Así, en 1388 se compraron una serie de casas y solares para hacer una plaza (Plaza de los Teobaldos) que ofreciera delante del palacio un acceso mas amplio y digno. Se trataba todavía del Palacio Viejo. Posteriormente, se decidió la ampliación del palacio con nuevas construcciones. Durante esta época se produjo un hecho que influyó decisivamente en la posterior evolución de las obras. Y es que, al poco de casarse el rey Carlos III con Leonor de Trastámara, esta lo abandonó regresando a su tierra natal, Castilla. Todos los intentos por hacerla regresar fueron en vano. Independientemente de las más que seguras connotaciones políticas de esta actitud, la reina Leonor argumentaba su negativa a regresar con su marido, manifestando que en Navarra disponía de escasos recursos económicos, y que además sentía peligrar su vida. Así pues, sólo cuando el rey Carlos ofreció las garantías suficientes al hermano de esta, el rey Juan I de Castilla, de que las peticiones de Leonor serían atendidas, esta regresó a Navarra. Esto sucedió en marzo de 1395. El empeño del rey en cumplir sus promesas, se tradujo en un repentino impulso a los trabajos de reforma y mejora del palacio. Es su ánimo estaba el de rodear a su esposa de un ambiente cortesano lo mas acogedor posible. En 1399 se adquieren mas solares por la parte de la Iglesia de Santa María, para edificar nuevas habitaciones para la reina, y en 1400, con el fin de proceder a la ampliación de estas, se vuelven a comprar casas y solares de la judería vecina. La edificación de este Palacio Nuevo la afrontó Carlos III sin ningún esquema premeditado de conjunto, y por tanto, el resultado final se corresponde con una yuxtaposición de nuevas unidades, edificios y jardines. La primera fase del palacio comprendió las habitaciones para la reina, denominado Palacio de la Reina o Torre Nueva, la capilla real y algunos locales y pasajes menores hacia la parte norte de la iglesia. En una segunda fase, se emprendieron las construcciones del conocido como Palacio del Rey. En él se integraban una Gran Torre, apoyada sobre el muro de cierre de la villa, y la llamada Galería Dorada. Estas obras estaban terminadas para el año 1406. Una pequeña torrecilla junto a la Gran Torre, dos nuevas galerías y el arreglo de los jardines, fueron las obras que se ejecutaron a continuación. Entre los años 1411 y 1414 se completó la edificación de las torres exteriores del palacio: la Ochavada, la Joyosa Guarda, la del Portal de Fenedo y la de los Cuatro Vientos. El conjunto estaba prácticamente terminado y su fisonomía era casi definitiva. Sólo faltaban algunas estancias menores, que se construyeron de acuerdo a las nuevas exigencias o al ritmo de las oportunas reparaciones. Las últimas renovaciones de importancia se realizaron a finales del s.XV a cargo de Catalina de Foix y Juan III de Albret. Y ya por último, habiendo dejado de ser Navarra un reino independiente, el marqués de Almazán introdujo hacia el año 1584, algunos cambios, como la portada de entrada al Palacio Viejo coronada por un blasón que hace referencia a Felipe II.
During the reign of Sancho VII "the Strong" (late twelfth century, the beginning of the XIII century) was built a castle in Olite defensive over a core of Roman times. Later this was improved during the reign of his successors Theobald Theobald I and II, the Champagne house. The first area is known as the Old Palace or Palace of Tybalt, and which houses the Parador Nacional. In its current internal layout is not any trace of the time. The kings of Navarre used to come to him sporadically, as well as other residences scattered throughout the Old Kingdom. Each monarch had preferences for certain houses, but none could be considered his permanent residence. This character "nomadic" began to disappear with Charles II "the Bad" (second half of XIV century) where, after unsuccessful attempts to seize the crown of France (1360), decided to focus on the government of his kingdom, always constantly alert to the constant attacks of Castile and Aragon. We also know that during this time, there were two smaller palaces contiguous, one of which corresponded to the Infante Luis, brother and lieutenant of Charles II.
The expansion work that led to the compound we know today, were made during the reign of Charles III "the Glorious", the house of Evreux. Although born in France, most of his youth was spent in Olite, which explains his preference for this town. During his early reign was forced to resolve the complex political heritage of his father, but once done, could develop a full court life and full of grandeur, typical of a stable kingdom. The first works were works of repair: Roof, paint, etc. .. The next step was to solve the problem of lack of space. Thus, in 1388 bought a number of houses and plots for a square (Plaza de los Teobaldos) front of the palace to offer wider access and dignified. It was still the old palace. Later, it was decided the extension of the palace with new construction. During this time, there was an event that decisively influenced the further evolution of the works. And, soon after King Charles III married Eleanor of Trastámara, this left him returning to his native Castile. All attempts to bring her back were in vain. Regardless of the more than certain political connotations of this attitude, Queen Eleanor argued his refusal to return to her husband, stating that in Navarra economic resources were limited, and that was also life-threatening. Thus, only when King Charles gave the assurance to her brother, King Juan I of Castile, Leonor that requests would be addressed, this returned to Navarre. This happened in March 1395. The king's efforts to fulfill its promise, resulting in a sudden impulse to the work of reform and improvement of the palace. Is your mood was that of his wife surround a court environment as pleasant as possible. In 1399 more lots are purchased by the Church of Santa Maria, to build new rooms for the queen, and in 1400, to proceed with the extension of these, turn to buy homes and neighboring solar Jewry . The building of the New Palace of Carlos III faced no premeditated scheme as a whole, and therefore the final result corresponds to a juxtaposition of new units, buildings and gardens. The first phase saw the rooms of the palace for the queen, called Queen's Palace or New Tower, the royal chapel and some minor local and passages to the north of the church. In a second phase, we undertook the construction of so-called Palace of the King. It integrates a large tower, resting on the enclosing wall of the town, and called Golden Gallery. These works were completed by the year 1406. A small turret next to the Great Tower, two new galleries and the arrangement of the gardens were works to be executed next. Between 1411 and 1414, completed the building of the outer towers of the palace: the Ochavada the Joyosa Guarda, Fenedo the Portal and the Four Winds. The set was almost over and his face was almost final. There were only some smaller rooms, which were built according to new requirements or the rate of appropriate repairs. The last major renovation took place in the late fifteenth century by Catherine de Foix and John III d'Albret. And finally, having ceased to be an independent kingdom Navarre, Marquis of Almazan introduced by the year 1584, some changes such as the front entrance to the Old Palace topped by a coat of arms referred to Philip II.
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_7willows_: Beautiful!
alenvera: seems to be so far away
poketypatch: Thanks! @alenvera @_7willows_
poketypatch: Glad you liked it @debbyslater @melia_ @lisamac333 @justajem @mojen
marypmanriquez: Beautiful!
mojen: @poketypatch how does one distress IG photos? I just live this shot!
poketypatch: @mojen there are apps to do it. Like distressedfx picfx or picgrunger you can get them in the app store
mojen: Thx much!!!
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Description: 8th June 2013. A scorching sunset view at Jeram beach in Selangor, Malaysia.
Single exposure single frame
Exif data:
Filter: Singh Ray (0.9 rgnd) + Lee Pro Filter ND (0.9)
Exposure: 30 second
Aperture: f/11
Focal Length: 16 mm
ISO Speed: 200
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Hafidz Abdul Kadir / © All rights reserved
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