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ORIGINAL ANIMATION PRODUCTION ART
Peter Potamus and his Magic Flying Balloon HANNA BARBERA STUDIOS
Item Type: Original Animation Production Layout Drawing of SOSO the Monkey from the 1964 Animated Television Series
Animation produced by HANNA BARBERA STUDIOS
Size: 12 Field 12.5 x 10.5
Condition: GOOD ....
Circa 1964
Hanna-Barbera Productions, Inc. ( /ˌhænə bɑrˈbɛrə/) was an American animation studio that dominated North American television animation during the second half of the 20th century. The company was originally formed in 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Peter Potamus is an animated television series produced by Hanna-Barbera and first broadcast on September 16, 1964. (Early promotional materials for the series carried the title Peter Potamus and his Magic Flying Balloon, but that title never appeared on screen.
Peter Potamus was a syndicated series divided into three segments; one of Peter Potamus and So-So, one of Breezly and Sneezly, and one of Yippee, Yappee and Yahooey. Peter Potamus was a companion series to Magilla Gorilla, and both series premiered in first-run syndication before being picked up by ABC-TV in 1966. At that time, the Breezly and Sneezly segment was swapped with Ricochet Rabbit & Droop-a-Long, a segment on the Magilla Gorilla show. After the ABC run, cartoons from the Magilla Gorilla and Peter Potamus shows were syndicated together.
The original Peter Potamus series can occasionally be seen on the cable TV channel Boomerang, often as part of its anthology series Boomerang Zoo. During the original run of the cartoon (1964), at the end of each episode, the closing song ended with the phrase: "And there he goes Peter Potamus, our ideal" (The Ideal toy company was the sponsor of the television series. A similarly subtle sponsor reference appeared in the Magilla Gorilla theme song lyrics: "He's really ideal").
Peter Potamus
It featured Peter Potamus the hippopotamus (voiced by Daws Butler impersonating Joe E. Brown) and his sidekick, So-So the monkey (voiced by Don Messick). Peter was big, purple, and friendly. Episodes generally consisted of Peter and So-So exploring the world in his time-traveling hot air balloon. When faced with a certain situation, Peter uses his Hippo Hurricane Holler technique to blow away his opponents.
Breezly and Sneezly
Main article: Breezly and Sneezly
A polar bear named Breezly Bruin (voiced by Howard Morris) and his droopy friend Sneezly the Seal (voiced by Mel Blanc) do various plans to break into the local army camp for various reasons while trying to stay one step ahead of the army camp's leader Colonel Fuzzby (voiced by John Stephenson).
Atom Ant is a cartoon ant and superhero, created by Hanna-Barbera in 1965. Atom costarred in The Atom Ant/Secret Squirrel Show (sharing top billing with Secret Squirrel). In syndication, Atom Ant aired alongside Precious Pupp and The Hillbilly Bears.
Atom Ant (voiced by the late Howard Morris then by Don Messick in later episodes) operated out of an anthill in the countryside, where he possessed such things as a mainframe computer and exercise equipment. His powers mostly consisted of the ability to fly, superspeed, incredible strength, and invulnerability. His catchphrase was "Up and at 'em, Atom Ant!"
He was often contacted by the police, who sent him out on an assignment. Some of these missions parodied those of Batman. The police force was constantly shown to be underfunded and inept, as they relied on Atom Ant to do all their police work. The only two police officers were the chief and deputy chief. The department only possessed one rusted patrol car. Atom Ant fights various villains including recurring ones like Ferocious Flea (voiced by Don Messick) and mad scientist Professor Von Gimmick.
Punkin' Puss & Mushmouse is a cartoon produced by Hanna-Barbera and originally aired as a segment on The Magilla Gorilla Show
The show features a cat called Punkin' Puss who lives in a house in the woods of the southern US. Punkin' is preoccupied with a mouse called Mushmouse who lives there too, and Punkin' frequently tries to shoot him with his rifle. The cat looks similar to the cats in Top Cat's gang.
One episode, "Nowhere Bear", has the cat continually disrupting an angry bear's sleep. Another, "Small Change", has Punkin Puss (and later a dog as well) shrinking to mouse size.
Usually one of Mushmouse's cousins comes and gives Punkin' a hard time. Many would think Punkin' would stop bullying Mushmouse when this occurs but to no avail on Mushmouse's behalf when the relative leaves
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Cattanooga Cats is an animated television series produced by Hanna-Barbera for ABC. It aired from September 6, 1969 until September 4, 1971
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Motormouse and Autocat
Essentially a motor-racing version of Tom and Jerry, this segment involved the antics of a race car-driving cat and a motorcycle-driving mouse. Much of the segment's appeal lay in the bizarre cars that Autocat (voiced by Marty Ingels) devised in his attempts to catch Motormouse (voiced by Dick Curtis), and in the pleasing, and unusual character voices and dialect. For example, Motormouse would often over enunciate words, saying things like "Chi-co-ry", and greeting Autocat with a friendly "Hey there, Au-to-cat". Motormouse resembled Pixie & Dixie in character design
This nice house at the end of 123rd Avenue West was once the location of an NP section house at Shortline Park, where their Duluth Shortline connected with the DM&IR's Spirit Lake Branch. I'm on the NP grade looking towards Elys Peak. The new double track CN mainline will run between the fence and house, easily explaining why CN bought it. The current grade is directly behind the house in a cut.
The new evaporator in its rebuit housing. This is the first time since 1999 that the gaping hole in the passenger side of the firewall has been filled.
This morning at work, it sounded like an airplane was landing on our roof and then cold air started blowing through the vents. The Air Conditioner Repairman got called and spent a good 15 minutes standing on the top of the ladder, with his head in the ceiling, reading the directions. Not the best picture in the world, but I didn't really figure I had much time to play with lighting.
Art Nouveaux 24" French Pierrot Polychrome Bronze Bust Sculpture Commedia dell'Arte
Measurements: 24" tall x 12" wide
Condition: Excellent vintage condition. No chips, scratches, damage or repairs to this bronze. Please refer to all photos for this great bronze sculpture. Used only for private display.
Description: This is a beautifully crafted Vintage Art Nouveaux French Polychrome Bronze Bust Sculpture featuring a young Commedia dell'Arte Pierrot.
It is playful and uplifting as well as masterfully sculpted.
The contrast in colors are amazing in this rare illustration of character. Rich dark aged brown and a wonderfully cool copper oxide colored frilled collaret. A unique styled hat featuring a strip across the middle is not common for Pierrot . The patina is partially hand rubbed back to reveal varied and complex golden bronze highlights which are evident on the facial area contrasted by subtle shadows in recessed areas. The resulting patina is rich and traditional and will appear different in different light settings. In a dark room the patina will appear dark
and aged but under light the incredible golden brown patina will be revealed. Under direct sunlight or the photo flood lights used in these photographs, the
finish will appear brighter and lighter than normal. The areas on the busts which are normally black such as hair have a
very subtle black patina applied over the finish which is then rubbed back.
To prevent tarnishing, the patina is sealed with a lacquer coating and buffed with
bronze paste wax. Although the surface is durable, care should be exercised to avoid scratches with metallic objects. Polish the casting with a dry soft dust
cloth and once or twice a year use a small amount of paste wax.
Perfect for any collector or for practical use.
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Note: Color of item might deviate slightly in comparison to the original article due to differences in computer monitors and different lighting conditions. Please read description of color. I personally inspect and clean each item before it posts on ebay. It will be well-packaged in bubble wrap and/or packing peanuts...etc., to withstand ordinary travel without damage.
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Information:
Pierrot, or ‘Pedroline’ was a comic servant character, often Pantaloon's servant. His face was whitened with flour. During the 17th century, the character was increasingly portrayed as stupid and awkward, a country bumpkin with oversized clothes. During the 19th century, the Pierrot character became less comic, and more sentimental and romantic. Also in the 19th century, Pierrot troupes arose, with all the performers in whiteface and baggy white costumes.
Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell'Arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.
It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the nineteenth century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world. And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries. His physical insularity; his poignant lapses into mutism, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell'Arte and into the larger realm of myth. Much of that mythic quality still adheres to the "sad clown" of the postmodern era.
Information
Bronze ingots are melted to a temperature of approximately 2000°F and poured into the cured ceramic shells.
As the sculpture cools the ceramic shell begins to pop away from the bronze.
This shell will be completely broken away, using a hammer and chisel, before the superfluous metal materials are cut away.
The casting is then sandblasted in preparation for metal finishing.
Any pieces of a sculpture that were cast separately are welded back onto the sculpture and any seam lines or other imperfections are removed or "chased".
Finally, any texturing that was lost or damaged in the casting or welding process is recreated.
The sculpture is then polished in preparation for application of the patina.
The various colors, patterns and textures obtained in the patina process are achieved through a combined application of chemicals and heat, augmented by hand stippling, or spraying with an air brush, and sealed with lacquer and waxes.
Originally the vines were hops and virginsbower (woodland clematis); but river grape volunteered and went a little crazy.
This photo links to my blog at www.heatheronhertravels.com
For more information on travel in British Columbia, Canada www.heatheronhertravels.com/explorebc
This photo may be used for non commercial purposes on condition that you credit Heatheronhertravels.com and link to www.heatheronhertravels.com/ For commercial use please contact me for permission at heather@heatheronhertravels.com
Naxos. Stater circa 520-515-490, AR 12.19 g. Cantharus with ivy leaf finial on lid; grape bunches hanging from handles. Rev. Quadripartite incuse square. Nicolet-Pierre 1 (this coin). Jameson 1305 (this coin). McClean 7271 (these dies). SNG Lockett 2616 (these dies). Sheedy 4e (this coin).
Very rare and in exceptional condition for the issue, undoubtedly among the finest
specimens known. Struck in high relief on a full flan and extremely fine
Ex Sotheby's 15 June 1896, Bunbury, 1249 and Sotheby's 4 May 1908, O'Hagan, 483; Christie's 11 December 1992, King, 716 sales. Privately purchased from Dr. Jacob Hirsch in 1948. From the Jameson and Vermeule collections.
In the eleventh century BC, the Cycladic island of Naxos was colonised by Athenians who founded a city of the same name on the ruins of a Mycenaean settlement they found there. The city grew important through its export of local marble and wine. Naxos competed with the neighbouring island city of Paros for domination of the Cyclades, but by the end of the sixth century BC Naxos had won out, dominating most of the Cycladic islands and commanding a powerful fleet. Unfortunately, Naxos was politically unstable, with frequent conflict between democratic and oligarchic factions. A democratic revolution in the city at the end of the sixth century proved to be a decisive event for Greek history as a whole. The oligarchic leaders driven out by the revolution fled to Miletos where they convinced Aristagoras, the local tyrant, to misuse a Persian fleet to restore them to power. However, when his attempt to restore the Naxian exiles failed, Aristagoras feared that the Great King Darius I would depose him. In a desperate attempt to hold onto power, Aristagoras orchestrated the great Ionian Revolt (499-494 BC). A decade after the revolt was crushed, Naxos was captured and destroyed by the Persians, but by then potent historical forces had been set in motion. The Ionian Revolt sparked by Naxian internal politics brought mainland Greece to the attention of Persia and ultimately led to the failed punitive expedition of Xerxes I against the Greek city-states in 480-479 BC. This expedition created the conditions for Athens to establish a naval empire, which in turn led to the Peloponnesian War in 431-404 BC. Taking a long view, Naxos really was the powder keg of the Greek world. One can only imagine what different course history would have taken if the oligarchs had never been exiled or if Aristagoras had successfully restored them when they were. This stater was struck at Naxos shortly before the pivotal democratic revolution and reflects the place of the island in Greek myth. Theseus escaped to Naxos with Ariadne after she helped him to survive the labyrinth and slay the monstrous Minotaur on Crete. Although Ariadne had been instrumental in orchestrating his escape, Theseus seems not to have been the most grateful of Greek heroes and abandoned her as she slept on the beach. When Ariadne awoke to see Theseus sailing off into the sunset without her she was filled with despair. The wine-god Dionysos, however, saw what had happened and took her to be his wife. Her wedding stephane was subsequently hung in the heavens as the constellation of the Corona Borealis. This attractively toned archaic stater alludes to this mythological tradition by depicting the attributes of Dionysos—the grapes from which wine was made and the kantharos from which wine was drunk. For the sake of completeness, an ivy leaf also appears above the kantharos. Ivy was the plant regularly used for wreaths worn by Dionysos and his human worshippers.
NAC114, 218
Air conditioner contactor NOK3-1P30A
Specification
Parameter
PDF Download
Gallery
Nonarc air conditioner contactor NOK3-1P30A
This series contactor is mainly applicable to a line of AC 50Hz or 60Hz, rated working voltage up to 600V and rated working current up to 60A, used to close or and to...
Boland, Frank H., d. 1955.
Condition: Good; creased lower left and right corners.; Part of the collection: Frank H. Boland collection.; "Public School Mulligans Flat, 1913"--Sign on side of building. Shows a man at the wheel of an early model car parked outside Mulligans Flat Public School.
Persistent URL
ENGLISH :
I dedicate this series to Moroccan women. I want them to know all the good that I think of them! I do not comment, I just want you to read between the "images"
it’s hot! but we’re also supposed to have intermittent heavy showers roll by for the next few days.
wish they would fix the damn air conditioner!
need breakfast
taken: 09/25/2007
This is located between my house & theirs. I noticed some activity around it and went to take a closer look.
Garland, Tx
My photos can also be found at kapturedbykala.com
These are the fake Wallabees that got me through college despite the sole holes. My Freshman year they were new, and in good condition.
By the winter of my sophomore year, they had holes, not as big as now, but big enough to let plenty of snow in. I got used to that, after a while, but was always careful not to step in a puddle of cold water.
By spring I was OK, the holes had grown some but I didn't care. By the following fall, though, I really wasn't looking forward to another winter with snowy feet. And a story (true) I think I put up here before.
I found that the janitor in the dorm collected old shoes people left behind and put them in a box in a storage closet, for those of us (I wasn''t the only one, I knew a guy who stuffed newspaper every day into his dress shoes to cover the hole.) who were too broke to buy new shoes when the old ones gave out. Most of them were too big for me. (I did start wearing a pair of Chucks, I think size 10 or so to gym class for a while, the first Chucks I ever owned, but went back to my holy imitation Keds because the really big Chucks were too loose.)
But there were some smaller children's shoes also. I found out that there was a program there where they housed families while one of the family took short courses, and sometimes the kids outgrew their shoes and the parents bought new ones (or dug second hand ones out of that box). They would add the "too small" ones into the box for someone else. Kind of like a thrift shop but free.
Among the shoes were a pair of nice leather boots, size, I recall 4 1/2. Now I wore a 7 or so, but I wondered if I could get them on, as that would solve my winter shoe problem
So I took them back to my room, and, with a little tugging, got them on. The toe box was pretty big, and my bent toes fit inside, as though I had hammer toes. But they were jammed pretty hard into the front of the boots. Well at first, they were OK, I walked around, got lunch, but by then the pain was starting. My bent, jammed in toes weren't happy.
I had to go to class then my campus job, which was being a part time janitor, sweeping aand such. So I went to take them off and put the wallabees back on. But for all the tugging, I couldn't get them off, they were stuck to my legs and feet.
So with no more time I wore my new, horribly painful boots as I limped to class. By the time the class was over and I had to go to work, the pain had subsided a little, and I survived the afternoon.
Back in my room I tried to get them off, without success. I went to dinner, the pain had subsided to some degree, but I thought my toes were numb. I tried several more times that evening, but my feet had probably swollen, as the boots wouldn't budge. So I wore the boots to bed that night. (I had a single room, so no one else knew.)
At least most of the pain was gone then,as long as I was off my feet. And the next day I wore them all day. The pain would come, particularly when I had to walk some distance or stand, but then go when I was sitting in class. But I had learned to live with it, and no one knew.
Back in the dorm, I had to do something. I couldn't wear the boots forever, and the next day I had gym, where I had to wear my decrepit sneakers. What to do. All the yanking, pulling, did nothing, it was like they were glued to my feet.
Then I had a thought. Leather usually stretches when it geys wet. So I took a shower, boots and all. (I was glad no one else saw me! and I went back to my room in my soggy, squishy boots and yanked. They finally came off, without too much yanking.
Now you think I'd have put the boots back in the box, deciding that they were just too small, but being stubborn I tried again. And now they weren't as painful and they had stretched enough that I could actually get them off in my room. Well, I kept wearing them for a few hours a day, and within a couple of weeks, I could wear them all day without too much discomfort, doubled up toes and all. My toes got used to being squeezed like that.
So I ended up wearing them all that winter, the following winter (actually sometimes in the rest of the year, as they looked much more presentable than the really holy wallabees. I'm pretty sure I wore them to my job interviews as a senior. And I wore them from time to time after graduation for a year or two, sometimes to work, before finally buying another pair of boots, size 6 as I recall. By then the soles had holes like my wallabees and I ended up throwing them out.
But after the first few weeks, I could wear the boots all day, even running to class, without even thinking about my bent toes. No pain, my feet were happy. And the leather had stretched enough so I could get them on and off without a struggle.
It was remembering that experience, years later that got me into wearing small shoes again. And most of the time, size 4 1/2 is just fine.
Now back to the wallabees, pictured here. I never through them out (in fact I wish I had kept the boots after I got rid of them). I still wore them from time to time, including often to class in graduate school. Then some years later I was between jobs one whole summer and fall, but had some part time work in the city.
The place had a bunch of musicians, many of whom wore old, decrepit sneakers or boots there, so I started wearing the wallabees there every other day, alternating with the now broken clogs which even then had worn down heels and one broke in half one day during the time I worked there.
I often wondered what people thought when they saw me on the subway with the wallabees and my toes sticking out, or the worn down clogs one cracked in half. I thought they might think I was homeless, but then there were many musicians artists and students who wore worn out footwear (and clothing). I might have gotten a few stares, but never a comment or question. And my footwear fit in perfectly with the place I was working.
t was that summer where the wallabees wore to pretty much their current condition. The heel burst, the holes grew to their current state, including the holes all the way across both shoes,.
Some of the glue failed holding the soles to the upper, in fact the front part of the right shoe came completely loose a couple of times when I was wearing them in the city, leaving me with bare toes until I got some tape to make a temporary repair. When I got home, I'd attempt to glue it back together, with varying success.
In fact I recall wearing them a few times with the front of the shoe left at home because the glue I had tried wasn't holding, and my bare toes walking all over town on the pavement. My shoes looked just like those of a couple of the musicians at that point, so no one at work cared.
I considered leaving the front of the right shoe off for good, but decided to try a different glue. The new glue held the long side of tha front piece to the upper OK, but not the short tab you can see in some of the photos. I found that for the short term, it usually stuck to the remains of the sole on that side as long as I didn't bend my toes. Then it would pop loose.
I think I finally got it to stay put with a hot glue stick, but it has come loose again. But I don't wear these too often, and not to work now. I save that for the black Reeboks, the grey Cappezios and some of the size 3 sneakers.
Picture taken 29 Mar 2010
lol, this was one of those days where I just didn't have a chance to take any well thought out pictures ... so I just snapped this one right before the sun went down ... mainly because I can tell a story about my air conditioner for the blog post.
Blog post: a Love / Hate relationship with my Window Air Conditioning unit
This is the 2nd Supra i have spotted recently and am so delighted to see this in immaculate condition. Looks great in blue colour and wish all Supra's like this is in same good condition. No front pictures as it was up against a barrier.
Registration Number
H830YYL
Make
TOYOTA
Model
SUPRA TURBO AUTO
Year of manufacture
1991
Engine size (cc)
2954
I just got this vertical air conditioner, a Whirlpool rebadged as a RCA for the Canadian market. A few years before, they were marketed as RCA Victor. Models from about 1972 and later were made by Westinghouse.
Hanalei Bay Resort 5202 Bamboo is a deluxe one bedroom condo with full kitchen, air conditioning, full size high efficiency washer and dryer, and dining area. The remodeled condo includes deluxe bamboo DeWils cabinets throughout, granite countertops, all new high end stainless LG appliances, built in desk, all new furnishings, 20” ceramic tile, new artwork, bamboo custom window treatments, all custom lighting and hardware, everything will be new except the view. The master bedroom has a king bed. The lanai runs across the full back of the condo and has a spectacular view of the ocean, mountain, waterfall and rainbow views. The condo has cable TV, DVD, free wireless internet and is one of our most popular Kauai vacation rentals.
________Living and Dining Room ~ Bamboo______
Large teak entertainment cabinet
Granite top built-in desk with power strip charger
Dining room table for 4, plus bar
Living room sofa and chaise
HD cable and DVD
Large 52” wood ceiling fan
__________Master Bedroom ~ Bamboo__________
All bedroom furniture has cedar-lined drawers
End tables have built in USB and electrical charging stations
Custom wool rugs
Wall mounted HD TV
HD cable and DVD
Large 52” wood ceiling fan
Bamboo window treatments with privacy black out
Perfect Sleeper Firm Plush Mattress
____________Kitchen ~ Bamboo_______________
High-end LG stainless appliances
Granite countertops
De Wil’s designer line bamboo cabinets with soft close
Maytag full size high efficiency washer and dryer
Kauai coffee, teas, and Crystal Lite starter set
___________Bathroom ~ Bamboo______________
Vessel sink
Granite counter tops
Custom travertine bath with ADA support handrail
Quite low flush toilet with soft close
Bath & Body soaps and lotions
A B & B Air Conditioning & Heating is a locally owned business in Austin, TX. We provide service like installation, repair, and maintenance in and around Austin.
With AB & B's durable systems and quality, you will always get top quality products with best service that you can think of. All our technicians are NATE certified and are always available when you need help with your heating systems.
A B & B Air Conditioning & Heating
815 Brazos St #600 Austin, TX 78701
Call: (512) 292-1334
We serve Austin, Bastrop, and Pflugerville
Waiale‘e, O‘ahu.
Here are a few more pinhole photos of an abandoned dormitory building that was part of the Boy's Industrial School. From what I've learned, the building was built in the early 1900's and was in use till the 1930s.
Le Bambole Mk. VI, "The Mini" pinhole camera. Expired Fujifilm Provia 100F film. Exposure: f/125 and 1/2 second.