View allAll Photos Tagged conservative
I wore this blazer last week and found the outfit too conservative for my current tastes. Always striving to improve, I imagined pairings that would suit my tastes and quickly landed on the hotpants I’d worn earlier in the week.
Blazer, Love Tree. Shirt, Old Navy. Shorts, San Souci. Tights, We Love Colors. Boots, Lauren Ralph Lauren. Earrings, Pangaea. Bag, thrifted.
Remembering an American conservative icon
Phyllis Schlafly, who recently died at the age of 92, authored the bestseller “A Choice Not an Echo,” which sold 3 million copies. Phyllis was not just a conservative activist but, as the Wall Street Journal reported, she was “the conservative activis...
mbcpathway.com/2016/10/03/letters-to-the-editor-conservat...
Photo used with permission; however, reproduction is prohibited. For more information on this photograph, please email kennymccune@mobaptist.org.
Image ©Licensed to Parsons Media. 02/10/2022. Birmingham, United Kingdom. Conservative Party Conference 2022 Day One. Prime Minister Liz Truss appears on the Sunday with Laura Kuenssberg show. Picture by Andrew Parsons CCHQ / Parsons Media
Mostly Hating Tories
What shall I do on this fine day?
There’s so much on my list
A mix of work and rest and play
I’m sure you get my gist
And maybe I’ll compose a rhyme –
But my unwritten law is
That every day I’ll spend my time
Mostly hating Tories.
I’ll go to work, some bills I’ll pay
That’s if I’m feeling rash,
To see her through to payment day
I’ll lend my friend some cash,
I’ll probably make my kids some tea
And read them bedtime stories
Of homeless piggies one, two, three
And why they hate the Tories.
I’ll hate them for the bedroom tax
I’ll hate them for the cuts,
For living off the workers’ backs
I’ll hate their very guts,
Look, see the depths to which they’ll sink,
They don’t know where the floor is,
That’s why I’ll spend my day, I think,
Mostly hating Tories.
What’s that you say? That hate’s not nice?
Please love thine enemy?
Well yeah, I tried that once or twice
It doesn’t work for me,
And if you think that’s not fair play
Remember this, you must:
The Tories, they will spend their day
Mostly hating us.
A history of evil done
Will justify my hate,
I still detest the Tory scum
For Section Twenty Eight,
Nye Bevan built the NHS
So he knows what the score is:
And he said vermin come out best
Compared with bloody Tories.
I’m sure I’ll find time to revile
That UKIP and its drivel
And I’ll locate a little while
To loathe a lonesome Liberal,
I’ll maybe pause to show regret
For Labour’s missing glories
But save the fiercest fury yet
For mostly hating Tories.
For generations and hereon
Our class and those before us
Grew up to know which side we’re on:
The side that’s not the Tories,
So when I die, do this for me –
Inscribe and sing in chorus
Here lies Janine, her life spent she
Mostly hating Tories.
by Janine Booth
Here: bit.ly/3BZ0Mah
Conservative Party HQ Lunchtime Menu
Deprived shrimps
Money-glazed smirked ham
Scorn fritters
*
Battered electorate,
with a basket of crushed hopes
and slow-cooked fatigue
Half-baked notions,
idling on a soft bed of privilege,
served with a thick faux pas sauce
Kids in blankets,
deep-famished, with a deprivation of vegetables
and a relish reduction
Toads in the hole,
with golden hand-outs in a thick rich gravy
(self-serving only)
*
Eton Mess
Fudge (ten different flavours)
By Bill Bilston
Here: bit.ly/3zWAm6t
Artwork ©jackiecrossley
© All rights reserved. This image may not be copied, reproduced, distributed, republished, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying & recording without my written permission. This image is not authorised for use on your blogs, pinboards, websites or use in any other way. You may not download this image without written permission from me. Thank you.
Model: Helmi
Style: Nita-Karoliina Lappalainen @teampulpfactory
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Conservative Woman On The Nude Beach.
It was a day she wont likely ever forget,
A day when she went out of her character,
and went to a nude beach,
what would her co- workers think,
if they saw her now?
She is always so professional,
but today she let her hair down,
and went not just to the beach,
but the forbidden one at that,
at least in the minds of her inner circle of friends are concerned,
don't worry,
she will be back in charge of the office tomorrow.
All be it,
with a more colorful look,
more bounce in her steps as well,
she smiles around,
nods her head,
like nothing special really happened,
on this beautiful Sunday afternoon,
A day when the conservative woman,
dare I say,
was once a free spirit.
Even if it was just for a day.
Steve.D.Hammond.
From the Conservative Agitation editorial to fit 1st of May celebrations 🎈🎉
Creative Director: Nita-Karoliina Lappalainen
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Models: Helmi & Vilma
Necklace: Pitkinen
Jackets: Owusu Brand
A NOTE ON THIS PICTURE: This picture appeared alongside an article in which the author made a case against people across the political spectrum incorrectly using the term Nazi to identify one's political ideology. The correct analogy would be to equate Obama's policies with those of the National Socialist Party.
Do I believe that Obama is a Nazi? No, that is ludicrous, but the article was a hard-hitting critique of the controversy surrounding people slinging the term Nazi around these days, hence the photo was appropriate. If it offends you, look away.
Thanks for reading.
From the Conservative Agitation editorial, Marika magazine.
Creative Director: Nita-Karoliina Lappalainen
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Model: Helmi
Campaign group Stop Killing Cyclists stage a demo and die-in outside Conservative Party HQ calling on them to pledge to increase spending on cycling and pedestrian provision, in line with UN recommendations. The campaigners also highlighted the impact on public health of road traffic pollution - which include thousands of deaths and debilitating lung and heart diseases - and its contribution to global climate change.
More info about the event here.
All rights reserved © 2017 Ron F
Please ask before reusing elsewhere.
Follow me on Twitter for the most recent shots.
Martin Ferdinand Quadal (1736 Niemtschitz-Němčice/Moravia - 1808 Petersburg)
The Life Drawing room of the Viennese Academy in the St. Anna building
Signed, datable 1787
Oil on canvas
Donation by Count Lamberg (year of donation unknown), GG-100
Martin Ferdinand Quadal (1736 Niemtschitz/Mähren - 1808 Petersburg)
Der Aktsaal der Wiener Akademie im St. Anna-Gebäude
Signiert, 1787 datiert
Öl auf Leinwand
Schenkung Graf Lamberg (Schenkungsjahr unbekannt), GG-100
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...
Hard to believe that the man enshrined by the memorial at the top of this photo belongs to the same political party as the man now in the White House.
In all the turgid rhetoric about what would Reagan do...no one seems to be asking what actions Lincoln might take these days.
From the Conservative Agitation editorial.
Creative Director: Nita-Karoliina Lappalainen
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Model: Helmi
Dress: kimeä clothing
Gloves: Vintage
Earrings: vintage
Silver jewelry: Studio martzu
Model: Vilma
Style: Nita-Karoliina Lappalainen @teampulpfactory
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
From the Conservative Agitation editorial.
Creative Director: Nita-Karoliina Lappalainen
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Model: Vilma
Jumpsuit: Redemption
Shoes: Balenciaga
Conservative Party leadership contender Rishi Sunak at a private event in Gloucestershire this afternoon.
[See also - Pix from other events in support of the NHS]
In a demonstration called by Health Campaigns Together and The People's Assembly, London saw around 200,000 people march against underfunding, closures and privatisation of the National Health Service. Doctors, nurses and other health providers were joined by union members and people of all backgrounds and ages to demand the Conservative government stop dismantling this popular service.
All rights reserved © 2017 Ron F
Please ask before reusing elsewhere.
Follow me on Twitter for the most recent shots.
"Pro-Life" conservatives are obsessed with the fetus from conception to nine months. After that they don't want to know about you..."
Image ©Licensed to Parsons Media. 23/08/2022. Birmingham, United Kingdom. Conservative Party Leadership Hustings in Birmingham. NEC. Conservative Party Leadership Hustings in Manchester. Manchester Central. Leadership contenders Liz Truss MP, Secretary of State for Foreign, Commonwealth and Development Affairs, and Rishi Sunak MP speak during the Conservative Party Hustings at the NEC in Birmingham. Picture by Ben Stevens CCHQ / Parsons Media
From the Conservative Agitation editorial.
Creative Director: Nita-Karoliina Lappalainen
Styling assist: Mirella Rautiainen
MUAH: Daria Radchenko
Model: Vilma
Jacket: Owusu Brand
Skirt: Fausto Puglisi
Golden neclase (pulled): Kalevala Koru
Lace glove: vintage
Big neclace & ear rings: vintage
Ring: Mango
Conservative Counter Protesters at an Anti-War Peace March protesting the invasion of Iraq in 2002.
Fuji GA645i camera with 60mm Fujinon lens.
Ilford HP5 at ISO 400
Digitized using a Fuji GFX 100s and Nikon 105mm Micro-Nikkor lens.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Fokker D.XX fighter was designed in 1935 by Dutch aircraft manufacturer Fokker as a conservative export alternative to the D.XXI monoplane. The latter had been developed in response to requirements laid out by the Royal Netherlands East Indies Army Air Force (Militaire Luchtvaart van het Koninklijk Nederlands-Indisch Leger, ML-KNIL), but Fokker saw a good deal of market potential for the aircraft in Europe, too, but was afraid that many smaller European air forces still preferred conservative biplane designs.
As a consequence, the D.XX was developed in parallel to the D.XXI and both aircraft shared many components, primarily the fuselage and the tail section. Like its D.XXI stablemate the D.XX biplane was designed as an inexpensive, rugged, and compact fighter aircraft that would possess respectable performance for its era.
Following standard Fokker design practice of the period, the D.XX featured a welded steel tube fuselage that was largely covered by fabric, including the flight control surfaces, but elements forward of the trailing edges of the wings were covered by detachable aluminum panels instead. The wings were of a wooden construction, being composed of two box spars attached to ribs made of plywood, and covered by fabric, too. The aircraft was outfitted with a fixed, spatted undercarriage with cantilever legs, and braking was provided by independently-operated pedals using compressed air.
The cockpit of the D.XXI was fully enclosed by a plexiglas hood featuring large sliding sections. The canopy was entirely jettisonable in an emergency situation to enable pilots to bail out. Pilots were protected against turnover injuries by means of a pylon built into the structure of the aircraft set behind the seat. Fuel was housed in a 77-gallon tank located aft of the engine, and an auxiliary fuel tank could also be installed behind the pilot seat.
Main armament consisted of two pairs of 7.92mm M36 FN-Browning machine guns, two being housed within the forward fuselage above the engine, requiring the latter to be synchronized in order to shoot through the propeller blades, and another pair was carried in fairings under the lower wings, outside of the propeller arc.
Initially, the Fokker D.XX was powered by the 830 h.p. Bristol Mercury VII or VIII engines, but for export customers a number of alternative engines were considered, too. These included such power plants as the 650 h.p. Rolls-Royce Kestrel V and the 750 h.p. Pratt and Whitney Twin Wasp Junior. There were even plans to mount the 1,050 h.p. Rolls-Royce Merlin and the 1,090 h.p. Daimler-Benz DB 600H, both coupled with a radiator installation under the fuselage.
However, interest in the Fokker D.XX was low, since the monoplane promised much superior performance and future development potential. Compared with the Fokker D.XXI, the D.XX lacked top speed and acceleration, but it had, thanks to its much bigger wing area, a better rate of climb and was the superior dogfight aircraft.
Anyway, with the D.XXI as direct in-house competitor and very similar aircraft like the Gloster Gladiator on the market, Fokker's last biplane aircraft was not a success. A major contract with Sweden for an initial batch of 30 aircraft and rights for further license production did not materialize. Other prospects, e. g. Lithuania, Latvia, Greece, Egypt and Yugoslavia, settled upon aircraft of British production, and in the end only Norway and Denmark bought the biplane fighter.
Total production, including two prototypes and three pre-production aircraft, only reached a mere 46 machines, and none of them survived the first months of the 2nd World War.
General characteristics:
Crew: one
Length: 8.2 m (26 ft 11 in)
Wingspan: 10.6 m (34 ft 8 ½ in)
Height: 2.92 m (9 ft 7 in)
Wing area: 28m² (300 sq ft)
Empty weight: 1,594 kg (3,514 lb)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant:
1 × Bristol Mercury VIII 9-cyl. air-cooled radial piston engine, 620 kW (830 hp)
Performance:
Maximum speed: 253 mph (220 knots, 407 km/h) at 14,500 ft (4,400 m)
Cruise speed: 338 km/h (210 mph; 186 kn)
Stall speed: 85 km/h (53 mph; 46 knots)
Range: 930 km (578 mi; 502 nmi)
Endurance: 2 hours
Service ceiling: 11,350 m (37,240 ft)
Rate of climb: 11.7 m/s (2,300 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Power/mass: 0.309 kW/kg (0.188 hp/lb)
Armament:
4× 8 mm (0.315 in) machine guns with 500 RPG in the fuselage and 300 RPG under the lower wings
The kit and its assembly:
I had found the spare wings from a Gloster Gladiator in my donor bank, and wondered what I could do with them - and eventually stunbled upon a PM Model Fokker D.XXI. Why not retrograde this early monoplane fighter into a biplane, with relatively modern features?
Said and done, and the respective conversion/kitbashing was a rather straightforward affair, even though not without some challenges.
The biggest issue became the lower wings: the Gladiator wings are much thinner and have less depth than the original Fokker wings, so that much of the wing roots on the fuselage had to be sanded away. This resulted in gaping openings, which had to be filled, including a resculpted trailing edge intersection. Not a complicated feat, but messy.
Another issue arose through the fact that the D.XXI's fuselage is wider than the Gloster Gladiator's - resulting in a wider span of the lower wings than the upper! In order to correct this, the lower wings' tips were clipped and I used the occasion to re-sculpt all wing tips, trying to get away from the Gladiator's characteristic round shape.
Once the lower wings were mated with the fuselage, the upper wings were added with the help of the outer support struts only. Once dry, the additional struts between the upper wing and the fuselage were added - the latter were scratched with styrene strips. Thin styrene was also used to add some diagonal bracing struts, once more in an attempt to change the wings' look away from its Gladiator origins.
The spatted wheels were taken from the PM Model kit, but shortened by 2mm - OOB they are IMHO much too long, and the result would be a very stalky stance. The tail wheel was also taken OOB, but moved aft and shortened, too.
Inside, a different seat was used; a box was placed behind it, filling the gap, and a dashboard was added under the windshield. The canopy (very thick material!) was cut into three pieces, for a potential open presentation.
Engine and cowling were taken OOB, but the propeller was replaced with a better-looking scrap box find, which also received a longer axis for better balance and free spinning.
The rigging was done with material derived from heated, black IP sprues, which I like because it bonds well with the kit's plastic and can be attached with standard glue. Additionally, the wire's strength can the individually tailored.
Painting and markings:
I used this occasion to apply the somewhat obscure camouflage of the Royal Danish Air Force from the late Thirties. While the scheme itself is rather simple, the colors remain obscure. In profiles and painting instructions you can find a wide range of recommendations - ranging from sand or a greenish yellow and olive drab to dark green and dark earth! The undersides were supposed to be "bluish grey".
I eventually settled upon a relatively simple choice, with Humbrol 83 (Ochre) and Revell 46 (NATO Olive Drab, RAL 7013 a.k.a. Gelboliv), which looks almost like a dark brown together with the greenish sand tone. IMHO they make a good combo for the Danish scheme. For the undersides, I went for Humbrol 128 (FS 36320). Interior surfaces were painted in a dark slate grey tone, the propeller received an aluminum front and flat black back surfaces.
The kit received a light black ink wash and a post-shading treatment with various shades of the basic tones, including ModelMaster RAL 7028 (German WWII Dunkelgelb) as well as Humbrol 155, 163 and 247. Finally, the fabric structure on the wings was slightly emphasized with dry-brushed light grey, and exhaust soot under the fuselage was added with grinded graphite.
The markings come from various sources: roundels from a D.XXI sheet from PrintScale, the flags on the fin belong to a Danish F-100 (XtraDecal) and the tactical code was puzzled together. The nose art, the charging knight on the cowling, which I added because I found the overall aircraft to look pretty bleak, comes from a ModelCollect tank model sheet.
Finally, the whole kit was sealed with matt acrylic varnish (Italeri).
Not a spectacular whif, and this one does not really stand out between similar builds (e.g. the Macchi Brezza or the Gloster Glaive) I did before, but I find it interesting how good and plausible the retrograded Fokker D.XXI looks. The new/old wings blend in nicely, and the Danish scheme looks good on this biplane, too, even though I wonder why these colors were chosen? It looks rather like a desert paint scheme than something for Northern Europe, with lots of water and mostly green, flat landscape?