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Auf ein ganz besonderes Experiment lässt sich Sängerin Romy Haag jetzt in ihrer neuen Show ein: Musikalische "Blind Dates" stehen im Fokus eines Projekts, das spannende Überraschungen und echte Entdeckungen bereithält. Denn auf der Bühne wird es zu Begegnungen mit Künstlern kommen, mit denen Romy noch nie zuvor gearbeitet hat, darunter etablierte Sänger sowie Musiker aus dem Underground, neue spannende Namen, die dem Berliner Publikum vielleicht noch nicht bekannt sind und auch Romys ganz eigene Geheimtipps.
Gekonnt spannt Romy Haag dabei den Bogen vom Vertrauten zur Magie des Neuen. Dabei bleibt sie sich stets treu und wird erneut ihrem hohen Anspruch gerecht, einen rockigen, avantgardistischen und unterhaltsamen Abend zu präsentieren.
Romy Haags Konzerte gleichen stets einem bezaubernden Rendezvous. Sie sind ergreifende Begegnungen mit Menschen und Themen, die in den letzten Jahrzehnten das facettenreiche Leben der Künstlerin geprägt haben. Romy Haag ist emotional, persönlich berührend und auch politisch in ihren Songs. Ihre liebgewonnenen und neuen "Lieblingslieder" präsentiert sie jedoch stets ohne reumütigen Blick zurück. Stattdessen sind die Songs geprägt vom Hier und Jetzt.
Ergänzt mit interessanten Anekdoten aus den verschiedensten Stationen ihres aufregenden Lebens, versprechen die „Blind Dates“ zu einer fesselnden Show zu werden.
Berliner Kabarett-Theater 'Die Wühlmäuse' - 12. Oktober 2019
de.wikipedia.org/wiki/Romy_Haag
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ROMY HAAG Blind Dates
Singer Romy Haag is now embarking on a very special experiment in her new show: Musical "blind dates" are the focus of a project that holds exciting surprises and real discoveries in store. Because on stage, there will be encounters with artists Romy has never worked with before, including established singers and musicians from the underground, exciting new names that may not yet be known to Berlin audiences and Romy's very own insider tips.
Romy Haag skillfully spans the arc from the familiar to the magic of the new. In doing so, she always remains true to herself and once again lives up to her high standards of presenting a rocking, avant-garde and entertaining evening.
Romy Haag's concerts always resemble an enchanting rendezvous. They are poignant encounters with people and themes that have shaped the artist's multifaceted life over the past decades. Romy Haag is emotional, personally touching and also political in her songs. However, she always presents her cherished and new "favorite songs" without a rueful look back. Instead, the songs are characterized by the here and now.
Supplemented with interesting anecdotes from the various stages of her exciting life, the "Blind Dates" promise to be a captivating show.
Berlin cabaret theater 'Die Wühlmäuse' - October 12, 2019
Save the Dates - Created using AccuCut die #NC227 (then we rounded the corners on the kraft colored piece of paper).
Bethesda Baptist Church, 825 York Street, Cincinnati, Ohio. According to the cornerstone this church dates from December 1957.
October 19, 2011 - Product Recall - Consumer Alert - Undeclared Sulfites In Dried Dates. For additional information, please refer to the company issued press release available on FDA’s web site at www.fda.gov/Safety/Recalls/ucm276800.htm
Bad Dates, by Theresa Rebeck, directed by Eric Ting at the Long Wharf Theatre 2/18-3/22/09
Haviland Morris as Haley Walker
Lighting Design:Josh Epstein
Costume Design:Jessica Wegener
Scenic Design:Frank J. Alberino
© T Charles Erickson Photography
tcepix@comcast.net
View More Photos at My Photoshelter.com Page
The history of Chatai mats dates back to the 19th century and the practice of using chatai, or reed mats as they are often known as, has since then been widely prevalent in South East Asia and India. Traditionally, these chatai mats were made using reed, palm leaves, bamboo twigs etc. In India, the Chatai garnered a reputation of being the most efficient floor covering, especially due to our traditional practices like sitting on the floor while consuming meals, doing yoga etc. With the advent of technology and modern weaving methods, reed grass was replaced with polypropylene. This resulted in mass production of chatai mats and made them a common household item.
The legendary chatais were not only akin to members residing in the same household but were the central makeshift bedding when guests paid a visit to our homes. With passing time, rugs and carpets permeated within many traditional Indian households, influencing the rise of the boho style decor. Chatai came to be known as old-fashioned amongst many people due to its heavy traditional influence. Yet, the Chatai retained its status as an economical and durable alternative. Due to efficient machine production of meticulous designs and quality weaves, the Chatai adapted to the off-beat and modernist patterns, thus catapulting its comeback!
With sustainable products gaining necessary momentum, Sapana Carpet-Mats leads the way by producing soft and comfortable chatai mats from recycled polypropylene. Our Chatai mats are environment-friendly without compromising on the look and feel. All our chatai mats are recyclable too!
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A replaceable lightweight Chatai doesn’t simply serve as a support to the human body but also concomitantly amplifies the ambience of your home. The weave of polypropylene straws creates a matting suitable enough for resisting friction while pacing over them, thus making them a good addition as a substantial floor accessory. The Chatai can also be washed easily with a garden pipe or wiped with a wet cloth frequently to combat dust and surfactants found vehemently due to pollution and other sources. Since Sapana Carpet-Mats Chatais are of premium quality, one doesn’t need to fear about its wear and tear.
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From sharp geometric motifs to mellifluous florid patterns, the Chatai’s aesthetic is miscellaneous and indomitable. For instance, the regality of a Chittagong Red Chatai or the enchanting Murano Midnight Blue & Gold chatai could conveniently accentuate the appeal of your floor’s appearance with its traditional and regional influence. In a similar fashion, the presence of Bohemian Hues of Pink chatai could add a pop of blush to an unconventional decor, and in a similar instance, The FL 10 monstera leaf mantled Chatai can transform a formal interior look with a touch of rain-forest vibes. It’s indeed crystal clear that having a Chatai does not denote a ‘simpleton lifestyle’ but rather connotes a trend resurgence of physiological necessity and economical luxury.
Let the Chatai make a comeback in your home, shop now from sapanaonline.com
To Know More : sapanaonline.com/blog/post/how-chatai-mats-are-making-a-c...
Sunday afternoon tea for family & friends - freshly made, hot out of the oven - banana & date bread with butter & steaming tea ... heaven on a plate!
Close up of tour dates:
FEBRUARY
27 Duluth, GA_The Arena at Gwinnett Center
MARCH
01 Fairfax, VA_Patriot Center
02 Philadelphia, PA_The Wachovia Center
03 Baltimore, MD_1st Mariner Arena
05 New York, NY_Madison Square Garden Arena
06 Boston, MA_TD Garden
08 Toronto, ON_Air Canade Centre
10 Montreal, QC_Bell Centre
12 Chicago, IL_United Center
13 Auburn Hills, MI_The Palace of Auburn Hills
15 Nashville, TN_Sommet Center
17 Fort Worth, TX_Ft. Worth Convention Ctr./Arena
18 Houston, TX_Toyota Center
29 Edmonton, AB_Rexall Palace
30 Calgary, AB_Pengrowth Saddledome
APRIL
01 Vancouver, BC_P.N.E. Pacific Coliseum
02 Seattle, WA_Key Arena at Seattle Center
03 Portland, OR_Rose Garden Arena
05 West Valley City, UT_The E Center
06 Broomfield, CO_1st Bank Center
09 Phoenix, AZ_US Airways Center
10 Las Vegas, NV_Mandalay Bay Events Center
14 Oakland, CA_Oracle Arena
Bad Dates, by Theresa Rebeck, directed by Eric Ting at the Long Wharf Theatre 2/18-3/22/09
Haviland Morris as Haley Walker
Lighting Design:Josh Epstein
Costume Design:Jessica Wegener
Scenic Design:Frank J. Alberino
© T Charles Erickson Photography
tcepix@comcast.net
View More Photos at My Photoshelter.com Page
Bad Dates, by Theresa Rebeck, directed by Eric Ting at the Long Wharf Theatre 2/18-3/22/09
Haviland Morris as Haley Walker
Lighting Design:Josh Epstein
Costume Design:Jessica Wegener
Scenic Design:Frank J. Alberino
© T Charles Erickson Photography
tcepix@comcast.net
View More Photos at My Photoshelter.com Page
Bishop palace
Initially the seat of the bishops of Cracow was located on the Wawel hill next to the Cathedral. Only in the 14th century was erected the first palace on a parcel of land that was in episcopal possession. Its first mention dates back to the year 1384. Unfortunately, the palace in a major fire in this part of the city in the 15th century burnt down almost completely; the only remains are the basement walls with gothic portals. Several attempts of reconstruction were not crowned with success, and only the by Gabriel Słoński led construction works (around 1567) gave rise to a new two-winged building with an archway loggia in Renaissance style towards the courtyard.
A further thorough renovation was carried out in 1642-1647 by order of bishop Piotr Gembicki. The palace then was given its distinctive shape, which corresponded approximately to the present state. From this period stem, inter alia, both entrance portals with rustication and the staircase. After being destroyed during the Swedish wars (1655), the palace by the end of the 17th century was rebuilt and expanded.
For the last time the palace by order of bishop Jan Paweł Woronicz was restored in the years 1817-1820 after a design by Szczepan Humbert in the spirit of a Romantic residence. In doing so, also remembrances to the national past were exposed in 16 columns. From this time partially the classicist interior spaces with genre paintings, history paintings by Michał Stachowicz and relics of King Boleslaus the Brave have been preserved. However, the majority of this collection and of the former facilities in the great city fire in July 1850 fell victim to the flames. The reconstruction was finished in 1884.
This place is irreversibly associated with the person of the Metropolitan of Krakow, Karol Wojtyla, who resided here in the years 1963-1978 and later - as Pope John Paul II - repeatedly was guest of the city. A special cult surrounds the famous "Pope window" that is located above the main entrance to the palace seen from the Franciszkańska street. The evening talks, which the Holy Father here from the window with the on the forecourt gathered people conducted attracted scores of believers.
Anfänglich befand sich der Sitz der Krakauer Bischöfe auf der Wawel-Anhöhe neben der Kathedrale. Erst im 14. Jahrhundert wurde auf einem Grundstück, dass sich in bischöflichem Besitz befand, der erste Palst errichtet. Seine erste Erwähnung stammt aus dem Jahr 1384. Leider brannte der Palast bei einem Großbrand diese Teils der Stadt im 15. Jahrhundert beinahe vollständig ab; die einzigen Überreste sind die Kellergemäuer mit gotischen Portalen. Mehrere Versuche des Wiederaufbaus waren nicht von Erfolg gekrönt, und erst die von Gabriel Słoński geleiteten Bauarbeiten (um 1567 r.) ließen ein neues zweiflügeliges Gebäude mit einer Bogengangloggia im Renaissancestil zum Hof hin entstehen.
Ein weiterer gründlicher Umbau erfolgte 1642-1647 im Auftrag des Bischofs Piotr Gembicki. Der Palast bekam damals seine unverkennbare Gestalt verliehen, die in etwa dem gegenwärtigen Zustand entsprach. Aus dieser Zeit stammen unter anderem beide Eingangsportale mit Rustika und das Treppenhaus. Nach den Zerstörungen während der Schwedenkriege (1655) wurde der Palast erneuert und bis zum Ende des 17. Jahrhunderts ausgebaut.
Zum letzten Mal wurde der Palast im Auftrag von Bischof Jan Paweł Woronicz in den Jahren 1817-1820 nach einem Entwurf von Szczepan Humbert im Geist einer romantischen Residenz restauriert. Dabei wurden auch Andenken an die nationale Vergangenheit in 16 Sälen exponiert. Aus dieser Zeit sind teilweise die klassizistischen Innenräume mit Genremalereien, Historiengemälden von Michał Stachowicz und Reliquien des Königs Boleslaus des Tapferen erhalten. Die Mehrzahl dieser Sammlung und der damaligen Ausstattung fiel jedoch bei dem großen Stadtbrand im Juli 1850 den Flammen zum Opfer. Der Wiederaufbau wurde 1884 abgeschlossen.
Dieser Ort ist untrennbar verbunden mit der Person des Metropoliten von Krakau Karol Wojtyła, der hier in den Jahren 1963-1978 residiert und später – als Papst Johannes Paul II. – wiederholt zu Gast war. Ein besonderer Kult umgibt das berühmte "Papstfenster", dass sich über dem Haupteingang zum Palast von der Seite der Franciszkańska-Straße her befindet. Die abendlichen Gespräche, die der Heilige Vater hier vom Fenster aus mit dem auf dem Vorplatz versammelten Menschen führte, zog Scharen von Gläubigen an.
www.krakau.travel/reisef-hrer/besichtigung-von-krakau/alt...
St Thomas of Canterbury church which originally dates back to the 12th century. This lovely stone church is believed to have been built by William De Tracey as penance for his part in the murder of the then Archbishop of Canterbury, Thomas a Beckett on 29th December 1170. The church was extended in the 15th century. Also added around this time was the most exquisitely carved rood screen, the church also boasts beautifully carved bench ends and roof woodwork.
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CHURCH OF ST THOMAS OF CANTERBURY, LAPFORD, DEVON
Heritage Category: Listed Building
Grade: I
List Entry Number: 1250085
Date first listed: 26-Aug-1965
Statutory Address 1: CHURCH OF ST THOMAS OF CANTERBURY
National Grid Reference: SS 73152 08277
Details
LAPFORD LAPFORD SS 70 NW 4/86 Church of St Thomas of Canterbury - 26.8.65 GV I
Parish church. Norman origins, rebuilt in C15, north aisle added and nave re-roofed in late C15. Vestry added 1869 according to Cresswell and chancel is complete rebuild of same time. South porch rebuilt 1871. Further renovation of 1888 by Packham, Croote and Stuart included scraping and repointing the masonry, exposing and repairing the roofs, and some window replacement. 1955 restoration by Lt. Col. Bertram Shore. Original fabric of mudstone rubble with granite, red sandstone and volcanic ashlar detail; C19 snecked mudstone masonry and red sandstone, Hamstone and Bathstone detail; slate roofs with crested ridge tiles on north aisle. Nave with smaller and narrower chancel, north aisle and vestry, west tower and south porch. Perpendicular throughout. Tall west tower of 3 stages with diagonal buttresses and embattled parapet. Semi-octagonal stair turret projecting from south-east corner with embattled parapet. The 4 bold drip courses are carried round the stair turret and buttresses and rise as hoodmoulds over doorway and window on west side. Replaced belfry windows of red sandstone, all 2-lights with trefoil heads and a quatrefoil in the arched head. West side of tower has C15 doorway, a 2-centred arch with moulded surround and roll stops, which contains C19 studded plank door with plain heavy hinges. Tall 3-light window above with restored Perpendicular tracery and a drip course at sill level is on this side only. Late C19 carved gargoyle water spout at the top on the north-west corner. South side has an unusual and very weathered sandstone niche in the lower stage which now contains a C19 statue of St Thomas a Becket and, in the middle stage, a 2-light window to the ringing loft similar to the belfry windows but of volcanic stone and original. The stair turret has tiny slit windows and 1 quatrefoil light. The east face of the tower shows evidence of an earlier higher roof than present. South side of nave is much restored. Renewed Bathstone window at left end is square-headed and 2-lights with cinquefoil heads and hoodmould, and towards right end is a much-restored, arch- headed window with Perpendicular tracery. C19 porch has Bathstone quoins, kneelers and coping to gable end, outer flat arch with moulded surround, and lancets either side. At right (east) end of nave is a volcanic and red standstone offset buttress which has been reduced in height, possibly C15 work. Gable end of nave is slate hung above the chancel. Chancel itself is wholly C19. South side has two 2-light Perpendicular windows with a buttress between them. East end has diagonal buttresses each side, kneelers and coping to gable which is surmounted by a fleuree cross and contains large 3-light window with Perpendicular tracery and moulded hoodmould with large labels carved as bishops heads, and, near the apex, a trefoil headed ventilator. Set into the bottom of the wall is a plaque recording the 1955 restoration by Lt. Col. Bertram Shore (Architect), Harry Partridge (master builder) and Michael Tucker (master mason). North side of chancel has 2 lancets. East end of north aisle and gable end of vestry have the same kneelers, coping, cross and ventilator as the chancel. Former contains a 3-light Perpendicular window and latter a 3-light Decorated window. On east side of vestry is an arched door containing a plank door with Gothick cover strips and strap hinges with fleur-de-lis finials and on the north-west corner is a large chimney shaft supported by an offset buttress. Immediately to the right of the vestry the break between the C19 rebuild and C15 north aisle can clearly be seen. The north aisle nevertheless heavily restored 3-window front of tall square-headed 3-light windows with elliptical heads, sunken spandrels and moulded hoodmoulds. Original granite heads and renewed mullions. Restored buttresses between and chamfered granite plinth. West has been restored in the style of C19 rebuild of east end. Exceptional interior. Tiled floor of porch includes a C17 granite gravestone with a sunken border and bold lettering rising from it. 'God rest the soul of John Killan'. C15 south doorway, a granite 2-centred arch with moulded surround and roll stops. It contains an ancient studded oak door thought by some to be Norman. The coverstrips are C19 but the massive plain strap hinges, the other iron fittings and the large oak lock housing are original. Above the south door is a semi-circle of voussoirs, may be a blocked Norman arch. Nave has very fine late C15 wagon roof, now open but formerly ceiled. 8 bays, main trusses with moulded ribs and purlins, large carved bosses, carved vine leaf wall plate and angels bearing heaters stand on shaped corbels under each main truss. The 2 bays nearest chancel have a ceilure; the panels are boarded and there are diagonal cross braces, crestwork around the panels and on the wall plate, the bosses are richer and the whole finished with paint and gold leaf. ll-bay wagon roof to north aisle is similar but not quite as grand as the nave roof. Here too the original ceiling has been removed. Chancel has 4 bay C19 roof with false hammer beam trusses with moulded archbraces and cusped queen struts above collar. Similar roof to vestry. Moulded chancel arch on corbels. High tower arch has triple-chamfered arch ring dying into plain sides. Stair turret projects into south-west corner and includes a granite arch containing a C15 oak studded plank door. Late C15 4-bay granite arcade to north aisle with moulded piers (Pevsner's Type A) with moulded capitals to shafts only and wide low arches. Nave and aisle walls have been stripped of plaster and much restored. Large crank-headed arch to C19 vestry. C19 tile floors throughout with some patterned encaustic tiles in chancel. The late C15 8-bay oak rood screen across both nave and aisle is well-preserved and amongst the finest in the country. It has Pevsner's B Type Perpendicular tracery over panelled wainscotting with applied ogival tracery and lower quatrefoils. The ribbed coving over the arches is enriched with carved Renaissance motifs, and above this the cornice is covered by 4 friezes of densely carved openwork foliage and delicate cresting. Chancel door has been rehung and door to former north chapel is missing. Bay to left of chancel door had mullion removed in C17 to accommodate a reading desk and lintel with lobe decoration inserted. Rear of screen is less decorated. Contemporary oak 3 bay parclose. East bay of wainscotting has an applied strip of chip-carved oak with 4 trefoil heads. 4-light square-headed windows with slender Perpendicular tracery and round headed door. Most of seating is C15 oak benches. 2 distinct types but both are C15. Earlier benches now to south of nave and north of aisle have moulded surrounds to bench ends with boldly carved panels, either tracery or rigidly symmetrical plant motifs. The later C15 benches, mostly in the middle of nave and aisle, include original rear benches and frontal with collonade of flamboyant Perpendicular applied tracery and lower quatrefoils. Bench ends have carved foliage frames and similar tracery to 2-panels. These contain a variety of carved motifs in matching pairs arranged on heaters, sometimes heraldic achievements, plant symbols, human faces and some allegoric, such as symbols of the Passion. One features the initials of the Saint John family who had the manor and advowson from 1430 to circa 1490. Some C19 benches to rear. Other furnishings are all C19. Oak handrail on wrought iron supports with repoussee vine leaf brackets. Gothic-style Beerstone stem pulpit with octangonal drum and marble shafts to arcade and dated 1860, the gift of Henry Kelland. Oak lectern of 1884. Perpendicular Gothic-style Beerstone font. Single plain marble mural monument to James Wills Patridge (died 1836) on south wall. East window and south window have stained glass memorial windows, both to Kelland family and made by Beer and Driffield 1888-9. North windows have attractive late C19 leaded glass in which geometric patterns made up of small panes of coloured translucent glass and with simple flowers in heads. Sources. Devon SMR. Devon C19 Church Project. B Cresswell, Notes on Devon Churches in the Deanery of Chumleigh (1919), pp.96-107.
Listing NGR: SS7315608276
Sources
Books and journals
Cresswell, B F, Notes on Devon Churches in the Deanery of Chulmleigh, (1919), 96-107
historicengland.org.uk/listing/the-list/list-entry/125008...
Dates
2 - 4 May 2010
Venue
Foro Italico
Location
Rome, Italy
Surface
Sand
Champions
Men’s – Alan Maldini / Luca Meliconi (ITA)
Women’s – Giulia Spazzoli / Federica Bacchetta (ITA)
Nations represented
Austria, Belgium, Brazil, Bulgaria, Croatia, Cyprus, Czech Republic, France, Germany, Greece, Hungary, Italy, Japan, Netherlands, Poland, San Marino, Spain and Russia.
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Title: Football - Squads - No Dates - 2
Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas
Physical Publisher: Physical: Cushing Memorial Library and Archives, Texas A&M University
Description: photograph date: Unknow; Athletics: Football - Squads - No Dates
Date Issued: 2005-10-26
Dimensions: 5.795 x 3.500 inches
Type: image
Identifier: Photograph Location: Football: Squads(No Dates) - ; Reference Number: 2591
Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information