View allAll Photos Tagged disarray
What a cosmic coincidence that here I am at home recovering from surgery to fix my leaky plumbing when this past Thursday we awakened to a broken pipe in the foundation slab. So we had to deal with leaky plumbing in the home also!
What a mess. This is the wet concrete just outside the master bath and into the closets of what had once been the master bedroom.
This is the main reason why I've been absent again from flickr. I've got the laptop on boxes and crates in our bedroom while the rest of the house is in total disarray. Well, so is the bedroom. There's just enough room to walk between stacks of things that have come out of the other rooms.
A wolf of the Grant Creek pack linage, taken in the Highway Pass area of Denali National Park.
The Grant Creek Pack is in some disarray right now. A trapper trapped the alpha female this spring and the loss of an alpha can disrupt the entire pack of the alpha male doesn't pick a new mate in the pack. I heard both that the pack was disbanding and that the outcome was still undertain this weekend.
If they disband it will be unfortunate as this pack has worked alongside the road for the last several years and is the source of most of the wolf sighings in Denali.
On July 18 2012 Melbourne Airport experienced a power outage, throwing the airport into disarray, and delaying flights by a number of hours
Antibes (Provençal Occitan: Antíbol in classical norm or Antibo in Mistralian norm) is a resort town in the Alpes-Maritimes department in southeastern France, on the Mediterranean Sea in the Côte d'Azur, located between Cannes and Nice. Integrated to Antibes Juan-les-Pins, the technological park of Sophia-Antipolis is located north east of the city.
Antibes is a leisure-industry town also called Antibes-Juan-les-Pins. The Juan-les-Pins part is the area that many tourists flock to as this is where the beaches and the nightlife can be found.
Due to its naturally protected port, the town of Antibes has long been an important trading centre. Many different people ruled over Antibes until France finally took control.
As the Greek Empire fell into decline, it began incorporating the small towns into its empire. In 43 BC, Antibes (or Antipolis, as it was then called) was officially annexed by Rome and remained so for the next 500 years. The Romans turned Antipolis into the biggest town in the region and a main entry point into Gaul. Roman artefacts such as aqueducts, fortified walls and amphora can still be seen today.
When the Roman Empire fell apart in 476, various barbarian tribes took their turn at Antibes. The main result was destruction and a long period of instability. In the 10th century, Antibes found a protector in Seigneur Rodoart, who built extensive fortified walls around the town and a castle in which to live. For the next 200 years, the town experienced a period of renewal.
Antibes’ prosperity was short-lived, as the whole region fell into disarray for several centuries. The inhabitants of Antibes stayed behind their strong city walls as a succession of wars and epidemics ravaged the countryside. By the end of the 15th century, the entire region had fallen under the protection and control of Louis XI, the king of France. Things returned to a state of relative stability, but the small port of Antibes fell into obscurity.
The area around Antibes finally emerged from its long slumber around the middle of the 19th century, as wealthy people from around Europe discovered the beauty of the place and built luxurious homes here.
In 1926, the old castle of Antibes was bought by the local municipality and restored for use as a museum. Pablo Picasso came to town in 1946 and was invited to stay in the castle. He stayed for six months, painting and drawing many pieces of art as well as crafting ceramics and tapestries. When he departed, he left all his works here, and the castle officially became the Picasso Museum.
Today sport is important and the town hosts the National Training Centre for basketball. On 25 May 1999, the town was the first in the department to sign the State Charter of the Environment, planning projects to conserve the environment and respect the quality of life. 25% of inhabitants are under 25 years of age.
Source Wikipedia
This look is blogged on Eclectic Equations here...
eclecticequations.blogspot.co.uk/2015/02/creepy-kawaii-la...
"Breakfast Scene, from Marriage a la Mode" by William Hogarth (English).
1745.
Oil on canvas.
2' 4" x 3'.
The National Gallery, London, England.
Welcome and opening remarks from the Book Launch: Agricultural Policy in Disarray: Reforming the Farm Bill
Rob Vos, Director, Markets, Trade and Institutions Division, IFPRI
On July 18 2012 Melbourne Airport experienced a power outage, throwing the airport into disarray, and delaying flights by a number of hours
"BOVE: Mortgage markets are in 'more disarray' than they were in 2008 - Yahoo Finance" t.co/mB824OgJAr (via Twitter twitter.com/downpaymentaz/status/824246058792484864)
Today was all about cleaning up. My sewing area and fabric was in complete disarray. All the vintage fabric I picked up needed to be properly folded and organized, as well as all the sheet scraps I accumulated from cutting up sheets!
Vintage fabric collection. I wanted to have it all out in the open so that it will hopefully help inspire a project!
When I stopped at the abandoned IHOP this past weekend, I also noticed that this Days Inn just down the road from the IHOP also looked abandoned. My first clues were that the entrance to the parking lot was roped off, the front door of the lobby had an asbestos warning sign, and the front lobby appeared to be in disarray.
This is a restaurant area. Door to left is the mens' room. Door to the right is Restaurant entrance and interior womans bathroom. In total disarray, mold, partial collapse of the side ceiling windows, and a nice full bucket of rain water was seen. The green carpet changes into green moss, and busted up concrete flooring at the entrance.
Where the chair is is the booth of a pay phone that used to be there.
On July 18 2012 Melbourne Airport experienced a power outage, throwing the airport into disarray, and delaying flights by a number of hours
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
During the Jazz Age:
Daisy was so grateful that LaVern had phoned to let her know that Clara Bow had run into David, who looked in complete disarray, and brought him back to Daisy's house to get clean and rested. David--the Prince of Wales--was someone Daisy did not particularly want to deal with at the moment. During the time that he had been away--on vacation, according to the Palace though in fact, unbeknownst to anyone, he had been held hostage by the maniacal Binx Buchanan--Daisy's life had changed significantly with her adoption of little Becky. Knowing that David did not seem to want children--to the point where Daisy had to face the fact that he seemed indifferent even to the idea of her missing little girl Pammy ever being found--made Daisy realize that David simply might not fit into her life.
Yes, the future King had professed his love and asked Daisy to marry him; yet, she wondered, "What sort of marriage would that be?"
Daisy knew that she and David would soon have to face each other. But tonight, as she
was about to go out for a night on the town, her thoughts were not about him. Introspective in a way she had not been while married to Tom or even when she was in love with Gatsby, Daisy's mind was often filled with the people she loved. They seemed to overshadow the glittering lights and scintillating music that previously would have mesmerized her. Love...home...these were in her heart wherever she was, whether alone or in the most bustling places...
“I sit beside the fire and think
Of all that I have seen
Of meadow, flowers and butterflies
In summers that have been
Of yellow leaves and gossamer
In autumns that there were
With morning mist and silver sun
And wind upon my hair
I sit beside the fire and think
Of how the world will be
When winter comes without a spring
That I shall ever see
For still there are so many things
That I have never seen;
In every wood in every spring
There is a different green
I sit beside the fire and think
Of people long ago
And people that will see a world
That I shall never know
But all the while I sit and think
Of times there were before,
I listen for returning feet
And voices at the door”
― J.R.R. Tolkien
***Please see SwaggyWiggums great FLICKR page for photo stories that are part of the Blythe Quake/Daisy&Missing Pammy Saga featuring Grace, Sabrina, Lady Beatrice, Vespa, and Princess Cressida Eudora
Day 227 - We can file this under the, "Why did I pay so much for a tiny TV?"
Part of the reason I need to get up to date is that FGR doesn't take submissions that are over one week old. This is the last possible day for this forced perspective shot.
A quiet Monday, my living room is still in disarray as I try and finish the final touch-up painting spots. Somebody came to look at my house to buy it today. The woman asked where the nearest grocery store was, and I informed her their was a Wegmans right next door. She told me Wegmans didn't count..."If I wanted Gourmet I'd go to Wegmans." That statement was so foreign to me that I just kinda shrugged it off and told her where the sub-par grocery stores were...
“You can tell whether a man is clever by his answers. You can tell whether a man is wise by his questions.”
~ Naguib Mahfouz
Yeah! Today my childhood homies are arriving, and staying at my place for a few days. We get together most every year, usually at one of their fabulous homes in Palm Desert - but this time we're roughing it here. Only Sandy, on the far right (Carolyn in polka dots, then Robin in white) ~ my friend since kindergarten! ~ has been to this house and tho I'm moving in 2 weeks, I've not even started to pack so the place won't be in total disarray for their visit. They're already going to experience culture shock (yes, they are republicans) and will be staying on the floor in aero-beds with my dogs serving as their comforters. I'd best go vacuum now...
Here's a shot from 1964, when 3 of us were bridesmaids for another old pal
This afternoon, I walked to my parents’ house, because my car is acting up again. I was about to make the curve on Watson Road, when I stumbled across these four Polaroids, scattered on the ground, in a seven-odd-foot area. They are arranged (clockwise, from top left) in the order that I found them. Finding the one with the ketchup was pretty funny, because I thought that it was blood for a moment. The ketchup bottle totally ruined that idea, though.
Anyway, here’s the obvious. Three of the four (the two kitchen ones and the ketchup one) were taken in the same house (look at the tiling), and I’m also going to assume that the bathroom one was taken at the same house, too. They’re not vintage pictures, because the appliances in the top left picture are no more than eight or ten years old. The fixtures and décor in the house are definitely old, though. And the house is at least somewhat local - Merita only sells bread in the southeast.
I believe that these are “evidence pictures”, of the disorder that the house is in. But WHY were these taken?
Was the house broken into? The bread in the sink, and the ketchup, is obviously food waste. Maybe the person who did the destroying was simply doing it in revenge - not stealing things, but simply making the house a mess. Or maybe an angry tenant did this, right before they shot the moon, leaving all of their belongings (including a piano and sofa) - and the landlord snapped these, as evidence of the disorder they left - or, in the case of the bathroom picture, just to prove that they left stuff.
There’s a lot of questions, but none of them will probably ever be definitely answered. But it’s still quite fun to look at them and wonder what happened.
featured: Kirsty Robertson, Katie Oates, Carling Spinney, Keely McCavitt
Mindful of the stakes at play in the museum’s role as cultural conduit, Upset and Disarray investigates diverse and challenging strategies that promote innovation rather than stagnation, fluidity rather than austerity. This symposium collects timely graduate presentations that address a range of topics, reconfiguring relations between the institutional, the curatorial, and the cultural.
Keynote: Srimoyee Mitra, Art Gallery of Windsor
Professional Panel: Lisa Daniels, Josh Thorpe, and Sophie Quick
Graduate Presenters: Taylor Davison, Genevieve Flavelle, Keely McCavitt, Samantha Noseworthy, Katie Oates, and Carling Spinney.
March 11, 2016
John Labatt Visual Arts Centre, Perth Drive, Western University, London, Ontario
© 2016; Department of Visual Arts; Western University
In my work room, I have a few work spaces: a desk for my computer, a bench where I do my maille and misc. jewelry work, and this work table. All work surfaces are in just about as much disarray at the moment.
Basically, whatever I could fit on my plate, as we are decorating the kitchen and things are in disarray.
love notes. A holiday on a Tuesday is weird, especially when I went to work on Monday. I spend my morning feeling overwhelmed over the state of disarray the house was in. By noon I had most of the laundry under control as well as my emotions. I ended the day sewing some leather bags. I still have a lot of learning to do.
featured: Kirsty Robertson, Taylor Davison, Genevieve Flavelle
Mindful of the stakes at play in the museum’s role as cultural conduit, Upset and Disarray investigates diverse and challenging strategies that promote innovation rather than stagnation, fluidity rather than austerity. This symposium collects timely graduate presentations that address a range of topics, reconfiguring relations between the institutional, the curatorial, and the cultural.
Keynote: Srimoyee Mitra, Art Gallery of Windsor
Professional Panel: Lisa Daniels, Josh Thorpe, and Sophie Quick
Graduate Presenters: Taylor Davison, Genevieve Flavelle, Keely McCavitt, Samantha Noseworthy, Katie Oates, and Carling Spinney.
March 11, 2016
John Labatt Visual Arts Centre, Perth Drive, Western University, London, Ontario
© 2016; Department of Visual Arts; Western University
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Cardinal designate Archbishop of New York Timothy Dolan, left, laughs with Cardinal Leonadro Sandri, second from right, outside the Synod hall at the Vatican, Friday, Feb. 17, 2012. A scandal over leaked Vatican documents and reports of political infighting, financial mismanagement and administrative chaos in its frescoed halls have cast a cloud over this weekend's ceremony to create 22 new cardinals. With Pope Benedict XVI slowing down as he nears his 85th birthday, Saturday's ceremony has taken on the aura of a pre-conclave summit. Reports abound in the Italian media of cardinals and their supporters jockeying for prominence ahead of a future papal election, and of a Vatican bureaucracy in disarray as Benedict focuses his waning strength on other matters.
The Mag Issue 281 (August 2013)
Twenty five years a Magazine was born, Newcastle United were in disarray and only months from relegation - though we didn’t know it at the time.
So many reference points looking back and forwards, in August 1988 we were angry and hurt but along with the love and passion for Newcastle United we hoped against hope that better times were around the corner.
Selling Paul Gascoigne to Spurs was the final straw that gave the impetus for The Mag, how sad that his life has had even more ups and downs in those 25 years than NUFC, if that were possible. We all hope for better times ahead for all the fans of Newcastle United, including Gazza.
I love our latest cover; looking back through the years and trying to choose the best and most evocative was an impossible labour of love.
What a special issue we have though to mark 25 great years.
The headline interview is with Robson Green, somebody who loves the club as much as the rest of us and some great stories to tell, unmissable.
The Mag is packed with writing talent and somebody who was there in the early days has returned; Howard Linskey is now a bestselling author and he too gives a unique entertaining perspective of juggling a stellar career AND supporting Newcastle United.
This special issue of The Mag is a must have and along with special Silver Anniversary features we bring you the very best coverage of what is happening NOW at our great club, the best team of NUFC writers giving it their all.
On Thursday, July 8, 2010, Attorney General Martha Coakley toured 111 lafayette Street in Randolph, MA, a house currently being rehabbed as part of the Attorney General’s Abandoned Housing Initiative. Just six months ago the house was uninhabitable and a threat to public safety.
The Randolph Board of Health and representatives from the Abandoned Housing Initiative first viewed the house in December of 2009 and found the house in disarray.
On July 18 2012 Melbourne Airport experienced a power outage, throwing the airport into disarray, and delaying flights by a number of hours
IMG_2900 Taxidermied camel, Rexine suitcase,metal rods, wood, cotton wool, fabric.
"Pakistani born Huma Mulji's works explore ideas of displacement... "Arabian Delight", a taxidermied camel forced into a battered suitcase, addresses ideas of the relocation of cultures. The rather crazed manner in which the collapsed camel is impossibly forced into this suitcase, legs thrown into disarray, is a humorous comment on the perceived "Arabisation" of Pakistan as another Muslim state."
Text extracted from the exhibition guide.
This storefront in Odin, Illinois, has the look of having been abandoned given that all the blinds are drawn and in disarray. Odin is the junction of the former Illinois Central mainline between Chicago and New Orleans with the St. Louis-Cincinnati line of the Baltimore & Ohio Railroad. In fact, the junction is just across the street from this storefront. At one time, when railroad travel was king, this was probably a prime piece of real estate to have. But no trains stop in Odin now and far fewer people travel by train. Whatever business used to be had here is gone.