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File: 2023007-0244
The Tank Museum, Bovington, Dorset, England, United Kingdom, Friday 23rd June 2023.
About the photograph.
Here, a re-actor is dressed up as a German armoured car crew member, and sitting at the top of the turret. He is seen wearing a patrol cap and goggles.
The vehicle he is riding in is a Second World War German armoured reconnaissance vehicle known as the Sd.Kfz 222.
Sd.Kfz is an abbreviation of Sonderkraftfahrzeug, which is German language meaning special purpose vehicle.
In the Sd.Kfz numbering system, the range of 200 to 299 is generally for reconnaissance vehicles, armoured cars, and armoured personal carriers.
The vehicle seen in the photo is a Leichter Panzerspähwagen, German for light armoured reconnaissance vehicle.
It was manufactured by Horch, from around 1935 to 1944, and used a petrol V8 engine. It is a four wheel drive, designed for off-roading.
However it was said that it performed well in countries with good road systems like in Western Europe, but is hampered with poor off-road performance at the Russian Front and in the North African campaign.
Here in the photo, it is being driven around the showground, and carrying out a re-enactment show for the visitors, during the TANKFEST event.
About TANKFEST and The Tank Museum.
The Tank Museum is found next to the British Army military base, simply called Bovington Camp, and is used by various tank regiments.
The writer Rudyard Kipling once visited Bovington in 1923, and saw some damaged tanks left from the First World War. He recommended that a museum should be set up.
However the museum was simply a shed, and was not open to the public until about 1947, when the museum was finally set up.
By about 1982, the museum was expanded and modernized, it housed many various different tanks in the Exhibition halls, along with working tanks which are often show in the live action arena.
The museum also has the only working German Tiger I tank, known as Tiger 131.
TANKFEST is an annual live action re-enactment event showing off various working tanks in staged display, in the museum’s showground known as Kuwait Arena.
For more information, just Google “TANKFEST, The Tank Museum, Bovington.”
You are free and welcome to comment on my photograph, about the photograph itself, or about the subject in the photo, or about your similar experience. The Comment Box is NOT an advertising billboard to promote any Groups. If you want to promote the groups, do it in YOUR own Photo Page or YOUR own Photostream!
When I looked at these densely-packed Snowgum trees just to the side of the toboggan run at Lake Mountain, my brain saw pattern and colour rather like this.
Desert Chariots:
During the height of the reign of the ancient empire of man, the tactics that they employed in battle were unsurpassed, allowing them to sweep over their enemies like the shifting sands over desert bones. One of these tactics was the use of the chariot. Never before seen, the chariot was a revolutionary way to wage war on a destructive scale. The rare and highly valued horses were hitched to wheeled platforms that could traverse the battlefield at unimaginable speeds, outflanking and out fighting the enemy at every point on the field of battle.
When the Pharaohs awoke from their dark tombs and towering pyramids, the first units they employed to retake their old domains were chariots. Now pulled by daunting skeletal steeds and driven by elite veterans of the skeletal legions, the chariots are one of the most crucial aspects of the Desert Ancients battlefield prowess.
Able to outmatch regular cavalry in head to head combat and able to scythe through even the most elite infantry like a knife through sand, the chariots are a terror on the hot desert plains. Two skeleton veterans operate the structures of death, each one a towering visage of their impressive physical size and battlefield skill in life, now in undeath.
They wield ancient and impressive spears that are able to reach out and impale the foe on the razor sharp edges. One of the most impressive creations of man, the chariot is still feared among foes to this day.
Alas I think I inadvertently chased some ducks into the path of hunters further upstream. I didn't see them, but the sound of the guns was close. Sorry ducks!
Over the years 2001-2019 I had driven literally thousands of miles with 43299 on ECML services. Over the last decade mostly on the Edinburgh- Aberdeen/ Inverness routes.
Its good to see it has found employment elsewhere since 2019, albeit on a temporary basis from what I've been told.
Even the hybrid Canada Goose is acting very territorial today. Chasing away any bird likely to get between it and it's mate.
Renault PR100.2 / Northern Counties, F100 AKB, RN100 wearing London Buses East London livery. By far one of the strangest and most modern machines I've driven.
1941 Humber Super Snipe - personal chauffeur-driven 'Old Faithful' of General Bernard Montgomery - officially 'Car, 4-seater, 4x2'
en.wikipedia.org/wiki/Humber_Super_Snipe
en.wikipedia.org/wiki/Western_Desert_campaign
en.wikipedia.org/wiki/Bernard_Montgomery
PA125822 Anx2 Q90 1400h f10
For the third year in a row we took a ride south on Amtrak’s flagship, the Auto Train (train number 53) and it did not disappoint. All three times my truck was one of the first ones off affording me the opportunity to catch the terminal switcher spotting up the auto carriers. At right passengers are leaving the terminal passing vehicles beginning to arrive to check in for train 52 back north, while at left other vehicles can be seen awaiting offloading as a yard crew works with B32-8WH 511 (GE blt. Dec. 1991).
The Amtrak Auto Train terminal, yard, and maintenance shop is located just east of the Sanford Sub mainline (ex ACL, and now CFRC) off of CSXT's Aloma Spur branchline. The alignment of the terminal's stub tracks are opposite those in Lorton so that vehicles that are driven on from ramps on the south end of a cut of cars can be driven straight off ramps located on the north end. Here is the opposite (south) end of the stub end unloading yard showing the cars a
flagged up in this view from the Persimmon Road crossing which slices right through the middle of the Amtrak yard providing a great public view to watch the frenetic action around train times.
The railroad owns 80 auto racks that were special built by Johnstown America in 2005. The uniform fleet of 89 ft bi level only cars have solid aluminum sides and high speed trucks, and each carries up to eight standard size cars, suvs, or trucks.
To learn more about the history of this truly unique service check out this history on Amtrak's site: history.amtrak.com/blogs/blog/digging-into-the-archives-a...
Sanford, Florida
Friday March 22, 2024
Strobist:
- 300 W/S strobe from camera right in 66" vertical softbox
- Large Gold reflector camera left for fill
NAO Powerr is a Platform Supply Vessel, designed and built by ULSTEIN. The hull form, with the ULSTEIN X-BOW®,
combined with diesel electric propulsion system, ensures the best performances with regard to fuel consumption, sea
keeping, station keeping, and speed.
The main propulsion system comprises two azimuth pulling thrusters, each
driven by frequency controlled variable speed electric motor.
One retractable azimuth thruster and two tunnel thrusters forward are installed, ensuring the vessel to obtain the best
station keeping capabilities with ERN[99,99,96,90]. The vessel is equipped, built and certified according to IMO Class II
for Dynamic Positioning.
MAIN PARTICULARS:
Length overall 83,40 m
Length between p.p. 76,50 m
Breadth moulded 18.00 m
Depth main deck 8,00 m
Max. load line draft midship 6.70 m
Max Speed (at T=4,5 m, approx) 15,6 knots
ERN 99.99.96.90
ACCOMMODATION:
Accommodation and equipment for 23 persons
CAPACITIES:
Cargo deck area (free area - 10T/5T/m2) 850 m2
Deck cargo (COG=1.0 above main deck) 2 240 t
Deadweight 4 200 t
Fuel oil 1474,4m3
Base oil 259,5 m3
Water Ballast / Drill Water 1599 m3
Fresh Water 1033,5 m3
Dry Bulk 254,7 m3
Mud / Brine 1307,2 m3
Methanol 153,7 m3
MAIN ENGINES & GENERATOR SETS:
2 off main diesel engines, 2 250 ekW each, 690 V, 1 800 rpm
2 off main diesel engines, 940 ekW each, 690 V, 1 800 rpm
EMERGENCY GENERATOR SET:
1 off emergency generator set, 187 ekW, 690 V, 1 800 rpm
THRUSTER:
3 off el. driven side thrusters forward:
2 x Tunnel thrusters, 880kW, 0-1200 RPM
1 x Azimuth retractable thruster, 880 kW, 1800RPM
MAIN PROPULSION:
2 off azimuth thrusters, el. driven frequency controlled propellers
and water cooled drives.
Power: 2 200 ekW each
DECK EQUIPMENT:
1 off Hydraulic deck/ provison crane, 3T 18M
editing out the license plate was a challenge! some of the driveway was also photoshopped/drawn in, to make up for some missed shots. :) however, one can't really notice! patience pays off. second time attempting a proper bokeh panorama. enjoy!
original stitched photo:
109 images
10039x9368 resolution
94 megapixels
NIKON D750 + 16.0-35.0 mm f/4.0 @ 22 mm, 1/1 sec at f/11, ISO 50
www.rc.au.net/blog/2017/06/07/ship-wrecked-lost/
© Rodney Campbell
Em1ko! Set
Bunny Beanie, Crop Tank, Skirt, Boots & Socks
Fatpacks Hud Driven
Peach
Kupra
Legacy
Reborn
Reborn Juicy
Reborn Waifus
Available on the 3rd floor of Mainstore: maps.secondlife.com/secondlife/Orcus/4/176/68
My Flickr > www.flickr.com/photos/byatrizthecat/
My Insta > www.instagram.com/djbyatriz/
My Face > www.facebook.com/Byatriz.TheCat/
My Primfeed: www.primfeed.com/byathecatresident
An exhibit at the British Motor Museum.
The winner of the 1963 Monte Carlo rally driven by Paddy Hopkirk and co-driven by Henry Liddon.
Car: Morris Mini Cooper S.
Engine: 1071cc in-line 4.
Year of manufacture: 1963.
Date of first registration in the UK: 21st May 1963
Place of registration: Berkshire.
Date of last MOT: No online MOT history.
Mileage at last MOT: Not known.
Date of last V5 issued: 14th July 2005.
Date taken: 16th April 2024.
Lyric Opera of Chicago
October 11, 14, 17, 20, 23 and 26, 2025
🎭 Cherubini’s Medea – Synopsis
Composer: Luigi Cherubini
Libretto: François-Benoît Hoffman, based on Euripides’ Medea, Pierre Corneille’s Médée, and other classical sources.
Premiere: 1797, Théâtre Feydeau, Paris (Médée in French); commonly performed in the 20th century in Italian translation (especially the Lachner version)
Setting:
Ancient Corinth, in the aftermath of Medea and Jason’s adventures in Colchis and the quest for the Golden Fleece.
Act I – The Wedding Day
The opera opens on the day of Jason’s wedding—not to Medea, his former wife, but to Glauce (also called Creusa), daughter of King Creon of Corinth. Jason has abandoned Medea and their two children in pursuit of social status and security.
Glauce is nervous—haunted by Medea’s reputation as a powerful and vengeful sorceress from a foreign land. Creon is firm: Medea must leave Corinth at once to prevent disruption to the royal wedding. Jason, torn but resolute, justifies his betrayal as necessary for the children’s future.
Medea arrives uninvited, distraught and humiliated. She pleads with Jason, only to be met with coldness. When Creon orders her exile, she manipulates him into granting her a one-day reprieve. The act ends with Medea vowing revenge.
Act II – The Veil of Vengeance
Medea wrestles with despair and rage, invoking the gods and her own powers. She hatches a deadly plan: she will send her children to Glauce bearing gifts—a robe and a diadem laced with poison.
Jason, still deluded by self-justification, allows the children to deliver the gifts, thinking it will bring peace between the two women. Medea hides her fury behind a mask of reconciliation.
Act III – Fire and Blood
Word soon comes that Glauce is dead—her body consumed by fire when she dons the cursed robe. Creon, trying to save her, dies as well.
Medea's triumph turns to horror as she prepares for her final act. She resolves to kill her own children to fully punish Jason—denying him both legacy and love. As Corinth burns and the people cry out in terror, Medea murders the boys and appears before Jason one last time, bloodied but defiant.
She vanishes into the night, leaving Jason to face the ruins of his ambition.
Themes and Musical Style
Cherubini’s Medea is a powerful blend of classical tragedy and early Romantic opera. Though written in the 1790s, it anticipates the dramatic intensity of later composers like Beethoven and Berlioz. The title role is one of the most demanding in the repertoire—vocally fierce, emotionally volcanic, and psychologically layered. Medea is no mere villain; she is a wronged woman driven to the outer edge of human experience, her grandeur and monstrosity bound together.
The opera explores:
Betrayal and abandonment.
The foreign woman as both outsider and threat.
The limits of power, reason, and vengeance.
The devastating consequences of pride and revenge.
====================
🎭 Opera in Revolutionary Paris: From Collapse to Reinvention
🔥 The Crisis (1789–1794)
At the outset of the French Revolution in 1789, opera was seen by many revolutionaries as a corrupt and elitist art form associated with the ancien régime. The Académie Royale de Musique (Paris Opéra), long funded by the monarchy, symbolized aristocratic excess and state patronage. The fall of the monarchy in 1792 and the execution of Louis XVI in 1793 sent shockwaves through all institutions—including the arts.
During the Reign of Terror (1793–1794):
Many aristocratic patrons were executed or fled.
Censorship was intense and ideological.
Performances were suspended or redirected to serve revolutionary propaganda.
Operas of the ancien régime were banned or rewritten to reflect republican ideals.
Some theaters were shut down; others became stages for revolutionary pageantry and pièces à sauvetage (melodramas featuring heroic rescues and virtue).
Yet even amid the chaos, theater and opera never fully ceased. The revolutionary government understood their power for mass persuasion, and theaters were repurposed as tools for civic education.
Rebuilding and Redirection (1795–1797)
After Robespierre’s fall in 1794, the political climate began to thaw. The Directory (1795–1799) brought a more pragmatic and less ideologically rigid approach. Cultural life, especially in Paris, began to rebound, driven by:
A new bourgeois audience, eager for diversion and moral elevation.
A reorientation of content: works with themes of virtue, justice, and self-sacrifice were encouraged.
Relaxation of censorship allowed composers and librettists more freedom.
Theaters were reopened or rebranded; the Paris Opéra resumed activity under different auspices.
Foreign composers and émigré artists (like Cherubini, an Italian working in Paris) were welcomed, especially if they embraced revolutionary values—or at least avoided monarchist associations.
🎼 Cherubini’s Médée in Context
Luigi Cherubini had remained in Paris through the Revolution, adapting astutely to the shifting tides. He aligned himself with revolutionary ideals without becoming doctrinaire. His music struck a new, leaner tone—stripped of rococo ornament, full of dramatic clarity, moral gravity, and classical rigor—all qualities that appealed to post-revolutionary audiences.
Médée (1797) fit the moment perfectly:
Based on a classical subject, it resonated with revolutionary neoclassicism.
Medea, as a powerful outsider, embodied anxieties about vengeance, justice, and moral collapse.
The opera combined psychological realism with tragic grandeur, aligning with the Directory’s taste for high-minded drama over frivolous entertainment.
The setting and costumes could invoke antiquity without recalling Versailles.
Bigger Picture: Why Opera Survived
Opera endured because it could adapt:
Thematically, by shifting from gods and kings to heroes and martyrs.
Aesthetically, by adopting simpler, starker forms in tune with revolutionary neoclassicism.
Institutionally, by transforming royal theaters into national ones.
Politically, by serving as both mirror and mouthpiece of civic ideology.
And crucially: the public still wanted it. Even in the darkest days, Parisians flocked to theaters. In a society newly preoccupied with the people’s voice and emotions, opera—paradoxically—became more essential than ever.
This text is a collaboration with ChatGPT.
If Steve Bannon wasn't dangerous enough, now the cowards of Capitol Hill have anointed Jeff Sessions as our Attorney General ! In response our local watering hole is now offering super sized drinks known as "Bannon Balms." As the song goes, "Drink yer glasses empty !"
Driven by a youth, but 4 owners since new. Maybe he bought it from an elderly owner? The only thing that is negative IMO, is the plastic rear view mirrors.
Postcard photo taken by: Fred William Conway / Nelson, B.C.
Fred William Conway
Birth - 7 Oct 1867 in Detroit, Wayne County, Michigan, USA
Death - 7 Mar 1929 (aged 61) in Nelson, Central Kootenay Regional District, British Columbia, Canada
He immigrated to Canada in 1896 - in 1911 his occupation was listed as a "Steward" on the Steamer Nelson.
Kuskanook was a wooden, stern-wheel driven steamboat that operated on Kootenay Lake, in British Columbia from 1906 to 1931. After being taken out of service, Kuskanook was sold for use as a floating hotel, finally sinking in 1936. The vessel name is also seen spelled Kooskanook.
Kuskanook was built by James M. Bulger at Nelson, British Columbia in 1906 for the Canadian Pacific Railway. No sternwheeler had been built in Nelson since Moyie was launched in 1898. Kuskanook was one of a pair of nearly identical vessels ordered by CPR, the other being Okanagan, which was placed into service in 1907 on Okanagan Lake. Both Kuskanook and Okanagan were based on the design of an earlier vessel, the Arrow Lakes sternwheeler Rossland.
The vessel cost $104,145.37. The parts had been manufactured in eastern Canada and brought to Nelson to be assembled. The launch on May 5, 1906 was reportedly attended by 3,500 people.
According to one source, Kuskanook had 37 staterooms and was licensed to carry 450 passengers. Another, more detailed source, states that Kuskanook had four dining room tables, with total seating for 32 persons, with 39 staterooms, and a total passenger capacity of 400. By the mid-1920s Kuskanook could carry eight motor vehicles, mostly on the route between Nelson and the settlement of Kuskonook, just north of Kootenay Landing. Kuskanook had three decks, the freight and machinery deck, above which were the passenger deck and the texas deck. The wheelhouse was placed just forward of the funnel and stepped back from forward edge of the texas deck cabins. The passenger accommodations were the finest yet seen on the Canadian Pacific's sternwheelers. Kuskanook required a crew of twenty-eight, including seven officers.
Sarah Wisner writes on the bottom of this postcard: This boat is lovely - I was all over it - when I came here.
Nearing the end of its tenure in the fleet, this Dennis Falcon looks very smart for its age at the time as it operates on a 891 Telford to Wolverhampton, somewhere these fine beasts appeared and were well suited. 3088 lasted until final withdrawal after service on 16th February 2009 where incidentally all of the final service examples had appeared in Shrewsbury via various routes over the day! 3088 was briefly returned to service and loaned to Oswestry for a short time in March that year until been driven to Cannock for disposal, sadly all were sent for scrap despite been runners. On a brighter note K212 UHA is the only living member of the batch that was used as a Driver Trainer for a while, now with Midland Classic.