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the Mackh dancer in the greenbox.... while shooting some RED 100FPS videos for a postprocessing session. I used the breaks to act as a set photographer and pictured the dancers.... here is some of my work and I look forward to see the video files from uppercut and effects garden...
special thanks to the girls who did a great job!!! and all that after a two hours training session and a long day at work or school!!
Step Forward by: Miguel Angel Martin Bordera from: Carros de Foc, San Vicente del Raspeig, Alicante, Spain year: 2017
Step Forward transmits the principles of consciousness and neighborly love, increased through Art. Euterpe is a giant teenage girl puppet who walks and talks, interacting with Burning Man’s participants to learn from them and to, tenderly, teach them her values. A young girl dreams of a better world in which everybody loves each other. One day she wakes up in an unknown place where she doesn’t really know if she is awake or in a wonderful dream. She watches in amusement all that takes place around her at the time she gets involved in Burning Man’s experience. Contact: info@carrosfoc.com
Feb 11, 2023; Baton Rouge, Louisiana, USA; LSU Tigers forward Derek Fountain (20) reaches in for a steal against Texas A&M Aggies forward Henry Coleman III (15) during the first half at Pete Maravich Assembly Center. Mandatory Credit: Stephen Lew-USA TODAY Sports
The European Commission, the European Parliament and UN Women kicked off the two-day Spring Forward for Women Conference at the European Parliament in Brussels. The Conference brings together women lawmakers from the Arab States and Members of the European Parliament. Participants will share their experiences in advancing gender equality and women’s empowerment in both the European Union and the Arab States.
Photo: UN Women/Emad Karim
Read More: www.unwomen.org/en/news/stories/2014/11/spring-forward-fo...
Nissan RS13 - Slide Drift Team - www.facebook.com/pages/Slide-Drift-Team/124222047606907
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/18323055
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The Public Health Service Hospital (PHSH) is located in the Presidio of San Francisco. It has been rehabilitated into luxury condos housing in 2010, and it is now called "Presidio Landmark Apartments".
For more information about this place you can visit my PHSH page.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Model: Natalia Larioshina
Photographer: Justin Bonaparte
Explore #489.
Last week some friends and I went on the Swanage Railway for a friend's birthday, can't beat a bit of steam train riding!
The Swanage Railway recently had it's first through passenger service since 1972 (from London) so hopefully it won't be long before services run again onto the mainline and beyond.
I've edited this in GIMP to keep the red streaks in the livery, the British Railway logo and a small amount of colour on the smokebox handrail (thanks to archidave!).
Swanage, Dorset.
Nikon D40 & Nikon 18-55mm.
Conducting a collaborative research since 2012, Maria Andersson and Nancy Atakan study Turkey’s integration of Swedish physical culture practices as part of the modernization efforts in the early 20th century. Investigating the adaptation of gymnastics techniques and folkloric elements, the artists unfold narratives on Selim Sırrı Tarcan, the founder of physical education and the Olympics Committee in Turkey, as well as on the accomplishments of his daughters. Inspired by their life stories, the individual and collective works in Forward, March! explore the intertwined relationship between physical education and the emancipation of women in Turkey.
WOMEN FORWARD
Celebrating Women's History Month, 2009
Special Guest Artists: Judy Chicago, Faith Ringgold, Toshiko Takaezu
plus Yoko Ono's "Imagine Peace"
Part 1: March 7 – April 12; Opening Sat. Mar. 7, 4–6 pm
Liz Surbeck Biddle, Lili Bita, Hildy Burns, Janet Fish, Regina Granne, Amy Greenfield, Samia Halaby, Gloria Kennedy, Donna Moran, Carmen Porfido, Carol Quint, Kunie Sugiura, Cynthia Winika
Part 2: April 25 – May 31; Opening Sat. Apr. 25, 4–6 pm
Nivi Alroy, Bahar Behbahani, Elle Burchill, Rodriguez Calero (RoCa), Fei Cui, Andrea Cukier, Irene Hardwicke Olivieri, Soojung Hyun, Elodie Lauten, Alexandra Limpert, Leonor Mendoza, Olek, Yupin Pramotepipop, Shan Shan Sheng, Kumi Yamashita
Curated by Yuko Nii
135 Broadway, Williamsburg Brooklyn, NY 11211 USA
(718) 486-7372 (718) 486-6012 wahcenter@earthlink.net www.wahcenter.net
Gallery Hours: Saturday & Sunday, Noon-6 pm or by appointment
I've been really busy with work since September, then also had to move in that mix, so I've not had time to spend as I've liked. Finally found all my good stuff, and decided to do a quick shoot!
Leaving the forward compartment both painted and mahogany makes the boat feel longer with a greater sense of depth from bulkhead to bulkhead. at least thats the idea.
Hundreds turn out for Kaiserslautern Special Olympics
By Rick Scavetta, U.S. Army Garrison Kaiserslautern
KAISERSLAUTERN, Germany – Crowds of spectators cheered as MeeHee Ashe and fellow Special Olympics athletes sprinted down the 50-meter track during the annual games held in Enkenbach-Alsenborn.
For those 22 seconds, as she ran under sunny skies beside German and American athletes, Ashe, 27, felt happy, she said. Over the past few weeks, she has been training and preparing herself for the May 5 event – as she has done for more than two decades.
“I like to run,” Ashe said. “I forget about some things and just do it.”
The spring games, sponsored by U.S. Army Garrison Kaiserslautern, included tennis, track & field, badminton, soccer, basketball and volleyball. They have been held in Kaiserslautern Military Community for 28 years – the past 14 years at the German police academy, whose officers also supported the event. In all, more than 800 German and American athletes took part. They were supported by roughly 1,300 volunteers.
Lorelai Browning, 17, a Vilseck High School student carried the Olympic torch into the arena. Her parents, Sgt. 1st Class Henry Browning and his wife Lorenna, watched with pride.
“It’s such an honor for her.” Lorenna Browning said. “We’re so excited.”
Everyone who took part is a winner, said Lt. Col Kevin Hutchison, commander of U.S. Army Garrison Kaiserslautern, during his opening remarks.
“These games are intended to help the athletes gain confidence and build a positive self-image that carries over into the classroom, home, job and community,” Hutchison said. “It also fosters friendships between volunteers and athletes and provides a forum for better understanding of adults and children with intellectual disabilities.”
Nearby, Spc. Brad Abraham, 20, of Turlock, Calif., handed 10-year-old Aaron Evans a bottle of water as the Ramstein Intermediate School student prepared for his sprint. Abraham was among hundreds of Kaiserslautern Soldiers and Airmen who volunteered to support the event.
“In the Army, helping people is part of what we do,” Abraham said. “It’s fun, when you get into it.”
Evans darted down the dusty track, flanked by other children who laughed and smiled as they crossed the finish line. Afterward, Abraham pinned a yellow ribbon to Evans’s blue Special Olympics t-shirt.
“I enjoy seeing kids enjoying this,” Abraham said. “If they’re having fun, then we’re having fun.”
The event marked the second year volunteering for Senior Airman James Carlisle, 29, and engineering assistant from Pascagoula, Miss., who serves with the 86th Civil Engineering Squadron at Ramstein Air Base. He served as a buddy for Dominik Keller, a seven-year-old Kaiserslautern athlete. Carlisle noticed that Keller and other young athletes were not so interested in “hearing all the talk in the beginning,” he said.
“They knew what they wanted when they got here. The first thing out of their mouth was ‘Fussball’ – they wanted to play soccer,” Carlisle said. “They look forward to this all year. It’s really exciting.”
Kids got plastic firefighters’ hats and clambered into U.S. Army Garrison Kaiserslautern fire trucks on display. Nearby, participants made arts and crafts projects and hitched rides on a mini-train.
Garrison volunteers sweated over huge grills, barbequing hundreds of hot dogs and hamburgers.
The final sporting event was a friendly soccer match between German and American athletes. Germany won, 8-0. Then, crowds applauded as Command Sgt. Maj. Richard Jessup led fellow senior enlisted leaders from Kaiserslautern’s Army and Air Force units in the presentation of medallions to athletes.
Ashe climbed the pedestal and slightly bowed to receive her medal, to the cheers of her parents, Charlie and Nelda, plus hundreds of other people crowding the grandstands. Afterward, athletes, volunteers and spectators joined hands in a huge circle and sang “We Are The World.”
“It feels happy inside,” Ashe said. “It’s about winning and it’s not about losing. It’s about having fun.”
(Photos by Rick Scavetta, U.S. Army Garrison Kaiserslautern)
Singapore registered oil.tanker FORWARD FLAIR being manouvered through the harbour in the rain, to her berth at Gore Cove.
Javier Silva
Para que quede más claro lo que es:
Los ciclistas ciegos normalmente utilizan una bicileta tandem (la que tiene dos asientos), en la que un ciclista normovisual va al frente como guía y la persona con discapacidad visual va en el asiento trasero como segundo pedal.
En este caso Javier, quien es ciego, utiliza una bicicleta tradicional y es guíado por un audífono en su oído en el cual escucha las indicaciones que su entrenador le da con un radio.
To make it more clear what it is:
Blind cyclists typically use a tandem bikes (which has two seats), in which a cyclist normovisual going forward as guide and the visually impaired person is in the back seat as a second pedal.
In this case, Javier, who is blind, uses a traditional bicycle and is guided by an instrument in your ear which listens for indications that your coach gives a radio.
es-es.facebook.com/media/set/?set=a.281889538498998.67641...
Una explicación de lo que es el ciclismo independiente:
www.youtube.com/watch?v=1tDutBsNaOo
Pagina de Facebook de Javier:
Unsurprisingly this is in York and somewhere I've been keen to visit since purchasing some excellent cans from them during lockdowns when the pubs were shut. Along with Magic Rock and Vocation these three Yorkshire breweries are taking beer brewing in many different directions. Craft beer is Brew York's prime product but they also brew some marvellous cask ales. After going up the stairs we were met with a wall of I think twenty seven craft taps and two hand pumps out of use. Although I was happy to drink the craft I was looking forward to their real ale. This was the beer hall with lots of benches and Yuzu Street Food offering Japanese and Korean dishes. Thankfully I was directed to a downstairs Tap Room with three hand pumps where I ordered my Korean vegan bao buns with asian pickles.
brewyork.co.uk/venues/venue-york/
18 REASONS WHY WE ALL LOVE COX
Seniors
Club legend Greg Barras sat nervously in his house at Albury as word quickly spread that his club record of 18 goals was in jeopardy. Lee Cox under the beautiful Autumn sun treated the fans to a marking and goal scoring frenzy. Cox had a near perfect game, equalling the club record, and even found time to give off four more goals to team mates in better positions.
For the first time this season Hepburn was able to score the first goal of the match, usually slow starters, the Burras showed no signs of being lethargic and had eight goals on the board by quarter time. At the main break 20 goals had been amassed with Cox kicking half of them. Cox’s sidekick, Andy McKay unusually flew under the radar, (as was Cox’s dominance) but “ Hollywood” was still close to best on ground honours with his 7 goals , superb high marking and pin point passing to Cox on the lead.
Creswick had a day they would rather forget, but to their credit, they never gave up and had some young players who had very good games. As usually is with an uneven scoreline, most of the play was forward of the centre square, in saying that Hepburn’s backline had to concentrate harder, but when the opportunity arose, Trevor Johnson, Allan Ware and coompany mopped up and created opportunities for their team mates. Daniel Smith’s big frame also posed problems for the opposition. Smith played a very versatile game, using his body to great affect so his fleet footed allies in Baker, Rees, and the James boys could get their hands on the ball.
Brian O’ Halloran, the former star rover of the 1970’s is a proud man. His oldest son Tim is doing well in his first coaching gig at Reserves level. Next in line Dan becoming a seasoned performer, but the youngest of the clan, Liam, has settled in nicely into Shane Robertson’s structure, bobbing up linking play, and showing maturity well above his years.
Next week Hepburn takes on the big improver Gordon at the Laurie Sullivan Reserve which should be a match worth watching.
Final Scores: HEPBURN 36-12-228 defeated CRESWICK 3-4-22
Goals: L. Cox 18, A. McKay 7, D. O’Halloran 3, J. James 3, J. King 2, R. Gundry, T. Johnson, D. James
Best: L. Cox, A. McKay, D. Smith, D. Rees, A. Baker, D. O’ Halloran
UNDER 18’s
For two and a half quarters Hepburn matched Creswick, but were blown away in the end by one of the premiership favorites. The highlight reel was pretty small, but Joe Malone would have featured prominently having a blinder of a game in the middle. His strong work in tight and then classy skills to finish something his younger team mates can learn from.
Tom Conroy battled hard in the ruck, certainly holding his own and Lucas Bossinger put in his best game to date. The small brigade of under 15 players who fill in each week again performed well, with Jackson Carrick and Billy Johns being rewarded kicking goals. Next week is a big game as the boys should aim to have their second win for the season.
Final Scores: HEPBURN 5-3-33 lost to CRESWICK 20-14-134
Goals: J. Malone 2, K. Frost, J. Carrick, B. Johns
Best: J. Malone, J. Liversidge, K. Frost, M. Allison, L. Bossinger, T. Conroy
took these some time ago... and have just been lazy putting them up....
¡Forward, Russia! are THE BEST BAND in the uk right now... fact...
Carrot + Dan â Elaine and Peggy Mitchell
Fabio Lezonli â Sonia Fowler & Phil Mitchell
Rhyss Pieces â Sharon Watts
Herr â Vanessa Gold & Stacey Slater
Carrot â Dot Cotton
Yshee Black â Kim Fox
Deeva D â Denise Fox
Dosa Cat â Zainab Masood
Dan Egg â Kat Slater
Smashlyn Monroe â Pat Butcher
Shona McGarty
Jennifer Forward-Hayter
Having arrived from Hitachi at Newton Aycliffe, this East Coast Trains / Lumo Class 803, no. 803005, will go forward as 5Q61; the 10.48, ecs / test train from Darlington to Craigentinny T.&R.S.M.D., Edinburgh.
There was never any doubt I would go to Rob's funeral. Rob was born just two weeks before me, and in our many meetings, we found we had so much in common.
A drive to Ipswich should be something like only two and a half hours, but with the Dartford Crossing that could balloon to four or more.
My choice was to leave early, soon after Jools left for work, or wait to near nine once rush hour was over. If I was up early, I'd leave early, I said.
Which is what happened.
So, after coffee and Jools leaving, I loaded my camera stuff in the car, not bothering to program in a destination, as I knew the route to Suffolk so well.
Checking the internet I found the M2 was closed, so that meant taking the M20, which I like as it runs beside HS2, although over the years, vegetation growth now hides most of it, and with Eurostar cutting services due to Brexit, you're lucky to see a train on the line now.
I had a phone loaded with podcasts, so time flew by, even if travelling through the endless roadworks at 50mph seemed to take forever.
Dartford was jammed. But we inched forward, until as the bridge came in sight, traffic moved smoothly, and I followed the traffic down into the east bore of the tunnel.
Another glorious morning for travel, the sun shone from a clear blue sky, even if traffic was heavy, but I had time, so not pressing on like I usually do, making the drive a pleasant one.
Up through Essex, where most other traffic turned off at Stanstead, then up to the A11 junction, with it being not yet nine, I had several hours to fill before the ceremony.
I stopped at Cambridge services for breakfast, then programmed the first church in: Gazeley, which is just in Suffolk on the border with Cambridgeshire.
I took the next junction off, took two further turnings brought be to the village, which is divided by one of the widest village streets I have ever seen.
It was five past nine: would the church be open?
I parked on the opposite side of the road, grabbed my bag and camera, limped over, passing a warden putting new notices in the parish notice board. We exchange good mornings, and I walk to the porch.
The inner door was unlocked, and the heavy door swung after turning the metal ring handle.
I had made a list of four churches from Simon's list of the top 60 Suffolk churches, picking those on or near my route to Ipswich and which piqued my interest.
Here, it was the reset mediaeval glass.
Needless to say, I had the church to myself, the centuries hanging heavy inside as sunlight flooded in filling the Chancel with warm golden light.
Windows had several devotional dials carved in the surrounding stone, and a huge and "stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast" which caught my eye.
A display in the Chancel was of the decoration of the wooden roof above where panels contained carved beats, some actual and some mythical.
I photographed them all.
I programmed in the next church, a 45 minute drive away just on the outskirts of Ipswich, or so I thought.
The A14 was plagued by roadworks, then most trunk roads and motorways are this time of year, but it was a fine summer morning, I was eating a chocolate bar as I drove, and I wasn't in a hurry.
I turned off at Claydon, and soon lost in a maze of narrow lanes, which brought be to a dog leg in the road, with St Mary nestling in a clearing.
I pulled up, got out and found the air full of birdsong, and was greeted by a friendly spaniel being taken for a walk from the hamlet which the church serves.
There was never any doubt that this would be open, so I went through the fine brick porch, pushed another heavy wooden door and entered the coolness of the church.
I decided to come here for the font, which as you can read below has quite the story: wounded by enemy action no less!
There seems to be a hagioscope (squint) in a window of the south wall, makes one think or an anchorite, but of this there is little evidence.
Samuel and Thomasina Sayer now reside high on the north wall of the Chancel, a stone skull between them, moved here too because of bomb damage in the last war.
I drove a few miles to the next church: Flowton.
Not so much a village as a house on a crossroads. And the church.
Nothing so grand as a formal board outside, just a handwritten sign say "welcome to Flowton church". Again, I had little doubt it would be open.
And it was.
The lychgate still stands, but a fence around the churchyard is good, so serves little practical purpose, other than to be there and hold the signs for the church and forthcoming services.
Inside it is simple: octagonal font with the floor being of brick, so as rustic as can be.
I did read Simon's account (below) when back outside, so went back in to record the tomb of Captain William Boggas and his family, even if part of the stone is hidden by pews now.
I had said to myself, that if I saw signs for another church, I might find time to visit. And so it was with Aldham, I saw the sign pointing down a narrow lane, so I turned and went to investigate.
First it looked like the road ended in a farmyard, but then I saw the flint round tower of the church behind, so followed the lane to the church gate.
There was a large welcoming sign stating, proudly, that the church is always open.
St Mary stands on a mound overlooking a shallow valley, water stand, or runs slowly, in the bottom, and it really is a fine, fine location for a church.
I pushed through the gate and went up the path to the south porch, where the door swung open once again.
The coolness within enveloped me.
An ancient font at the west end was framed by a brick-lined arch, even to my untrained eyes, I knew this was unusual.
There were some carved bench ends, some nice fairly modern glass, but the simplicity of the small church made for a very pleasant whole.
I no longer watch TV much, so was unaware of the view and indeed church being used in the TV show, The Detectorists.
One of Suffolk's hidden treasures, for sure.
I had selected the list of churches to visit from Simon's list of 60 best Suffolk churches, choosing the ones that seemed near to Ipswich.
I had one more on my list, one a little bit out of the way, but I thought I had time, so set off for deepest, darkest Suffolk: Kettlebaston.
The trip took me past my old stamping grounds of Bildeston and Kersey, where I used to take Mum and Dad each Easter once I could drive, but once past Kersey, I still had twenty minutes to go.
Up the hill from Brent Eleigh into Kettlebaston, where the village was more of a dogleg in the road than anything else. I drove through slowly hoping the church would be obvious.
It wasn't.
It was playing hide and seek.
I programmed the church into the sat nav, and followed it back to the village, where beyond a small grassed area was a wall of a mature yew hedge, with the only way through a way so overgrown I had to stoop low to get through.
On the buttress at the south eastern corner of the Chancel, a painted panel showed the Coronation of the Queen of Heaven.
Clearly, this wasn't your normal parish church.
I am an atheist, its just the way I am, so these different "flavours" of Christianity do confuse me somewhat.
Even I knew when I walked in that this was a high church, high in the Anglo-Catholic tradition, with two altars either side of the Chancel Arch, the first such I think I have seen in a parish church.
I post these shots here and on a Churchcrawling website on Facebook, I might skip this one as it will draw lots of comments I think, not all positive.
I guess what saddens me is that they worship the same God, no? Is being right about how to do it that important? When wardens ask me what I think of their church, or should they put a glass door in instead of the ancient wooden currently, I say, it is a living church, your church, changes can be reversed if needed too. But it is your church, you have to live with it, it has to be suitable for all.
Despite all the above, there was much evidence of the ancient church: the font, paintings around a window among other features.
--------------------------------------------------
I always look forward to coming back to Kettlebaston. It is likely that anyone who knows the churches of Suffolk well will have Kettlebaston among their favourites. The setting is delectable, in the remote Suffolk hills between Hadleigh and Stowmarket. The building is at once elegant and interesting, the interior memorable, but most fascinating of all perhaps is the story behind the way it is today.
In 1963, in the thirty-third year of his incumbency as Rector of the parish of Kettlebaston, Father Harold Clear Butler sent a letter to a friend. "You are right,"he wrote. "There is no congregation any more." In failing health, he relied on the family of a vicar who had retired nearby to carry out the ceremonies of Easter week that year. In 1964, Father Butler himself retired, and an extraordinary episode in the history of the Anglo-Catholic movement in Suffolk came to an end.
There may have been no congregation, but St Mary at Kettlebaston was a shrine, to which people made pilgrimages from all over England. Here was the liturgically highest of all Suffolk's Anglican churches, where Father Butler said the Roman Mass every day, celebrated High Mass and Benediction on Sunday, dispensed with churchwardens, flouted the authority of the Anglican diocese by tearing down state notices put up in the porch, refused to keep registers, and even, as an extreme, ignored the office of the local Archdeacon of Sudbury. An entry from the otherwise empty registers for October 2nd 1933 reads Visitation of Archdeacon of Sudbury. Abortive. Archdeacon, finding no churchwardens present, rode off on his High Horse!
Father Butler came to this parish when the Anglo-Catholic movement was at its height, and survived into a poorly old age as it retreated, leaving him high and dry. But not for one moment did he ever compromise.
Kettlebaston church is not just remote liturgically. You set off from the vicinity of Hadleigh, finding your way to the back of beyond at Brent Eleigh - and then beyond the back of beyond, up the winding roads that climb into the hills above Preston. Somewhere here, two narrow lanes head north. One will take you to Thorpe Morieux, and one to Kettlebaston, but I can never be sure which is which, or even if they are always in the same place. Finding your way to this, one of the most remote of all Suffolk villages, can be like finding your way into Narnia. Once in the village, you find the church surrounded by a high yew hedge, through which a passage conducts a path into the graveyard. On a buttress, a statue of the Coronation of the Queen of Heaven sits behind a grill. It is a copy of an alabaster found under the floorboards during the 1860s restoration. The original is now in the British Museum.
One Anglo-catholic tradition that has not been lost here is that the church should always be open, always be welcoming. You enter through the small porch, perhaps not fully prepared for the wonders that await. The nave you step into is light, clean and well-cared for. There is no coloured glass, no heavy benches, no tiles. The brick floor and simple wooden chairs seem as one with the air, a perfect foil for the rugged late Norman font, and the rich view to the east, for the fixtures and fittings of the 20th Century Anglo-Catholic tradition survive here in all their splendour.
The two major features are the rood screen and the high altar. The rood screen is the work of several people, having been added to over the years by a roll-call of prominent Anglo-Catholic artists. It was designed by Ernest Geldart in the 1880s. It was painted by Patrick Osborne in 1949, apart from the figures, which are the work of Enid Chadwick in 1954. They are: St Felix as a bishop holding a candle, St Thomas More in regalia, St Thomas of Canterbury with a sword through his mitre, St John Fisher as a bishop holding a book, St Alban in armour and St Fursey holding Burgh Castle.
To one side, the Sacred Heart altar bears the original stone mensa from the high altar. The table itself is the Stuart Communion table. To the other, a Lady altar. All of these are either gifts or rescued from redundant Anglo-Catholic churches elsewhere. The elegant grill in front of the rood loft stairs is by Ninian Comper. Stepping through into the chancel is a reminder of how the clearance of clutter can improve a liturgical space. Here, the emptiness provides a perfect foil for the massive altar piece. The altar itself was the gift of Miss Eleanor Featonby Smith, consecrated by the Bishop of Madagascar in 1956, in one of those ceremonies conducted in the labyrinthine underworld of the Anglo-catholic movement. The altar sports what is colloquially referred to as the Big Six - the trademark six candlesticks of an Anglo-catholic parish. Behind them, the rich reredos is also by Ernest Geldart, and was also painted by Patrick Osborne.
At the west end of the nave is a display case holding facsimiles of the Kettlebaston alabasters, an oddly prosaic moment. But Kettlebaston's medieval past is not entirely rebooted, for the chancel was sensitively restored by Ernest Geldart in 1902 with none of the razzmatazz of his church at Little Braxted in Essex. The east window was rebuilt to the same design as the original, as was the roof. The late 13th Century piscina and sedilia are preserved, and on the north side of the chancel survives an impressive tomb recess of about the same date. The sole monument is to Joan, Lady Jermyn, who died in 1649. Her memorial is understated, and its inscription, at the end of the English Civil War and the start of the ill-fated Commonwealth, is a fascinating example of the language of the time. Is it puritan in sympathy, or Anglican? Or simply a bizarre fruit of the ferment of ideas in that World Turned Upside Down? Within this dormitory lyes interred ye corpps of Johan Lady Jermy it begins, and continues whose arke after a passage of 87 yeares long through this deluge of teares... rested upon ye mount of joye. And then the verse:
Sleepe sweetly, Saint. Since thou wert gone
ther's not the least aspertion
to rake thine asshes: no defame
to veyle the lustre of thy name.
Like odorous tapers thy best sent
remains after extinguishment.
Stirr not these sacred asshes, let them rest
till union make both soule & body blest.
Not far off, and from half a century earlier, a rather more cheerful brass inscription remembers that:
The corpse of John Pricks wife lyes heere
The pastor of this place
Fower moneths and one and thirty yeerr
With him she ran her race
And when some eightye yeres were past
Her soule shee did resigne
To her good god in August last
Yeeres thrice five hundredth ninety nine.
And yet, you notice, we never learn her name. Above, the roofs drip with hanging paraffin lamps, the walls have their candle brackets, for this little church still has no electricity. You sense the attraction of Benediction on a late winter afternoon.
St Mary is loved and cared for by those who worship in it. There are rather more of them than in Father Butler's final days, but they are still a tiny, remote community. Since 1964, they have been part of a wider benefice, and must toe the Anglican mainstream line, as at Lound. But also, as at Lound, the relics of the Anglo-Catholic heyday here are preserved lovingly, and, judging by the visitors book, it is not just the regular worshippers who love it, for Anglo-Catholics from all over England still treat it as a goal of pilgrimage. I remember sitting in this church on a bright spring afternoon some twenty years ago. I'd been sitting for a while in near-silence, which was suddenly broken by the clunk of the door latch. Two elderly ladies came in. They smiled, genuflected towards the east, and greeted me. Together, they went to the Sacred Heart altar, put a bunch of violets in a vase on it, and knelt before it. The silence continued, now with a counterpoint of birdsong from the churchyard through the open door. Then they stood, made the sign of the cross, and went out again. Father Butler looked on and smiled, I'm sure.
Simon Knott, October 2018
SET 3 – Horn Lake Target Interim Pics: Other Changes
To piggyback on my previous description: as we flash-forward to October 2021 (one year later), I noticed for the first time this cool “local interest” section in the book department, stocked with various North Mississippi and Memphis books. I’m always a sucker for local flair, so it was really neat to see this! But once again I have to wonder – is Target actually stocking this themselves, just for a small handful of stores (since I can’t imagine these region-specific books are actually available in all of Target’s warehouses for nationwide online purchase and distribution)? Or are portions of the book department instead stocked by (local?) vendors?
(I also recently saw the same section in the Olive Branch Target, although I’m not sure if it’s still present post-remodel here in Horn Lake – which only adds fuel to my theory…)
(c) 2023 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Model : Huyen Namy - Pup
Costumes : Forward Shop
Photo : Mac Fotography
Assist : Huy Anh
Location : Vinh Tuy
2048 x 2048 pixel image for the iPad’s 2048 x 1536 pixel retina display.
Image via: www.sxc.hu/browse.phtml?f=view&id=552358