To do:

* Live in the moment!

**Wearing Belleza Freya**

Outfit

HairBase: SIIX Russian Hairbase [OMEGA - CATWA - SYSTEM AVATARS]

marketplace.secondlife.com/p/SIIX-Russian-Hairbase-OMEGA-...

// One of my main hairbases and i use it for just about everything. The SIIX Hairbases are some of the best ive seen so far and they are set up at a fair price, not too expensive.

Hairstyle: DOUX Ariana Hairstyle

maps.secondlife.com/secondlife/Secrets/158/163/23

// I love it! Its super cute and high quality, one of my favorites now and i just got it! lol If youre into Ariana or even just love stylish pony tails i definitely recommend this hairstyle. There are two parts to buy to it if you want the bow that comes with it (Shown in picture) and all together its not expensive at all!

Lashes: [Okkbye] Lithe Eyelashes (CATWA)

marketplace.secondlife.com/p/okkbye-Lithe-Eyelashes-CATWA...

// They are some of the cutest lashes i have ever come across, super easy to use and change. You can save to your head hud and even mix and match top and bottom lashes if you want to.

Necklace: Nov- Carolina Choker (G)

Instagram: November.sl

marketplace.secondlife.com/p/Nov-Carolina-Choker-G/16418819

// Its adorable and i love the shine it gives, its gorgeous for almost any outfit i've tried so far and it comes in silver as well. If you're looking for a high quality gorgeous choker i recommend this item in both colors!

Top: Blueberry - Laced Tops - Free Gift <3

marketplace.secondlife.com/p/Blueberry-Laced-Tops-Free-Gi...

// It comes with a hud of alot of different color choices for both the shirt and the ties at the bottom. Its a great shirt for being a gift and the texture does look to be high quality.

Bottoms: Blueberry - Rie - Torn Jeans - Fatpack

marketplace.secondlife.com/p/Blueberry-Rie-Torn-Jeans-Fat...

// When using it with Maitreya or Freya it makes the butt look normal and good but i didnt like it when i used with my Hourglass body, The jeans however are adorable and i love the way they look. The rips looks real and great texture throughout the jeans completly.

Shoes: CURELESS [+] Snow Bunny Slippers / MINT

marketplace.secondlife.com/p/CURELESS-Snow-Bunny-Slippers...

// They are gorgeous as hell and come with two different choices, Fluffy or Plastic, and both look cute and amazing inworld. I wish they had them in a fatpack so i could gt them all at once lol but they are definitely worth it buying seperate and they don't cost too much.

Pose by Yours Truly

Scanned lith print.

Mamiya 645 ProTL w/ M-S 120 mm/f4 macro. Nov 2021.

Fomapan 100 in Rodinal 1+100, semistand 1 h.

Lith printed on Fomatone MG 133 and developed in 2 baths:

1. Moersch Easy Lith (15A+20B+100OB+ H2Oqs800).

2. Moersch Lith Omega 1+100, 2 min.

Toned in Se 1+9, 2 min.

July 2024.

PS borders.

R.I.P. my last lithable Fomatone MG 133's...

I am home near Edinburgh having been on a tour of Aberdeenshire taking in Stone Circles and Pictish Symbol Stones along with other lithic monuments and also enjoying the locality in finding whatever happenstance could bring. My memories are criss crossed in heavenly glimmering and my visions are still stellar shimmering. On one memory card there are just five images, from them here are three pictures and each photograph here has been edited to have a second version with the look of a painting. I have been editing these images in an ever darkening and darkened room and I may not like these results tomorrow in daylight. This day has ended and also tomorrow and tomorrow will end too. Some of these day to come might involve finding out where our ancestors chose to make their wondrous places and enduring spaces. Some of the days to come could be recovery and edit days like today where I could have done with more natural illumination, but the Sun waits not and it goes making monumental displays for those fortunate to be enjoying the sun setting rays.

© PHH Sykes 2025

phhsykes@gmail.com

A lith print ode to my Oregon friend Travis Doane.

Dear Travis,

It's now been 4 years since you sent me this treasure of old lithable papers from big USA to small Sweden. This kind act of yours sends a message to all the world - we belong together and should not fight. And for me it's a treasure of old lithable papers I would never get hold of otherwise. This day I have gone through the remaining papers and - as to my ability - have made prints that are supposed to be as streamlined as possible from a given negative. But of course there's always the influence of "human variability" when it comes to snatch point and so forth...

Anyways, I hope you understand my gratitude for this possibility. Have a great rest of the year 2023, Travis and may we have lith contact for many years to come.

Best/Johan

Scanned lith print.

Mamiya 645 ProTL w/ M-S 45 mm/f2,8. Early morning of April 22, 2023.

Fomapan 200 @ iso 100, dev in Rodinal 1+100, semistand 1 h.

Lith printed and developed in Moersch SE5 (25A+25B+some OB+700H2O).

Untoned.

TriX in SLD

Lith on the new old Oriental (white-blue) Paper G3, I prefer the older light blue one, but it's ok and better with Lith 'E' otherwise it's too smooth ...

(SE5: 35:35:1000:10:15:10)

9.4.09

The flight arrived on time; and the twelve hours while on board passed quickly and without incident. To be sure, the quality of the Cathay Pacific service was exemplary once again.

Heathrow reminds me of Newark International. The décor comes straight out of the sterile 80's and is less an eyesore than an insipid background to the rhythm of human activity, such hustle and bustle, at the fore. There certainly are faces from all races present, creating a rich mosaic of humanity which is refreshing if not completely revitalizing after swimming for so long in a sea of Chinese faces in Hong Kong.

Internet access is sealed in England, it seems. Nothing is free; everything is egregiously monetized from the wireless hotspots down to the desktop terminals. I guess Hong Kong has spoiled me with its abundant, free access to the information superhighway.

11.4.09

Despite staying in a room with five other backpackers, I have been sleeping well. The mattress and pillow are firm; my earplugs keep the noise out; and the sleeping quarters are as dark as a cave when the lights are out, and only as bright as, perhaps, a dreary rainy day when on. All in all, St. Paul's is a excellent place to stay for the gregarious, adventurous, and penurious city explorer - couchsurfing may be a tenable alternative; I'll test for next time.

Yesterday Connie and I gorged ourselves at the borough market where there were all sorts of delectable, savory victuals. There was definitely a European flavor to the food fair: simmering sausages were to be found everywhere; and much as the meat was plentiful, and genuine, so were the dairy delicacies, in the form of myriad rounds of cheese, stacked high behind checkered tabletops. Of course, we washed these tasty morsels down with copious amounts of alcohol that flowed from cups as though amber waterfalls. For the first time I tried mulled wine, which tasted like warm, rancid fruit punch - the ideal tonic for a drizzling London day, I suppose. We later killed the afternoon at the pub, shooting the breeze while imbibing several diminutive half-pints in the process. Getting smashed at four in the afternoon doesn't seem like such a bad thing anymore, especially when you are having fun in the company of friends; I can more appreciate why the English do it so much!

Earlier in the day, we visited the Tate Modern. Its turbine room lived up to its prominent billing what with a giant spider, complete with bulbous egg sac, anchoring the retrospective exhibit. The permanent galleries, too, were a delight upon which to feast one's eyes. Picasso, Warhol and Pollock ruled the chambers of the upper floors with the products of their lithe wrists; and I ended up becoming a huge fan of cubism, while developing a disdain for abstract art and its vacuous images, which, I feel, are devoid of both motivation and emotion.

My first trip yesterday morning was to Emirates Stadium, home of the Arsenal Gunners. It towers imperiously over the surrounding neighborhood; yet for all its majesty, the place sure was quiet! Business did pick up later, however, once the armory shop opened, and dozens of fans descended on it like bees to a hive. I, too, swooped in on a gift-buying mission, and wound up purchasing a book for Godfrey, a scarf for a student, and a jersey - on sale, of course - for good measure.

I'm sitting in the Westminster Abbey Museum now, resting my weary legs and burdened back. So far, I've been verily impressed with what I've seen, such a confluence of splendor and history before me that it would require days to absorb it all, when regretfully I can spare only a few hours. My favorite part of the abbey is the poets corner where no less a literary luminary than Samuel Johnson rests in peace - his bust confirms his homely presence, which was so vividly captured in his biography.

For lunch I had a steak and ale pie, served with mash, taken alongside a Guinness, extra cold - 2 degrees centigrade colder, the bartender explained. It went down well, like all the other delicious meals I've had in England; and no doubt by now I have grown accustomed to inebriation at half past two. Besides, Liverpool were playing inspired football against Blackburn; and my lunch was complete.

Having had my fill of football, I decided to skip my ticket scalping endeavor at Stamford Bridge and instead wandered over to the British Museum to inspect their extensive collections. Along the way, my eye caught a theater, its doors wide open and admitting customers. With much rapidity, I subsequently checked the show times, saw that a performance was set to begin, and at last rushed to the box office to purchase a discounted ticket - if you call a 40 pound ticket a deal, that is. That's how I grabbed a seat to watch Hairspray in the West End.

The show was worth forty pounds. The music was addictive; and the stage design and effects were not so much kitschy as delightfully stimulating - the pulsating background lights were at once scintillating and penetrating. The actors as well were vivacious, oozing charisma while they danced and delivered lines dripping in humor. Hairspray is a quality production and most definitely recommended.

12.4.09

At breakfast I sat across from a man who asked me to which country Hong Kong had been returned - China or Japan. That was pretty funny. Then he started spitting on my food as he spoke, completely oblivious to my breakfast becoming the receptacle in which the fruit of his inner churl was being placed. I guess I understand the convention nowadays of covering one's mouth whilst speaking and masticating at the same time!

We actually conversed on London life in general, and I praised London for its racial integration, the act of which is a prodigious leap of faith for any society, trying to be inclusive, accepting all sorts of people. It wasn't as though the Brits were trying in vain to be all things to all men, using Spanish with the visitors from Spain, German with the Germans and, even, Hindi with the Indians, regardless of whether or not Hindi was their native language; not even considering the absurd idea of encouraging the international adoption of their language; thereby completely keeping English in English hands and allowing its proud polyglots to "practice" their languages. Indeed, the attempt of the Londoners to avail themselves of the rich mosaic of ethnic knowledge, and to seek a common understanding with a ubiquitous English accent is an exemplar, and the bedrock for any world city.

I celebrated Jesus' resurrection at the St. Andrew's Street Church in Cambridge. The parishioners of this Baptist church were warm and affable, and I met several of them, including one visiting (Halliday) linguistics scholar from Zhongshan university in Guangzhou, who in fact had visited my tiny City University of Hong Kong in 2003. The service itself was more traditional and the believers fewer in number than the "progressive" services at any of the charismatic, evangelical churches in HK; yet that's what makes this part of the body of Christ unique; besides, the message was as brief as a powerpoint slide, and informative no less; the power word which spoke into my life being a question from John 21:22 - what is that to you?

Big trees; exquisite lawns; and old, pointy colleges; that's Cambridge in a nutshell. Sitting here, sipping on a half-pint of Woodforde's Wherry, I've had a leisurely, if not languorous, day so far; my sole duty consisting of walking around while absorbing the verdant environment as though a sponge, camera in tow.

I am back at the sublime beer, savoring a pint of Sharp's DoomBar before my fish and chips arrive; the drinking age is 18, but anyone whose visage even hints of youthful brilliance is likely to get carded these days, the bartender told me. The youth drinking culture here is almost as twisted as the university drinking culture in America.

My stay in Cambridge, relaxing and desultory as it may be, is about to end after this late lunch. I an not sure if there is anything left to see, save for the American graveyard which rests an impossible two miles away. I have had a wonderful time in this town; and am thankful for the access into its living history - the residents here must demonstrate remarkable patience and tolerance what with so many tourists ambling on the streets, peering - and photographing - into every nook and cranny.

13.4.09

There are no rubbish bins, yet I've seen on the streets many mixed race couples in which the men tend to be white - the women also belonging to a light colored ethnicity, usually some sort of Asian; as well saw some black dudes and Indian dudes with white chicks.

People here hold doors, even at the entrance to the toilet. Sometimes it appears as though they are going out on a limb, just waiting for the one who will take the responsibility for the door from them, at which point I rush out to relieve them of such a fortuitous burden.

I visited the British Museum this morning. The two hours I spent there did neither myself nor the exhibits any justice because there really is too much to survey, enough captivating stuff to last an entire day, I think. The bottomless well of artifacts from antiquity, drawing from sources as diverse as Korea, and Mesopotamia, is a credit to the British empire, without whose looting most of this amazing booty would be unavailable for our purview; better, I think, for these priceless treasures to be open to all in the grandest supermarket of history than away from human eyes, and worst yet, in the hands of unscrupulous collectors or in the rubbish bin, possibly.

Irene and I took in the ballet Giselle at The Royal Opera House in the afternoon. The building is a plush marvel, and a testament to this city's love for the arts. The ballet itself was satisfying, the first half being superior to the second, in which the nimble dancers demonstrated their phenomenal dexterity in, of all places, a graveyard covered in a cloak of smoke and darkness. I admit, their dance of the dead, in such a gloomy necropolis, did strike me as, strange.

Two amicable ladies from Kent convinced me to visit their hometown tomorrow, where, they told me, the authentic, "working" Leeds Castle and the mighty interesting home of Charles Darwin await.

I'm nursing a pint of Green King Ruddles and wondering about the profusion of British ales and lagers; the British have done a great deed for the world by creating an interminable line of low-alcohol session beers that can be enjoyed at breakfast, lunch, tea and dinner; and their disservice is this: besides this inexhaustible supply of cheap beer ensnaring my inner alcoholic, I feel myself putting on my freshman fifteen, almost ten years after the fact; I am going to have to run a bit harder back in Hong Kong if I want to burn all this malty fuel off.

Irene suggested I stop by the National Art Gallery since we were in the area; and it was an hour well spent. The gallery currently presents a special exhibit on Picasso, the non-ticketed section of which features several seductive renderings, including David spying on Bathsheba - repeated in clever variants - and parodies of other masters' works. Furthermore, the main gallery houses two fabulous portraits by Joshua Reynolds, who happens to be favorite of mine, he in life being a close friend of Samuel Johnson - I passed by Boswells, where its namesake first met Johnson, on my way to the opera house.

14.4.09

I prayed last night, and went through my list, lifting everyone on it up to the Lord. That felt good; that God is alive now, and ever present in my life and in the lives of my brothers and sisters.

Doubtless, then, I have felt quite wistful, as though a specter in the land of the living, being in a place where religious fervor, it seems, is a thing of the past, a trifling for many, to be hidden away in the opaque corners of centuries-old cathedrals that are more expensive tourist destinations than liberating homes of worship these days. Indeed, I have yet to see anyone pray, outside of the Easter service which I attended in Cambridge - for such an ecstatic moment in verily a grand church, would you believe that it was only attended by at most three dozen spirited ones. The people of England, and Europe in general, have, it is my hope, only locked away the Word, relegating it to the quiet vault of their hearts. May it be taken out in the sudden pause before mealtimes and in the still crisp mornings and cool, silent nights. There is still hope for a revival in this place, for faith to rise like that splendid sun every morning. God would love to rescue them, to deliver them in this day, it is certain.

I wonder what Londoners think, if anything at all, about their police state which, like a vine in the shadows, has taken root in all corners of daily life, from the terrorist notifications in the underground, which implore Londoners to report all things suspicious, to the pair of dogs which eagerly stroll through Euston. What makes this all the more incredible is the fact that even the United States, the indomitable nemesis of the fledgling, rebel order, doesn't dare bombard its citizens with such fear mongering these days, especially with Obama in office; maybe we've grown wise in these past few years to the dubious returns of surrendering civil liberties to the state, of having our bags checked everywhere - London Eye; Hairspray; and The Royal Opera House check bags in London while the museums do not; somehow, that doesn't add up for me.

I'm in a majestic bookshop on New Street in Birmingham, and certainly to confirm my suspicions, there are just as many books on the death of Christianity in Britain as there are books which attempt to murder Christianity everywhere. I did find, however, a nice biography on John Wesley by Roy Hattersley and The Screwtape Letters by C.S. Lewis. I may pick up the former.

Lunch with Sally was pleasant and mirthful. We dined at a French restaurant nearby New Street - yes, Birmingham is a cultural capitol! Sally and I both tried their omelette, while her boyfriend had the fish, without chips. Conversation was light, the levity was there and so was our reminiscing about those fleeting moments during our first year in Hong Kong; it is amazing how friendships can resume so suddenly with a smile. On their recommendation, I am on my way to Warwick Castle - they also suggested that I visit Cadbury World, but they cannot take on additional visitors at the moment, the tourist office staff informed me, much to my disappointment!

Visiting Warwick Castle really made for a great day out. The castle, parts of which were established by William the Conquerer in 1068, is as much a kitschy tourist trap as a meticulous preservation of history, at times a sillier version of Ocean Park while at others a dignified dedication to a most glorious, inexorably English past. The castle caters to all visitors; and not surprisingly, that which delighted all audiences was a giant trebuchet siege engine, which for the five p.m. performance hurled a fireball high and far into the air - fantastic! Taliban beware!

15.4.09

I'm leaving on a jet plane this evening; don't know when I'll be back in England again. I'll miss this quirky, yet endearing place; and that I shall miss Irene and Tom who so generously welcomed me into their home, fed me, and suffered my use of their toilet and shower goes without saying. I'm grateful for God's many blessings on this trip.

On the itinerary today is a trip to John Wesley's home, followed by a visit to the Imperial War Museum. Already this morning I picked up a tube of Oilatum, a week late perhaps, which Teri recommended I use to treat this obstinate, dermal weakness of mine - I'm happy to report that my skin has stopped crying.

John Wesley's home is alive and well. Services are still held in the chapel everyday; and its crypt, so far from being a cellar for the dead, is a bright, spacious museum in which all things Wesley are on display - I never realized how much of an iconic figure he became in England; at the height of this idol frenzy, ironic in itself, he must have been as popular as the Beatles were at their apex. The house itself is a multi-story edifice with narrow, precipitous staircases and spacious rooms decorated in an 18th century fashion.

I found Samuel Johnson's house within a maze of red brick hidden alongside Fleet Street. To be in the home of the man who wrote the English dictionary, and whose indefatigable love for obscure words became the inspiration for my own lexical obsession, this, by far, is the climax of my visit to England! The best certainly has been saved for last.

There are a multitude of portraits hanging around the house like ornaments on a tree. Every likeness has its own story, meticulously retold on the crib sheets in each room. Celebrities abound, including David Garrick and Sir Joshua Reynolds, who painted several of the finer images in the house. I have developed a particular affinity for Oliver Goldsmith, of whom Boswell writes, "His person was short, his countenance coarse and vulgar, his deportment that of a scholar awkwardly affecting the easy gentleman. It appears as though I, too, could use a more flattering description of myself!

I regretfully couldn't stop to try the curry in England; I guess the CityU canteen's take on the dish will have to do. I did, however, have the opportune task of flirting with the cute Cathay Pacific counter staff who checked me in. She was gorgeous in red, light powder on her cheeks, with real diamond earrings, she said; and her small, delicate face, commanded by a posh British accent rendered her positively irresistible, electrifying. Not only did she grant me an aisle seat but she had the gumption to return my fawning with zest; she must be a pro at this by now.

I saw her again as she was pulling double-duty, collecting tickets prior to boarding. She remembered my quest for curry; and in the fog of infatuation, where nary a man has been made, I fumbled my words like the sloppy kid who has had too much punch. I am just an amateur, alas, an "Oliver Goldsmith" with the ladies - I got no game - booyah!

Some final, consequential bits: because of the chavs, Burberry no longer sells those fashionable baseball caps; because of the IRA, rubbish bins are no longer a commodity on the streets of London, and as a result, the streets and the Underground of the city are a soiled mess; and because of other terrorists from distant, more arid lands, going through a Western airport has taken on the tedium of perfunctory procedure that doesn't make me feel any safer from my invisible enemies.

At last, I saw so many Indians working at Heathrow that I could have easily mistaken the place for Mumbai. Their presence surprised me because their portion of the general population surely must be less than their portion of Heathrow staff, indicating some mysterious hiring bias. Regardless, they do a superb job with cursory airport checks, and in general are absurdly funny and witty when not tactless.

That's all for England!

An extremely lithe street performer at London's Piccadilly Circus.

Page personnage [French] : skyset-multiverse.jimdo.com/wiki/personnages/quant/

Ming is lithe, chatty, energetic, playful, handsome... and he found a new home 18 March 2015.

NPS / Jacob W. Frank

Definitely not "Megger-lithic" but modern creations made out of waste stone from nearby Whaley's Quarry. The slopes of Baugh Fell are to the left of the valley pastures with Great Knoutberry Hill, above the S&C Railway, seen on the far right.

Only a selection of images from each photo-shoot are posted here. If you'd like to see additional images from certain models you'll need to subscribe to my Patreon account where I will be publishing content I don't post here. You'll also have the option to make fan requests for more photos, or new photo-shoots, with your favourite models. My subscription rates are very low , staring from only $1/month, so check it out as I could really do with your support. - www.patreon.com/realitydysfunction

Instagram: @realitydysfunction www.instagram.com/realitydysfunction

Facebook: www.facebook.com/RealityDysfunctionPhotography

Youtube: www.youtube.com/channel/UCEzETLWNdE5NqOMXG63uicQ

The National Company of State Railways (ENFE), had in the course of time "a golden age", where in its route by branches that, between the eastern and western network, covered nothing more and nothing less than three thousand five hundred kilometers of distance from population to population between cities and provinces. Thus, it was the medium most required by the population as a whole, which apart from serving as cargo transport, machinery and minerals, offered pleasant trips to its passengers, whose journeys with paradisiacal landscapes, adventure, rejoicing to enigmatic mountains rocky and lithic figures; chromatic hills, plains and valleys. It was a dream, of those who enjoyed the comfort of the dining cars, or of the luxurious cars with pullman seats, or finally of the cars with bedrooms called "cabins".

Photograph that accompanies 17 other images that is exhibited in the Lúmina Gallery of the city of La Paz - Bolivia until July 14, 2018

La Empresa Nacional de Ferrocarriles del Estado (ENFE), tuvo en el transcurso del tiempo "una época de oro", donde en su recorrido por ramales que, entre la red oriental y la occidental, abarcaba nada más y nada menos que tres mil quinientos kilómetros de distancia de población a población entre ciudades y provincias. Así, era el medio más requerido por la población en su conjunto, que al margen de servir como transporte de carga, maquinaria y minerales, ofrecía placenteros viajes a sus pasajeros, cuyos periplos con paisajes paradisiacos, de aventura, de regocijo hasta enigmáticos de montañas rocosas y figuras líticas; cromáticos cerros, llanuras y valles. Era todo un ensueño, de quienes disfrutábamos la comodidad de los coches comedor, o de los lujosos coches con asientos pullman, o finalmente de los coches con dormitorios denominados "camarotes".

Fotografia que acompaña a otras 17 imagenes que se expone en la Galeria Lúmina de la ciudad de La Paz - Bolivia hasta el dia 14 de julio 2018

Jade frog figures known as muiraquitãs, found in archeological digs in Santarém, Pará, on display at the Sacred Art Museum in Belém.

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The original stone may have been a megalithic marker. The oldest depictions show a larger stone and site it at a different place to that of the cage protected current lithic marker. The outdoor rural court at the larger Birlay Stone under the shade of the Birley Tree first found Marion Lillie who was locally called either the Rigwoodie, or the Ringwoody Witch not guilty. The Rigwoody Witch was later accused again, the Rigwoody attached to her name and label of witch is from the Scots Rigwoody meaning thin, or bony. Her second recorded trial has her sent to further courts with a guilty verdict to present to them. Some suppose that she would have been found guilty there and put to death as a witch. Before the imperfect legal process was concluded Marion died and was buried in Spott Church grounds showing she was not convicted at the time of her demise.

Whether the either the process of accusation and defence were contributing factors in Marion’s death, or not the records are not present to say, yet there is a record, “Many witches burnt on Spott Loan,” this follows Marion’s death and some believe that these many were 13, maybe a number not recorded, as 13 are considered by some an ideal number for a coven and 13 has several wicked and even evil connotations for some. The records and several authors comments are visible through the links below. Some record Marion and link her to a Marion Lillie and some record her as the last witch burned in Scotland. We will never have that perspective that ran throughout the times when Europeans thought Witches were to be discovered, tortured and put to death. That perspective that allowed many to dispose of often elderly women who some saw as hanging on to what they waited too long for. Through the death of the falsely accused person others could be rid of the living obstacle by convicting them and killing them as a witch.

Before society could allow for people differing from ‘the norm’ there were many targets to haul before what passed for justice. Those times for some are not that far away and we can at times act like such victimisation is still completely acceptable. Every culture has people at risk as we seem to realise that high ideals are for art, culture and dreams and that low acceptance is still fuelling violence and inherited intolerance is still simmering ready to burn any that happen to be seen as Witch, whatever it meant back then and for whatever it means today. Witch is a word we say, for some it is used as an insult and a slander. Witches past and present are the ones victimised and victorious in reclaiming our rights to be different and to accepted, to be in need as we all are of the harmony and the balance that comes through tolerance. Witch is just one word that people have used to label and dehumanise another person to such extreme that a Witch being murdered was seen a blessing.

The links below give the history better than I have above.

This was part of a journey to other sites. Some are listed below.

© PHH Sykes 2022

phhsykes@gmail.com

The Witches Stone. Spott Community Association

www.spottvillage.org.uk/witches-stone-2/

Witches' Stone, Spott

canmore.org.uk/site/57667/witches-stone-spott

Witches' Stone, Spott

www.themodernantiquarian.com/site/6453/witches_stone.html

Witches' Stone, Spott

www.megalithic.co.uk/article.php?sid=8239

Witches' Stone, Spott

www.johngraycentre.org/collections/getrecord/ELHER_MEL1560/

Spott Church

spottchurch.org.uk/

Easter Broomhouse Standing Stone (Prehistoric)

canmore.org.uk/site/57622/easter-broomhouse

Also The Modern Antiquarian and The Megalithic Portal

Easter Broomhouse Standing Stone

www.themodernantiquarian.com/site/1492/

Easter Broomhouse Standing Stone

www.megalithic.co.uk/article.php?x=368000&y=676600

Pencraig Hill Standing Stone (Prehistoric)

www.themodernantiquarian.com/site/1494/pencraig_hill_stan...

Pencraig Hill Standing Stone (Prehistoric)

www.megalithic.co.uk/article.php?sid=6703

Un dels bunquers d'ametralladores del sector CR-59 (Roc Beneïdor), part de la Linea P entre la Cerdanya i La Seu d'Urgell.

Acabant'se la Segona Guerra Mundial, el regim feixista de Franco va temer (i per desgracia no fou així) una invasió aliada. Per això es fortificaren de punta a punta els Pirineus, amb una serie de fortificacions de formigó anomenades, amb "molta" imaginació, Linea P. Localment també s'ha conegut com Linea Gutierrez o Perez, potser com a broma. A Martinet de Cerdanya es pot visitar un sector de la linea, el CR 53, al Cabiscol.

ca.wikipedia.org/wiki/L%C3%ADnia_P

================================================

This bunker lays abandoned in the Catalan Pyrenees. It was part of the CR-59 sector, blocking the Puigcerdà - La Seu d'Urgell road.

As the III Reich was losing World War II, their friends in the spanish fascist regime of Franco were afraid of an allied invasion (which never came, sadly). So they built a fortified line along the Pyrenees. It was much less impressive than the Maginot or Siegfried lines, but at least the mountains gave it a difficult terrain all arround. It was known as Linea P, "P-Line". In Martinet de Cerdanya, a sector of the line (the CR-53) is open to the public and restored.

es.wikipedia.org/wiki/L%C3%ADnea_P

French postcard by Editions P.I., Paris no 427, 1952. Photo: Metro-Goldwyn-Mayer.

Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).

Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparents ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much, and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).

Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which include True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills, and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."

Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals that include On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120 degree weather as she sang Too Darn Hot, and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oil man Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in Mame.. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on opening night of the musical show Anything Goes, Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanant vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in Sugar Babies with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's Follies at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, Miller's High Life, and more memoirs in 1981 with Tops In Taps. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favorite pair of tap shoes, which she playfully nicknamed "Moe and Joe"

Sources: Steve Starr (The Entertainment Magazine), Wikipedia and IMDb.

Vintage postcard. Photo: Metro-Goldwyn-Mayer.

Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).

Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparents ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much, and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).

Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which include True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills, and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."

Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals that include On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120 degree weather as she sang 'Too Darn Hot', and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oil man Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in 'Mame'. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on opening night of the musical show 'Anything Goes', Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanant vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in 'Sugar Babies' with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's 'Follies' at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, 'Miller's High Life', and more memoirs in 1981 with 'Tops In Taps'. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favourite pair of tap shoes, which she playfully nicknamed "Moe and Joe".

Sources: Steve Starr (The Entertainment Magazine), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Cold Day with Vvalkiri

This painting has a poem that my grand mother wrote in 1947.

it is an erotic anti war poem!

that is relevant today- here it is .

Life was a woman to him, challenging. A fickle lovely gypsy taunting men with promise of incredible rendezvous and tales of fairy gold where rainbows end.

She stirred the hidden courses of his blood to joy of conquest. and life surrendered to his mastery the unaccustomed kindness of her lips, all the lithe beauty of her nakedness; But in the crowning moment of embrace, she slipped from him, and her sister took her place-

Dark death, who hoods her face, and no man woos. She wound thin arms about

tenderly

and closed his eyes with her long kiss, He never knew with whome he kept love's ultimate rendezvous. Mary Lisle

The Baker Chickadee began life as a Motorama show car designed to showcase Baker's innovative glass canopy design. Featuring whitewall tires, lithe styling, and bright colors, the Chickadee went on to become a popular production sports coupé with strong collector value.

©2018 Chris Elliott, All Rights Reserved.

Find me also on:

chriselliott.art | Facebook | Instagram | Reddit

Jaxie is a lithe little young gal who is done being a mother and ready to be a star on her own. She likes to hang out with people, getting petted or just sitting near them. Although she is still fairly high energy, so won't simmer down in one place for long. She really digs the laser pointer, and likes playing with wand toys. She gets along fine with other cats, although there is a bit of extra 'diplomacy' when she deals with another female cat (she has plenty of confidence!) This pretty kitty found a new home 19 June 2016.

DSC_5779a

Lith Print

Lirh print on Zone VI paper. I have 4-5 different papers to Lith so I have a fair amount of testing to do this winter. Sadly I only have about 10 sheets of this paper left.

Vintage postcard. Photo: Metro Goldwyn Mayer. Collection: Carla Bosch.

Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).

Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparents' ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).

Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which includes True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."

Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals that include On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120-degree weather as she sang Too Darn Hot, and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oilman Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in Mame. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight-foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on the opening night of the musical show Anything Goes, Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanent vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in Sugar Babies with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's Follies at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, Miller's High Life, and more memoirs in 1981 with Tops In Taps. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favorite pair of tap shoes, which she playfully nicknamed "Moe and Joe"

Sources: Steve Starr (The Entertainment Magazine), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

LITHIC PATH

It is during our darkest moments that we must focus to see the light.

Hoping for a smooth-sailing 2015 but I am ready for another bumpy ride.

Cold Day with Vvalkiri

silverlake, Los Angeles july 2011 All rights reserved ©

Britain loses its cool in the summer. Not for us lithe women in thongs and tanned men in trunks as tight as their abs. i'd like to say it charming, but it isn't - we are rubbish at the beach. i guess like christmas it's really for the kids.

OM-1, EBXpro

Sometimes I just have to show off the extensive length of these lithe legs of mine! They are quite shapely, aren't they?

I also think this clingy copper minidress looks particularly lovely in the way that it shows off my curves!

This shiny metallic copper wet look lycra spandex minidress came from greatglam.com. I've matched it up with my super shiny Platino Cleancut Caresse 15 denier pantyhose from shapings.com over Hanes Alive Barely There support hose from onehanesplace.com and my 5" black patent peep toe platform pumps from flirtcatalog.com.

To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

To see more pix of me in other outfits from Great Glam click this link: www.flickr.com/photos/kaceycdpix/sets/72157621973539909/

To see more pix of me showing off my legs click this link: www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

To see more pix of me in shiny, wet look lycra spandex outfits click this link: www.flickr.com/photos/kaceycdpix/sets/72157625106117954/ minidress!

DSC_2507-49

All in Green Went My Love Riding

on a great horse of gold

into the silver dawn.

♪♫"All In Green Went My Love Riding (JOAN BAEZ)"♪♫

Foothills of Albuquerque

the cat's meat man

Photogravure by Donald Macleish from Wonderful London by St John Adcock, 1927.

Slinking with lithe bodies amid the thickets of iron palings, or seated regardant upon the hillsides of front door steps, or prowling the deep ravines of basements, from tree-tops, from behind dustbins and out of first floor windows, the London cats come trotting after the cat's meat man. The pleased anticipation of milk or fish is as nothing to the ecstasy of craving for apiece of this "not of the newest" horse flesh. Mucid, and of horrid hues, in dull reds and yellows, the meat is put up in little steaks upon a skewer.

More at www.wonderfullondon.tumblr.com/

Armoured Leafeon Pokemon

Leafeon is a mammal whose most distinguishing features are its lithe body structure and vegetation protruding from its body. Its tail and ears are stylized to resemble torn and tattered leaves.

It has the body structure which incorporates traits of a fox, but shares many cat like qualities, as well as plant-like characteristics

.

Behavior

Leafeon is mainly a pacifist and does not like to fight.

Double (w. w/o. Rolleinar) - Old half barked oak on my weekly bike practice round (Kyrgystan is calling ..)

Superpan 200 in SLD

BH111 in Se5 (32:38:1100:5:20:5) / Omega + polysulphid (mt4)

Scanned lith print.

Mamiya 645 ProTL w/ Mamiya-Sekor 80 mm/f1.9. Nov 30, 2019.

Fomapan 100 developed in Fomadon R09 1+100, semistand 1 hour.

Lith printed on Rollei Vintage 332 (matte RC), 24x30 cm. Moersch SE5 + Omega.

Untoned.

My last few of these very well lithable resin coated warmtone papers. Of course discontinued... :-(

Feel free to visit me on FB, too:

www.facebook.com/DP.Photography.Images

Reykjavik Area, Iceland, 30.04.12

A troll turns into stone at the first light of the day ;-)

I hope you enjoy it :-)

Kamera/Camera: Canon Eos 5 D Mark II

Objektiv/Lens: Canon EF 17-40mm/ 4/ L USM

Filters: Lee Filters

If you are interested in Workshops and Tours please check out

www.phototours4u.com

Spanish postcard, no. 2872.

Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).

Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparent's ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).

Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which includes True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."

Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals including On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing, and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120-degree weather as she sang 'Too Darn Hot', and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oilman Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in 'Mame'. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight-foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on the opening night of the musical show 'Anything Goes', Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanant vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in 'Sugar Babies' with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's 'Follies' at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, 'Miller's High Life', and more memoirs in 1981 with 'Tops In Taps'. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favourite pair of tap shoes, which she playfully nicknamed "Moe and Joe".

Sources: Steve Starr (The Entertainment Magazine), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Belgian collectors card by Kwatta, no. C. 306. Photo: MGM. Ann Miller in On the Town (Stanley Donen, Gene Kelly, 1949).

Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).

Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparents' ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).

Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which include True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."

Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals that include On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120-degree weather as she sang Too Darn Hot, and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oilman Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in Mame. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight-foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on the opening night of the musical show Anything Goes, Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanent vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in Sugar Babies with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's Follies at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, Miller's High Life, and more memoirs in 1981 with Tops In Taps. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favorite pair of tap shoes, which she playfully nicknamed "Moe and Joe"

Sources: Steve Starr (The Entertainment Magazine), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

"Some of my kin look just like trees now, and need something great to rouse them; and they speak only in whispers. But some of my trees are limb-lithe, and many can talk to me."

— J.R.R. Tolkien

Treebeard among plants from around the world... in the Majorelle Gardens, Marrakesh ツ ツ ツ

* Samsung NX300 and Samsung 18-55mm OIS Lens

The photo above has been shot with the Samsung NX300, which has been provided by Samsung Electronics. Co., Ltd.

My work is for sale via Getty Images and at Redbubble and 500px

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© All rights reserved. Use without permission is illegal

©Todos los derechos reservados. El uso sin permiso es ilegal - ©Alle Rechte vorbehalten. Die Verwendung ohne Genehmigung ist illegal - جميع الحقوق محفوظة. استخدم من دون إذن هو غير قانوني© - ©保留所有权利。未经批准的使用是非法的 - ©Tous droits réservés. L'utilisation sans permission est illégal - © Όλα τα δικαιώματα διατηρούνται. Χρησιμοποιήστε χωρίς άδεια είναι παράνομη - ©Tutti i diritti riservati. Usare senza autorizzazione è illegale - ©すべての権利を保有。許可なしに使用することは違法です - ©Todos os direitos reservados. Use sem autorização é ilegal - ©Toate drepturile rezervate. Folosirea fără permisiunea este ilegală - ©Все права защищены. Использование без разрешения является незаконным - ©Tüm hakları saklıdır. İzinsiz kullanın yasadışı

©2013- Tom Raven - Toute reproduction, même partielle INTERDITE

We brought her home from the shelter 14 years ago and she was so lithe and little. But look at her now!

My curves are quite evident! ...And the fact that I can cross my lithe legs like this... well that's really twisty!

Here's another pic from my 2010 archives!

My ensemble for this picture set consists of my curve hugging red shirred ¾ sleeve lycra spandex minidress from greatglam.com, Osé Angel Noisette 20 denier seamless pantyhose and my Pleaser's black open toe ankle strap sandals from electriqueboutique.com.

To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

To see more pix of me in other outfits from Great Glam click this link: www.flickr.com/photos/kaceycdpix/sets/72157621973539909/

To see more pix of me wearing red dresses & ensembles click this link: www.flickr.com/photos/kaceycdpix/sets/72157649834758794

To see more pix of me showing off my legs click this link: www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

Remote00254-53

walkway to the emerald pools, zion national park, utah

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Sky hangs crooked over the water

We have to be ready for anything

At this still untidy point of the horizon

A magnetic steeple draws a dark bird wheeling with

night

A cloud passes a little lower and an airplane as

lithe as a wave and a horse leaps noiselessly

From The Deeper Shadow by Pierre Reverdy (1889 - 1960)

Best Viewed Large On Black - Airline contrail in the Sunset Sky [?]