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My neighbour offered me a lift into town today but he insisted I sit in the back, I have no idea why.
One Quechua woman kindly offered to explain the way they traditionally dye their clothes and textiles. It was an amazing experience. What's on her lips also is a kind of dye from an insect she just crushed. She mixed lime juice to make the vivid red color from the insect into orangish color. And her magic kept going on.
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Gears:
Camera: Nikon D5000 (newer version of the camera is Nikon D5300
Lens: Nikon 35mm f/1.8G AF-S DX Nikkor Lens
Circular Polarizing Filter: Tiffen 77mm Circular Polarizer
Step-Up Ring: Super Cheapo Step-Up Ring from 77mm to 52mm
Post Processing: Adobe Lightroom 5
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Subjects who wear eye glasses can offer a unique difficulty for photographers. First, there’s the dilemma of whether they should wear them or not (will they not feel & look like themselves without them? Are they hiding fabulous eyes behind those glasses?) And then there’s the problem of glare and reflection. An attentive photographer will pay attention to this factor, but it does cause issues and where a photo might be perfectly composed and lit, but a little glare in the glasses can throw the whole thing off.
All those tips for creating great catchlights? Forget ‘em. Reflectors aimed at the eyes, facing a light source…all these techniques will only show up as mirror-like reflections in the glass.
When using artificial or studio lighting, have your subject turn away from the lights just a tad and pay attention to what’s going on in the glasses.
As if pop-up flash wasn’t already a no-no, it’s even more so when your subject is wearing glasses
A rather strange suggestion is to have your subjects tilt the glasses downward only 1/2 an inch (just push them up from where they rest on their ears). This tiny bit of angle and make a huge difference. In the same manner, you can also experiment with having them tilt their head or the angle from which you’re shooting.
I revisited this magnificent nature reserve today 10th August 2018, many visitors to our city miss its glorious offerings, thinking all we have to offer is the beach front at the main boulevard , its a pity as this reserve is a short drive from the main tourist area and has its own charm, attraction and wealth of nature on offer, I love it .
Donmouth Local Nature Reserve is a beach site in the historic Old Aberdeen part of the City where the River Don meets the sea.
A great place to see seals and a range of interesting birds. The beach area has changed over time as the river has changed its course. There are lots of interesting plants in the dunes and beach area. Bird hide is an excellent shelter from which to watch the wildlife. The paths run across King Street to the Brig 'o Balgownie., the original bridge in to the City from the North, then down the other side of the river to the sea.
The site was designated a Local Nature Reserve in 1992
Paths are good although wheelchair access to the beach would be difficult as the boardwalk can get covered with sand.
There is plenty of free car parking on the Beach Esplanade and at the car park in Donmouth Road. There are cycle racks on Beach Esplanade
Bridge Of Don has five spans of dressed granite, and rounded cutwaters that carry up to road level to form pedestrian refuges. The spans are 75 feet (23 m), with a rise of 25 feet (7.6 m).
It was widened in 1958-59, from 24 feet (7.3 m), to 66 feet (20 m) by the construction of a new concrete bridge adjacent to the old one.
It now carries four lanes of the A956 road, and is the last bridge on the River Don before it meets the sea. The bridge is just downstream from a substantial island in the river. Around the area of the bridge is the Donmouth Local Nature Reserve, designated as a LNR in 1992.
Near to the bridge are a number of World War II era coastal defences, including a pill box.
Mudflats
Mudflats are formed when fine particles carried downstream by the river are deposited as it slows down before entering the sea, and to a lesser extent by fine particles washed in by the tide. The sand spit at the mouth of the Don provides shelter from the wind and waves allowing this material to build up. The mud flats are a very rich and fertile environment. Despite their rather barren appearance they support a surprisingly diverse invertebrate fauna which includes; worms, molluscs and crustacea. These invertebrates are vitally important to wildfowl and wading birds within the estuary.
Salt marsh
Along the upper shore of the south bank saltmarsh has developed. This habitat would once have been much more extensive prior to the tipping of domestic and other refuse in the area and the formation in 1727 of an artificial embankment to prevent flooding of the river into the Links. This habitat is now reduced to a narrow strip of vegetation along the river margins upstream from the Powis Burn.
The species composition of the salt marsh varies according to the salinity of the water i.e. the proximity to the sea. Close to the Powis Burn this habitat is dominated by reed sweet-grass (Glyceria maxima) with reed canary-grass (Phalaris arundinacea), sea club-rush (Scirpus maritimus), spike-rush (Eleocharis palustris), hemlock water-dropwort (Oenanthe crocata) and common scurvygrass (Chochlearia officinalis).
Further inland reed sweet-grass continues to dominate but hemlock water-dropwort is more abundant with meadowsweet (Filipendula ulmaria) and valarian (Valariana officinalis),
Sand dunes
Sand dunes are found in the more exposed parts of the estuary at the river mouth. Again, this habitat was once much more extensive in this locality with dune grasslands stretching from Aberdeen Beach inland as far as King Street, southwards from the estuary of the Dee, northwards to the Sands of Forvie and beyond. Many of the dunes formed part of Seaton Tip, and following tipping the area was grassed over. Other areas have been formally landscaped to form golf courses or planted with native trees in 2010 to create a new woodland area.
Some remnants of the natural dune flora can be seen in the 'roughs' on the Kings Links golf course and near the mouth of the river.
Above the high water mark, fore dunes with thick clumps of the pioneer grass species including sea lyme grass (Elymus arenarius) and marram grass (Ammophila arenaria) occur. Few other species are able to cope with the shifting sand. The largest area of these young dunes is to the north and west of the headland. Further inland where the dunes are sheltered from the actions of the wind and waves, and soils are more developed, more stable dunes are present supporting a more diverse grassland habitat.
Strand line plants which are able to tolerate occasional coverage by sea water include sea rocket (Cakile maritima), frosted orache (Atriplex laciniata), sea sandwort (Honkenya peploides) and knotgrass (Polygonum aviculare). Bur-reed (Sparganium sp.) has been recorded; presumably washed down by the river.
Marram grass (Ammophila arenaria) and sea lyme grass (Elymus arenarius) dominate the fore dunes. The latter species is not native to this area but appeared in 1802. It is thought to have been unintentionally introduced into the area by fishing boats. For a number of years it remained uncommon but from 1870 onwards it spread rapidly along the coastline (Marren, 1982).
In the more stable dunes red fescue (Festuca rubra), sand sedge (Carex arenaria), yellow rattle (Rhinanthus minor), wild pansy (Viola tricolour), harebell (Campanula rotundifolia), bird's-foot-trefoil (Lotus corniculatus) and lesser meadow-rue (Thalictrum minus) are abundant. Small amounts of kidney vetch (Anthyllis vulneraria), valerian (Valeriana officinalis) and spring vetch (Vicia lathyroides) are present.
Scattered willows (Salix sp.) and sycamore (Acer pseudoplantanus) have seeded into this area. Gorse (Ulex europaeus) scrub has colonised the dunes in some areas and appears to be spreading.
Scrub
This habitat is almost entirely artificial with only the gorse scrub on the inner dunes being a semi-natural habitat. Alder and willow were planted along the south bank of the river in about 1970 and these shrubs are now generally well established. Further shrub planting on the south bank was carried out in 1990.
Willow (Salix sp.) and alder (Alnus glutinosa) were planted in the 1970's along the south bank of the River Don eastwards of the Bridge of Don. The trees to the west of this strip are doing considerably better than those to the east. More recent planting was carried out in 1990 with hawthorn (Crataegus monogyna), blackthorn (Prunus spinosa) elder (Sambucus nigra), goat willow (Salix caprea) and alder.
Underneath the scrub neutral grassland is present with cocksfoot (Dactylis glomerata), false oat-grass (Arrhenatherum elatius), cow parsley (Anthriscus sylvestris), sweet cicely (Myrrhis odorata), hedge woundwort (Stachys sylvatica) and hedge bindweed (Calystegia sepium).
Grassland
Much of the grassland within the reserve is formed on imported soil and is intensively managed. This includes grassland on the north and south sides of the Esplanade. Daffodils are present in the grassland on the north side of the road. On the north bank to the east of the Bridge of Don is rank grassland on a steep south-facing slope. This is unmanaged and contains some patches of scrub.
Rough grassland is present on the headland. This area has been modified by tipping, with rubble to the east and with grass cuttings to the west. The grassland contains a mixture of neutral grassland, dune grassland, ruderal, and introduced garden species. This area attracts flocks of seed eating birds in late summer and autumn.
Improved grassland is present on the headland and along the south bank of the estuary downstream from the bridge of Don. Much of this vegetation has developed on imported soil and contains a high proportion of ruderal species and garden escapes. On the headland, broadleaved dock (Rumex obtusifolius), nettle (Urtica dioica), coltsfoot (Tussilago farfara), spear thistle (Cirsium vulgare), cow parsley (Anthriscus sylvestris), hemlock (Conium maculatum) and hogweed (Heracleum sphondylium) are abundant. Sweet cicely (Chaerophyllum bulbosum) is widespread and in late summer fills the air with the scent of aniseed.
To the south of the Esplanade the grassland is managed with an annual cut.. The grassland does flood to form pools. Early in the year cuckoo flower (Cardamine pratensis) is common, meadow foxtail (Alopecuris pratensis)is known to occur around the margins of these pools.
Woodland
Semi-mature woodland is present on the steep sided south bank of the river upstream from the Bridge of Don. Most of this woodland has been planted in the mid 1930's though some older oak and elm trees are present. These may be relicts of former woodland cover. The woodland in the reserve is part of a strip of woodland along the River Don corridor which continues upstream from the Brig 'o' Balgownie.
Woodland is present on the south bank upstream from the Bridge of Don.
Much of the woodland consists of even aged stands with willow (Salix sp.), sycamore (Acer pseudoplatanus), ash (Fraxinus excelsior), beech (Fagus sylvatica) and alder (AInus glutinosa). At the top of the slope mature oak (Quercus sp.) and elm (Ulmus glabra) are present. The ground flora contains tufted hair-grass (Deschampsia caespitosa), red campion (Silene dioica), ramsons (Allium ursinum) and lady fern (Athyrium felix-femina) .In a few areas dense shading is caused by the trees and in these areas the ground flora is poor.
On the north bank scattered trees are present, mainly willow and sycamore with some scrub.
An image of a girl on the bed in his shirt.
When I post images I hope I make you all smile, But for this one.... well I hope you got as lucky as me in a bygone age when we were young (apologies to those who still are)
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As part of her visit to the United States, President Park Geun-hye of South Korea visited NASA’s Goddard Space Flight Center in Greenbelt, Md. On Oct. 14, 2015. The visit offered an opportunity to celebrate past collaborative efforts between the American and South Korean space programs along with presentations on current projects and programs underway at Goddard.
Credit: NASA/Goddard/Bill Hrybyk
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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#36-5, NASCAR, Johnny Benson, Signing, 1998, Honey Nut Cheerios, #26 Poster Offer, Cereal Box, with Picture Proof Photo, (P.P.P.)
Builder: Chantiers de la Liane, Boulogne
Year: 1936
Location Cornwall
Length on deck: 43'6" + bowsprit
Beam: 10'6"
Draft: 5'10"
Tonnage(TM): 16TM
£65,000
A positively stunning and eye-catching yacht, French pre-war designed and built, UK owned and refitted is now offered for sale lying in Cornwall.
The long, fine counter stern with the sweetest of sheers, the generous beam, the high freeboard with an almost flush white scrubbed teak deck, the wonderful rich varnished teak deck works and a tall Bermudian cutter rig all serve to make this yacht a classic in every sense of the word.
The yacht was originally robustly built to a high standard in teak and has been extensively refitted over recent years in past and present ownership to make her now as good if not better than new.
Built by the Chantiers de la Liane in Boulogne, N France in 1936.
An old brochure we have probably dating from the early 1970’s indicates that she was offered for either bare boat or skippered charter in the South of France and claims that she had already made several North Atlantic crossings.
We first came across her in the Golfe de Morbihan in 1987 when she was owned by Ambrose von Herberstein. We sold her for him to Gareth Wright and she came under UK flag and sailed to Devon. She changed hands again to Cornish ownership, a boatyard owner who upgraded her significantly and raced her successfully in several classic regattas.
In 2005 she came to the present owner who keeps her on the River Fal. In his ownership she had some major work done in a Cornish boatyard, detailed below and is now in absolutely superb condition.
She has competed successfully on the classic yacht circuit on the South Coast coming second to Kelpie in the Fowey Classics passage race from Fowey to Falmouth in 2006. She took on the moderns in the 2010 Fowey Royal Regatta passage race from Falmouth to Fowey and flying her enormous asymmetric spinnaker she won her class.
I had the great pleasure of sailing in her to Douarnenez in the summer of 2012 when we put her through her paces in both gentle breezes when she ghosted along always moving and in stronger winds when she really picked up her heels and skipped along. She has a lovely steady motion, she responds well to a lift in the breeze, when you learn her ways she can be nursed up close to the wind and you can still cook a 3 course dinner below.
Construction.
Carvel planked in 1 1/8” Burma teak, caulked and payed. The hull planking is very fair, no plank seams visible and finished in expertly applied off-white enamel with a high polish.
100mm x 70mm grown oak frames at 60cm in single sweeps from forward back to the mast and from the forward end of the cock-pit (or the engine) up into the counter.
The midships sections have similar grown oak frames, wider spaced with two 40mm x 40mm steam bent oak timbers between.
All fastenings a copper nails with roves and bronze screws in the hood ends.
Heavy grown oak floors on the grown frames.
Galvanised steel floors on the steam bent timbers.
Ballast. External 4000kg lead ballast keel secured with bronze keel bolts.
Keel bolts replaced in the winter 2010/2011 refit.
Major refit in 1984, galvanised steel strap floors were removed and 38 new galvanised steel floors made and fitted. Any deteriorated timbers below the floors was scarphed in with new.
Several oak futtocks approx 3” x 2” added at the lower ends between the steamed timbers as additional strength in view of the several scarphs in the steam bent timbers.
Ballast keel dropped.
Both garboards replaced.
Refit 1995
New deck, cock-pit and coach-roof
New galley and quarter berth
New saloon table
Refit 2005.
All floors up into the counter refastened
New stem
All floors forward of the mast refastened.
Major refit 2010
New oak stern post
New stern tube and bearings
New engine mounts
Total repaint and revarnished to a high gloss.
Deck.
New deck laid in 1995 by Traditional Sail in Salcombe in yacht laid teak on a ply sub deck. The deck planks are swept round to the gunnel and joggled in to the king plank to superb effect.
Seams payed in butyl rubber.
All new deck beams in 1995.
5” varnished teak toe rail.
At the same time as the new deck was laid, the cock-pit coamings, the coach-roof coamings, beams and sheathed ply roof, the sliding entrance hatch and garage, the charming little twin doors with bevelled glass panels and the fore hatch were all replaced in new teak to the original design.
The yacht appears to be almost flush decked with a shallow, narrow coach-roof standing only some 6 or 7 inches off the deck, reaching up almost to the mast and not much wider than the cabin entrance hatch thus leaving what appears to be acres of wide clear side decks but just enough to give little extra head-room through the boat below.
The yacht is not fitted with stanchion posts or guard-wires, neither pulpit of pull-pit clutter her exquisite lines.
Coach-roof coamings are in varnished teak.
Sliding hatch in a garage entrance to the cabin with tow little glazed doors and a long ladder down into the bowels of the ship. Only then do you appreciate her size and her lines.
Cock-pit
The cock-pit coamings form a rectangle, also in highly varnished teak standing 6” off the deck and take off nicely each side of the narrow coach-roof leaving a wide bridge deck and seating each side of a deep foot well, with varnished linings and teak gratings.
Self-draining well.
The main sheet is on a horse across the well easily accessed by either crew or the helm if short handed sailing.
Engine control panel and nav instruments mounted out of the way in the well.
Deck access to the counter space is by a locker lid in the after end of the well.
Sheet winches on the deck just outside the coamings.
The long varnished tiller is mounted with bronze fittings to the rudder stock which penetrates the after deck in a finely varnished chock. Rebuilt rudder and fittings in the 2010 refit.
Rig.
Bermudian cutter rig on varnished (believed Oregon pine) pole mast stepped through the main deck onto the keel built in 2002 by Noble Masts in Bristol using their bird beak method of construction.
The mast is approx 8” circumference turning to octagonal just above the deck penetration and
Twin spreaders.
All stainless steel rigging fitted 2002 with swaged terminals and stainless steel rigging screws to 1995 internal stainless steel chain plates.
Single masthead standing back-stay to the counter.
Running back-stays on tackles from the upper spreaders to bronze anchor points on the quarters, the tails led to the windward winches.
Twin lowers, intermediates and cap shrouds
Inner fore stay, upper spreaders to inboard of the stemhead
Outer fore stay masthead to end of bowsprit.
Both inner and outer forestays fitted with Harken roller reefing gear.
New varnished spruce bowsprit in 2005 with polished stainless steel end fitting, heel fitting passing through twin chain roller stemhead fitting.
Stainless steel shrouds and stainless steel bob-stay chain.
The inner fore stay anchored to an eye bolt set through the bowsprit down to the inside face of the stem.
Polished stainless steel low-level pin rails either of the mast take the halyards secured clear of the mast to conserve the varnish. The pin rails cleverly incorporate a cradle for the life raft between the mast and the coach-roof.
Winches.
Pair of Antal ST W40 self tailing
2 pairs of top action 2-speed Lewmar 43
Pair of top action single speed Lewmar 9 either side of the entrance hatch
Mast winches
Staysail sheets to a bronze track each side of the mast.
Jib sheets to tracks in the scuppers each side about midships
Varnished boom with bronze goose neck fitting pivots on the original very substantial galvanised steel mast fitting. Bronze end cap fitting with spinning bale to take the main sheet.
Harken main sheet track, car and blocks.
Sails
Mainsail by John McKillop
No.1 cruising yankee
No.1 racing yankee by Hood Sails
Cruising staysail
Racing staysail by Hood sails
No.2 yankee
Asymmetric spinnaker
Machinery
Yanmar diesel installed new in 2005
Most unusually, this yacht has a dedicated walk-in engine room. The vertical companionway ladder is mounted on a door in the after bulkhead below the cock-pit entrance hatch. The almost full standing head-room door carrying the ladder hinges open to allow walk-in entrance with standing space immediately inside the doorway.
Aft is the very smart engine mounted on the centre-line to a conventional centre-line shaft drive fitted with a vibration-free, flexible water-cooled sea and an earthing lead.
Quite reasonable access all round and over the engine.
Good stowage space down the port side of the engine takes the inflatable dinghy, fuel cans and outboard engine.
Easy access fuel filters with clearly visible glass water traps.
Easy access incoming salt water filter
New switch board just inside the door to stbd.
All new electrical wiring on 12v circuits in the 2005 refit.
Accommodation. 6 berths
Access to the cabin is by the sliding hatch and twin glazed doors from the cock-pit down a varnished companionway ladder to an entrance lobby.
To stbd is a large quarter berth rebuilt by Traditional Sail in the 1995 refit, a generous berth set quite high due to the fine lines of the hull allowing lockers and the fridge under.
A varnished teak board can be placed on the berth as a chart desk when required.
Nav instruments on the bulkhead above the head of the berth can be seen from the sliding hatch entrance.
Galley to port rebuilt by Traditional Sail in the 1995. Thick varnished teak work surface with inset large and small deep rectangular stainless steel sinks.
Gimballed 3-burner and oven stainless steel gas cooker in a stainless steel lined recess.
Varnished teak lockers above and below.
Pressurised cold water supply to the sink.
Salt water faucet on foot pump
Bulkhead door forward to the saloon cabin means that the working part of the boat can be shut off from the living area.
Saloon with port and stbd settee berths.
Shelf above the port settee.
Narrow berth above the stbd settee.
Cupboards in the after corners.
Mast forward.
Oil fired cabin heater on the cabin sole to port of the mast with 12v pumped fuel supply.
Varnished cabin sole inlaid in holly
A very fine teak folding table built by Traditional Sail to the designs of the great Dr Tom Harrison Butler folds away into a box recess in the cabin sole to give a flush floor.
Varnished bulkheads, varnished coamings and sky-light above, white painted deckhead.
Blue leatherette cushions with buttoned upholstered panels to the seat backs which fold open to access lockers behind the settees.
Panelled varnished mahogany door forward to the forward lobby.
Forward again to the forward cabin bulkhead door.
Both doors close off the lobby to create a private ablutions compartment.
Blake sea toilet to port.
Antique drop down porcelain hand basin with fold out bronze faucet, drains in the heads below and folds away to present a teak locker door.
Forward cabin with a large double berth. It is possible to either sleep fore and aft of to sleep athwartships.
Up forward is open to the hull sides with the chain chute, electric windlass in the deckhead.Chains below the berth forward.
6’6” headroom in the entrance lobby and saloon, 5’10” forward.
Equipment
Nav gear
Sestral steering compass mounted on the bridge deck
Hand bearing compass
Raytheon ST60 Log
VHF radio with DSC
Furuno Navigator GPS
Raytheon Radar and chart plotter combined, single/spilt screen.
Safety gear
4 man life raft
3 fire extinguishers
Fire blanket
Flares
Life lines on the side decks.
Ground tackle.
2 x 35kg CQR anchors stow on the stemhead rollers.
Anchor chain
Deck gear
Deflatable dinghy with pump and oars.
Outboard engine
Mooring warps
4 fenders
Domestic
Galley equipment
Oil fired cabin heater in the saloon cabin
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Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are following Lettice’s maid, Edith, who together with her beau, local grocery delivery boy Frank Leadbetter, have wended their way pleasurably a short distance south-east of Cavendish Mews, through the Burlington Estate, along Piccadilly past the six storey red brick façade of Fortnum and Mason with its six fanlight display windows, across busy Piccadilly Circus with its high hoardings advertising Bovril and Schweppes tonic water and its central fountain surmounted by Eros, and down to Trafalgar Square in the centre of London.
The pair are dressed in their summer best as they enjoy the sunshine: Frank in his Sunday best blue suit and a smart straw boater with a colourful grosgrain ribbon around the crown, and Edith in her blue floral sprigged frock and her wide brimmed straw hat decorated with a gay blue green and red ribbon and artificial flowers in matching colours, yet still holding her old battered black umbrella just in case of inclement weather. Circumnavigating tall Nelson’s Column guarded by his four giant lion statues, the pair blend in with the other citizens of London taking a stroll in the good weather. They laugh and chatter away amicably together as they perambulate across the wide tiled square, all awkwardness of their early courtship long left behind and replaced with a comfort and ease that comes with knowing one another better. They walk between the two ornamental fountains where children play and head towards the sweep of stairs that lead up to the National Gallery of London.
As they walk into the shadow of the tall Neoclassical columned façade of the gallery, Edith shivers and pulls herself more closely against Frank, not because she is cold, but because she is intimidated by the enormity and grandeur of the ediface. She has never been to the National Gallery before, and even as she walks past the liveried guards, she silently worries that she will be dragged away from Frank and thrown out for her impertinence. Yet when they approach one near the entrance to the gallery, he smiles and says good morning to them both.
“You see, Edith,” Frank reassures her, squeezing her forearm just above where her green leather handbag handle sits in the crook of her arm. “I told you there was nothing to worry about. The National gallery is for everyone, not just the wealthy.”
The pair walk through long galleries where the gently diffused light from large skylights above falls onto the artworks hanging in gilt frames along the painted walls around them. The galleries are populated with people of all kinds chatting quietly together in pairs like Frank and Edith or in small groups, all admiring the works hanging serenely about them in the long galleries. Edith’s heels click against the parquetry floors, but she is too amazed by all the beautiful paintings to feel self-conscious about it or feel inferiority because her clothes are not as fine as some of the gallery’s visitors around them. With her right arm linked firmly with Frank’s, she allows him to lead her through gallery after gallery, pointing out portraits of famous people from history, landscapes by the Impressionist painters of France, Italian Renaissance paintings and Dutch masters.
Eventually the pair wend their way to a gallery featuring artwork and furnishings from, or inspired by the Tudor period.
“The Royal Nursery 1538 by Marcus Stone,” Edith reads quietly aloud from the plaque stuck to the red painted wall beneath the large gold framed portrait. “Painted in 1871.” She looks closely at the fine details of the faces of the people in the oil painting and their beautiful Tudor costumes. “Well that’s obviously Henry VIII,” she remarks, indicating to the central figure pulling a toy galleon on wheels, who is unmistakably the Tudor sovereign. “But who are the others?”
“Well,” Frank says peering at the oil painting which has yellowed with age and exposure to the elements. “I’d say that is his son, Prince Edward,” He points to the cherubic child in what looks more like a Tudor torture machine than a wooden walker. “I would imagine that that is Princess Elizabeth who became Queen Elizabeth.” He indicates to a sad looking child standing on her own to the left of the painting with a wistful look on her face.
“How do you know that Frank?” Edith asks with eyes glittering with excitement.
“Well, see,” he points to her hands. “She appears to have been reading before the arrival of King Henry, and Queen Elizabeth was purportedly an avid reader.”
“Oh!” Edith nods and gazes seriously at the child.
“And that may be Princess Mary, who became Queen Mary who caused so many problems between the Catholics and the Protestants here in England.” Frank indicates to the young woman in very grand garb kneeling beside the young prince in the walker. “She was Elizabeth’s older half-sister. I’m not sure who the rest are. Servants maybe, or the king’s advisors.”
“Yes, she looks like a nursemaid.” Edith points to a woman in the shadows to the right of the painting standing by a cradle.
“Of course,” Frank remarks. “It’s all very fanciful, really.”
Edith turns away from the painting after the pair look at it in companionable silence for a few moments longer and spots several high backed chairs with red velvet seats sitting in a cluster in the middle of the gallery’s parquetry floor.
“Do you mind if we sit down for a few minutes Frank? My shoes are beginning to pinch from all the standing we’ve been doing.”
“Oh of course, Edith!” Frank replies with concern. “Lets sit over there.” He nods to the same cluster of chairs that had caught Edith’s eyes.
The pair walk over to the chairs where Edith sinks down with a grateful sigh, whilst Frank sits down beside her, placing his smart summer straw boater on the seat next to him. Edith reaches down to her foot and discreetly slips off her left Sunday best black pump and rubs her heel beneath her slightly rumpled stocking.
Sitting up again, Edith looks back across at the painting. “What do you mean by the painting is fanciful, Frank?”
“Well, I doubt that even King Henry’s children’s nursery would have looked quite so picturesque as that in Tudor times. Life dirty back in those days, even for kings and queens. Marcus Stone* was a Victorian Romantic painter, Edith, so his image is a romanticised version of what we might have seen.”
“But none of us can truly know what the King’s nursery looked like back then, Frank.”
“Very true, Edith. Mr. Stone was painting a historical scene that appealed to the romantic ideals of the time. Queen Victoria and her family were very interested in history, but a romanticised and sanitised version of it, and she influenced the tastes of all her subjects. She was also a very family-oriented monarch, probably the first since King George III, so domestic scenes were very popular at the time Mr. Stone painted it.”
Edith’s pretty cornflower blue eyes grow wide as she stares in admiration at her beau sitting beside her. “You are so knowledgeable, Frank.”
“Thank you Edith.” he replies proudly sitting up a little more boldly.
“How do you know so much?”
“Well, I do read quite a lot, Edith. You should see my bedroom at my lodgings. There are books everywhere. Mrs. Chapman keeps threatening to fling them all out. She says the weight will make the floors bow.” He chuckles.
“They won’t will they, Frank?” Edith gasps.
“Oh no!” he assures her. “It’s just Mrs. Chapman and one of her ways. I don’t think she has ever been a great reader, and she treats books, and book readers, with suspicion. I don’t think she would have agreed to take me as a paying lodger if she knew I read as much as I do.”
“I don’t know where you find the space in your head to store all the information you gather from what you read. I’m sure I couldn’t. I’m sure I’ll never be as smart as you, Frank.” Edith blushes with embarrassment.
“Rubbish Edith!” Frank retorts quickly. “I’ve told you before, we are all smart in different ways. There are things you know and know how to do that I don’t.”
“Sometimes I think what I know in comparison to you is of no significance at all.”
“That’s foolish talk too, Edith, and I said as much in Hilda’s kitchen that Sunday when we all went to the Hammersmith Palais**.” Frank chides his sweetheart, not unkindly. “You know how to cook, and all my knowledge of painting couldn’t feed an empty belly.” He looks at Edith lovingly. “You know you really mustn’t feel inferior, Edith. I only know what I do because my grandparents used to bring me here when I was, as Gran would say, ‘a wee bairn’.”
“Well, you are very lucky, Frank.”
“I know, Edith.” He looks around the red painted gallery populated with couples, small clusters of people and a few men and women on their own, quietly admiring the Tudor paintings covering the walls. “So, how do you like your first visit to the National Gallery, then?”
“Oh, I love it, Frank!” Edith enthuses. “You know, when we spent New Year’s Eve at The Angel*** and you suggested that we visit here, I had my doubts.”
“I know Edith. I could see them, as plain as day in your pretty face.” Frank chuckles.
“I always thought of galleries as places, well where people like Miss Lettice and her fine friends go, and not for people like me. The way she tries to talk to me about modern art and fashionable trends when she gets a new delivery from the Portland Gallery in Bond Street just leaves me feeling bewildered. Next to her, I feel I don’t even know what art is.”
“Well, those kind of galleries are a bit more avant-garde.” Frank agrees.
“What does that mean, Frank?”
Frank thinks for a moment, looking up to the white painted plaster ceiling above before replying. “Experimental and innovatively modern.”
“Well, I don’t think I am so keen on that kind of art. Paintings that look like blotches and squares of bright colour that I’m told are portraits or landscapes where I can’t see either, leave me feeling unsettled. But here,” She waves her hands expansively around her with a relieved smile. “I can see paintings and sculptures that I understand. That painting says it’s a nursery, and whether it is historically accurate or not, Frank, it looks like a nursery to me. These are like the pictures Mrs. Boothby has hanging above her sink in Poplar, only far more colourful and beautiful.”
“That’s because these are originals, not facsimiles, Edith.”
“Facsimile.” Edith laughs quietly and shakes her head as she rolls the foreign word around on her tongue like an exotic sweet. “And what does that mean, Frank Leadbetter?”
“A copy.” he replies with a slightly embarrassed chuckle of his own.
“Facsimile, facsimile,” Edith quietly recites, trying to gain familiarity with the word. “I like that word, Frank. It sounds very grand and important, and much nicer than copy, which sounds so boring and everyday in comparison.”
The pair laugh together and sigh happily.
“So, you’d be happy to come here again then, Edith?” Frank asks hopefully.
“Oh yes Frank! I’d love that!”
“I’m glad to hear you say that Edith, because there are so many more galleries to see, and the curators of the galleries do change paintings over from time to time, and have exhibitions of paintings brought in especially from other galleries in other countries.”
“Are you wanting to make me as knowledgeable about art as you, Frank?”
“Well,” Frank blushes. “It wouldn’t be a bad thing to expand your horizons, Edith, and I love showing you that there is a whole world of art that you’ve never experienced before.”
“Oh, you are so lovely, Frank.” Edith sighs. “How fortunate I am to have met you.”
“And how lucky I am to have met you too, Edith.”
The couple discreetly hold hands as they sit side by side on the seats and stare lovingly into one another’s eyes, the people milling about them, the sound of footsteps and the quiet burble of conversation drifting away as they focus only on each other.
At length Frank breaks their blissful moment of enjoyment. “What do you think your mum would say to me bringing you here, Edith?” His happy eyes suddenly cloud a little with concern.
“Oh, I don’t think she’d mind, Frank.”
“Don’t you think she would think I was trying to fill your head with ideas that don’t belong there?” he asks glumly, hanging his head as he speaks.
“No, of course she wouldn’t! Mum loves beautiful things too, Frank. I think she thinks the same of galleries as I did until you brought me here, and if she knew that the gallery was open to the likes of you and me, and that it was free, she’d spend a few hard earned pennies catching the tube to come here too.”
“Do you really think so, Edith?”
“Of course I do, Frank. Maybe we could even bring her here one Sunday on our day off.” Edith assures her beau.
“That would be a turn up for the books, Edith.” Frank smiles.
“Look, I know that you and Mum got off to a rocky start together when you first met, but she’s warming to you, Frank. Honestly she is.”
“I’m sure Edith.” Frank squeezes Edith’s hands. “I’m just anxious that we get along, is all. When you and I get married, I want her to be proud of her daughter’s choice in a husband.”
“Frank,” Edith looks earnestly into the young man’s anxious face. “Mum knows that I’m old enough to make my own decisions. I’m not a little girl anymore. She will be proud when I marry the man who suits me down to a tee, and that man is you, Frank.”
Frank blushes red and smiles shyly at his sweetheart who returns it with her own shy smile.
“I do love you, Edith Watsford.”
“And I love you, Frank Leadbetter.”
“Well, if you do, Edith,” Frank looks back at the picture of the Royal Nursery and points. “How many children shall we have?”
“Oh, you are awful Frank Leadbetter!” gasps Edith, her cheeks colouring at the mention of having babies. “None until after the day we get wed!” She releases his hands and playfully smacks him across the knuckles.
“Yes, but then now many?” Frank persists.
“We’ll see then, won’t we, Frank?” Edith laughs. She slips her shoe back on and picks up her handbag. “Come on,” she says, standing up. “We’ve sat here for long enough.” She holds out her hand to him. “It’s time for you to show me some more of the National Gallery.”
“Yes Miss!” Frank says, snatching up his hat and their guidebooks.
Arm in arm the pair begin to move further along the gallery towards the door leading into the next room, their heads bowed towards one another as they chatter happily between them.
*Marcus Stone RA was an English painter. He was born in London in 1840, and was educated by his father, artist Frank Stone, before exhibiting at the Royal Academy before he was eighteen. He is known for his illustrations of books by Charles Dickens and Anthony Trollope. His earlier works were mostly historical incidents, but his later works were more sentimental. He is best known for his painting “In Love” which he painted in 1888. He died in 1921 in Kensington.
**The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
***The Angel, one of the oldest Rotherhithe pubs, is now in splendid isolation in front of the remains of Edward III's mansion on the Thames Path at the western edge of Rotherhithe. The site was first used when the Bermondsey Abbey monks used to brew beer which they sold to pilgrims. It is located at 24 Rotherhithe St, opposite Execution Dock in Wapping. It has two storeys, plus an attic. It is built of multi-coloured stock brick with a stucco cornice and blocking course. The ground floor frontage is made of wood. There is an area of segmental arches on the first floor with sash windows, and it is topped by a low pitched slate roof. Its Thames frontage has an unusual weatherboarded gallery on wooden posts. The interior is divided by wooden panels into five small rooms. In the early 20th Century its reputation and location attracted local artists including Augustus John and James Abbott McNeil Whistler. In the 1940s and 50s it became a popular destination for celebrities including Laurel and Hardy. Today its customers are local residents, tourists and people walking the Thames Path.
Although carefully arranged to look like the National Gallery as it was in the 1920s, this scene is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection, including pieces from my own childhood.
Fun things to look for in this tableau include:
The paintings on the walls in their gilt frames all come from Kathleen Knight’s Dolls House Shop in the United Kingdom. The main painting featured is a copy of “The Royal Nursery 1538”, an oil on canvas by Victorian Romanticist painter, history painter, illustrator and genre painter, Marcus Stone.
The Queen Anne chairs in the foreground are part of a dining room set that I was given as birthday present when I was a child.
1:12 size miniature hats made to exacting standards of quality and realism are often far more expensive than real hats are. When you think that one would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, makes them an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. Although not as expensive, Frank’s straw boater is made with wonderful detail and comes from Doreen Jeffries’ Small Wonders miniature shop in the United Kingdom.
Edith’s handbag handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
The black umbrella came from an online stockist of 1:12 miniatures on E-Bay.
The Tudor table beneath “The Royal Nursery 1538” and the Tudor chair you can just see to its right, I bought as part of a lot of miniature pieces from an antique auction when I was a late teenager. The chest to the left of the photo came from Kathleen Knight’s Dolls House Shop.
Edith’s handbag handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
in the northern region of the stone quarries of ancient Egypt in Aswan (Assuan), Egypt.The Quarry offers unusual insights into ancient Egyptian stone-working techniques.
Hardcore Superstar
Alcatraz - Milano
17 Novembre 2013
Jocke Berg - vocals
Vic Zino - guitar
Martin Sandvik - bass
Magnus "ADDE" Andreasson - drums
ph © Mairo Cinquetti
Many bands play it safe – Hardcore Superstar doesn't.
The Swedish four-piece had the balls to marry two styles that grew up hating each other. We're talking about thrash metal and sleaze rock. The former hard, aggressive and ugly, the latter catchy, melodic and decadent.
The bastard child's name?
– We play street metal, offers drummer Magnus "Adde" Andreasson. Thrash and sleaze both come from the gutter. They wear big sneakers, they are a bit stupid and they both read pulp fiction. I can't believe that nobody brought them together before.
Hardcore Superstar did just that with the band's fourth and eponymous album, released in 2005. But the quartet didn't arrive overnight, rather paying its dues during a rocky but rewarding ride.
The roots can be traced back to the late eighties, when Adde was talked into playing the drums by older friend and neighbour Jocke Berg.
– I played the guitar and we tried our best with songs such as "Paranoid" and King Diamond's "Shrine", Jocke remembers.
The young teenagers, hailing from a small town just outside of Gothenburg, ended up in different bands, who in turn chose different routes from their Iron Maiden inspired beginnings. Adde opted for heavier stuff in Dorian Gray whereas the Jocke fronted Glamoury Foxx went in a glammier direction. Incidentally, Jocke took up singing thanks to one Thomas Silver, fellow guitar slinger in Glamoury Foxx.
Eventually, Jocke and Adde ended up together again. This time in Link, a classic rock oriented outfit with grunge leanings. They were joined by guitar player Fredrik "Fidde" Johansson and bass player Martin Sandvik, the latter having originally tried to lure Jocke away to his own band, Wanted. Link did the occasional gig and recorded a couple of demos before Adde headed west to pursue his dream.
– I kind of grew tired of Link, he confesses. I moved to Los Angeles to study at the Musicians Institute.
Link recruited drummer Mika Vainio and kept going until parting ways with Fredrik Johansson in the fall of 1997. The guitar player wanted to take the band in a psychedelic and arty direction – the other three just wanted to rock.
– I remember showing Fidde the riff to "Hello/goodbye", Martin says. He turned his back on me and started to play scales on the guitar. He obviously thought the riff sucked.
The remaining members couldn't be bothered, forging ahead and adopting the name Hardcore Superstar. Well, there was one little problem. Jocke already was quite a frontman, but being the sole guitar player? Naaah. As luck would have it, Thomas Silver had just left local rockers Green Jesus Saviours. Hardcore Superstar had a club gig lined up in Gothenburg, so Jocke asked his old bandmate to help out. Things clicked immediately and Thomas signed up as a permanent member.
His connection with Gain Productions helped Hardcore Superstar get "Hello/goodbye" and
"Someone special" onto a compilation album. The response was phenomenal and Gain duly offered the band a contract. And so in early 1998 the boys set out to record their debut album.
– We were influenced by the LA metal scene of the eighties, says Martin. You know, LA Guns and Faster Pussycat and the likes. But we also dug Oasis, as can be heard in "Someone special".
The result, "It's only rock'n'roll", was released in October 1998.
– Putting out an album was awesome, Jocke gushes. I felt like a rock star. And then we got to support Motörhead in Scandinavia. It was like "wow, we've made it!".
The initial 1000 copies of the album sold like hot cakes, and the second pressing sold out as well. Legendary UK label Music For Nations took notice, but Mika Vainio's interest was waning. The drummer jumped ship in late 1998. The band was bummed out but quickly decided that this might've been a blessing in disguise. There was this guy in LA with a bit of skill behind the drums, remember. Thomas called Adde, suggesting he'd get his ass back to Sweden to play some proper rock'n'roll.
– I said yes on the spot, Adde remembers. I felt done with LA, especially after being in a pub brawl that sent me to the hospital. I was back in Sweden in less than a month after Thomas' call.
Everything gelled as soon as the prodigal son returned. Hardcore Superstar signed to MFN but instead of having "It's only rock'n'roll" re-released – as the label was pushing for – the band insisted on re-recording its best tracks plus a few new songs.
– We wanted Adde to be on the album, Martin says. Plus we'd written "Liberation", "Have you been around" and some other great stuff.
The choice proved to be a wise one as soon as "Bad sneakers and a piña colada” was unleashed unto a wider audience in the spring of year 2000. The old songs benefitted from better playing and better production and "Liberation" and "Have you been around" both became successful singles. Together with lead-off single "Someone special", they climbed the domestic charts and made Hardcore Superstar the first Swedish rock band to make it big in the new millennium. Pretty much the rest of the year was spent on the road. Hardcore Superstar played 169 gigs, including a European tour and visits to Japan and Canada.
– Those were our first proper tours, Martin says. Being in a tour bus for six weeks straight and getting to experience Japan was incredible.
Still on an adrenaline high, the band didn't waste any time making a new album. This time, the objective was to explore the possiblities of the recording studio to the max. If "Bad sneakers..." was a case of "wham bam, thank you, ma'm", the follow up "Thank you (for letting us be ourselves)" – released in September 2001 – was a meticulous piece of work. Hardcore Superstar's American seventies' classic rock record, if you will.
– That was our Aerosmith phase, Adde offers. "Thank you..." might not have been what people were expecting or wanting, but we wanted to stick our necks out. We really enjoyed taking our time and using all those expensive, vintage instruments. We even had a string quartet on there.
The album was recorded with producer Roberto Laghi at the helm. Halfway through the project, Hardcore Superstar got the chance to open for AC/DC at a sold-out show (more than 50 000 people) at Gothenburg's Ullevi Stadium. The band shared the stage with friends and fellow local heavy hitters Lok, with whom they'd recorded the single "Staden Göteborg" earlier in the year. The reworked punk rock song – written by the Troublemakers – was the theme song for the music event Popstad Göteborg and had received lots of air play. Supporting Angus Young & Co remains a career high point.
– AC/DC is the ultimate party band, Adde gushes. The music is about pure energy. That's exactly what we're trying to achieve with Hardcore Superstar.
As a huge bonus and ditto honour, the guys were invited to open for AC/DC in Turin, Italy, again a few days later. "Thank you (for letting us be ourselves)" spawned the singles "Shame" and "Mother's love/Significant other" ( a double A-side). The album and the singles all went top 20 in Sweden and Hardcore Superstar once again toured Europe and Japan.
A familiar pattern ensued. The band went straight to work – and the record turned out to be a very different beast to its predecessor. Released in the summer of 2003, "No regrets" was a sonically raw and decidedly more Britsih sounding affair. Misfits had always been a big influence, but spurred on by Roberto Laghi the quartet discovered, or rediscovered, bands like Buzzcocks, The Ruts and The Stranglers. The album was preceded by the single "Honey tongue" and "Still I'm glad" followed. Both made an impact on the domestic charts, but the latter's title was not a good description of the mood in the Hardcore Superstar camp. Quite the opposite.
The heavy touring and heavy partying had taken its toll and spirits were low. After yet another European tour, things became ugly when the band went to the US for selected shows. Hardcore Superstar attended a party thrown at the Swedish consulate in New York City, and Thomas Silver got into a fist fight with a journalist from Swedish tabloid Aftonbladet. The short tour was completed, but the members knew they needed time apart.
– We were so tired of each other, Adde sighs. Tired of everything that had to do with Hardcore Superstar. It could've been two of us getting into a fight.
Back in Sweden, Hardcore Superstar went on a hiatus. The decision was made easier due to the demise of Music For Nations. The future was looking very uncertain, but there would be a twist of fate. Adde inherited an old house and spent the summer of 2004 refurbishing it with help from Martin. When at work, the guys blasted classic albums such as "Appetite for destruction", "Dr Feelgood" and "Among the living" and found themselves smiling again.
– It was like a revelation, Adde remembers fondly.
– We just went "this is what Hardcore Superstar should be about!". We had drifted away from our roots, in a way. It was time to write music from the heart and not listen to anyone but ourselves.
Adde and Martin had a new album mentally mapped out from the word go, and the writing process that followed was smooth and enjoyable. When all four members reconvened after more than six months apart, the chemistry was there again. Sparks were flying at rehearsals and everyone was pleased with the new and heavier direction, the self-proclaimed street metal.
Hardcore Superstar knew they had come up with their strongest material to date. In order to keep the vision pure, the band enlisted friends Johan Reivén (ex-Lok) and Christian "Rizsa" Isaksson to co-produce the record (with Adde and Martin) that was to put Hardcore Superstar back on the map. No-one outside that inner circle was allowed to listen until the album was wrapped. As a teaser, the single "Wild boys" was released in June. But even such a strong song couldn't fully prepare the media and the audience for what was to come.
When "Hardcore Superstar" finally arrived on the Gain label – yes, the band was back "home" – in November 2005, jaws dropped. The album was given excellent reviews worldwide and songs like "We don't celebrate Sundays", "My good reputation" and "Bag on your head" – all three eventually picked as singles – became anthems.
The tour was a runaway success, with not just old fans turning out to celebrate the comeback.
– At last we appealed to the old school metal fans. It was so cool to have those long-haired and bearded dudes with denim jackets playing air guitar in front of us, Martin says with a smile.
The live power of Hardcore Superstar was captured on the dvd "Live at Sticky Fingers", recorded in Gothenburg in March. The band toured Europe, made two triumphant trips to Japan (including an appearance at the prestigious Loud Park Festival) and played a number of European festivals, including a rousing performance in a jam-packed tent at the Sweden Rock Festival.
Having found a musical style and "modus operandi" that worked, the band was eager to start working on its a new album. It was decided that Adde and Martin should once again handle production duties, with old conspirator Roberto Laghi engineering.
The single "Bastards", recorded as a one-off and released in the summer of 2007, proved this was a good idea. It went gold in Sweden and showed that Hardcore Superstar were still on a creative roll. Before going into IF Studio – the Gothenburg studio previously known as Studio Fredman but now owned by In Flames – to record the album, Hardcore Superstar played some festivals. The most remarkable thing was the return to Sweden Rock Festival, this time as support act to Aerosmith on the main stage. Filled with confidence, the guys didn't have a problem immortalizing their new songs. The idea was to build on the strengts of "the black album".
– We knew exactly what we wanted to do, Adde says.
The recording process was more enjoyable than ever, and you can really hear that we were super confident. Musically, we went for diversity. You know, making the hard stuff even harder and the choruses even grander.
"Dreamin' in a casket" came out in November of 2007 and showed that "Hardcore Superstar" was no fluke. The album became another big-seller and the band went on tour to support it.
However, all was not hunky dory. Thomas Silver had lost a bit of his fire and found it hard to be on the road.
At the end of the first leg of the tour, he announced that he was quitting the band. Losing a long-standing member was a heavy blow, but Hardcore Superstar came up with a solution pretty much on the spot. The young and talanted Swede Vic Zino – whose band Crazy Lixx had been the support act on the tour – was chosen to fill the vacant spot for the Australian and Japanese dates that were just around the corner.
The Bosnia-born guitar player did a great job and was asked to join the band on a permanent basis. After some serious thinking, he accepted.
– I co-formed Crazy Lixx, so parting with my childhood friends was a tough thing to do, Vic confesses. But I just couldn't turn down an offer to join Hardcore Superstar. Since the black album, I've been a big fan of the band.
With Vic properly on board, Hardcore Superstar played several European dates as well as some high profile Swedish shows. Selling out Lisebergshallen, the second biggest indoor venue in Gothenburg, was a high point.
There have been many in the ten-year history of the band – and there are many more to come.
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
20241205_Millie_MillieInGreen_02
licensing dog images
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Fred Howard Park offers a great beach option in Tarpon Springs Florida.
FREE Search of Clearwater MLS For all your Clearwater Beach Real Estate info visit our community site or call Clearwater REALTOR, Cyndee Haydon to learn more at 727-710-8035
The French did great last night. I offer you 3 actual pictures of their performances and 3 pictures where I had some fun with the camera:
www.ticklebear4u.com/2014/07/france-204365-days-40.html
:)
predator
An alternative view offered by Richard Dawkins is of predation as a form of competition.
de.wikipedia.org/wiki/Pr%C3%A4dator
Latin praedātor plunderer, equivalent to praedā (rī) to plunder
(derivative of praeda prey ) + -tor -tor
an animal that naturally preys on others
A predator is an organism that feeds on another organism
lateinisch praedator = Beutemacher
Beutegreifer
terrestrial carnivore
Raubtier
Predator (anglisierte Version von lat. praedator ‚Räuber, Plünderer‘, ‚Raubtier‘,
Bei Prädatoren lebt das Beutetier zum Zeitpunkt des ersten Angriffs noch
Räuber
exzellenter Jäger
Felis (fachsprachlich), Katze
Unsere Katze - our Cat:
Täglich möchte sie mehrmals
Mausen bzw. Spiele, die einen
Fang Charakter (Beute-Simulation) haben.
Versteck und Fangen spielt sie auch sehr gerne mit Menschen.
Das dauert eine gute halbe Stunde an.
ps
Die Katze kann sich gegen vermeintlich grössere Raubtiere (auch Menschen) mit ihren scharfe Zähnen und scharfen Krallen wehren.
-
Every day she wants
- more than once -
mice catching or similar games that
have prey character ( prey simulation ) .
Hiding and playing catch with human makes she very happy.
This takes have an hour.
ps
Masters should not forget:
A predator small enough to be prey for others, the domestic cat uses its formidable teeth and claws as weapons against animals that might confuse a cat with easier prey.
Domestic cats, animals similar in size to such prey species as rabbits, make a hissing sound reminiscent of a snake, advertising that they can put up formidable defenses for their size.
-
Zusammen mit der Norwegischen Waldkatze und der Sibirischen Katze zählt sie zur Gruppe der sogenannten Waldkatzen, welche wiederum zu den Naturrassen zählen.
-
working cat
Die Maine Coon ist als ursprüngliche working cat ein begabter Jäger, auch sind sie im Allgemeinen intelligente und verspielte Tiere. Sie benutzen mit Vorliebe ihre Pfoten, was dazu führt, dass sie problemlos Türen und Wasserhähne öffnen und kleine Objekte aufnehmen können. Maine Coons sind auch begabte „Apportierer“.
de.wikipedia.org/wiki/Maine-Coon-Katze
-
"Nutzkatze" - "Handwerker-Katze" „Bauernhofkatze“ „Rassekatze“
Familien-Katze Schmusekatze
Soziale Katze
Empathische Hauskatze
●
The Maine Coon is among the largest domesticated breeds of cat. It has a distinctive physical appearance and valuable hunting skills. It is one of the oldest natural breeds in North America, specifically native to the state of Maine,
where it is the official state cat.
Alternative names
Coon Cat
Maine Cat
Maine Shag
Snowshoe Cat
American Longhair
°°°°°°°°°°°°°°°°°°°°°°°°
PHOTOPEDIA
°°°°°°°°°°°°°°°°°°°°°°°°
en.wikipedia.org/wiki/Maine_Coon
Le maine coon est une race de chat à poil mi-long originaire de l'État du Maine aux États-Unis. Ce chat au physique rustique est caractérisé par sa grande taille, son museau carré, ses oreilles avec plumets et son poil mi-long. Il est à ce jour l'une des plus grandes races de chat domestique, avec le savannah, une race originaire des États-Unis issue du croisement avec un serval, un félin sauvage africain. Le maine coon est également la plus ancienne race naturelle nord-américaine.
Les femelles ont des chaleurs plutôt discrètes
Weiblich Tiere haben eher eine diskrete Hitze.
fr.wikipedia.org/wiki/Maine_coon
Charakter Umfrage
und Kastrationen (etwa 60%)
942 Gesamt
414 Katzen (davon 233 kastriert)
501 Kater (davon 356 kastriert)
baseportal.de/cgi-bin/baseportal.pl?htx=/mcats/Umfrageaus...
passt:
Sie ist eine Königin und Empfangs-chefin!
Die beste Katze der Welt !!!
Eine Seele wohnt dieser Katze inne, welche einem Engel gleich ist!
Zart und einfach nur lieb!!!
Sie liebt "ihre" Menschen abgöttisch und hat ein riesiges Vertrauen.
Sie liegt neben dem Menschen.
Auch manchmal mit einem Körperteil auf dem Schoss oder Oberschenkel.
Oder zwischen den Beinen
oder angekuschelt.
Auch Kopf an Kopf mag sie.
Selten liegt auf dem Oberkörper des Menschen.
---------
Exif data
Camera
Canon PowerShot SX60 HS
Aperture
f/5.0
Focal Length
11.9 mm aka 65 mm
Exposure
0.001 sec (1/1000)
Scene Capture Mode SPORTS
Flash
Off, Did not fire
Exposure Bias
-1/3 EV
ISO Speed
800
#
Discussion:
However, it can be debated whether or not harvesting livestock fits strictly in the definition of predation.
... the feeding of and caring for animals, followed by their being slaughtered with an appropriate tool, cutting up, and cooking.
In many cultures, animals are hunted or farmed by specialists (such as ranchers or fishermen), brought to a marketplace, and sold in pieces to the people who actually consume the meat.
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Poses: Focus Poses - PRF
Photo © Tristan Savatier - All Rights Reserved - License this photo on Getty Images
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Roasted piglet (Lang Sơn, Vietnam)
Check my other photos of roasted piglets.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Fishermen offer whale watching tours in Mazunte. Their boats are small so they allow to see marine life close. The tour last 2 hours and cost around $15. I have spent 3 times mote for whale watching in Massachusetts and Nova Scotia with very little of no success.
Los pescadores ofrecen recorridos en lancha para ver ballenas. Los botes son pequeños asi que se puede ver fauna marina de cerca. El recorrido dura 2 horas y cuesta $15 dolares. He pagado tres veces mas para ver ballenas en Massachusetts y Nieva Escocia con muy poco exito o sin exito.
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For the full story regarding this collection of images Please read the NEW album introduction HERE; www.flickr.com/photos/jbschofield/sets/72157632196706891/... It tells a much fuller story than that provided below.
This is a scanned print from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection consisted of 30,000 prints,20,000 negatives – and copyright! Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jims work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. It is easier to scan and process a print than check my files - on three different PC's - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine. To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads in this Album – I didn't take them!
None of my photographs are free to use - only free to view!
Please read the album intro’ before contacting me with requests, it may answer your query.
Thank you for taking the time to look and best regards
Mark Schofield
This is a shot from Thiruvarpu Temple Festival, Kottayam. During the festival time virgin girls who are less than ten years of age dress themselves as Lord Krishna and offer lamps to the Lord during morning and evening.