The Future is Now: Libraries & Museums in Virtual Worlds, 2010
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Please note that I am in no way personally associated with this radio station or its content. I am simply someone who was fortunate enough to snap a photo of the presenters and am quite happy that it has received so many views from people that I assume are fans of Wazobia. Please keep this in mind before posting any complaints or concerns regarding the content presented on the radio station.
Thank you.
مقدم برامج الاطفال | سند حسام الدين التائب
ابن الصحفى والاعلامى الكبير حسام الدين التائب
© 2010 khairy.ms
copyrights for all these photos in this Photostream are owned by Khairy M.Shaban, These Photos shall not be or copied unless the permission is obtained from the Photographer
Photo by
خيري محمد شعبان
khairy Mohamed shaban
khairy.ms@gmail.com.
I was not sure...post or not....but you see...:-)
Try...may be is better...'Shy presenter' On Black ;-)
Wish you happy and peacful friday, my dear friends!!!!! :-)
durante una parata di carri mascherati di carnevale questo signore con il microfono presentava e descriveva i carri in arrivo
PRESENTER: (white)
“And here we are, folks, in the final lunar stretch of the Tranquility 500, and it’s tighter than a Saturn V fuel line! The blue buggy barely a nose ahead of the grey streak thundering behind! You can see the drivers gripping their steering yokes like their lunch money’s on the line!”
PUNDIT: (Red, floating above the track)
“That grey buggy, Dan… she’s a bruiser. Wide chassis, spoiler...and look at those tires—they’re not just for show. Classic ’81 LEGOLAND-grade balloon grip... She's chewing through that regolith like it owes her credits.”
PRESENTER:
“But don’t discount the blue buggy! That’s pure Space Command engineering—robust, and agile. Look at it take the furrowed turn on just two wheels! It’s like lunar ballet out there!”
PUNDIT:
“They’re trading paint, if you can call it that in zero atmosphere. This is what moon racing’s all about: bricks, grit, and no oxygen to hear the screams!”
PRESENTER:
“It’s gonna come down to the final bend! Will the grey speeder with the red wheels slip through, or will the blue comet hang on to glory? Folks, this might be one small skid for a man… but one heckuva jump for mankind!
The boring return trip to base after a routine recon patrol was delightfully heightened for Alec and Bernard if they role-played their racing heroes performance from last Sunday's race.
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"Aneli Abeyante a le plaisir de vous presenter:
Bachi Cheng - Willem Koba (Motor Show) - Calypso Applewhyte - Magda Schmidtzau - Iono Allen & Theda Tammas - RazorZ"
I am coming towards the end of a long weekend. every day of which has had gloriously bright, autumn weather. Saturday I re-did my commission, Sunday we did the workshop. Yesterday we went to Manchester as my partner had a hospital appointment so we went to a gallery too and today I could finally get stuck into some land art for myself.
I started off with high ideas. I was going to make a disco-dancing-ultra-flashing-multi-coloured-mega-leaf-lantern-in-space but in the end I just couldn't be bothered. Like the Duracell bunny's inferiorly powered cousin I started to fade into slow motion. I was just enjoying taking it slooooowwww far too much.
I am sure when I have a new set of batteries put in I will wish that I'd made use of the still weather to go all mega-leaf-lantern on you all but there you go. When you want to kick back then why not?
I still had to make something though just something far less ambitious. I really liked the Holly Star I made back in April and it seemed quite apt to abut the two seasons that bookend summer with green for spring and now red for autumn. I also liked the Holly Star sculpture as I seem to get quite a few hits from people searching for the name. It certainly isn't anyone looking for my artwork however as there is what is commonly termed a 'news-hottie' called Holly Starr who works in Kansas City reporting on the local news. She is described as an actress/model/presenter and isn't afraid to pose in bikinis. I have tried that approach to further my own career but it seemed it back fired. Apparently you have to look nice in a bikini not just be prepared to wear one for anyone that asks. (Now they tell me).
The name Holly Starr struck me as one suitable for a porn actress (no disrespect intended) so in an attempt to drum up more hits I thought about naming this sculpture (children please look away now) "Big ***** and ***** love getting *** ****** **** from the guy next door whilst bent over ******* at the **** ******". or something. Do you think it would be a good idea to name my sculptures in such a way? It'd be sure to get me up the google rankings.
I am sure someone will see some deep artistic symbolism in the phrase
"Big Terry and Nigel love getting car fixing tips from the guy next door whilst bent over looking at the car's engine." So perhaps there is more to this idea that at first glance. A new direction for my art?
No but seriously. I'll go for 'Scarlet Oak Fire Star' it seems more appropriate and if you are starting out in the porn industry then feel free to use the moniker for your name.
One of the exhibits at the Whitworth Gallery in Manchester, that we visited yesterday, was about outsider art. I thought it was very interesting and I shared some of my thoughts on my blog. But what I forgot to mention there was another exhibit by Olafur Eliasson who I had not encountered before.
His installation consisted of miniature trees from floor to ceiling, made from cut branches stripped of their leaves. A path meandered through the sculpture which was set in a dark room. As you walked through the lights got dimmer until it was nearly dark and it brought forward thoughts of being a child, fairytales and being lost in a dark wood. The smell of the wood and the lighting was very evocative but it did make me wonder what the point was of trying to bring a natural outdoor experience inside and whether you could better achieve the feeling the artist was trying to evoke outside the gallery setting. It is something I've been pondering a lot recently on how it may be possible to bring authentic land art inside a gallery space, and indeed whether you should really try at all.
At one point I became part of the installation. As I meandered through, it was getting darker and darker and two ladies approached from the opposite direction. The path through the wood was not wide enough for us all so I propped myself up in a corner so that they could get past. Instead of walking past me though they stopped and one peered closely into my face.
"There's a statue here" she said.
"No, I'm just trying to let you get through" I replied.
She leapt in the air like a scalded cat and let out a piercing scream. It seemed the dark wood of fairy tales was having quite a strong affect on this lady.
I gathered these Scarlet Oak leaves, and many others, from a tree I had noticed by the side of the road. On the way we passed many others and I was amazed that I had not noticed them before. Last year when I made this ball I managed to find six trees to collect leaves from after searching and searching. And yet this year I keep tripping over them everywhere.
Just like when you buy a new car you suddenly notice that make and model everywhere and it seems it is so with everything else in life. How much passes us by because we simply take no notice? Even if we are convinced of the contrary.
I never fail to be amazed at what new and interesting things I constantly find and how I missed so much before despite how hard I was looking. Land art and mother nature are the gifts that keep on giving all that is required is to open your eyes and mind.
German postcard by Sony Music. Photo: Elliott Landy.
Bob Dylan (1941) is an American singer-songwriter, author, and visual artist who has been a major figure in popular culture for more than fifty years. Much of his most celebrated work dates from the 1960s when songs such as 'Blowin' in the Wind' (1963) and 'The Times They Are a-Changin'' (1964) became anthems for the civil rights movement and anti-war movement. His lyrics during this period incorporated a wide range of political, social, philosophical, and literary influences, defied pop-music conventions, and appealed to the burgeoning counterculture. Bob Dylan has sold more than 100 million records, making him one of the best-selling music artists of all time. He has received numerous awards, including the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award, and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame, and the Songwriters Hall of Fame.
Bob Dylan was born Robert Allen Zimmerman in 1941, in Duluth, Minnesota. Dylan's father, Abram Zimmerman - who was an electric-appliance shop owner according to Wikipedia or worked for the Standard Oil Co. (IMDb) - and mother, Beatrice 'Beatty' Stone. He has a brother named David Zimmerman. The family was part of a small, close-knit Jewish community. They lived in Duluth until Dylan was six, when his father had polio. The family returned to his mother's hometown, Hibbing, often called the coldest place in the US. There they lived for the rest of Dylan's childhood and Bob taught himself piano and guitar. In his early years he listened to the radio—first to blues and country stations from Shreveport, Louisiana, and later, when he was a teenager, to rock and roll. Dylan formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard and Elvis Presley. In 1959, Dylan moved to Minneapolis and enrolled at the University of Minnesota. His focus on rock and roll gave way to American folk music. Dylan began to perform at the Ten O'Clock Scholar, a coffeehouse a few blocks from campus, and became involved in the Dinkytown folk music circuit. In 1961, he traveled to New York City to perform there and visit his musical hero Woody Guthrie, who was ill and in hospital. In clubs around Greenwich Village, he befriended folk singers and picked up material from them. Producer John Hammond signed Dylan to Columbia Records. His debut album 'Bob Dylan' (1962) mainly comprised traditional folk songs. The following year, Dylan made his breakthrough as a singer-songwriter with the release of 'The Freewheelin' Bob Dylan' (1963). The album featured 'Blowin' in the Wind' and the thematically complex 'A Hard Rain's a-Gonna Fall'. For many of these songs, he adapted the tunes and phraseology of older folk songs. He went on to release the politically charged 'The Times They Are a-Changin'' and the more lyrically abstract and introspective 'Another Side of Bob Dylan' (1964). The following years, Dylan toured with singer Joan Baez, and encountered controversy when he adopted electrically amplified rock instrumentation, and in the space of 15 months recorded three of the most important and influential rock albums of the 1960s: 'Bringing It All Back Home' (1965), 'Highway 61 Revisited' (1965) and 'Blonde on Blonde' (1966). The six-minute single 'Like a Rolling Stone' (1965), peaked at number two in the U.S. chart. Magazine Rolling Stone: "No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time."
In July 1966, Bob Dylan withdrew from touring after being injured in a motorcycle accident. Dylan later in his autobiography: "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race." Dylan withdrew from public and, apart from a few appearances, did not tour again for almost eight years. Once Dylan was well enough to resume creative work, he began to edit D. A. Pennebaker's film of his 1966 tour. A rough cut was shown to ABC Television, which rejected it as incomprehensible to a mainstream audience. The film was subsequently titled Eat the Document on bootleg copies, and it has been screened at a handful of film festivals. During this period, he recorded a large body of songs with members of The Band, who had previously backed him on tour. These recordings were released as the collaborative album 'The Basement Tapes' in 1975. In the late 1960s and early 1970s, Dylan explored country music and rural themes in 'John Wesley Harding' (1967), 'Nashville Skyline' (1969), and 'New Morning' (1970). Critics charged that Dylan's output was varied and unpredictable. In 1972, Dylan worked on Sam Peckinpah's film Pat Garrett and Billy the Kid, providing songs and backing music and playing Alias, a member of Billy's gang with some historical basis. Despite the film's failure at the box office, the song 'Knockin' on Heaven's Door' became one of Dylan's most covered songs. In 1975, he released 'Blood on the Tracks', which many saw as a return to form. Dylan wrote a ballad championing boxer Rubin "Hurricane" Carter, imprisoned for a triple murder in Paterson, New Jersey, in 1966. After visiting Carter in jail, Dylan wrote 'Hurricane', presenting the case for Carter's innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the U.S. Billboard chart, and performed at every 1975 date of Dylan's tour, the Rolling Thunder Revue. The 1975 tour with the Revue provided the backdrop to Dylan's nearly four-hour film Renaldo and Clara (1978), a sprawling narrative mixed with concert footage and reminiscences. After poor reviews, a two-hour edit, dominated by the concert performances, was more widely released. In November 1976, Dylan appeared at the Band's 'farewell' concert. Martin Scorsese's cinematic chronicle, The Last Waltz (1978), included about half of Dylan's set. In the late 1970s, Bob Dylan became a born-again Christian and released a series of albums of contemporary gospel music before returning to his more familiar rock-based idiom in the early 1980s. In 1985 Dylan sang on USA for Africa's famine relief single 'We Are the World.' He also joined Artists United Against Apartheid providing vocals for their single 'Sun City'. In 1987, Dylan starred in the film Hearts of Fire (Richard Marquand, 1987), in which he played Billy Parker, a washed-up rock star turned chicken farmer whose teenage lover (Fiona) leaves him for a jaded English synth-pop sensation played by Rupert Everett. Dylan also contributed two original songs to the soundtrack—'Night After Night', and 'I Had a Dream About You, Baby', as well as a cover of John Hiatt's 'The Usual.' The film was a critical and commercial flop. The major works of his later career include 'Time Out of Mind' (1997), 'Love and Theft' (2001), 'Modern Times' (2006) and 'Tempest' (2012). In 2001, Dylan won his first Oscar when his song 'Things Have Changed', written for the film Wonder Boys, won an Academy Award. His most recent recordings have comprised versions of traditional American standards, especially songs recorded by Frank Sinatra. Backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour.
The cover of Dylan's album Self Portrait (1970) is a reproduction of a painting of a face by Dylan. Another of his paintings is reproduced on the cover of the 1974 album Planet Waves. In 1994 Random House published 'Drawn Blank', a book of Dylan's drawings. Since 1994, Bob Dylan has published eight books of drawings and paintings, and his work has been exhibited in major art galleries. In 2007, the first public exhibition of Dylan's paintings, The Drawn Blank Series, opened at the Kunstsammlungen in Chemnitz, Germany. It showcased more than 200 watercolors and gouaches made from the original drawings. The exhibition coincided with the publication of Bob Dylan: The Drawn Blank Series, which includes 170 reproductions from the series. From September 2010 until April 2011, the National Gallery of Denmark exhibited 40 large-scale acrylic paintings by Dylan, The Brazil Series. In 2004, Dylan published the first part of his autobiography, 'Chronicles: Volume One'. The book reached number two on The New York Times' Hardcover Non-Fiction best seller list in December 2004 and was nominated for a National Book Award. No Direction Home, Martin Scorsese's acclaimed film biography of Dylan was first broadcast in 2005. The documentary focuses on the period from Dylan's arrival in New York in 1961 to his motorcycle crash in 1966, featuring interviews with Suze Rotolo, Liam Clancy, Joan Baez, Allen Ginsberg, Pete Seeger, Mavis Staples, and Dylan himself. Dylan's career as a radio presenter commenced in 2006, with his weekly radio program, 'Theme Time Radio Hour' for XM Satellite Radio, with song selections revolving around chosen themes. In 2007, the award-winning film biography of Dylan I'm Not There, written and directed by Todd Haynes, was released. The film used six different actors to represent different aspects of Dylan's life: Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw. The Pulitzer Prize Board in 2008 awarded him a special citation for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." In 2012, U.S. President Barack Obama awarded Dylan a Presidential Medal of Freedom in the White House. At the ceremony, Obama praised Dylan's voice for its "unique gravelly power that redefined not just what music sounded like but the message it carried and how it made people feel". In 2016, Dylan was awarded the Nobel Prize in Literature "for having created new poetic expressions within the great American song tradition." Last year, Netflix released the movie Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019), describing the film as "Part documentary, part concert film, part fever dream". Bob Dylan had romantic relationships with artist Suze Rotolo and singer Joan Baez. He was married twice. In 1965 he married model and secretary Sara Lownds, with whom he had four children,, Jesse Byron Dylan (1966), Anna Lea (1967), Samuel Isaac Abram (1968), and Jakob Luke (1969). Jakob became well known as the lead singer of the band the Wallflowers in the 1990s. Dylan also adopted Sara's daughter from a prior marriage, Maria Lownds (later Dylan, 1961). Bob and Sara Dylan were divorced in 1977. Dylan married his backup singer Carolyn Dennis in 1986. Their daughter Desiree Gabrielle Dennis-Dylan was born in 1986. The couple divorced in 1992. Their marriage and child remained a closely guarded secret until the publication of Howard Sounes' biography 'Down the Highway: The Life of Bob Dylan' (2001). When not touring, Dylan is believed to live primarily in Point Dume, a promontory on the coast of Malibu, California, though he also owns property around the world.
Sources: Ed Stephan (IMDb), Wikipedia and IMDb.
More, more, more? Take a look at our postcard albums Eurovision Song Contest, Vintage Pop Stars, French Pop Stars, British Pop Stars, and American Pop Stars!
It seems to be a modern phenomenon of experiencing thematic tour guides in major cities. This one is of a guide to the world of chocolatiers in Melbourne; most of whom emanate from Belgium.
Photo taken July 24, 2015
Please visit my website: myCDlife.com
This photo was taken during a SafeZone Training I was co-facilitating at a suburban library near the Rochester, NY area. My co-presenter and I banter and make the presentation fun and entertaining for the attendees.
Pablo Taylor, seen here in Old Market Square, Nottingham, is a Presenter at ITV News Central. He's also a Journalist, News Anchor and Producer with ITV News.
Specialties: Television news, online journalism and social media. Selected from more than 1000 applicants to join the ITV News Group's award-winning training scheme. Training includes bulletin production, reporting, media law and compliance, writing, editing and self-shooting.
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No Group Awards/Banners, thanks
This guy, from the boat club, presented all the classic race boats as they passed by. He also interviewed some of the owners. He had to guess on a few boats, as he didn't know anything about them, but claimed that it was because they were not members of the Heleneborg boatclub.
De spreekstalmeester voor de Openingshow van het Reuring festival 2016 op de Koemarkt in Purmerend
Vuur en entertainment Flammende en explosieve show van een straat theater groep uit Sweden.
meer foto's van de show komen binnenkort.
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The presenter right before the start of the Swedish street theater entertainment with explosions and frames. Opening the Reuring festival in Purmerend The Netherlands.
more images of the show will be posted soon.
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DSC_0704_3_BEW
SB900 at camera right, yn465 at camera left, Yn465 at model right pointed up
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Officially, Rolls Royce Silver Shadows were never offered in an estate version, but it has become a popular trait to convert them to such, largely to exploit the advantages of extra boot space and a rear hatch.
I give you the car that took Rolls Royce out of the hands of the aristocracy and placed it into the hands of the people, a tradition that has continued ever since. Once rock-stars, pop-stars, TV presenters and alike were seen driving around in a car that was once the exclusive pride and joy of the established gentry, it was then and there that the Class System had truly disintegrated. The Victorian-era divisions of society were well and truly dead.
In 1965 it was apparent that the nearly 10 year old Silver Cloud was starting to look its age, and as time continued to crawl on the aristocratic look of the Rolls Royce was no longer its biggest selling point. Prior to the 1960's society was clearly defined, with what was known as the 'Glass Ceiling' through which none of the lower classes could rise up through the ranks. It was very easy for the Upper Class and Aristocracy to lose their titles and come down, but even if you were a Lower Class person who'd made it rich, you'd still be socially unacceptable due to your background. However, after World War I the emergence of the new Middle Class was starting to bend the rules, and as time went on the ways in which money could be obtained started to become easier thanks to stage and screen. After World War II the influence of the new generation distorted the lines of society even more with the appearance of the Beatles and Elvis Presley, people from low backgrounds who had managed to get a free ticket to the top due to their fame in the music industry. Of course when someone gets money, the first thing they want to do is spend it on luxury items, and nothing back then was more luxury than owning a Rolls Royce.
However, when the Cloud was designed society was still very much in the same Victorian ideal as before, and so its aristocratic look was about as hip and with-it as a China Cabinet in a Discotheque. In order to survive, Rolls Royce was going to have to adapt, so in 1965 they launched the Silver Shadow, a car that was designed for the new money, and the first Roller to be brought to the masses. What made it so appealing was a case of many things.
For starters, it was the first Rolls Royce to be a 'Driver's' car. Previous models had always been built with chauffeur driven passengers in mind, but the Shadow with upgraded suspension, an updated Rolls Royce V8 engine and the same general driving feel of a regular car (if not better with innovative power steering), made it ideal for the 'posers' of the upmarket realm. Secondly, the car was the first to be built with a monocoque, where the body and chassis are part of the same structure. Previously, Rolls Royce would provide the owner with a chassis, and then it was up to the owner what body would be put on it, with a variety of coachbuilders available to do the job including H.J Muliner Park Ward, Hoopers of London and James Young. The advent of the monocoque meant that potential buyers didn't have to go through the rigmarole of buying a chassis and then having a body constructed for it at extra cost.
As mentioned though, reception was something of a mixed bag, whilst motoring press and many people gave it critical acclaim for its revolutionary design, the usual Rolls Royce customer base saw it as something of a mongrel, appealing to the lowest common denominator rather than holding up the traditional standard that the Double R was famed for. But just because it was built for the masses didn't make it any less a car, each individual Shadow cost £7,000 new, weighed 2.2 tonnes and took 3 months to build. The interior was compiled of 12 square feet of wood, and three cows had to sacrifice themselves to create the leather hides that line the seats. Soft and springy Wilton Carpets made up the floor and power from Rolls Royce's astounding V8 engine could whisk the car to about 100mph, but why would you want a sporty Rolls Royce anyway? *Cough* Rolls Royce Wraith *Cough*
After launch the Silver Shadow was whipped up by pretty much anyone and everyone who wanted to show off their wealth, with a total of 25,000 examples being built during its 15 year production life, making it the most numerous Rolls Royce ever built. The Silver Shadow also formed the basis of several other designs, including the convertible Rolls Royce Silver Shadow 2-Door Saloon which later became the Corniche in 1971, the Bentley T-Series which was exactly the same only with Bentley badge and grille, and the controversial Rolls Royce Camargue of 1975 which was designed by Pininfarina.
For a time the Shadow was on top of the world, but things started to crumble fast in the 1970's. New American legislation meant that the car had to conform at the cost of its class, with the chrome bumpers being replaced by composite or rubber, and the ditch lights being slumped underneath on a rather unsightly chin-spoiler. In 1977 this revised car was launched as the Silver Shadow II, which I consider to be but a shadow of its former self due to the fact that this was when Rolls Royce started to become downplayed and underwhelming. Indeed the best intentions were in mind with safety, but without the chrome to adorn its lovely body, the Shadow was merely a husk.
This was added to by the fuel crisis of the mid-1970's, which made motoring a very expensive practice, especially if you ran a Shadow. Shadow's are incredible gas guzzlers at less than 20MPG, and refilling one will set you back in today's money about £80. At the same time it was considered socially unacceptable to be seen driving around in one of these after such a blow, almost as if you were driving a giant middle-finger down the street to everyone else who couldn't afford to drive. Because of this, owners turned to more subtle cars such as Mercedes so as not to fall victim to vindictive passers by. With sales starting to drop, Rolls Royce had to see off the Silver Shadow as soon as possible. After nearly 10 years of development, 1980 saw the launch of the much more angular and somewhat mundane Silver Spirit/Spur range, and with that now on the go the shadows grew long for the Silver Shadow, which was killed off the same year. Spiritually however, the design of the 60's lived on in the Corniche, which was to be built for another 15 years before that too was ended in 1995.
In some ways the Shadow became a failure of its own success, with Rolls Royce building far too many cars for the market that intended to buy them, with the result that the 2nd hand market became saturated with nearly new cars that fell into some disreputable company. Throughout the 1980's the Shadow was noted for being the ride of sleazy salesmen, gang lords and Members of Parliament (pure evil!). Additionally, many Shadows were bought cheap simply for the way they made the owner look.
If you were intending to use your cheapy Shadow to plunder yourself some girls and didn't have the attraction of money to back you up, you'd be out of luck and soon out of cash, because the bills required to run a hand-built luxury car would very quickly be walking through the door, both in terms of fuel and maintenance. Critical failures are rare and these cars are very reliable (although Jeremy Clarkson would have you think otherwise), but when they do happen, it would probably be cheaper to buy yourself another car. The worst problem you could face is a failure of the hydraulics that controlled the rear suspension, the steering and the brakes, which would render the car inoperable if something were to go awry.
Frequent maintenance of a Shadow however (every 4 to 6 months) will probably even out at about £100, which when you consider the £10,000 or more you'd be paying to replace the hydraulic system, is a small sacrifice. Rust is another problem, especially for early Shadows. The Chrome sills and guttering on the roof are especially prone, although the most critical problem is rust on the chassis, which if left can compromise the whole car and essentially write it off. A bit of a buying tip, if the car's body looks good, be sure to check underneath because you may see some costly rust gremlins down there that could ruin your investment.
Another place the Shadow has found itself is in the world of movies. Of course any film that has an upper-crust theme or feel to it would have to include a Rolls, but since 2nd hand Shadows could be picked up for a song you could easily put them in your movie. Sadly, most movies that feature Shadows are ones which feature them being destroyed.
So why do I love Shadows so much? Basically because it's a mixture of all things you'd want in a car. It has a spacious, luxury interior, it has a world beating design dripping with chrome and adorned with the finest hood ornament, and because it's dimensions aren't that far off a normal car, it can easily be used as an everyday machine unlike the Silver Cloud which is simply too big for everyday use. The Shadow is also a very personable sort of machine, if I was to own one I would treat it like a pet, and probably name it Sally (old girlfriend of mine).
Today, Shadows are by no means rare and the ones you'll find on the road are probably the best. Most of the poorer 2nd Hand ones rusted away and died back in the 1980's and 90's (or were blown up in movies, or put in swimming pools), which means that the survivors are largely under the ownership of avid enthusiasts who cherish their cars. You can find Shadows for next to nothing, with some examples going for as little as £4,000, but you'd have to be very desperate to get one of those as they'd probably be in very bad condition. Minters however can go for about £15,000 to £20,000, which when compared to some of the other cars of comparative size and quality such as the BMW's and Mercs of this world, is not a bad deal.
As a transvestite I enjoy looking at female clothing styles, make-up techniques, hairstyles and women’s shoes. I am influenced by women who are dressed more formally in suits, tailored shirts, elegant court shoes and wear make-up more formally for their work. One such look I love is the television presenter, they always wear full make-up, have their hair styled nicely and wear elegant stylish clothing.
As I’m a man that enjoys dressing up as a woman I simply cannot resist attempting to create the appearance of such a woman. I am aware we all have our own motivations for cross-dressing. My own approach being I seek to try and pass convincingly as I can, I fail in my aspiration but I endeavour to do my best. My ambition is to be seen as female and nobody is aware I am really a man, what a thrill that would be!
I am guilty of posting a variation on this picture a few months ago but I saw it again this week and this version is a closer portrait shot. I believe that trying to look female facially is the biggest challenge we face as transvestites. It is relatively easy to get the body shape as one can employ techniques such as shaving legs, wearing breast forms and hip shapers and choosing dresses, skirts and heels that are very feminine and flattering. The face though...well, we are stuck with what we have so what can be done?
As a man I have a very dark beard shadow and my normal eyebrow shape is thick and bushy with no real shape at all. For the last ten years I have been plucking my eyebrows to be more shaped and defined and reduce the density of the number of the hairs. Nobody appears to have noticed this. In fact people I’ve not seen for a long time often say I’m somehow looking a bit younger. Never underestimate how much effect a nicely shaped eyebrow can have. I don’t like super thin eyebrows and feel a nice tidy shape is better. My current eyebrow plucking seems to work okay in both male and female modes. I may have them defined a bit more if I’m going to record a video as Helene or planning a photo-shoot.
My method for disguising the fact I’ve plucked a bit neater than usual is I let my beard grow for a few days then I pluck my eyebrows or have them waxed into a neater shape at a salon then I shave off the beard. People just assume I look tidier after the scruffy beard stubble.
I require a lot of foundation make-up to cover my beard shadow as even after an ultra close facial shave the dark shadow is present. I don’t mind wearing heavier make-up as I enjoy make-up and like the effect it has upon my confidence, I feel good and better in make-up. I have a weak looking face for a man which helps my efforts to look like a woman as I have no strong facial features and a weak looking chin. This suits me and I am grateful I’m not very masculine.
The secret to getting make-up to work is placing it wear it works. This maybe to bring out an aspect or to reduce an area so it is less noticeable. Too many people, including many real women, just put make up on without ever considering how to use it to enhance ones features. Transvestites love to put on make-up that often is too much as it all at one level leaving the features one has that would look at their best to be hidden in this dominant all over make-up approach.
One should ensure the whole face looks nice and even and softer so much effort needs to be put into applying foundation properly to achieve this. Once the foundation is complete and looks soft and smooth one should aim to enhance their best feature not go mad and try and enhance everything. In my case I have no real cheekbones to make use of, my lips are not nice being very thin and my top lip virtually non existent. For me I was left with only one facial feature I could make use of and this was my eyes. My eyes are not very nice either so I use make-up to try and rectify that and add a bit more a feminine eye shape.
A common mistake is to put eye-liner right around the whole eye. An effect on most people (Male and female) it makes their eye look smaller. The aim is to open up the eyes and make them more feminine. To this end one needs to lift the eye. As our eyes are set in position an illusion of the lift and feminine shape can be added by making the upper eye and lashes stand out more. In this picture because I don’t have feminine eyelashes I am wearing false eyelashes on my upper eye. To finish the upper eye look I have eye-liner drawn from the inner upper corner out to the edge of my eye. I have also used brown shades of eye-shadow with a lighter brown in the arch of my eyebrow to make it stand out more. I also lightly pencilled my eyebrows to give them more definition.
On my lower eye I have eye-liner drawn on from the outer edge but only two thirds of the away across. the line should be thicker at the outer edge and get very thin at the end. The effect is a more feminine, more open eye that looks softer.
As my lips are not attractive they are played down against the eyes. Soft pink lipstick with lip gloss gives them a presence but helps my eyes stand out more. A bit of softly applied blusher on my undefined cheeks adds a bit of colour and healthiness to my face.
To maintain the look I am aware that shorter wigs look better on my facial shape and so produce a result that is more convincing. I like contemporary short female hair style with the hair not just flat as the wig typically is straight out of the box. This short wig was back combed and fluffed up to add more volume and that contemporary feel. It was the liberally sprayed with hair spray to maintain its shape.
I do not have pierced ears so I chose clip on hoop ear rings which can look quite convincing but be aware, they fall off easily if your hand or hair brush catches them
To completely get into the character I was portraying I chose a fitted trouser suit. This required a genital tuck as the fit was tight, and I wore a bra in which I placed my breast forms. I thin wore a plain fitted lycra t-shirt and donned the suit jacket. I chose a pair of burgundy stiletto pointed court shoes with 4 inch heels and as a final flourish painted my nails with pink nail varnish and dabbed on some perfume.
I was finally Helene the woman! I was now ready to walk on set and do my interview.
I have no real idea if I succeeded in my efforts to create the female look, I put my all into it but when one is a middle aged bald man with a dark beard shadow one cannot quite disguise all of this. It is a delight and real thrill to be a man and dare to attempt becoming a woman. I really enjoyed filming the interview. The interview with with another T-girl and was posted on You Tube for awhile but unfortunately it had to be removed due to a change in her circumstances. It’s not always easy being a transvestite but it certainly is an amazing experience and feels fantastic.
Images from the 2pm catwalk show from Models of Diversity for Shepherds Bush Market, Saturday 3rd October 2015 at Shepherds Bush Market, London. The show was opened by the lovely Gail Porter who walked in both catwalk shows and was joined by the effervescent Sandi Gogglebox Bogle (GoogleBox) and Vicky Balch, the student who lost her leg after the Alton Towers roller coaster crash, making her brave catwalk debut too. All images by: James Alexander Lyon
Performances by: Stedman Pearson (Five Star) and Ace Ruele. Designers included: Maurice Whittingham and Anita Thomas
Producer: Angel Sinclair for Models of Diversity
Show Director/Organiser: Angelica Fenney
Presenter Lauren Lolly
Head of Styles: Michelle Navarro
Dresses: Nikki Beadle, Claire Oram
Head Photographer: John Martin Gilliam
Floor Manager: Sarah O'Rourke
Head of Make up: Michael Perks Make-up Studio, Steph Thomas Charlotte Cardwell Lorna-Jade Harvey-Oates
Hair By: Fiona Chaffey and her team Zoe lane, Shannon Lawrence, Jade Herne, Shaynie Woodbridge
Models: Gail Porter, Sandi Gogglebox Bogle, Angelica Fenney, Rachel Emma Steeden, Tereza Brantlová, Hannah Murrell, Olivia Murrell, Victoria Eisermann, Frankie Holloway, Champ Imi, Gemma Flanagan, Jack Eyers, Markus Roberts-Clarke, Vicky Balch, Jacqueline Hooton, Louis Killik, Princess T, Tinaresse Dandajena, Leo Quijano, Katie Knowles, Hassan ReeSe, Derek Campbell, Aysha Sparks, Benas Linkiavicius, Amy Ivy Ellise, Elesha Turner and Dave Curtois.
30th September 2021 I was at the women in rail awards and managed to catch this photo of Naga Munchetty who was presenting the awards