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It was a strange day today a lot of quirky shoe related things occurred throughout the day. I had a bunch of medical things to do in the morning, with blood and x ray things to follow in the afternoon. I knew the day was shot for work so I figured I could get some Erin time in between. Even in boy mode I felt a little more daring and wore a pair of black clogs I had recently purchased. They are fairly plain and most people would not really notice, but I still felt nice waring them. This is where the first quirky thing happened. As I was sitting in the waiting room, a girl in here twenties sat down across from me wearing the same shoe. After a minute she commented to me how she had just gotten hers, and the questions followed how did I like them? did I get them at DSW? Do I like all crown vintage shoes? Did I look at the brown? It was surreal as we carried on a conversation about our matching shoes. I was nervous, but she did not seem to mind and no one was listening. After my appointment I changed into my outfit to shop. I had picked up a pair of wrap around lace sandals and wanted to wear them. I knew form the reviews they were not the most comfortable, but they are cute. I stopped into Macys and on thing I found out is either the soles or the way I had them tied made them pretty loud for a flat sandal, so I kept drawing some looks, also I was having a bad hair day and it kept flying in my face. I wanted to try a few things a little different, but honestly most of what I found did not fit right or worse? Made me look pregnant? I headed to Dillard’s and they were having a sale on more formal dresses. I tried on way too many, the sales lady asked if I was finding anything, I said no…she said I was putting up a good fight don’t give up. That caused me to smile. I had an interesting interaction with a group of girls in the waiting, display area outside the dressing rooms. I was coming out to see how the purple flutter sleeve dress looked in the better light and 3-way mirror, when a girl and two friends came out and she just started to vamp in front of the mirrors next to me, I was a little nervous, and I did not want to snap a picture like I normally do. Her friends asked what size her dress was and it was the same size as mine, then she asked if I knew if there was another one like I was wearing in her size, and I said this was it, would you like to try it? I should have asked her to take a picture of me out there, but I was sort of caught up in the moment. So, I changed brought her the dress and ended up trying the black one she had on. Fabulously feminine experience. I really liked the dress, but I did not really have anywhere to wear it and, it looked good on her. Next stop Nordstrom Rack with the goal of trying on heels I could never really walk in, but always wanted to see myself in. It was a blast, one pair from a brand called Abound, had little round straps that wrapped around my foot with no buckles, easy to put on but had to be over 5 inch because just standing was causing my calves to hurt. A lady walking by said” doesn’t look like you will be going very far in those…. Boy was she right. After my Erin time was done and I had cleaned up, I threw a pair of fairly plain Steve Madden single strap sandals on to go get xrays. Uneventful until the end, when my X-ray tech Natalie, told me she loved Steve Maddens shoes. So she was letting me know she noticed. A good day, a lot of interaction, and apparently shoes are as important to other women as they are to me….
a slightly older moorhen chick, but still as quirky looking!
getting used to new style flickr a bit now, in case you haven’t found these yet –
if you click – you – photostream – edit = you get a screen a bit like the old photostream
also if you click on your contacts photostreams – then add the below link straight after their address you can see their streams in the old style with more white space around, and details underneath
?details=1
hope everyone has a wonderful bank holiday weekend luv m xxx
(PLEASE NO AWARDS OR PICTURES OR FLASHY BADGES)
The Lanes
Brighton (/ˈbraɪtən/) is a seaside resort on the south coast of England that is part of the city of Brighton and Hove, located 47 miles (76 km) south of London.
Archaeological evidence of settlement in the area dates back to the Bronze Age, Roman and Anglo-Saxon periods. The ancient settlement of "Brighthelmstone" was documented in the Domesday Book (1086). The town's importance grew in the Middle Ages as the Old Town developed, but it languished in the early modern period, affected by foreign attacks, storms, a suffering economy and a declining population. Brighton began to attract more visitors following improved road transport to London and becoming a boarding point for boats travelling to France. The town also developed in popularity as a health resort for sea bathing as a purported cure for illnesses.
In the Georgian era, Brighton developed as a fashionable seaside resort, encouraged by the patronage of the Prince Regent, later King George IV, who spent much time in the town and constructed the Royal Pavilion in the Regency era. Brighton continued to grow as a major centre of tourism following the arrival of the railways in 1841, becoming a popular destination for day-trippers from London. Many of the major attractions were built in the Victorian era, including the Metropole Hotel (now Hilton) Grand Hotel, the West Pier, and the Brighton Palace Pier. The town continued to grow into the 20th century, expanding to incorporate more areas into the town's boundaries before joining the town of Hove to form the unitary authority of Brighton and Hove in 1997, which was granted city status in 2000. Today, Brighton and Hove district has a resident population of about 288,200 and the wider Brighton and Hove conurbation has a population of 474,485 (2011 census).
Brighton's location has made it a popular destination for tourists, renowned for its diverse communities, quirky shopping areas, large cultural, music and arts scene and its large LGBT population, leading to its recognition as the "unofficial gay capital of the UK". Brighton attracted 7.5 million day visitors in 2015/16 and 4.9 million overnight visitors, and is the most popular seaside destination in the UK for overseas tourists. Brighton has also been called the UK's "hippest city", and "the happiest place to live in the UK".
The first settlement in the Brighton area was Whitehawk Camp, a Neolithic encampment on Whitehawk Hill which has been dated to between 3500 BC and 2700 BC. It is one of six causewayed enclosures in Sussex. Archaeologists have only partially explored it, but have found numerous burial mounds, tools and bones, suggesting it was a place of some importance. There was also a Bronze Age settlement at Coldean. Brythonic Celts arrived in Britain in the 7th century BC, and an important Brythonic settlement existed at Hollingbury Castle on Hollingbury Hill. This Celtic Iron Age encampment dates from the 3rd or 2nd century BC and is circumscribed by substantial earthwork outer walls with a diameter of c. 1,000 feet (300 m). Cissbury Ring, roughly 10 miles (16 km) from Hollingbury, is suggested to have been the tribal "capital".
Later, there was a Roman villa at Preston Village, a Roman road from London ran nearby, and much physical evidence of Roman occupation has been discovered locally. From the 1st century AD, the Romans built a number of villas in Brighton and Romano-British Brythonic Celts formed farming settlements in the area. After the Romans left in the early 4th century AD, the Brighton area returned to the control of the native Celts. Anglo-Saxons then invaded in the late 5th century AD, and the region became part of the Kingdom of Sussex, founded in 477 AD by king Ælle.
Anthony Seldon identified five phases of development in pre-20th century Brighton. The village of Bristelmestune was founded by these Anglo-Saxon invaders, probably in the early Saxon period. They were attracted by the easy access for boats, sheltered areas of raised land for building, and better conditions compared to the damp, cold and misty Weald to the north. By the time of the Domesday survey in 1086 it was a fishing and agricultural settlement, a rent of 4,000 herring was established, and its population was about 400. Its importance grew from the Norman era onwards. By the 14th century there was a parish church, a market and rudimentary law enforcement (the first town constable was elected in 1285). Sacked and burnt by French invaders in the early 16th century—the earliest depiction of Brighton, a painting of c. 1520, shows Admiral Pregent de Bidoux's attack of June 1514—the town recovered strongly based on a thriving mackerel-fishing industry. The grid of streets in the Old Town (the present Lanes area) were well developed and the town grew quickly: the population rose from c. 1,500 in 1600 to c. 4,000 in the 1640s. By that time Brighton was Sussex's most populous and important town. Having lost the Battle of Worcester, King Charles II, after hiding for 42 days in various places, fled on the evening of 15 October 1651 in the "Surprise" from Brighthelmstone to his exile in Fécamp, France.
Over the next few decades, though, events severely affected its local and national standing, such that by 1730 "it was a forlorn town decidedly down on its luck". More foreign attacks, storms (especially the devastating Great Storm of 1703), a declining fishing industry, and the emergence of nearby Shoreham as a significant port caused its economy to suffer. By 1708 other parishes in Sussex were charged rates to alleviate poverty in Brighton, and Daniel Defoe wrote that the expected £8,000 cost of providing sea defences was "more than the whole town was worth". The population declined to 2,000 in the early 18th century.
From the 1730s, Brighton entered its second phase of development—one which brought a rapid improvement in its fortunes. The contemporary fad for drinking and bathing in seawater as a purported cure for illnesses was enthusiastically encouraged by Dr Richard Russell from nearby Lewes. He sent many patients to "take the cure" in the sea at Brighton, published a popular treatise on the subject, and moved to the town soon afterwards (the Royal Albion, one of Brighton's early hotels, occupies the site of his house). Others were already visiting the town for recreational purposes before Russell became famous, and his actions coincided with other developments which made Brighton more attractive to visitors. From the 1760s it was a boarding point for boats travelling to France; road transport to London was improved when the main road via Crawley was turnpiked in 1770; and spas and indoor baths were opened by other entrepreneurial physicians such as Sake Dean Mahomed and Anthony Relhan (who also wrote the town's first guidebook).
From 1780, development of the Georgian terraces had started, and the fishing village developed as the fashionable resort of Brighton. Growth of the town was further encouraged by the patronage of the Prince Regent (later King George IV) after his first visit in 1783. He spent much of his leisure time in the town and constructed the Royal Pavilion during the early part of his Regency. In this period the modern form of the name Brighton came into common use.
A permanent military presence was established in the city with the completion of Preston Barracks in 1793.
The arrival of the London and Brighton Railway in 1841 brought Brighton within the reach of day-trippers from London. The population grew from around 7,000 in 1801 to more than 120,000 by 1901. Many of the major attractions were built during the Victorian era, such as the Grand Hotel (1864), the West Pier (1866), and the Palace Pier (1899). Prior to either of these structures, the famous Chain Pier was built, to the designs of Captain Samuel Brown. It lasted from 1823 to 1896, and is featured in paintings by both Turner and Constable.
Because of boundary changes, the land area of Brighton expanded from 1,640 acres (7 km2) in 1854 to 14,347 acres (58 km2) in 1952. New housing estates were established in the acquired areas, including Moulsecoomb, Bevendean, Coldean and Whitehawk. The major expansion of 1928 also incorporated the villages of Patcham, Ovingdean and Rottingdean, and much council housing was built in parts of Woodingdean after the Second World War. In 1997, Brighton and Hove were joined to form the unitary authority of Brighton and Hove, which was granted city status by Queen Elizabeth II as part of the millennium celebrations in 2000.
(Wikipedia)
The Lanes are a collection of narrow lanes in the city of Brighton and Hove, famous for their small shops (including several antique shops) and narrow alleyways.
The Lanes are commonly taken to be bounded by North Street to the north, Ship Street to the west and Prince Albert Street and the north side of Bartholomew Square to the south. The eastern boundary is less well-defined and can be considered either East Street or Market Street.
Meeting House Lane is one of the wider lanes which meets with the busy shopping road of North Street and eventually winds around to Market Street. The north end of Meeting House Lane meets North Street a few yards down the road from the southern end of North Laine which is not part of the Lanes.
History
The area that is now the Lanes was part of the original settlement of Brighthelmstone, but they were built up during the late 18th century and were fully laid out by 1792 which was after the supposed benefits of sea water had been publicised by Dr Richard Russell of Lewes, but before the Prince Regent made Brighton one of his homes by developing the Royal Pavilion.
Unlike many of the other lanes in this oldest part of Brighton, Dukes Lane, which leads off of Duke Street, was a "reproduction street" constructed in 1979 and is relatively new.
(Wikipedia)
Brighton [ˈbɹaɪtn] ist eine Stadt an der Küste des Ärmelkanals in der Grafschaft East Sussex und bildet zusammen mit dem unmittelbar angrenzenden Hove die Unitary Authority Brighton and Hove. Die Stadt ist das größte und bekannteste Seebad im Vereinigten Königreich. Die unabhängigen, aber räumlich zusammengewachsenen Gemeinden Brighton, Hove und Portslade schlossen sich 1997 zu Brighton & Hove zusammen, das im Jahr 2001 den Status einer City erhielt. Im Gegensatz zu den alten Cities verfügen sogenannte Millennium-Cities wie Brighton und Hove jedoch nicht über alle königlichen City-Privilegien, wie zum Beispiel einen Bischofssitz.
Auf dem Gebiet der späteren Stadt siedelten schon die Römer. Bei Ausgrabungen wurde eine römische Villa freigelegt. Die heutige Stadt Brighton geht auf eine angelsächsische Gründung aus dem 5. Jahrhundert zurück. In der ersten urkundlichen Erwähnung wird der Ort „Beorthelm’s-tun“ (town of Beorthelm) genannt, später „Bristemestune“ und im 16. Jahrhundert dann Brightelmstone, ehe der Ort 1660 erstmals Brighton geschrieben wird. Offiziell gilt dieser Name seit 1810.
1497 wurde ein erster Befestigungsturm in der Nähe des Ortes errichtet. Dennoch wurde das Fischerdorf im Jahr 1514 von der französischen Flotte während eines Krieges nach dem Treaty of Westminster (1511) zerstört und niedergebrannt. Der Ort wurde wieder aufgebaut und 1580 lebten 400 Fischer und 100 Bauern dort, mit ihren Familien also über 2000 Personen. Um 1660 soll Brighton sogar etwa 4.000 Einwohner gehabt haben, es war also keineswegs ein Dorf, wie mitunter behauptet wird. Im 17. Jahrhundert wurde der Fischfang, von dem die Bevölkerung überwiegend lebte, durch Kriege zwischen Franzosen und Holländern stark in Mitleidenschaft gezogen, da die Fischkutter oft nicht auslaufen konnten.
1703 und 1705 wurde der Ort durch schwere Stürme verwüstet. Es wurden nicht mehr alle zerstörten Häuser neu aufgebaut, denn die wirtschaftliche Krise hielt an, außerdem ging kontinuierlich Land entlang der Küste verloren, da es keine Deiche gab. Zu Anfang des 18. Jahrhunderts hatte Brighton nur noch etwa 1.500 Einwohner. 1750 veröffentlichte der Arzt Richard Russell aus Lewes eine Schrift über die gesundheitsfördernden Aspekte des Meerwassers, vor allem in Brighton. Er errichtete 1753 auf dem Grundstück Old Steine das damals größte Gebäude Brightons, in dem er wohnte und auch seine Patienten logierten, und schon bald machten sich wohlhabende Kranke auf den Weg an die Küste. Um 1780 entwickelte sich Brighton zu einem modischen Kurort. Diese Entwicklung wurde beschleunigt, als 1786 der junge Prinzregent (der spätere König George IV.) hier ein Landhaus kaufte, um den größten Teil seiner Freizeit dort zu verbringen. Er ließ es später zum exotisch aussehenden Royal Pavilion ausbauen, der bekanntesten Sehenswürdigkeit der Stadt. Er ähnelt von außen einem indischen Palast, während die Inneneinrichtung im Stil der Chinoiserie gehalten ist. Seit 1850 ist er im Besitz der Stadt.
Von 1770 bis 1795 wurden 635 neue Häuser in Brighton gebaut. Um 1820 wurden die Viertel Kemp Town und Brunswick Town errichtet. 1823 erhielt der Ort als ersten Pier den Chain pier, 1866 folgte der West Pier. Seit 1841 gab es eine Eisenbahnverbindung nach London. 1872 wurde ein großes Aquarium eingeweiht, damals eine internationale Attraktion. Aus Meyers Konversationslexikon von 1898 ist zu erfahren:
„Brighton hat drei Saisons im Lauf des Jahres. Im Mai und Juni ist es fast ausschließlich von den Familien der Londoner Kleinbürger (tradespeople) besucht, im Juli und August von Ärzten, Advokaten, Künstlern etc., und in den Herbst- und Wintermonaten, wenn es an der südlichen Seeküste sonnig warm ist, wimmelt es von Lords und Ladies, die vom Kontinent heimkehren. Die Zahl der Besucher, welche sich längere Zeit hier aufhalten, beträgt jährlich über 80.000“.
Im Jahre 1896 wurde Brighton Zielort eines der ältesten kontinuierlich ausgetragenen Autorennens der Welt, des heutigen London to Brighton Veteran Car Run. In diesem Rennen dürfen lediglich Fahrzeuge aus edwardianischer Zeit und den Urtagen der Automobilität teilnehmen, das heißt Fahrzeuge, die ein Baudatum vor dem Januar 1905 ausweisen können.
1930 wurden dann Deiche aufgeschüttet, um die Erosion durch den Seegang aufzuhalten. Während des Zweiten Weltkriegs wurde Brighton ebenso wie London von der deutschen Luftwaffe bombardiert. Über 5.000 Häuser wurden beschädigt oder zerstört.
Die Universität von Sussex wurde 1962 gegründet. Nachdem Brighton sein städtisches Polytechnikum „Universität“ nennt und die grafschaftliche Universität von East Sussex sich weit ab im Grünen, zwischen den Zivilgemeinden Stanmer und Falmer, aber noch auf Stadtgebiet von Brighton & Hove, niedergelassen hat, ist das Seebad auch eine Universitätsstadt mit zwei Universitäten geworden. Andererseits ist es auch ein hektischer Ferienort mit vielen Antiquitäten- und Buchläden, Restaurants und Spielhallen. Die Stadt wird manchmal auch London by the Sea genannt, wegen seiner Atmosphäre sowie wegen der großen Anzahl von Besuchern aus London, die vor allem an den Wochenenden und während der Sommerferien an die Küste strömen. Im Sommer beherbergt Brighton Tausende von jungen Menschen aus ganz Europa, die hier Sprachkurse belegen.
Im Kongresszentrum von Brighton findet fast alljährlich ein Parteitag einer der drei großen politischen Parteien statt. Am 12. Oktober 1984 explodierte im Grand Hotel eine Bombe der IRA; fünf Menschen starben. Die damalige Premierministerin Margaret Thatcher, die dort abgestiegen war, entkam nur knapp dem Attentat. Einer der Minister, Norman Tebbit, wurde leicht verletzt.
Im Jahr 1997 schlossen sich Brighton und die benachbarten Orte Portslade, Rottingdean und die Hove zu einer Stadt zusammen.
(Wikipedia)
They have animal enclosures at Grandfather Mountain and Black Bears were one of them. They were giving them a snack so they could give information and show them off a bit and this one had a bit of a quirky way about getting his snack first. He would walk on hind legs with tongue a wagglin' . I've never heard or or seen a bear do that ever, it was so cool! ( Sorry, I'm bad at story telling, but you get the jist lol ) .
Have a great day and thank you for stopping by!
Copyright © 2014 Wendy Gee Photo~Art
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This boy slept ON my face last night. Not next to my head. Not around my neck. Not tucked under my chin. He slept ON my face. Purred nearly the whole time, too.
I just kept my hand cupped by my nose and mouth so that I could breathe the warm air in the space that created. My nose was anything but cold last night.
[SOOC, f/1.4, ISO 200, shutter speed 1/80, +1 EV]
Bracknell Camera Club Treasure hunt Theme 18 (May) Quirky. You would be forgiven for overlooking this 'quirky' little chap who may be lurking in your near by woods. He brings to mind one of animator, Neil Park's characters out of Chicken Run. I wonder what name he might give this one.
Lobby Card(11" X 14").
This abridgement of Universal's 12-episode serial Buck Rogers stars Buster Crabbe as Dick Calkins' famed comic-strip space adventurer. Buck and Buddy (Jackie Moran) and are recruited to battle against modernistic gangster Killer Kane (Anthony Warde), by Wilma Deering (Constance Moore) and Dr. Huer (C. Montague Shaw). The duo travels to Saturn to get help in their mission, and after Buck and Buddy quell the internal struggles of the Saturnians, Buck triumphs over Killer Kane and his cosmic thugs.
Planet Outlaws Feature link: youtu.be/UD3xKy42KUY
Link to all 12 Serial Episodes:
www.youtube.com/watch?v=iTtc-u3zFGk&feature=share&...
Starring Buster Crabbe, Constance Moore, Jackie Moran, Jack Mulhall, Anthony Warde, C. Montague Shaw, Guy Usher, William Gould, Philson Ahn. Directed by Ford Beebe, Saul A. Goodkind.
Buck Rogers and Buddy Wade are in the middle of a trans-polar dirigible flight when they are caught in a blizzard and crash. Buddy then releases a special gas to keep them in suspended animation until a rescue party can arrive. However, an avalanche covers the craft and the two are in suspended animation for 500 years. When they are found, they awake to find out that the world has been taken over by the outlaw army of Killer Kane. Along with Lieutenant Wilma Deering, Buck and Buddy join in the fight to overthrow Kane and with the help of Prince Tallen of Saturn and his forces, they eventually do and Earth is free of Kane's grip.
This is actually a pretty enjoyable serial, but it seems doomed to be forever overshadowed by the much superior Flash Gordon trilogy. Universal brought BUCK ROGERS out in 1939, in between their own chapterplays FLASH GORDON'S TRIP TO MARS and FLASH GORDON CONQUERS THE UNIVERSE; it also starred Buster Crabbe (but with his natural dark hair instead of Flash's golden curls) and although it is filled with space ships and weird gadgets, BUCK ROGERS lacks most of the elements that gave the Flash serials their intense emotional draw.
For one thing, there is none of the strong sexual charge that the Flash series had. Instead of nubile Dale Arden and sultry Princess Aura both competing for the hero's attention while the villain openly lusted for the heroine, Buck's epic featured Constance Moore as Col. Wilma Deering. Now, Moore is perfectly fine in her role, but she is after all a soldier in the resistance army and not a fair damsel in distress. She has a nice moment when she wrests a ray gun away from a guard and blasts her way out of her cell, but she and Buck seem to be merely chums on the same side.
Also, although BUCK ROGERS has plenty of futuristic gadgets (rayguns and buzzing spaceships which shoot sparks from their backs, teleportation tubes and invisibility rays), there are no grotesque monsters or nonhuman alien races on view. Prisoners have remarkably goofy metal helmets strapped on which turn them into docile zombies, and there are these homely goons called Zuggs moping around, but that's hardly as fascinating as Lion Men and Clay People and horned apes (that Orangapoid critter).
What's ironic about all this is that the comic strip BUCK ROGERS by Philip Nolan and Richard Calkins started in 1929, was immensely popular for many years and it success inspired the creation of Flash. Yet the Flash strip benefitted from the genius of Alex Raymond, one of the all-time great cartoon artists, and it produced stunning visual images (from the samples of Buck's strip I've seen, it was imaginative enough but pretty crude and drab). This contrast carried over to the serials.
Buck Rogers and his sidekick Buddy Wade (Jackie Moran) are pilots who crash in the Arctic in1938 and survive for 500 years because the 'Nirvano' gas they were carrying put them in a state of suspended animation. They both seem to adapt to waking up in the year 2424 pretty well, where I would think most people would be so traumatized it would take a while to adjust. In this dystopic future, the Earth is ruled by a mega-gangster called Killer Kane (another setback; Anthony Warde would be okay as a crimelord but he just doesn't have the imposing presence to convince me this guy can dominate an entire planet).
Luckily, Buck and Buddy have been found by the small resistance movement hopelessly trying to overthrow Kane from their hidden city. Here is Dr Huer (C. Montague Shaw, who I just saw in the UNDERSEA KINGDOM doing the same gig with his wild inventions) and Wilma Deering leading the good fight. For some reason I missed, everyone immediately puts all their trust in Buck and he pretty much takes over. (Maybe he's just one of those charismatic alpha males or something.) Most of the serial involves desperate trips back and forth to Saturn to enlist the aid of the isolationist Saturnians, and this means running the blockade of Kane's ships. The usual fistfights and explosions and captures and escapes normal for this sort of situation ensue. It's a lot of fun if you take it on its own terms, with a strong linear plot and likeable heroes, but it really never kicks into high gear and seems a bit drab.
It's interesting that some (but not all) of the Saturnians are played by Asian actors. Prince Tallen, who gets caught up in most of the fun, was portrayed by a very young Philson Ahn, and I thought for years this was the same guy who in 1972 impressed us as the head of the Shaolin Temple in TV's KUNG FU (he taught all the styles, really amazing if you think about it). Turns out that was Phiip Ahn, Philson's brother.
Dir: Ford Beebe and Saul A. Goodkind - 12 Chapters
BUCK ROGERS (1939): Director Ford Beebe, who also worked on Flash Gordon (1938), came straight from The Phantom Creeps (1939) and then went back to finish Flash Gordon Conquers The Universe (1940). Buck Rogers stars Buster Crabbe or, as his family knew him, Lawrence. Now, Lawrence ‘Larry’ ‘Buster’ Crabbe had previously starred in two Flash Gordon serials, a couple of Tarzan movies and a long string of westerns, so it was only natural for Universal to decide he was perfect as the heroic Buck Rogers, aka that blonde guy who saves the universe but isn’t Flash Gordon. Actually, Buster Crabbe wasn’t the first actor to play Buck Rogers in-the-flesh, so to speak.
That honour goes to an unknown man who played Buck in a Virginia department store, instead of their regular Santa Claus. Santa was off conquering Martians at the time, I think it was an exchange program of sorts. It strikes me that Buck Rogers is not unlike a male fantasy come to life. Just think of it – Buck gets to take a nice five-hundred-year-long sleep-in. With my busy schedule, I’m ecstatic if I can get twenty minutes nap on the weekend. Then, when he wakes up, Buck is the smartest, most dynamic guy around. In reality he’d be treated like something that’s escaped from the zoo. And finally, everyone needs Buck to go on exciting missions, fight the bad guys, test exotic equipment and crash rocket ships – out of the half-dozen flights Buck makes, he only lands successfully once. It’s easy to see the bullet cars used in the movie are the same ones from Flash Gordon’s Trip To Mars (1938), and even the script is rather suspect.
Planet Outlaws
This film is actually a compilation of the Buck Rogers serials that ran originally in 1939. The cliffhanger endings and recap beginnings have been edited out to make it flow better -- with partial success. Some new footage was shot for the introduction and summary. At the opening, there are some newspaper headlines about jets chasing flying discs, and the obligatory checkered V2 launch, etc. to add a modern segue. After that, it's pure 1939.
Sci-fi movie technology had come a long way in the 14 years since Buck's debut. Audiences had grown accustomed to sleek and pointy rockets, flying saucers, strange aliens, etc. The Buck Rogers style world-of-the-future must have looked oddly quaint. (if not laughable) Just why Universal Pictures thought re-releasing Buck Rogers was a good idea is a bit of a mystery. Kids who were 8 or so back in 1939 would be young adults in '53. Perhaps Universal was banking on those young adults would buy tickets for a trip down memory lane.
Plot Synopsis
After a bit of modern ('53) footage about the wonders of modern progress and "flying disks," the old serial begins. Rogers and Buddy crashed in the arctic while on a transpolar flight. They were in suspended animation due to the cold and a vague gas. A patrol finds them in the year 2500 and revives them. In the world of 2500, a despot named Killer Kane is trying to take over the world. The forces of good are holed up in the "hidden city." Buck arranges a decoy maneuver to elude Kane's patrol ships. They fly to the planet Saturn in hopes of finding help. On Saturn, the Council sees Rogers and party as the rebels, and Kane as the rule of law. Rogers et al, escape Saturn, return to earth and seek to disrupt Kane's bamboozling of Prince Tallen, the Saturnian representative. Rogers sneaks into Kane's city, interrupts the treaty signing and convinces Tallen of Kane's evil by revealing Kane's "robot battalion" (slaves wearing mind-control helmets). Rogers and Tallen get to Saturn and the treaty is signed. Rogers escapes Kane's patrols via the Dissolvo Ray which rendered them invisible. Rogers and the war council plan for war. Rogers enlists the Saturnians to help. Meanwhile, Rogers sneaks into Kane's city and de-zombies Minister Krenco to lead an uprising of freed robot-slave-prisoners. Rogers storms Kane's palace and puts one of the robo-slave helmets on Kane. The End
The industrial vision of the future is delightful to watch. The heavily mechanical look of everything is so radically different from the sleek rockets and glowing acrylic audiences were growing accustomed to. The space ships look like they were built at locomotive factories or steamship yards. They spew roman-candle sparks and smoke and buzz as they fly. There are no computers, no radar or electronics. It's a fascinating snapshot of what pre-electronic-age people thought the future would be like.
When originally released in 1939, the Killer Kane character was a thinly disguised allusion to Hitler. In 1953, Kane was intended to represent a communist despot. It wasn't as tidy a fit. The narrator sums it up voicing a hope that scientists will develop the means for men to stand up to today's dictators and make the world safe for democracy. In the early 50s, there's little question of who they meant.
Simple Colors -- One endearing trait of Buck Rogers is the simplicity of the characterizations. The good guys do nothing but good. The bad guys are pure bad. The good guys are crack pilots and sharp shooters and tough as nails. The bad guys do nothing but bad, have trouble hitting a flying barn and are easily knocked out with one punch.
Industrial Baroque -- Somewhat like the baroque era's compulsion to decorate every square inch with swirls and filigree, Industrial Baroque sought to fill every space with heavy-duty hardware. The sets, and especially the rocket interiors are like flying boiler rooms. Valves, pipes, levers, dials, wheels, large flashing light bulbs. To look more "high tech" in the 30s meant cramming in more industrial hardware. Buck Rogers' ships show more affinity for Captain Nemo "steampunk" than the proto-space-age of the 50s.
Family Resemblance -- There is a noticeable similarity in the sets and costumes of Flash Gordon, Buck Rogers. Even serials of the early 50s, like Captain Video and the various Rocketman serials, look more like Flash and Buck than George Pal. The industrial baroque look and costuming are distinctive, making them almost a sub-genre of their own. In that regard, Buck has a timelessness.
Another take on the story and additional background info.
A round-the-world dirigible flight commanded by US Air Force officer Buck Rogers (Buster Crabbe) encounters dangerously stormy weather above the Himalayas; said weather, along with disastrous panic on the part of Rogers’ crewmen, causes the aircraft to crash. The cowardly crewmen ditch the ship and meet quick ends, but Rogers and young Buddy Wade (Jackie Moran), son of the aircraft’s designer, survive the crash. The pair use a cylinder of “Nirvano” gas to place themselves into suspended animation until a rescue party can reach them, but an avalanche buries the ship and all searches prove fruitless; the dirigible and its two dormant inhabitants remain beneath rocks and snow for five hundred years.
Finally, in the year 2440, a spaceship unearths the wreck, and its pilots restore Buck and Buddy to consciousness. The holdovers from the 20th century soon learn that their rescuers are soldiers from the “Hidden City,” a pocket of resistance to the super-criminal who is ruling the 24th-century Earth–one “Killer” Kane (Anthony Warde). Rogers immediately pledges his support to Air Marshal Kragg (William Gould) and Scientist-General Dr. Huer (C. Montague Shaw), the leaders of the Hidden City exiles, and is soon en route to Saturn, hoping to convince that planet’s rulers to aid the Hidden City in freeing the Earth from Kane’s tyranny. To cement the Saturian alliance, Buck must battle Kane’s legions at every step of the way, with able assistance from Buddy and from Dr. Huer’s trusted aide Lieutenant Wilma Deering (Constance Moore).
Ever since its original release, Buck Rogers has stood in the shadow of Universal’s Flash Gordon serials; the studio encouraged such association by casting Flash Gordon star Buster Crabbe as a different sci-fi hero, obviously hoping that the chapterplay would capitalize on the goodwill generated by Flash Gordon and Flash Gordon’s Trip to Mars. The serial did succeed in reminding audiences of the Flash outings–but it reminded them of how much they had liked those serials and forced inevitable comparisons that were not in Rogers’ favor. Universal’s plans for a second Buck Rogers serial were quickly scrapped when the first outing failed to please matinee audiences; the intended Buck sequel was then replaced on the studio’s production schedule by–what else?–a third Flash Gordon chapterplay. Even today, Buck is typically dismissed by fans as a pale echo of the great Gordon serials.
It’s easy to see why Buck Rogers came as a disappointment to audiences expecting an outing in the Flash Gordon tradition. Its production design, while futuristic, is less quirky and more uniform than that of the Gordons; there are no monsters and no weird semi-human races besides the rather uninteresting Zuggs; there are also no supporting characters as developed or as interesting as Dr. Zarkov, Ming, King Vultan, the Clay King, Princess Aura, Prince Barin, and other major figures in the Flash Gordon chapterplays. And yet, taken on its own terms, Buck Rogers is far from a failure; it does not approach the Flash Gordon trilogy in quality, but then few serials do.
Buck Rogers’ script, by former Mascot writers Norman Hall and Ray Trampe, is fast-moving and manages to avoid repetition for most of its length. The trip to Saturn, the attempts to convince Saturnian leader Prince Tallen (Philson Ahn) of the justice of the Hidden City’s cause, the subsequent rescue of Tallen from Kane’s city, the second journey to Saturn to cement the alliance, and the attempts of Kane’s henchman Laska (Henry Brandon) to sabotage it–all these incidents keep the narrative flowing very nicely for the serial’s first eight chapters. As in many of Trampe and Hall’s Mascot scripts, however, the writers seem to run out of plot before the serial’s end. While Chapters Nine and Ten remain interesting (with Buck being converted into a hypnotized robot, Buddy’s rescue of the hero, and an infiltration of the Hidden City by one of Kane’s men), the last two chapters have a definite wheel-spinning feel to them, throwing in a redundant third trip to Saturn and an unneeded flashback sequence.
The last-chapter climax is also something of a disappointment, with Kane being overthrown quickly and undramatically instead of being definitively crushed. Here, Trampe and Hall seem to have been leaving room for the sequel that never came and trying to avoid duplicating the dramatic but very final destruction of MIng which closed the first Flash Gordon serial (and which needed to be explained away in the second). The other weak spot of the scripting is Buck and Buddy’s rather calm reaction when they realize that their old world (and everyone in it) is dead–and their extraordinarily quick adjustment to their new one. One wouldn’t have wanted the writers to dwell on our heroes’ plight (which would be absolutely crushing in real life), but I do wish Trampe or Hall could have given Buck and Buddy a few emotional lines about their displacement before getting on to the main action; Hall in his scripts for other serials (Hawk of the Wilderness, Adventures of Red Ryder), showed himself capable of far more dramatic moments.
As already mentioned, the serial’s visuals are less varied than those of the Flash Gordon serials, but that’s not to say they aren’t impressive by serial standards. Pains seem to have been taken to avoid duplicating too much of Gordon’s “look;” the spaceship miniatures are completely different than the ships in the Gordon trilogy, while Kane’s stronghold–probably the best miniature in the serial–is not the quasi-Gothic palace of Ming but rather an ominous, futuristic-looking version of New York City, complete with towering skyscrapers. The Hidden City’s great rock gates are also nifty, and the massive Saturnian Forum (a life-size set, not a miniature) is very visually impressive. The barren Red Rock Canyon area works well as the Saturnian landscape, but I think it was a mistake to also use the Canyon as the area between the Hidden City and Kane’s capital; Saturn and Earth shouldn’t look so similar.
The only major prop or set reused from the Gordon serials are the “bullet cars” from Flash Gordon’s Trip to Mars; they’re just as fun to watch in action here as in the earlier serial. Other incidental props and sets–Kane’s robot room, his mind-control helmets, the various televiewing devices, the anti-gravity belts, Dr. Huer’s invisibility ray, and the Star-Trek-like molecular transportation chamber–add further colorful touches to the serial., and are respectably represented by Universal’s always above-average array of sets and props. The Zuggs, the “primitive race” ruled by the Saturnians, are somewhat disappointing, however; while suitably grotesque-looking, they’re nowhere near as menacing or memorable–in appearance or demeanor–as their obvious inspiration, the Clay People in Flash Gordon’s Trip to Mars.
The serial’s action scenes are brisk and energetic, suffering not at all from a general lack of fistfights–thanks to the swift-moving direction of Ford Beebe (a Mascot veteran like writers Trampe and Hall) and his co-director Saul Goodkind (usually an editor). The few hand-to-hand tussles–most of them on the rocky hills of Saturn–are executed routinely but skillfully by Dave Sharpe, Tom Steele, Eddie Parker, and other stuntmen; the best of the bunch is the fight between Buck and a Kane man in the control room of the Hidden City, although this is more exciting for the suspenseful situation (Buck trying to close the gates that the henchman has opened to Kane’s oncoming armada) than for any particular flair in the staging.
Most of the action sequences consist of protracted chases and pursuits (both on foot and in rocketships), with occasional quick combats thrown in. Many of these lengthy chases are very exciting–particularly the long incursion into Kane’s city that occupies most of Chapters Three and Four, a great combination of action and suspense. Buddy’s later stealthy visit into Kane’s fortress to rescue Buck from the robot room, and the following escape, is also good, as are Buck’s skillful and repeated elusions of the rebellious Zuggs in Chapter Eight and the bullet car getaway in Chapter Six.
The cliffhanger endings are generally well-staged, with proper build-ups, but too many of them involve spaceship crashes that our heroes rather implausibly live through. The impressive collapsing forum at the end of Chapter Eleven and the bullet car crash at the end of Chapter Six provide nice variety amid the spaceship wrecks, but (alas) are also resolved by mere survival. Still, this is preferable to the blatantly cheating resolution of what is otherwise one the best chapter endings–Killer Kane’s pursuit of Buddy in a darkened council chamber and his apparently lethal zapping of the young hero. At least the resolution features a good stunt bit by Dave Sharpe.
The leading performances in Buck Rogers are all excellent (although most other critics would make a single exception; see below). Buster Crabbe, as always, makes a perfect serial hero–both genially cheerful and grimly serious, unassumingly polite and aggressively tough. As in the Flash Gordon trilogy, his down-to-earth attitude also helps to make the wild sci-fi happenings seem perfectly normal.
Jackie Moran (oddly “reduced” to serial acting only a year after playing Huck Finn in David O. Selznick’s big-budget classic Adventures of Tom Sawyer) does a fine job as Buddy Wade, handling his character’s frequent “golly, gee-whiz” lines in a low-key fashion that keeps Buddy from coming off as too naïve; his chipper but calm demeanor complements Crabbe’s well, and he has no problems carrying an entire chapter and part of another on his own.
Constance Moore, despite being saddled with perhaps the most unflattering costume ever worn by a serial leading lady (basically coveralls and a bathing cap), manages to come off as charming. Her Wilma Deering is self-possessed and capable-seeming but never too coldly efficient; she remains warmly likable even when piloting spaceships or explaining technology to Crabbe.
Henry Brandon is very good as Killer Kane’s chief henchman Captain Laska–suave and sly when acting as Kane’s ambassador to Saturn, haughtily arrogant when threatening people, and nervously jittery in the presence of his overbearing leader. Hard-bitten tough guys Wheeler Oakman and Reed Howes, along with the slicker Carleton Young , form Brandon’s backup squad.
As Killer Kane himself, perennial henchman actor Anthony Warde has been almost universally panned by critics as “miscast.” I have to dissent strongly, however; Warde does a fine job in the part and plays Kane with a memorable combination of viciousness and uncontrollable anger. The character is not a diabolical schemer like Ming, but rather a super-gangster who’s blasted and bullied his way to the top–and Warde’s bad-tempered, aggressive, and thuggish screen personality fits the part perfectly. He veers between intimidating ranting and harshly sinister sarcasm–as when he describes himself as a “kindly ruler” just after wrathfully sending a formerly trusted councilor to the robot room–but is quite menacing in both aspects.
Philson Ahn, brother of frequent serial and feature actor Phillip Ahn, does a good job as Prince Tallen of Saturn; he possesses his sibling’s deep and distinctive voice, which serves him well as a planetary dignitary. His manner also has a slightly tougher edge to it than his refined brother’s, which helps to keep the viewer in uncertainty in the earlier chapters as to whether Tallen will turn out to be friend or foe. Guy Usher plays Aldar, the head of Saturn’s ”Council of the Wise,” and does his best to seem suitably imposing and dignified, despite the almost comical way in which the “Wise” continually change their opinions–backing Kane, opposing him, giving into his demands, defying him, etc. Cyril Delevanti is enjoyable as a grumpy subordinate member of the Council.*
C. Montague Shaw has limited screen time, but is very good as Dr. Huer, balancing statesmanlike dignity with shrewdness and a touch of enjoyable scientific eccentricity (the last is particularly noticeable during his demonstration of his invisibility gas in Chapter Five). Energetic Jack Mulhall is typically affable and enthusiastic as Captain Rankin of the Hidden City, while Kenne Duncan has a rare good guy role as Mulhall’s fellow-officer Lieutenant Lacy. Perennial screen “underworld rat” John Harmon also plays against type as a Hidden City soldier, as does Stanley Price as a Hidden City pilot rescued from existence as a human robot. The dignified but stolid William Gould is good enough as Air Marshal Kragg, but I would have preferred a more dynamic actor in the role–Kragg is, after all, the top military leader of Kane’s enemies. Mulhall could have handled it well, as could Wade Boteler–who does an excellent job as the grim and concerned Professor Morgan in the first chapter, intensely instructing Buddy and Buck in the use of the Nirvano gas.
Lane Chandler also appears in the first chapter, as a military officer who demonstrates the Nirvano gas to a reporter played by another old pro, Kenneth Harlan. An unusually subdued Theodore Lorch is one of Kane’s councilors, while Karl Hackett has a good part as another councilor who gets into an argument with Kane that leads to Hackett’s being converted into a human robot (his terrified pleas as he’s dragged out of the council chamber are quite chilling). Al Bridge has some memorably sinister lines (“when this helmet is in place, you’ll never think or speak again”) in his periodic scenes as the slave-master of Kane’s human robots.
Unusually for Universal, several bit roles are filled by stuntmen; Eddie Parker and Tom Steele pop in as various soldiers and officers, but aren’t as noticeable as Dave Sharpe, who’s given multiple speaking roles as a Kane soldier, a Hidden City soldier, a Saturnian officer, and a Saturnian soldier. His ubiquity can get a little distracting at times, particularly since some of his appearances follow right on the previous one’s heels; he also seems to have a bit of trouble with the formal-sounding Saturnian dialogue, coming off as much more stiff and affected than in his co-starring turn in Daredevils of the Red Circle.
The serial’s music score, like most other Universals of the period, is an eclectic but usually effective array of stock music, some of it cues from the Flash Gordon serials but the majority of it culled from Universal’s horror features, including (most notably) Franz Waxman’s score for Bride of Frankenstein, which furnishes some memorable opening-titles music.
All in all, though Buck Rogers has its share of flaws, it also has more than enough virtues (the acting, the fast pace, the interesting sci-fi trappings) to make it a good chapterplay. Despite its similar themes, it shouldn’t be pitted against the Flash Gordon trilogy–a match it’s bound to lose–but rather judged against the field of competition in general. When judged in this fashion, it’s just as entertaining–and often more entertaining–than many serials with less shabby reputations.
*One has to wonder, though, why some Saturnians are Orientals like Ahn and others Occidentals like Usher and Delevanti; my own theory is that men from various countries emigrated from Earth to Saturn sometime before the bulk of the serial took place; this would explain the racial assortment and also explain why the Hidden City chooses Saturn in particular as an ally (as usual, I’m probably putting too much thought into this).
I bought this beautiful bee catcher but have not caught any bees so I said "okay then, i will do something else with you!!" In my imagination, I see the flower in a little world of its own. Reflections of the trees and my weather vane are there and I can see a little lake in the distance!! The glass distorts everything but I was happy playing!! lol
fun,furry and totally portable
Handmade by me.
Each one has a loop to carry them or hang them on a purse,back pack or even on the rear-view mirror :)
See my page for WIP pics and many of my other creations
St Leonards
A recent survey in the Hastings Online Times suggested that the reason people liked St Leonards was due to the "positive effects of its diversity and quirkiness."
We loved the giraffe but difficult to fit in the suitcase…so bought a fridge magnet instead!
Weymouth 3/3
Whilst on holiday mooching round Murcia this guy saw me with my camera and beckoned for me to take his photograph.I was a little apprehensive but quickly took it as he even moved props into the picture.I thanked him and he then showed me his twitter account so I could tweet it to him. He has a great smile and genuinely just wanted his photo taking ....not money which I thought he was going to ask me for. : ) I took this with my new Nikon but still trying to get to grips with it.
fun,furry and totally portable
Handmade by me.
Each one has a loop to carry them or hang them on a purse,back pack or even on the rear-view mirror :)
See my page for WIP pics and many of my other creations
In this set I used a single light. AB800 inside of a 50" Westcott Apollo. It was boomed flat over their heads and they stood at the far edge of it and about 2 feet from the background
I've been wanting to photograph this quirky little storefront along Main Street in Vancouver for a long time. Figured it deserved a bit of the Wes Anderson treatment.
Shot with my Fujifilm X-T3 and XF 33mm lens. Processed in Capture One Pro then Photoshop.
youtu.be/6M-MtZkZOzw?t=2s Full Feature
Starring Marshall Thompson, Kynaston Reeves, Michael Balfour, Kim Parker, Stanley Maxted, Gil Winfield, Shane Cordell, Terry Kilburn, James Dyrenforth, Peter Madden, Meadows White, and Lala Lloyd. Directed by Arthur Crabtree.
In December 1958 Eros Films, Ltd. had another British B sci-fi movie touring American. Fiend Without A Face (FwoF) ran as the B feature to "Haunted Strangler." Both were British productions being marketed in America by MGM. This is another example of the blurry line between sci-fi and horror. FwoF itself exists in that blurry zone. Mysterious, invisible "mental vampires" killing their victims takes up the bulk of the film. The final showdown with the creatures is classic monster movie. Yet, the tie-in to the customary misguided scientist and atomic energy keep FwoF in the sci-fi orbit.
Synopsis
A Canadian farmer is killed just outside of an American Air Force base in remote Canada. The villagers were already up in arms over the mere presence of the base (jets frightened their cows) so are convinced there is a mad GI on the loose. Major Jeff Cummings befriends the slain farmer's sister, Barbara. The base tests their super radar system again, but like before, it falters just as it seems to be succeeding. Something is draining off the atomic energy. More murders stir up the towns folk to revolt. Jeff is certain that a reclusive genius, Professor Walgate, is the key. Yet more murders occur, each preceded by a rhythmic thumping and squishing sound. Eventually, Walgate confesses that he was working on Thought Materialization -- telekinesis. He needed more power, so fabricated an energy hijacking device to siphon off the air base's transmitted power. (that's why the tests always failed) The extra power worked, but created separate beings rather than intensifying Walgate's own thoughts. The invisible beings escaped his lab and began to 'feed' on townsfolk by sucking out their brains. They need the reactor's power to exist. Jeff rushes to blow up the control room. The reactor is going into overload, so the beings become visible. Dozens of the brain and spinal cord things surround the house. They break in, kill a few people, but can also be killed. Many are. Just as one of the beings has got Barbara, the reactor is shut down. It falls limp. The brain things dissolve into foam. Jeff kisses Barbara. The End.
The monster murder mystery element is fairly well played so it keeps interest up. Once visible, the brain-things have some interest too. As a monster movie, it has some merit. Killer brain-creatures are quirky enough to stay interesting.
The Cold War provides a backdrop, but isn't the focus. The Air Force base's mission is early radar detection of Soviet aircraft coming over the pole. One could see the brain-things as manifestations of deadly atomic energy. (the invisible killer)They seem to fit better the usual science-gone-wrong theme.
Dr. Walgate fills the archetypal role of the naive scientist. He meant well with all his research and work. But, like many naive scientists who had gone before him, his assumptions prove wrong. His work gets away from him and becomes a force of destruction, not one of good for mankind. It has been fairly customary for the naive scientist to die at the hands (or whatever) of his creation. Walgate makes the noble sacrifice at the end, letting the creatures attack him while Jeff gets away.
The brain-creatures are akin to the "Id Monster" in Forbidden Planet. Man's most basic thoughts, if given independence, prove primal and ruthless. As a nuclear cautionary tale, the brain-creatures, man's primal thoughts, prove deadly if given atomic power. The stop-motion animation of the brain-creatures is not too bad. It's not Harryhausen, but it works.
We're told that the brain-creatures suck out the brains and spinal cord of their human victims. So, it interesting that the brain-creatures are depicted as brain shaped. They have a segmented spinal column which they use inch-worm-style for locomotion. They ARE what they eat.
The brain-creatures break the atomic reactor's control rods so people can't shut it down (the creatures need the radiation to exist). It is curious that screenwriters solve the problem with good old dynamite. Jeff blows up the control room to shut down the reactor. ?? The reactor core was already out of control. Why would less control help?
Bottom line? Most of FwoF is a fair horror flick with "mental vampires" and agonizing victims. Things get more interesting when the brain-creatures surround the house. Sure, the movie has its flaws, but is an entertaining 50s sci-fi. 4
"Luxury 4X4" might have some of you thinking Land Rover or Porsche Cayenne. If that's what you're picturing, then all we can say is "Think bigger." Much bigger. Like, so-big-we-can't-get-it-into-the-frame bigger. The Dunkel version of a Luxury 4X4 starts with a Ford F-650 commercial chassis and winds up as the ultimate off-road recreational vehicle.
As their website puts it, Dunkel industries was built on the childhood dream of never having to stop because the trail was 'more than the RV could handle.' So they created a vehicle with "unlimited versatility" that utilizes a Fabco military-grade 4x4 system, capable of driving the luxurious "custom wood, leather and Fiberglass interior" to places no RV dares to go. And in case you want to bring some smaller toys along with you into the wilderness, the bed is big enough to haul a car. That bed also articulates to serve as a ramp to load dirtbikes or ATVs onto the roof. No trailer necessary and no 55-mph limitations for this beast.
Some of the highlights include a firewood box, a shower, and the camp seating built into the running boards and storage bins all around the truck's perimeter. The ATVs on the roof are a definite crowd-pleaser as well. We're not sure how much this project cost the Dunkel Bros. or if they are going to make them available to the public,
fun,furry and totally portable
Handmade by me.
Each one has a loop to carry them or hang them on a purse,back pack or even on the rear-view mirror :)
See my page for WIP pics and many of my other creations
Just cleaning up some memory cards and came across this from what some have called The World's Best Antiques Fair. This is just a sample of the quirky stuff we found on Texas HWY 237's Roundtopolis! (BTW processed w/VSCO on iPad, taken w/canon 5Dlll)
Walking to work on Sunday morning I happened across the Distinguished Gentleman's Ride, a charity event which raises money for men's issues including Prostate Cancer and mental health. Obviously, ladies get involved too! I had just a couple of minutes to grab some shots, this being one of the other two. Next year I'll try to give myself more time . . .