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Someone from the DoA Simply Divine board requested shots of a Harlequin on an EID female body.With the right faceup this may work.
Decent head mobility up and down, some side to side. Harle is a larger head.
3FM Serious Request draait dit jaar om diarree. Jaarlijks overlijden er wereldwijd 800.000 kinderen aan de gevolgen van diarree en om dat aantal terug te dringen, zetten 3FM en het Rode Kruis zich van 18 t/m 24 december vanuit Leeuwarden in om zoveel mogelijk geld in te zamelen voor deze stille ramp. Details: www.3fm.nl
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
okay im going to take requests just cuz I'd love to hear others ideas I have a hard time doing other drawing styles but I will try just comment what you want! :D
rules
1- nothing perverted
2- be Pacific if not I will do my own thing
3- I'm not sure how it will turn out
4- I can do couples but it depends on who (and what there doing)
5- plz nothing to complex (if it is I will try)
6- no more than 3 characters in 1 sketch plz
7- I will do OCs
8- will not draw real people
9- warning I suck at drawing animals
by request, this is a simplified diagram of how to set up continuous lighting via the battery. this is not a comprehensive diagram of all the mods.
note:
after comparing with the stock toy, mods 1 and 3 affect the light pattern of the toy to flash all on or off at the same time. if that is acceptable, this is the way to do it. if you would like to keep the light pattern, inline diodes need to be added to each led path, between the solder points on the toy circuit board and the dpdt switch. further investigation on this might be needed.
the leds are illustrated just to show the connections. they don't need to be soldered.
what needs to be soldered are:
1. the indicated open solder pads on the circuit board. since these are all connected via a jumper they all get connected to the ground side of the mod switch, which leads to
2. the ground battery terminal closest to the inner ring.
3.the positive battery terminal gets soldered to the positive side of the mod switch
4. the positive side of the mod switch gets soldered to a positive terminal on the circuit board.
everything coming out of or into the mod switch in this diagram is a wire added to the toy to make the connection. that's eight wires for the leds, two positive wires, and one ground wire.
refer to the photos for the exact locations of these solder points and further details on how it was done. kthxbai
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V090805DB-0801
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 9/8/2005
Persistent URL: catalog.archives.gov/id/18540787
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
varanasi, india
1972
boats on the ganga (ganges) river
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Just fyi, I rarely accept Facebook requests, but I don't ignore them, either. Or rather, I see them but don't act on them. So I guess that's the same as ignoring them, but I am not "ignoring all."
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V101606DB-0019
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 10/16/2008
Persistent URL: catalog.archives.gov/id/18543871
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
bangkok, thailand
1972
construction
the grand palace
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
3FM Serious Request 2012 in Enschede is begonnen. Na optredens van onder anderen Miss Montreal en Racoon sloot Carice van Houten de deejays Giel, Michiel en Gerard op in het glazen huis op de Oude Markt.
Foto: Monika Schreurs
My pal Ian requested a journal from me before he went away on a trip out to New York - he wanted one that had something to do with DRAGONS or some other mythical beast. Dragons are secretly one of my favorite things to draw.
The cover is made from morrocan faux leather - the inside endpages are gold stamped lotka paper. The gold is mirrored on the cover with the gold leaf "fire". The dragon was drawn with a micron pen, and then painted with drawing inks. The scales were drawn last, over the ink.
I cut the dragon out and inlaid him into the cover, so that he won't peel off. I also hand-sewed the endbands in coordinating red and created a little cord bookmark out of the same red thread.
You can also see a blog post about how I re-covered the original journal this started from here:
www.ruthbleakley.com/blog/?p=137
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Just comment on this picture here and I´ll make it, I´m bored.
If you dislike my manip, just let me know and I´ll re-do it! :)
I was recently asked to recommend my favourite skirt manufacturers. I generally name them in all my posts, but I would certainly put Vivien of Holloway and (vintage) Lindy Bop at the top of my list. Also worth keeping an eye out for are items from Collectif, Rock n Romance, British Retro, Voodoo Vixen, Devil & Desire, The Seamstress of Bloomsbury, House of Foxy, ModCloth, Hearts & Roses, Hell Bunny, Dolly and Dotty, Pretty Dress Company, Ted Baker, Banned Retro and Pinup Couture. The majority of these are around 26/27” long, so perhaps a little short for this particular correspondent. I also monitor Vinted and eBay for other items of retro/boho interest. I hope all of that helps!
The Joseph Stalin Museum is a museum in Gori, Georgia.
The house in which Stalin was born in 1878 and spent his first four years.
The Museum 'began in 1951 ostensibly as a local history museum, but clearly intended to become a memorial to Stalin, who died in 1953. The exhibits are divided into six halls in roughly chronological order, and contain many items actually or allegedly owned by Stalin, including some of his office furniture, his personal effects and gifts made to him over the years. There is also much illustration by way of documentation, photographs, paintings and newspaper articles. The display concludes with one of twelve copies of the death mask of Stalin taken shortly after his death' - wiki
Plans have been made to see the Stalin museum be reorganized into the Museum of Russian Aggression in the future.
A banner at the entrance to the museum states: "This museum is a falsification of history. It is a typical example of Soviet propaganda and it attempts to legitimise the bloodiest regime in history."
Contact me at: alandoyle86@gmail.com regarding publication requests or visit
Llama Suit Photography || Facebook
All rights reserved - Copyright © Alan Doyle
"Every person whilst travelling upon a tram or upon quitting a tram stall upon request by the conductor give to such conductor his full name and address penalty 5 pounds.
No such passenger shall give a false name of a false address penalty 5 pounds"
I want to introduce you to the tram shack I grew up in. I slept in the beds, staring at the ceiling. I opened the windows and dropped into the dining table the other side.
I hurt myself on the bars near the doors and lost toys down the retractable windows. I crawled under the tram and have many Christmas memories of this tram.
This is the Jenkin Tram shack at Pt Parham and if you ask the right people, you can rent it for some relaxing time at the beach.
My Grandfather bought the Tram and land back in 1955.
I believe the tram is a Type C. It has been in my family since the 1950's.
It is a Straight roof combination car - nickname 'Desert Gold'
This class of Adelaide tram included No's 171 - 190. (This is a photo of 190)
They were introduced in: 1918
Withdrawn: 1954
Electrics: 2 x 50hp GE 202 motors, magnetic track brakes
Size: 34ft x 8ft 11in
Seating/Crush load: 40/102
These trams were very fast cars which were used to compete with unlicensed private (known as pirate) buses in the 1920s.
www.trammuseumadelaide.com.au/01_things_02history.html
Originally known as ‘Desert Golds’ after a fast race horse of the time.
During the First World War (1914-18), the MTT (Municipal Tram Trust) urgently needed more tramcars because of passenger traffic generated by line extensions and the Port Adelaide system. Wartime conditions made it hard to obtain equipment, so twenty tram cars similar to the seventy type A trams were built – again by Adelaide car-building firm Duncan & Fraser. They looked very modern because of the simple arched roof, but this was simply a cost saving measure, not a design feature.
Larger motors made them faster. Like the A types they were modelled on, they seated forty passengers and carried a further sixty-two standees.
A planned purchase of large trams was delayed by World War I. Type C trams were small combination cars, built in 1918–1919 as an interim measure. They were similar in basic design to the older A type but had a more modern curved roof rather than a clerestory roof. During their construction, the old motors from the E type (General Electric 202 motors) were fitted to these new trams. Rated at 50 hp each compared to the 33 hp units fitted to the A types, these trams were considerably faster.
Due to the their consequent higher speeds they became known as Desert Gold trams, after a New Zealand racehorse that had won races in Australia at the same time. This speed became useful in competition against unlicensed buses in the 1920s, and they were used in peak service until 1952 with the last use for the royal visit of 1954. Trams 181 to 190 inclusive were allocated to the Port Adelaide system for a short period in the 1930s before closure of the system, mainly used on the Port Adelaide - Albert Park line.[49] During the 1930s, the original Hale Kilburn seating fitted to these trams were replaced with Brill Winner seats taken out of 20 A type trams (numbers unknown).
Introduced 1918–1919
Builder Duncan and Fraser
Weight 11.20 tons
Height 10' 5"
Length 34' 0"
Width 8' 11"
Truck type Brill 21E
Traction motor type (2x) General Electric 202
HP per motor 50 hp per motor
Type of controller Westinghouse T1F
Canon EOS 5D, EF L 24-70
2011
Img_7013
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog. Voor meer info, check: www.3fm.nl/seriousrequest
The doll is Horsman's Mary Poppins that I've had forever and will eventually be finding a new home, the clothes are new. I got them because I thought they'd fit Ken, but the shirt is very undersized, but the pants are too big for Barbie.They have all the markings of a clone outfit, does anyone know who made them and for who?
Campbell's Chunky Soup, Healthy Request, Heart Healthy, 12/2014, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
varanasi, india
1972
the banks of the ganga (ganges) river
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
As requested by Longshanks.
Both images taken with Canon 30d. Fixed at 50mm, 5.6. ISO 100
Natural light source from the right of the view, flash on camera. Flash head 90d to the left and bounced off diffuser.
Glass.
Left: Prime Pentacon 1.8/50 Manual focus
Right: Canon 18-55 Kit lens Auto focus
boston, 1971
streetlife
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Entwistle Station.
Information from Wikipedia:-
The remote Entwistle station is served by Northern Rail services on the Manchester Victoria/Bolton 'Ribble Valley' Line towards Blackburn and Clitheroe. The station is 9 km (5¾ miles) north of Bolton.
It is the closest station to Edgworth, but lack of parking and a difficult approach along minor roads make it unpopular with commuters. Services are infrequent and, unlike the nearby Bromley Cross, the station lies outside the GMPTE boundary, making travel to and from Manchester expensive. Owing to the remote location and low passenger numbers, Entwistle has been a request stop for nearly two years. This means passengers wishing to alight must signal, as they would for a bus, and those wishing to depart a train must inform the conductor.
Here is a request from Talk That Talk To Me, Baby. I tried making look like the circus cover, since this song is from the Circus Era. Hope you like it?
Campbell's Chunky Soup, Healthy Request, Heart Healthy, 12/2014, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
boston
september 1971
charles street fair, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V020707DB-0138
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 2/7/2007
Persistent URL: catalog.archives.gov/id/18542972
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted