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We've bought this land and now we want MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE
This is a photograph from the 3rd round of the Mullingar Road League which was held in Belvedere House and Gardens, Mullingar, Co. Westmeath, Ireland on Wednesday 21st May 2014 at 20:00. This is the penultimate race in the 2014 series. The race follows the roads and trails around Belvedere and is a very testing 5KM route. The race is promoted by Mullingar Harriers for the Pat Finnerty Memorial Cup. Competitors need to run 3 races out of the 4 races in May (any order) to be considered in the overall placing in categories at the conclusion of the league. Over 350 people took part in tonight's event. The weather was the best yet with beautiful warm sunshine with little or no breeze. Perfect running conditions. The final round of the league will take place in one weeks time.
We have an extensive set of photographs from today in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157644769714481/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Our photographs from Round 1 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644508131856/
Our photographs from Round 2 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644261638039/
Road League 2014 Facebook Page: www.facebook.com/patfinnertyroadleague?fref=ts (Requires Facebook logon)
YouTube Video for the Promotion of the 2014 Road League: www.youtube.com/watch?v=KfvVVwrkgTM
A Vimeo Video for the Promotion of the 2013 Road League: vimeo.com/64875578
Our photographs from Round 5 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633794985503/
Our photographs from Round 4 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633604656368/
Our photographs from Round 3 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633470510535/
Our photographs from Round 2 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633451422506/
Our photographs from Round 1 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633397519242/
Belvedere House and Gardens on Google Street View: goo.gl/maps/WWTgD
Chip Timing Results from Precision Timing: www.precisiontiming.net/result/racetimer
Belvedere House and Gardens Website: www.belvedere-house.ie/
Mullingar Harriers Facebook Group Page: www.facebook.com/groups/158535740855708/?fref=ts
Our Flickr Collection from Mullingar Road League 2012 (1,800 photographs) www.flickr.com/photos/peterm7/collections/72157629780992768/
Our Flickr Collection from Mullingar Road League 2011 (820 photographs) www.flickr.com/photos/peterm7/collections/72157626524444213/
Our Flickr Collection from Mullingar Road League 2010 (500 photographs) www.flickr.com/photos/peterm7/collections/72157624051668808/
Our Flickr Collection from Mullingar Road League 2009 (250 photographs) www.flickr.com/photos/peterm7/collections/72157617814884076/
Our Flickr Collection from Mullingar Road League 2008 (150 photographs) www.flickr.com/photos/peterm7/collections/72157605062152203/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
8 June 2016.
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Photo by Yours For Good Fermentables.com.
Commercial use requires explicit permission, as per Creative Commons.
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#niue still requires no instagram filter. South Pacific tropical clear waters. We stood on the rocks and spotted fish in that shallow water: blue, orange, silver, black. #nofilter #mandefindaniue #ocean
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Free for editorial use image, please credit: imagecomms
ParalympicsGB Rowing Team selection.
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The cheer point at Surrey Quays for the British Heart Foundation as they support the runners and supporters who are taking part in the Virgin London Marathon, 23rd April 2017
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
A 37,0 on a service train in 2019 is outrageous so a trip up to the valleys was required to get 025 in here it is at Rhymney with the stock for the 0724 to Cardiff Central 23/8/19
Dense and psychologically aggressive, Black Swan is more than a movie showing the trajectory of an artist towards stardom, having to go through physical and mental proofs, rushing headlong in the shadows to shine, is a true full plate in order to find the larger image on deconstruction and widespread manipulation.
Swan Lake requires a ballerina able to interpret both the White Swan with innocence and grace, as the Black Swan, representing malice and sensuality. Nina fits perfectly in the role of the White Swan, but Lily is the very embodiment of the Black Swan. The two develop a friendship confrontational, full of rivalry, and Nina starts to come into contact with his darker side, with a thought which threatens to destroy it. And his quest for perfection causes becomes vulnerable to the darkness of your heart, creating then the distortion of his person, leaving it to fit the paper. However, the stardom has a price.
We are shadows of a larger perspective, and in this film we can find it in the form of experience of Nina towards perfection to interpret the Black Swan. Therefore, we will make a comparison between the context of the manipulatório system of modern society and the personal life of someone enslaved by their own limitations of personality.
In the film we have Nina, a current representation of humanity and Erica, her mother, representing one of the facets of the system. Nina represents the active principle of the human being when penetrates in a primeval connotation, for all purposes. She has the innocence, light and luminous look and ingenuousness of a growing experience of self development. However, with the presence of her mother, totally controller and using his daughter to perform personal dreams did not materialise in the past, Nina has thus being shaped, born at submission, shyness and naivety (which is not the same as innocence).
An analogy we see then Erica as facet visible, the first layer of the system or of the Matrix. The system schedules the human being in such a way that it cannot recognize that is full of conditionings, beliefs and concepts based solely on the collective conscious of certain order, causing think his will is indeed coming from itself, when it's actually something external, a silent influence that shapes the thoughts and, fundamentally, the behavior. Nina loves Ballet, however he behaves according to the schedule established by his mother, and even purchased bulimia nervosa from its apathy and cowardice.
Erica represents at first instance the pride and the Global Elite's control, which uses the human supply to accomplish their most unnecessary wills. The control is based on fear, and thus as Erica, it is deployed so artfully to surround the controlled, preventing natural reactions simply seem to go against nature of life. Fear and control are both that humans just committing to treatments that are in their right mind would ever. In the film we see Nina being stripped by the mother as a child, without sketching reaction; see plush spread across the room; We see the mother giving rope in a box of music for the daughter to sleep. Control and submission; just brainwashed.
In the world in which we live is no different. Humans become tolerant attitudes and actions that any spirit observant and aware ever would. See billions of people starving, while billions of tons of food are wasted every day by restaurants, distributors and for ourselves. We see people played on moths, living on the street, low bridges, sleeping on cardboard bins. We see children working like slaves, being beaten and raped, sexually exploited and processed as a by-product of humanity. See ethnic conflicts and religious should have perished a long time. And we see the apathy of the man in the face of evil caused to own species.
This is accomplished by programming the system practiced over centuries, especially during the past 50 years, making human robot, and easy manipulation and control. This is the first step of human deconstruction, in which the behavior is changed and what the system claims to be the correct one, the common sense of acceptance, also becomes each person influenced by Matrix.
As a domino effect, the trivialization of death ends up expanding throughout the social rift , giving space so that the darkness of man come afloat and rather than be faced adequately, ends up being accepted and nurtured, Deconstructing your personality, consciousness and divinity. Never in the history of this planet if killed by both banal reasons. We had deaths by totalitarian regimes and by religious wars, but deaths per catch borrowed a shirt and forget to return, only even in our time.
It is precisely the opening to the darkness we see in Nina. Totally submissive to the mother, as well as to their wishes, she is always vulnerable, with a trembling voice, always crying and suffering silently for not being strong enough to become the star of his ballet company. When you win the role of Queen of Swans, despite of happiness, realizes that is only ready for half of the paper. Your personality and technique are perfect for the role of the White Swan, but for your negative facet, the Black Swan she is unable to represent it. Shyness and naivety does not match with the sensuality of the alter ego of White Swan.
Thomas then comes into play. It represents the facet hides system, one that has as its sole purpose the distortion of mankind, creating patterns for a future delivery total to darkness of soul and therefore to the involution of species.
If we have the duality as reality in three-dimensional experience, only in balance we can exercise our wholeness and divinity. However, for this we must overcome our demons. But that's a tough battle and many lost, falling again in the cliff of self-destruction. Nina has to face the dark side of his soul directly and Thomas will play a key role in this process, since the full opening of Nina is an invitation for the transformation of his personality.
The primordial fall of human beings, the divinity of the Spirit came when there was a total surrender to sex because sex is on the first physical dependence which prevents recognition of divine pattern that transcends it. Sex just bringing the Vice of matter and the oblivion's real identity behind the human vehicle. And when systemic apathy was imposed, sex turned the first tool for total distortion of divinity.
And Nina should also face sex, because only in total distortion could become the star who always wanted to be. While Erica implanted the desire in Nina's behavior and thinking, the desire to become a star, Thomas came up with the solution to this intent. The system deploys the will, and the same system shows you how to make it real. And sex is the first step of the fall. Pleasure is the path to oblivion, for total delivery terms and endless range of other ephemeral, but striking invade human experience within the Matrix. And Thomas wiaccomplishments th its uninhibited way of speaking, acting, with their erogenous zones ringtones licentious in parts of the body of Nina is the trigger of carnal pleasures this delivery.
And Nina end up handing a variety of ways, making then its first rite of selflessness of his divinity, because while experiencing sexuality, also becomes unconscious to tame it, delivering the two men and a woman, even if only a mental projection, which for all means is the prelude to the action. She confronted the negativity of duality, but did not obtain control over himself, didn't find the balance and began its fall.
And Lily emerges as the ísca for that delivery to the darkness is total. Being the opposite of Nina, Lily is perfect for the role of Black Swan and is presented as a competitor, and the competition for survival and success comes into action. Nina ends up falling more in his distortion as you see passed backwards and its interior and exterior war reaches its apex when murderous its projection of Lily.
So here we see the duality also being presented in the form of the competition, winners and losers, of good and evil, right and wrong. Competition, survival is the second flagship passive slavery since eludes the human thought about the true purpose of physical experience. The constant struggle, since early childhood, of humanity for survival in society created the instinct to "live and let Die" next step to ensure your own place in the Sun and when we look at the world's oldest entertainment, sport, we see that the competition is targeted by all vehicles in the system. Can only be room for a winner.
And this struggle for success has meant that Nina is corrupt and eventually take over his role in the negativity, ready for the Black Swan. Humanity then loses control over the balance, on the possible drive, yielding to physicality and the adversarial context of three-dimensional experience. But winning based on extreme duality, especially based on negative deconstruction, always charges a price, because that is what she feeds. The system needs to eat, and every human being is their ambrosia.
Everyone who indulge in the shadows of your heart must pay the price, especially when they reach their deepest desires. And the price is the total renunciation of his divinity, his FREEWILL conscious and essence transcendent. This is the sacrifice to reach success based on duality, is what many call "sell their souls". And Nina does, when execute the self-sacrifice irrational, having on his schizophrenia, a projection of another, Lily, but the case itself. She wanted perfection and reached, but the price was his life.
Black Swan is a great movie, albeit dense, very pleasing to fans of cinema and we can take countless interpretations
It is required that you keep the original packaging of anything that you buy for as long as it is under guarantee…
So, we had quite a number of empty boxes in our attic!
Emptied it for our move to our new house and discovered this !EMPTY! wasp’s nest.
We knew we had them at some point, but they didn’t come into the house itself, so we left it alone.
I had never seen this! It is fragile (broke in half when we tried to remove it from under a beam), feather-light and paper-thin!
Beautiful and delicate, I could not resist photographing it in MACRO!
Here are some interesting facts:
The queen will build her nest with a papery material that she makes by chewing small pieces of wood and she mixes these with saliva to form a kind of papier-mache. There is a difference in the nest of the tree wasp. The papery outside is usually a dark grey whereas the common wasp will be beige.
The queen commences the nest by producing a golf ball sized sphere inside which she constructs a series of about 16 to 20 cells into which she lays eggs. About 7 days later the eggs hatch into grubs, the queen will catch insects and feed them to the grubs. When each has fed until it is full it seals its self into the cell. In the nest she will raise a few workers and these will start to enlarge the nest and help to rear the next generation of wasps.
Nest construction starts in earnest in June and will usually reach its maximum in size in September, but may not end until late November if the conditions are right.
If lots of wasps and other insects are seen on shrubbery or flowers it is most likely that they are simply feeding there. A treatment is not required in such circumstances, as it would only kill the wasps that are present at the time.
The size of wasp colonies will vary from year to year, but at its maximum nests may contain between 5 – 10,000 wasps.
Unbelievable!
Thanx, M, (*_*)
BEST OPEN LARGE
Shot inside a steel mill, where an 8" square solid bar is entering a sizing mill on the right. These machines are massive. This place is dark, dingy, dangerous and wonderfully colorful. You just have to be willing to "see" it. This is my world :-)
iP5s with ProCamera. Touched with Snapseed and Aviary.
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The EPA requires companies to control sources of storm water runoff and requires transporters to clean up hazardous waste discharge. To meet these specific needs, sorbents used for environmental purposes have different designs, shapes and are constructed of different materials.
Ian (53), adjacent to the last Class 60 locomotive that he required. Toton Diesel Depot, Nottinghamshire. Monday 13 August 2007.
Most of the "Class 60" freight locomotives are now stored out of service. They were built by Brush at their locomotive works in Loughborough.
Requires a good spray down after the muddy conditions along the 32km route of the Lourensford MTB Classic in Somerset West.
Copyright 2013 Darren Woolway. All Rights Reserved. Attribution and Payment Required for Reproduction.
A day out in London of a Saturday morning requires planning. Jools arranged for shopping to be dropped on Thursday afternoon, meaning we did not have to go on Saturday morning.
Then setting alarms so that we got to Priory station at half seven ready for the quarter to eight train.
Jools went to get tickets, and I went to the corner greasy spoon to get sausage and bacon sticks and brews. So that when the train rolled at twenty to, we climbed on board, sitting at a table and starting on our breakfast.
Leaving at that time meant it was already light, so we could see the countryside rolling by until we got to Ashford, then flash by once we got on the high speed line, zooming up to Ebbsfleet and then under the Thames into Essex and on to Stratford.
We got out at Stratford, caught the DLR to the regional station, then changing DLR lines for the trains heading for Lewisham.
At Pudding Mill Lane, where we used to watch steam tours on the Great Eastern Main Line, a new station has been built to allow for the entrances to the Elizabeth Line tunnels, and next door is the Abba theatre.
We have been talking about going, so Jools checks prices for the show, and amazed that some are nearly £200! Prices next June are £99, but still for seeing a video recreation rather than the band themselves.
The train rattled on, turning south where the old Bryant and May match factory used to be. The building is still there but seems to be business units or flats now.
Passing the old factory used to be the cue for my Granddad to get us standing up and gathering our coats and bags as we were five minutes from Liverpool Street.
Instead, we took the line south through Bow and towards the crystal towers of Docklands and Canary and other Wharves.
I texted Graham to say we were on our way, and he replied to say he was 5 minutes from Canary Wharf. I said we would be there in a few minutes, maybe we would meet there?
Through Poplar and into the 21st century hellscape that is Docklands, we get off on platform 1, and our next train is waiting on platform 2. Jools walks over, I lag behind, scouring the platform for Graham.
Then as I reach the doors, and the electronic bleeps announcing departure, Graham reaches us and comes on board.
Doors close and the train departs, taking tight turns around the skyscrapers before heading to the river, and after Mudschute, dives under the river for Greenwich.
We get off at Cutty Sark, so named after a tea clipper, and find the way out signed to a flight of 125 steps to street level.
I sigh and follow Jools and Graham up, regretting my life choices.
But I made it to the top, and a short walk we called in at a coffee shop for a refill and wait for the Cutty Sark itself to open.
Although the story of the Cutty Sark and the other tea clippers is very interesting, I wanted to come for purely photographic reasons, to snap the prow and the glazed roof that protects the old dry dock.
We pay to go on, and enter the ship, going up two flights of steps onto the deck, where the masts and rigging tower high above. Remember, sailors used to have to climb up these and gather in sails, and all weathers and on all seas, no matter their state.
Hardy buggers.
Cabins were small and on deck, as all space down below was for cases of tea only, to keep them dry and in perfect condition.
Then down through the visitor centre to the bottom of the dry dock, and the copper bottom of the ship, suspended so that shots looking along and up the prow could be taken.
Which I took plenty of.
Above the roofs of the shops and pubs,the tower of the parish church, St Alphage, Greenwich, which is an usual dedication, but turns out this was the site where the titular Saint was martyred in the 11th century.
Graham had never found it open, but I had checked online and it was due to open at eleven, ten minutes ago. So we walked towards the church, dodging through the traffic and arrived at the church gate.
The south doors were closed, as were the north, so I began to doubt myself. But a nearby sight indicated that the main entrance was on the south side, so we went back round.
And one of the doors was indeed ajar.
Bingo.
Bango.
Bongo.
We climbed the steps and went in, and were met my quiet the most friendly and informative volunteer I think I have ever met.
Interesting details were pointed out, and those hidden were shown, including the location of the font where King Henry XIII was christened, and the last surviving part of the second church's wall.
The church, which is after Hawksmoor, is a delight, though gutted during the blitz, so most glass is now lost, though the Victorian is of good quality.
We were here for the Mars display in the Painted Hall at the Greenwich Naval College.
We have been here before, but some 15 years back at least, so a return was overdue, though the sumptuous painting would be partly hidden by the 7m model of the planet Mars.
We have seen the artist's Moon work at the Maritime Museum nearby, but also in Denver back in 2017. But seemed to have missed his "Earth", I'm sure it'll come round again.
We walked through the college grounds, into the painted hall, exchanged vouchers for tickets and climbed the two sets of stairs into the hall itself.
The view opened out, and the first impression was amazing, Mars at the far end, suspended and slowly turning, with the painted hall as a background. And a helmeted Mar looking down at the planet named after him, a great juxtaposition.
We took and hour to take it all in, then talked about going to the Chapel, which we were not sure was open.
At the base of the stairs, we found the entrance to a passageway, with sign pointing to the Chapel, could this lead all the way under the formal gardens?
Yes. Yes it could. And did.
Up spiral staircases to the lobby, then up a formal stairway flanked by statues of Faith, Hope, Charity and Meekness, into the church, a delight, without much in the way of painting to match the hall opposite, but stunning all the same, and few folks had made it over, so we soaked up the building and details, and fittings.
Time was getting on, and thoughts turned to food. So, we left and headed out to the narrow path beside the river, where high tide meant water was lapping at our feet, but we powered back towards the High Road, and the cluster of pubs and other eateries.
Beside the Cutty Sark was the Gipsy Moth pub, but that was full, so we walked on and found a table beside the fire in the Spanish Galleon, a Shepherd Neame's pub, but they had tables and a great looking menu.
We got pints of Whitstable Bay, and ordered burgers each, all in a great end to the trip where we did all we set out to do, and now rounded it off with a pub lunch.
We ate the burgers with pints of Bishop's Finger, now a timid 5.2% rather than the 7% in days of yore, but still full of flavour.
Time to go home. Back to Cutty Sark DLR station, down in the lift this time, and straight on a train heading north. Change at Canary Wharf, where our train to Stratford was also waiting.
We said goodbye to Graham, hopped on, and the doors closed, so we moved off north.
Back at Stratford, down the steps to the concourse, and straight onto a train going to the International Station, we got on, and so were on the platforms for Kent a full ten minutes before the train was due.
When it came, there were a few seats, so I got to sit and rest by back after the 11,000 steps done, so while darkness fell outside, I kept up to date with the football, Norwich 2-2 with Luton at half time, but scoring twice in the second half to win 4-2, and make it 12 goals scored in three games over seven days.
By the time final whistle went, we were back home, and supping fresh brews as we rested, taking our shoes off.
A brilliant day out.
The West Ham fans we had seen on the DLR were going to their home game against Arsenal, which was on TV at half five. Not the game they were hoping for, as Arsenal were 5-2 by halftime, though no more goals scored in the second half, but worthy of that first half to have watched.
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Cutty Sark is a British clipper ship. Built on the River Leven, Dumbarton, Scotland in 1869 for the Jock Willis Shipping Line, she was one of the last tea clippers to be built and one of the fastest, at the end of a long period of design development for this type of vessel, which ended as steamships took over their routes. She was named after the short shirt of the fictional witch in Robert Burns' poem Tam o' Shanter, first published in 1791.
After the big improvement in the fuel efficiency of steamships in 1866, the opening of the Suez Canal in 1869 gave them a shorter route to China, so Cutty Sark spent only a few years on the tea trade before turning to the trade in wool from Australia, where she held the record time to Britain for ten years.[5] Continuing improvements in steam technology early in the 1880s meant that steamships also came to dominate the longer sailing route to Australia, and the ship was sold to the Portuguese company Ferreira and Co. in 1895 and renamed Ferreira. She continued as a cargo ship until purchased in 1922 by retired sea captain Wilfred Dowman, who used her as a training ship operating from Falmouth, Cornwall. After his death, Cutty Sark was transferred to the Thames Nautical Training College, Greenhithe, in 1938 where she became an auxiliary cadet training ship alongside HMS Worcester. By 1954, she had ceased to be useful as a cadet ship and was transferred to permanent dry dock at Greenwich, London, for public display.
Cutty Sark is listed by National Historic Ships as part of the National Historic Fleet (the nautical equivalent of a Grade 1 Listed Building). She is one of only three remaining intact composite construction (wooden hull on an iron frame) ships from the nineteenth century, the others being the clipper City of Adelaide, now in Port Adelaide, South Australia, and the warship HMS Gannet in Chatham. The beached skeleton of Ambassador, of 1869 lying near Punta Arenas, Chile is the only other significant remnant of this construction method.
The ship has been damaged by fire twice in recent years, first on 21 May 2007 while undergoing conservation. She was restored and was reopened to the public on 25 April 2012.[6] Funders for the Cutty Sark conservation project include: the Heritage Lottery Fund, the House of Commons Digital, Culture, Media and Sport Committee, Sammy Ofer Foundation, Greenwich Council, Greater London Authority, The Stavros Niarchos Foundation, Berry Brothers & Rudd, Michael Edwards and Alisher Usmanov.[7]
On 19 October 2014 she was damaged in a smaller fire.[8]
Cutty Sark whisky derives its name from the ship. An image of the clipper appears on the label, and the maker formerly sponsored the Cutty Sark Tall Ships Race. The ship also inspired the name of the Saunders Roe Cutty Sark flying boat.
Cutty Sark has a registered length of 212.5 feet (64.77 m), with a depth of hold of 21 feet (6.40 m) and a net tonnage of 921. The hull is one of the sharpest of all the tea clippers: she has a coefficient of under deck tonnage[a] of 0.55, compared to Thermopylae at 0.58.[1]: 195–199, 247 Cutty Sark's prismatic coefficient, another measure of hull sharpness, is 0.628; this allows comparison with US-built clippers studied by Howard I. Chapelle.[b][c] After water-line length, the prismatic coefficient is the next most important determinant of potential hull speed.[17] Unladen, or with a cargo of low density, ballast was required for stability. For example, when she was loaded with wool, 200 tons of ballast was carried. The largest wool cargo she ever carried was 900 tons' weight (the total of ballast and cargo of 1,100 tons is consistent with the estimated deadweight cargo capacity of 1,135 tons at 20-foot draught). The largest tea cargo carried was 615 tons' weight. Conversely, a dense cargo allowed full use of the deadweight capacity: if loaded with coal, she would usually carry 1,100 tons.
The maximum logged speed for Cutty Sark was 17.5 knots (32.4 km/h; 20.1 mph). Her greatest recorded distance in noon to noon sights was 363 nautical miles (672 km; 418 mi) averaging 15 knots (28 km/h; 17 mph), although she recorded 2,164 nautical miles (4,008 km; 2,490 mi)[25] in six days, which given the weather over the whole period implied she had achieved over 370 nmi (690 km; 430 mi) some days.[26] By comparison, Thermopylae's best recorded 24-hour distance was 358 nmi (663 km; 412 mi). On another occasion she recorded 3,457 nmi (6,402 km; 3,978 mi) in 11 days.[23] Cutty Sark was considered to have the edge in a heavier wind, and Thermopylae in a lighter wind.
The ship was named after Cutty-sark, the nickname of the witch Nannie Dee in Robert Burns's 1791 poem Tam o' Shanter. The ship's figurehead, the original of which has been attributed to carver Fredrick Hellyer of Blackwall, is a stark white carving of a bare-breasted Nannie Dee with long black hair holding a grey horse's tail in her hand.[27] In the poem she wore a linen sark (Scots: a short chemise or undergarment[28]), that she had been given as a child, which explains why it was cutty, or in other words far too short. The erotic sight of her dancing in such a short undergarment caused Tam to cry out "Weel done, Cutty-sark", which subsequently became a well-known catchphrase. Originally, carvings by Hellyer of the other scantily clad witches followed behind the figurehead along the bow, but these were removed by Willis in deference to 'good taste'. Tam o' Shanter riding Meg was to be seen along the ship's quarter. The motto "Where theres a will is a way" was inscribed along the taffrail,[29] with variable spaces enabling also the reading Where there(')s a Willis away. The Tweed, which acted as a model for much of the ship which followed her, had a figurehead depicting Tam o' Shanter.
I sure hope him and his colleague off to the left behind the pillar, are wearing masks. The raging torrent of river water was mixed with raw sewage...the dust now, can be as harmful as the water was.
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The Climate Group hosts its Under 2 Gala Dinner and Awards reception and dinner at Stirling Castle. Attended by Scottish First Minister, Nicola Sturgeon, 6th November 2021
Photography by Fergus Burnett
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The Climate Group hosts its Under 2 Gala Dinner and Awards reception and dinner at Stirling Castle. Attended by Scottish First Minister, Nicola Sturgeon, 6th November 2021
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
A day out in London of a Saturday morning requires planning. Jools arranged for shopping to be dropped on Thursday afternoon, meaning we did not have to go on Saturday morning.
Then setting alarms so that we got to Priory station at half seven ready for the quarter to eight train.
Jools went to get tickets, and I went to the corner greasy spoon to get sausage and bacon sticks and brews. So that when the train rolled at twenty to, we climbed on board, sitting at a table and starting on our breakfast.
Leaving at that time meant it was already light, so we could see the countryside rolling by until we got to Ashford, then flash by once we got on the high speed line, zooming up to Ebbsfleet and then under the Thames into Essex and on to Stratford.
We got out at Stratford, caught the DLR to the regional station, then changing DLR lines for the trains heading for Lewisham.
At Pudding Mill Lane, where we used to watch steam tours on the Great Eastern Main Line, a new station has been built to allow for the entrances to the Elizabeth Line tunnels, and next door is the Abba theatre.
We have been talking about going, so Jools checks prices for the show, and amazed that some are nearly £200! Prices next June are £99, but still for seeing a video recreation rather than the band themselves.
The train rattled on, turning south where the old Bryant and May match factory used to be. The building is still there but seems to be business units or flats now.
Passing the old factory used to be the cue for my Granddad to get us standing up and gathering our coats and bags as we were five minutes from Liverpool Street.
Instead, we took the line south through Bow and towards the crystal towers of Docklands and Canary and other Wharves.
I texted Graham to say we were on our way, and he replied to say he was 5 minutes from Canary Wharf. I said we would be there in a few minutes, maybe we would meet there?
Through Poplar and into the 21st century hellscape that is Docklands, we get off on platform 1, and our next train is waiting on platform 2. Jools walks over, I lag behind, scouring the platform for Graham.
Then as I reach the doors, and the electronic bleeps announcing departure, Graham reaches us and comes on board.
Doors close and the train departs, taking tight turns around the skyscrapers before heading to the river, and after Mudschute, dives under the river for Greenwich.
We get off at Cutty Sark, so named after a tea clipper, and find the way out signed to a flight of 125 steps to street level.
I sigh and follow Jools and Graham up, regretting my life choices.
But I made it to the top, and a short walk we called in at a coffee shop for a refill and wait for the Cutty Sark itself to open.
Although the story of the Cutty Sark and the other tea clippers is very interesting, I wanted to come for purely photographic reasons, to snap the prow and the glazed roof that protects the old dry dock.
We pay to go on, and enter the ship, going up two flights of steps onto the deck, where the masts and rigging tower high above. Remember, sailors used to have to climb up these and gather in sails, and all weathers and on all seas, no matter their state.
Hardy buggers.
Cabins were small and on deck, as all space down below was for cases of tea only, to keep them dry and in perfect condition.
Then down through the visitor centre to the bottom of the dry dock, and the copper bottom of the ship, suspended so that shots looking along and up the prow could be taken.
Which I took plenty of.
Above the roofs of the shops and pubs,the tower of the parish church, St Alphage, Greenwich, which is an usual dedication, but turns out this was the site where the titular Saint was martyred in the 11th century.
Graham had never found it open, but I had checked online and it was due to open at eleven, ten minutes ago. So we walked towards the church, dodging through the traffic and arrived at the church gate.
The south doors were closed, as were the north, so I began to doubt myself. But a nearby sight indicated that the main entrance was on the south side, so we went back round.
And one of the doors was indeed ajar.
Bingo.
Bango.
Bongo.
We climbed the steps and went in, and were met my quiet the most friendly and informative volunteer I think I have ever met.
Interesting details were pointed out, and those hidden were shown, including the location of the font where King Henry XIII was christened, and the last surviving part of the second church's wall.
The church, which is after Hawksmoor, is a delight, though gutted during the blitz, so most glass is now lost, though the Victorian is of good quality.
We were here for the Mars display in the Painted Hall at the Greenwich Naval College.
We have been here before, but some 15 years back at least, so a return was overdue, though the sumptuous painting would be partly hidden by the 7m model of the planet Mars.
We have seen the artist's Moon work at the Maritime Museum nearby, but also in Denver back in 2017. But seemed to have missed his "Earth", I'm sure it'll come round again.
We walked through the college grounds, into the painted hall, exchanged vouchers for tickets and climbed the two sets of stairs into the hall itself.
The view opened out, and the first impression was amazing, Mars at the far end, suspended and slowly turning, with the painted hall as a background. And a helmeted Mar looking down at the planet named after him, a great juxtaposition.
We took and hour to take it all in, then talked about going to the Chapel, which we were not sure was open.
At the base of the stairs, we found the entrance to a passageway, with sign pointing to the Chapel, could this lead all the way under the formal gardens?
Yes. Yes it could. And did.
Up spiral staircases to the lobby, then up a formal stairway flanked by statues of Faith, Hope, Charity and Meekness, into the church, a delight, without much in the way of painting to match the hall opposite, but stunning all the same, and few folks had made it over, so we soaked up the building and details, and fittings.
Time was getting on, and thoughts turned to food. So, we left and headed out to the narrow path beside the river, where high tide meant water was lapping at our feet, but we powered back towards the High Road, and the cluster of pubs and other eateries.
Beside the Cutty Sark was the Gipsy Moth pub, but that was full, so we walked on and found a table beside the fire in the Spanish Galleon, a Shepherd Neame's pub, but they had tables and a great looking menu.
We got pints of Whitstable Bay, and ordered burgers each, all in a great end to the trip where we did all we set out to do, and now rounded it off with a pub lunch.
We ate the burgers with pints of Bishop's Finger, now a timid 5.2% rather than the 7% in days of yore, but still full of flavour.
Time to go home. Back to Cutty Sark DLR station, down in the lift this time, and straight on a train heading north. Change at Canary Wharf, where our train to Stratford was also waiting.
We said goodbye to Graham, hopped on, and the doors closed, so we moved off north.
Back at Stratford, down the steps to the concourse, and straight onto a train going to the International Station, we got on, and so were on the platforms for Kent a full ten minutes before the train was due.
When it came, there were a few seats, so I got to sit and rest by back after the 11,000 steps done, so while darkness fell outside, I kept up to date with the football, Norwich 2-2 with Luton at half time, but scoring twice in the second half to win 4-2, and make it 12 goals scored in three games over seven days.
By the time final whistle went, we were back home, and supping fresh brews as we rested, taking our shoes off.
A brilliant day out.
The West Ham fans we had seen on the DLR were going to their home game against Arsenal, which was on TV at half five. Not the game they were hoping for, as Arsenal were 5-2 by halftime, though no more goals scored in the second half, but worthy of that first half to have watched.
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Cutty Sark is a British clipper ship. Built on the River Leven, Dumbarton, Scotland in 1869 for the Jock Willis Shipping Line, she was one of the last tea clippers to be built and one of the fastest, at the end of a long period of design development for this type of vessel, which ended as steamships took over their routes. She was named after the short shirt of the fictional witch in Robert Burns' poem Tam o' Shanter, first published in 1791.
After the big improvement in the fuel efficiency of steamships in 1866, the opening of the Suez Canal in 1869 gave them a shorter route to China, so Cutty Sark spent only a few years on the tea trade before turning to the trade in wool from Australia, where she held the record time to Britain for ten years.[5] Continuing improvements in steam technology early in the 1880s meant that steamships also came to dominate the longer sailing route to Australia, and the ship was sold to the Portuguese company Ferreira and Co. in 1895 and renamed Ferreira. She continued as a cargo ship until purchased in 1922 by retired sea captain Wilfred Dowman, who used her as a training ship operating from Falmouth, Cornwall. After his death, Cutty Sark was transferred to the Thames Nautical Training College, Greenhithe, in 1938 where she became an auxiliary cadet training ship alongside HMS Worcester. By 1954, she had ceased to be useful as a cadet ship and was transferred to permanent dry dock at Greenwich, London, for public display.
Cutty Sark is listed by National Historic Ships as part of the National Historic Fleet (the nautical equivalent of a Grade 1 Listed Building). She is one of only three remaining intact composite construction (wooden hull on an iron frame) ships from the nineteenth century, the others being the clipper City of Adelaide, now in Port Adelaide, South Australia, and the warship HMS Gannet in Chatham. The beached skeleton of Ambassador, of 1869 lying near Punta Arenas, Chile is the only other significant remnant of this construction method.
The ship has been damaged by fire twice in recent years, first on 21 May 2007 while undergoing conservation. She was restored and was reopened to the public on 25 April 2012.[6] Funders for the Cutty Sark conservation project include: the Heritage Lottery Fund, the House of Commons Digital, Culture, Media and Sport Committee, Sammy Ofer Foundation, Greenwich Council, Greater London Authority, The Stavros Niarchos Foundation, Berry Brothers & Rudd, Michael Edwards and Alisher Usmanov.[7]
On 19 October 2014 she was damaged in a smaller fire.[8]
Cutty Sark whisky derives its name from the ship. An image of the clipper appears on the label, and the maker formerly sponsored the Cutty Sark Tall Ships Race. The ship also inspired the name of the Saunders Roe Cutty Sark flying boat.
Cutty Sark has a registered length of 212.5 feet (64.77 m), with a depth of hold of 21 feet (6.40 m) and a net tonnage of 921. The hull is one of the sharpest of all the tea clippers: she has a coefficient of under deck tonnage[a] of 0.55, compared to Thermopylae at 0.58.[1]: 195–199, 247 Cutty Sark's prismatic coefficient, another measure of hull sharpness, is 0.628; this allows comparison with US-built clippers studied by Howard I. Chapelle.[b][c] After water-line length, the prismatic coefficient is the next most important determinant of potential hull speed.[17] Unladen, or with a cargo of low density, ballast was required for stability. For example, when she was loaded with wool, 200 tons of ballast was carried. The largest wool cargo she ever carried was 900 tons' weight (the total of ballast and cargo of 1,100 tons is consistent with the estimated deadweight cargo capacity of 1,135 tons at 20-foot draught). The largest tea cargo carried was 615 tons' weight. Conversely, a dense cargo allowed full use of the deadweight capacity: if loaded with coal, she would usually carry 1,100 tons.
The maximum logged speed for Cutty Sark was 17.5 knots (32.4 km/h; 20.1 mph). Her greatest recorded distance in noon to noon sights was 363 nautical miles (672 km; 418 mi) averaging 15 knots (28 km/h; 17 mph), although she recorded 2,164 nautical miles (4,008 km; 2,490 mi)[25] in six days, which given the weather over the whole period implied she had achieved over 370 nmi (690 km; 430 mi) some days.[26] By comparison, Thermopylae's best recorded 24-hour distance was 358 nmi (663 km; 412 mi). On another occasion she recorded 3,457 nmi (6,402 km; 3,978 mi) in 11 days.[23] Cutty Sark was considered to have the edge in a heavier wind, and Thermopylae in a lighter wind.
The ship was named after Cutty-sark, the nickname of the witch Nannie Dee in Robert Burns's 1791 poem Tam o' Shanter. The ship's figurehead, the original of which has been attributed to carver Fredrick Hellyer of Blackwall, is a stark white carving of a bare-breasted Nannie Dee with long black hair holding a grey horse's tail in her hand.[27] In the poem she wore a linen sark (Scots: a short chemise or undergarment[28]), that she had been given as a child, which explains why it was cutty, or in other words far too short. The erotic sight of her dancing in such a short undergarment caused Tam to cry out "Weel done, Cutty-sark", which subsequently became a well-known catchphrase. Originally, carvings by Hellyer of the other scantily clad witches followed behind the figurehead along the bow, but these were removed by Willis in deference to 'good taste'. Tam o' Shanter riding Meg was to be seen along the ship's quarter. The motto "Where theres a will is a way" was inscribed along the taffrail,[29] with variable spaces enabling also the reading Where there(')s a Willis away. The Tweed, which acted as a model for much of the ship which followed her, had a figurehead depicting Tam o' Shanter.