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This is my little Licca family. Sorry about the flash, it's raining outside and we had to improvise in the office.
Our unknown assailant has tracked a group of ragtag mercenaries to the unstable ground of Rajona. The oblivious mercenaries stride along with their latest catch, off to receive their ransom. Little do they know that the masked man has a different plan for them....
The time horizon for saving and achieving an investment goal varies from one goal to the next - God is one of the best option
after 9pm...
our building is a "green" building, which means many things, some of which are inconvenient and obnoxious, but i'm proud to work somewhere that's trying to be part of the solution. we can't open the windows, because the air flow is completely controlled to save as much energy as possible, and we can only change our thermostats up or down two degrees from the standard temp. but sometimes it's fun when the lights automatically go out at 7pm, and i do really appreciate all of the biodegradable fake plastic cups and cutlery we use (made out of corn and potatoes, i think), and the fact that we don't get bottled water - we all use regular glasses that go in the dishwasher each night.
and i love working on a ranch where cows and horses and baby deer and wild turkeys and bobcats and ducks and turtles somehow all manage to get along.
happy earth day!
for 365 days, flickr group roulette, and environmentally friendly.
Holy Trinity, Blythburgh, Suffolk
My favourite church in England.
Ten years earlier, I had written:
Perhaps some counties have a church which sums them up. If there has to be one for Suffolk, it must be the church of the Most Holy Trinity, Blythburgh. Here is the Suffolk imagination writ large, as large as it gets, and not overwritten by the Anglican triumphalism of the 19th century. Blythburgh church is often compared with its near neighbour, St Edmund at Southwold, but this isn't a fair comparison - Southwold church is much grander, and full of urban confidence. Probably a better comparison is with St Margaret, Lowestoft, for there, too, the Reformation intervened before the tower could be rebuilt. The two churches have a lot in common, but Blythburgh has the saving grace. It is so fascinating, so stunningly beautiful, by virtue of a factor that is rare in Anglican parish churches: sheer neglect.
Holy Trinity, Blythburgh, is the church that Suffolk people know and love best, and because of this it has generated some wonderful legends. The first is that Blythburgh, now a tiny village bisected by the fearsome A12 between London and the east coast ports, was once a thriving medieval town. This idea is used to explain the size of the church; in reality, it is almost certainly not the case. Blythburgh has always been small. But it did have an important medieval priory, and thus its church attracted enough wealthy piety on the eve of the Reformation to bankroll a spectacular rebuilding.
It is to Lavenham, Long Melford, Mildenhall, Southwold and here that we come to see the late 15th century Suffolk aesthetic in perfection. But for my money, Holy Trinity, Blythburgh, is the most significant medieval art object in the county, ranking alongside Salle in Norfolk. Look up at the clerestory; it seems impossible, there is so much glass, so little stone; and yet it rides the building with an air of permanence. Beneath, there is a coyness about the aisles that I prefer to the mathematics of Lavenham. Here, it could not have been done otherwise; it distils human architectural experience. If St Peter and St Paul at Lavenham is man talking to God, Holy Trinity at Blythburgh is God talking to man.
At the east end, a curious series of initials in Lombardic script stretch across the outer chancel wall. You can see an image of this in the left hand column. It reads A-N-JS-B-S-T-M-S-A-H-K-R. This probably stands for Ad Nomina JesuS, Beati Sanctae Trinitas, Maria Sanctorem Anne Honorem Katherine Reconstructus ('In the name of the blessed Jesus, the Holy Trinity, and in honour of holy Mary, Anne and Katherine, this was rebuilt'). A fanciful theory is that they are the initials of the wives of the donors. However, note the symbol of the Trinity in the T stone, and I think this is a clue to the whole piece.
High above, an old man sits on the gable end. Incredibly, this is a medieval image of God the Father, and extraordinary survival; we'll come back to this in a moment.
The porch is part of the late 15th century rebuilding, but it was considerably restored in the early 20th century. Interestingly, the angels crowning the battlements look medieval - but they weren't there in 1900, so must have come from somewhere else. Pretty much all the porch's features of interest date from this time. These include the small medieval font pressed into service as a holy water stoup, and image niche above the doors. This has been filled in more recent years by an image if the Holy Trinity; God the Father holds the Son suspended while a dove representing the Holy Spirit alights; you can see medieval versions of this at Framlingham and Little Glemham.
Of all medieval imagery, this was the most frowned upon by puritans. An image of God the Father was thought the most suspicious of all idolatry. As late as the 1870s, when the Reverend White edited the first popular edition of the Diary of William Dowsing, he actually congratulated Dowsing on destroying images of the Holy Trinity in the course of his 1644 progress through the counties of Suffolk and Cambridgeshire.
William Dowsing visited on the morning on April 9th, 1644. It was a Tuesday, and he had spent most of the week in the area. The previous day he'd been at Southwold and Walberswick to the east, but preceded his visit here with one to Blyford, which lies to the west, so he was probably staying overnight at the family home in Laxfield. He found twenty images in stained glass to take to task (a surprisingly small number, given the size of the place) and two hundred more that were inaccessible that morning (probably in the great east window). Three brass inscriptions incurred his wrath (but again, this is curious; there were many more) and he also ordered down the cross on the porch and the cross on the tower. Most significantly of all, he decided the angels in the roof should go.
Lots of Suffolk churches have angels in their roofs. None are like Blythburgh's. You step inside, and there they are, exactly as you've seen them in books and in photographs. They are awesome, breathtaking. There are twelve of them. Perhaps there were once twenty. How would you get them down if ordered to do so? The roof is so high, and the stencilling of IHS symbols would also have to go.
Perhaps this was already indistinct by the time Dowsing visited. Perhaps Tuesday, 9th of April 1644 was a dull day.
Several of the angels are peppered with lead shot. Here is another of those Suffolk legends; that Dowsing and the churchwardens fired muskets at the angels to try and bring them down. But when the angels were restored in the 1970s, the lead shot removed was found to be 18th century; contemporary with them there is a note in the churchwardens accounts that men were paid for shooting jackdaws living inside the building, so that is probably where the shot arises from.
Similarly, the splendid church guide repeats the error that the Holy Trinity symbol in the porch filled a gap that had been 'empty since 1644'. But there was certainly no image in it when Dowsing arrived here, or anywhere else in Suffolk; statues were completely outlawed by injunctions in the early years of the reign of Edward VI, almost a hundred years before the morning of Dowsing's visit.
Another feature used as evidence of puritan destruction is the ring fixed into the most westerly pillar of the north arcade. Cromwell's men stabled their horses here, apparently. Well, it almost certainly is a ring for tying horses to, and the broken bricks at the cleared west end also suggest this; but there is no reason to think that Cromwell and the puritans were responsible. For a full century before Cromwell, and for nearly two hundred years afterwards, a church as big as this would have had a multitude of uses.
Holy Trinity was built for the rituals of the Catholic church; once these were no longer allowed, a village like Blythburgh, which can never have had more than 500 people, would have seen it as an asset in other ways. It was only with the 19th century sacramental revival brought about by the Oxford Movement that we started getting all holy again about our parish churches. Perhaps it was used as an overnight stables for passing travellers on the main road; not an un-Christian use for it to be put to, I think.
In August 1577, a great storm brought down the steeple, which fell into the church and damaged the font. This was at the height of Elizabethan superstition, and the devil was blamed; his hoof marks can still be seen on the church door. Supposedly, a black dog ran through the church, killing two parishioners; he was seen the same day at St Mary, Bungay. Black Shuck is the East Anglian devil dog, the feared hound of the marshes; and Holy Trinity is the self-styled Cathedral of the Marshes, so it is appropriate that he appeared here.
You can see where the font has been broken. You can also see that this was one of the rare, beautiful seven sacrament fonts, similar in style to the one at Westhall; but, like those at neighbouring Wenhaston and Southwold, it has been completely stripped of imagery. Almost certainly, this was in the 1540s, but there is a story that the font at Wenhaston was chiselled clean as part of the 19th century restoration.
More importantly in any case, the storm, or the dog, or the devil, damaged the roof; it would not be properly repaired for more than 400 years. Throughout the 17th and 18th centuries, accounts note that Holy Trinity is not impregnable to the weather. By the 19th century, parishioners attended divine service with umbrellas. By the 1880s, it was a positively dangerous building to be in, and the Bishop of Norwich ordered it closed.
Why had Holy Trinity not been restored? Simply, this is a big church, with a tiny village. There was no rich patron, and in any case the parishioners had a passion for Methodism. Probably, repairs had been mooted, but not a wholesale restoration as we have seen at Lavenham, Long Melford and Southwold. By the 1880s, attention in England had turned to the preservation of medieval detail; in short, restorations were not as ignorant as they had been a quarter of a century earlier. Suggestions that Holy Trinity should be restored in the manner of the other three were blocked by the Society for the Preservation of Ancient Buildings, and this owed a lot to the energy of William Morris, the Society's secretary.
The slow, patient restoration of this building took the best part of a century; indeed, when I first visited in the 1980s I was still aware of a sense of decay.
Nothing could be further from the truth today. You step into a wide, white, open space, one of England's great church interiors. There, high above you, is the glorious roof and the angels of God. The brick floors spread around the scraped font, which still bears its dedicatory inscription and standing places for participants. You turn into the central gangway, and more than twenty empty indents for brasses stretch before you. Dowsing can be blamed for the destruction of hardly any of them. In reality, you see the work of 18th and 19th century thieves and collectors.
The bench-ends are superb. The benches themselves were reconstructed in the late 19th century, supposedly from the main post of Westleton windmill, but the ends are some of the county's finest medieval images. There are basically three series: the seven deadly sins, the seven works of mercy, and the four seasons. There are also angels bearing symbols of the Holy Trinity and the crown. Examples of all of these can be seen below; hover on them to read a description, click on them to see them enlarged.
The rood screen is a disappointment; most of it is modern, and the medieval bits perfunctory and scoured. Having said this, note how tiny the exit from the north aisle rood loft stair is. Also at this end of the church, notice a bare scattering of medieval glass, including some Saints.
But step through the central aisle to see something remarkable. The choir stalls are fronted by exquisite carvings of the 12 apostles, evangelists, and even figures who may be King Anna and his daughter St Etheldreda. She founded the priory that became Ely Cathedral, and there is a local connection because her father was killed at the Battle of Blythburgh. It seems likely that there was a shrine to them here.
Seeing these sixteen carvings is a bit like gobbling up a very large box of chocolates, but it is worth stopping to consider quite how genuine they all are. For a start, there could not have been choir stalls here in medieval times, and in any case we know that these desks and their frontages were in the north aisle chapel until the 19th century. They were used as school benches in the 17th century; they still bear holes for inkpots, and the graffiti of a bored Dutch child (his father was probably working on draining the marshes) is dated 1665 - you can see it in the left-hand column. There is nothing at all like them anywhere else in Suffolk, and although we know that they predate the restoration of Holy Trinity (and therefore almost certainly come from here originally) they seem of too high a quality to come from such a rural outback. In short, they are not medieval, whatever the guidebooks say.
Whatever, the east end of the chancel and aisles are thrillingly modern, wholly devotional. In the north aisle, traditionally the Hopton chantry, extraordinary friezes of skeletons become symbols of the four evangelists behind the altar. Beside them, with a view into the sanctuary, is one of Suffolk's biggest Easter sepulchres, tomb of the Hoptons. In the surviving sedilia of the high altar, we find Peter Ball's beautiful Madonna and Child and a fine Holy Trinity plate, which distract perhaps only slightly from the Jewish imagery above the reredos. It is all just about perfect.
Tucked to one side of the organ is a clockjack; Suffolk has two, and the other is down-river at Southwold. They date from the late 17th century, and presumably once struck the hours; at high church Blythburgh and Southwold today, they are used to announce the entry of the ministers.
You may be reading this entry in a far-off land; or perhaps you are here at home. Whatever, if you have not visited this church, then I urge you to do so. It is the most beautiful church in Suffolk, a wonderful art object, and it is always open in daylight. It remains one of the most significant medieval buildings in England. If you only visit one of Suffolk's churches, then make it this one.
January 2009 to December 2010
It's always satisfying when a bank statement shows you have more money moving into your account than leaving it each month, however I wanted to visualise this activity over a longer period to help me understand my ability to save in more detail. This chart represents two years of data showing my account balance at the end of each day assuming I started on the first day of January with £100. Sharp rises represent pay days and each fall back towards the x-axis shows that I have either spent money on a credit or debit card or made an ATM withdrawal. In both years I made a large withdrawal in the summer, this was to buy a car in 2009 and to pay my tuition fees a year later. I was earning more money in early 2010 however I also made some large purchases. Since enrolling on the MA I have taken a reduction in hours with my employer and so have found it impossible to save as much as I was able to in 2009. Green is associated with money internationally and the layout was chosen to resemble a city skyline which also has strong connotations with this subject.
For higher quality images visit:
From the 2013 Bio-Pic "Saving Mr. Banks", a home in the Heritage Square Museum in Los Angeles was the location that served as the P.L. Travers' Australian home.
The museum is located at 3800 Homer Street, Los Angeles.
A newborn saiga, likely no more than 2-3 days old, roams the steppe in Russia's Kalmykia region, which is a key stronghold for the species, and the epicentre of conservation efforts. The saiga are now in peril threat because of climate change. Due to bacteria that thrive in warmer weather, saiga populations are critically endangered. Poaching for their valuable horns makes the situation much worse. UNDP has supported the conservation efforts of these endangered species in Russia and Kazakhstan. Read more: stories.undp.org/saving-the-saiga
For someone else.
I have many shots like this. Thought I would post some of them for.......
Martha's Sunday Funnies
mìh k b' là mìh khóa cm cơ đấy T_T tg? mng` k cm cho mìh nữa T.T
haizzz, sắp thi r` :' (
THI X_X x-x
Photo Credit: Adam Mason, Smithsonian's National Zoo
On exhibit for the first time in the Washington, D.C. region, the Smithsonian’s National Zoo presents “Washed Ashore: Art to Save the Sea” from May 27 through Sept. 5. Made completely of plastic debris collected from beaches, the colorful and dramatic sculptures of marine animals represent the more than 315 billion pounds of plastic in oceans today and underscore the need for wildlife conservation. Admission to the Zoo and this exhibit is free.
Made possible with the support of Friends of the National Zoo, visitors are invited to get up close to view the sculptures, which range from a 12-foot-long shark and 16-foot-long parrot fish to an 8-foot-wide octopus and a 20-foot-long coral reef. Seventeen sculptures of marine life will be installed along the Zoo’s Olmsted Walk, in the Visitor’s Center and at the Amazonia exhibit. Visitors can see marine animals affected by waste—including sea lions, brown pelicans and corals—on view at the Zoo’s American Trail and Amazonia Science Gallery, respectively.
“We’re excited to bring conservation science and art together to connect our visitors to the impact of trash on ocean health,” said Dennis Kelly, Zoo director. “The Smithsonian’s National Zoo and Conservation Biology Institute is committed to saving marine species and is a pioneer in coral-reef research and conservation. While intricate and captivating, these sculptures are a powerful reminder of our personal role and responsibility in preserving global biodiversity on land and in the sea.”
The ocean produces more than 50 percent of the world’s oxygen, and coral reefs nurture more than a quarter of all marine life. Using procedures similar to those used in human sperm banks, Smithsonian Conservation Biology Institute (SCBI) scientist Mary Hagedorn and her team are global leaders in conserving coral reefs and the ecosystems that they build. Increased greenhouse gases are warming and acidifying oceans across the planet, causing a widespread coral-reef crisis. By pioneering coral cryo-conservation and collecting and storing coral sperm from threatened reefs to produce new colonies in the lab for captive-bred and wild-colony conservation, SCBI is building a potential lifeline for species under threat from climate change, pollution and overfishing. Scientists at the Smithsonian are helping ensure a future for coral reefs and the species that count on them for survival as ocean environments change.
“The National Zoo—America’s zoo—has given us a global platform to present our art to educate a world audience about how plastic pollution is posing a dangerous and perhaps catastrophic threat to the world’s oceans and sea life,” said Angela Haseltine Pozzi, lead artist and Washed Ashore executive director.
Under the leadership of Pozzi, Washed Ashore Project volunteers clean beaches and process the debris into art supplies. To date, thousands of volunteers have processed an estimated 18 tons of garbage collected from more than 300 miles of coastline to create 68 sculptures. As lead artist, Pozzi orchestrates the construction of these towering, striking sculptures of marine life. Each sculpture was created using hundreds of individual pieces, from flip-flops and bottle caps to nylon rope, Styrofoam and lighters.
Based in Bandon, Ore., the Washed Ashore Project is a non-profit dedicated to educating and creating awareness about marine debris and plastic pollution through art. “Washed Ashore: Art to Save the Sea” is a traveling exhibit that has been featured at different locations throughout the country.
Related Programs
Washed Ashore’s “Turtle Ocean” / On view beginning June 8
Sant Ocean Hall / Smithsonian’s National Museum of Natural History
In addition to the 17 sculptures on view at the National Zoo, visitors can see “Washed Ashore: Art to Save the Sea’s” “Turtle Ocean” in the National Museum of Natural History’s Sant Ocean Hall. Created by Washed Ashore director Angela Haseltine Pozzi, “Turtle Ocean” depicts an entangled Hawksbill turtle swimming in an environment of water-bottle sea jellies and beached flip-flop anemones along with marine-debris seaweed and coral made of old buoys, crates and buckets. Hawksbill sea turtles face many threats, including mistakenly ingesting marine trash for food. All six species of sea turtles found in U.S. waters are threatened or endangered. The Sant Ocean Hall is the Museum’s largest exhibit, providing visitors with a unique introduction to the majesty of the ocean. The hall’s combination of 674 marine specimens and models, high-definition video and the newest technology allows visitors to explore the ocean’s past, present and future. For World Oceans Day programming at the Sant Ocean Hall, visit the Museum’s website. For more ocean information, visit ocean.si.edu.
World Oceans Day Celebration
June 11; 10 a.m. – 2 p.m.; National Zoo
It is not just marine animals who depend upon the ocean for survival. Visitors can celebrate World Oceans Day at the Zoo with educational activities, animal demonstrations and crafts.
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Model: Hạnh Tròn
Lighting: Khôi Đất & Hoang Phuc
Costume & Stylist: Nan Anh
Assitant: Sơn Lùn & Jimmii Khánh
Makeup & Hair style: Xiao Mei
Driver: Hieu Kenzo
Location: Bavi wild church
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Thanks for visit & leave comments!
Copyright by X5 Team - Apuproduction * Phone: 097.899.5929 * YM: now_and_forever1505
An announcement was made to the intention of saving a '55'er! Disneyland Railroad Combination rail-car #101, which can be seen in footage of Disneyland's opening day ceremonies. Walt's favorite, and unique on the line, the car that reminded Walt of his youth working on the railroad, is in a remarkable state of preservation - the original upholstery and yellow livery can still be seen - and it HAS FOUND a home, where it can be protected and placed on display to visitors, alongside Walt's Barn. This car is sister to DLRR #106 - the "Lilly Belle" [frmr "Grand Canyon"] at the other end of the '100' car set, that is now refurbished and painted in resplendent shinny red lacquer livery.
We need your help, visit www.carolwood.org/Support/combine/ to find out how you can help.
==== This description of a combination car from TRAVEL TOWN website ====
OAHU RAILWAY & LAND COMPANY COMBINATION CAR #36
A combination car, that is, a car which carried passengers in one section and baggage, mail, or both in another, was commonly used on branch lines of railroads. By literally combining two or more functions into one car, a railroad could reduce the number of cars needed on short branch line trains. This helped cut down on fuel costs as well as on the number of cars the railroad needed to maintain service.
Combination cars were usually on the "head-end" of a train with the baggage and mail section towards the locomotive tender—this prevented the possible security problem of people passing through the baggage or mail area to reach the seating area. Generally, the seating in a combination car was considered second class, and was not as nicely furnished as a regular coach on the same train. Because of this, the combination car was often used as a smoking section, and thus became the nearly exclusive domain of men, since women rarely smoked in public during the pre-World War II periods in which this car saw service.
The railroads also had to comply with Jim Crow laws in certain states, and had created separate, but not altogether equal accommodations for people of color traveling their roads while in those states. Combination cars, on many lines, were known to serve those passengers not allowed to travel in the main cars. Rules of segregation were also implemented against those of lower socio-economic classes—the late 19th century saw the birth of the emigrant car and third class passenger accommodations. With all this in mind, the combination car might have been a refuge for some and a restraint cell for others, depending on the perspective of the individual traveler.
======= UPDATE =======
The car has been acquired! Much restoration and painting and stenciling has been accomplished! She has even been run heading out behind steam in front of her sisters, on a special excursion at the Santa Clarita road. The glass has all been replaced with safety glass and the originals preserved in storage. Even the original seats and baggage room decorations have been carefully conserved, she sure sparkles. The next step is to replace the tarp tent which protects her with a permanent shed with folding siding to protect and display her. It will also incorporate a wheelchair ramp and welcome room to present all the associated historical ephemera and multimedia of the Disneyland and Santa Fe Railroad combination car #101.
Combination car of the Santa Fe & Disneyland Railroad, Walt's Barn Announcement, preservation and display of DLRR #101, 2009.07.18 22:35, dsc00643
a Quarter.
When using this image please provide photo credit (link) to: www.tradingacademy.com per these terms: www.tradingacademy.com/resources/financial-education-cent...
Saving Tip #13 - Tips for Handling Multiple Philippine Credit Cards www.girl-kuripot.com/2013/07/saving-tip-13-tips-for-handl...
Egypt - Qena Governorate
Men and women of the community of Al Ashrafiyah in Qena Governorate of Egypt watch the feature film “Between Two Seas”, which discusses various issues related to violence against women and in-particular Female Genital Mutilation (FGM). The National Council for Women (NCW) and UN Women Egypt are organizing a series of public screenings of the film across Egypt within the framework of the 16 Days of Activism against Gender-Based Violence.
The UN Secretary-General’s UNiTE by 2030 to End Violence against Women campaign is marking the 16 Days of Activism against Gender-based Violence (25 November to 10 December 2020) under the global theme, “Orange the World: Fund, Respond, Prevent, Collect!". UN Women’s Generation Equality campaign is amplifying the call for global action to bridge funding gaps, ensure essential services for survivors of violence during the COVID-19 crisis, focus on prevention, and collection of data that can improve life-saving services for women and girls. The campaign is part of UN Women’s efforts for Beijing+25 and building up to launch bold new actions and commitments to end violence against women at the Generation Equality Forum in Mexico and France in 2021.
This year is like no other. Even before COVID-19 hit, violence against women and girls had reached pandemic proportions. Globally, 243 million women and girls were abused by an intimate partner in the past year. Meanwhile, less than 40 per cent of women who experience violence report it or seek help.
As countries implemented lockdown measures to stop the spread of the coronavirus, violence against women, especially domestic violence, intensified – in some countries, calls to helplines have increased five-fold. In others, formal reports of domestic violence have decreased as survivors find it harder to seek help and access support through the regular channels. School closures and economic strains left women and girls poorer, out of school and out of jobs, and more vulnerable to exploitation, abuse, forced marriage, and harassment.
Photo: UN Women/Younes Hosney
Read More: www.unwomen.org/en/news/in-focus/end-violence-against-women
i was so excited to hear that we were getting daylight saving last year i made a conceptual photo to celebrate it.
hope you like it
♪♬♩•*¨*•.¸¸Just done watching "Saving Mr Wu". A true ➺ crime drama that doubles as a captivating case study on movie star images, Saving Mr. Wu reconstructs the 2004 kidnapping of mainland actor Wu Ruofu with a twist ➳ the real ➺ life victim is here assigned to play a police team captain on the case, and the onscreen captive is embodied by superstar Andy Lau as a fictionalised, though largely recognisable, version of himself. It’s a ticking ➳ clock thriller in which movie star Mr. Wu and a fellow abductee face an inexorably approaching deadline that could mean their doom. Andy Lau pulls off an equally tricky performance, as an actor using his acting chops as a means of survival.¸¸.•*¨*•♩♬♪
ⓘⓩ♪♬♩d(^_^)b❤M¡J❤d(^_^)b♩♬♪ⓩⓨ™