Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country house near Welshpool, in Powys, Wales. The seat of the Herbert family, earls of Powis, the castle is known for its formal gardens and for its interiors, the former having been described as "the most important", and the latter "the most magnificent", in the country. The castle and gardens are under the care of the National Trust. Powis Castle is a Grade I listed building, while its gardens have their own Grade I listing on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.

The present castle was built in the 13th century. Unusually for a castle on the Marches, it was constructed by a Welsh prince, Gruffydd ap Gwenwynwyn, rather than by a Norman baron. Gruffydd was prince of the ancient Kingdom of Powys and maintained an alliance with the English king Edward I during the struggles of the later 13th century. He was able to secure the position of his son, Owain, although the kingdom itself was abolished by the Parliament of Shrewsbury in 1283. After his father's death, Owain was raised to the peerage as Owen de la Pole, 1st Lord of Powis. Following his own death c. 1293, and the death of his only son, he was succeeded by his daughter, Hawys Gadarn, "the Lady of Powis". Hawys married Sir John Charlton in 1309.

In the late 16th century the castle was purchased by Sir Edward Herbert, a younger son of William Herbert, 1st earl of Pembroke, beginning a connection between the family and the castle that continues today. The Herberts remained Roman Catholic until the 18th century and, although rising in the peerage to earls, marquesses and Jacobite dukes of Powis, suffered periods of imprisonment and exile. Despite these setbacks, they were able in the late 17th and early 18th centuries to transform Powis from a border fortress into an aristocratic country house, and surround it with one of the very few extant examples of a British Baroque garden.

In 1784 Henrietta Herbert married Edward Clive, eldest son of Clive of India, a match which replenished the much-depleted Herbert family fortune. In the early 20th century, George Herbert, 4th Earl of Powis, redeveloped the castle with the assistance of the architect George Frederick Bodley. Herbert’s wife, Violet, undertook work of equal importance in the garden, seeking to turn it into "one of the most beautiful, if not the most beautiful, in England and Wales". On the 4th Earl's death in 1952, his wife and his sons having predeceased him, the castle passed into the care of the National Trust.

History

First castles at Welshpool: 1111–1286

Unlike the castles at Conwy, Caernarfon, Harlech and nearby Montgomery, which were built by the English to subdue the Welsh, the castles at Welshpool were built by the Welsh princes of Powys Wenwynwyn as their dynastic seat.[1] In addition to the current site, two motte-and-bailey castles and a set of earthworks are located nearby.[2] The names Trallwg/Tallwm and Pola are used interchangeably in early primary sources, and it is unclear which of these sites is being referred to.[3]

The earliest reference dates from 1111, when Cadwgan ap Bleddyn is mentioned as having planned to construct a castle at Trallwng Llywelyn,[3] the oldest record of a native Welsh castle.[4] Domen Castell, a motte-and-bailey near the modern railway station, is considered the most likely site of Cadwgan's castle, although it is uncertain whether it was completed as he was assassinated the same year.[5] The first documentary account of an extant castle at Welshpool is a description of the successful 1196 siege by an English army, although the castle was retaken by the Welsh within the year.[5][6]

The earliest castle at the current site may have been a timber building constructed by Owain Cyfeiliog or his son, Gwenwynwyn (r. 1197–1216).[7] The present masonry structure contains 13th-century fabric,[8] most likely the work of Gruffydd ap Gwenwynwyn (r. 1241–1287) – although historians are uncertain when this took place.[a][10] In 1274, Gruffydd's "first castle" at Welshpool was destroyed by Llywelyn ap Gruffudd as punishment for his involvement in a scheme to assassinate Llywelyn.[b] The castle was documented again in 1286, when it was listed amongst Gruffydd's possessions as "la Pole Castr".[12] A detailed examination of Powis Castle's extant masonry carried out between 1987 and 1989 revealed early stonework incorporated into the later structure, putatively the remains of an early stone shell keep.[13] At the end of Edward I's conquest of Wales in 1282–83, the king permitted Gruffydd to rebuild his castle at Welshpool as a reward for his loyalty.[14]

Early history: 1286–1644

Edward Herbert, 1st Baron Herbert of Cherbury[c]

In 1286, four years after the conquest of Wales, Gruffydd's son, Owain ap Gruffydd ap Gwenwynwyn became the last hereditary prince of Powys when he renounced his royal title, and was granted the barony of de la Pole, (i.e. "of the Pool", a reference to Welshpool, formerly called just "Pool").[d][16][17] The ancient Kingdom of Powys had once included the counties of Montgomeryshire, much of Denbighshire, parts of Radnorshire and large areas of Shropshire, but by the 13th century had been reduced to two independent principalities – Powys Wenwynwyn and Powys Fadog – roughly equivalent to Montgomeryshire and South Denbighshire (plus Maelor Saesneg), respectively; Welshpool had become the capital of Powys Wenwynwyn, of which Owain had been heir. On the death of Owain, the castle passed to his daughter Hawys, who married Sir John Charlton.[17] The Charltons continued to live at Powis until the fifteenth century when two daughters, Joyce Tiptoft and Joan Grey inherited the castle and estates. Both were equally divided, each daughter and her husband living in a portion of the castle.[18]

In 1578 an illegitimate son of the last Baron Grey of Powis, began leasing the lordship and castle to a distant relative – Sir Edward Herbert (d. 1595), second son of Sir William Herbert, 1st Earl of Pembroke. Edward eventually bought the castle outright in 1587, beginning the connection between the Herberts and Powis Castle which continues today.[19] Sir Edward's wife was a Roman Catholic and the family's allegiance to Rome and to the Stuart kings was to shape its destiny for over a century.[16] Sir Edward began the transformation of Powis from a border fortress into an Elizabethan country house. The major remaining element of his work is the Long Gallery.[19]

Herbert's descendent William Herbert, 1st Baron Powis (c. 1573–1655), was a supporter of Charles I, and was granted the barony of Powis in 1629.[19] His loyalty during the English Civil War cost him his castle and his estates.[20] On 22 October 1644 Powis Castle was captured by Parliamentary troops and was not returned to the family until the restoration of Charles II in 1660.[21]

The Herberts: 1660–1800

The Hercules statue which stood originally in the Water Garden

On the restoration, the Herberts returned to Powis, and in 1674 William Herbert (c. 1626–1696) was created Earl of Powis (of the first creation). The state bedroom was installed in about 1665 and further improvements, including the construction of the Great Staircase followed in the 1670s. These developments were most probably carried out under the direction of William Winde, who may also have designed the terraced gardens. His employer, although restored to his estates, and raised in the peerage, was barred by his Catholic faith from high office under Charles II. On the accession of the King's brother, James in 1685, Herbert became one of the new king's chief ministers, and was again advanced in the peerage becoming Marquess of Powis in 1687, but fell at the Glorious Revolution of 1688 and followed James into exile in France.[e] William III granted the castle to his nephew, William Nassau de Zuylestein, 1st Earl of Rochford. Herbert died, still in exile, in 1696.[24]

Despite their 30-year exile, the Herberts were able to continue with developments at the castle and even to live there on an irregular basis, the Baroque water garden below the castle being completed at this time.[25] Their fortunes were also materially improved by the discovery of a lucrative lead mine on their Welsh estates.[24] The second Marquess, also William, was reinstated in 1722. On the death of his son, the third Marquess in 1748, the marquessate became extinct, while the castle and estates passed to a relative, Henry Herbert (c. 1703–1772), of Oakly Park in Shropshire, who was made 1st Earl of Powis (of the second creation) by George II.[26] Herbert married Barbara, the fifteen-year-old granddaughter of the 2nd Marquess, in 1751. Their eldest son, George Herbert, 2nd Earl of Powis (1755–1801), died unmarried and the earldom of the second creation became extinct.[f][27] Powis was much neglected during his tenure. John Byng, 5th Viscount Torrington, a diarist and traveller who chronicled his journeys into Wales in the 1780s and 1790s, described the castle in 1784, "In the gardens not even the fruit is attended to; the balustrades and terraces are falling down, and the horses graze on the parterres!!!"[28] The castle itself was in no better condition, a visitor in 1774 describing it as "in Neglect and Ruin".[27] Nonetheless, the potential of the site was recognised. George Lyttelton, the politician, poet and essayist, recorded his impressions in 1756, "About £3,000 laid out upon Powis Castle would make it the most august place in the Kingdom.

Herberts and Clives

In 1784, Henry Herbert's daughter, Henrietta, married Edward Clive (1754–1839), the eldest son of Clive of India.[30] Clive had followed his father to India, and served as Governor of Madras. Henrietta's brother died in 1801, whereupon the title lapsed; in 1804, her husband was created first Earl of Powis (of the third creation). The Clive fortune paid for long overdue repairs to the castle, which were carried out by Sir Robert Smirke.[31][32] Their son, Edward (1785–1848), inherited his late uncle's Powis estates on his 21st birthday, taking the surname Herbert in compliance with his uncle's will.[30] Edward Herbert served in a range of administrations as an Anti-Catholic Tory, his speeches in the House of Commons being "cautious and pertinent, although marred by dull delivery". He died in 1848, following a shooting accident at Powis in which he was fatally injured by his second son.[33] No further major changes were made to the Powis estate during his time, or in the long tenure of his eldest son Edward Herbert, 3rd Earl of Powis (1818–1891), although the castle was well maintained. In honour of his great-grandfather, the earl was offered the viceroyalty of India by Benjamin Disraeli but declined, writing "Not worth considering. Powis" on the envelope containing the invitation.[34]

The final alterations to Powis Castle were undertaken at the beginning of the 20th century by George Frederick Bodley for George Charles Herbert, 4th Earl of Powis (1862–1952). The rooms designed by Bodley remain his only extant decorative scheme; the longevity of the 4th Earl, the deaths of his heirs, and his bequest of the castle to the National Trust saw the early 20th-century remodelling remain largely unaltered.[g][36] The 4th earl's wife, Violet (nee Lane-Fox), undertook the final transformation of the gardens of Powis Castle, which she felt had the potential to be "the most beautiful in England and Wales".[37] The Countess died following a car accident in 1929, and Lord Powis outlived both his sons, who died on active service, Percy from wounds received at the Battle of the Somme in 1916,[38] and Mervyn in a plane crash in 1943.[39] On his own death in 1952, he bequeathed the castle and gardens to the National Trust...Wikipedia

Frame:*surly* straggler Painted by COOK PAINT WORKS

Headset:*chris king* nothreadset

Rim:*velocity* blunt ss

Tire:*fairweather* cruise

Handle:*whisky* no.7 24f aluminum drop

Stem:*thomson* elite x4

Bartape:*brooks* cambium rubber

Saddle:*brooks* b17s standard

Seatpost:*thomson* elite setback

Seat clamp:*DKG*

Pedal:*mks* bm-7

Frame:*SURLY* bridge club

Headset:*CHRIS KING* nothreadset

Wheel:*VELOCITY* blunt 35 rim x *WHITE INDUSTRIES* cld hub rear

Tire:*TERAVAIL* ehline

Stem:*THOMSON* elite x4 stem

Handle:*SURLY* terminal handlebar

Grip:*OURY* v2 grip

Brake lever:*DIA-COMPE* mx-2 brake lever BL special

Saddle:*BROOKS* b17 standard

Seatpost:*THOMSON* elite setback seatpost

Crank: *WHITE INDUSTRIES* eno crank

Chainring:*WHITE INDUSTRIES* eno tsr chainring

Pedal:*MKS* XC-III bear trap pedal

Brake housing:*NISSEN*

Source: en.wikipedia.org/wiki/Stuttgart

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

Source: en.wikipedia.org/wiki/Fernsehturm_Stuttgart

Fernsehturm Stuttgart (English: Stuttgart TV Tower) is a 216.61 m (710.7 ft) telecommunications tower in Stuttgart, Germany. It was the first telecommunications tower in the world constructed from reinforced concrete, and it is the prototype for many such towers worldwide. Although controversial at first, it quickly became a well known landmark of Stuttgart and a tourist attraction.

Dibdale Recovery

Peterbilt 378 Setback

VX05 ZDO

Seen recovering Diamond Bus Optare Solo SR 20882 in Hasbury.

12/3/2022.

Frame: *CRUST* bombora

Wheel:*Velo Orange* disc front hub x *MAVIC* A1022 disc rim

Tire:*ULTRADYNAMICO* cava race tire

Stem:*THOMSON* elite x4 stem

Handle:*THOMSON* carbon riser bar

Head Set:*PHILWOOD* 1-1/8 headset

Crank: *SHIMANO* FC-RX810 crank

Bottombracket :*PHILWOOD* OBB

Pedal:*MKS* lambda pedal

Saddle:*BROOKS* cambium C17

Seatpost:*THOMSON* elite setback seatpost

Front rack:*SURLY*8-pack front rack

Grip:*CAMP AND GO SLOW* eastern rattler bar tape

Bag:*ULTRA ROMANCE* fabio's chest

Take a Guess

There is a story for this series of Macro shots.

Earlier this week I had a major setback medically, I somehow blew out my Right Knee & have been layed up on my couch 5 days & getting very stir crazy. After X-rays, Blood Tests, MRI & Ultrasound/Doppler I will find out soon if surgery will be needed. Photography is my passion but I REALLY NEED my Knee.

So I set up a few items on my Table in front of me & continued to learn about my new camera.

Couch Captured Shots

Update link:

www.youtube.com/watch?v=dPWutyl9jU4&feature=c4-overvi...

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Minor Notes:

__________

• Certain MOCs Have Been and Can Still Possibly Be Postponed Until BBTB (2014) / Possible Bricks Cascade 2014 Due To Financial Mishaps and Setbacks

• Some MOCs, Such as Yavin IV, Will Be Modified For Every Convention The MOC (s) Attend.

• Will Attempt To Have Sponsor

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Yavin IV MOC Progress: 96%

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• Entire Layout For Primary Scene Before Battle Has Been Finished

• Final Battle Version Of MOC Will Be Completed Soon After Last LEGO 41st Elite Scout Arrives

• All Droids Currently Back In MOC Setup (Still Missing 2 Regular LEGO Droidekas

• Size Of Clone Infiltration Garrison Has Been Downsized (LEGO Phase II Clones Replaced CAC Concepted Ones Due To Mishaps)

• Due To The Clone Adjustment, MOC Storyline Has Somewhat Changed, Actually Fits Better Than The Original Storyline

• MOC is Still Mildly Republic Customs Sponsored

• LEGO 41st Elite Squad & Commander Gree Now Here (Only Waiting On Jeff For Customization)

• Only Able To Use LEGO Weapons For Now (CAC Weapons Will Hopefully Be Affordable Next Year & We Can Switch Out For 2014)

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Battle Of Umbara: March On The Capital MOC Progress: 34.2%

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• Basic Ground Structure Of MOC Has Already Been Laid Out

• Supply Package From Investor Arrived And Additional Funds Coming In Very Soon

• MOC BL Orders Organization Tabs (Mostly For Custom Umbarans)

• Over Roughly 10 - 15 BL / Supplier Orders Till Completed

• Full Minifigs4U & X-39 Customs Sponsored MOC

• Going with New 2013 501st Umbara Line for MOC

• Only Able To Use LEGO Weapons For Now (CAC Weapons Will Hopefully Be Affordable Next Year & We Can Switch Out For 2014)

• Have All LEGO 501st Troopers We Need, May Decide To Eventualy Add Army Builder Clones

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Recon Extraction On Chandrilla MOC Progress: 100%

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• Replacing The Zombie MOC This Year

• Recently Added More Water Splash Detail

• Every Grass Detail Aspect Of The MOC Is Finished

• All Official Minifigures In The MOC Are Officially Staying In The MOC

• Will Only Be Appearing @ BBTB 2013

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Warhammer 40k: Winter Apoc MOC Progress: 49.6%

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• Will Actually Be Based Off The Board Game Version

• Post-Apocalyptic Battle Scenery

• Will Have A Lot Of Backup Member help (Knowledge Purposes)

• Battle Will Be Between The White Scar Space Marines vs. Miscellaneous Necron Factions

• Official White Scar Space Marine Design Completed

• Will Take Over 30 Possible BL Orders (2/3 Going Towards The Space Marines & Necrons)

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Operation: Brick Freedom Collaboration MOC Progress: 25%

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• Originally A Collab w/ $DeltaForceGuy$, We Have Now Taken Over The Collab For

• Possibly Might Postpone Until BBTB 2014 (One More Week Till A Decision Is Made)

• Battle Synopsis Planned Out, Refs Used Off Flickr

• Using 4 Grey Baseplates Layout

• Possibly Using little-legends Desert Soldiers & Brickmania Tank Kits

• Would Be Doing A Defiance MOC, But Will Preserve For Next Year Since It Is A Bit To Late

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Custom Minifig Display Stand (Minifigs4U) Progress: 65%

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• RC Display Stand Has Been Moved Into Next Year's BBTB / Bricks Cascade Showcase

• Any Non-Star Wars Customs Will Be Included From Now On (Galaxy Troopers, Iron Man Figs, Super Heroes, etc.)

• Stand Has Been Downsized To Show Customs I Already Have (New BL Orders Already Planned However, May Not Place New)

• No New Minifigs4U SCPCs In Yet

• Will Have Most Of Latest Clones From Newest SCPC Line

• Stand Will Have All New "Army Builders" Series Clones

• Stand Back Still Hasn't Been Extended Yet For Vendor Labels

• Don't Have YouTube & Flickr Labels Or Business Cards For Minifigs4U Yet

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WC Brick Convention Team: 100%

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• Official Team Members:

Jeff W., Ben S., & Justine L.

• Ben and I Are Already Registered For Con (Not All MOCs Are Registered Yet Though)

• Jeff & Justine Not Attending Private Convention Days (But May Possibly Attend Public Day)

• Officially @ 4 Backup Members [Mainly Construction] (Including Frosty)

• Still Currently Planning Team Schedule (Schedule Planned Weekly / Monthly)

• Company Gear & Attire Currently Being Ordered & MOC Transport Is Being Organized

• Private Day Agenda Is Sort of Planned Out

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Official list entry

Heritage Category: Listed Building

Grade: I

List Entry Number: 1263283

Date first listed: 26-Aug-1965

Location

Statutory Address: Church of St Mary, Church Street, Morchard Bishop

County: Devon

District: Mid Devon (District Authority)

Parish: Morchard Bishop

National Grid Reference: SS 77311 07485

Details

Large parish church. Medieval origins; rebuilt in mid C15 (Bishop Lacey granted indulgences for church repairs in 1451); chancel refurbished in late C17, very extensive restoration of 1887-91 included rebuilding of north and south aisles, reroofing and reslating, scraping aisle piers and replacing windows. Roughly coursed ashlar, predominantly volcanic trap, some mudstone, some granite quoins and plinth; original granite and Beerstone detail, Bathstone restoration detail; slate roofs. High west tower, nave, chancel, north and south aisles, south porch. Perependicular. Imposing 30m high west tower mostly C15 fabric. It has 2 stages, setback buttresses and an embattled parapet with granite obelisk pinnacles on the corners. Chamfered granite plinth. On north side a semi-octagonal stair turret projects and rises above tower with its own embattled parapet. It includes series of tiny Beerstone or volcanic lights, some with trefoil heads. Original granite 2- light belfry windows with round-headed arches and sunken spandrels on each side. West side of tower has C15 2-centred granite arch with moulded surround and restored hoodmoulds; 4-light Bathstone window above is restored with Decorated-style tracery; moulded granite string course is C15; small C15 arch-headed volcanic window to ringing loft (another on north side and round-headed granite window on south side); and late C19 circular clockface with brass Roman numerals below belfry window. South aisle and porch were completely rebuilt 1887-91 and feature Bathstone arch- headed windows. Decorated-style tracery and hoodmoulds with plain square labels. Embattled parapet and offset buttresses on each corner. C19 2-light window in west end. On south side C19 gable ended porch with low diagonal buttresses. Its outer 2-centred arch has reused moulded volcanic sides and C19 Bathstone head. Bathstone kneelers and coping with a fleuree cross on apex. Small Bathstone niche under gable has cinquefoil head. Small Bathstone trefoil-headed lancets in each side contain C19 stained, glass representations of St George and St Catherine. Porch roof has black ridge tiles with crests cut through with small quatrefoils. C19 3-light window to left of porch. Immediately to right a volcanic stone chimney shaft with exaggerated cap, soffit-moulded and with low crenellated top, rises from parapet. Two 3-light windows right of porch separated by buttress. Left window has Perpendicular Beerstone tracery and hoodmould with carved face labels, probably reset original C15 work. 3-light window in east end of aisle also has C15 Perpendicular Beerstone tracery but not hoodmould. Chancel is roughcast and apparently not restored in late C19. South side includes small volcanic stone segmental-headed priests door at left end and late C17 round-headed window containing rectangular panes of leaded glass. East gable end has larger late C17 round-headed window. Late C19 vestry on north side of chancel. North aisle also rebuilt 1887-91 with embattled parapet but no buttresses. Of north-facing windows 3 have apparently C15 Perpendicular Beerstone tracery with C19 hoodmoulds. Window right of centre is entirely late C19 with Bathstone Decorated-style tracery. Late C19 2-light version in west end. Interior: porch has reused C15 unceiled wagon roof with moulded ribs and purlins and includes 2 bosses, both carved with IHS monograms; late C19 crenellated wallplate. Late C19 encaustic tile floor. Late C19 Bathstone arch to south door. Nave has high 6 bay hammer beam roof of late C19 work but may be including some older moulded timbers. Aisles have simple late C19 low pitch lean-to roofs. Plastered vault of chancel may hide medieval roof. Very high tower arch has double chamfered surround with late C19 painted text over featuring the Lamb and Flag motif. Inside tower has high late C19 ringing floor and comtemporary bas relief plaster strapwork frieze featuring moulded emblems of the Trinity, different crosses and sacred monograms etc. Original granite arched doorway with hollow chamfered surround to stairs. The 4 bay arcades to north and south aisles both have 1 bay overlapping to chancel. Built of volcanic and sandstone the moulded piers (Pevsner's Type B) have capitals only to main shafts. They are largely original but were scraped and some stone renewed 1887-91. Plastered arch to lower and slightly narrower chancel, which was refurbished in late C17 with new round-headed windows, plastered ceiling, moulded plaster cornice and the walls panelled with large field plaster bolection mouldings above oak fielded panel wainscotting. East window contains C18 stained glass in Peckham style with geometric patterns and orange predominating. Fine late C17 oak reredos with flanking fluted Ionic pilasters, moulded cornice and central oval panel painted with the legend 'This do in Remembrance of me'. The mahogany altar rail on turned balusters was made by W. Stribling in 1768. Restored late C15 oak rood screen is very fine and sumptuously decorated example similar to screen at Church of St Thomas of Canterbury, Lapford (q.v.). Extending across both aisles and the chancel it has Pevsners B Type Perpendicular tracery over wainscotting with applied tracery with ogival heads and lower quatrefoils. Above the arches the ribbed coving is enriched with Renaissance motifs and above this the cornice covered by friezes of densely carved openwork foliage. The screen was apparently removed to nearby Beech Hill House in the Commonwealth and in 1840 set in tiers as a tower screen. It required extensive restoration work in 1930 by Herbert Reed & Sons before it resumed its original position. The original work retains traces of ancient colour. North aisle includes blocked flat-arched doorway to now-demolished stair to rood loft. Nave and aisles have C19 tile floors and include some old worn gaveslabs, notably one of 1690 in north aisle in memory of Julia Wheeler with an heraldic achievement. Aisles have late C19 ceramic dado and south aisle incorporates reset C15 Beerstone aumbry with cusped cinquefoil head. Choir stalls and pews are late C19, but seem to include much earlier oakwork. Beerstone font of 1848. C20 timber pulpit and lactern. 2 C15 recumbent figures in south aisle were originally in south aisle chapel with an ogee sepulchral arch below the window. They are thought to represent Gabriel Green (died 1485) and his wife Dorothy (died 1480) of Easton Barton. He is in a civilian gown with burgher's cap and short sword, she with a close fitting bodice, pyramid head dress and low girdle with rosary beads. Chancel includes 2 good late C17 mural monuments. On north side the William Tuckfield memorial (died 1688), comprising a black marble rectangular plaque flanked by Beerstone pilasters enriched by bas relief garlands and outside strapwork; panelled head with dentil cornice and moulded entablature surmounted by heraldic achievement in cartouche, the whole on moulded sill with strapwork below around a heater. On south side the Edward Pridham memorial (died 1687), comprising a black marble rectangular plaque with bolection-moulded frame flanked by Ionic columns which support a moulded entablature with broken pediment and central heraldic achievement in cartouche, the whole on moulded sill on scroll-shaped brackets with bifurcated swag between. Another good mural monument in tower, memorial to John (surname illegible) of Southcott (died 1704) comprising a rectangular black marble plaque set in Beerstone; flanking panels enriched with bas relief garlands between moulded entablature surmounted by an heraldic achievement in cartouche with flaring horns, the whole on moulded sill on brackets carved as skulls with folded wings and with an empty cartouche between. All these memorials have traces of ancient colour but the arms of Edward Pridham have been retouched. Tower memorial is flanked by C19 benefaction boards. C17 oak chest in north aisle with chip-carved arcaded front. The church has immense landscape value, the tower being visible for miles around. It also includes a very rare late C17 chancel. Sourcest Devon SMR, Church Guide, Devon C19 Churches Project

The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.

A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.

The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.

Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.

Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]

MARRABEL April 4

The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.

A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.

Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.

PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.

The hall was erected and furnished at a cost of £1,700 and was opened free of debt.

A banquet was tendered to visiting Oddfellows, and various toasts were honoured

The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.

In the evening the Olympic Star Picture Company showed to a packed house.

A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]

*April 29 The Marrabel Quadrille Class

The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]

*Marrabel March 19

The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.

Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.

He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.

The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]

*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.

A programme of sports was then carried out, old and young joining in, the festivities.

A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.

A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.

The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]

*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]

*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.

Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.

Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]

*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.

The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]

*January 28

A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.

Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]

* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.

A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]

* November 16

The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.

A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.

The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]

*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.

In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.

The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.

The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.

He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]

*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.

Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.

A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]

Frame :*MASH* STEEL

STEM :*THOMSON* elite X4

Handlebar :*NITTO* for shred bar

Head Set :*PHILWOOD*

Wheels :*PHILWOOD* low flange track hub × *PACENTI* brevet rim

Tire :*VITTORIA* randonneur tire

Crankset :*SUGINO* SG75 crank × *AARN* track chainring

Cog:*PHILWOOD* track cog

BB :*PHILWOOD*

Brake:*TRP* CX8.4 mini V brake set

Brake Lever :*PAUL* love lever compact

Seat Post :*THOMSON* masterpiece setback seatpost

Grip :*BLUE LUG* acrylic cloth bar tape

Chain :*MASH* IZUMI × MASH jet black chain

Pedal :*MKS* allways pedal

Fron rack:*MASH*

Hino Profia/700　FN 6ｘ2/4　Japanese style tanker.low cab & setback front axle.

4995 Stockton Blvd

Sacramento, California

It's been closed now for about five years. It's a really unattractive commercial property because of its deep setback from the street behind a derelict abandoned self-serve car wash.

Things have been...well, bad for me lately. Mentally.

This whole time I've been here in Toronto, there's been setbacks after setbacks. And when things finally began to fall into place, they seemed fine...but, then took a turn for the worst. And thus my depression was triggered, and enveloped me whole. I have suffered greatly, and wallowed in the dark about life and loss, and heartbreak.

Things are so bad, that going back to LA seemed the perfect thing to do. "Regroup," everyone said.

I have shared this thought with a lot of people. And now with millions more.

Moving to Canada to start a new adventure and a new life, was something that I was proud of, and many people that I left behind were confident I would succeed. And now that things seem to fall apart, LA was the simple answer to the stress I fell into since my arrival. But...going back to California, I feel, is like losing. Like I'm coming back a failure. I'd be disgraced like the Ronin warriors, in a sense. I think of it more, this retreat scenario, like I (a knight), betrayed my queen with a failed mission and cannot return to her kingdom. Not til I succeed.

So as much as people tell me it's okay, my mind says otherwise. It's a flaw of mine, growing up with honor and respect. But it's my flaw, and what makes me "me." I cannot go back to LA. Not yet at least. Not when I haven't even begun on this new adventure. My friend last night was right. I can't let this city eat me alive. I need to set my own fire ablaze to get me out of the dark, and through this low time in my life. I am strong for moving forward after my past, and I am strong enough to come back from this recent tragedy.

So. I'm staying in Toronto. I will take over the bad thoughts and bad experiences of this town, and ash will remain of them. As my light will be intense, and my life will be bright to eclipse the darkness.

...This new life was never going to easy. I had a relapse into my sickness yes, but it will not rule me. Not anymore.

So. To hell with the blue haired pirates that aimed to sink me. And thank you to the mermaids that kept me afloat.

Toronto. Watch out. Because I'm coming of you and I'm coming hard (Ha! Coming hard). As for California. I love you, but I have to continue with this new path of mine.

A "Siamese" cat (as in living in "Siam", I.E. Thailand) walks out of the setback that the Sofitel Hotel sits in, between Sukhumvit Soi 13 and 15 on Sukhumvit Road in Bangkok, Thailand. Taken by a Nikon D610 at ISO 400 with a Nikkor 35-135mm ƒ 3.5-4.5 AF lens. (at 135)

Note that , although "cat fanciers" consider this color of cat to be "Red Tabby", it is actually orange...

Frame:*MASH* all road

Headset:*CHRIS KING* nothreadset

Wheel:*WHITE INDUSTRIES*cld hub x *STAN`S NOTUBES* grail mk3 rim

Tire:*TERAVAIL* rampart tire

Stem:*THOMSON* elite x4 stem

Handle:*HUNTER* low rise bar

Grip:*LIZARD SKINS* macaskill lock-on grip

Shifter:*SHIMANO* x *PAUL* thumbies

Brake:*PAUL* klamper disc calliper

Brake lever:*PAUL* canti lever

Saddle:*WTB* silverado saddle

Seatpost:*THOMSON* elite setback seatpost

Crank:*WHITE INDUSTRIES* r30 crank arm

Chainring:*WHITE INDUSTRIES* MR30 chainring

Pedal:*TIME* atac xc 2 pedal

Front rack:*MASH* front rack

Head light:*BLUE LUG* KOMA light

Brake housing:*NISSEN*

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1308610

Date first listed: 22-Feb-1967

Location

Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN

County: Devon

District: West Devon (District Authority)

Parish: Chagford

National Park: DARTMOOR

National Grid Reference: SX 70146 87508

Details

Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)

© Historic England 2021

The Chrysler Building, at 405 Lexington Avenue, was built from 1928-1930 to the art-deco design of architect William Van Alen. Standing at 1,046-feet high, it was the first structure in the world to surpass the 1,000-foot threshold. Despite being overtaken by the Empire State Building as the tallest building in the world eleven months later, the Chrysler Building is still the tallest brick building in the world. Although built and designed specifically for the Chrysler Corporation, the company did not pay for its construction and never owned it. Walter P. Chrysler self-financed the project so that his children could inherit it.

The Chrysler Building is known for its terraced crown, composed of seven arches and clad in an austenitic stainless steel and riveted in a radiating suburst pattern. The tower's distinctive ornamentation is influenced by Chrysler automobiles. The corners of the 61st floors are graced with eagles, replicas of the 1929 Chrysler hood ornaments. On the 31st floors the corner ornamentation are replicas of the 1929 Chrysler radiator caps.

The Chrysler Building was designated a landmark by the New York City Landmarks Preservation Commission in 1978.

In 2007, The Chrysler Building was ranked #9 on the AIA 150 America's Favorite Architecture list.

National Historic Register #76001237 (1976)

Nestled in the heart of Boston’s financial district, the State Street Building is a testament to modern architectural prowess and historical significance. This towering edifice, with its impressive height and commanding presence, has been an integral part of Boston’s skyline since its completion. The building’s design is a harmonious blend of traditional and contemporary elements, featuring clean lines and an elegant facade that pays homage to the city’s rich architectural heritage while embracing modernity.

As you approach this iconic structure, you are greeted by its striking verticality which soars into the sky, punctuated by rows of windows that offer panoramic views of bustling streets below. The State Street Building’s crown is perhaps its most distinguishing feature – an intricate series of setbacks leading up to a peak that seems to pierce the heavens themselves.

Inside, the building boasts state-of-the-art facilities befitting any leading financial institution or high-profile corporation seeking prestige within this historic city. Its grandeur not only lies in aesthetic appeal but also in its robust construction – a marvel of engineering that has withstood time and continues to serve as a beacon of economic activity.

For those who appreciate architecture that tells a story, the State Street Building does not disappoint. It encapsulates Boston’s spirit – resilient, forward-looking yet deeply rooted in history. It stands not merely as another structure on the skyline but as an enduring symbol of progress and tradition coexisting seamlessly within one space.

American sculptor Robert Engman's ______ adorns outdoor seating area formed by lower level and lobby facade setbacks. Originally planned as pedestrian connection to the Graduate Center, across the stream valley, the cast-in-place bridge gracefully cantilevers into adjacent wooded area.

Source: en.wikipedia.org/wiki/Stuttgart

Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.

Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.

Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.

Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.

Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.

Source: en.wikipedia.org/wiki/Schlossplatz_(Stuttgart)

Schlossplatz is the largest square in Stuttgart Mitte and home to the Neues Schloss which was built between 1746 and 1807. From its construction until the mid-1800s it was used as a military parade ground and not open to general public use. It stands next to two other popular squares in Stuttgart: Karlsplatz to the south and Schillerplatz to the south west. The Königstraße (King Street) bisects the plaza from north to south.

The Neues Schloss Palace and grounds have been public property since 1918.

Along with much of Stuttgart Mitte, Neues Schloss was heavily damaged during the Allied Bombing of World War II and the building was restored from 1958-1964 with a modernized interior that houses the ministries of Culture and the Treasury for the government of Baden-Württemberg.

Until the 1960s the King Street that bisects the plaza carried auto and truck traffic. Since that time the Stuttgart underground has built an underground station and tunnels were built to redirect traffic away from the plaza and Königstraße.

The entire square was last fully renovated in 1977 to mark the staging of the Bundesgartenschau (State Garden Show) in Stuttgart. The lawns and flowerbeds were renewed in 2006 following the staging of the 2006 World Cup Finals.

There's something to be said for putting the lids back on before setting them on the shelf.....

Shooting this 2-minute video clip from my hotel room took me over 1.5 hours, after one setback after another. I finally got a decent, but still not perfect recording on my SIXTH attempt. I hope my stumbling and bumbling will help other photographers like me who shoot videos only occasionally.

The Bellagio hotel runs the 2-minute dancing water fountains to the accompaniment of classical music. The show is every 30 minutes most of the afternoon, then switches to every 15 minutes in the evenings until midnight.

I wanted to catch the 6 pm show, so I could take a 2-minute video, and my wife and I could head out to dinner. It was all so easy! Little did I imagine I would end up burning the next 90 minutes.

I am a photographer and I don't shoot videos except for short, 1-2 minute clips at most, and I don't do any editing or post-processing. I don't even have the right tools. So this was just a little extra curricular activity for me.

I learned a lot from each screw up that finally elevated me from the imbecile level to the rank amateur level. Here are the screw ups, step by step:

Take 1: Bad timing

My watch was out of sync with the Bellagio's clock, and before I could press the start button, the fountain show had already started. Game over, wait for the next cycle.

Take 2: Bad Framing

I framed the scene for still photography, but to my surprise, when I clicked the video recording, the A7R III switched to a different form factor that chopped off the upper and lower edges of the fountain. The video view is quite different from the still photo view! Cut, and recompose, by zooming out enough to get the tallest rises of the water into the frame.

Take 3: Reflections, Part I

I had my camera on a tripod and the hood of the lens close to the window glass, but had the lights on in the room. Not good. The lights in the room were enough to cause reflections from the glass, enough to ruin the video. Cut

Take 4: Reflections, Part II

Now with the lights in the room turned off and the hood touching the window glass, everything should be perfect, right? Wrong. The window glass was double paned, and stray light coming from the outside that was reflected out from the interior glass pane which was then reflected back into the lens from the exterior pane was enough to screw my video. Cut.

I had to draw the window shades together to create only a very small, narrow opening for the lens, and keep the hood shrouded by the window curtains. This didn't eliminate the reflections altogether – there was simply no way to eliminate reflections from rays of light coming into the lens orthogonally, but it made it a great deal better.

Take 5: Focus breathing

I finally had everything perfected, including synchronizing the timing with the Bellagio clock, and started my Take 5 precisely on time, and everything seemed to be going well. But then I was amazed and dismayed to see the autofocus in the camera continually chase the different shoots of water at different distances from the lens, and as it adjusted the focus, the image kept going in and out of focus!

Also, the image size kept changing, due to focus breathing, continually shrinking and expanding. Absolutely hideous video. Cut and set to manual focus before the show stopped, and also pick an f-stop (on the lens) that was enough (I think I set it to f/5.6) to buy me enough DoF, figuring ISO would not be a problem.

Take 6: Masterpiece!

Well, not really. Even this was not perfect – there are still a few improvements needed. The exposure is off (lower black level compared to still image below), and the framing is still off (it needed a little more margin at the bottom edge). Also, there is no post-processing or grading done to the video – I haven't the slightest idea how to go about it.

But at least, as a videographer, I think I managed to graduate from an Imbecile level to a Novice level! Hooray!

Unfortunately, all this delay cost me the blue hour and took me well past the twilight, so the sky was no longer blue. I should have at least taken some still shots, but I got caught up in the video business and forgot :(

Perhaps the video could be improved in post-processing (I have no idea how or with what tool). Maybe one day I will ask around and figure out how to do it, if there's an easy and automated way, but I don't want to invest much time into learning videography or processing videos – life is too short for both photography and videography!

As a footnote, the Bellagio hotel provides a channel on the TV that plays the musical accompaniment to the fountain show, so guests can watch the fountain through their hotel windows while listening to the music. I could have probably captured the music, but it meant turning on the TV and having a source of light inside the room, and I didn't want to risk it.

I thought of taking one more video shot with some bath towels draped over the TV, but it was very late in the evening by then, and I was just too tired and hungry to continue with it (not to mention that I had already burned up all the goodwill with my wife!).

Las Vegas

C0006 1080

Sony A7RM3, Sony 16-35mm f/2.8 GM

Looking at herself in the wonky mirror at the Stratford Butterfly Farm! What on earth will life hold for her? It certainly isn't going to be an easy ride. at 4 years old, she already understands that her Daddy is unkind to her Mummy!!

So sorry - a quick look at all your photos today - no time to comment. We have just had a bad setback re the above comment, but we will prevail - justice WILL work correctly in the end! Won't it?

We came, We saw, We fell into mote - #0075 competition log

Finally, I'm free from competition work so I can type up how the amazing BW BLACK SWAN's first big showing went in the three-phase at my usual haunt, we exceeded all expectations I had set for us and fell short on some too. One thing about training a horse this big and independent for showing is that they are susceptible, and so am I. This means that for every setback, we both suffer to overcome what I can only assume is human and horsie hubris. But again, not all doom and gloom this month and trust me I have many pictures and stories to tell you about this first outing but you all know the drill by now so here we go.

I know we all talk about diamonds in the rough but that is what it was and has been, we struggled and struggled and struggled this month in dressage. I knew how hard it was going to be to get her in shape and ready for a third-level test, she is extremely new to the saddle and still extremely green compared to what I usually back and she has a loud dislike for any saddle that has more contact to her back than a bareback pad. So I guess you could say it was somewhat a miracle that with the help of a few local baroque saddle fitters was able to find a reasonable adjustment that wouldn't get me kicked out of the competition and then subsequently launched from the back of Swan. But we overcame it, I remember the nerves in my belly at the last practice I had, my instructor chastising me for looking so green on my horse and how worried I felt that something would end up happening that would ruin all the hours spent preparing for the monumental task of riding a third level test on a horse that less than a month ago had never been backed with a dressage saddle.

But, we did it! I received my best score in dressage ever, and we placed in 1st place with a 79% we only seemed to get better as the rides went on after the test, as it's customary for the winner to ride a demonstration ride of the test on competition day in front of an audience. We found our wings, took to water, and really proved that no matter what you can achieve anything you put your mind to.

And then the blunder of the evening, I rounded a corner towards the finish of the test and a horrible horse-eating deer sprung along the course, and I very quickly got reminded that the summer is both here and not here as I was encompassed in the salty bitter taste of mote. Luckily, the benefit of having a horse that was imported from the Rockies is that they know their way around ledges and rocks, so thankfully I was able to crawl my way out like the creature from the ring and return to dry land. Needless to say, we didn't place.

And of course, you'd never expect anything less from me on any horse even when drenched in the waters of mote. We got second in showjumping.

We were overall the champion horse and rider for the July edition of the toor three-phase event, and I couldn't be more ecstatic. Now for a month's break, and some therapy from my near-death experience in the mote lake.

Crowe,

As always more to come ♥

St Thomas of Canterbury, Great Whelnetham, Suffolk

The only surviving fragment from a nativity scene: an angel peeps over the stable wall to look at the newly born Christ (15th Century).

A new entry on my Suffolk Churches site:

This pleasant little church sits out on the edge of a straggle of suburbia to the south of Bury St Edmunds, Great Whelnetham running into Sicklesmere, which gives its name to the ancient Hundrfed, but has no parish church of its own. The church is entirely in the Essex style, although we are still a good ten miles from the border here. The churchyard is secluded, setback behind the village school, a green velvet bed for a jewel of a church on the morning in late summer 2014 that I most recently visited. Sam Mortlock found it depressing on his visit in the 1980s, but the grim pebbledash he mentions has been repainted on the nave at least, and it presents a pretty prospect to the south. There probably never was a tower, although a 15th century bequest left money for one. In any case, evidence remains of the Norman, and possibly Saxon, origin of this church. The little clerestorey is delightful, like the windows in the upper storey of a cottage.

As so often with churches of this kind, St Thomas of Canterbury seems larger inside than out, a feeling enhanced by the lack of clutter and the bright light inside. The chancel has been cleared of furnishings, a north transept neatly arranged with modern chairs. The transept was added in 1839, an early date and suggesting it was built for increased capacity rather than liturgical reasons. Its domestic window tracery and small chimney add to the sense of this being a cottage as much as a church. A tapestry of the Annunciation hangs in the transept, and generally there is an air of simplicity about the nave and its transept. A lot happened here in the 19th and 20th Centuries, but stil the Norman lancets remain to remind us of how long this serious house has been here. Everything is well looked after and obviously loved.

It is obvious that this church had Anglo-catholic sympathies early in the 20th Century, and surviving evidence includes the rather extraordinary east window. It is by Burlison & Grylls, and forms the parish war memorial. From left to right, it depicts the boy David, St George, St Nicholas and Joan of Arc, an eclectic mix to find in an English country parish church, especially Joan of Arc who is rarely depicted in Anglican churches (although, quite by coincidence, I came across another representation of her later in the week at St Sepulchre on London's Holborn Viaduct). Scenes in the story of each are under their feet.

Fragments of medieval glass survive, and the most haunting is a fragment of a 15th Century nativity scene. An angel peeps in awe over the stable wall at the new born baby Jesus lying in the manger. But the angel is all that survives.

But perhaps the most fascinating glass here is that reset in the south windows of the sanctuary. This is a part of Suffolk with plenty of surviving medieval glass, so you might at first not give these fragments a second look. But they are worth careful study because among them are several birds holding banners reading 'Jesu Mercy' and 'Jesu Help'. These must come right at the end of the medieval period, when liturgical devotion begins to be expressed in English rather than Latin. You often come across devotional inscriptions in English at the end of the late Medieval period on brasses, screens and the like, but on glass the only other ones in East Anglia that I can think of are at Leverington in Cambridgeshire. But those are not prayer clauses, and far as I know these prayer clauses written in medieval English are unique survivals in English glass.

There are a couple of interesting memorials. The best is to Charles and Elizabeth Battely, who died in the early 18th Century, and their memorial is a vast stone drape behind a tomb which looks rather alarmingly as if it might be made out of corned beef. The inscription mentions that it was placed their by their daughter Jane Merest, hastening to add that Jane's husband James had been Clerk Assistant of the House of Lords.

The church seems to be open every day from Easter to September, with a keyholder at other times. On one occasion I tipped up here on a Saturday in early Spring only to find all three keyholders out. Heading back to the church to photograph the outside, I met an old local in the churchyard who asked me if I wanted to see inside. I explained that I'd already tried the keyholders, to which he replied 'don't you worry about that', and gave me another address to try (something along the lines of "I think it's the third house along, or possibly the fourth, just bang on the door, open it and shout for Val, if she's not in the key's in the kitchen drawer" or something) but being metropolitan and not used to such country ways, I demured.

Great Whelnetham was home to one of the last abuses of pluralism in Suffolk in the 19th Century. In 1816, during the reign of King George III, one Henry George Phillips was installed as the Rector here, for which he would earn £375 a year. Two years later, he was further installed as the Rector of the vast parish of Mildenhall, a poor industrial town and Suffolk's biggest parish. His Mildenhall rectorship brought him a further £450 a year, the combined total of £825 being worth about £160,000 annually in today's money. Not unnaturally he preferred to live at Great Whelnetham, and he employed poorly paid curates to carry out the liturgical, pastoral and administrative work at Mildenhall. He seems to have started with some energy - the construction of the north transept here at Whelnetham was under his rectorship - but as the years passed he seems to have preferred the life of a country gentleman.

Over the next few decades, the rise of the Oxford Movement would transform the Church of England and do away with such abuses, but at the time of the 1851 Census of Religious Worship the Reverend Phillips was still firmly ensconced in both parishes, which appear to have been equally moribund. Of the 4750 people of Mildenhall only 340 attended morning service there under the eye of Samuel Banks, curate. At Great Whelnetham, with its population of 550, there were 56 people at morning service. The average in Suffolk was about a quarter, and sometimes as much as a third of the population of each parish, the high water mark of attendances in the Church of England, but the people of Mildenhall and Great Whelnetham seemed to have preferred non-conformism and simple absence in equal measure.

Phillips seems to have at least been aware that this didn't look good - compiling the return for Great Whelnetham, he added the note that a heavy storm of rain occured at the time of service which had reduced the attendance, and in any case a large proportion of the parish reside in the hamlet of Sicklesmere and frequent adjoining churches of parishes to which they belong. Samuel Banks, compiling the entry for Mildenhall, preferred to keep his silence, no doubt hoping that the figures would speak for themselves. Remarkably, Phillips hung on for another 17 years, dying in harness in 1868. There's a memorial tablet to him in the sanctuary. The pleasing state of the church today is down to his successors.

Simon Knott, December 2014

Another setback in the Master Project...

In between last-minute fieldwork assignments around the country and demands from the Project that Wouldn't Die, I've been trying to cast up as many heads as possible in preparation for this coming weekend, which is the first in many where I will actually get to stay at home (and thus possibly paint stuff).

However, this guy literally broke the bloody mould. Silicone moulds aren't unbreakable (especially when they get handled by me), and the neck post part got stuck inside his head. Booooo. That's the third time this has happened. We're still about 3 or 4 heads short of the target, so I'll have to make another mould; hopefully tomorrow night.

I am so sorry my tribute shot is late. I've been plagued by setbacks. The first is that MrMV didn't agree to me flying out to Oz. Pah.

There were a few shots I wanted to take but the light/opportunity weren't there, and then we were fully occupied with a (magical) grandparental visit.

But then I saw this little guy. He was plunging into the goldeness with as much gusto as Scooby39 has embraced life on the Sunshine Coast.

Scooby, this isn't a tribute to a specific shot of yours, but more to the inspiring enthusiasm with which you've embraced your new life. It's huge fun watching your adventure unfold on flickr, and as a fellow expat (but a chicken who's still within Ryanair/Easyjet reach from those who matter), I truly admire you.

Just waiting for the Orange spaceman. In the meantime the classic space scientists have started their own project to clone one. They seem to be experiencing a few setbacks in their program though. They are very confused about this since it went so well for the pink spacemen not so long ago

From: www.oldtimersmine.com/index.php?option=com_content&vi...

The Old Timers Mine and Museum opens a window on the fascinating history of opal mining in Coober Pedy, revealing not only the hard physical grind and the occasional bonanza that was mining in the early days, but also an intriguing mystery at the heart of the mine.

oldtimerThe original mine dates back to 1916, but the old miners, whoever they were, concealed its existence by back-filling the shafts. The mystery is why they never returned to dig out the opal that remained. Perhaps they went to the First World War and never came home again. It was not until 1968 that the hidden mine was discovered by Ron Gough when he was digging an extension to his underground home and broke through, exposing three large seams of good quality opal, as well as opalised seashells. These have been retained and can be seen by visitors today.

The museum shows how miners, usually working alone, would dig the shafts and blast holes and winch the dug soil up to the surface, all by hand, with only candles and carbine lamps for illumination. Ron Gough was one of these miners, and it was he who realized the potential for opening the mine as a tourist attraction, his dugout (his family’s underground home) was added, being set up as a display home to show what life was like living underground from the 1920s to the 1990s.

There were many setbacks, including, in the 70s, another miner pegging a claim and blasting away, reaching the bedroom before he was stopped by court order. However, delays were eventually windlass2overcome and, with the fortuitous discovery of opal worth $50,000 just when finances were desperate, the Old Timers Mine and Museum began operating on 7th July 1987. Since then it has never looked back. Now it is one of the premier tourist attractions in Coober Pedy, having won many tourist awards for its ingenious self-guided mine tours through this historical mine (with guides written in many languages), the demonstrations of opal mining machinery and the chance for visitors to find their own piece of opal by noodling through the left over mullock heaps. Polished opal and rock specimens and opal jewellery and souvenirs are, of course, on show in the gift shop. What makes this visit to the Old Timers Mine and Museum unique for many people is seeing how miners and their families lived and worked underground.

Dear People!

Behind me stands Mother Ukraine. Ukraine that stands firmly on its feet, does not bow its head, looks ahead, believes in its future and victory over all the evil that Russia has brought us. Ukraine that is capable of achieving a just peace – having a shield and a sword. Defending its people, its colors, its Independence. Today I address all those who value Ukraine, cherish their state, and lovingly call it “Mine.” I thank you for 2024. Our people who endure all difficulties with dignity. People for whom being citizens of Ukraine is a source of pride. And for me, it is a pride to be the President of such people – Ukrainians who prove that no cruise missile can defeat a nation that has wings.

Throughout this leap year, we have proven it every day. And we saw it yesterday. When we were uplifted with happiness because 189 Ukrainians returned from captivity to their native land. Because they will celebrate the New Year at home. Because we are bringing our people back. 1,358 people this year. 3,956 Ukrainians during this time. And I’m giving not estimates but precise numbers, because each one represents a person, our person, a very important person. And with each return – we bring life back to Ukraine.

And every time this happens, we all cry. It doesn’t matter if it’s a moved mother, or it’s a child who finally has their father back, or the President of Ukraine – we all cry because we are all human, and we have kept the light within us.

And it helped us endure through over 1,000 days. To be brave when it was needed most. To be strong when it was so vital. As did our teachers, our medics, our power engineers, our transport workers, as did all our air defense personnel, mobile fire groups. The guys who brought down 1,310 cruise and ballistic missiles this year, and 7800 Iranian “Shahed” drones. Bravo! We are proud! Thank you! We lived through this year together. We overcame everything 2024 brought together. Victories and setbacks. Joys and challenges. Tears of happiness when we succeeded. And tears of pain when our hearts were wounded.

July. Morning. Okhmatdyt. That’s how weaklings and cowards strike. And we will never forget those children’s eyes. We will never forgive them for this! When evil brings death, our response is a human chain. This is what the strength of Ukrainians looks like. And that unity of ours could be seen from space. God saw it. He saw what kind of people we have. What kind of children we have. And I will never forget those incredibly mature and strong eyes of the boy from Okhmatdyt. How much life is in him, energy and dignity! And how much stronger this child alone is than Putin! How much stronger all our children are than their entire evil. Ukrainian boys and girls who are winning this war, gaining knowledge online and even in underground schools, winning global science competitions, raising funds for our army, and inventing technological solutions that help with our defense. You are a phenomenal generation! This is who we are fighting for. This is who our heroes, our warriors, protect above all. Those who stand firm and carry Independence on their shoulders. Where freedom and valor fight every day – even now, on this New Year's night. On all our fronts. On all of them. In the east, where it’s extremely, extremely difficult and challenging right now. But we believe, we know: you will stand strong. Our guys will stand strong. Your spirit and courage will stand strong. All the things that helped you not to surrender our Sumy and Kharkiv, our Kherson and our Zaporizhzhia this year. And the Russians wanted it so badly. But instead – you paid the occupiers back, bringing the war back home to Russia. And the one who sowed evil on our land received it on their own. In the Kursk region and in other places where our response, our justice, came this year.

Justice. Just one word, but behind it stand hundreds of thousands of our people. Our defense industry and our science. Whose minds and work have made us stronger, because 30% of everything our guys had on the battlefield this year – all this was made in Ukraine.

And at one of these facilities, I asked a young engineer: "How did you manage to achieve so much? How were these people able to do all of this?" And the young man joked: "They're not just people, they're missiles."

And you know, at that moment, I felt ashamed as a citizen that since the 90s, the state hadn’t noticed such people of ours. And I am proud, when meeting them throughout the year I hear: they are happy to be needed by Ukraine. And that Ukraine is once again building its own, its own missiles. And for the first time, it produces over a million drones in a year. Forcing the enemy to learn Ukrainian. Palianytsia, Peklo, Ruta. Making them tremble at the words Neptune and Sapsan. All these are our missiles. Ukrainian. Hor, Vampire, Kolibri, Kamik, Liutyi, Heavy Shot, Firepoint. All these are our drones. Ukrainian. And all these are our arguments, the arguments for a just peace.

It is achieved only by the strong. And we have proven time and again that we are strong. Our athletes. Oleksandr Khyzhniak, our Tank. Olga Kharlan, Yaroslava Mahuchikh, all our Olympians and Paralympians, for whom we cheered, worried, and screamed with joy and pride when the blue and yellow flag was raised. We took the hits and fought back alongside Oleksandr Usyk. All of this is about something bigger than just sports. It’s about our character. It’s about who we are and what we are capable of. It’s about meanings and symbols. It’s about Sashko’s fights, like Ukraine’s daily battles, showing us: it doesn't matter how much bigger the enemy is compared to you, what matters is how much bigger your will is. Then it takes the breath away of the whole world! And all the leaders told me frankly: "We've never seen anything like this – when a full hall of Notre-Dame de Paris is applauding." And those were applause for you. For all our people. This is what respect for Ukraine sounds like. This is what Independence is.

It’s when we don’t give up what’s ours. And when we don’t forget our people. Those who are in captivity. And we will fight for every person who, unfortunately, is still there. And we will fight for all those whom Russia has forced into occupation; but couldn’t occupy their Ukrainian hearts. And no matter how many passports evil hands out at gunpoint, our people say: "You are not our kin, you are temporary." And all those imposed weeds will not take root on our land, will not defeat the natives. I always recall the story about one of our Ukrainian elderly men, whom the occupiers asked: "What time is it?" And he answered: "Time to get off our land." This is what the inner will is, which simply cannot be occupied. And I turn to all those who carry this will in their hearts on the temporarily occupied territories. Dear Ukrainians! I know you are celebrating the New Year according to our time, and now you hear these words. In our Crimea, in Donbas, in Melitopol, in Mariupol – everywhere where Ukraine is awaited. And where, one day, Ukraine will return to be together. And the only thing that will divide Ukrainians is a generously laid table.

I know that all our people will be at this table. Those who are now abroad but have kept Ukraine in their hearts. So today, in the first minute of the New Year, in Warsaw, New York, or Buenos Aires, "Shche ne vmerla…" will sound. In Berlin, Prague or Tokyo, people will say today: “Glory to Ukraine!” And the world will respond: “Glory to the Heroes!” Because Ukraine is not alone. Because we have our friends with us. Since the first minutes of this war, America has stood with Ukraine. I believe that America will also stand with Ukraine in the first minutes of peace.

I remember my conversation with Joe Biden after the Russian invasion. I remember my conversation with Donald Trump after he was elected. All the conversations with Congressmen, Senators, ordinary Americans, with all those who support us in the US, in Europe, and around the world – in those many and varied conversations, there was always unity on the main point: Putin cannot win. Ukraine will prevail.

I thank all Americans for proving these words with deeds. I have no doubt that the new American President is willing and capable of achieving peace and ending Putin’s aggression. He understands that the first is impossible without the second. Because this is not a street fight where you have to calm down both sides. This is the full-scale aggression of a mad state against a civilized one. And I believe that we, together with the United States, are capable of exerting that force. Of compelling Russia into a just peace. That means not forgetting, and not erasing everything Russia has done. Bucha, Olenivka, Avdiivka, all our destroyed towns and villages. This is why a truly just peace cannot be based on the principle of “let’s start with a clean slate.” Because the score is not 0:0. The score is thousands, thousands of Ukrainians whose lives Russia has stolen.

And today, the heart of Ukraine is covered with scars. These are the names of our fallen heroes. May God protect every family in the world from experiencing such losses. I would not wish any leader in the world to experience these feelings – the moment you hand over awards posthumously. You see the eyes of a mother, a wife, or a child of a warrior who gave their life for Ukraine, and you hear them say: "Please, let it all not be in vain." Thousands of our guys and girls have not faded into oblivion. They are with us, they are by our side, always, they are watching over us from the heavens. And we have no right to let them down, and we cannot betray their feat and memory.

And every day in the coming year, I, and all of us, must fight for a Ukraine that is strong enough. Because only such a Ukraine is respected and heard. Both on the battlefield and at the negotiating table.

I thank everyone who has stood by us this year. Our partners, allies, friends, leaders. Leaders indeed, not because it is customary to call them that, but because they prove their leadership by their actions. Those who were not afraid to come to Ukraine, knowing how valuable it is to see us standing shoulder to shoulder. With whom, despite the distance and time difference, we worked together, found solutions and achieved results. Patriots, IRIS-Ts, NASAMS and ATACMS systems, F-16s, SCALPs, Storm Shadows. The Czech initiative and a million shells. The Danish model and hundreds of millions in our domestic production. 27 security agreements and 40 billion to support our army. The European Union and 50 billion to support our economy. The G7 and the decision on 50 billion dollars of frozen Russian assets. This is our great international work. This is our great international victory. I thank our partners, thank you for this; I thank our team. The Army, the Government, the Office, the Parliament, the regions, the communities, the volunteers. All those who strengthen our country from within and care about people.

I thank everyone thanks to whom Ukraine is standing and will stand. It will overcome its path to peace, to a strong Ukraine. And to a European Ukraine. And these are not just words, but a reality that began this June with the opening of negotiations on Ukraine's accession to the EU. And this is a historic result. And this path is irreversible. And Ukraine will be in the European Union. And one day Ukraine will be in NATO and will strengthen the Alliance. It will strengthen the stability of the world. The unity of Europe, which determines the destiny of every nation on the continent. And this unity must be respected by all. By both Budapest and Bratislava. I know the Hungarian and Slovak peoples are actually with us, with Ukraine, with Ukrainians, on the side of truth. The authorities of these countries should also acknowledge the truth. There is no need to be afraid of Ukraine being in Europe. We must do everything to prevent Russia from being in Europe. Its tanks, its missiles, and the evil it will surely spread further if Ukraine does not withstand. If Russia shakes your hand today, it does not mean that tomorrow, it will not start killing you with the same hand. Because Russians are afraid of the free people. Of what they are not familiar with. They are afraid of freedom. They were born under Putin, went to school under Putin, joined the army under Putin and are dying for his sick ideas.

And that is why it is so crucial today to support all peoples who defend freedom. Those who refuse to give it up in Chișinău. Those who are fighting for their future in Tbilisi. And I am sure that the day will come when we will all say: "Long Live Belarus!"

Dear Ukrainians!

May 2025 be our year. The year of Ukraine. We know that peace will not be given to us as a gift. But we will do everything to stop Russia and end the war. This is what each of us wishes for.

Behind all of us stands Mother Ukraine. And she deserves to live in peace. I wish this to all of us. And as the President of Ukraine, as well as a citizen, I will do everything to achieve it in the coming year. Knowing that I will not be alone. I know that you stand shoulder to shoulder with me – millions of Ukrainians. Strong. Free. Beautiful. Independent.

Happy New Year, dear people!

Happy New Year, Ukraine!

Glory to Ukraine!

Copyright© Firdaus Mahadi 2011 | View Large!

"Life is a series of experiences, each one of which makes us bigger, even though sometimes it is hard to realize this. For the world was built to develop character, and we must learn that the setbacks and grieves which we endure help us in our marching onward"

Location : Kerachut Beach, Teluk Bahang, Penang, Malaysia

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Amidst Harmony

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Please don't post here any awards, glitter text, images, and group invite

(Walnut, CA) In the first Southern California Wrestling Association (SCWA), Southwest Conference dual match of the season, the Mt. SAC Wrestling team easily defeated visiting Rio Hondo, 44-6 Wednesday October 17 at the Mounties Gym.

The Mounties had three pins in the dual, led by Nathan Barragan (133 Lbs.), Miguel Gallardo (157 Lbs.) and Christopher Alvizures (285 Lbs.).

Mt. SAC nearly won all of the 10 weight classes, with only a setback in the 197 Lb. weight class (A. Voong pinned Mt. SAC's Luis Garcia)

There were two byes, with the Mounties getting wins in both the 165 Lb. (Jordan Rabadi) and 174 Lb. (M. Ayyouhb) weight classes.

Three Mounties won by decision – 125 Lbs. (Zach Cunningham, 8-6); 141 Lbs (Thomas Chapman, 9-4) and 184 Lbs. (Colby Huynh, 3-0) and Andrew Saucedo won by technical fall in the 149 Lb. weight class, 17-2.

Return to glory: After 11 years of dreams, plans, setbacks, successes, grant awards, fundraising, track rehab and car refurbishment, the Issaquah Valley Trolley has achieved its long-desired goal of bringing trolley service to Issaquah. Car No. 519 was returned from the Gomaco Trolley Company on Thursday, August 23rd, and immediately began testing on the mainline. On the morning of the 25th, Gomaco representative John Tarr was at the control stand as No. 519 headed south past the car barn switch on the morning of the 25th with the first of a series of runs to obtain performance data.

Issaquah's trolley story begins in 2001 when a demonstration program was operated on weekends from spring through fall using a car borrowed from the Yakima Valley Trolleys. The project was considered so successful that long-term plans were made to develop a permanent trolley program, and a search began for equipment to operate in Issaquah.

Sister cars No. 519 and 521 were built in 1925 for use on the narrow-gauge trolley system in Lisbon, Portugal. The two cars were acquired in the 1970s by the city of Aspen, Colorado for a proposed streetcar project that eventually floundered. Issaquah obtained the cars in 2003 and began seeking funding to refurbish a car and rehabilitate the track, which was finally obtained in 2010. After some false starts with the trolley, in March of 2012 No. 519 was shipped to the Gomaco plant in Ida Grove, Iowa, for conversion to standard gauge and addition of a second control stand so the car could be operated bidirectionally. Since Issaquah does not have an overhead trolley wire system, a power cart is semi-permanently attached to supply electricity for the trolley's traction motors.

Testing and operator training will proceed for the next month and a half, with plans to begin full operation following the city's annual Salmon Days Festival in October. If you're in the area, come on by and check out both the trolley and the collection of historical equipment at the Issaquah Depot Museum. (Incidentally, it's rather ironic that I moved away from Issaquah, where I had lived for six years, only a few months before the trolley program came to fruition. I guess I'll just have to move back down that way...)

Check out today's post on thegoldensieve.com

The rockiest limb of San Francisco.

If you've ever wanted to visit a heavily populated spot on a weekend and be nearly alone, I recommend Superbowl Sunday. It so happened that me and mine are no fans of the two teams which happened to make it to the big game - so we headed for the San Francisco coast. I had packed my camera to catch some shoreline views of Cliff House and other icons in the ruddy light of a great sunset when I realized I had left my memory card on the desk at home. Of course I didn't realize this until about five minutes after I had been shooting, all the while oblivious to my camera's warnings of "Demo Mode" after each shot. I guess we see what we want to see sometimes, or rather, we fail to see what we don't want to see; needless to say I felt quite foolish.

Despite this setback, I managed to find, tucked into the very bottom of a camera bag in my trunk, an older card that did the trick later in the evening. Now, the moon and Jupiter would have been just as brilliant, the cypress as dramatic a frame and the heavens the same saturated palette of purples, oranges and blues; but these sights would have been mine alone were it not for that small piece of plastic, copper and silicon tucked serendipitously into the nylon of my "hey-I'll-bring-my-camera-for-the-fun-of-it" bag. Instead, that bit of luck means I get to relive a piece of those moments in my photographs and share a piece of that good fortune with you!

While the rest of the world watched football, I took the footpath from the Great Highway, through tall, stately conifers to where the great tempest of the Pacific tears it's fringes to foam on the crags and sand of Land's End. I grew up near a city whose fresh water front was preserved through the foresight of a man named Burnham and moved near a city whose coastline is preserved through force of nature. No industry, no factory, no pier will gain purchase where the wind and surf turn granite to sand. So lucky are the people who have this magical spot where the Monterey Cypress frame Luna and Jove on a field of violet as the last rays of our star are refracted through the upper atmosphere. I had to act quickly and use a high ISO in order to catch the moon and Jupiter peeping through the windows made by the cypress branches.

Through the knotted trunks, the waning daystar left it's stain of amber upon the horizon and called a host of cargo vessels to slide past the rusty orange guardian of the San Francisco strait and steam toward the bosom of the great sea.

Cold, merciless and tumultuous - one might wonder why we hold onto that famous Magellanic appellation when we don't have his eponymous straits as comparison. But, no matter how fierce it may seem from the coast, one cannot help but be pacified upon seeing the crescent and her fellow travelers' scattered reflections on the cresting waves.

Frame: *ALL-CITY* gorilla monsoon frame set

Wheel: *VELOCITY* blunt ss rim × SHIMANO* rs470 hub

Tire: *SIM WORKS* super yummy

Stem: *THOMSON* elite x4 stem

Handle: *SALSA* bend 17 deluxe bar

Grip: *ESI* racers edge grip

Brake lever: *AVID* speed dial 7 brake lever set

Saddle: *BROOKS* b17 standard

Seatpost: *THOMSON* elite setback seatpost

Pedal: *BLUE LUG* shark pc pedal

PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.

The Piber Federal Stud is 555 hectares in size and approximately 250 horses are kept there, including 70 broodmares.

Only stallions from the Spanish Riding School are used as breeding stallions, and all six classic stallion bloodline families are used.

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The Piber Federal Stud Farm is dedicated to the breeding of Lipizzan horses, located at the village of Piber. It was founded in 1798, began breeding Lipizzan horses in 1920, and today is the primary breeding farm that produces the stallions used by the Spanish Riding School, where the best stallions of each generation are bred and brought for training and later public performance. One of Piber’s major objectives is "to uphold a substantial part of Austria’s cultural heritage and to preserve one of the best and most beautiful horse breeds in its original form."

The Lipizzan breed as a whole, suffered a setback when a viral epidemic hit the Piber Stud in 1983. Forty horses and eight percent of the expected foal crop were lost. Since then, the population at the farm has increased, with 100 mares as of 1994 and a foal crop of 56 born in 1993. In 1994, the pregnancy rate increased from 27% to 82% as the result of a new veterinary center.

She's a Grammy Award-winning singer and songwriter, a girl who just wants to have fun, find out about her true colours.

A decade before ‘girl power’ became the war cry of the 90s, Cyndi Lauper called on women everywhere to fight for equality whilst embracing their femininity. A singer, songwriter, musician and an actress, the New York native has maintained her steely determination without losing her ability to entertain millions.

One might say that Cynthia Ann Stephanie "Cyndi" Lauper ‘burst’ into the world on 22 June 1953, rather than being born into it. One of three children born to Fred and Catrine Lauper, the vivacious child was originally from Brooklyn, New York, but was raised by her mother in Queens following her parents’ divorce in 1958.

Growing up during the peak of the civil rights movement and surrounded by the sounds of The Beatles, Billie Holliday and Ella Fitzgerald, Lauper developed an intense love of music from an early age and learned to play guitar at the age of 12.

With her mother’s support for her blossoming creativity, the headstrong teen dropped out of high school to perform with a variety of cover bands. However, Lauper soon suffered a major setback which threatened to destroy her musical ambitions.

In 1977, the ambitious performer damaged her voice and was told by doctors that she would never be able to sing again. In spite of this damning medical diagnosis, Lauper persevered and sought the help of singing coach Katie Agresta. Her resolve was rewarded and the star has since credited Agresta with the return of her most precious instrument: her vocals.

Lauper began performing again and co-founded a band called Blue Angel. With her four octave voice at its forefront, the group found success in 1980, when it released a self titled album with Polydor Records. However, with this victory came one of Lauper’s most difficult setbacks. Following poor album sales, Blue Angel was sued by its manager. The claim left Lauper with no recourse but to file for bankruptcy.

The deflated artist had little choice but to work in the retail industry during the day, whilst trying to rebuild her musical career with appearances in her spare time. It was after one such performance at a local club in 1981 that Lauper first met a music manager called David Wolff. The two fell in love and Wolff became the singer’s manager. As their relationship blossomed, so did Lauper’s prospects. With Wolff behind her, she was signed to Portrait Records and began to record an album.

Excited by the challenge of creating her own sound, Lauper was determined to write her own songs, but faced a reluctant record label. Portrait had its own conception about the type of music that the new artist was to record and it was only following a ferocious battle that Lauper was able to put her own mark on the music. The result was groundbreaking.

In 1983, Lauper released ‘She’s So Unusual’ to rave reviews. Described by Rolling Stone as “really first-rate material”, the album went on attain six-time platinum and double platinum statuses in the US and UK respectively.

Lauper became a feminist idol. In addition to legions of fans clamouring to emulate her inimitable dress sense, her videos, such as the raucous clip for the hit, ‘Girls Just Wanna Have Fun’, were constantly played on MTV.

Having proven herself a star, Lauper went on to explore a variety of projects. In 1985, she made the first of many charitable contributions, joining celebrities such as Lionel Ritchie and Michael Jackson in the 1985 USA for Africa single, ‘We Are the World’.

Lauper’s next move was one that few would have anticipated. With Wolff’s encouragement, she forged a contractual alliance with the World Wrestling Federation (WWF), appearing on the wrestling show and even participating in story lines. Even when she was presented with the 1985 Grammy Award for Best New Artist, Lauper was accompanied by WWF’s Hulk Hogan, who called himself her ‘bodyguard’.

Lauper’s second album release was ‘True Colours’ (1986). The dedicated artist was much more heavily involved in the follow-up to ‘She’s So Unusual’, co-writing many of the songs, such as the ballad ‘Change of Heart’, which reached number 3 in the US charts.

However, despite containing three hit singles and attaining platinum status, ‘True Colours’ was unable to replicate the success of Lauper’s debut album. A telling sign was that the fourth single from the album, entitled ‘Boy Blue’, was the first of the chart princess’s singles to fail to achieve top forty status in the US. Even so, Lauper donated the proceeds of sales for that single to AIDS research.

After a 1987 tour called ‘Cyndi: Live in Paris’, Lauper was keen to prove that she was a multifaceted performer. In 1988, she embraced the new challenge of acting, taking on the role of a zany psychic in the comedy, ‘Vibes’ (1988).

Unfortunately for the Grammy winner, this venture did not prove successful. Despite boasting a stellar cast, including Jeff Goldblum, the film failed to impress either the critics or the public, grossing less than $2 million in the US box office. Even Lauper’s contributory track for the film, ‘Hole in My Heart (All the Way to China)’ (1985), only reached number 54 on the US charts, although it was very popular in Australia. The song did not feature on the film’s official soundtrack.

After a short break from the studio, Lauper’s released ‘A Night to Remember’ (1989). Despite the fact that one song on the album, called ‘I Drove All Night’, did return the pop star to number one in the singles charts, the record’s impact failed to compare to Lauper’s earlier achievements. Disillusioned by her inability to draw the attention she had once commanded, Lauper’s relationship with Wolff suffered. By the end of the year, the two had severed both their personal and professional ties.

Lauper would not release another album for almost four years. In the meantime, she lent her iconic status to a number of collaborations. In 1990, she joined an all star line-up to perform at Roger Waters’ concert, ‘The Wall – Live in Berlin’. She also joined her friend, Yoko Ono, in a tribute concert to John Lennon.

The performer also took the opportunity to try acting again. Starring as a lounge singer on a mission to identify her boyfriend’s killer, Lauper began filming ‘Off and Running’ (1991). The movie was only released in Europe, seemingly indicating another doomed attempt to break into Hollywood. However, for the 38-year-old, the film marked a new beginning. It was on the set of this endeavour that Lauper met and fell in love with actor, David Thornton. On 24 November 1991, the singer and the Englishman wed in New York.

With her personal life blossoming, Lauper turned her attention back to business. After contributing two songs to the 1992 French stage show, ‘Starmania’, one of which earned double platinum status in France, she set her mind to releasing her fourth album.

Soul, funk and hip-hop influences filled ‘A Hat Full of Stars’ (1993), allowing the vibrant artist to showcase her diversity. Despite its poor sales, the album, which dealt with difficult issues such as incest and domestic abuse, was critically applauded, Rolling Stone praising the record’s “fresh sound”.

Critical acclaim also followed in 1992, as the aspiring thespian finally fulfilled a long term ambition by joining the cast of the sitcom, ‘Mad About You’ (1989). Her portrayal of the quirky Marianne Lugasso earned her an Emmy award and further recurring appearances on the show. For Lauper, the accolade represented acceptance as an actress.

Lauper returned to the recording studio in 1996. The result was the upbeat dance record, ‘Sisters of Avalon’ (1996), which sold a respectable one million copies worldwide. With issues such as the conflicts of being a drag queen dominating the album, its main impact was in the gay community, where Lauper was hailed as a heroine.

In November 1997, Lauper and Thornton welcomed their son, Declyn Wallace Thornton, into the world. Lauper relished her new role as a mother, flaunting her pregnant belly in the video for the song ‘The Ballad of Cleo and Joe’. However, she refused to allow her two worlds of parent and rocker to conflict, and in fact the proud mother cited Declyn as a major inspiration for her 1998 album, ‘Merry Christmas, Have a Nice Life’. She even included his vocals on the song ‘First Lullaby’.

Lauper continued to act, appearing in ‘The Simpsons’ (1989) and independent films such as ‘The Opportunists’ (2000). She also enjoyed touring, joining Cher on her celebrated ‘Do You Believe?’ (1999) and ‘Living Proof’ (2002) tours.

The songstress intended to release her sixth studio album in 2001, but the ill-fated project stalled just weeks before its intended release date as Lauper’s record company collapsed. The final result, ‘Shine’ (2004), would only be released in Japan.

In fact, it was Lauper’s 2003 studio performances which would form her follow-up to ‘Sisters of Avalon’. ‘At Last’ (2003) was a collection of cover songs including a Grammy nominated version of ‘Unchained Melody’. Whilst gaining mixed reviews, the effort was a commercial hit, selling 4.5 million records and reaching the top 40 in the US and Australia.

As Lauper grew into a self-proclaimed ‘hockey mom’, her social conscience never failed her. She continued to champion gay causes as well as headlining a charitable ‘True Colours’ tour in 2007.

Always keen to adapt to changing styles and fashions, Lauper stepped onto the dance floor for her 2008 album, ‘Bring Ya to the Brink’. With input from the likes of Basement Jaxx and Scum Frog, praise such as The Guardian’s statement that this was “the album Madonna should have made instead of ‘Hard Candy’” proved Lauper to be an adept chameleon of the arts.

The image of a fun loving Cyndi Lauper exploding onto the eighties pop scene is emblazoned onto the hearts and minds of the era of women who heeded her message of freedom and self-expression. Yet, as her audience has matured, Lauper has had to call upon the same tenacity that had helped her overcome financial ruin in order to maintain her star status. Now a mother, philanthropist and revered performer, it can truly be said that she is the Queen of Queens.

Marshall traction engine No. 23885, Reg No. TB 2843 in the colliery yard at Beamish during the Great War Steam Fair. Built in 1893 with its setback front axle, it looks older than many earlier engines.

My attention was originally drawn by the double water tanks. But as I zoomed closer my attention quickly shifted to the building at the left (which I learned is 330 Hudson). I hadn't noticed that there was a new addition cleverly added to the top, set back in two steps. The first setback addition adds a few floors with similar facade material to the original structure and the 2nd setback addition with a more modern glassy facade. This was blended so well that I hadn't noticed it while walking towards the building

[A7ii - 3553 Lr2015]

The only Jaguar XJ220 in the world that lived up to its name, being fitted with a stunning V12 engine and making it the world's fastest production car. However, costs, setbacks, a recession or two and a myriad of other problems resulted in the dream becoming a nightmare, and the match of styling and power made in heaven being turned quickly into a BDSM session in hell!

The proposal for the Jaguar XJ220 seemed to come right out of nowhere. In 1986 the company was sold to Ford after ownership under British Leyland, and was producing a selection of strange luxury motors including the XJS and the XJ, which, although were very good and highly luxury machines, weren't exactly setting the world on fire.

But racing had been put forward to the company before, and racing team owner Tom Walkinshaw encouraged Jaguar to put one of their XJS's into the 1981 European Touring Car Championship, in which they succeeded in winning the competition in 1984. Jaguar had started to provide factory support to racing team Group 44 Racing, who were using the Jaguar-engined XJR-5 in the IMSA GT Championship, supplying V12 engines from 1983 onwards and supporting a Le Mans entry in 1984. Tom Walkinshaw and Jaguar agreed to entering the FIA Group C World Sportscar Championship and developed the XJR-6, which was powered by the Jaguar V12 engine; the car was launched during the 1985 season.

TWR took over the IMSA GT Championship operation in 1988 and one model – Jaguar XJR-9 – was launched to compete in both series. The XJR-9, which retained the Jaguar V12 engine, went on to win the 1988 24 Hours of Le Mans and World Sportscar Championship in the same year. The poor fuel consumption of the Jaguar V12 combined with new rules restricting refuelling during races forced the replacement of the V12 engine in the XJR-9s successors, the XJR-10 and XJR-11. The normally-aspirated Austin Rover V64V engine, designed for the MG Metro 6R4 had recently been made redundant thanks to the Group B rally ban in 1987, and the design rights were for sale. The compact, lightweight and fuel efficient nature of the small-displacement, turbocharged engine was investigated by TWR, who considered it an ideal basis for a new engine to power the XJR-10 and purchased the design rights from Austin Rover Group.

Jaguar and their Director of Engineering, Jim Randle, felt these racing cars were too far removed from the product available to the general public, especially with the rule changes that mandated the replacement of the Jaguar V12 engine in the forthcoming XJR-10 and XJR-11 racing cars. Therefore a project was initiated to design and build a car capable of winning Le Mans "in house", just as the Jaguar C-Type and D-Type had done. The groundwork for the project was undertaken by Randle over Christmas 1987, when he produced a 1:4 scale cardboard model of a potential Group B racing car.

The cardboard model was taken into the Jaguar styling studio and two mock-ups were produced. One was said to be reminiscent of the Porsche 956, the other took elements of the then current Jaguar XJ41 project and Malcolm Sayer's work on the stillborn Jaguar XJ13 racing car.

The project still had no official support, leaving Randle no option but to put together a team of volunteers to work evenings and weekends in their own time. The team came to be known as "The Saturday Club", and consisted of twelve volunteers. To justify the resources consumed by the project, the XJ220 needed to provide meaningful data to the engineers on handling, aerodynamics, particularly at high speeds, and aluminium structures. These requirements, together with FIA racing regulations and various government regulations governing car design and safety influenced the overall design and engineering direction of the car.

The FIA Group B regulations steered the concept towards a mid-engine, four-wheel drive layout, with a Jaguar V12 engine as the power source. The concept car was designed and built at very little cost to Jaguar, as Randle called in favours from component suppliers and engineering companies he and Jaguar had worked with in the past. In return he offered public recognition for their assistance and dangled the possibility of future contracts from Jaguar.

The name XJ220 was chosen as a continuation of the naming of the Jaguar XK120, which referred to the top speed of the model in miles per hour. The concept car had a targeted top speed of 220 mph so became the XJ220. The XK120, like the XJ220, was an aluminium-bodied sports car, and when launched was the fastest production car in the world.

Jaguar and engine designer Walter Hassan had previously created a 48-valve variant of their V12 engine specifically for motorsport use. It featured a double overhead camshaft layout with four valves per cylinder, compared with the single overhead camshaft and two valves per cylinder of the production engine, which was used in the Jaguar XJ and Jaguar XJS models at the time.

TWR and Cosworth had manufactured a number of these racing V12 engines during the 1980s and they had been raced competitively, with a 7-litre version of this engine featuring in the Le Mans winning Silk Cut Jaguar XJR-9. Five of these engines still existed, all of which were fitted with dry sump lubrication. These engines were chosen and considered to be especially useful as the dry sump would lower the vehicle's centre of gravity. The displacement of the V12 was set at 6.2L for the XJ220.

Jaguar had little experience with four-wheel drive systems at the time, having previously only produced rear-wheel drive cars. Randle approached Tony Rolt's company, FF Developments to design the transmission and four-wheel drive system for the XJ220, with Rolt's son Stuart running the project. Tony Rolt was the Technical Director of Ferguson Research, where he was heavily involved in the design of the four-wheel drive system used in the Jensen FF, the first sports car to be fitted with such a transmission. Tony Rolt also had a long involvement with Jaguar, winning the 1953 24 Hours of Le Mans with the factory works team driving the Jaguar C-Type.

The mid-engine complicated the design of the four-wheel drive system, and an innovative solution was needed to get drive from the rear of the engine to the front wheels. The chosen design took the front-wheel drive from the central differential on the rear transaxle and sent it through the V in the centre of the engine using a quill drive, before joining an inverted differential. The clutch was a twin-plate unit designed by AP Racing.

The design brief for the exterior restricted the use of aerodynamic aids, and aimed for a stylish yet functional body similar to the Jaguar D-Type. Drag and lift were limited at the envisioned ground clearance for road use, but the design allowed for additional downforce when the car was set up for racing; the body produced around 3,000 lb of downforce at 200 mph. The design was also intended to have a variable rear wing that folded into the bodywork at lower speeds. Aerodynamic work was undertaken at the Motor Industry Research Association wind tunnel using a 1:4 scale model, as the project was unable to budget for a full-scale mock-up.

The bodywork for the concept car displayed in 1988 was hand built from aluminium by Park Sheet Metal, a specialist automotive engineering company that manufactures concept cars and low-volume, niche models for various manufacturers, including Bentley. QCR Coatings undertook final painting of the bodyshell in silver. The concept also featured electrically operated scissor doors and a transparent engine cover to show off the V12 engine.

The concept car had a Connolly Leather-trimmed interior produced by Callow & Maddox, and was fitted with front and rear heated windscreens, electric windows, air conditioning, heated electrically adjustable seats with an Alpine Electronics CD player. The dashboard was supplied by Veglia.

The concept car was completed in the early hours of 18 October 1988, the day it was due to be unveiled at the British International Motor Show, being held at the National Exhibition Centre, Birmingham.

Jaguar's marketing department had allocated space on their stand at the motor show for the XJ220, but had not seen the vehicle until its arrival. Jaguar chairman John Egan and Roger Putnam, who was in charge of Jaguar's racing activities, were shown the vehicle the week before the motor show and signed off on the concept, allowing its unveiling. The car received an overwhelmingly positive reception by public and press, and a number of wealthy Jaguar enthusiasts handed over blank cheques to secure a purchase option should the XJ220 concept go into production. Ferrari displayed their F40 model at the same event; an estimated 90,000 additional visitors came to see the Jaguar and Ferrari cars.

The XJ220 was not initially intended to be a production car, but, following the reception of the concept and financial interest from serious buyers, a feasibility study was carried out by teams from TWR and Jaguar. Its conclusion was that such a car would be technically feasible, and that it would be financially viable. The announcement of a limited production run of 220 to 350 cars came on 20 December 1989. The list price on 1 January 1990 was £290,000 exclusive of value added tax, options and delivery charges, but by 1992 that had increased considerably owing to indexation of contracts. The offer was four times oversubscribed, and deposits of £50,000 exclusive of Value Added Tax (VAT) were taken from around 1400 customers; first deliveries were planned for mid-1992.

What Jaguar didn't reckon on was that the 1990's were going to get off to a very bad start, with a good old fashioned recession to usher in the new decade. This, combined with the various downgrades that would have to follow to make the car road legal, would result in the Jaguar XJ220 giving the company and the customers headaches in more ways than one.

In 1991, the company constructed a new £4 million factory at Wykham Mill, Bloxham, for the single purpose of building the XJ220, the plant being opened by the late Princess Diana. But, in order to comply with a variety of road legislation, engineering requirements resulted in significant changes to the specification of the XJ220, most notably replacement of the Jaguar V12 engine by a turbocharged V6 engine.This downgraded engine made that desirable rocket car more run-of-the-mill, and many pulled back their deposits.

At the same time the economy collapsed and when the first production cars left the factory in 1992, many of the original potential buyers who had put down their hefty deposits found that they couldn't afford it, and wanted their money back. Many of them cited the fact that the four wheel drive, V12 had been downgraded to a two wheel drive, V6, and thus they weren't getting what they paid for. The result was that Jaguar went so far as to take their customers to court, and forced them to buy a car they no longer wanted, the problem being exacerbated by the fact that in 1993, the McLaren F1 took the title of world's fastest production car, was available with the V12 and all things it promised, and was much smaller and more manageable than the bulky XJ220.

A total of just 275 cars were produced by the time production ended, 22 of their LHD models never being sold, each with a retail price of £470,000 in 1992, probably one of the biggest automotive flops in motoring history, right up there with the DeLorean and the Edsel. But this would later be advantageous for many, as this pedigree 'worlds-fastest-car' machine would go in later years for a much lower price. £150,000 mind you, but it's a lot better buying the one's that weren't sold at this reduced price, than at the initial asking price back in 1992. Therefore buyers were able to procure themselves a first-hand XJ220, for half the price, a representative saving of nearly £250,000.

Today the XJ220's are rare beasts indeed, rarely coming out to play due largely to their expensive upkeep, heavy fuel consumption and sheer size. But keep your eyes open in some of the more affluent neighbourhoods, be they Dubai, Beverley Hills, or the South of France, and chances are you'll be able to find one.

Call it legend, icon or Detroit's largest object d'art, the Fisher Building is a valued part of the city's architectural heritage. This shot of the tower emphasizes its strong vertical lines, setbacks and massing.

The Four Seasons Centre for the Performing Arts is a 2,071-seat theatre in Toronto, Ontario, Canada located at the southeast corner of University Avenue and Queen Street West, across from Osgoode Hall. The land on which it is located was a gift from the Government of Ontario. It is the home of the Canadian Opera Company (COC) and the National Ballet of Canada.

After various setbacks from the 1980s onward, attempts by the COC to find a new permanent home led to the company issuing an invitation in 2002 for designs. Ten architectural firms submitted proposals and, from them, the Canadian company Diamond and Schmitt Architects, headed by Jack Diamond, was selected as the winner for its modernist design.

The Centre had its grand opening on 14 June 2006, with regularly scheduled performances commencing on 12 September 2006 with the inaugural production in the new opera house being Richard Wagner’s epic tetralogy Der Ring des Nibelungen (The Ring of the Nibelung). Governor General Michaëlle Jean and numerous other Canadian luminaries attended the event. Three complete Ring Cycles were performed in September 2006.

en.wikipedia.org/wiki/Four_Seasons_Centre

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

They used this equipped self-portrait Audrey requested I do to accompany the article. HOT off the presses!! Excited!!!!

Thank you SO much Audrey and Picture Business, from Dustin and I!!!!

Catherine Jamieson was also interviewed for this article. Thanks for the kind words Catherine!

And in amongst all this, tonight the show I am in has the private reception. Tomorrow people, we go public!

Frame :*CRUST BIKES* scapegoat

Headset :*CHRIS KING* nothreadset

Rim :*VELOCITY* dually rim

Tires :*45NRTH* VANHELGA

Chainring:*WOLF TOOTH COMPONENTS* drop stop chainring

Cog:*SURLY* cassette cog

Stem :*PAUL* boxcar stem

Handlebar :*HUNTER* low rise bar

Brake lever :*DIA-COMPE* tech-5 brake lever BL special

Saddle :*BROOKS* cambium C17 all weather

Seat post:*THOMSON* elite setback

Seat clamp:*PAUL* quick release seatpost collar

Grip :*OURY* V2 grip

Pedal :*MKS* XC-III bear trap pedal

Bag:*ULTRA ROMANCE* fabio's chest

My custom titanium Allroad and Gravel steed: the No. 22 Bicycles Drifter at the spring of the River Sieg in my home region of Siegen-Wittgenstein in Germany.

Custom frame, raw finish. Matching King Cages.

Matching titanium seat post, 0 setback

No. 22 Bicycles fork and stem, burgundy

Build with SRAM red etap AXS 2x12, 46/33 front powermeter crank, 10-33 back.

HUNT 30 Carbon Aero Disc Wheelset, shod with WTB Riddler in 37x700c

Xpedo M-Force 8 Ti Titanium Pedals

Brooks Cambium C13 Carved 145 All Weather Carbon Saddle

complete as shown: 8.4 kg

The bike stil rocks some protective tape on the frame and reflective stickers on fork and seat stays from the last bikepacking race. Because the next race is just around the corner: #TPRNo1 in October.

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Mein custom Titan Allroad- und Gravel Gefährt: das No. 22 Bicycles Drifter an der Siegquelle. In meiner Heimatregion Siegerland und Wittgenstein.

Custom Rahmen, raw finish. Dazu passende King Cages.

Passende Titan-Sattelstütze, 0 setback

No. 22 Bicycles Gabel und Vorbau, burgundy

Aufgebaut mit SRAM red etap AXS 2x12, 46/33 Leistungsmessungs-Kurbel, 10-33 Kassette.

HUNT 30 Carbon Aero Disc Laufradsatz; aufgezogen: WTB Riddler in 37x700c

Xpedo M-Force 8 Ti Titan-SPD-Pedale

Brooks Cambium C13 Carved 145 All Weather Carbon Sattel

komplett: 8.4 kg

Das Rad hat immer noch diverse Schutzfolien am Rahmen und Reflex-Aufkleber auf der Gabel und an den Sitzstreben vom letzten Bikepacking Rennen. Denn das Nächste ist auch schon wieder bald: das Trans Pyrenees Race No1 im Oktober.

Some background:

The Nakajima A6M2-N (Navy Type 2 Interceptor/Fighter-Bomber) was a single-crew floatplane. The Allied reporting name for the aircraft was 'Rufe'.

The last A6M2-N in military service was a single example recovered by the French forces in Indochina after the end of World War II. It crashed shortly after being overhauled, though.

General characteristics:

Crew: 1 (Pilot)

Length: 10.10 m (33ft 1⅝ in)

Wingspan: 12.00 m (39 ft 4⅜ in)

Height: 4.30 m (14ft 1⅜ in)

Wing area: 22.44 m² (251.4 sq ft)

Empty weight: 1,912 kg (4,235 lb)

Loaded weight: 2,460 kg (5,423 lb)

Max. takeoff weight: 2,880 kg (6,349 lb)

Powerplant:

1× Nakajima NK1C Sakae 12 air cooled 14 cylinder radial engine,

delivering 950 hp (709 kW) at 4,200 m (13,800 ft)

Performance:

Maximum speed: 436 km/h (235 knots, 270.5 mph) at 5,000 m (16,400 ft)

Cruise speed: 296 km/h (160 knots, 184 mph)

Range: 1,782 km (963 nmi, 1,107 mi)

Service ceiling: 10,000 m (32,800 ft)

Climb rate: 6 min 43 s to 5,000 m (16,400 ft)

Armament:

2 × 7.7 mm Type 97 machine guns in forward fuselage

2 ×20 mm Type 99 cannons in outer wings

Underwing hardpoints for 2× 60 kg (132 lb) bombs

The kit and its assembly:

This is a real world model, despite the weird looks (see below), and an entry for the Arawasi blog's "Japanese Aircraft Online Model Contest 005 - Japanese Seaplanes & Flying Boats" contest in summer 2017. Even though whifs were allowed to enter, I used the opportunity to build a kit I had originally bought for a few bucks and stashed away in the donor bank: a vintage LS Model Nakajima A6M2-N.

The mould dates back to 1963(!), and the kit was re-issued several times, also under the ARII label. You get a tiny box, with only two sprues moulded in a pale baby blue, and the number of parts is minimal. It's truly vintage and pretty toylike at first sight. Consequently, you have to face some real old-school issues, e. g. moulded markings for the roundels on the wings, general mediocre fit of anything and lots of sinkholes and flash. Then there are toylike solutions like the single-piece propeller or separate, moveable ailerons with bulging joints.

The cockpit interior is non-existent, too: there's just a blank place for a dashboard (to be cut out from the printed BW instructions!), and a spindly pilot figure which is held in mid air by some pins. Furthermore, the kit was designed to take a small electric motor in the nose (sold separately) to drive the propeller. Wires, as well as respective internal ducts, and an AA battery holder are included.

Sounds scary? Well, maybe, if you just build it OOB. But all these flaws should not keep the ambitious modeler away because the LS Model kit is (still) a sound basis to start from, even though and by today's standards, it is certainly not a match-winner for a rivet counter-esque competition.

For its age and the typical solutions of its time, it is actually surprisingly good: you get very fine engraved surface details (more delicate than many contemporary moulds!), a pretty thin, three-piece clear (yet blurry) canopy and, as a bonus to the elevons, separate flaps – a unique detail I have never come across before! Proportions are IMHO good, even though the cowling looks a bit fishy and the engravings are rather soft and shallow. Anyway, on the exterior, there’s anything you can ask for to be found, and as another bonus the kit comes with a beaching trolley, which makes display and diorama fitting easier.

Thanks to the kit's simplicity, the build in itself was pretty straightforward and simple. Cleaning the parts and checking fit was the biggest issue. Upon gluing the old styrene showed signs of serious reaction to the dissolving effect of modern glue: it took ages for the material to cure and become hard again for further work!? Weird…

The many sinkholes and overall displacements were corrected with some NC putty/PSR, the protruding elevon/flap joints sanded away as good as possible, and due to the wobbly nature of the kit’s styrene I added blobs of 2C putty inside of the wing halves as stabilizers.

Some mods and improvements were made, though. After cleaning the OOB propeller from tons of flash the piece turned out to be pretty usable, and it was put on a metal axis. A styrene tube adapter was added behind the relatively flat engine dummy, so that the prop can spin freely – for the later beauty pics, because no CG effect beats IMHO the real thing.

A cockpit interior was created from scratch and donor parts, using the new Airfix A6M model's cockpit as benchmark. It’s not an exact replica, because not much would later be visible, but I wanted, as a minimum, “something” inside. A better pilot figure was used, too, and strapped to the new seat with thin strips of adhesive masking tape as seatbelts.

Under the wings, the hardpoints were simulated with some bits of styrene and wire as shackles, but left empty Under the stabilizer fin I added a lug(?), made from thin wire, too.

The elevons were fixed in place, the seams to the wings filled with white glue in order to conceal the gaps as good as possible. The movable flaps remained, though, adding life to the model. The dolly was also taken more or less OOB, since it fits well. I just improved it with some sinkhole fillings and some other details, including cushions on the float stabilizers, made from paper tissue soaked with thinned white glue, and a towing bar.

Painting and markings:

The reason why I settled for an A6M2-N is mostly the weird paint scheme which can be applied, while still being a real world model: a lilac livery!

As far as I could find out, the A6M2-Ns initially carried an all-over IJN Grey livery, which was later, in late 1942, modified with dark green upper sides for a better concealment on the ground, and the Hinomaru received white edges for better contrast.

Anyway, during the Aleutian campaign and more or less in between these two major standards, several aircraft must have received a special camouflage with lilac upper surfaces, and this model depicts such a machine, based on various profiles but no color picture as reliable reference.

The sources I consulted, as well as pictures of finished A6M2-N models, show a wide variety of shades and paint scheme layouts, though. Upper colors range from pale pink through more or less bright shades of purple to a pale, rusty-reddish brown (maybe primer?), while the undersides show a wide range of greys or even light blue. Some depictions of Aleutian A6M2-Ns as profile or model even show a uniform wraparound scheme! Choice is yours, obviously...

Because of the corny information basis, I did my personal interpretation of the subject. I based my livery more or less on a profile by Michele Marsan, published in Aerei Modelismo Anno XII (March 1991). The unit information was taken from there, too – the only source that would provide such a reference.

My idea behind the livery and the eventual finish was that the machine once was fully painted in IJN Grey. Then, the violet upper color was added in the field (for whatever reason?), resulting in a slightly shaggy look and with the light grey shining through here and there in areas of higher wear, e. g. at the leading edges, cockpit area and some seams.

Painting started with an initial coat of aluminum under the floats, around the cockpit and on the leading edges. Then the undersides and some areas of the upper surfaces were painted with IJN grey. The latter is an individual mix of Humbrol 90 (Beige Green/RAF Sky) and a bit of 155 (Olive Drab, FS 34087). On top of that I added a thin primer layer of mauve (mix of ModelMaster’s Napoleonic Violet and Neutral Grey, Humbrol 176) on the still vacant upper surfaces – both as a preparation for the later weathering treatments (see below).

The following, basic lilac tone comes from Humbrol’s long-gone "Authentics" enamel line. The tin is probably 30 years old, but the content is still alive (and still has a distinctive, sour stench…)! I cannot identify the tone anymore with certainty, but I guess that it is 'HJ 4: Mauve N 9', one of the line’s Japanese WWII tones which was later not carried over to the standard tones, still available today.

Anyway, the color is a dull, rather greyish violet, relatively dark (a bit like RAF Ocean Grey), and it fits well as a camouflage tone on this specific model. Since there’s no better alternative I could think of except for an individual mix or garish, off-the-rack pop art tones, I went with it.

After overall basic painting was done and thoroughly cured, weathering started with a careful wet sand paper treatment, removing the salt grain masks and revealing some of the lower IJN Grey and aluminum layers. While this appears messy, I found that the result looks more realistic than artificial weathering applied as paint effects on top of the basic paint.

The engine cowling was painted separately, with a mix of black and a little dark blue. The propeller received an aluminum spinner (Humbrol’s Matt Aluminum Metallizer), while the blades received aluminum front sides (Revell acrylics), and red brown (Humbrol 160) back sides. Two thin, red stripes decorate the propeller tips (Decals, left over from an AZ Model Ki-78, IIRC).

As a standard procedure, the kit received a light wash with thinned black ink, revealing the engraved panel lines, plus some post-shading in order to emphasize panels and add visual contrast and ‘drama’.

Decals and markings were improvised and come from the spares box, since I did not trust the vintage OOB decals - even though they are in so far nice that the sheet contains any major marking as well as a full set of letter so that an individual tail code could be created. Anyway, the model's real world benchmark did not carry any numeric or letter code, just Hinomaru in standard positions and a horizontal, white-and-red stripe on the fin.

The roundels actually belong to a JSDAF F-4EJ, some stencils come from a leftover Hobby Boss A6M sheet. The fin decoration was created with generic decal sheet material (TL Modellbau). Similar stuff was also used for the markings on the central float, as well as for the yellow ID markings on the inner wings' leading edges. I am just not certain whether the real aircraft carried them at all? But they were introduced with the new green upper surfaces in late 1942, so that they appear at least plausible. Another argument in this marking‘s favor is that it simply adds even more color to the model!

The cockpit interior was painted in a light khaki tone (a mix of Humbrol 159 and 94), while the flaps' interior was painted with Aodake Iro (an individual mix of acrylic aluminum and translucent teal paint). Lacking good reference material, the beaching trolley became IJA Green, with some good weathering with dry-brushed silver on the edges and traces of rust here and there (the latter created with artist acrylics.

Close to the (literal) finish line, some soot and oil stains were added with graphite and Tamiya's 'Smoke', and the kit finally received a coat of matt acrylic varnish (Italeri); to the varnish on the engine cover a bit of gloss varnish was added, for a sheen finish.

In the end, quite a challenging build. Not a winner, but …different. Concerning the LS Model kit as such, I must say that - despite its age of more than 50 years now - the A6M2-N model is still a worthwhile offer, if you invest some effort. Sure, there are certainly better 1:72 options available (e. g. the Hasegawa kit, its mould was created in 1995 and should be light years ahead concerning detail and fit. Not certain about the Revell/Frog and Jo-Han alternatives, though), but tackling this simple, vintage kit was fun in itself. And, based on what you get out of the little box, the result is not bad at all!

Beyond the technical aspects, I am also pleased with the visual result of the build. At first glance, this antiquity looks pretty convincing. And the disputable, strange lilac tone really makes this A6M2-N model …outstanding. Even though I still wonder what might have been the rationale behind this tone? The only thing I could imagine is a dedicated scheme for missions at dusk/dawn, similar to the pink RAF recce Spitfires in early WWII? It would be plausible, though, since the A6M2-Ns were tasked with nocturnal reconnoitre and ground attack missions.

Having crossed over onto the up line, the 6D43 moves towards the triangle access.