Politics on FLICKR with Free Speech
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"Gather a shell from the strewn beach
And listen at its lips: they sigh
The same desire and mystery,
The echo of the whole sea's speech."
- Dante Gabriel Rossetti
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"Gather a shell from the strewn beach
And listen at its lips: they sigh
The same desire and mystery,
The echo of the whole sea's speech."
- Dante Gabriel Rossetti
-----------------------------------------------------------------------------------------
Thanks to all for 10,000.000+ views and kind comments ... !
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
“Some people look for the obvious and make decisions based on that. However, sensitive people look for the subtle things in life. They observe what is missed, overlooked and rarely observed by others. They dwell at a deeper level of perception that clings to signs, body language and what is left unspoken. They are observers that will trust their instinct first over any fact or well delivered speech.”
― Shannon L. Alder
Taken at Pemberley Shores
maps.secondlife.com/secondlife/Pemberley%20Shores/201/146/25
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© ángel mateo
Todos los derechos reservados / All rights reserved.
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Liverpool Pride returned on 25th July 2026 as thousands of people filled the city with colour. After speeches were delivered to the crowds gathered outside Clayton Square, Liverpool, the centrepiece of the weekend was the Pride March, which began on Houghton Street, outside St John's Beacon, before making its way through the city centre via Church Street and Paradise Street, finishing on Lord Street.
Designed to improve accessibility, this year's route removes the need for the road closures used in previous years. For 2026, the march was walking only, with no vehicles or floats, placing the focus on community participation and collective visibility.
The march muster began at 10:30am and the march itself got underway at 11am.
This image shows a detail of an old radio.
Ein Asuchnitt aus einem alten Radio in einer verlassenen Wohnung zeigt dieses Bild.
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© ángel mateo
Todos los derechos reservados / All rights reserved.
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© ángel mateo
Todos los derechos reservados / All rights reserved.
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If you can't stay the night
Then I'll take you home
And if you change your mind
We can be more than friends tonight.
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© ángel mateo
Todos los derechos reservados / All rights reserved.
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I'm sorry but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone if possible; Jew, Gentile, black men, white. We all want to help one another. Human beings are like that. We want to live by each others' happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone. And the good earth is rich and can provide for everyone. The way of life can be free and beautiful, but we have lost the way.
Greed has poisoned men's souls; has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge as made us cynical; our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness, we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in man; cries out for universal brotherhood; for the unity of us all.
Even now my voice is reaching millions throughout the world, millions of despairing men, women, and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say "Do not despair." The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people. And so long as men die, liberty will never perish.
Soldiers! Don't give yourselves to brutes, men who despise you and enslave you; who regiment your lives, tell you what to do, what to think and what to feel! Who drill you, diet you, treat you like cattle, use you as cannon fodder! Don't give yourselves to these unnatural men---machine men with machine minds and machine hearts! You are not machines! You are not cattle! You are men! You have a love of humanity in your hearts! You don't hate! Only the unloved hate; the unloved and the unnatural.
Soldiers! Don't fight for slavery! Fight for liberty! In the seventeenth chapter of St. Luke, it's written "the kingdom of God is within man", not one man nor a group of men, but in all men! In you! You, the people, have the power, the power to create machines, the power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy, let us use that power.
Let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give youth a future and old age a security. By the promise of these things, brutes have risen to power. But they lie! They do not fulfill their promise. They never will! Dictators free themselves but they enslave the people! Now let us fight to fulfill that promise! Let us fight to free the world! To do away with national barriers! To do away with greed, with hate and intolerance! Let us fight for a world of reason, a world where science and progress will lead to all men's happiness.
Soldiers, in the name of democracy, let us all unite!
Soundtrack // bande-son: John MELLENCAMP ("FReedomof Speech"): www.youtube.com/watch?v=pP4ItRKXehg
"FREEDOM OF SPEECH... Freedom to say... Freedom to think... This is my lucky day... Freedom of thought... Freedom of dreams... Freedom to believe... That we all can be kings..."
Thanks for looking... :)
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Extemporaneous Speeches.
Силлогизмы отношений обратимых предпосылок, предикатные результаты, сформированные утверждения, необходимые доказательства общих терминов,
conclúidí dearfacha foirceannacha áirithe bunaíodh iarmhairtí foirmeacha neamhchríochnaithe cosúil hipitéisí,
habet rationem causae potest esse falsum assumitur reductiones terminis causae existunt rationes trahere,
Antworten demonstrieren konvertierbare Konvertierungen identischen Probanden Befragung beschrieben mehrdeutiges Wissen,
universelle fejl direkte fejl modsatte måder propositioner tænker besiddelse viden middelbetingelser,
انتقاد معاني القتال الجيران التطبيقات المتوسطة المذكورة تفصيل الجدلية,
ασκούμενους τρόπους οδηγίες δοθεί πειθίες syyllogism διασχίζεται γραμμές άπειρη κινήσεις καθορίζουν αντίθετες δυσκολίες κατευθύνσεις,意図的な結果自発的な原因ばかげた派生知能因果関係外的目的不安定な結果付随的結果幸運の確認運勢を肯定する.
Steve.D.Hammond.
...Prisoner Zero has escaped...
=====================
.posture collar & cuff set.
Feature: Pulses star glow
with speech and text.
Never missing from a talk show. German Health Minister Lauterbach.
Europeans United. Large demonstration in Frankfurt on 25.06.2022
www.hintergrund.de/politik/heraus-aus-dem-schock-zur-aufa...
Entirely uncharacteristically the Beeb, rapidly becoming our 'official' state media, let the voice of the oppressed slip through on Monday. Someone there must have grown both a spine and a heart. It is bloody magnificent.
Romanian postcard by Casa Filmului Acin, no. 586. Julie Christie in Far from the Madding Crowd (John Schlesinger, 1967). Collection: Alina Deaconu.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
the clock is ticking, and I'll be giving my two weeks
your favorite shade of black, you best prepare a speech
say something funny, say something sweet
but don't say that you loved me.
~
From this
I'm Still Breathing ~ Katy Perry.
for TRP ~ Songs in a Diptych
(with a bit 'o bokeh)
and for TOTW ~ Nostalgia - cos I'm thinking about friendships.
Normal day, nothing much to talk about. I got a bit hyper after work...haha. That's about it.
I had some trouble with this piccie.
I fuss with dippy's a lot. I'm not even sure I like this, but I don't hate it, so here it be. :-D
hugs. :)
K
Random Fact de jour: I have a best friend that I don't talk to much anymore.
Went from daily to at maybe once a week if I'm lucky.
But even though, I know that if I need to vent, or get an opinion, or need to rely on someone to be honest: that he will be there.
Even though things have changed, they are the same.
And really, that is what makes a best friend. That time can go on, but that your relationship remains the same.
I'm not self conscious about it.
I know if need him, he's there. And I would be for him.
And he knows who he is. This isn't a guilt trip. It's a confession that I've not been that good of a friend lately either.
Just a thought.