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On the verso of this cabinet card was the statement that the photograph was taken in the spring of 1891. The verso also had the names, ages, and spouses listed on the back, but they were not listed in a way that would enable one to attach a name to a person in the picture. Most of these young ladies were connected through school, church, and a shared interest in music, as most of them appeared in Marshall, Michigan newspapers as participating in local musical programs. I’ve add a little information to each of the names, which follow as listed on the verso.
Mabel McNames was born in September 1878 in Marshall, Michigan, the daughter of Soloman K. McNames (1830-1916) and Josephine Adeline (last name unknown, 1855-1935). She was married in 1893 to Joseph Brooks; the couple had two children. In 1910, Mabel was a widow living in Detroit, Michigan with three children. She was living in Highland Park, Michigan for the 1930 census and had two boarders.
Mabel Lockwood and Vira Lockwood. Mabel was born 2 December 1877 and Elvira on 16 December 1879 in Marshall, Michigan, the daughters of Peter Lockwood (1842-1911) and Amelia Shutts (1845-1915). Mabel was married on 27 September 1911 to Frederick I. Colegrove (1858-1944); the couple did not have children. The couple relocated to Caliafornia and Mabel passed away in San Diego on 6 August 1948 while listening to the radio. Mabel’s sister Elvira never married and relocated to Long Beach, California. Elvira Lockwood committed suicide on 31 January 1926 over continued poor health.
Maude Wagner was born circa 1878 in Marshall, Michigan, the daughter of Martin V. Wagner (1845-1891) and Mary J. Wing (1849-1895). Maude studied to be a stenographer. On 11 July 1898 she married Milton Searles (1877-1950), and a newspaper account noted that Maude’s friends were very suprised by the marriage. The couple lived in Kalamazoo, Michigan for a short time, before returning to Marshall. Maude later suffered from an intestinal perforation and passed away on 1 February 1908 following surgery to correct the problem. The couple apparently did not have any children.
Mabel J. Phelps was born 14 January 1877 in Marshall, Michigan, the daughter of George Phelps (1828-1885) and Augusta C. Robbins (1838-1908). In 1880, Mabel was living with her parents and a brother, Winthrop, in Marshall. In the 1900, 1910, 1920, 1930, and 1940 censuses, Mabel was living in Marshall, with her brother and his family through 1930, and in 1940 by herself. Mabel Phelps passed away on 15 December 1966 in Marshall.
Jessie Jandell was born 10 March 1876 in Marshall, Michigan, the daughter of Edgar Jandell (1853-1926) and Nellie Sackett (born circa 1858). Jessie was singer and banjo player in her youth, and in the late 1890‘s taught banjo. Circa 1909 Jessie married Arolin Vernon Whipple (1885-1941) and the couple relocated to Montana, and were living in Miles Ward, Custer, Montana for the 1920 census. The couple did not have children. By no later than 1924 the couple ws living in Los Angeles, California. In the 1930 and 1940 censuses, the couple was still living in Los Angeles, where Arolin worked as a state inspector of harbors. Jessie Jandell passed away in Los Angeles on 30 November 1944.
May or Mae D. Stone was born in May 1877 in Marshall, Michigan, the daughter of William D. Stone (1857-1917) and Florence Toll (1858-1907). In 1880, May was living on a farm in Marshall with her parents and grandparents. On 1 May 1900, May married James P. Hughes (born July 1877) and the couple would have at least one child, Martha. In 1900, the couple was living in Marshall where James worked as an office clerk. In 1910, the couple was still in Marshall, but was living with May’s widowed father; James was the proprietor of a clothing store. By 1920, the family had relocated to Grand Rapids, Michigan and would remain there through the 1940 census, with James working as an insurance agent and then a real estate saleman. I did not find a death date for May Stone.
Helen “Nellie” Drake was born on 26 November 1876 in Marshall, Michigan, the daughter of William T. Drake (1852 - 1904) and Belle Warren (1853 - 1924). In 1880, Nellie was living in Marshall with her parents, and her father was a clerk in a drugstore. On 28 March, 1900, Nellie married Justin E. Worthington (born August 1876). The couple does not appear to have had children. They relocated to Tampa, Florida where Justin was editor of the “Tampa Times”. They remained in Tampa through the 1920 census, and were living in Polk County, Florida in 1935. I did not find a death date for Helen Drake.
Berenice Porter was born in September 1878 in Marshall, Michigan, the daughter of William H. Porter (1839-1931) and Jessie Chesebrough (1840-1923). On 20 December 1900, Berenice married George Henry Miller (1868-1929), and the couple relocated to York, Dupage County, Illinois. George worked as a grocery salesman and then in 1920 the couple moved to Elmhurst, Dupage County, Illinois, and George was involved in paper box manufacturing. A widowed Berenice was back in York, Illinois for the 1930 census. Berenice Porter passed away on 13 October 1936. The couple does not appear to have had any children.
Donna Augusta Brewer was born 1 April 1878 in Marshall, Michigan, the daughter of Edgard G. Brewer (1852-1928) and Donna Corinne Hulett (1854-1943). Donna married Chester Wayne Casper in December 1899, the couple would remain in Marshall through the 1940 census. The couple had at least three children. Donna Augusta Brewer passed away on 30 July 1962.
Bertha Smith was born 19 April 1878 in Marshall, Michigan, the daughter of lawyer Thaddeus Smith (1828-1889) and Francis (last name unknown, born January 1842). Bertha remained in Marshall through the 1910 census, and in 1910 was working as a stenographer. Along with her mother and sister Ruth, Bertha relocated to Detroit, Michigan, and was living their for the 1920, 1930, and 1940 censuses. She was a clerk in a real esate office and later sold properties. She never married and lived with her sister through the 1940 census. Bertha Smith passed away on 8 December 1963.
Cythera Gertrude Cox was born 22 September 1879 in Marshall, Michigan, the daughter of James Sumner Cox (born 1860) and Frances Emilie Rimes (1859-1931). Cythera was in Marshall for the 1880, 1900, 1910, 1920, 1930, and 1940 censuses. She married Arthur Bennett Osborne (1876-1945) on 16 September 1901. Arthur worked as a bookkeeper and office manager before settling into to a career in advertising. The couple had at least three children. Cythera Cox passed away in Marshall on 2 December 1963.
Photographers Young & McKay were Christie A. McKay and Florence Adell Young. Christie McKay was born circa March 1860 in Canada, the daughter of Charles and Jane McKay. The family came to the United States around 1865 and settled in Michigan, first in Bruce, Macomb, Michigan. In 1880, Christie was working as a dressmaker, but by 1888 was a photographer in Marshall, Michigan, working with Florence Adell Young. She would continue to work in Marshall until around 1934. She did not marry. Christia McKay passed away on 17 November 1941.
Florence Adell Young was born circa December 1860 in Wisconsin, the daughter of John and Elsie Young. In 1870, she was living with her parents in Otsego, Wisconsin, where her father was a minister. She eventually connected with Christie McKay and the two ran a photography studio in Marshall, Michigan from 1888 through 1934. In the 1900, 1910, and 1920 censuses she was living with Christie McKay in Marshall. Florence Adell Young passed away on 6 June 1937.
Stepping into style at La Vela Boutique in Portofino 💫✨ This hidden gem is serving up all the boho-chic vibes with stunning handmade pieces that scream ‘effortless elegance’! From vibrant dresses to the coolest hats, it’s the perfect spot for that authentic slow fashion fix. ️️
Whether you’re on the hunt for a pop of color or a unique statement piece, La Vela’s got you covered. Because let’s face it, no trip to Portofino is complete without a little boutique shopping spree! 😉
Shop local, love slow fashion
📍 La Vela, Portofino
👗 Fashion that tells a story
#PortofinoStyle #LaVelaBoutique #SlowFashion #BohoChic #ShopLocal #ItalianFashion
Not so young but fit. This guy is standing on Orchard road in Singapore selling these strings with balls.
The mission of the DeGrazia Foundation is the preservation and perpetuation of the artistic and cultural legacy of Marion and Ettore “Ted” DeGrazia. The Gallery in the Sun is open daily from 10-4.
My daughter, Jess, made this fun statement necklace out of thick angular faceted beads, gold wire and gold leather cord. We tried using jump rings first, but it didn't look good, so we used gold wire to fasten together the beads. Kato Clay.
Jacket: St. John, Thrifted
Blouse: Forever 21
Ring (Right hand): c/o Katz Jewelry
Ring (Left hand): Antique
Satchel: Michael Kors
Denim Leggings: Old Navy
Pumps: Enzo Angiolini via Nordstrom
Sarah and I just finished watching a Disney Vacation Club webcast (no, we aren't adding on, we just wanted the free lithograph they mail you if you watch it), and I have to say that while I love the experience of being DVC Owners, I think the marketing is becoming more and more disingenuous (possibly a byproduct of the poor economy--Disney can no longer retain its passivity compared to other pushy Timeshare sales practices? I don't know).
The things that I really found obnoxious were the supposed testimonies by current owners at the end. One, from a purported accountant, stated that after crunching the numbers, he determined DVC ownership was a financially savvy investment (not his exact words). Unless you are terrible at making investments, this is not the case. It's especially not the case if you purchase directly from Disney. The second testimonial was from a family claiming that, besides their house, their DVC ownership was their only asset that had appreciated in value. Unless they're living in some bizarro world, Timeshares do not appreciate in value; they are a diminishing asset. I know these comments are supposedly made by customers, but Disney is holding them out as true by including them in the webcast, and to me, they cross the line from mere puffery to a misrepresentation. I could easily see customers who fail to do their homework relying on statements such as those to make their purchase.
Obviously I understand that Disney wants to sell these units, and it has chosen to adopt a more aggressive strategy than in days past, but I still don't think it's necessary to be deceiving in the process. I certainly don't fault Disney for saying it's a "great incentive" to give me a 7-night cruise for four if I add on 200 points at $112/point, when I know I can head to the resale market and find a 200 point contract for $65/point, a difference of $9,400, which is far more than the cost of a 7-night cruise for 4... ;-P
48x36 in.
Oil & oil stick on gallery canvas
Visit my website at ajeffries101958.wix.com/atjart#
and my Facebook page at www.facebook.com/#!/pages/Alan-Taylor-Jeffries-Art/166608...
To purchase original please contact ajeffries101958@yahoo.com
Thanks for taking the time to look at my work.
reporters listening and viewing the details of the case during closing. Full gallery of live trial sketches here. www.washingtonpost.com/graphics/national/tsarnaev-trial/
William Brouillard
www.cia.edu/faculty/directory.php?faculty_id=15
Artist Statement
The platters I have sent to this exhibition combine several ceramic traditions. The first is, The Palace Art Pot. Palace Art Pots were made to demonstrate wealth and power. They were made to tell a story, to commemorate an event or a person, and to demonstrate skill and challenge the abilities of the artisans who made them. The second tradition is the Fish Platter. Fish platters were a staple of the Neo Arts and Crafts Movement of the 1950s and 60s. The third and last tradition is the One-Line visual and verbal Pun, Platters of the ceramic Funk Movement.
Humor through the use of the visual pun was a mainstay of the California Funk movement. Humor in clay has a tradition as old as the use of the material. I have always felt that humor has been given short shift as a serious emotion. Art work that uses humor and has been actively excised from collections of serious art. It may be that we do not understand the function of humor as well as we understand the function of the other emotions.
In the work presented I have tried to inject some humor into the decorative / commemorative object. The platters are big to give them a slightly overblown sense of their own importance and to be able to be viewed from a distance . They are meant for the wall and the table. The large size to fit the importance of large gatherings.
I have tried to replace historical patterns with objects reduced to pattern. Some of the objects are extensions of my environment or reflections of personal interests. Images of turn of the century technology, (the Machine Age), are a personal favorite. Subject matter ranges from humorous depiction of everyday objects to gender stereotypes. My abilities as A draftsman are limited but seem to be adequate for the kind and quality of image that the subject requires. They have a cartoon look as opposed to the crisp complexity of fine china.
The clay body, a red earthenware, is heavily potted and makes no secrete of its variations and flaws. The glaze work is in the Majolica style and is done very much like a watercolor on soft paper. The pots are fired twice. They are bisqued to cone 05 and glazed to cone 04. Some may have an additional firing to Cone 018 for low temperature luster and enamels. They are fired in an oxidizing atmosphere using an electric kiln.
William Brouillard June, 22 1993
Resume
William Craig Brouillard
CURRENT POSITION:
Associate Professor of Art, Ceramics department, The Cleveland Institute of Art, Cleveland, Ohio, from 1980
EDUCATION:
M.F.A., Ceramic Art, The New York State College of Ceramics at Alfred University, Alfred, NY, 1976
University of Wisconsin, at Madison, Wisconsin, 1973
B.A., Art Education, State University of Wisconsin, Stout at Menomonie, Wisconsin, 1969
RELATED WORK EXPERIENCE:
Brouillard Studios, 2662 W14th st. Cleveland, OH 44113, production of pottery and ceramic commission work 1980-1993
Resident Craftsman at The Penland School of Crafts, Penland, North Carolina, as a full time self supporting studio artist in clay, with some related teaching duties, 1976 -1978
TEACHING EXPERIENCE:
Instructor, Teaching beginning intermediate and Graduate level ceramics, East Tennessee State University, Johnson City, TN. 1978-1979
Teaching Assistantship, teaching Kiln Design and Construction, to advanced and graduate level students at New York State College of Ceramics at Alfred University, Alfred, NY. 1974 - 1976
Teaching Assistantship, teaching Two and Three Dimensional Design to beginning and advanced Students, also instruction in materials and techniques of woodworking, at The New York State College of
GRANTS AND AWARDS
National Cup Show, purchase award, University of Southern IL. 1992
Ohio Designer Craftsmen, purchase award, Best of 92 exhibition, Columbus, OH. 1992
Excellence in Design Award Ohio Designer Craftsmen, Best of 92 Exhibition, 1992
American Craft Museum, Design Award , for Excellence in Design, in conduction with the Designed and made for use Exhibition, at The American Craft Museum, NY 1986
Purchase Award, The Clay Cup Show, Southern IL. University, 1986
Art Park , Lewiston NY. Summer work and travel grant 1980
COLLECTIONS REPRESENTED BY
The Detroit Museum of Art [DIA], Detroit MI.
The Cleveland Museum ofArt, Cleveland OH.
The Millard Collection, St Louis, MO
The Sinker Collection, Detroit, MI.
The Vincent Lim Collection,Philadelphia, PA
The Pfannebecker Collection, Lancaster, PA
University of Southern Illinois
Ohio Designer Craftsman, Columbus, OH
Ceramics Monthly, Columbus, OH
The Cleveland Art Association, Cleveland, OH
Alfred University, Museum of Ceramics, Alfred, NY
University Hospitals of Cleveland, Lerner Tower, Cleveland, OH
PUBLICATIONS, REF.
American Ceramics Magazine, Jan. 1994 Studio Potter Magazine, Jan, 1992, "The Language of the Lip" NCCECA Journal "Developing a Plastic Alphabet", volume 6, 1985 Studio Potter "Ohio Potters", October, 1983 Craft Horizons, December , 1978 Ceramics Monthly, "Penland Potters", October 1977 The Alfred Kiln Drawings, New York State College of Ceramics, Alfred University, Publication of The Department of Art and Design, 1976
GALLERIES REPRESENTED BY
-The Clay Place, 5416 Walnut St., Pittsburgh, PA. 15232, 1-412-682-3737
-The Pewabic Pottery, 10125 East Jefferson, Detroit, MI. 48214, 1-313-822-0954
-The Farrel Collection, 2633 Connecticut Ave., NW, Washington, DC 20008, 1-202-483-8334
-Objects Gallery, Chicago, IL
ORGANIZATIONAL MEMBERSHIP
-NCCECA, National Conference For Education in the Ceramic Arts
-SPACES, Arts Organization, Cleveland, OH
-OHIO DESIGNER CRAFTSMEN, North Central Area Represenitive, Columbus, OH
-AAUP, American Association of University Professors, Washington DC
This edit of a track by "Johnny Hammond Smith' is a natural merger of 60s and early 1970s jazz, with a soul that was getting into a funk on an exploration into ideas of 'groove'.
A 'spot the difference' between French and English Wiki explanations of the word 'Funk' is worthy of an essay in cultural studies and semantics:
"Selon certaines interprétations, le terme funk proviendrait de l'argot anglo-américain funky, qui signifie littéralement « puant », « qui sent la sueur », insulte traditionnellement adressée aux noirs par les WASP et reprise ensuite à leur compte par les artistes noirs tel que Horace Silver dans son morceau Opus de Funk (1953)." Wiki Fr 7.06.20
In contrast with:
"It is originally derived from Latin "fumigare" (which means "to smoke") via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".[6][7] Ethnomusicologist Portia Maultsby states that the expression "funk" comes from the Central African word "lu-funki" and art historian Robert Farris Thompson says the word comes from the Kikongo term "lu-fuki"; in both proposed origins, the term refers to body odor.[8] Thompson's proposed Kikongo origin word, "lu-fuki" is used by African musicians to praise people "for the integrity of their art" and for having "worked out" to reach their goals.[9] Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.
Wiki English. 7.06.20
From the late 60s to the early 70s, musicians from diverse backgrounds were becoming interesting in the word 'groove': both locking down and liberating the bass, rhythm guitar and drum, and ornamenting with 'hooks' rather than complected architectural changes to the armature of melody. 'Groove' was to dance to, and the dance of jazz bop clubs was blending with the dance of late soul music, as musicians such as drummer Bernard Purdie and organist Johnny Hammond took the two rivers to the bridge.
Whilst, with time, early funky 'orchestrations' would flood television, b-movie cinema and even feed into a style of music that would become known as Disco, the authenticity of this window-in-time keeps some of the music well away from watered down transformations, and as an island of creativity that would later be valued by the movement known as 'Acid Jazz'.
Johnny Hammond worked with the avant guard hardbop and soul-jazz 'Kudu records', and did what Jazz had always done - he took standards and reworked them into versions that were his own (here working with an arranger for the strings). The real difference with this moment in time was to start taking 'standards' from freshly written 'modern pop music'. The track 'Rock Steady' had been written and released by Aretha Franklin in 1971, only a year before Johnny Hammond's revision - so sounds were still 'hot', and, in a way, Hammond's team were already investigating ideas of 'remix'. Many decades later, remix artists from Andy Weatheral to Ludovic Navarre would turn an original song onto it's head to the point where the original is barely visible, and to an extent Jazzman Hammond did just that to Franklin's funkest song.
Aretha's live for the single release of 'Rock steady'
1971 live: www.youtube.com/watch?v=J2VDEl18rgQ
Aretha's live of 'Rock steady' by the LP release of 1972 - the track is now much slower and into the groove: www.youtube.com/watch?v=KB5sMYw37gw
For Johnny Hammond's version, the beats were further slowed and everything was redirected to a trajectory from another melodic orbit. In short the song was no longer the same song and the cover version was virtually ... an original: almost certainly too different to provoke an injunction for intellectual property theft. This sort of appropriation and inspiration is normal for Jazz, but in the greater world of 'pop' it might be seen as the unnecessarily giving away of writing credits. Obviously 'Jazz integrity' was mixing with the pop mass market, and at the time everyone must have been happy with the shared publicity: drummer Bernard Purdie had worked on both versions, and they even released this Jazz version in time for Franklin's LP - 'Young gifted and black' in 1972. But still, a song credit of perhaps "Hammond, Purdie, Washington, Gale and Franklin" may not seem out of place to common sense.
One strata of the song's groove is presented by the guitar of Eric Gale (Melvin Sparks's guitar is also credited on the song, but I think the solo is Gales). Eric Gale's can be heard to be forming his style for his "Rock Steady" solo in this earlier Freddie Hubbard track from 1969: "A soul experiment" (from around 3 minutes 14).
www.youtube.com/watch?v=z8MR8B-X0A8&list=OLAK5uy_naNO...
By the time his solo had been recorded for Johnny Hammond, it sounded just like a ... Pink Floyd solo. Simplified - perhaps - but around the same speed and a similar interplay of lead with organ and rhythm guitar as a song with a different title and later release date. If you known Pink Floyd then perhaps have a listen to this Flickr post from around 1 minute 10.
There have always been remarks about similarities between Graham Nash's track "There's only one" and a famous Pink Floyd LP ending, and then there is this from around 3 minutes...
www.flickr.com/photos/ajmitchell-prehistory/49661297158/i...
With each of these mentioned tracks appearing prior to, or aside 'The Wall', 'Dark Side of the Moon' and 'Animals' respectively. Now the similarities are poetic, and the unique contribution of Pink Floyd's Richard Wright to music as a subject is never mentioned enough... but still - a nod of respect and even percentage royalty to poor musicians of rich spirit may make common sense.
At this point the narrative seems finished - loose enough to fit, and open-ended enough to allow for a little tailoring; the only thing is that the subject of musical originality vs musical cover is not quite over as the drummer for both projects was involved in a credit polemic about... The Beatles. 'He was in a funk and was the real drummer for many Beatles songs!' The subject of Bernard Purdie and the Beatles is perfectly covered here:
www.youtube.com/watch?v=hz9EGGiOuso
It is perhaps worth remembering what 'groove' could be like before Bernard Purdi added his shufflin' funk to the kit. Johnny Hammond Smith shares some of his name with a fellow Jazz organist Jimmy Smith. Here is Jimmy Smith's 'Sermon' from 1958 - a twenty minute groove with a short final climax.
www.youtube.com/watch?v=e3X5J_wGHrw
It's a great track, but the drums a not doing much. Now listen again to Purdie on 'Rock Steady' - he has an Afrobeat lightness - almost akin to Alan Wren from recent years. Purdie was important to music and from the above mentioned Youtube documentary, it seems he worked with Atlantic records to open out the drumming for an unofficial remix of a pre 'Love me do' Beatles session with Tony Sheridan. As a man within both versions of 'Rock Steady', Purdie was perfectly placed to put a word in for Gale and co regarding Pink Floyd royalties, and one can question why he directed his energies exaggerating some unofficial and very early Beatles overdubs when he was part of Johnny Hammond's apparently highly "influential" 'Rock Steady' recording?! A rather smug Red Bull fuelled interview seems to have helped Purdie make crass generalised statements about 'Ringo not being the real drummer of The Beatles' - an exaggeration of meaning perhaps a little like the French Wiki for 'Funk' and its inability to appreciate the roots and diversity of earthy smells.
Johnny Hammond Smith was mentioned in another "music through the lens test" as having played with Clement Wells (see below) :
www.youtube.com/watch?v=eAKn1g4kpjU
This "Music: through the lens test' features an edited version of Rock Steady. The full version is here:
www.youtube.com/watch?v=D5X0QI8k1jE
It's a detail, but the engineer for the track was the great Rudy Van Gelder and it was arranged and conducted by the very Bob James.
AJM 09.06.20
This photo is part of the Australian National Maritime Museum’s William Hall collection. If reproduced or distributed, this image should be clearly attributed to the collection of the Australian National Maritime Museum; and not be used for any commercial or for-profit purposes without the permission of the museum. For more information see our Flickr Commons Rights Statement.
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Object number 00013301
From Monday Morning Press, stylish paper earrings and necklaces: www.allthingspaper.net/2021/04/stylishly-modern-paper-jew...
Visit Monday Morning Press: bit.ly/3YvTeVZ and you'll receive 20% off your purchase. Free U.S. shipping too. (affiliate link)
Much better than "Great Again" with more
nuclear weapons !!!
Mehr friedlicher Karneval, mehr Meinungs- und Pressefreiheit, mehr friedliche Coexistenz, mehr Kamelle - Kölsche Farben, rheinische Fröhlichkeit, "Copacabana-Ambiente" ... ;-) ...
_MG_4711_pa2
.
Abandoned Abused Street Dogs.
Young Mama on the roof @ The Dog Palace.
She loves doing this as we walk about she
dives in between my legs and looks back
over her shoulder to see what I think of
her now.This same activity is done all
the time.It's tricky but over time you
get used to it and let Mama play
her silly little game.............;-)~
OK listen up, big change in Sundays plans.
No# 1 will be driven out to The Monkey Temple
by our resident niece. She's borrowing her dads
car to do this event with. Big Buddha celebration
on Sunday so there will be many Thais attending
this Buddhist event. The Nuns called no# 1 wife an
invited her to attend. Of course I was invited but # 1
has instructed me to rest.. Nuns agreed as they have
reported to no# 1 that when they see me at the temple
I'm moving quite slow and having some trouble getting
around the rough temple grounds. It is what it is ...........;-)
Right now some more new news has just been laid on me.
Tomorrow morning being Friday, no# 1, niece and her dad,
which is no# 1's brother, are all driving out to see the nuns.
This is also a recon run so our niece knows the way for when
they do Sundays adventure. Mama, Rocky and all the other dogs
will be very excited to see no# 1 tomorrow and on Sunday ..........;-)
--Just delegating some authority while I catch my second wind --
Jon&Crew .
Please help with your donations here.
www.gofundme.com/f/help-for-abandoned-thai-temple-dogs
Please,
No Political Statements, Awards, Invites,
Large Logos, Copy/Pastes or 2nd World.
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© All rights reserved.
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Catalogue reference: NA HO 325/143 -Demonstration/ Political statement, 12th August 1970
This open letter written by barrister Anthony Mohipp, secretary of the Black Improvement Organisation, announced the demonstration and set out community grievances in response to raids on the Mangrove restaurant. It was sent to the Home Office, Prime Minister, Harold Wilson (leader of the opposition) and the High Commissioners of Jamaica, Trinidad, Guyana and Barbados.
This image is from the collections of The National Archives. Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection, please contact our image library
Gorgeous Brazilian Swimsuit Bikini Model Goddess!
Beautiful swimsuit bikini model goddess with long, curly / wavy brown hair.
Canon 5D Mark II photos with 24-105mm USM L Lens
Here's some epic video of the supreme goddess from the shoot!
www.youtube.com/watch?v=i1iicSeHs3o
www.youtube.com/watch?v=5Q3rubTnKpc
www.youtube.com/watch?v=AWhZrqrYhiA
Enjoy in full HD! :)
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! A classic socal California Beach Babe!
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
They may have a...
Our Daily Challenge - July 30, 2016 - "Passion"
... for Modeling, but Fashion Sense? Not so much.
Daily Dog Challenge 1735. "Mixed"
Today's Post (Fashion Statement) : www.bzdogs.com/2016/07/fashion-statement.html
Stop on by Zachary and Henry's blog: bzdogs.com - The Secret Life of the Suburban Dog
Hereford Cathedral
Herefordshire was under Norman Control before the Norman Conquest. They had been invited into the area to help subudue the local Welsh speaking population. Welsh language remaind strong in this area well after the Norman Conquest. Many Welsh place names are still to be found in Herefordshire and further north along the Welsh border in Shropshire also.