Velology - Tax Discs
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When despair for the world grows in me
and I wake in the night at the least sound in fear
of what my life and my children's lives may be,
I go and lie down where the wood drake rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things who do not tax their lives with forethought of grief.
I come into the presence of still water.
And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world,
and am free.-Wendell Berry
Ten thousand thundering typhoons!
MESSAGE FROM FLICKR TODAY 20-12-2020;
"Your plan will automatically change to a Monthly Plan on January 1, 1970 and you'll be charged €7.49, including €1.35 in tax."
1970! + THE BAD PANDA MOST OF THE DAY...;-(((
1923 Locomobile, Model 48 from the Nickel period. $9000 dollars when new in 1923!
Locomobile was one of the earliest manufacturers in the advent of the automobile age. For the first two years after it's founding in 1899, the company was located in Watertown Massachusetts. In 1900, production was transferred to Bridgeport, Connecticut where it remained until the company's demise in 1929. The example above is a 1923 Model 48 touring car, and a very original example that had been owned by one family for over 60 years. Power is provided by a 525ci T-head 6 cylinder engine that is rated at a true 100hp. President Warren G. Harding had the exact some car and model during his tenure in the White House.
Model 48 and the Durant years
The most important for the marque became the impressive Model 48. Introduced in 1911 as the "type M," it had a very conservative, perhaps dated, concept. It had a conventional but huge chassis with a wheelbase of 143 inches (3,632 mm). Its engine was a straight six with side valves; cylinders were still cast in pairs and it featured a nonremovable cylinder head. Displacement was 429.4 cu in (7.0 L), from a 41⁄2+ in × 41⁄2+ in (114 mm × 114 mm) bore and stroke, giving it a 48.6-hp tax rating by the North American Chamber of Commerce. While called the "M" internally, this car is usually referred to by its tax hp rating. The brake horsepower rating was somewhere north of 90 for the original model, higher in the later versions. Quality of materials and workmanship were impeccable and among the best in the world. Such was also its pricing: A typical open-body cost about $10,000 when the average Model T Ford Phaeton cost about $300. Locomobile also offered custom designs for the lamps and metal work, carried out by Tiffany Studios. Until 1915, left- or right-hand drive could be specified; afterwards, left-hand drive became standard. Right-hand drive cars were meant for export and sat on a chassis four inches shorter. Around 1919, the engine was updated with a longer 51⁄2+ in (140 mm) stroke, for 525 cu in (8.6 L) displacement while retaining the same tax hp rating.
A smaller "38 hp" model, very similar to the Model 48, was added in 1913. The model 38 has a 425 cu in (7.0 L), 62 bhp (46 kW) version of the T-head six and sits on a somewhat shorter 140 inches (3,556 mm) wheelbase. By 1914, Locomobile had stopped selling all four-cylinder models to concentrate exclusively on sixes.
In July 1922, Locomobile was acquired by Durant Motors, which not only continued using the Locomobile brand name for their top-of-the-line autos until 1929, but also still produced the Model 48 until its demise in 1929. Until the mid-1920s, this car was Locomobile's only offering. In 1925, the marque brought out their first new model, the 8-66 Junior Eight, with a more contemporary straight-eight engine, and more importantly, a lower price of $1,785.
Capitolo 7
Album completo: Cuba 7: Che, il mito
SANTA CLARA, UN CONFETTO ROSA
Il taxi ci scarica, come ceste di pane fresco...
Ma che c'importa, siamo a Santa Clara, niente e nessuno,
potrà scalfire la nostra voglia di rilassarci...
In effetti, complice la mattinata limpida, tutto sembra...
Quasi irreale.
La grande piazza, trabocca di fiori rosa...
che penzolano da alberi maestosi...
Mi dico:
" Siamo come in un confetto ".
E' un san Valentino speciale, non c'è dubbio.
La foto è puramente indicativa,
è per capire quanto tutto concorresse al relax.
Dietro i ragazzi seduti sulla panchina, decine di bancarelle, vendevano fiori d'ogni sorta...
Che peccato non poter rimanere qui per qualche ora in più...
Il profumo si diffondeva, nell'aria già torrida...
Il mausoleo di Che Guevara, sta per aprire...
Dobbiamo correre...
Sono le ultime ore...
Poi, un lungo trasferimento,
sancirà la fine delle emozioni forti...
D'improvviso, per l'aria, si diffonde sempre più,
la presenza del mito.
Andiamo... la storia ci chiama...
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© La foto e il testo è di esclusiva proprietà dell'autore Stefano Paradossi che ne detiene i diritti e ne vieta qualsiasi utilizzo da parte di terzi.
© The photo and the text is of exclusive property of the author Stefano Paradossi who owns the rights and prohibits any use by third parties.
I'm bowled over by the beauty of our planet on a constant basis. And I'm horrified just as frequently by the devastation we wreak on it in the pointless pursuit of money.
Anyhow, let's enjoy it while we can. This is Ashridge Estate forest, looking glorious at the weekend in the winter sun.
La ville blanche de Thorn, dans la commune de Maasgouw, est depuis des années une attraction touristique de la région grâce à sa riche histoire qui remonte à la fin du Xe siècle. Au fil du temps, un minuscule principauté s’y développa sous la direction d’une abbesse et de 20 nobles chanoinesses. La ville possédait son propre système judiciaire et frappait sa propre monnaie. Tout cela prit fin en 1794 avec l’arrivée des Français. Aujourd’hui, la ville est surtout connue pour ses façades blanches (peintes à l’époque française afin d’éviter les taxes) et pour ses célèbres crêpes.
The white town of Thorn, in the municipality of Maasgouw, has been a tourist attraction in the region for years thanks to its rich history dating back to the late 10th century. Over time, a tiny principality developed there under the rule of an abbess and 20 noble canonesses. The town had its own judicial system and minted its own currency. All of this came to an end in 1794 with the arrival of the French. Today, the town is best known for its whitewashed facades (painted during the French period to avoid taxes) and for its famous crêpes.
Amsterdam's property taxes used to be based on the width of the frontage, so many houses were built tall, thin and deep. The area is very marshy, so there are no really tall buildings, not even modern office blocks, at least, not that I saw - maybe further inland. Subsidence over the centuries means that many buildings are now somewhat askew.
The canals are about 3m (10ft) deep. We were told that they contain 1m depth of mud, 1m of discarded bicycles and 1m of water.
Northern cardinals weren't the only birds feeding on weed seeds in a brushy area of Lake Meyer Park yesterday. A flock of about 20 American tree sparrows, including this one, were keying in on those nutritious wild buckwheat seeds as they try to pile in as many calories as possible during this taxing winter season.
No , not that one 'cos it is up over at Godrevy - this one is down south at The Lizard Point as far down south as you can get !!
The Lizard Lighthouse stands at Lizard Point, the most southerly point of mainland Britain.
It acts as a coastal mark and to indicate landfall, guiding shipping passing along the English Channel and warning them of the dangerous waters here.
The current lighthouse with its two towers was built in 1751 but there was a working light here as early as 1619. This early lighthouse was erected thanks to the generosity of Sir John Killigrew, who applied for a patent which was granted on the condition that the light would be extinguished in time of war so it did not help to guide enemy vessels.
Killigrew agreed and erected the lighthouse but while he was sufficiently wealthy to have it built, the cost of maintaining it proved too much and almost bankrupted him. He had hoped that the vessels who benefited from the light would contribute towards its upkeep but unfortunately this did not happen. James I ordered that all ships who passed the light should pay a halfpenny per ton. Pressure from the unhappy ship owners who disagreed with this tax on them forced the patent to be revoked so the light was extinguished and the tower was subsequently demolished.
Although requests were made, it was not until 1748 that Thomas Fonnereau was given the go ahead by Trinity House to construct a new lighthouse. Completed in 1751 it is the building you see today with its two towers linked by a cottage in which one of the keepers would sit keeping an eye on both lanterns. If the fires became low he would sound a cow horn to let the others know it was time to stoke up the fires with the bellows.
In 1771, Trinity House took over the running of the Lizard lighthouse.
From 1903 onwards only the east tower was lit.
Automation came to the lantern in 1998 so the lighthouse keepers were no longer required.
The lantern has been removed from the western tower.
Lighthouse Cottages
The former lighthouse keepers' cottages are available to rent as holiday cottages.
Click on Lizard Lighthouse Accommodation and go to Holiday Cottages for details.
Please note the lighthouse itself is a working lighthouse and cannot be rented.
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Bruxelles - Premier regard sur les murs de la ville
Quartier Tour & Taxis
© Adèle - Tous droits réservés
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1993 Vauxhall Astra Merit auto 5-door.
1389cc.
Supplied by Murketts of Huntingdon (Vauxhall).
Last taxed in May 2020 and last MoT test expired in January 2020.
© Ben Heine || Facebook || Twitter || www.benheine.com
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Note: this is an illustration I made for the magazine "Imagine Demain le Monde"
A carbon tax is an environmental tax on emissions of carbon dioxide. Carbon dioxide is a heat-trapping "greenhouse" gas. The purpose of a carbon tax is to protect the environment by reducing emissions of carbon dioxide, helping to mitigate climate change. Some environmental taxes include other greenhouse gases; the global warming potential is an internationally accepted scale of equivalence for other greenhouse gases in units of tonnes of carbon dioxide equivalent.
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For more information about my art: info@benheine.com
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Maybe a faster shutter speed would've been more appropriate here. Oh well, learn from my mistakes, and if you like it, revel in my success. Ladies and germs, I give you MOAR Chi-town!
Taxing in after arriving at Amsterdam's Schiphol Polderbaan runway is this Air Bridge Cargo Boeing 747-800F.
Onde é que a gente vai nesse vai e vem?
Onde é que tanta gente vai se ninguém vem?
De onde é que vem, senão do além?
Onde é que a gente vai parar assim meu bem?
- - -
TAXI
Where is it that we are going in that goes and does it come?
Where is it that so much people are leaving nobody comes?
Of where is that it comes, except of the beyond?
Where is it that we will stop like this my good?
Ever so slightly obsessed with the new HMRC building in Birmingham, a shot of it nearing completion now during last nights wander around the city in some beautiful blue hour light.
Some more from 2019, I'm in full nostalgia mode tonight but pleased to report that this Morris is taxed until May this year...
(And up.) The rusted state of this sign suggests that having your taxes done for $5 is only a historical artifact. But we can dream, can't we??
Camera: Agfa Silette (type 4) 35mm viewfinder camera with Vario 4-speed shutter (200, 50, 25, B). Color-Agnar 45mm lens, with f2.8 maximum aperture. This camera was a $6 find and required some work to get it operational, but it can produce some surprisingly crisp images (assuming I get the distance estimated correctly!)
Film: Kentmere 100
Developing: HC-110, Dilution H, 16 min.
Thai AirAsia X A330-343 HS-XTE Poetic Xcellence departing Narita for a morning flight down to Bangkok-Don Muang Intl.
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
More than a decade earlier, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake, Saint Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Giuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, Cardinal Francesco Del Monte, Caravaggio's patron and also the prefect of the Fabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.
Caravaggio's Calling of Saint Matthew hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed.[citation needed] The commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew (1602).
The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.
Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".
A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".