View allAll Photos Tagged values
Last of the Bisbee, Arizona photos. These recent uploads are definitely more "touristy" and less artsy. Visiting with my son was priceless, though. And I value trying to remember each great activity we shared for posterity.
May 21, 2022.
IMG_8585
The Unitarian Universalist Fellowship of Central Oregon sends children off to religious education classes with a tradition the growing congregation insists on keeping no matter how big it gets. This commitment to community amidst rapid change is part of why the Unitarian Universalist Association named the fellowship a Breakthrough Congregation.
See “Community Spirit" by Elaine McArdle, UU World (Summer 2016), pages 22–27. Photograph © 2016 Karen Cammack.
# Trees increase property values from 5-9%!
# Shoppers will spend more time in areas that are shaded and business rents in tree-lined districts are up to 15% more than those areas without shade.
# Trees clean the air. An acre can remove about 13 tons of dusts, gases, and pollutants from the atmosphere every year.
# Trees produce oxygen. Trees produce the oxygen that we breathe. The pine tree is the oxygen factory of the south, producing more oxygen than any other tree.
# Communities that have an abundance of trees and show a commitment to respecting their environment enjoy significantly higher property values.
# Trees produce the oxygen that we breathe. The pine tree is the oxygen factory of the south, producing more oxygen than any other tree! One mature tree can produce enough oxygen for a family of four for one year.
# Trees conserve energy. A home shaded by trees can reduce its air conditioning costs by almost 50%!
# Cities with few trees become heat islands. Trees lower surrounding air temperatures by as much as 15 degrees!
# Trees provide homes for wildlife. The pine tree is home to over 11 different species of birds, more than any other tree in Florida!
# Trees reduce noise pollution by acting as sound barriers. Each 100-foot width of trees can absorb about 6-8 decibels of sound intensity.
# Trees help with flood control. A moderate size tree's roots absorb 400 gallons of water per day.
# Trees are the homes of wildlife and vital for all ecosystems. The pine tree is home to 11 species of birds, more than any other tree in Florida.
# Street trees provide an effective traffic calming mechanism. Drivers will slow down on roads that are canopied by trees!
# Trees absorb carbon dioxide (car emissions: air pollution) through the scientific process of carbon sequestration.
More tests today. I'm learning how to control very light values. But first I did a little ink test in the upper left to see if you get green when you mix yellow and black ink. Yes, you do if you are very fast and mix them while they are still wet. I used a yellow Micron pen and a black Zig pen.
My main test was to slowly build up dilute colors. I had burnt sienna in one Kuretake Mini waterbrush and cobalt in another. I applied a wash, waited for it to dry completely, and added another. I did this four times to create four increasingly darker values. You have to be very patient, but it works. I learned this method from a book called "The Wash Method of Handling Water Colour" by Frank Forrest Frederick published in 1908. I found it for free on Archive.org
archive.org/details/washmethodofhand00freduoft
Where you can download it as a PDF, ePub, or Kindle file.
Finally I tried to get the lightest value possible with a number of colors. I used a wet round brush to pick up a little dried tube paint. I then quickly dipped the brush in water, tapped the brush against the inside of my water container (to dislodge a little water) and then made a brush mark down the dry page. This deposits very little pigment and is a good way to make beautiful, light colors. I also tried lifting some color out with a thirsty brush (in the cadmium red/lemon yellow mix), and I tried adding a little more color on top of the wet first stroke (ultramarine and cobalt - bottom left).
Value City (closed) [90,000 square feet]
837 J Clyde Morris Boulevard, Newport Square, Newport News, VA
This location opened on August 5th, 1993 and closed in November 2008; it was originally a Murphy's Mart, which opened on October 3rd, 1973 and became an Ames in early 1987, which closed in April 1993. The majority of the building became a Stratford University campus on May 21st, 2012, and the rest became part of a Waters Edge Church in November 2012.
These photos are from a small Great Alaska Group Photo Shoot session we held at my house in South Anchorage way back in July 2012.
The model in this series is Lora - I've shot with her several times over the years and we have a great personal rapport. When Lora brings her A Game to a shoot she is simply awesome and unstoppable. She showed up for this shoot in a great mood - she just bought a great gown at Value Village for about $10 - it was an Audrey Hepburn gown. We had a blast shooting her in it then she did about 3 more outfit changes. This ended up being one of all my all-time favorite shots - thanks Lora!!!
The story of a woman. She was born in Romania in year 1930. At 18 years old, in 1948, she married. In Romania the communist regime was already established. One by one she lost her religion, land and the values system in which she believed. Five children were born. From time to time the husband is taken from the family. This is how it was then. She endures and keeps going. Better times arrive, but it is still very hard. She struggles with her husband to raise and educate their five children. Back then education and training ensured you a chance in life. Time passes and year 1989 arrives. In Romania the political regime changes. The battle starts again to retake her lost land. She wins it. She understands fast that it is harder and harder to work it. Sometimes she probably asks herself if it was worth it. In short, this was the story of this woman. The story of my mother.
Shiny silver- something I value very highly... especially when it clings to my curves as well as this!
I've had this snug fitting strapless gown for so long I've forgotten where I bought it! But that doesn't really matter because it still looks Fabulous, especially in this ensemble!
This is a reshoot of me wearing my excitingly snug and tight fitting silver wet look lycra spandex strapless gown. For this set I've matched it up with silver elbow length opera gloves, fishnet hose and a newly arrived pair of shiny silver platform stocking boots with 6" heels.
I do hope you like my ensemble and the way it hugs my curves as much as I do!
To see more pix of my legs in sexy dresses and other sexy, tight and revealing fitting outfits click this link:
www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in sexy boots click here: www.flickr.com/photos/kaceycdpix/sets/72157622816479823/
DSC_5567-25
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
I called and left a message on her answering machine. She did not return my call. I called fourteen more times and left messages, none of which she answered. I told her in the first message that I’d found the earring she lost in my apartment, which wasn’t true—I bought another pair of earrings of the exact same kind and hid one in the corner of the couch where she liked to sit. I told her I’d bought a couple of tickets for the next Rufus concert before I learned that Rufus had cancelled his tour a month ago and somehow I’d missed the news—I hoped she’d missed it too. I told her, among other things, that my doctor had given me two weeks to live and in my will I’d left her my autographed Leonard Cohen Budweiser Beer coaster and needed to discuss with her the proper way to care for it so that it wouldn’t lose its value over time, which wasn’t a total lie because I do have an autographed Budweiser Beer coaster I bought at a yard sale for $4.95 and which is supposed to have a signature of Oscar Levant on it although I think it’s a signature of the guy who sold it to me because he was wearing some coveralls with the name Oscar’s Auto Repair over his left tit. And I told her my cat Arthur Waley had stopped eating because he missed her so much and that wasn’t the worst part: Arthur Waley had also stopped playing the piano and writing Georgic verse in the manner of Hesiod’s “Works and Days,” which had been a specialty of his poetic output. After the fourteenth message I got the live voice of a man who called himself Marco and who threatened to disassemble me with his left pinkie while his right pinkie disassembled the rest of my family. I had anticipated this event by calling her brother at his used clothing store and telling him my sister was his sister’s childhood friend and was lying at death’s door with one last request—that she talk with her old friend before she went to her eternal reward, so if he could just give me his sister’s new cell phone number I might be in time to honor this dying request of my one and only and most beloved sibling. So I knew that the person calling himself Marco was really Fred, her brother and the person she kept throwing up in my face as a paragon of male virtue. I called her cell phone seven times, leaving a message each time, before the service was discontinued. My first message suggested that I’d reformed many of the habits she’d found so annoying, like my tendency to stare at people who wait till they get to the register at the grocery store before even beginning to think about taking their money out of their wallet. I also promised never again to say a word during long drives when my passenger insists on listening to audio books that are always about the many meanings of the word “love.” On the last message before the service was discontinued, I told her that I’d found her missing earring and was giving it to the lady at the dry cleaner who’d once refused to reimburse her for the full price of the suede jacket she’d ruined during a malfunction of the dry-cleaning process. I told her that this woman had a very striking daughter called Cleopatra, who’d given me coupons for six months of discounts on all my dry cleaning needs. I told her that Arthur Waley was back to writing some of the best poetry of his career and was working in the mode of John Berryman right before he killed himself. The truth is Arthur Waley stopped eating and when I took him to the vet’s he simply keeled over and died. I really didn’t have the heart to tell her that.
Gentlepersons:
The Kodachrome Pictures:
These recently uploaded Kodachrome pictures have no artistic value. They were just uploaded to be representative of consumer Kodachrome picture recording during about 70 of the 75 years that Kodachrome was commercially available to the public. Unlike in today’s digital world it took time, money and effort to make a Kodachrome slide. We took fewer pictures, trying to stretch resources, but some are still frivolous.
I'm 97. I'm about at the end of my ability to continue posting. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes, Anscochromes, a Dufaycolor and perhaps an old black&white or so.
The Camera...
This sharp Kodachrome, possibly made with the then new Kodachrome II, was shot with a friend’s much better Leica camera and lens. The clarity and sharpness sure put my old Argus AF to shame. I would have liked to have had a Leica but I put my money into my family instead. Lee, the owner of the motorhome could well afford his and was kind enough to let me use it from time to time.
The Film...
Kodachrome was my favorite film. My first roll in the late 30s was such a marvel to a young man. I had tried Dufaycolor which did pretty good, but if it had to be projected you had to ignore the lines of color which made up the image. Kodachrome was so much more colorful to boot. It was extremely sharp and almost grainless compared to other color and B&W processes.
Kodachrome was unique in American film history. Except for a licensee who used Kodachrome’s older process for a few years, nobody made anything like it. Most color films had all the color in the film. Kodachrome picked up color from the processing baths. Also unlike modern slide films which use chemical energy to reverse the negative image, Kodachrome used filtered lights to re-expose within the processing machine. Kodachrome evolved over the years, and was usually the clearest, sharpest grain free color film one could buy. That is until Kodak made a decision to reduce the budget to improve the product in favor of other products and offerings. Fuji Velvia soon eclipsed it in resolution and could be processed locally in regular E-6 mini-machines.
A short drive from Wootton is Swingfield, which lies near the Folkestone to Canterbury road, the A260. In fact beside that road is St John's, a preceptory, that I will endeavour to see inside of during the summer months.
In fact, I thought St John was the sole ecclesiastical building in the parish, but in fact there is a grand church in the centre of the village, opposite what used to the village pub.
The church has a grand tower with an even grander staircase turret running up one side, and in the porch I could see the 'church open' board, all packed away, It did not look good.
But it was open, but the first thing that struck me was the fine porch, apparently 14thC.
The church is a large two cell construction, with simple box pews in the nave, with wooden pews in the chancel.
It's walls are plain with few memorials, considering its history with the Knights of St John.
----------------------------------------------
This church is built in flint and rubble construction and the west tower has a remarkably wide stair turret. As one enters through the south porch one can see the remains of two mass dials made redundant by the construction of the porch itself. By the pulpit is a most unusual feature - the south-east window of the nave has had its sill cut away to provide space for a wooden ladder to give access to the rood loft. This window now contains a lovely stained glass representation of the Crucifixion with a charming little sun and moon at the top. At Swingfield the nineteenth-century north aisle detracts from the thirteenth-century nave; its scale, materials and lumpy effect do nothing to complement this charming church. It is currently (2005) under threat of conversion to a house.
www.kentchurches.info/church.asp?p=Swingfield
SWINGFIELD is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.
¶The church, which is dedicated to St. Peter, consists of one isle and one chancel, having a square tower, with a beacon turret at the west end, in which is one bell. In the chancel are several memorials for the Pilchers, tenants of St. John's. In the isle are memorials for the Simmons's, of Smersall; arms, parted per fess and pale, three trefoils slipt. One of them, John Simmons, gent. obt. 1677, was great-grandfather of James Simmons, esq. alderman of Canterbury; memorials for the Pilchers; against the north wall is a monument for Mary, widow of Richard Pilcher, gent. of Barham, obt. 1775; arms, Pilcher, argent, on a fess dancette, gules, a fleur de lis, between three torteauxes. In the south-west window is this legend, Ora p aiabs Willi Smersolle & Margarete uxon is sue & paia Saundir Goldfiynch; above were formerly these arms, A cross impaling on a bend, cotized, a mullet between six martlets. Weever says, p. 274, there was an antient faire monument, whereon the portraiture of an armed knight, crosse legged, was to be seen, and only His jacet remaining of the inscription, and that there was this legend in a window: Orate p aia Willi Tonge & Johannis filii ejus qui banc fenestram fieri fecerunt; he died in 1478, and was buried here. And there was formerly in the windows, a figure of a knight of St. John's, habited in his furcoat of arms, a plain cross, and having his sword and spurs, and kneeling on a cushion, in a praying posture, and in one of the windows were these arms, Quarterly, first and fourth, Azure, a square castle, sable; second and third, Or, on a chevron, vert, three bawks heads erased, argent; on a chief, gules, a cross, argent; but there is nothing of these remaining now.
The rectory of this church was early appropriated to the hospital of St. John, which continued in the possessions of all the profits of it, till the dissolution of the hospital in the 32d year of king Henry VIII. After which it was granted, with the preceptory here, to Sir Anthony Aucher, who sold it to Sir Henry Palmer, in whose descendants it continued down to Sir Thomas Palmer, bart. after whose death in 1725 it passed, in manner as before-mentioned, to the Rev. Dr. Thomas Hey, of Wickham, who sold it, with St. John's, and the rectory as before-mentioned, to Mr. Brydges, of Denton, the present owner of it.
This church is now a perpetual curacy, of the yearly certified value of twenty pounds, which stipend is paid by the owner of the rectory, who has the nomination of the curate. In 1640 here were communicants one hundred and twenty-seven.
Benedictine sisters to shutter midtown monastery
By Johanna Willett Arizona Daily Star
20160927
For about 75 years, the Benedictine Sisters of Perpetual Adoration have called the monastery at 800 N. Country Club Road home.
But no more.
This past weekend, the sisters announced to volunteers, benefactors and other friends that the monastery will shut its doors within the next two years.
“It was a difficult decision to come to, but it has to do with basically a fewer number of sisters today and the fact that everyone is aging,” said Sister Joan Ridley, superior of the Tucson Monastery. “We don’t have many newer members, so we want to regroup forces and consolidate sisters in one spot.”
The 16 Tucson sisters are part of a larger congregation based in Clyde, Missouri. Including the Tucson nuns, there are about 65 sisters, Ridley said.
Leadership at both sites has worked toward this decision for about a year with the hope that consolidation will revitalize the aging order.
The decision is still too new for the sisters to say for sure whether all will leave Tucson for Clyde. Some of the nuns have lived here for about 25 years, Ridley said.
Stay or go, they will all have to develop a few new habits. The sisters plan to sell the property, which is about 7 acres between East Speedway and East Fifth Street.
“We may be in touch with some other national Catholic organizations that purchase property and convert it to senior housing or things like that,” Ridley said. “Our first desire is that it would be used for the good of seniors and stay within the religious tradition.”
The Tucson convent’s history as documented on its website begins in 1935 with an invitation from Diocese of Tucson Bishop Daniel Gercke to the Benedictine Sisters of Perpetual Adoration. Until the completion of the Tucson Monastery in 1940, the sisters lived in the Steinfeld Mansion , 300 N. Main Ave. Architect Roy Place designed the current monastery.
“The Benedictine Sisters have been a blessing and gift in our community since 1935,” said Bishop Gerald Kicanas of the Diocese of Tucson in a prepared statement. “They have held us in prayer and opened their home to us all. … They cannot imagine the impact they have had on us, not just as Catholics but all in our community.”
Valencia orange and date palm trees dot the property, along with an ancient avocado tree that Ridley suspects is one of the oldest in Tucson.
The sisters sell soaps, salves and lotions and make liturgical vestments, or clothing.
Every day, the monastery holds four services in its chapel, along with Mass on Sunday.
“We’re very sad,” Ridley said. “It’s a real loss to the city of Tucson and the people that we have grown to love and who love us.”
Contact reporter Johanna Willett at jwillett@tucson.com or 573-4357. On Twitter: @JohannaWillett