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Sgt. Shotgun on the ride home from our #C25K dog run at Red Rock today. Doesn't care to sit on the seat and face front like a normal dog. #weirdo
60L$ Happy Weekend sale is available only @Mainstores of the participating Designers, September 11-12
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This shot has been dragged out of the shoe box and cleaned up as much as possible.
The date is unknown but judging by how much the subject matter was off centre before cropping I'm going to say it was taken with my Zenith E which means 1978/9.
Its a class 45/0, the stock is Mk II a. Im making an educated guess that its the Bradford or Leeds to Paignton.
No Rose Bay willow Herb in flower so again I'm guessing June or July.
Cant remember when that little tool hut was removed.
Colab com meu amigo Fabio Favaro ( www.flickr.com/photos/fabiofavaro )
colab with my friend fabio favaro
T-shirt contest www.camiseteria.com/design.aspx?did=24150
For 20 years the BAC 167 Strikemaster was the Royal New Zealand Air Force's primary jet trainer.
In 1972, the RNZAF accepted 10 of these aircraft, and the order was followed up in 1975 with another six.
In 1992, RNZAF re[laced the Strikemaster with the MB339-CB - an aircraft built by the Italian company Aermacchi, and the Strikemaster type was retired.
What happened to these aircraft after their retirement is a little lost in the mists of Time, but (after over 90 minutes of research), I believe 18 of the aircraft went to America before "NZ6372" found its way back to New Zealand in 2019...
In the scene above, the aircraft has just returned after participating in the "Warbirds Over Wanaka" airshow (www.warbirdsoverwanaka.com/), and I'm guessing it had Air Traffic Control permission to swoop in from the south... (Commercial jetliners were landing from the north...!).
Thanks so much for the very kind and encouraging comments beneath this photo...! Your support is very greatly appreciated.
When I first saw Gaynor standing by the clothes rail at the Mod Revival I thought she didn't look the kind of lady that shopped second hand.
How wrong can you be!
All the clothes are brand new in 60's style and designed and made by Gaynor herself. A very talented lady. When I asked to take her photo she just had her dress on but quickly went to get the matching jacket for the photo. A lady with style.
This is one photo from 21 pictures - Joined together by Autostich.
Cold color gave another dimension to this picture.
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Dla ciekawych jak to udało się zrobić:
Nudziło mi się w autobusie i zrobiłem około 30 zdjęć - to akurat posklejane jest z 21, na oryginale widać niezgodności, ale jak się przyjżycie i znacie okolice to widać niezłe rozbieżności.
Po lewej jest Sadyba BM a po prawej zajezdnia która jest w zupełnie innym miejscu.
No i zabawa z kolorem zmieniła kompletnie wymiar zdjęcia.
This week one of these elephants dropped dead at Angkor Wat while being forced to carry selfie-snapping tourists during a heat wave. More here:
On a line 100% operated by Northern Rail , Network Rail 950001 pays a Sunday morning visit to the Barnsley - Huddersfield line pictured at Ingbirchworth .
Running as the 2Q08 Derby RTC - Doncaster West Yard the unit would reverse at Huddersfield and reappear shortly .
15 8 22
The abandoned house takes the center, there are phone lines, sun flare and the sun is behind the house. However, I was dealing with thick weeds and possible rattlesnakes (me in sandals), and a no trespassing road - so it is what it is, but I couldn't resist that sky.
More pics at ---> jessejamesphotography.ca/
I did a model shoot yesterday with an awesome model! Who knew how much fun a parking garage could be! And the seedy hotel helped too lol
Strobist: SB800 at 1/4 to my right, shoot through.
SB800 slightly behind her, to MY left for rim/hair light, 1/8
Cybersyncs.
I stand and waiver on the weaver
A mistake of thought, a chance gone wrong-
To break a spell. A glamour.
Parody of fate, faith.
And a stifled laugh on the old and the worn.
Life gone wrong. Life gone wrong.
-Neerod
The kitchen was on fire and I, too, he could do anything with me that I was leaving he could use me because I only wanted it for me for anyone else, it was my first love but it was so wrong but I could not resist the passion spoke louder!
A cozinha estava pegando fogo e eu também , ele podia fazer qualquer coisa comigo que eu ia deixar ele podia me usar pois eu só queria ele para mim para ninguém mais , ele foi meu primeiro amor mas era tão errado mas eu não pude resistir a paixão falou mais alto !
Lyric Opera of Chicago
October 11, 14, 17, 20, 23 and 26, 2025
🎭 Cherubini’s Medea – Synopsis
Composer: Luigi Cherubini
Libretto: François-Benoît Hoffman, based on Euripides’ Medea, Pierre Corneille’s Médée, and other classical sources.
Premiere: 1797, Théâtre Feydeau, Paris (Médée in French); commonly performed in the 20th century in Italian translation (especially the Lachner version)
Setting:
Ancient Corinth, in the aftermath of Medea and Jason’s adventures in Colchis and the quest for the Golden Fleece.
Act I – The Wedding Day
The opera opens on the day of Jason’s wedding—not to Medea, his former wife, but to Glauce (also called Creusa), daughter of King Creon of Corinth. Jason has abandoned Medea and their two children in pursuit of social status and security.
Glauce is nervous—haunted by Medea’s reputation as a powerful and vengeful sorceress from a foreign land. Creon is firm: Medea must leave Corinth at once to prevent disruption to the royal wedding. Jason, torn but resolute, justifies his betrayal as necessary for the children’s future.
Medea arrives uninvited, distraught and humiliated. She pleads with Jason, only to be met with coldness. When Creon orders her exile, she manipulates him into granting her a one-day reprieve. The act ends with Medea vowing revenge.
Act II – The Veil of Vengeance
Medea wrestles with despair and rage, invoking the gods and her own powers. She hatches a deadly plan: she will send her children to Glauce bearing gifts—a robe and a diadem laced with poison.
Jason, still deluded by self-justification, allows the children to deliver the gifts, thinking it will bring peace between the two women. Medea hides her fury behind a mask of reconciliation.
Act III – Fire and Blood
Word soon comes that Glauce is dead—her body consumed by fire when she dons the cursed robe. Creon, trying to save her, dies as well.
Medea's triumph turns to horror as she prepares for her final act. She resolves to kill her own children to fully punish Jason—denying him both legacy and love. As Corinth burns and the people cry out in terror, Medea murders the boys and appears before Jason one last time, bloodied but defiant.
She vanishes into the night, leaving Jason to face the ruins of his ambition.
Themes and Musical Style
Cherubini’s Medea is a powerful blend of classical tragedy and early Romantic opera. Though written in the 1790s, it anticipates the dramatic intensity of later composers like Beethoven and Berlioz. The title role is one of the most demanding in the repertoire—vocally fierce, emotionally volcanic, and psychologically layered. Medea is no mere villain; she is a wronged woman driven to the outer edge of human experience, her grandeur and monstrosity bound together.
The opera explores:
Betrayal and abandonment.
The foreign woman as both outsider and threat.
The limits of power, reason, and vengeance.
The devastating consequences of pride and revenge.
====================
🎭 Opera in Revolutionary Paris: From Collapse to Reinvention
🔥 The Crisis (1789–1794)
At the outset of the French Revolution in 1789, opera was seen by many revolutionaries as a corrupt and elitist art form associated with the ancien régime. The Académie Royale de Musique (Paris Opéra), long funded by the monarchy, symbolized aristocratic excess and state patronage. The fall of the monarchy in 1792 and the execution of Louis XVI in 1793 sent shockwaves through all institutions—including the arts.
During the Reign of Terror (1793–1794):
Many aristocratic patrons were executed or fled.
Censorship was intense and ideological.
Performances were suspended or redirected to serve revolutionary propaganda.
Operas of the ancien régime were banned or rewritten to reflect republican ideals.
Some theaters were shut down; others became stages for revolutionary pageantry and pièces à sauvetage (melodramas featuring heroic rescues and virtue).
Yet even amid the chaos, theater and opera never fully ceased. The revolutionary government understood their power for mass persuasion, and theaters were repurposed as tools for civic education.
Rebuilding and Redirection (1795–1797)
After Robespierre’s fall in 1794, the political climate began to thaw. The Directory (1795–1799) brought a more pragmatic and less ideologically rigid approach. Cultural life, especially in Paris, began to rebound, driven by:
A new bourgeois audience, eager for diversion and moral elevation.
A reorientation of content: works with themes of virtue, justice, and self-sacrifice were encouraged.
Relaxation of censorship allowed composers and librettists more freedom.
Theaters were reopened or rebranded; the Paris Opéra resumed activity under different auspices.
Foreign composers and émigré artists (like Cherubini, an Italian working in Paris) were welcomed, especially if they embraced revolutionary values—or at least avoided monarchist associations.
🎼 Cherubini’s Médée in Context
Luigi Cherubini had remained in Paris through the Revolution, adapting astutely to the shifting tides. He aligned himself with revolutionary ideals without becoming doctrinaire. His music struck a new, leaner tone—stripped of rococo ornament, full of dramatic clarity, moral gravity, and classical rigor—all qualities that appealed to post-revolutionary audiences.
Médée (1797) fit the moment perfectly:
Based on a classical subject, it resonated with revolutionary neoclassicism.
Medea, as a powerful outsider, embodied anxieties about vengeance, justice, and moral collapse.
The opera combined psychological realism with tragic grandeur, aligning with the Directory’s taste for high-minded drama over frivolous entertainment.
The setting and costumes could invoke antiquity without recalling Versailles.
Bigger Picture: Why Opera Survived
Opera endured because it could adapt:
Thematically, by shifting from gods and kings to heroes and martyrs.
Aesthetically, by adopting simpler, starker forms in tune with revolutionary neoclassicism.
Institutionally, by transforming royal theaters into national ones.
Politically, by serving as both mirror and mouthpiece of civic ideology.
And crucially: the public still wanted it. Even in the darkest days, Parisians flocked to theaters. In a society newly preoccupied with the people’s voice and emotions, opera—paradoxically—became more essential than ever.
This text is a collaboration with ChatGPT.