Posing nude, but for shoes, at an old building. Not sure this is abandoned or what the building is really.
Source: Amor Sexus
Posing nude, but for shoes, at an old building. Not sure this is abandoned or what the building is really.
Source: Amor Sexus
Reposted from an email:
Tax his land,
Tax his bed,
Tax the table
At which he’s fed.
Tax his work,
Tax his pay,
He works for peanuts
Tax his cow,
Tax his goat,
Tax his pants,
Tax his coat.
Tax his tobacco,
Tax his drink,
Tax him if he
Tries to think.
Tax his car,
Tax his gas,
Find other ways
To tax his ass.
Tax all he has
Then let him know
That you won’t be done
Till he has no dough.
When he screams and hollers;
Then tax him some more,
Tax him till
He’s good and sore.
Then tax his coffin,
Tax his grave,
Tax the sod in
Which he’s laid.
When he’s gone,
Do not relax,
Its time to apply
The inheritance tax.
Accounts Receivable Tax
Airline surcharge tax
Airline Fuel Tax
Airport Maintenance Tax
Building Permit Tax
Corporate Income Tax
Dog License Tax
Driving Permit Tax
Environmental Tax (Fee)
Federal Income Tax
Federal Unemployment (UI)
Fishing License Tax
Food License Tax
Gasoline Tax (too much per litre)
Gross Receipts Tax
Hunting License Tax
Marriage License Tax
Personal Income Tax
Prescription Drug Tax
Provincial Income and sales tax
Real Estate Tax
Recreational Vehicle Tax
Retail Sales Tax
Service Charge Tax
Telephone Federal Tax
Telephone Federal, Provincial and Local Surcharge Taxes
Telephone Minimum Usage Surcharge Tax
Vehicle License Registration Tax
Vehicle Sales Tax
Watercraft Registration Tax
Well Permit Tax
Workers Compensation Tax
THINK THIS IS FUNNY?
Not one of these taxes existed 60 years ago & our nation was one of the most prosperous in the world.
We had absolutely no national debt, had a large middle class, and Mom stayed home to raise the kids.
What in “Hell” happened? Can you spell ‘politicians?’
I hope this goes around CANADA at least 100 times.
YOU can help it get there.
GO AHEAD – – – be a CANADIAN !!!
My sister would love these. She decorated her whole face as a skull last year for The Day of the Dead (El Dia de los Muertos). They actually call it the sugar skull. You have probably seen it somewhere by now.
The Day of the Dead is not about Halloween or zombie movies. It is a real event in Mexico, a long time tradition.
Día de Muertos (Day of the Dead) is a Mexican holiday celebrated October 31, November 1st and November 2nd in connection with the Christian days for All Hallows Eve, All Saint’s Day and All Soul’s Day.
Family gather to remember and pray for deceased friends and family members. Traditions include building private altars to honour the deceased. The altars are decorated with sugar skulls, flowers and the favourite food and drink of the departed family and friends. Gifts and/or possession of the dead are left on graves. The living will spend the day (and possibly the evening) at the grave. They pack food and have a picnic in the cemetery.
Day of the Dead is not a grim holiday. Other cultures may not understand that this is a family holiday, a day of remembering and giving thanks for the people who have been important and valued in our lives. Pagans have a very similar holiday, Samhain, which is also based on remembering the past and celebrating the harvest in the present. In North America we call this Halloween, but it has lost most of the original meaning behind the holiday.
You need to have a reason to forgive someone before you can start to change your feelings, to forgive them. It doesn’t happen just because someone asks to be forgiven. Sometimes just wanting to keep someone in your life in even a small way, is motivation to begin to forgive them. But, a relationship based on one person constantly forgiving someone just to keep them around is a really poor relationship to be in.
I don’t think anyone should be pressured to forgive. Some actions taken and words spoken can not ever be undone or forgotten. I’m careful about giving forgiveness I don’t genuinely feel. In this way I have also become someone who does forgive easily. Maybe that seems backwards but not every least thing is worth hanging onto. We are human, we make mistakes and some of them are pretty small and stupid. If you are going to hang onto hurt feelings it should be over something that actually matters. Not a case of holding onto your feelings because you are bitter but a case of not being able to get over your feelings because they just run too deeply and the hurt reaches into your heart and soul.
Forgiveness isn’t a one way street. The person has to ask to be forgiven, show some remorse/ regret, before the relationship can begin to change.
Some people don’t ask. They feel guilty or think they didn’t really do anything wrong or just aren’t interested in what the aftermath of their actions/ words will be. People think asking for forgiveness is too hard. They would have to make some effort, put themselves at risk, and possibly face rejection. However, how can anyone think to be forgiven if they take no steps at all to make amends?
It’s hard to feel you are the only person in the relationship, the only one trying to make it work. In the end, that just doesn’t work. I don’t think you ever really can forgive someone who doesn’t place value on being forgiven by you. I don’t mean they need to grovel or beg, nothing drastic or dramatic. I do mean, they should at least want to be forgiven and communicate that in some way. (Communication also being a two way street – it has to be given and understood).
They say it is easier to be the one who is doing the forgiving than to be the one asking for forgiveness. I don’t agree. It is much harder to be hurt and then heal from it. The person who hurt you may not care or may not know the extent of the hurt given and become annoyed because you don’t just let it go. I don’t think we should just let go of everything. There should be standards for living just as there are building codes in construction. Having a guide to the standards is what gives buildings their structure, keeps them from being unsafe. It should be the same in personal relationships. No one should be expected to forgive and if we can’t fully forgive that should not be made light of or used to make us feel guilty or less of a person.
Read the full list on Forgive for Good. (This is an edited bare bones version, the site has a lot more).
“Always forgive your enemies – nothing annoys them so much.” – Oscar Wilde
“When you hold resentment toward another, you are bound to that person or condition by an emotional link that is stronger than steel. Forgiveness is the only way to dissolve that link and get free.” – Catherine Ponder
“You can’t undo anything you’ve already done, but you can face up to it. You can tell the truth. You can seek forgiveness. And then let God do the rest.” – unknown
“It’s easier to ask forgiveness than it is to get permission.” – Grace Hopper
“Forgiveness does not change the past, but it does enlarge the future.” – Paul Boese
“Life is an adventure in forgiveness.” – Norman Cousins
“What we forgive too freely doesn’t stay forgiven.” – Mignon McLaughlin
“Without forgiveness life is governed by… an endless cycle of resentment and retaliation.” – Roberto Assagioli
HubPages has a lot of good posts about Toronto and area history, with photos. Here are links for you to follow, if you dare share the obsession.
Toronto Brick Works
Flickr: Nude in Ruins, Factories, Decay Buildings and Empty Places
Flickr: Urbex Models
Flickr: Urbex and Rural Decay
I don’t understand the allure, other than the idea of putting your damsel in distress. That I can understand, only my damsel would not be a woman. Most of these are women, nude in urban and rural ruins.
My favorite style of design is when the very old meets the new. It’s like the industrial lofts in Downtown LA that still maintain some of the classical building elements.
Organica Arquitectura in Lisbon took a ruined stone house in Portugal and integrated a brand new modern house. The combination of the old and new couldn’t be more perfect.
I feel that it’s important to maintain older beautiful structures and restore them when possible. It maintains the history and gives a new building so much personality. This is my idea of perfect design.
via Ruins Meets Modern «.
I think my only excuse is that I’ve been having an odd couple of weeks with odd things going on. Here is my comment to Ken’s post Remembering Liam.
Liam sounds like someone worth remembering and great to have known.
We had a family funeral this week and my Mother seems never to be far from the topic of death, dying and afterwards. This month I decided I do not believe in god. So that’s given her something new to talk about. But she’s not a firm church-goer. Just from the generation where that’s what you do and how you think. Last night Stephen Hawkings was on TV, a new show on Discover called Curiousity. It was about god and did god create the universe. Hawking, as you might guess, says no about the god issue.
It’s interesting how things all come together at the same time, isn’t it? I haven’t though about god, death, dying, and afterwards for a long time other than an interest in old and neglected graveyards/ cemeteries. But here and now it seems the issue is all over my world. Even in your Irish rover of a blog.
Your tribute to Liam was lovely to read, especially the golf part where you painted him as human after all. When I die… I will leave no one behind (no children, just a brother and sisters and maybe my Mother if I beat her to it). At the funeral this past week I listened to my cousin’s daughter talk about her. It was lovely, sentimental and a good tribute to a Mother lost. My Mother likes what I wrote as a speech about my Father when he died a few years ago. I didn’t even like him as a person.
What will anyone say about me. No one here really knows me. They think they do. I think, in the end, I’d like nothing. I’d like to be in a building that blows up or lost in a shipwreck. No body. Then, maybe, I won’t give in to the temptation to see what thy say about me. Maybe if you’ve been blown up you can’t ghost around afterwards. That’s my little misguided theory. Anyway, once you decide you don’t believe in god, it’s interesting to see what you do have left to believe in about the whole afterwards.
I still believe in reincarnation but now you have to wonder who’s behind it all, who guides the process along and makes the decisions. This is a windy and twisted comment. Should keep you busy a minute and a half, if nothing else.
SIGNATURE STYLE: Carr Jones
Taking whimsy seriously
SF Gate:Builder Carr Jones put Arts and Crafts style into the storybooks
Dave Weinstein, Saturday, September 13, 2003
The style is called Storybook, Fairy Tale, Disneyland or Hansel & Gretel, and the adjective most often applied to it is “whimsical.” In Hollywood, where the style developed, its earliest exponents were often motion picture set designers – experts in faux everything.
But Carr Jones, one of the great Storybook builders of the Bay Area, took his work very seriously. Both his architecture, and people who know him, suggest that Jones (1885-1965) was faux nothing.
“He was his houses,” says Lana Kacsmaryk, Jones’ daughter-in-law.
“He was just pragmatic and practical,” says Ruth Scott, who lives in Mill Valley in the last home Jones designed. Jones was no stage designer, she says, but was rooted in the 19th century Arts and Crafts tradition with its emphasis on honest craftsmanship and natural materials.
“I call my house a peasant house,” she says.
Jones homes may have turrets and spiral staircases, arched doorways and swooping rooflines. But they are also fire resistant and livable, she says, and filled with modern touches like radiant floor heating and walls of windows.
Unlike some Storybook builders, whose fairy-tale features were add-ons to standard plans, Jones crafted his homes the way a medieval craftsman would have, often living on site along with his craftsmen and working alongside them.
Jones studied engineering, not architecture. He did his own designs and contracting and much of the handiwork. His work indicates how much personality and seriousness a builder could bring to a style, even one as seemingly hokey as “Storybook.”
Storybook homes differ from their more sedate “period revival” cousins by striving even further to evoke medieval or rural Europe. Instead of relatively restrained Cotswold cottages or Mediterranean villas, we have homes that evoke Ruritania or the Brothers Grimm.
On a typical Jones house you’ll see brick outside and in, curves and random patterns. Roofs sway as though weighed down by thatch, and shingles splash across like waves. Homes are often L-shaped or U-shaped, and the ends of the wings often curve. One wing of the house often faces the courtyard with a California Mission-type arcade.
Inside you will find a two-story living room with an immense fireplace and a spiral staircase leading to a balcony, floors of randomly arranged terra cotta and tile, and built-in, hand-carved cabinetry. Walls are thick – 16 inches or more – and often curved.
Jones never left California, friends say. He got his ideas from National Geographic and Architectural Digest.
Many of his materials were scrounged. Used bricks were plentiful and cheap after the 1906 quake and he used recycled timbers and phone poles, refrigerator tubing for radiant heat, and disassembled old stoves to create built-in kitchen islands.
One sure Jones touch is a pyramid-shaped gable end filled with glass and decorated with curved beams – like half timbering with glass between the timbers, instead of mud mixed with thatch. The effect is medieval, modern and startling, and brings in a lot of light.
Montgomery, who has filled his Piedmont home with antique American furniture, art and an HO train set, enjoys the view he gets from the Chippendale armchair near the fireplace – through a curving corridor and several arched doorways to the dining room beyond. He loves the rhythms provided by the curves, the light and the home’s emotional warmth.
He also loves surprising Jones fans – they often ring the bell and ask to look – by taking them around back to an 800-square-foot mother-in-law cottage Jones added to the property in 1954. It’s got bracketed doors, a medieval chandelier – and a wall of glass facing a canyon and a low-pitched shed roof. It’s vintage mid-century modern.
“He wasn’t as traditional as you think,” Montgomery says.
Another surprisingly modern Jones house was built in Pleasant Hill in 1948, a rambling ranch with curved brick walls and a sod roof. It was demolished in 1996.
No one knows how many structures Jones built. Some publications say about a dozen, others 50.
Twenty-seven buildings built or substantially remodeled by Jones can be readily documented. There are undoubtedly more. At least 24 are extant. Almost all are houses.
At least five are in Berkeley, six in Oakland, three in Piedmont (counting the mother-in-law cottage), six in Contra Costa County (at least one demolished), three in Marin, one in Palo Alto, and one in Cucamonga in the Southern California desert.
Some, like the restaurant Postino in Lafayette, have become local landmarks.
But many are hard to see, hidden by walls or foliage.
Jones himself never made much of a mark as a Bay Area personage, though his homes attracted attention and followers. He never craved fame, Scott says. “He was a content man within himself.”
Nor did he crave or gain wealth. “He was a working man and he was not in it for financial reasons,” she says. He never sought jobs. Clients came to him after seeing one of his houses.
Friends describe him as mild, soft-spoken, a man who listened more than talked. When he talked, Scott says, “it was about architecture – and how you did things.”
Jones was a strong man of average build, but very short – as are his doors.
Jones loved to invent – he developed a form of adobe that could withstand rain without being plastered, Scott says – and loved building. But he wasn’t ambitious, she says.
“Somebody said to me, ÔCarr Jones would never have worked a day in his life if he didn’t have to eat,’ ” she says.
But he was an elegant man with fine manners, Kacsmaryk says, and attentive to the details of daily living. “You wouldn’t set a milk carton on his table,” she says.
Jones, who was born in Watsonville and raised in Monterey, moved with his family to Berkeley and received a degree in mechanical engineering from UC Berkeley in 1911. Some accounts say he studied with Maybeck but Scott says it isn’t so.
But he undoubtedly knew the great Arts and Crafts style architect. Two of Jones’ earliest buildings are in the Berkeley hills north of campus where Maybeck lived and did much of his building.
The homes, built in 1914 and 1916, before the Storybook style took hold, are Craftsman in tone along the lines of Maybeck, mixing wooden board-and- batten siding with brown shingles and complete with Swiss chalet balconies. By the mid-1920s Jones was building in his mature style.
One Carr Jones owner in the Berkeley hills describes how his home was built,
with information gleaned from neighbors who watched: Jones and his wife and a crew of six or seven workers moved onto the site, built a brick wall, then started on the house. Five years later it was done.
Jones also turned a flatbed truck into a mobile home for himself, complete with a ladder leading to a sleeping porch on its roof, Scott says.
Jones, who was twice married and raised a stepson, built a sod-roofed home for himself and family in Orinda in 1948. In 1954, Scott says, he was “discovered” by Mrs. Fulton of Fulton Shipyards in Antioch.
Jones found himself remodeling many buildings at the shipyard and at her home, and living in a home she owned not far away – and remodeling that. He worked for Fulton until he died.
By the 1960s Jones was suffering from severe arthritis. He was ill when Ruth Scott and her husband, Alan, sought his services in 1964. They knew his work because Alan Scott’s aunt lived in a Jones house in Walnut Grove.
“He liked us because we wanted to do the work ourselves,” Ruth says. Jones visited the site, a hillside in Mill Valley, and drew up a plan. The work was done by the Scotts and their children, a small crew, and by Doug Allinger, Jones’ stepson.
Though Allinger, a mason, had absorbed Jones’ style and ethos, he had never worked with him. The Scotts’ home was his first Carr Jones-style building. He has since built several, including some that are well known in Contra Costa County.
Jones died of cancer in October 1965, the day they started work, Scott says.
Living in a Carr Jones home has challenges as well as charms – though Montgomery, a tall man, says, “In the years I’ve lived here I’ve only knocked my head once.”
“You need a repair, you have to call in a craftsman,” another owner says. Her husband adds: “It’s like living in a museum – which I suppose wouldn’t be to everybody’s taste.”
In Belvedere, the locally landmarked Audrey Jones Beck Cottage from 1930 is coming onto the market and preservationists worry that the buyer may tear it down. The hidden, hillside site offers gorgeous views of the Golden Gate Bridge.
The city’s preservation ordinance could delay demolition for only 90 days, and Roger Felton, a member of the Belvedere Historic Preservation Committee and a neighbor of the house, hopes a buyer comes forward who loves Carr Jones.
Most people who live in his homes stay there awhile and care for them, Scott says. “People do get possessed with Carr Jones houses.”
Style: Storybook, Fairy Tale, Hansel & Gretel. Jones developed an idiosyncratic version of this already idiosyncratic style based in the Arts and Crafts tradition. He used brick and other natural and recycled materials to craft homes that recall peasant farmhouses blended with California missions.
Active: Jones built from 1914 to the early ’60s primarily throughout the East Bay.
Known for: fine brickwork, swooping roofs, turrets and arched doorways, balconies and glass-filled gable windows.
Other practitioners: William R. Yelland created Normandy Village on Spruce Street near the UC Berkeley campus and other Storybook monuments. Storybook building can be found in any town that had much construction in the 1920s. Normandy Gardens on Picardy Drive in Oakland is a superb example of a Storybook subdivision by architect Walter Dixon.
I like playing city building games cause it’s the one time you really can play god and no one can get upset about being bossed around or manipulated by you. Like any god, once things stop going my way, when the peasants are revolting, the crops are burning and the armies are refusing to fight, I pull the plug and start over. Isn’t that what gods do?
Another time you can play god is when you rewrite history. Change something and write about how things carry on from there. Of course, you can still bend it all to your will, as you see it. Facts can only get you so far.
Google Groups: Soc.history.what-if
Today in Alternate History
Wikia: Alternate History
Uchronia: The Alternate History List
Uchronia:Sidewise Awards for Alternate History
Changing the Times
Point of Divergence
Wikipedia: Alternate History
Wikipedia: Counterfactual History