Pitt County Schools Early College High School freshmen signed a banner Aug. 26, pledging to faculty, staff, classmates and themselves that they will do their best academically in the years ahead and earn diplomas.

Collection/Accession: Pride Photo Collection/ L2013.63

Identifier: P507.056m.r.t

Year: 1998

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A selfie with my boy Victor. I'm hard pressed to think of a bigger commitment in my life.

Yes, those are beads of sweat streaming down my forehead. We wer taking a break on a family bike ride this morning, where the temps had already reached 29°C. Vic's not sweating because he's the stoker on our tandem, and likes to take it easy!

Italy. Florence (Firenze).

Piazza del Duomo.

VIDEO ON YOU TUBE

By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high, 9.2 metres (30 ft) long, was standing in a side aisle of the unfinished building, and had long ago become sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.

The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north.[9] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.

The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[10] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.

Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.

Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The Ribs, 13 feet (4 meters) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.

A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.

The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[14]

A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.

Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.

The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.

Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".

en.wikipedia.org/wiki/Florence_Cathedral#Dome

Dozens of Greater Manchester’s faith and community leaders stood together against hatred as they signed a new statement pledging their commitment to encouraging strong, diverse communities.

Leaders, including GMP Chief Constable Ian Hopkins, Councillor Carl Austin-Behan, Lord Mayor of Manchester, Rt Revd David Walker, Bishop of Manchester, Mrs Sharon Bannister, President, Jewish Representative Council of Greater Manchester and Region, Mr Qadir Chohan, Chair, Manchester Council of Mosques and many others came together at Manchester Cathedral to sign the statement, created as a result of a rise in hate crimes following the EU referendum result.

Greater Manchester saw a 23 per cent increase in hate crime in the week after the country chose to leave the European Union at the end of June.

Chief Constable Ian Hopkins said: “I believe in a democratic society people should be safe, both from physical harm, but also from hatred. Sadly we are seeing a significant number of people across Greater Manchester being subjected to hate incidents and hate crimes. This is totally unacceptable. Today is an important step in uniting our communities and am pleased to see so many other influential people standing with us to end hate crime and discrimination.

“This statement very clearly reinforces our commitment to encouraging inclusive communities, whilst recognising the difference people bring to Greater Manchester that help make it such a wonderful place. It is also, however, a very strong message to those who go against this – there is absolutely no place for hatred or discrimination in Greater Manchester. We will do all we can to take action against anyone who commits hate crimes.”

Faith Leaders’ Secretary, Canon Steve Williams, said: “The speed with which Faith Leaders acted shows how serious we consider the situation to be. But it also shows that people in our communities want to make a positive difference – to support people who’ve suffered in this way, and to promote good-news stories of acts of kindness and inclusion that build bridges, not barriers.”

The statement is part of GMP’s We Stand Together’ campaign which encourages people to come together as one and celebrate their differences in order to build safer and stronger communities.

It was signed at an event hosted by the Diocese of Manchester on Tuesday, 12 July, which saw speeches from Chief Constable Ian Hopkins, the Dean, Bishop David Walker, The Lord Mayor and the Police and Crime Commissioner.

Anyone who experiences hate crime is encouraged to report it by calling the police on 101, Crimestoppers anonymously on 0800 555 111 or using the True Vision website (www.report-it.org.uk).

To find out more about Greater Manchester Police please visit www.gmp.police.uk

You should call 101, national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

See more of this cake and many more Topeka, KS custom cakes at madelizas.com.

Aruna Mohanty

Devotion, perseverance and commitment have placed Aruna Mohanty as the finest among Odissi dancers of her generation. Nurtured under the able guidance of Guru Gangadhar Pradhan, Aruna especially excels in the abhinaya aspect of Odissi. She has been a student and Secretary of Orissa Dance Academy. Her unique skill and versatility make her the recipient of many awards and accolades, including the Mahari Award 1997, Sanjukta Panigrahi Memorial National Award 2001, Fellowship by Ministry of HRD, Govt. of India, and an award for her contribution to the field of Odissi Dance, from the Utkal University, orissa. Apart from dance, Aruna has also established herself as an excellent choreographer. Some of the items in her repertoire include the dance ballet “Shrusti O Pralay”, “Varsha Abhisara”, “Shravan Kumar”, “Samrat Kharavela” , “Kanchi Abhijan”, “Krupanidhana” & “Krushna Saranam”, etc. Widely traveled to countries like Canada, USA, South America and some of the European countries, she is the advisor-member of Central Sangeet Natak Akademi, New Delhi. Currently she is conferred for the Central Sangeet Natak Akademi Award for the year -2010 by the Govt. of India. And Govt. of Orissa has appointed her to be the Vice-President of State Sangeet Natak Akademi.

Concept Note

----------------

Gatha Odissi - from the temple to the stage

History is not scripted; it gets created over the ages. It transforms itself according to the tides of life and times. Therefore, from the point of view of the present, how does one view the entire panorama of Odissi Dance, which has traveled through an arduous journey of nearly two thousand years?

After the sunrise, comes the dark hour of the sunset. But the rhythmic foot falls of Odissi dance, however, continue to reverberate from within the dark corridors of history.

Around the middle of Ninteenth century a new resolve paves the way for the resurrection of the flagging traditions of Odissi Dance. The danseuse damsels break out of their stony incarnation from temple-walls and metamorphose into life. In this hour of revival, the great Gurus of our times create a whole new grammar of Odissi. The genesis of Mangalacharan, Pallavi, Sthayi, Abhinaya and Moksha, which form the superstructures of Odissi, spring up from the sub-structures of the allied art forms and folk forms of Odisha such as Mahari, Gotipua, Sakhi Nata, Raasa and Leela.

Through brief narrations and symbolic images Odisha Dance Academy spins the story of transformation and resurgence of Odissi Dance spanning from the Jagannath Temple of Puri right up to the contemporary stage.

Conceptualized by - Guru Aruna Mohanty

Kedar Mishra

Music composition - Guru Bijay Kumar Jena

Rhythm composition - Guru Dhaneswar Swain

Guru Bijay Kumar Barik

Musicians :

Mardala - Guru Ddhaneswar Swain

Guru Bijaya Kumar Bari

Vocal - Harapriya Swain

Nazia Alam

Rupak Kumar Parida

Violin - Ramesh Chandra Das

Flute - Srinibash Satpathy

Sitar - Swapneswar Chakravorty

Dance Choreography- Guru Aruna Mohanty

Dancers :

Odissi Dance : Ramesh Ch. Jena, Madhusmita Mohanty, Yudhisthir Nayak, Pabitra Ku. Pradhan, Sridutta Bhol, Janhabi Behera, Pankaj Ku. Pradhan, Pravat Ku. Swain, Arupa Gayatri Panda , Prashant Ku. Behera, Bijan Ku. Palei , Pragati Das & Rudra Prashad Swain.

Gotipua Dance : Sriram Chahatray, Suryakanta Samantaray,Arupananda Pradhan, Santosh Biswal & Rama Pradhan

Today is Canada’s National Day of Remembrance and Action on Violence Against Women. It is both a memorial to the 14 women murdered in cold blood at l'École Polytechnique de Montréal on December 6, 1989, and a day of action and commitment to the cause of ending violence against women.

This violent attack was a dark day in Canada’s history, and we will not forget its victims, innocent women who were targeted solely for their gender. It took the lives of 14 promising young women, destroyed families and wounded the proud province of Quebec.

Moreover, it brought to light a dark hatred of women felt by some in our society. Though we have worked hard over the years to recognize and bring an end to acts of violence such as this one, women and girls in Canada and around the world continue to face abuse.

This fight has never been more important, and this is why Canada’s Conservatives have never hesitated to take the lead. We have defended the rights of Yazidi women and girls, who face a dire threat to their lives at the hands of terrorists in Iraq and Syria, and we have championed the rights of sexual assault victims at home by supporting the JUST Act, which will make the judiciary more accountable for their training in sexual assault law. These important initiatives will make a real difference in the lives of some of the more vulnerable women at home and abroad.

As we mark the National Day of Remembrance and Action on Violence Against Women today, we recognize that there is so much more to be done, but we all commit to doing our part in the fight to rid our world of violence against women.

Aujourd’hui est la Journée nationale de commémoration et d’action contre la violence faite aux femmes. C’est à la fois une commémoration des 14 femmes tuées de sang-froid à l’École Polytechnique de Montréal le 6 décembre 1989 et une journée d’action et d’engagement envers la cause de la fin de la violence faite aux femmes.

Cette attaque violente a été un jour sombre de l’histoire du Canada. Nous n’oublierons jamais ses victimes, d’innocentes femmes ciblées uniquement en raison de leur sexe. 14 jeunes femmes prometteuses nous ont quittés ce jour-là, détruisant des familles et blessant la fière province de Québec.

Cette tragédie a fait la lumière sur la haine sordide que certains membres de notre société éprouvent pour les femmes. Bien que nous travaillions fort pour reconnaître et stopper les actes de violence de ce genre, des femmes et des filles, au Canada et dans le monde entier, continuent à être victimes de violence.

Cette bataille n’a jamais été plus importante. C’est pourquoi les conservateurs du Canada n’ont jamais hésité à faire preuve de leadership. Nous défendons les droits des femmes et des filles yézidies, qui font face à une grave menace pour leur vie aux mains des terroristes en Irak et en Syrie. Nous défendons les droits des victimes d’agression sexuelle ici au pays en soutenant la Loi juste, qui rendra la magistrature plus responsable en matière de formation sur le droit sur les agressions sexuelles. Ces importantes initiatives feront une vraie différence dans la vie de certaines des femmes les plus vulnérables, au pays et à l’étranger.

Alors que nous soulignons la Journée nationale de commémoration et d’action contre la violence faite aux femmes aujourd’hui, nous reconnaissons qu’il y a beaucoup à faire, mais nous nous engageons tous à contribuer à la lutte pour débarrasser notre monde de la violence contre les femmes.

Photo Credit Cutty McGill

Jay Heritage Center (JHC) Founder Catherine "Kitty" Aresty and New York Preservation Advocate, Barbaralee Diamonstein-Spielvogel were recipients of the 1st Annual "John Jay Medal for Service" awarded at JHC's 20th Anniversary Gala on Saturday, October 13, 2012. In keeping with the legacy of one of America's greatest Founding Fathers, the John Jay Medal recognizes individuals who demonstrate a selfless spirit of commitment and engagement with their community.

As an early member of the Jay Coalition, Catherine "Kitty" Aresty helped harness the energy of thousands of volunteers and citizens to save the Jay Property when it was threatened by commercial development in the early 1980s. She was one of 5 dynamic women who formed the vanguard for preservation of the site, finally securing a victory in 1992 but her total commitment to seeing the property restored for public use extends more than 30 years including 22 consecutive years on the JHC Board.

Similarly, Barbaralee Diamonstein-Spielvogel's career spans more than 40 years. She has been a pioneering champion of preservation and the arts, credited with bringing the first public art to Bryant Park and the first public performance to Central Park. The first Director of Cultural Affairs for New York City, she was the longest term Landmarks Commissioner in the city’s history, spanning four mayoral administrations from 1972 to 1987. Her expertise and advocacy of historic preservation has garnered her countless honors and prestigious appointments from nor fewer than 4 US Presidents. Dr. Diamonstein-Spielvogel is the current Vice Chair of the New York State Council on the Arts.

Congresswoman Nita Lowey and Westchester County Executive Rob Astorino served as Honorary Co-Chairs of the evening which drew over 170 people from Manhattan, Westchester and Greenwich to the National Historic Landmark site. While the event also marked an important 2 decade milestone for the organization, adding to the festive feeling was the recent announcement of a public private partnership between JHC, New York State Parks and Westchester County to manage and restore the entire 23 acre Jay estate as a historic park and educational resource.

See the announcement here:

www3.westchestergov.com/news/all-press-releases/4358-asto...

The site has been a member of Westchester County's African American Heritage Trail since 2004 and was added to the prestigious Hudson River Valley National Heritage Area following its nomination in 2008 by County Legislator Judy Myers.

JHC President Suzanne Clary commended the men, women and coalition of non-profits that first saved Jay's home but also emphasized the "new coalition" they are forming with other museums and preservation groups like the NY Preservation League, The Landmarks Conservancy, Audubon NY, the World Monuments Fund and more. Congresswoman Lowey recognized the power of bi-partisan support that continues to guide JHC's success. Ken Jenkins, Chairman of the Westchester County Board of Legislators presented a proclamation to both honorees and added his strong words of support for the Jay Heritage Center's mission to revitalize one of Westchester's premiere heritage destinations. Steve Otis, former Mayor of Rye brought accolades from Sen. Suzi Oppenhiemer and personally congratulated the two medal awardees on their vision and tenacity; he reminded the audience how dilapidated the Jay site was when first acquired and how miraculous its transformation had been under JHC's trusted stewardship. Both honorees gave moving remarks and thanks and underscored the continued need to stay "passionate" about preservation.

The theme of the night was Roaring 20s - guests dressed in everything from raccoon coats and spats to flapper dresses and boas made for an evening that was simply "the bees knees!" Proceeds benefit JHC educational programs.

Jay Heritage Center

210 Boston Post Road

Rye, NY 10580

(914) 698-9275

Email: jayheritagecenter@gmail.com

www.jayheritagecenter.org

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A National Historic Landmark since 1993

Member of the African American Heritage Trail of Westchester County since 2004

Member of the Hudson River Valley National Heritage Area since 2009

On NY State's Path Through History (2013)

®2008 Bill Miles Photography

Aruna Mohanty

Devotion, perseverance and commitment have placed Aruna Mohanty as the finest among Odissi dancers of her generation. Nurtured under the able guidance of Guru Gangadhar Pradhan, Aruna especially excels in the abhinaya aspect of Odissi. She has been a student and Secretary of Orissa Dance Academy. Her unique skill and versatility make her the recipient of many awards and accolades, including the Mahari Award 1997, Sanjukta Panigrahi Memorial National Award 2001, Fellowship by Ministry of HRD, Govt. of India, and an award for her contribution to the field of Odissi Dance, from the Utkal University, orissa. Apart from dance, Aruna has also established herself as an excellent choreographer. Some of the items in her repertoire include the dance ballet “Shrusti O Pralay”, “Varsha Abhisara”, “Shravan Kumar”, “Samrat Kharavela” , “Kanchi Abhijan”, “Krupanidhana” & “Krushna Saranam”, etc. Widely traveled to countries like Canada, USA, South America and some of the European countries, she is the advisor-member of Central Sangeet Natak Akademi, New Delhi. Currently she is conferred for the Central Sangeet Natak Akademi Award for the year -2010 by the Govt. of India. And Govt. of Orissa has appointed her to be the Vice-President of State Sangeet Natak Akademi.

Concept Note

----------------

Gatha Odissi - from the temple to the stage

History is not scripted; it gets created over the ages. It transforms itself according to the tides of life and times. Therefore, from the point of view of the present, how does one view the entire panorama of Odissi Dance, which has traveled through an arduous journey of nearly two thousand years?

After the sunrise, comes the dark hour of the sunset. But the rhythmic foot falls of Odissi dance, however, continue to reverberate from within the dark corridors of history.

Around the middle of Ninteenth century a new resolve paves the way for the resurrection of the flagging traditions of Odissi Dance. The danseuse damsels break out of their stony incarnation from temple-walls and metamorphose into life. In this hour of revival, the great Gurus of our times create a whole new grammar of Odissi. The genesis of Mangalacharan, Pallavi, Sthayi, Abhinaya and Moksha, which form the superstructures of Odissi, spring up from the sub-structures of the allied art forms and folk forms of Odisha such as Mahari, Gotipua, Sakhi Nata, Raasa and Leela.

Through brief narrations and symbolic images Odisha Dance Academy spins the story of transformation and resurgence of Odissi Dance spanning from the Jagannath Temple of Puri right up to the contemporary stage.

Conceptualized by - Guru Aruna Mohanty

Kedar Mishra

Music composition - Guru Bijay Kumar Jena

Rhythm composition - Guru Dhaneswar Swain

Guru Bijay Kumar Barik

Musicians :

Mardala - Guru Ddhaneswar Swain

Guru Bijaya Kumar Bari

Vocal - Harapriya Swain

Nazia Alam

Rupak Kumar Parida

Violin - Ramesh Chandra Das

Flute - Srinibash Satpathy

Sitar - Swapneswar Chakravorty

Dance Choreography- Guru Aruna Mohanty

Dancers :

Odissi Dance : Ramesh Ch. Jena, Madhusmita Mohanty, Yudhisthir Nayak, Pabitra Ku. Pradhan, Sridutta Bhol, Janhabi Behera, Pankaj Ku. Pradhan, Pravat Ku. Swain, Arupa Gayatri Panda , Prashant Ku. Behera, Bijan Ku. Palei , Pragati Das & Rudra Prashad Swain.

Gotipua Dance : Sriram Chahatray, Suryakanta Samantaray,Arupananda Pradhan, Santosh Biswal & Rama Pradhan

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

www.wien-vienna.at/albertinabaugeschichte.php

Benjamin Zander working with a violinist on the Méditation from Massenet's Thaïs during the fourth day of music workshops organised by The Avison Ensemble.

The Avison Ensemble is delighted to have welcomed Benjamin Zander to present a series of music workshops in Newcastle for musicians and listeners as part of our ongoing commitment to music learning in the North East. These workshops were held from 13th to 16th August 2012 in Newcastle University’s King’s Hall; they were open to amateur and professional musicians of all ages and to listeners, including those with no previous experience of classical music.

These workshops were transformative and inspirational for the musicians participating as they discovered new possibilities in interpretation, expression and performance. Ben explored the ‘hidden language’ of music and the impact of its use on both performers and listeners. However, these were not technical master classes – they were full of surprises and often emotional experiences which transformed the audience and players’ outlook on the relationship of music to life.

The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven. The Ensemble is strongly committed to music learning in North East England and has an active education programme and its own annual Young Musicians’ Awards competition.

www.avisonensemble.com

Ben Zander is the acclaimed conductor of the Boston Philharmonic Orchestra and a passionate musician and speaker of world renown. He has collaborated in performances with many of the world’s greatest musicians, amongst whom have been Rostropovich, Oscar Shumsky, Vladimir Ashkenazy, Martha Argerich, Yo-Yo Ma, and Jaqueline Du Pré.

Ben’s work with young people and youth orchestras is world renowned and he has recently been awarded the Youth Orchestra of the Americas 10th anniversary award for his invaluable contribution to the youth symphony movement across the Americas. He has recently formed the Boston Philharmonic Youth Orchestra to “… shape the musical leadership of tomorrow”.

Ben is one of the most sought-after speakers in the world. Bringing his insights as the conductor of major symphony orchestras to business leaders involved in transformation and change, Ben has become a much sought-after speaker to major organizations all over the world including Shell, IBM, Arthur Andersen, KPMG, Sprint, NASA and the US Army.

www.benjaminzander.com

Zimbabwe: The United Church of Christ has been holding workshops for its women's groups in environmental stewardship and tree planting as part of its long term plan.

On September 18, 2012, 26 Christian, Muslim and Hindu faith groups in sub-Saharan Africa launched long-term environmental action plans during ARC's 'Many Heavens, One Earth, Our Continent' celebration in Nairobi, Kenya. Visit www.arcworld.org

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Fonte Official Slayer FB Page :

Slayer, the long-reigning titans of thrash, returns with Repentless, the band’s 11th studio album and its first album for Nuclear Blast. Produced by Terry Date, Repentless was written and recorded by guitarist Kerry King and singer/bassist Tom Araya at Henson Studios in Los Angeles, along with returning drummer Paul Bostaph and guitarist Gary Holt. Repentless is crushing and brutal, steadfastly refusing to cater to the mainstream.

Thirty-four years into its career, Slayer remains the preeminent punk-thrash band that helped establish the genre and that up-and-coming metal heads continue to revere and emulate. Slayer is a five-time nominated, two-time Grammy Award-winning metal juggernaut that writes songs which mirror the turmoil and aberrations of our society. Repentless, the band’s first new album in six years, continues the Slaytanic offensive with a twelve-song, blood-shaking sonic attack. Repentless is dark, fast, aggressive and without mercy. It was also the most challenging record Slayer has ever had to make.

In 2013 the world mourned the loss of guitarist Jeff Hanneman who died from complications following a two-year illness. A co-founder of Slayer, losing Jeff was very difficult for the band. During Jeff’s illness, friend of the band, guitarist Holt stepped in to help out on tour with Jeff’s blessing and stayed on. Around that time, drummer Dave Lombardo exited the band for the third time and Paul Bostaph, (who played with the band from 1992 – 2001), returned to take over the throne. Slayer never skipped a beat and since Holt and Bostaph both played in Exodus, it was all-in-the-thrash-family.

But it didn’t come easily. As guitarist and Slayer co-founder Kerry King puts it, “I remember the day that Jeff died. It was the day of the Revolver Golden Gods Awards. We knew he’d been sick but nobody expected it to be so quick. I assumed I’d be able to go out there and see him after I got done with whatever business I had to do and that day never came.

“We went out and toured afterwards to see how we felt about it. That’s what you do as a musician: you either go out and tour or you stop working. Even though we’d been touring for two years without Jeff, thinking he was going to come back, now there was finality to it. And the thing with Gary was that we were all friends. Exodus was the first band we’d ever met that became our friends immediately and we stayed friends throughout the years. Gary is just a guitar dynamo and he was the guy.”

Tom Araya agrees. “Jeff would want us to continue. I’d think that if something were to happen to someone else in the band, whoever it was would feel the same way. Just get on with it. Gary’s a friend, a friend of Jeff’s, he knew what was going on and he wanted to help in any way he could, so Gary made Slayer a comfortable place to be. Having Paul back was also a comforting feeling. He’s a former member and that’s the best thing about it. It wasn’t some other guy. Having Paul and Gary made everything a little easier to handle. It’s about the band. Slayer was a big thing for Jeff, and so I’m looking at it in that sense. It was his baby, too. And we hope we’ve done Slayer and him justice.”

King said that Slayer still had to test the water. “Now we were out to see if it made sense to continue, to see if we liked it, to see if the band still enjoyed it. And the way I looked at it was: if it wasn’t this, it was going to be something that sounded exactly like this, so why not continue doing this? It’s super-potent. We’re really tight right now and we’re stoked that we’re still doing it. Once we had that under our belts we started thinking about a record and never looked back.”

After two decades with American Recordings, Slayer found a new home with Nuclear Blast, the German independent label known for its metal roster. King is enthusiastic about the move, “I like it,” he declares, stressing the work like. “Having been with American for so long we wanted to give them first right of refusal because that’s how we are. I think continuity is far stronger than switching all the time. But at the end of the day, Nuclear Blast made us a great offer and so it was time to move on. At Nuclear Blast, people go to work, they do their job, get paid and they fuckin’ like it. All hands. So it was the right choice.”

When the time came, Slayer entered the studio with producer Terry Date. Date is the first producer the band has worked with since leaving American, where all their albums were produced or executive produced by Rick Rubin. On working with Date, Tom says, “He’d done all these great albums – Soundgarden, Pantera – and as a singer I need someone I respect who can tell me whether he likes it or not as opposed to telling me how to do something I’ve been doing for 30 years. He would guide me. That’s why I really liked working with him, because he was so cool. I regard him as a friend, for sure.”

Kerry adds, “It was as business as usual as it could be. The oddest thing for me was Jeff’s presence… not being there. When we were recording, in the past, whether he played or not, having him there and having his opinion and stuff like that: that was what I missed. Jeff’s not being there was the oddest thing.”

Gary Holt came on board to help out with tour commitments when Jeff first became ill. “My role in Slayer started out as a tour and happened to come when I was taking time off from Exodus and I spoke to Kerry who asked if I could help out. I went down to rehearsal and Jeff showed me some things. I’ve known Jeff forever but it wasn’t until his memorial that I learned how much of his blessing I really had. At the end of the day, we all wanted Jeff to come back and then tragedy struck; so here we are five years later and Repentless is coming out and I think Jeff would have loved it. I’m super-excited. It’s a good feeling and I know it’s got to be a great feeling for Tom and Kerry for all the work they’ve done – and Paul as well. Everybody’s excited.”

Repentless marks the return of drummer Paul Bostaph, who was extremely enthusiastic.

“Before I was in the band I was a fan and just because I’m the drummer doesn’t mean I stop being a fan: it just means my tickets are cheaper. After I left in 2002 I never thought I’d be sitting on the drum throne with the band again. This particular style of music delivers something for me, musically and physically, that’s challenging and exciting. I feel better as a player and I’m more mature and the band is maturing and getting better, like fine wine. It feels natural to be back and it’s good to be back with Kerry and Tom. The San Francisco Bay-area metal scene is very tight knit: everybody knows everybody. I consider Slayer to be part of that even though they’re from Southern California. Gary I played together in Exodus and he’s amazing – one of the godfathers of thrash with Exodus – so it’s like coming home for me. And we’re having fun and I think if we weren’t having fun we wouldn’t be doing this.”

Repentless marks a number of transitions for the band but with their undisputed attitude, Slayer emerges triumphant, says Tom. “After 35 years, the thing that Kerry and I share is our dedication to the band, and Jeff’s included in that. It’s the same with Gary. He’s been doing this a long time and he’s had the same commitment. It’s a common bond we share with a lot of musicians out there. I’m really excited about the new album, we’ve put a lot of work into it, Kerry especially, and it was all for Slayer.”

Repentless is loaded with sensational songs, from the hyper-aggressive metallic blasts of the title track, “Take Control”, “Implode” and “Atrocity Vendor” to the ferocious thrash pounding of “Vices” “When The Stillness Comes” and “Pride In Prejudice” the album is Slayer through and through. For Paul Bostaph it’s simple: “The songs are awesome.”

Tom puts it bluntly, “This is definitely Slayer. No one will be disappointed with what we’ve done.”

For Kerry King, the feeling is mutual. “Musically for me – it’s certainly not an “I told ya so” because Jeff’s not a part of it – but I do know that a lot of people assumed Slayer’s not going to be functional with Dave not being here and Jeff never being here again. But we did it and it fuckin’ sounds like Slayer – period.”

Slayer's place in music history is secure as one of The Big Four (alongside Metallica, Megadeth and Anthrax): they helped define the thrash-metal genre. With Repentless Kerry, Tom, Paul and Gary affirm that Slayer is unstoppable. Slayer continues fearlessly, aggressively and without contrition; and most importantly, fucking Slayer still rules!

:: commitment ::

Happy New Years everyone!! Hope 2011 finds everyone safe and well =)

IF YOU FAV MY PHOTO, OR GIVE IT AN AWARD, PLEASE TAKE AN EXTRA FEW SECONDS TO ADD YOUR PERSONAL THOUGHTS TO YOUR COMMENT, I WOULD REALLY APPRECIATE IT.

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All artwork is © Cory Varcoe, All Rights Reserved. You may not use, replicate, manipulate, redistribute, or modify this image without my explicit written consent

It's all about you. Bespoke menswear and shirts are designed and made to suit your lifestyle, body and needs. What sets us apart from the rest is our commitment to quality and customer service as well as our attention to detail.

Every Rashmi customer is taken through a personal consultation on fabrics, cuts and latest industry trends. Measurements are taken thoroughy to ensure the perfect individual fit. Founded in 1987, We are proud to celebrate our 25 years of existence as one of Hong Kong's Top Tailors.

Apart from being the "financial metropolis; Hong Kong is known for its history, craft and workmanship for Bespoke suits and shirts..

Rashmi Custom Tailors was Founded in 1987, we aim to provide quality Bespoke clothing at reasonable prices. We work with Italian and English Mills and all clothes are handtailored in Hong Kong

What sets us apart from the rest is our commitment to quality, price, attention to detail and customer service. Each tailor hired at Rashmi comes with decades of experience in skilfully cutting and sewing as fabric as per precise measurements, thus proving Rashmi's passion for perfection.

Furthermore we are one of the few in the industry who manage an inhouse team of tailors which gives us an edge when it comes to deciding on little things which can make a big difference in the grand scheme of things. (buttons, linings, shoulder pads, horse canvasses, zippers, threads etc)

When meeting with us, every Rashmi customer is taken through a complete consultation on fabrics, cuts, latest industry trends and measured with laser-like precision to ensure the perfect individual fit.

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Olivia Sun Cruise 10/30/10-11/6/10

GET YOUR KNEE OFF OUR NECKS Commitment March Rally at Lincoln Memorial Lower Steps in Washington DC on Friday morning, 28 August 2020 by Elvert Barnes Photography

Visit Commitment March website at nationalactionnetwork.net/commitment-march-on-washington-dc/

Elvert Barnes 57th Anniversary of 1963 March on Washington COMMITMENT MARCH docu-project at elvertbarnes.com/57MOW2020

See more of this cake and many more Topeka, KS custom cakes at madelizas.com.

The JW Marriott Desert Ridge Resort & Spa was initially conceived by Marriott International even though Marriott already had a strong presence in the Phoenix area with its Camelback and Mountain Shadows Resorts. Marriott planned the property on its own, and then approached CNL Hospitality in the first quarter of 2000 with the idea of coming up with an ownership strategy. CNL’s REIT division made an investment on its own, and the company also sponsored a partnership to fund the $300 million development. Marriott International also became an ownership entity.

The building of the 950-room resort reflects a deep commitment for all those involved. With 170,000 square feet of meeting space, the developers intended the mega-resort at being a major player nationally for meetings and convention business. The resort would face stiff competition in the local marketplace which included The Phoenician, Arizona Biltmore and Scottsdale Princess. Also opening within a month of the JW Marriott were the $180 million 750-room Westin Kierland Resort and the $125 million 500-room Sheraton Wild Horse Pass Resort. Two of the JW Marriott's ballrooms alone will make it stand out from the competition. One is 33,000 square feet, the other is 26,000: either of those are the largest in Arizona.

The JW Marriott Desert Ridge opened in Dec 2002 as the largest hotel in Arizona with 950 rooms (869 standard rooms and 81 suites) at a cost of $311 million. The hotel claimed 10 restaurants, two championship golf courses designed by Arnold Palmer and Nick Faldo, 8 tennis courts, and a 28,000 sq ft spa. The grounds include 267 palm trees, broad lawns and several ponds, not to forget the lazy river and three swimming pools including an Olympic sized pool.

At opening the fine dining outlet was Ristorante Tuscany headed by chef Dina S. Davies. Another major outlet was Blue Sage with Southwestern cuisine. Also Chef/Owner Roy Yamaguchi opened a branch of his Hawaiian-fusion themed restaurant Roy's. The 5-story atrium lobby has limestone pillars lined with alabaster light fixtures. Opening room rates started at $260 per night.

The Phoenix JW Marriott along with the 998-room JW Marriott Orlando, Grande Lakes and 582-room The Ritz-Carlton Orlando, Grande Lakes have been linked for well over a decade. They were formerly owned by CNL Hotels & Resorts of Orlando. In 2007, the team of Morgan Stanley Real Estate, California State Teachers and Florida State Board acquired CNL for $6.5 billion which included the three hotels. In 2011, the Morgan Stanley partnership defaulted and surrendered the properties to the holder of mezzanine debt — an investment group consisting of Paulson & Co. of New York (a 43% stake), Capital Trust of New York (42%) and Winthrop Realty of Boston (14%). In 2012 Blackstone took control of Capital Trust and assumed its interest. In 2015, Blackstone bought out Paulson & Co in a transaction that valued the three properties at $1.2 billion. It financed each resort separately with floating-rate loans, totaling $1 billion, from Deutsche, Barclays and J.P. Morgan. Some $722.4 million of those two debt packages was securitized in a single-borrower deal (BXHTL 2015-JWRZ).

In September 2019 Blackstone Group sold the 950-room JW Marriott Desert Ridge Resort & Spa in Phoenix for $602 million, or $633,684/room to a venture of Trinity Real Estate Investments and Elliott Management Corp. For comparison the Arizona Biltmore sold in 2018 for $403 million and in 2015 the Phoenician Resort sold for $400 million.

Sean Hehir, Managing Partner of Trinity, said the JW Marriott Desert Ridge was purchased at well below replacement cost. Trinity and Elliott intend to implement a multi-million dollar capital improvement plan to further enhance the Resort and unlock embedded value. In addition to guestroom renovations, planned improvements include upgrades to the Resort’s meeting spaces and ballrooms, water features, and food offerings. Trinity Investments is a private real estate investment firm. Recently Trinity acquired the Westin Maui Resort on Kaanapali Beach, Maui and divested itself from the Ritz-Carlton Kapalua, Maui, Hawaii and the Kahala Hotel in Honolulu. Hehir is a graduate of Cornell University with a Bachelor of Science degree in Hotel Administration and holds a Diploma in Hotel Administration from the Hotel Institute Montreux, Switzerland.

Paul Singer created the hedge fund firm Elliott Associates in January 1977. In 2019 Elliott Management acquired Barnes & Noble for around $683 million and in 2018 acquired the A.C. Milan the professional football club in Milan, Italy, Elliott Management Corporation specializes in distressed debt acquisitions.

According to legal documents The JW Marriott Desert Ridge generated $42 million of net operating income in 2018 with a 73% occupancy rate. Blackstone, during its ownership, spent about $37 million on renovations. Steve Hart was the opening General Manager and today continues as Area Vice President and General Manager.

Compiled by Dick Johnson, October, 2019

YAMANASHI PREFECTURE, Japan – Scores of Soldiers and family members from U.S. Army Japan and I Corps (Forward) joined their Japan Ground Self-Defense (JGSDF) allies in conquering one of the world's most revered mountains.

Peaking at 12,388 feet (3,776 meters) above sea level, Mt. Fuji annually attracts hundreds of thousands of people from all walks of life whose shared adoration for the volcanic marvel comes second only to their aspiration to climb it.

The USARJ/JGSDF ascent to the summit of one of the newest additions to UNESCO's premiere World Heritage List began the morning of Aug. 7, 2015, from the fifth of 10 stations along the Yushida trail. The climbers, whose physical prowess ranged from veteran hikers and Army Rangers to young children and elderly grandparents, snaked their way along dirt trails, stone steps, gravel switchbacks and concrete tunnels.

Nearly two dozen outposts comprising the remaining five stations welcomed their often breathless guests with a free place to rest and, for a fee that climbed steadily with the elevation, hot food, cold drinks and even cans of compressed air. Each station also boasted master craftsmen who adorned the climbers' wooden walking staffs with uniquely engraved stamps that signified their progress along the journey.

Army Command Sgt. Maj. Eric C. Dostie, command sergeant major, USARJ, was the first in the group to set foot on the summit in three hours, 11 minutes. Most of those who reached the top within six hours witnessed a reenlistment ceremony for Army Spc. Angela M. Wilson, an intelligence analyst from the 10th Regional Sustainment Group in Okinawa, who personally requested that her extended commitment to support and defend the Constitution of the United States begin at the peak of Japan's greatest natural treasure.

Although nearly every one who challenged Mt. Fuji returned to their buses with sweat-soaked shirts, dirt covered pants and sun burnt skin, all of them basked in the glory of expanding their vertical boundaries through courage, commitment and camaraderie.

Story and photos by Sgt. John L. Carkeet IV, U.S. Army Japan

Just not really up close and personal otherwise I'd have been cheating on the woman I was trying to maintain a relationship with.

Dating - might as well just permanently wave a red flag in the air due to not having any time available for dating (since I am never available for Fri or Sat night date nights or weekends in general) due t work and family commitments and save all the second guessing.

At least that way women can just bypass me by default and there's no need to pretend to share any interest in each other. Problem solver!

Aruna Mohanty

Devotion, perseverance and commitment have placed Aruna Mohanty as the finest among Odissi dancers of her generation. Nurtured under the able guidance of Guru Gangadhar Pradhan, Aruna especially excels in the abhinaya aspect of Odissi. She has been a student and Secretary of Orissa Dance Academy. Her unique skill and versatility make her the recipient of many awards and accolades, including the Mahari Award 1997, Sanjukta Panigrahi Memorial National Award 2001, Fellowship by Ministry of HRD, Govt. of India, and an award for her contribution to the field of Odissi Dance, from the Utkal University, orissa. Apart from dance, Aruna has also established herself as an excellent choreographer. Some of the items in her repertoire include the dance ballet “Shrusti O Pralay”, “Varsha Abhisara”, “Shravan Kumar”, “Samrat Kharavela” , “Kanchi Abhijan”, “Krupanidhana” & “Krushna Saranam”, etc. Widely traveled to countries like Canada, USA, South America and some of the European countries, she is the advisor-member of Central Sangeet Natak Akademi, New Delhi. Currently she is conferred for the Central Sangeet Natak Akademi Award for the year -2010 by the Govt. of India. And Govt. of Orissa has appointed her to be the Vice-President of State Sangeet Natak Akademi.

Concept Note

----------------

Gatha Odissi - from the temple to the stage

History is not scripted; it gets created over the ages. It transforms itself according to the tides of life and times. Therefore, from the point of view of the present, how does one view the entire panorama of Odissi Dance, which has traveled through an arduous journey of nearly two thousand years?

After the sunrise, comes the dark hour of the sunset. But the rhythmic foot falls of Odissi dance, however, continue to reverberate from within the dark corridors of history.

Around the middle of Ninteenth century a new resolve paves the way for the resurrection of the flagging traditions of Odissi Dance. The danseuse damsels break out of their stony incarnation from temple-walls and metamorphose into life. In this hour of revival, the great Gurus of our times create a whole new grammar of Odissi. The genesis of Mangalacharan, Pallavi, Sthayi, Abhinaya and Moksha, which form the superstructures of Odissi, spring up from the sub-structures of the allied art forms and folk forms of Odisha such as Mahari, Gotipua, Sakhi Nata, Raasa and Leela.

Through brief narrations and symbolic images Odisha Dance Academy spins the story of transformation and resurgence of Odissi Dance spanning from the Jagannath Temple of Puri right up to the contemporary stage.

Conceptualized by - Guru Aruna Mohanty

Kedar Mishra

Music composition - Guru Bijay Kumar Jena

Rhythm composition - Guru Dhaneswar Swain

Guru Bijay Kumar Barik

Musicians :

Mardala - Guru Ddhaneswar Swain

Guru Bijaya Kumar Bari

Vocal - Harapriya Swain

Nazia Alam

Rupak Kumar Parida

Violin - Ramesh Chandra Das

Flute - Srinibash Satpathy

Sitar - Swapneswar Chakravorty

Dance Choreography- Guru Aruna Mohanty

Dancers :

Odissi Dance : Ramesh Ch. Jena, Madhusmita Mohanty, Yudhisthir Nayak, Pabitra Ku. Pradhan, Sridutta Bhol, Janhabi Behera, Pankaj Ku. Pradhan, Pravat Ku. Swain, Arupa Gayatri Panda , Prashant Ku. Behera, Bijan Ku. Palei , Pragati Das & Rudra Prashad Swain.

Gotipua Dance : Sriram Chahatray, Suryakanta Samantaray,Arupananda Pradhan, Santosh Biswal & Rama Pradhan

The 2016 Nuclear Security Summit provides a forum for heads of state and foreign ministers to reinforce our commitment to secure nuclear material [Ben Solomon/U.S. Department of State].

An Estonian Soldier moves to a defensive fighting position during a Force on Force training exercise with the U.S. Army near Tapa, Estonia, Oct. 23, 2014. The U.S. Army Europe-led Atlantic Resolve, a multinational combined arms exercise involving the 1st Brigade Combat Team, 1st Cavalry Division, and host nations, takes place across Estonia, Latvia, Lithuania and Poland to enhance multinational interoperability, to strengthen relationships among allied militaries, to contribute to regional stability and to demonstrate U.S. commitment to NATO. (U.S. Army National Guard Photo by 1st Lt. Jeffrey Rivard)

At #AfricaBusinessForum #Ethiopia #Rwanda & #Seychelles signed a commitment document aimed at implementing a joInt

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led #AfCFTA-anchored Pharma Initiative for local production & pooled procurement of maternal & childcare medicines in Africa.

Week 1

Animation Progress: Before the even the module had started, I spent over the holiday do various tasks I gave myself to work on my skill on Maya. At this point I’ve been working on making a model to practice my animation on and work on my rigging skills which is one of my weaknesses. My progression so far was just half of the chest and arm and hands. At this point it the most changeling part was trying to make the hands which were realistic enough but well design to do finger animation. By finding a better reference image for my model this time around I was able to understand where I went wrong with the body proportion during my last assignment. Even though I was slightly ahead with this assignment I still had to pick what was my animation was about and which emotion would express it best. At first I thought it was going to be simple but over a few days of day dreaming, my mind was still blanked. So I decide just to make the model and leave it for the following week to come.

Images:

Week 2

Animation Progress: During the week before the next lecture/lab class, I was able to focus my attention to the model leg and shoe. There was one thing on my mind though; with my leg I wasn’t sure whether the knees from the model leg were correct. It seems to appear fine on smoothness one but when put on smoothness 3 it didn’t feel right in my mind. My opinion on this would have to wait as half way of the week I set my commitment on making the three animations. Reviewing the example video of the arrow, bouncing ball and pendulum, I felt I wanted to more to my version. However with the large number of student in the class I knew their always was a chance to for someone to do the exact idea so I brained stormed different twists and plots until I was happy with my idea. The making the of animations wasn’t too hard thanks to everything was well made and set up for example the arrow could bend and the setting to bounce the ball.

Images:

Week 3

Animation Progress: At this point with the model I’ve been working on creating the head of the model. During this week I decided to make my animation to be about a person attempting to grab people attention but fails at it. I really wanted the person to be dress in a costume from a comic book series called Deadpool . From that I turned the head into a mask as seen below. This week work was just practicing our skills using maya graph by doing group tasks with people beside me. During this week we had to hand in our story boards and a calendar explaining how we would spend our time making this animation. I felt slightly unhappy with my storyboard because from seeing other student storyboard I was jealous at the drawing skill levels of some people was astonishing.

Images:

Week 4

Animation Progress: During last week power point i never really knew how much our body shows the expression we feel. From this I mean how our shoulders, fingers chest and eye etc. It justify how we are feeling. It was really interesting after knowing this and then watching a dozen cartoon scene and I was picking up on how his body showed his emotion. I don’t really think how much effort animator put into their models to show this and distribute the weight. On the weekend I work on my model trying to connect my head to the body.

Images:

Week 5

Animation Progress: At week 5 I had finally made a complete model. To be fair I really should have been at this point at week 3 but because of other assignment and sometimes due to socializing it set me back 2 weeks. But with this delay I was able to re-construct the hands, arms shoulders and hips to make them more natural. Within the lectures and lab we were assigned another scene to create about a rocket setting off. This rocket had a twist compared to the last rocket we did. It was intended to wait until it was signal to do so by a green light. Looking at example from previous student at university from Bradford it gave me a good idea how I use my creativity.

Images:

Week 6

Animation Progress: With the rocket storyboard being work on I spent my spare time after keeping up with my other modules to mess about with the uv textures . At this moment of time I still need to practice my skill with uv texturing to a point it at a professional standard never the less If it did the job right now then why change it. My mind wonder after watching a few miming video for movement idea on Youtube something just hit me. Rather a comic book character I would change it into a mime. I did this because mime just use it body to create it surroundings weather if it picking up a box or pretending to be against a wall or pulling a rope. They over act their movement but just enough to make people around them know what their implying.

Images:

Week 7

Animation Progress: During this week I took a break from working on the model and work on my background. I spent the week looking around the street thinking about does have a street have around it? Buildings, tree, people , lamps, bins and roads. I started to narrow down this and then progress to make the objects. I don’t know why I made it so well detailed maybe I got carried away or maybe because I didn’t really want to limit myself just to have a single street. After this module I really want to work on this street and transform it into a city with people moving about who knows it might be my final year project if I work hard enough.

Images:

Week 8

Animation Progress: During the lecture we were asked to make a walk cycle. This isn’t interesting but what was that got my attention was a pdf about a person called Richard Whilliams. This pdf was from a book called animator a survival guide. Within this book had a full description of how to animate a character and make sure you think about things like weight disruption, hips positions etc. After the lecture, I worked again on my street and making sure it just about perfect so I could just concentrate on my model. As well as the street I made a sky background which slowly moves in the background.

Images:

Week 9

Animation Progress: With the street background just about complete, I went back onto working on my model. Making finally adjustment to the head chest and arms I was glad it just about finish. All that was left was to was to add a mouth into my model because i was wanted to wait until getting closer to the end so i could work on it more and mess about with the lips to create blends shapes representing his emotion. After 1-2 hours working on this i focus my attention on the texturing of the mime. This is a note to my self i need to practice my uv texturing after this modules is done. I can't fully grasp this yet but i know it will be something very useful in the future should i have to work with maya later on in my career. Only having done half of my module texture all that was left was to rig my character and paint weight it.

Images:

Week 10

Animation Progress: I Didn't do much in this week because i was be hide with our assignments so i had to focus my time on them. Because my last modules gave me so much problems because of the rig i decided to use a rig from a free model the link before is the site from where i got it from.

www.creativecrash.com/maya/downloads/character-rigs/c/ban...

Images:

Week 11

Animation Progress: After finally texturing, rigging my character and paint weighting I could finally start my animations. It was annoying that I couldn’t move my hand/fingers more than I could, otherwise I could animate my hands better and show the weight being applied on to the hands. For the duration of lab time in this week Jason was able to give me a few pointers he was glad I was moving around in the class to try and understand how to animate my mime but at the same time he said you’re not showing the weights of his arms and shoulders snapping because of the invisible and we can’t tell when the end of the box ends. So I decided to create a poly square and place it around my rig to help me visualize how and where the hand should stop. The section which I found most difficult was the walk cycle. Maybe I was trying to be too technical and key frame unnecessary movement over long spaces between keying and when I try to scale it down, it caused more problem with the execute of the walk.

Images:

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Week 12

Animation Progress: Finally once all of the mime animation was complete I was happy to import it into my scene. It only came to my attention from when I import the model into my street I found out i didn’t take something into consideration. The proportion of the model and street and model wasn’t exactly in fact the model was three times bigger than the street. This cause a massive set back of time grouping all the objects from the street and rescaling and move them into the right place. I couldn’t move/scale the mime because of the skin- rig which meant I would need to delete the fix sets key that controlled the mime position on the scene. After overcoming this small problem I set my attention on making the second person to walk pass the mime and ignore him causing him to be sad this was the aim of my project. If I had to be honest I had forget to make another model for my scene and with time and my moral slowly being drained I thought to use the same model but a different texture. After retexturing the model and create a new walk cycle, I imported him into the street and in sync him to walk in at the right time. The camera itself was meant to be dead front of him but instead I change this to get a better angle. Once I was happy with the light and the render setting I set it to render I just sat back and though about everything I’ve done in the last 12 weeks.

Images:

What ive learn most about this module is that as an animator/game designer we can’t just create an animation/ cinematic without able to show the emotion be hide the character. We are not making this just to show we have a good understanding of the body anatomy but that these motion show a mood and that the people seeing this can understand this if not relate to them.

Evaluation of My Render Animation

The animation that I chose to use is that of a Mime doing an act on the streets. The emotion I chose for my animation to show is sadness. In the animation the mime carries out several different actions like touching an imaginary wall and opening and walking through a door. A passer-by then walks past but ignores his act which makes the mime sad. Looking at the final animation I can see several good and bad points about my rendered animation.

Good Points:

First of all the model has rendered quite smoothly not showing that many mistakes or at least they are not too noticeable. Secondly the character is easily recognised as a mime doing an act in the street. Also I have even added a second character model as a passer-by which is extra effort. Furthermore my character is doing quite a lot of movements using his whole body and they are done without any major mistakes and are easy enough to see as actions used by a mime. Additionally the background of the animation is quite detailed too and is easily recognisable as a town centre in a city. The texture of the walls and buildings are quite realistic too and even has a feel of being winter. Finally the texture of the glass is realistic showing a reflection of light at different angles.

Bad Points:

First of all the there is a slight mistake in the background in which the lighting near the furthest lamppost is reflecting at two different angles. This means there is a mistake with the lighting. Really the lighting should be coming from the lamps because it is night but instead it is coming from all over as if the sun is out. Also the actual movement of the model is not that smooth so it is sometimes hard to recognise what he is doing. This is made worse by the movement being so fast. On top of this only one camera angle was used from a distance so it is difficult to see the facial expression of the mime. Instead we see the emotion in his body language and gestures. Another bad point is that there is no movement from the fingers of the hands models. They stay in the same position so it is not very realistic. Additionally the bucket he is using for money is slightly wrong as the dollar sign stuck on it is too low and almost looks like it is slightly on the pavement. Moreover the passer-by looks like another mime and walks like my mime model. This can be slightly confusing for watchers. Finally the pavement that the mime is on should be elevated like the pavement on the other side. This makes it harder to see where the road is in the animation.

In conclusion I think my animation is quite good for its purpose which is to show an emotion. Although the movement is not smooth and has some minor mistakes you can clearly see that my model and his act is that of a mime. Also you can see by the last gesture and expression that he is clearly saddened by the passer-by ignoring him. Therefore my finished animation fits its purpose.

The gold and diamonds for these rings were recycled from a ring that had been one friend's father's ring. The process was very labor-intensive. The diamonds had to be removed then the ring melted down into an ingot. This was then hammered out flat in several cycles of hammering and annealing (softening by heating-- the gold hardens significantly with a little hammering) and finally run though my rolling mill until I had a strip slightly less than 1/16" thick. I then sawed this into thin strips lengthwise and pulled them through a drawplate to make round wire out of it. This again involved several cycles of annealing and of filing the corners down on all the thin strips to help the process of basically turning a strip with a square cross-section into a piece of round wire.

The diamonds were reset into the band first and the gold added later, shaped by hand, and soldered in piece by piece.

Jesus Torres, from left, Oxnard Mayor Thomas Holden, Sharon Hillbrant, Tom McCallion, Heather Lacayo, Leah Lacayo, Hank Lacayo, Alicia Flores, Port Huemene Mayor John Sharkey, Alicia Reyes, Armando Lopez, Elva Aguirre Lima and Yvonne Guitierrez, were some of those photographed attending the Congress of California Seniors grand opening for its new state field operations and special programs office on Nov. 5, 2009 in Oxnard, California.The opening included a presentation by Verizon of a program grant to the organization for the continuance of the CEASE project in Ventura County (Commitment to End Abuse of Seniors and Elders), said Henry L. "Hank" Lacayo, state president for the organization. For more than 30 years, the Congress of California Seniors has been a strong voice for millions of California seniors, their families and their communities, according to information on the group's web site.

For more information, contact: info@seniors.org or visit www.seniors.org

Photo courtesy of Tracy Saunders

/ Artisfactions.com

© 2009

www.Artisfactions.com/

Commitment - being committed to their learning

"I am COMMITTED I never give up. "

Infusionsoft's Core Values: Entrepreneurship, Authenticity, Integrity, Passion and Compassion.

Infusionsoft is the leading marketing automation software small businesses and entrepreneurs use to grow their business.

The "The Gables" still retains it's original conservatory which is accessed through a stained glass door off the former drawing room. It has a row of yellow and red Art Nouveau stained glass vent windows as well as one beautiful Art Nouveau stained glass picture window. The picture window features brightly coloured stylised yellow and orange flowers.

"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.

Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.

Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.

As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.

"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.

Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.

Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.

Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.

Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.

The most commonly available Encore models are rider pallet trucks, stockpickers, counterbalanced forklifts and narrow-aisle reach trucks. Throughout the past 10 years, Crown’s customers have used thousands of Encore lift trucks as key components of their fleet and evidence of their sustainability commitment in their warehouses. Learn more at www.crown.com.

Dozens of Greater Manchester’s faith and community leaders stood together against hatred as they signed a new statement pledging their commitment to encouraging strong, diverse communities.

Leaders, including GMP Chief Constable Ian Hopkins, Councillor Carl Austin-Behan, Lord Mayor of Manchester, Rt Revd David Walker, Bishop of Manchester, Mrs Sharon Bannister, President, Jewish Representative Council of Greater Manchester and Region, Mr Qadir Chohan, Chair, Manchester Council of Mosques and many others came together at Manchester Cathedral to sign the statement, created as a result of a rise in hate crimes following the EU referendum result.

Greater Manchester saw a 23 per cent increase in hate crime in the week after the country chose to leave the European Union at the end of June.

Chief Constable Ian Hopkins said: “I believe in a democratic society people should be safe, both from physical harm, but also from hatred. Sadly we are seeing a significant number of people across Greater Manchester being subjected to hate incidents and hate crimes. This is totally unacceptable. Today is an important step in uniting our communities and am pleased to see so many other influential people standing with us to end hate crime and discrimination.

“This statement very clearly reinforces our commitment to encouraging inclusive communities, whilst recognising the difference people bring to Greater Manchester that help make it such a wonderful place. It is also, however, a very strong message to those who go against this – there is absolutely no place for hatred or discrimination in Greater Manchester. We will do all we can to take action against anyone who commits hate crimes.”

Faith Leaders’ Secretary, Canon Steve Williams, said: “The speed with which Faith Leaders acted shows how serious we consider the situation to be. But it also shows that people in our communities want to make a positive difference – to support people who’ve suffered in this way, and to promote good-news stories of acts of kindness and inclusion that build bridges, not barriers.”

The statement is part of GMP’s We Stand Together’ campaign which encourages people to come together as one and celebrate their differences in order to build safer and stronger communities.

It was signed at an event hosted by the Diocese of Manchester on Tuesday, 12 July, which saw speeches from Chief Constable Ian Hopkins, the Dean, Bishop David Walker, The Lord Mayor and the Police and Crime Commissioner.

Anyone who experiences hate crime is encouraged to report it by calling the police on 101, Crimestoppers anonymously on 0800 555 111 or using the True Vision website (www.report-it.org.uk).

To find out more about Greater Manchester Police please visit www.gmp.police.uk

You should call 101, national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

Aruna Mohanty

Devotion, perseverance and commitment have placed Aruna Mohanty as the finest among Odissi dancers of her generation. Nurtured under the able guidance of Guru Gangadhar Pradhan, Aruna especially excels in the abhinaya aspect of Odissi. She has been a student and Secretary of Orissa Dance Academy. Her unique skill and versatility make her the recipient of many awards and accolades, including the Mahari Award 1997, Sanjukta Panigrahi Memorial National Award 2001, Fellowship by Ministry of HRD, Govt. of India, and an award for her contribution to the field of Odissi Dance, from the Utkal University, orissa. Apart from dance, Aruna has also established herself as an excellent choreographer. Some of the items in her repertoire include the dance ballet “Shrusti O Pralay”, “Varsha Abhisara”, “Shravan Kumar”, “Samrat Kharavela” , “Kanchi Abhijan”, “Krupanidhana” & “Krushna Saranam”, etc. Widely traveled to countries like Canada, USA, South America and some of the European countries, she is the advisor-member of Central Sangeet Natak Akademi, New Delhi. Currently she is conferred for the Central Sangeet Natak Akademi Award for the year -2010 by the Govt. of India. And Govt. of Orissa has appointed her to be the Vice-President of State Sangeet Natak Akademi.

Concept Note

----------------

Gatha Odissi - from the temple to the stage

History is not scripted; it gets created over the ages. It transforms itself according to the tides of life and times. Therefore, from the point of view of the present, how does one view the entire panorama of Odissi Dance, which has traveled through an arduous journey of nearly two thousand years?

After the sunrise, comes the dark hour of the sunset. But the rhythmic foot falls of Odissi dance, however, continue to reverberate from within the dark corridors of history.

Around the middle of Ninteenth century a new resolve paves the way for the resurrection of the flagging traditions of Odissi Dance. The danseuse damsels break out of their stony incarnation from temple-walls and metamorphose into life. In this hour of revival, the great Gurus of our times create a whole new grammar of Odissi. The genesis of Mangalacharan, Pallavi, Sthayi, Abhinaya and Moksha, which form the superstructures of Odissi, spring up from the sub-structures of the allied art forms and folk forms of Odisha such as Mahari, Gotipua, Sakhi Nata, Raasa and Leela.

Through brief narrations and symbolic images Odisha Dance Academy spins the story of transformation and resurgence of Odissi Dance spanning from the Jagannath Temple of Puri right up to the contemporary stage.

Conceptualized by - Guru Aruna Mohanty

Kedar Mishra

Music composition - Guru Bijay Kumar Jena

Rhythm composition - Guru Dhaneswar Swain

Guru Bijay Kumar Barik

Musicians :

Mardala - Guru Ddhaneswar Swain

Guru Bijaya Kumar Bari

Vocal - Harapriya Swain

Nazia Alam

Rupak Kumar Parida

Violin - Ramesh Chandra Das

Flute - Srinibash Satpathy

Sitar - Swapneswar Chakravorty

Dance Choreography- Guru Aruna Mohanty

Dancers :

Odissi Dance : Ramesh Ch. Jena, Madhusmita Mohanty, Yudhisthir Nayak, Pabitra Ku. Pradhan, Sridutta Bhol, Janhabi Behera, Pankaj Ku. Pradhan, Pravat Ku. Swain, Arupa Gayatri Panda , Prashant Ku. Behera, Bijan Ku. Palei , Pragati Das & Rudra Prashad Swain.

Gotipua Dance : Sriram Chahatray, Suryakanta Samantaray,Arupananda Pradhan, Santosh Biswal & Rama Pradhan