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North Pier is the most northerly of the three coastal piers in Blackpool, England. Built in the 1860s, it is also the oldest and longest of the three. Although originally intended only
as a promenade, competition forced the pier to widen its attractions to include theatres and bars. Unlike Blackpool's other piers, which attracted the working classes with open air
dancing and amusements, North Pier catered for the "better-class" market, with orchestra concerts and respectable comedians. Until 2011, it was the only Blackpool pier that
consistently charged admission.
The pier is designated by English Heritage as a Grade II listed building, due to its status as the oldest surviving pier created by Eugenius Birch. As of 2012 it is still in regular use,
despite having suffered damage from fires, storms and collisions with boats. Its attractions include bars, a theatre, a carousel and an arcade. One of the oldest remaining Sooty
glove puppets is on display commemorating Harry Corbett buying the original puppet there.
North Pier was built at the seaward end of Talbot Road, where the town's first railway station, Blackpool North, was built. Its name reflects its location as the most northerly of
Blackpool's three piers. It is about 450 yards (410 m) north of Blackpool Tower, which is roughly the midpoint of Blackpool's promenade. The sea front is particularly straight and
flat on this stretch of coastline, and the 1,650 feet (500 m) pier extends at right angles into the Irish Sea, more or less level with the promenade.
History: The construction of Blackpool Pier (eventually North Pier) started in May 1862, in Layton-cum-Warbreck, part of the parish of Bispham. In October 1862 severe storms
suggested that the planned height of the pier was insufficient, and it was increased by 3 feet (0.91 m) North Pier was the second of fourteen piers designed by Eugenius Birch,
and since Margate Pier was destroyed by a storm in 1978, it is the oldest of the remaining examples of his work still in use. It was the first of Birch's piers to be built by Glasgow
engineering firm Richard Laidlaw and Son.
The pier, which cost £11,740 to build, originally consisted of a promenade 1,405 feet (428 m) long and 28 feet (8.5 m) wide, extending to 55 feet (17 m) wide at the pier-head. The
bulk of the pier was constructed from cast iron, with a wooden deck laid on top. The cast iron piles on which the structure rests were inserted using Birch's screw pile process; the
screw-tipped piles were twisted into the sand until they hit bedrock. This made construction much quicker and easier, and guaranteed that the pier had a solid foundation. The
cast iron columns, 12 inches (300 mm) in diameter, were filled with concrete for stability at intervals of 60 feet (18 m), and supported by struts that were on average were slightly
more than 1 inch (25 mm) thick.The pier's promenade deck is lined with wooden benches with ornamental cast iron backs. At intervals along the pier are hexagonal kiosks built
around 1900 in wood and glass with minaret roofs topped with decorative finials. On opening two of the kiosks were occupied by a bookstall and confectionery stall and the
kiosks near the ends of the pier were seated shelters. The pier-head is a combination of 420 tons of cast iron and 340 tons of wrought iron columns; standing 50 feet (15 m)
above the low water line, it sees a regular 35 feet (11 m) change in sea level due to the tide.
The pier was officially opened in a grand ceremony on 21 May 1863, even though the final 50 yards (46 m) had not yet been completed. All the shops in the area were closed
and decorated with flags and streamers for the ceremony, which included a procession and a cannon salute, and was attended by more than 20,000 visitors. Although the town
only had a population of approximately 4,000, more than 200,000 holiday makers regularly stayed there during the summer months; this included 275,000 admissions in 1863,
400,000 in 1864 and 465,000 the following year. The pier was officially opened by Major Preston, and he and 150 officials then travelled to the Clifton Hotel for a celebratory
meal.
The pier was intended primarily for leisure rather than seafaring; for the price of 2d (worth approximately £4.90 in 2012) the pier provided the opportunity for visitors to walk close
to the sea without distractions.This fee was insufficient to deter "trippers'", which led to Major Preston campaigning for a new pier to cater for the 'trippers'. In 1866, the
government agreed that a second pier could be built, despite objections from the Blackpool Pier Company that it was close to their pier and therefore unnecessary
As permitted by the original parliamentary order, a landing jetty was built at the end of North Pier in incremental stages between 1864 and 1867. The full length of the jetty was
474 feet (144 m), and the extensions increased the pier's total length to its current 1,650 feet (500 m). The Blackpool Pier Company used the jetty to operate pleasure steamers
that made trips to the surrounding areas. In 1871 swimming and diving lessons were added to the pier.
In 1874, the pier-head was extended to allow Richard Knill Freeman to incorporate a pavilion, which opened in 1877. The interior decoration led it to be known as the "Indian
Pavilion", and it was Blackpool's primary venue for indoor entertainment until the Winter Gardens opened in 1879.
To differentiate itself from the new pier, North Pier focused on catering for the "better classes", charging for entry and including attractions such as an orchestra and band
concerts, in contrast to the Central Pier (or the "People's pier"), which regularly had music playing and open-air dancing. The pier owners highlighted the difference, charging at
least a shilling (worth approximately £19.90 in 2012) for concerts and ensuring that advertisements for comedians focused on their lack of vulgarity. Sundays were given over to a
church parade.
On 8 October 1892, a storm-damaged vessel, Sirene, hit the southern side of the pier, causing four shops and part of the deck to collapse onto the beach below. Several columns
were also dislodged, and the ship's bowsprit hit the pier entrance. All eleven crew members were rescued when they were hauled onto the pier. Damage to the pier was
estimated to be £5,000 and was promptly repaired.
Nelson's former flagship, HMS Foudroyant, was moored alongside North Pier for an exhibition, but slipped anchor and was wrecked on the shore in a violent storm on 16 June
1897, damaging part of the jetty. The wreck of the ship broke up during December storms.
The pier was closed for the winter during 1895–6 as it unsafe; as a result, the pier was widened as electric lighting was added.
An Arcade Pavilion was added in 1903 at the entrance to the pier and contained a wide range of amusements to suit all tastes. Further alterations were made to the pier in 1932-
3 when the open air stand was replaced with a stage and sun lounge.
In 1936, a pleasure steamer returning from Llandudno crashed into the pier. The collision left a 10 feet (3.0 m) gap, and stranded a number of people at the far end.
The 1874 Indian Pavilion was severely damaged by fire in 1921. It was refurbished, but was then destroyed by a second fire in 1938. In 1939 it was replaced by a theatre, built in
an Art Deco style. At around the same time, the bandstand was removed and replaced with a sun lounge.
In the 1960s, the Merrie England bar and an amusement arcade were constructed at the end of the pier nearest to the shore. The 1939 theatre, which is still in use, narrowly
escaped damage in 1985 when the early stages of a fire were noticed by performer Vince Hill. In the 1980s, a Victorian-styled entrance was built. In 1991 the pier gained the
Carousel bar as an additional attraction, and a small tramway to ease access to the pier-head. By this point, the pier had ceased to have any nautical use, but the jetty section
was adapted for use as a helicopter pad in the late 1980s. Storms on 24 December 1997 destroyed the landing jetty, including the helipad.
The North Pier is one of the few remaining examples of Birch's classic pier architecture and is a Grade II Listed building, the only Blackpool pier to hold that status. It was
recognised as "Pier of the Year" in 2004 by the National Piers Society.
North Pier's attractions include a Gypsy palm reader and an ice cream parlour, the North Pier Theatre, a Victorian tea room, and the Carousel and Merrie England bars. The
arcade, built in the 1960s, has approximately eleven million coins pass through its machines each year.
One of the earliest Sooty bear puppets used by Harry Corbett is on display on the pier. Corbett bought the original Sooty puppet on North Pier for his son, Matthew. When Corbett
took the puppet on BBC's Talent Night programme, he marked the nose and ears with soot so that they would show up on the black and white television, giving the puppet its
name.
The Carousel bar on the pier-head has a Victorian wrought iron canopy, and its outdoor sun-lounge is classified as the largest beer garden in Blackpool. Next to the bar is a two
tier carousel, the "Venetian Carousel", which is protected from sand and spray by a glass wall.
After the fire in 1938, the pavilion was replaced with a 1,564 seat theatre which has since hosted a number of acts including; Frankie Vaughan, Frank Randle, Tessie O'Shea,
Dave Morris, Bernard Delfont, Morecambe and Wise, Paul Daniels, Freddie Starr, Russ Abbott, Bruce Forsyth, Des O'Connor, Joe Longthorne, Lily Savage, Brian Conley and
Hale and Pace.
In 2002 a heritage room with photographs was opened up, the foyer entrance was refurbished and a disabled lift added. By 2005, there was no longer a live organist playing in
the sun lounge although other live entertainment continues. In 2013, the live organist was brought back into the sun lounge.
The pier was built and owned by the Blackpool Pier Company, created with three thousand £5-shares in 1861 (worth approximately £2,990 in 2012). The same firm operated the
pier in 1953, and the company was incorporated in 1965. The Resorts Division of First Leisure, including the pier, was sold to Leisure Parks for £74 million in 1998. In 2009, the
pier was sold to the Six Piers group, which owns Blackpool's other two piers, and hoped to use it as a more tranquil alternative to them. The new owners opened the Victorianthemed
tea room, and built an eight-seat shuttle running the length of the pier.
In April 2011, the pier was sold to a Blackpool family firm, Sedgwick's, the owners of amusement arcades and the big wheel on Blackpool's Central Pier. Peter Sedgwick
explained that he proposed to his wife on North Pier forty years ago, and promised to buy it for her one day. He said that he wants to restore the Victorian heritage of the pier and
re-instate the pier's tram. An admission charge of fifty pence to access the board-walk section of the pier was abolished by the Sedgewicks.
A petition to wind up the Northern Victorian Pier Limited (the company used by the Sedgwick family to manage Blackpool North Pier) was presented on 17 September 2012 by
Carlsberg UK Limited, a creditor of the Company, and this was to be heard at Blackpool County Court on 15 November 2012.
At the 11th hour, an agreement to pay the outstanding balance owed to Carlsberg was made and Peter Sedgwick's company escaped liquidation.
[Wikipedia]
While going through older photos, I found this shot of the Olympia-Schwimmhalle in Munich to be relevant again! When I took the shot it was more or less just an exposure test.. I recently conciously noticed that the architecture of the whole Olympia complex in Munich really quite consistent
Shot on Tmax400 pushed to 1600 and scanned on a Nikon Coolscan 9000 ED
The Corvette has been a consistent seller for GM, through good economic times and bad.
So it's a mystery why this particular economic downturn has sent Corvette sales into the proverbial toilet; down by almost 2/3 since 2007. It's a sign of extreme loyalty to this car within the company that the Corvette survived GM's bankruptcy, when the Solstice (indeed, the entire Pontiac division), Sky, and the Corvette's brother-under-the-skin, the Cadillac XLR, all went extinct.
Why have Corvette sales suddenly hit the doldrums? It may be that consumers increasingly see a two-seat car as impractical, even though, according to the Government's Office of Technology Assessment, 95% of all work commutes and 83% of all car trips are taken with ONE person in the vehicle. Isn't it more impractical to buy a 5000 lb, 13mpg, 8-passenger SUV to haul 50 lb. bags of manure home from Lowe's once a year, or a bunch of Little Leaguers to an away game once a week?
But perception is perception, and even at Porsche, the sales situation with the 911 is sufficiently dire that, for a short time, Porsche was promoting it as a "family car" on the basis of its vestigial rear seats.
But back to Corvette. Maybe the upcoming 2014(?) C7 will bring things back to 30,000/yr. volumes.
Or maybe GM will have to live with 10-15K as the new normal. In any case, GM would be foolish indeed to get rid of the one car that sets almost every American male jaw to drooling, whether they admit it or not. Or maybe they can pitch its relative ease of driveability and 25mpg highway gas mileage to well-to-do, professional women.
Just tossing out ideas here, but the idea is to keep it in production, and the way to do that is to increase sales, by any means necessary. Something like Dean's recent pitch for eggnog as an Easter beverage, too. Or Swanson in the '50's, inventing TV dinners (now frozen entrees) to get rid of an oversupply of leftover Thanksgiving turkeys. Whatever it takes, folks.
Toronto, Ontario, Canada
Toronto is Canada's largest city, the fourth largest in North America, and home to a diverse population of about 2.8 million people. It's a global centre for business, finance, arts and culture and is consistently ranked one of the world's most livable cities.
Toronto is a city in Canada and the provincial capital of Ontario. It is located in Southern Ontario on the northwestern shore of Lake Ontario, with the original city area lying between the Don and Humber rivers.
For more information on visiting Toronto visit:
For more information on visiting Canada visit:
us-keepexploring.canada.travel/
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About this day of the trip:
Day 2
Niagara Falls - Niagara Falls Canada - Toronto (83 miles)
We will continue our tour Niagara Falls by heading into Canada to take the Hornblower Cruise boat ride and see an informational movie at the IMAX Theater. We will also ascend the Skylon Tower. The tour then departs for Toronto, ON, one of Canada's largest cities. There we will visit the CN Tower and guests will have the option to take a Lake Ontario Cruise. During the winter when the cruise is not running, we will instead visit Casa Loma. We will have dinner in historical Chinatown.
Niagara Falls Canada, Canada
Skylon Tower This observation tower on the Canadian side of Niagara Falls offers a bird's-eye views of one of the world's favorite natural wonders. The tower stands 520 feet from street level and 775 feet from the bottom of the falls.
Rainbow Bridge The Rainbow Bridge across the Niagara River connects Niagara, Ontario to Niagara, New York. It is an international landmark and impressive architectural feat. In addition to private vehicles, pedestrians and bikes can cross the bridge for a small toll.
Niagara Falls IMAX This amazing movie experience, presented on an unbelievable IMAX screen, chronicles more than 12,000 years of history and examines human interaction with the falls from ancient time through the people-- like you-- who come to see them today.
Hornblower Niagara Cruise Get ready to get wet: this world-famous boat ride takes passengers as close to the falls as it is possible to get. Formerly Maid of the Mist, Hornblower now runs Niagara cruise operations on the Canadian side of the Falls.
Skylon Revolving Restaurant Lunch The impressive Skylon Tower, jutting into the air above Niagara Falls, features the Revolving Dining Room, a one-of-a-kind eatery the makes a full revolution every hour. Sitting just below the observation deck, guests can enjoy views and food!
Toronto, ON
Lake Ontario Cruise Lake Ontario Cruises offer gorgeous views of the city of Toronto from the waters of Lake Ontario, one of the famous Great Lakes of North America. See the city of Toronto and the surrounding area in a new way!
Toronto City Hall This unique building complex is one of the most famous in Toronto, and also the home of the city's municipal government. The Toronto City Hall offers self-guided tours which are available in five languages (including English).
University of Toronto Routinely placed in the top 30 institutions of higher learning in the world, the University of Toronto has been educating the masses since 1827. Widely considered the best university in Canada, it is known for its pioneering research.
Casa Loma This century-old Gothic-style house in Toronto was originally the home of financier Sir Henry Mill Pellatt. Today, it serves as a museum that showcases the history of life in Toronto and what life was like in the early 1900s.
CN Tower Toronto's CN Tower is a Canadian icon and one of the most recognizable North American buildings. Made entirely of concrete, this massive monolith was the tallest structure in the world at the time of its completion in 1976.
Ontario Legislative Building The Ontario Legislative Building in Toronto, Ontario, Canada is the seventh structure to function as the parliamentary building of the province of Ontario. This impressive building is in the Richardsonian Romanesque architectural style and was built in 1893.
Chinatown One of the largest Chinatowns in North America is located in downtown Toronto, Ontario. Toronto contains several Chinatowns. This one is the oldest, dating back to the 1870s, and the historical area features many authentic groceries, restaurants, and shops.
Toronto Chinese Dinner Treat yourself to a specialty dinner in one of the largest Chinatowns in the Western Hemisphere! Freshly-cooked meats and vegetables decorate the windows of the esteemed restaurants, from whole cooked ducks to beef ribs and so much more. Enjoy!
Deluxe Hotel: Crowne Plaza or similar
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3-Day Niagara Falls, Toronto Canada Tour from New York
Tour Code: 655-68
July 11th, 12th, 13th 2014
Visit:
Watkins Glen State Park New York
Niagara Falls, NY USA
Thundering Water Cultural Show
USA / Canada international border crossing on Rainbow Bridge from New York United States of America to Ontario Canada
Niagara Falls, Ontario Canada
Skylon Tower
Niagara Falls IMAX
Hornblower Niagara Cruise
Skylon Revolving Restaurant Lunch
Toronto which is the largest city in Canada
Lake Ontario Cruise
Toronto City Hall
University of Toronto
CN Tower
Ontario Legislative Building
Chinatown
Toronto Chinese Dinner
Thousand Islands, Ontario Canada
Thousand Islands Cruise
Thousand Islands Cruise Breakfast
Thousand Islands Tax and Duty Free Store in Lansdowne, Ontario Canada
Canada / USA international border crossing Thousand Islands Bridge from Hill Island, Ontario, Canada across the Saint Lawrence River to Wellesley Island, New York, United States of America
For more information on the 3-Day Niagara Falls, Toronto Canada Tour from New York visit:
www.taketours.com/new-york-ny/3-day-toronto-niagara-falls...
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Hashtag metadata tag
#Canada #Canadian #Toronto #TorontoCanada #CityofToronto #TorontoCity #CityToronto #Ontario #TorontoOntario #TorontoOntarioCanada #LakeOntario #The416 #HollywoodNorth #TO #T.O. #Tee-Oh #TeeOh #T-dot #Tdot #CNTower #VisitToronto #VisitCanada
Photo
Toronto city, Ontario province, Canada country, North America continent
July 12th 2014
Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
John John Florence, the hottest young surfer on the planet today, has continued his winning streak by taking out the ASP Prime rated Telstra Drug Aware Pro at Margaret River today.
Nineteen year old Florence won a hotly contested, all-Hawaiian final against 25 year old Olamana Eleogram, who could not continue his giant-killing dream run after earlier eliminating top seeds Owen Wright and Josh Kerr in the man on man heats.
Florence was clearly the form surfer of the event heading into the final, having consistently recorded 16 point plus heat scores over the week. Florence progressed after an amazing face-off against fellow teen prodigy Kolohe Andino in the Round of 16 late on Friday afternoon. John John made up for loss to Andino in a No Loser round earlier that day with a scorching score of 19.70 featuring the first and only ten point ride of the competition.
The wind died down and the swell began to pulse for the Men’s final after strong offshore winds made surfing in the early morning finals difficult. Eleogram was the first to strike in the 35 minute final, catching a right hander to bank an early score of 6.00. Florence soon responded with a 7.00 point right hander and backed it up straight away with another nice right, nailing an enormous finishing turn to score 7.83.
The final then became a backhand battle between the two natural footers as the lefthander began to offer the best scoring potential in the changing wind. Eleogram went left under priority hitting a number of critical turns to score an 8.83 to take the lead. But that only seemed to make Florence more determined as he aggressively attacked consecutive lefthanders, taking to the air on both waves to land scintillating backside reverse aerials, impressing the judges with scores of 9.43 and 9.33 to take a solid grip on the final by the half way mark with a total of 18.76.
That left Eleogram needing a perfect ride for the win, as Florence continued to put on a jaw-dropping display of new-school innovative surfing. The challenge proved too great for the affable Eleogram, who had to be content with making an ASP Prime final for the first time in his career.
“I was so stoked about being in the final with a good friend, a guy I grew up surfing with as a young kid,” said Florence after he had been chaired up the staircase from the beach by his mates. “Some great waves came through early in the heat and I felt loose and relaxed and hit a few airs. The wind here is just like home and it was pushing into the left for a change and gave me a chance to get up on a couple.” But the cool Florence did admit to some jitters midway into the final. “I started to get nervous with about fifteen minutes left, just thinking this could turn around on me, you just never know.”
The win for Florence continues a hot start to 2012, his rookie year on the ASP World Tour, as he won the season starting ASP 5 star Volcom Pipe Pro at his home beach in Hawaii, before going through to the last 16 at the opening World Tour event at Snapper Rocks on the Gold Coast earlier this month. It marks a rare streak of form for the Hawaiian prodigy who first rose to prominence on the tour when he became the youngest ever surfer to clinch the coveted Vans Triple Crown at his home breaks in Hawaii at the end of 2011, clinching his place on the ASP World Tour for 2012.
Florence’s performance at this event will go down as one of the most dominant in the event’s history. Florence has collected five of the top ten single wave scores and the top thee two-wave heat totals thanks to his full repertoire. Florence defeated fellow Hawaiian Olamana Eleogram (HAW) in the Final by scoring two 9-point-rides, for mixing huge power gouges with technical aerials.
“I’ve been having a lot of fun this week,” Florence said. “The waves are are a lot like at home, even the wind when it’s good for airs is a lot like Hawaii. The waves have been fun in all of my heats. I’m so stoked to win. This gives me a lot of confidence going into Bells because I hear the waves are similar. I was so stoked to make the Final with Ola (Eleogram) at Margaret River.”
Mark Occhilupo (AUS), 1999 ASP World Champion, although retired from full-time competition decided to come to Margaret River and attempt to win the event for his third time. Occhilupo’s affinity for Margaret River was clear from day one, with surf fans being treated to watching his iconic style and flair as he progressed through the contest. His dream run ended in the last minute of his Semifinal today, when Olamana Eleogram (HAW) posted a 6.50 and took the lead, sending Occhilupo home with an equal 3rd place finish.
“I have had the best time this week,” Occhilupo said. “In that Semifinal I had a pretty bad heat. A wave came at the end that I could have gotten the score on, but I fell. I’m going to go away and keep thinking about that. I’m still beating myself up about it. By the time I get home it will have sunken in and I will be stoked with third. That competitive nature doesn’t ever leave you.”
Courtney Conlogue Goes Back-To-Back At The Telstra Drug Aware Pro Margaret River
Courtney Conlogue (USA), reigning Telstra Drug Aware Pro event champion, today won the event for the second year in a row. Conlogue’s powerful backhand attack is perfectly suited to these powerful South West WA waves. The young Californian dominated the Final against Hawaiian Malia Manuel (HAW), posting two scores in the 8-point-range (out of a possible 10), to etch her name on the winners list once again.
“I was trying not to think about going back-to-back too much because I didn’t want to put pressure on myself,” Conlogue said. “I’m stoked to have gotten two in a row. This place taught me a lot last year and the years before. The first time I came here I lost in the second round and it was quite an embarrassing heat. Going from that to what I’ve done now feels great, and each year I come back I feel like I get to know the waves better and better. Now I’m looking forward to going to Bells because this place is great training for down there.”
TDAP 2012: Men's R48, Heats 1-2
TELSTRA DRUG AWARE PRO MEN’S SEMIFINAL RESULTS:
John John Florence (HAW) 18.76 def. Olamana Eleogram (HAW) 15.43
TELSTRA DRUG AWARE PRO MEN’S SEMIFINAL RESULTS:
SF 1: Olamana Eleogram (HAW) 11.67 def. Mark Occhilupo (AUS) 9.84
SF 2: John John Florence (HAW) 19.13 def. Kai Otton (AUS) 14.37
TELSTRA DRUG AWARE PRO MEN’S QUARTERFINALS RESULTS:
QF 1: Olamana Eleogram (HAW) 14.83 def. Josh Kerr (AUS) 2.34
QF 2: Mark Occhilupo (AUS) 17.63 def. Tom Whitaker (AUS) 16.03
QF 3: John John Florence (HAW) 15.44 def. Nic Muscroft (AUS) 13.10
QF 4: Kai Otton (AUS) 16.90 def. CJ Hobgood (USA) 13.93
TELSTRA DRUG AWARE PRO WOMEN’S SEMIFINAL RESULTS:
Courtney Conlogue (USA) 16.23 def. Malia Manuel (HAW) 11.03
TELSTRA DRUG AWARE PRO WOMEN’S SEMIFINAL RESULTS:
SF 1: Malia Manuel (HAW) 15.90 def Nikki Van Dijk (AUS) 13.40
SF 2: Courtney Conlogue (USA) 15.67 def. Rebecca Woods (AUS) 11.00
TELSTRA DRUG AWARE PRO WOMEN’S QUARTERFINALS RESULTS:
QF 1: Malia Manuel (HAW) 12.00 def. Pauline Ado (FRA) 9.83
QF 2: Nikki Van Dijk (AUS) 12.17 def. Stephanie Gilmore (AUS) 11.17
QF 3: Rebecca Woods (AUS) 10.33 def. Laura Enever (AUS) 9.06
QF 4: Courtney Conlogue (USA) 15.26 def. Kirby Wright (AUS) 12.90
For more information, visit www.telstradrugawarepro.com
Rooineklewerik
(Mirafra africana)
Rooineklewerik
(Mirafra africana)
The rufous-naped lark (Mirafra africana) or rufous-naped bush lark is a widespread and conspicuous species of lark in the lightly wooded grasslands, open savannas and farmlands of the Afrotropics. Males attract attention to themselves by their bold and repeated wing-fluttering displays from prominent perches, which is accompanied by a melodious and far-carrying whistled phrase. This rudimentary display has been proposed as the precursor to the wing-clapping displays of other bush lark species. They have consistently rufous outer wings and a short erectile crest, but the remaining plumage hues and markings are individually and geographically variable. It has a straight lower, and longish, curved upper mandible.
The rufous-naped lark is geographically very variable, and is taken to form a species complex with the allopatric red-winged lark of East Africa, and perhaps with the Somali lark. It is a smaller version of the first, with a finer bill and shorter tail, but their morphological and vocal features do not intergrade where their ranges meet. The rufous nape is an equivocal field character, being absent in the tropical races[8] and in some individuals.
Due to the inherent variability of the species, some of the 23–25 odd races are perhaps insufficiently distinct or clinal. Consequently, M. a. rostrata and M. a. zuluensis are sometimes merged with M. a. africana, and M. a. okahandjae with M. a. pallida. On the other hand, a few taxa are arguably incipient or full species. The distinctly plumaged blackish lark comprises races M. a. nyikae and M. a. nigrescens, and is altitudinally isolated from M. a. transvaalensis in nearby Tanzania. Malbrant's lark, M. (a.) malbranti, which ranges from Gabon to Angola, has a fairly distinct display flight, but may intergrade with M. a. kabalii in Zambia.
Sharpe's lark, M. (a.) sharpii, of northwestern Somalia, has almost plain, coppery red upper parts and is sometimes (e.g., by Sibley and Monroe) regarded as a separate and endangered species. Its small range of some 21,200 km2 is impacted by overgrazing and conversion to croplands. It may however be conspecific with Somali lark, M. (a.) somalica, which differs by its very long bill and white edges to the outer tail feathers. The Somali lark is sometimes considered a race of rufous-naped lark, but is alternatively deemed a full species in Mirafra or Certhilauda.
Twenty-three subspecies are recognized:
M. a. henrici Bates, 1930 is found from Guinea to south-western Ivory Coast.
M. a. batesi Bannerman, 1923 was originally described as a separate species. It is found from central Nigeria to south-eastern Niger and western Chad.
M. a. stresemanni Bannerman, 1923, the "Cameroon rufous-naped lark", was originally described as a separate species. It is found in north-central Cameroon.
M. a. bamendae Serle, 1959 is found in western Cameroon.
M. a. kurrae Lynes, 1923, the "Darfur rufous-naped lark", is found in western Sudan.
M. a. tropicalis Hartert, 1900, the "Uganda rufous-naped lark", is found from eastern Uganda and western Kenya to north-western Tanzania
M. a. sharpii Elliot, DG, 1897, or "Sharpe's lark", is also known as the "red Somali lark" or "Somali lark", but should not be confused with M. (a.) somalica. It was originally described as a separate species, and is found in north-western Somalia.[14]
M. a. ruwenzoria Kinnear, 1921, the "Rwenzori rufous-naped lark", is found from the DRC to south-western Uganda.
M. a. athi Hartert, 1900, the "Athi rufous-naped lark", is found from central Kenya to north-eastern Tanzania.
M. a. harterti Neumann, 1908, the "Ukamba rufous-naped lark", is also known as "Kikuyu rufous-naped lark". It is found in south-central Kenya.
M. a. malbranti Chapin, 1946, or "Malbrant's lark", was originally described as a separate species. It is found from Gabon to central Angola and the southern DRC.
M. a. chapini Grant, CHB & Mackworth-Praed, 1939 is found in south-eastern DRC and north-western Zambia.
M. a. occidentalis (Hartlaub, 1857), the "Gabon rufous-naped lark", is found in western Angola.
M. a. kabalii White, CMN, 1943 is found in north-eastern Angola and north-western Zambia.
M. a. gomesi White, CMN, 1944 is found in eastern Angola and western Zambia.
M. a. grisescens Sharpe, 1902, the "Matabele rufous-naped lark", was originally described as a separate species. Found in western Zambia, northern Botswana and north-western Zimbabwe.
M. a. pallida Sharpe, 1902, the "Damara rufous-naped lark", was originally described as a separate species. It is found in south-western Angola and north-western Namibia.
M. a. ghansiensis (Roberts, 1932) is found in eastern Namibia and western Botswana.
M. a. nigrescens Reichenow, 1900, the "Ukinga rufous-naped lark", was originally described as a separate species. It is found in north-eastern Zambia and southern Tanzania.
M. a. isolata Clancey, 1956 is found in south-eastern Malawi.
M. a. nyikae Benson, 1939 is found in eastern Zambia, northern Malawi and south-western Tanzania.
M. a. transvaalensis Hartert, 1900, the "Transvaal rufous-naped lark", is found from Tanzania to northern South Africa.
M. a. africana Smith, 1836 is found in south-eastern South Africa.
The rufous-naped lark is a fairly large and robust lark species,[3] with rather heavy flight. The sexes are similar, but males average larger and heavier. Adults are individually and geographically variable. It measures 15–18 cm from bill tip to tail tip[16] and weighs 40-44 g. The streaked upper parts, short erectile crest, creamy-buff eyebrow that merges with the lore, and the rufous flight feathers are easily discernible features.The hindcrown and nape are streaked along the feather centers while the margins vary from chestnut, rufous or pinkish buff to greyish brown. The wings appear conspicuously rufous in flight, while the outer edges of the primaries show up as a rufous panel on the closed wing. The underwing coverts are rufous, and upper coverts are broadly edged tawny or buff (or grey in race grisescens). The tail is dark brown, but the outer webs of the outer tail feathers vary from buff (cf. africana and sharpii) to tawny or bright rufous.The mantle is lighter brown than the back, and the rump still darker brown. The flanks are a shade darker than the rufous-buff belly, but regionally the plumage may also be stained red by soil. The throat is unmarked but the pale rufous upper breast is streaked and spotted darker brown. The eyes are hazel brown, the longish bill is blackish and pinkish, and the feet pink to pinkish brown. Juveniles have bold black spotting on the crown, mantle and wing coverts, all edged with buff, while the breast spotting is more blotchy or diffuse.
M. a. athi of the Kenyan highlands is typically coloured, but like other tropical races, lacks the rufous nape. Most accepted races are distinguished based on the colour of the back or underpart plumage, or the amount of streaking on the ear coverts and flanks. High altitude races M. a. nyikae and M. a. nigrescens, which occur above 2,000 meters, have very dark upper part plumages and increased flank streaking. M. a. tropicalis which is found above 1,000 meters has a solid rufous wash over the underparts. Of the southern African races, those in the southeast are the largest and darkest (cf. M. a. africana and M. a. rostrata), with a cline towards lightly streaked and pale pinkish plumages in the northwest.
The rufous-naped lark is found in many parts of sub-Saharan Africa. It has a very large but discontinuous[19] range, with an estimated global extent of occurrence of 5,600,000 km2. Its range is believed to be increasingly fragmented in the north, from which a declining population is inferred. The southern African population has not contracted in range or abundance, save for areas of extensive cultivation or urbanization. Livestock ranching is believed to have created bare patches in grasslands, which they favour. The populations of southern Mozambique and Swaziland have been estimated at >50,000 and 100,000 individuals respectively.
It tolerates a range of dry or mesic habitats, typically bushy grassland or sparsely wooded savannah. It also occurs along the fringes of marshes, in woodland clearings or in the fragmented ecotone of woodland and grassland. It is present from near sea level in the south, to about 3,000 meters near the equator. In Zimbabwe it occurs from 900 to 1,800 meters, and in East Africa from 1,000 to 3,000 meters. Termitaria, bushes, small trees or fence posts provide perches for display, while a combination of tall and short grass provides cover and foraging space. In southern Africa it occurs only sparsely in grassy fynbos, grassy karoo and upland sour grasslands, but has high reporting rates in the Eastern Highlands of Zimbabwe, in miombo and in sweet or mixed grasslands.
The rufous-naped lark is sedentary, territorial and monogamous. It is often sluggish, allowing a close approach. Short distances are covered in low, level or undulating flight, or it may flee an intruder by running and dodging through grass haphazardly. It may be difficult to flush from grass, and is easily overlooked when not singing.
At any time of the year, but especially when the rains commence, a male will spend hours calling from a conspicuous perch. A clear, somewhat variable, whistled phrase of three to five syllables is typical, which may be rendered as tseep-tseeoo, teeoo-teewee or chiwiki-chiwi. The song may be changed after each 20 or so repetitions. During some intermissions the wings are audibly fluttered in the few seconds between phrases. This results in a quick prrrrt or phrrrp rattle, and may lift the bird off its perch. The crest is also lifted during display. It may alternatively sing a rudimentary song consisting of whistles, tweets and trills (distinguishable as imitated calls), during short flights over the grass or during an upward spiraling flight, before it planes down. Race malbranti in particular, may sing during a straight and direct display flight and clap its wings above its back. Perched males may also string together fragments of the songs of various grassland birds. It utters peewit, tweekiree or pree, pree notes in alarm.
Wikipedia
Les fortifications consistent en une muraille et un mur interne, séparés par une salle de garde, qui ont pris leur physionomie actuelle entre le XIIIe et le XIe siècle. Les constructions externes du plus ancien monastère étaient en pierre ou à colombage ; les bâtiments construits selon cette dernière technique sont plus fréquents entre le XVIe et le XVIIIe siècle, mais ils incorporent souvent des vestiges importants des constructions médiévales qui les ont précédés.
World’s Best Surfers Ignite Aproador to Complete Round 1 of Billabong Rio Pro
APROADOR, Rio de Janeiro/Brazil (Tuesday, May 17, 2011) – After a week of lay-days, the world’s best surfers tore into consistently changing conditions at the lefthand pointbreak of Aproador to complete Round 1 of the Billabong Rio Pro.
Stop No. 3 of 11 on the ASP World Title Series, the opening day of men’s competition saw ASP Dream Tour veterans earn the day’s top scores while defending event winner Jadson Andre (BRA), 21, made an impressive entrance in the Billabong Rio Pro’s opening round.
Kelly Slater (USA), 39, reigning 10-time ASP World Champion, got off to a strong start to open his Billabong Rio Pro campaign. Slater unleashed two furious tail-drifting backhand turns to notch the day’s highest single-wave score of a 9.00 (out of 10) midway through his bout to overtake ASP World Tour rookie Julian Wilson (AUS), 22, and event wildcard Peterson Crisanto (BRA), 18, after nearly missing the start of his heat.
“That 9 felt good,” Slater said. “I went down to grab my jersey and there was some confusion. By the time I got out, the heat had already started and Julian got that first one. It wasn’t a good start. I knew there were going to be some good ones and I just had to be patient. That one good wave actually let me bottom turn and hit the lip, most of the waves were soft and had a lot of horizontals.”
Slater, who finished runner-up at the Billabong Pro last year, was also quick to admit that several goofy-footers will be tough to beat at the lefthander of Aproador and noted that the natural-footers will need to be especially selective in their wave choice at the Billabong Rio Pro.
“A little left like this is going to play well for goofy footers,” Slater said. “Owen (Wright) and Jadson (Andre) are probably frothing on it and licking their chops ready to go. We (natural footers) have been on our frontside at Snapper and Bells and now it’s their turn. We’ve just got to try and be smart. Mick (Fanning) looked good and there are waves out there to do it, you’ve just got to be smart.”
Taj Burrow (AUS), 32, opened his Billabong Rio Pro campaign with a sharp backhand attack by belting two Arpoador lefthanders to the tune of a 16.83 (out of 20) on his first two waves to earn the highest heat-total of the day. The Australian veteran notched his Round 1 heat win over dangerous Brazilian rookie Alejo Muniz (BRA), 21, and event wildcard Ricardo Santos (BRA), 20.
“It was kind of scary for a second there, right when they decided to start the competition the wind started howling, but then it cleaned up heaps,” Burrow said. “I got two fun ones at the start so I’m happy.”
Jadson Andre, defending event winner, reveled in Aproador’s lefthanders with a combination of aggressive carves and snaps to take a convincing Round 1 heat victory with the support of the Brazilian crowd behind him.
“I’m so happy to be here competing in Brazil and I love Aproador, I feel like a local,” Andre said. “I’ve competed here several times before and have friends here. I know everyone says I should feel pressure as defending champion, but I’m not worried about it. I’m just thinking about the next heat. That’s what I did last year.”
Mick Fanning (AUS), 29, two-time ASP World Champion, slowly built momentum in his opening Billabong Rio Pro heat, eventually igniting two lefthanders by combining a series of seamless backhand turns to notch a 15.07 heat total to advance directly through to Round 3.
“It was tricky trying to find the right one out there, but I watched the heat before and noticed that guys that were doing turns back-to-back were getting scores, so I tried to concentrate on that,” Fanning said. “They weren’t the biggest waves, but they just allowed three turns straight away.”
The Australian talent also expressed the importance of advancing directly through to Round 3 with Brazil’s ever-changing conditions.
“It’s really good to skip as many rounds as possible, especially here in Brazil where it can be really unpredictable,” Fanning said. “I’m stoked to get through Round 1 and I’ll go back and assess what’s going on and hopefully keep going.”
Billabong Rio Pro event organizers will reconvene at Aproador at 7am local time tomorrow morning for a possible Round 2 start.
To watch the Billabong Rio Pro LIVE log on to www.billabongpro.com
For additional ASP information log on to www.aspworldtour.com
Billabong Rio Pro Round 1 Results:
Heat 1: Owen Wright (AUS) 13.60, Heitor Alves (BRA) 7.67, Bobby Martinez (USA) 7.47
Heat 2: Adrian Buchan (AUS) 11.84, Adam Melling (AUS) 11.16, Kai Otton (AUS) 7.90
Heat 3: Taj Burrow (AUS) 16.33, Ricardo Santos (BRA) 11.17, Alejo Muniz (BRA) 10.60
Heat 4: Mick Fanning (AUS) 15.07, Simao Romao (BRA) 12.36, Dusty Payne (HAW) 11.66
Heat 5: Patrick Gudauskas (USA) 8.13, Jordy Smith (ZAF) 8.07, Igor Morais (BRA) 6.34
Heat 6: Kelly Slater (USA) 15.17, Julian Wilson (AUS) 14.37, Peterson Crisanto (BRA) 3.84
Heat 7: Jadson Andre (BRA) 14.33, Gabe Kling (USA) 10.66, Bede Durbidge (AUS) 7.90
Heat 8: Jeremy Flores (FRA) 13.56, C.J. Hobgood (USA) 10.80, Josh Kerr (AUS) 7.43
Heat 9: Damien Hobgood (USA) 12.00, Raoni Monteiro (BRA) 11.10, Tiago Pires (PRT) 10.93
Heat 10: Cory Lopez (USA) 11.54, Chris Davidson (AUS) 10.00, Michel Bourez (PYF) 8.57
Heat 11: Daniel Ross (AUS) 14.90, Adriano de Souza (BRA) 14.67, Kieren Perrow (AUS) 8.96
Heat 12: Taylor Knox (USA) 15.03, Matt Wilkinson (AUS) 14.70, Joel Parkinson (AUS) 8.34
Photo ASP/Scholtz
BEVERLY HILLS GRAND OPENING Of Chanel boutique and charity event HOSTED BY SIMPLY CONSISTENT INC. BENEFITS NONPROFIT
www.simplyconsistent.com/services/event-planning
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Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.
Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.
The Mascotte Kite Festival makes the most of the consistent prevailing winds blowing along The Hague's beach resort Scheveningen. Kite builders and enthusiasts from around the world come together to fly the fruits of their creative labour. The annual event sees the skies over the southern part of Scheveningen beach fill with kites of every shape and colour, flying teddy bears, elephants and fish. Visitors also get to stay up to date with the latest in kite-powered sport, from kite-surfing and kite-yachting to kite-skateboarding and kite-skiing.
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Scheveningen ziet ze vliegen tijdens het grootste internationale vliegerevenement van Nederland! Tijdens het Mascotte Vliegerfestival Scheveningen zijn voor het Kurhaus en naast De Pier de meest bijzondere vliegers uit alle hoeken van de wereld te bewonderen. Meer dan 200 vliegeraars uit vijf continenten en bijna twintig landen presenteren vliegershows en demonstraties in verschillende thema’s en disciplines: powerkiting, stuntvliegeren (Nederlands Kampioenschap) en megakite-éénlijnsvliegeren. De shows bieden een adembenemend schouwspel met vliegers in fantastische kleuren, talloze maten en met de meest waanzinnige vormen. Naast het demonstratieterrein is altijd plek genoeg om zelf te vliegeren. Beginnende en ervaren vliegeraars, groot of klein, iedereen is welkom om z'n eigen vlieger op te laten. Ook zijn er workshop voor kinderen waar ze zelf vliegertjes of vliegers kunnen maken en versieren. Tijdens het Vliegerfestival Scheveningen kun je bij één van de stands ook een kant-en-klare vlieger kopen.
Actress Nicollette Sheridan guest of Simply Consistent Management.
CHARITY EVENT WAS A HUGE SUCCESS !
BEVERLY HILLS GRAND OPENING , SIMPLY CONSISTENT INC. BENEFITS NON-PROFIT. 323-6531205
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I consistently see strange people and things on my way to work. Yesterday morning I came across an old TV.
Update 10/27: I saw this set, still on the sidewalk, a day ago when a man in his forties approached it with a stange sense of caution. Perhaps it was an IED that had somehow traversed the Atlantic Ocean at great expense to Al Qaeda. The man--well, I wouldn't say he completely flipped out, but he definitely had that air of crazed passion--frantically dragged the poor, helpless TV from the sidewalk to the curb and then back to its original position several times before cursing, kicking an empty beer bottle at it, and walking off in a huff.
Date: 8 March 2012
Location: South Kordofan, Sudan
Source: DigitalGlobe
From the report: Plumes of grey smoke can be seen rising from the ground at two separate locations north of the village of Angarto, South Kordofan on 8 March 2012. The plumes shown here are visible approximately 1.6 km/ 1 mi north of Angarto. No military infrastructure or military units appear visible at or near the locations of the smoke plumes, based on satellite imagery analysis.
This image is free and may be used with credit given to DigitalGlobe (capital D, capital G, one word).
Atmosphere
The Chanel New Boutique Opening and Charity Event on Robertson Blvd in Beverly HIlls.
Simply Consistent Inc.
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Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: I mega incassi della biglietteria del Colosseo. Chi ci guadagna davvero? Ecco l'intervista a Rosanna Cappelli, direttore generale di Electa, ARTRIBUNE (28|01|2016).
ROMA - I mega incassi della biglietteria del Colosseo. Chi ci guadagna davvero? Ecco l'intervista a Rosanna Cappelli, direttore generale di Electa, ARTRIBUNE (28|01|2016).
FOTO - Bookshop Electa al Colosseo - progetto studio di architettura Andrea Mandara - photo Claudia Pescatori.
Nelle scorse settimane un deputato di Scelta Civica ha compilato fior di interrogazioni parlamentari per vederci chiaro sulle concessioni per la gestione di alcuni grandi monumenti italiani. In particolare, il Colosseo viene gestito in proroga da anni con guadagni che a prima vista risultano decisamente consistenti per il concessionario. Dopo aver riportato le anticipazioni di Repubblica sulla faccenda, abbiamo sentito anche l'altra campana. Ecco l'intervista a Rosanna Cappelli, direttore generale di Electa.
Vi accusano di avere incassato più soldi del dovuto riguardo alla pluri-prorogata concessione per la biglietteria del Colosseo. È davvero tutto inventato? Qual è la vostra risposta?
Crediamo ci sia stato un fraintendimento e un’errata lettura degli atti di concessione da parte dell’onorevole Mazziotti, come poi si evince dal suo blog, a proposito dell’oggetto della concessione stessa. Che nel contratto recita, sulla falsariga della norma, “servizio editoriale e di vendita di cataloghi, materiali informativi“. Che altro non è che il servizio di libreria, oggetto della roy del 30.2% sul fatturato, che Mazziotti estende anche ai servizi collaterali, non previsti in gara e dunque non soggetti a roy nel contratto.
Come mai un parlamentare come Andrea Mazziotti di Celso, a vostro avviso, si “impegna” così contro di voi? Che idea vi siete fatti?
Nessuna idea. Comunque di tanto in tanto tornano sui media appelli o denunce politiche sulle concessioni dei servizi nei musei, prevalentemente per il tema della loro durata e del regime attuale di proroga reiterata. O per una presunzione di eccesso di profitto, a Roma come a Firenze, da parte dei privati.
Come ho scritto anche altrove, la perdita dell’aura che ha investito le soprintendenze italiane negli ultimi anni, per cause che sarebbe utile analizzare oltre gli appelli e le denunce, ha avuto effetti negativi anche sulle imprese private che più si sono sforzate nello stesso periodo di rendere possibile una collaborazione pubblico/privata, da molti teorizzata ma assai poco realmente sperimentata.
Ci dica dove ci sbagliamo: per quanto riguarda le mostre potete ricavare molto di più dal biglietto. La quota “mostre” del ticket vi restituisce una percentuale più alta della quota “monumento” tout court. Dunque al Colosseo c’è spesso una mostra in corso e il biglietto è pressoché obbligatorio per entrare nel monumento. Così incassate di royalties qualcosa come 10 milioni di euro l’anno, una cifra che di certo non spendete neppure lontanamente nella produzione delle mostre.
Dal 2005 Electa svolge per la Soprintendenza un insieme di servizi e di attività che il contratto definisce di valorizzazione del patrimonio, intendendo per patrimonio non il solo Colosseo o la sola area archeologica centrale, ma anche tutte le sedi del Museo Nazionale Romano (Palazzo Massimo, Terme di Diocleziano, Palazzo Altemps, Crypta Balbi) e tutti i siti del suburbio della soprintendenza (via Appia, Parco delle Tombe della via Latina, Villa di Livia a Prima Porta, Gabii ecc.). Ciò per consentire la cura e la promozione dell’insieme dei beni, non solo di quelli autosufficienti o economicamente redditizi come il Colosseo.
Venne allora stabilito, per la concessione della valorizzazione, un principio di unitarietà e di sussidiarietà che è quello che ha sempre guidato la Soprintendenza anche nelle attività ordinarie di tutela e di conservazione: utilizzare le risorse in utile derivate dalle mostre al Colosseo o nell’area archeologica centrale per mostre, restauri, ricerche, studi, servizi accessori estesi al resto del patrimonio. Electa in questi anni non ha solo prodotto tutte le mostre della soprintendenza (al Colosseo come nelle sedi del Museo Nazionale Romano, da ultime Henry Moore e Forza delle rovine, entrambe senza biglietto specifico di ingresso), ma ha anche progettato e realizzato tutto il sistema di segnaletica della soprintendenza, il Museo Palatino e ora il Museo del Foro (progettato dallo Studio Mario Bellini di Milano), collaborato al riallestimento del Museo delle Terme di Diocleziano, dei sotterranei delle Terme di Caracalla, della Villa di Livia a Prima Porta. E così via.
Il programma annuale viene elaborato dal soprintendente e dai suoi responsabili; la spesa viene condivisa e rendicontata in trasparenza.
Quando Repubblica ha riportato le interrogazioni di Mazziotti alla Camera, molte persone a Roma hanno esultato: “Finalmente si tocca uno dei tanti bancomat della politica romana“. Non siete proprio amati. Come mai?
Non so rispondere a questa domanda. E non credo che il riferimento sia a Electa. La casa editrice, che ha settant’anni di storia e opera prevalentemente al nord, è costituita da professionalità di valore (archeologi, storici dell’arte, capo-redattori, esperti di economia della cultura…) selezionate sulla base dei loro saperi, competenze e interessi. Fra queste risorse, diverse sono impegnate nella sede romana, proprio per la concessione della Soprintendenza di Roma, che Electa dal suo avvio ha affidato alla mia responsabilità, per la mia formazione di studi (archeologia classica) e per le mie precedenti esperienze di lavoro.
Riguardo alla concessione del Colosseo e dei Fori Imperiali, cosa la soddisfa particolarmente e cosa la delude, onestamente, del servizio che date?
Importante non definire la nostra attività come la concessione dei Colosseo e dei Fori Imperiali, anche se in forma abbreviata. Quasi sempre anche da questa parziale definizione deriva la distorta analisi dei conti economici poi ripresa anche dalla stampa. La concessione riguarda undici siti e musei della soprintendenza, non i Fori imperiali che sono in gestione al Comune.
Giusta precisazione. Buttiamo giù un po’ di cose che vi hanno resi orgogliosi del vostro lavoro…
Si tratta di un insieme molto vasto e eterogeneo, dotato di un centro, di un cuore pulsante (il Colosseo e l’area archeologica centrale) che negli anni ha visto, sicuramente anche con il contributo di Electa, una crescita impressionante del pubblico dei visitatori. Al nostro inizio, il Colosseo, gratuito al primo ordine, registrava 300mila visitatori all’anno; nel 2015 abbiamo raggiunto il traguardo di 6,6 milioni di visitatori.
Sempre al nostro inizio non erano stati aperti o riaperti al pubblico Palazzo Altemps, Palazzo Massimo, Terme di Diocleziano, Crypta Balbi. Domus Aurea, Villa dei Quintili e Cecilia Metella.
Il lavoro compiuto dalla Soprintendenza è stato immenso sul piano della ricerca, del restauro, della tutela, della gestione. Non si è riusciti a progredire ugualmente, o con lo stesso slancio, sul piano delle infrastrutture di servizi che occorrono per la cura del pubblico: e mi riferisco in particolare all’attività di progettazione (e conseguente realizzazione) di spazi idonei a ospitare i servizi per il pubblico.
Arriviamo così ai problemi…
In Italia, a Roma, nell’area dei Fori, non si sono mai del tutto risolti alcuni nodi di antica memoria: la permanenza o meno della strada di attraversamento dei Fori, le connessioni tra l’area statale e quella comunale, e così via. Roma, poi, a differenza di Milano, e forse proprio per la pressione del suo passato, non ha mai sviluppato una vera cultura dell’arredo urbano, del design, della qualità dei progetti anche di piccola scala. Ecco, questo è mancato, con conseguenze immaginabili nella gestione dei servizi in spazi inadeguati per qualità e per dimensioni rispetto ai flussi dei visitatori.
Gestire una libreria al Colosseo senza magazzino, servendo milioni di visitatori, comporta ad esempio una logistica assai complessa e costosa per il rifornimento della merce, in orari quasi notturni, che non è proprio il massimo per un editore libraio. E questi limiti certo influiscono anche sulla qualità dell’offerta.
Da cosa nasce la joint venture che vi vede, al Colosseo, alleati con Coop Culture? Cosa risponde a chi maliziosamente vede in tutto ciò una ecumenica alleanza imbattibile sul piano politico?
L’alleanza con Coopculture deriva da una vecchia intesa di Electa (allora Elemond) con la Lega delle Cooperative. L’intesa era riassunta in una lettera di poche righe, che ebbi modo di leggere tempo fa, e risaliva alla fine degli Anni Ottanta, all’Electa che non era ancora parte del gruppo Mondadori. Se malizia c’era, si riferiva ad altri protagonisti della vita politica e imprenditoriale del Paese.
Lei riesce a dirci, in maniera approssimativa ma facendoci comprendere gli ordini di grandezza, a quanto potrebbe ammontare non in valore assoluto, ma in percentuale, il margine di guadagno netto generato dalla vostra attività complessiva per la Soprintendenza?
La marginalità operativa lorda cambia a seconda del servizio o dell’attività. Inferiore al 10% per le librerie, in negativo per l’editoria, non superiore per obbligo di contratto al 14% per le mostre e la valorizzazione.
Non crede – pur contro il suo interesse – che le pubbliche amministrazioni dovrebbero guadagnare di più da queste concessioni? O per lo meno ottenere di più in termini di servizi?
Fin dall’inizio di questa attività e ancora oggi ritengo che in questo settore la crescita dell’impresa privata potrà esserci solo se in parallelo si rafforzerà la struttura pubblica di governo e controllo nella gestione del patrimonio culturale. E dunque potranno crescere le attività e i servizi di fruizione e di valorizzazione, per il pubblico come per il privato.
Il Colosseo è praticamente saturo e ha avuto un aumento incredibile di visitatori. Quali azioni prevedete per aumentare gli orari di apertura e per rendere più produttiva la giornata?
Electa, d’intesa con la Soprintendenza, ha affidato all’Università Bocconi e a un gruppo di specialisti una ricerca sulle scelte da fare per biglietti, prezzi, orari di visita per il pubblico. La ricerca, che sta per giungere a conclusione, ha rafforzato la convinzione, che c’era da tempo, della necessità non rimandabile, per l’archeologia di Roma come per la prevalenza dei musei italiani, di introdurre maggiore flessibilità, anche per una distribuzione più sostenibile dei visitatori nell’arco della giornata, o nei diversi giorni della settimana, o nelle stagioni di minore pressione turistica.
Il sistema di offerta dovrebbe essere quindi interamente rinnovato a partire dalla primavera estate 2016 in tutte le sedi della Soprintendenza. La ricerca cui facevo cenno sarà pubblicata dalla casa editrice.
Come mai, al Colosseo, avete atteso la cacciata dei terrificanti camion bar prima di offrire almeno un distributore di acqua ai vostri visitatori/clienti? Decisione della Soprintendenza?
Ogni decisione in tema di servizi al pubblico appartiene alla Soprintendenza, non al concessionario.
Piazza del Colosseo (di “proprietà” del Comune di Roma e non dello Stato come il Colosseo stesso) è l’emblema dell’anarchia, della prepotenza, dell’illegalità e del degrado che uccide Roma. Impostori, ladri, facilitatori, finti turisti, saltafila e abusivi di ogni risma. Voi siete un operatore economico importantissimo della piazza: avete mai preso posizione nettamente a riguardo?
Anche su questo piano, l’azione del concessionario ha dovuto purtroppo limitarsi a ridurre i danni che derivano da un’insostenibile situazione di degrado: intanto i danni al monumento, poi al pubblico dei visitatori, infine alla Soprintendenza e al concessionario. E per azioni finalizzate alla riduzione dei danni intendo il rafforzamento della segnaletica di orientamento, la dotazione di personale adeguato all’accoglienza e al controllo degli accessi, il rafforzamento del sistema delle prenotazioni, la crescita degli ingressi per lo smaltimento e l’ordinamento delle file.
A tal proposito, ci dà la sua visione sulla ristorazione di museo oggi in Italia? Noi siamo abbastanza disperati. Specie in raffronto all’estero.
La maggior parte dei musei italiani (non parliamo neppure dell’archeologia monumentale) è ospitata in palazzi storici, privi quindi di spazi idonei a caffetterie o ristoranti. Che, al pari delle librerie, hanno quasi sempre dovuto accontentarsi di ambienti di risulta, di infelice collocazione e di inadeguata dimensione. Con il risultato di una gestione economicamente insostenibile, e il conseguente abbassamento della qualità del servizio. Non di rado abbandonato in corso di svolgimento del contratto. Occorrono investimenti importanti per servizi di qualità, o dalla parte del pubblico, o dalla parte del privato. E formule contrattuali meno onerose di quelle che le stazioni appaltanti, nel timore dei danni erariali o di rilievi della Corte dei Conti, sono state in grado di elaborare.
Come è il rapporto con il Soprintendente Archeologico di Roma Francesco Prosperetti – titolare del Colosseo – e quale è il giudizio sulle sue visioni e i suoi progetti?
Francesco Prosperetti è un Direttore generale con una lunga esperienza nell’amministrazione dei beni culturali; sottolineo il ruolo perché anche da quell’esperienza, oltre che da caratteristiche personali, derivano, a mio parere, due specifiche che mi è sembrato di cogliere nella sua guida della Soprintendenza: la leggerezza con la quale supera le innumerevoli difficoltà operative del quotidiano spiccio e l’entusiasmo con il quale invece muove e coordina progetti più ambiziosi. La sua formazione di architetto è messa generosamente a disposizione dell’archeologia, una disciplina alla quale è profondamente legato, anche per una lunga consuetudine di vita e per un’educata curiosità alla conoscenza storica. Credo e spero che abbia in considerazione il lavoro che Electa svolge per la sua Soprintendenza.
A proposito di progetti: cosa sta facendo bene Dario Franceschini e su cosa invece si deve ancora applicare.
Gli va riconosciuto un forte impegno quotidiano in ambiti assai ampi, anche in quelli generalmente trascurati dai media e dai critici, come gli archivi, le biblioteche, i teatri. La riforma è ancora in corso di attuazione, e quindi ci vorrà del tempo per valutarla sul piano concreto della gestione del patrimonio. Lo inviterei, se potessi fargli una richiesta, a considerare alcune specificità dell’archeologia monumentale rispetto ai musei storico-artistici e ad alleggerire la struttura centrale del Ministero a favore di uffici e competenze che siano realmente di sostegno ai nuovi istituti in formazione sul territorio.
Perché le gare che riguardano il Colosseo (e altri monumenti) si sono arenate fin dal 2009? Cosa è successo?
Le gare sono state bandite nel 2010, e progressivamente sospese fino al 2015, tranne poche andate a buon fine (Paestum, Cerveteri, Ravenna, Pompei). In obbedienza a modelli artificiosamente costruiti a imitazione di esperienze straniere, senza che vi fosse conoscenza reale della situazione italiana. Modelli che non avrebbero funzionato senza una radicale riorganizzazione degli istituti: con la pretese di una libreria al pari del Louvre in spazi simili più a ripostigli delle scope che alla Piramide di Pei. Anche nella forma i bandi hanno evidenziato lacune e distorsioni, sì da non reggere ai rilievi della autorità di controllo e ai ricorsi delle società private.
Electa non ha mosso alcun ricorso; viceversa l’ha subito, per la libreria di Pompei, che è stata una gara vinta dalla casa editrice, e poi consegnata al secondo classificato per la formulazione errata da parte del Ministero di un cavillo del bando. Anche questa non è storia nuova nel nostro Paese, potrebbe essere interessante fare il conto delle concessioni aggiudicate a tavolino per effetto di ricorso e non per effettivo merito. Si scoprirebbe che le imprese, poche, sono sempre le stesse.
Come sta impostando la partita sulle nuove gare Dario Franceschini?
Ha scelto fin dall’inizio di affidarsi, per gli aspetti formali, alla Consip S.p.A., che evidentemente ha grande esperienza nel settore degli appalti per la pubblica amministrazione. Nell’auspicio che si possano significativamente ridurre ricorsi e opposizioni. Sulla base di progetti di valorizzazione affidati però ai nuovi direttori e responsabili di istituti, che sceglieranno in autonomia i servizi e le attività da esternalizzare.
E voi, aziendalmente come state impostando il futuro, quali novità? Quali innovazioni? Quali visioni? Cosa farete nel 2016 per continuare a mantenere la vostra leadership.
Electa ha sempre avuto nella sua storia lunga una vocazione “istituzionale”: a partire dagli imponenti volumi di catalogazione dei musei editati negli Anni Ottanta e Novanta. L’esperienza della Ronchey ha certamente contribuito a rafforzare tale vocazione, forse sottraendole, per la complessità degli impegni anche amministrativi che le concessioni comportano, quello sguardo di libertà e di innovazione di cui le imprese necessitano per fiorire.
Da qualche anno stiamo cercando di ricostituirlo, nell’editoria e nella promozione di mostre fuori dai musei in concessione: a Milano, Mantova, Verona, Venezia. Con risultati importanti (Giotto da ultimo), che ci confortano nella convinzione di una attività editoriale a ampio raggio, nel settore delle arti visive e dell’archeologia, da promuovere in collaborazione con il pubblico, per contribuire allo sviluppo, certo economico, ma anche di un rinnovato piacere all’educazione culturale.
FONTE | SOURCE:
-- ROMA - I mega incassi della biglietteria del Colosseo. Chi ci guadagna davvero? Ecco l'intervista a Rosanna Cappelli, direttore generale di Electa, ARTRIBUNE (28|01|2016).
www.artribune.com/2016/01/biglietteria-colosseo-incassi-i...
s.v.,
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Architetto Francesco Prosperetti – L’Antiquarium del Palatino – Biblioteca addio, sul Palatino arriva il ristorante di lusso vista Foro Romano, l’Espresso (23|11|2015).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: La Direttice Rosella Rea: pochi custodi (…) “…Roma, Museo del Palatino dove un mese fa due malviventi hanno messo segno una rapina da 40mila euro.” Il Messaggero (08/08/2011), p. 31.
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA:E l’ex sovrintendente lasciò il Palatino Adriano La Regina trasloca dalla casa sull’Antiquarium Ma poteva rimanere fino alla fine dell’anno, CORRIERE DELLA SERA (29|09|2009).
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. ARCHEO DISNEYLAND – UNA FLOP: Roma, Il Colosseo – The Bookstore (15|05|2015), & Prof. Cesare Brandi (1966) = “A Phony Rome for Lazy Tourist!”, in: The ‘Il Messaggero’ & The ‘NEW YORK TIMES’ (15|07|1959), p. 6.
I think my favorites from others (this is page one of three, and I still think my very favorite is the very first) actually say quite a bit about me - it's odd how pieces, loosely joined make a new whole.
The University of Aarhus, which dates from 1931, is a unique and coherent university campus with consistent architecture, homogenous use of yellow brickwork and adaptation to the landscape. The university has won renown and praise as an integrated complex which unites the best aspects of functionalism with solid Danish traditions in form and materials.
The competition for the university was won by the architects Kay Fisker, C. F. Møller og Povl Stegmann in 1931. Stegman left the partnership in 1937, Fisker in 1942 and C. F. Møller Architects has been in charge of the continued architectural development and building design of the university until today.
The University of Aarhus, with its extensive park in central Aarhus, includes teaching rooms, offices, libraries, workshops and student accommodation. The university has a distinct homogeneous building style and utilises the natural contours of the landscape. The campus has emerged around a distinct moraine gorge and the buildings for the departments and faculties are placed on the slopes, from the main buildings alongside the ring road to the center of the city at Nørreport. All throughout the campus, the buildings are variations of the same clear-cut prismatic volume with pitched roofs, oriented orthogonally to form individual architectural clusters sharing the same vocabulary. The way the buildings emerge from the landscape makes them seem to grow from it, rather than being superimposed on the site.
The original scheme for the campus park was made by the famous Danish landscape architect C. Th. Sørensen. Until the death of C. Th. Sørensens in 1979 the development of the park areas were conducted in a close cooperation between C. Th. Sørensen, C. F. Møller and the local park authorities. Since 1979 C. F. Møller Architects - in cooperation with the staff at the university - has continued the intentions of the original scheme for the park, and today the park is a beautiful, green area and an immense contribution to both the university and the city in general.
In 2001, C. F. Møller Architects prepared a new masterplan for the long and short term development of the university. Although the university has been extended continuously for more than 75 years, the original masterplan and design principles have been maintained, and have proven a simple yet versatile tool to create a timeless and coherent architectural expression adaptable to changing programs. Today, the university is officially recognized as a Danish national architectural treasure and is internationally renowned as an excellent example of early modern university campus planning.
JETISTICS: THE ANALYSIS OF JUNK.
THE JUNK OF ANALYSIS?
World's Most Junk Magazines
Если
Fate
Galatasaray
Junk Jet
ニコラ
Новости космонавтики
宠物世界 狗迷
Πτήση & Διάστημα
Something Wicked
Esli, which means translated if magazine, deals with topics of conspiracy theory. it is somehow involved with the Russian department of foreign affairs.
Fate is called the world's leading magazine of the paranormal. it has published expert opinions and personal experiences relating to UFOs, psychic abilities, ghosts and hauntings, cryptozoology, alternative medicine, divination methods, belief in the survival of personality after death, Fortean phenomena, predictive dreams, mental telepathy, warnings of death, and other paranormal topics.
Galatasaray is a turkish magazine dealing with those topics of football that no other magazine deals with: aspects of aesthetics, top ten hits of DJ Hopdedik, history of the game, winner charts and prognosis, and the architecture of tactics.
Junk Jet is a rag and bone magazine. It is all about collecting architectures and turning them into something different. Or the other way round: collecting things from other disciplines and transforming them into architectures. Junk Jet is unpredictable, as it is released irregularly and as it varies in its format; every issue looks different and has diverse extras (audio-CDs, inserts, tattoos etc.). Their last issue is called "flux-us! flux-you!", where they investigated flux in architecture.
Nicola is called a popular magazine from Japan dealing with lifestyle fashion around puberty. it also recognizes the rapidly growing popularity of food, setting fashions and trends that have great influence on girls. it is massively promoted by women-only clubs, by local programs, special editions, and shops.
Novosti Kosmonavtiki is the russian Magazine called "Space News" that covers the important events associated with the use of outer space and human space flight. it monitors the launch of artificial satellites and interplanetary vehicles. the magazine is consistently delivered on board of the International Space Station , where it is read by the astronauts .
Pet in the World. Dog Fans is a full-color journal on pet fashion from china. it is currently the only legal, specialized magazine eligible for the pet category. it Includes contributions relating to dog's haircut, clothes, health, education and food.
Ptisi & Diatsima is a monthly magazine published in Greece. First published in November 1979, it is the oldest aviation and defense magazine in Greece. again we see the connection of jet and junk.
Something Wicked is a south african magazine on witchcraft, black magic, white magic, cemetery dance, and creep show. also some kind of transportation theme...
The New Chanel Chanel Boutique Opening and Charity Event, on Robertson Blvd hosted by SIMPLY CONSISTENT INC.
www.simplyconsistent.com/management/brand
"-Kathleen Checki."
"-Checki."
"-Simply Consistent."
"-Simply Consistent Management."
"-Supermodel Kristy Hume, Oleg Boumier and Talent Manager Kathleen Checki ."
Técnica: bolsas de basura.
Comentarios: una variante mínimal del procedimiento más extendido consistente en bolsa de basura y algún tipo de cinta adhesiva.
Square Books, a local bookstore founded in 1979, is consistently ranked among the best independent bookstores in the country. A sister store, Off Square Books, which is several doors down the street to the east, deals in used and remainder books and is the venue for a radio show called Thacker Mountain Radio, with host Jim Dees, that is broadcast state-wide on Mississippi Public Broadcasting. The show often draws comparisons to Garrison Keillor's A Prairie Home Companion for its mix of author readings and musical guests. A third store, Square Books Jr., deals exclusively in children's books and educational toys.
Oxford is a city in, and the county seat of, Lafayette County, Mississippi, United States. Founded in 1837, it was named after the British university city of Oxford in hopes of having the state university located there, which it did successfully attract.
As of the 2010 US Census, the population is 18,916. Oxford is the home of the University of Mississippi, founded in 1848, also commonly known as "Ole Miss."
Oxford has been named by USA Today as one of the top six college towns in the nation. It is included in The Best 100 Small Towns in America. Lafayette County consistently leads the state rankings in the lowest unemployment rate per quarter. Oxford City Schools are ranked as "Star" schools, the highest ranking available, and Lafayette County school systems are consistently ranked as "5-star" systems.
The courthouse square, called "The Square", is the geographic and cultural center of the city. In addition to the historic Lafayette County Courthouse, the Square is known for an abundance of locally owned restaurants, specialty boutiques, and professional offices, along with Oxford City Hall.
en.wikipedia.org/wiki/Oxford,_Mississippi
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Sally Fitzgibbons Claims Rip Curl Women’s Pro Bells Beach, Maiden Elite Event Win
BELLS BEACH, Victoria/Australia (Saturday, April 23, 2011) – Sally Fitzgibbons (AUS), 20, claimed her maiden ASP Women’s World Title event win today after a hard-fought Final with current ASP Women’s World No. 1 Carissa Moore (HAW), 18, taking out the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta and firmly announcing herself as a threat to the 2011 ASP World Title race.
The second stop of the 2011 ASP Women’s World Title season, the Rip Curl Women’s Pro Bells Beach enjoyed some of the best conditions ever offered to the ASP Top 17, culminating in this afternoon’s epic clash in glassy three-to-four foot (1.5 metre) waves at Rincon.
Fitzgibbons, who finished Runner-Up in three events in 2010 as well as finishing the season in the Runner-Up spot, consistently outshined her fellow ASP Top 17 members at Bells Beach, launching into incredible high scores from the opening round of competition.
“This is so overwhelming,” Fitzgibbons said. “It’s been a long journey for me to finally win and this is incredible. I can’t feel my arms or legs and I’m just trying to keep from crying right now. It’s been a really long time coming and I want to thank all the girls for pushing me as well as all my family and friends who have supported me over the years.”
Today’s maiden victory was made all the more emotional for the young Australian, clinching the title in the event’s 50th year of operation, surrounded by her heroes and sporting icons.
“It’s extra special to win it this year for the 50 years event,” Fitzgibbons said. “Ever since I was a kid, I’ve always watched my heroes surf and win here and I’ve always dreamed of ringing the Bell and now that it’s happened, I don’t know what to say. The other night at the 50-year ball, I saw all my icons on stage and I was so inspired. So to win right now is a dream come true.”
Fitzgibbons now sits at ASP Women’s World No. 2 with today’s win.
Moore continued her rampage amongst the world’s best here at the Rip Curl Pro Bells Beach, only falling short to Fitzgibbons in the Final. The gracious Hawaiian remains firmly in the driver’s seat in this year’s hunt for the ASP Women’s World Title, and will look to further cement her position at next week’s event in New Zealand.
“I’m stoked to have made the Final with Sally (Fitzgibbons),” Moore said. “For her to come out on top was awesome. We’ve have a lot of good clashes last year and this year, and her win’s been a long time coming so congrats to her. Of course I would have liked to have rung the Bell, but that may have to happen next year.”
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion, enjoyed more of a return to form at Bells Beach, but the former three-time event winner was unable to overcome a rampaging Fitzgibbons in their Semifinal clash. Today’s Equal 3rd place finish has Gilmore sitting in ASP Women’s World No. 4 heading into the New Zealand event.
"I felt really good this event, my surfing felt more confident,” Gilmore said. “I'm happy with my performance, but hopefully I'm just building towards No. 1. Sally (Fitzgibbons) was so in form, she was throwing away scores that I was keeping as my top two, she's well deserving of the win."
Silvana Lima (BRA), 26, past event winner, put on a valiant effort in today’s conditions but ultimately fell to eventual winner Moore in her Semifinal heat.
“Very happy with my performance at Bells and that we had good waves for the girls,” Lima said. “I’m sad that I couldn’t make the Final, but Carissa (Moore) was surfing really well and she deserves it. I’m looking forward to New Zealand.”
The next stop on the 2011 ASP Women’s World Title season will be the Subaru Pro TSB Bank Women’s Surf Festival in Taranaki, New Zealand from April 27 – May 1, 2011.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
The Rip Curl Pro Bells Beach presented by Ford Ranger completed Round 4 of competition this morning with Joel Parkinson (AUS), 30, Kelly Slater (USA), 39, Jordy Smith (ZAF), 23, and Mick Fanning (AUS), 29, all taking out wins and advancing straight through to the Quarterfinals.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
When the Rip Curl Pro Bells Beach presented by Ford Rangers resumes, up first will be Owen Wright (AUS), 21, against Bede Durbidge (AUS), 28, in the opening heat of Round 5.
For more information, log onto www.aspworldtour.com
RIP CURL WOMEN’S PRO BELLS BEACH FINAL RESULTS:
1 – Sally Fitzgibbons (AUS) 16.77
2 – Carissa Moore (HAW) 15.40
RIP CURL WOMEN’S PRO BELLS BEACH SEMIFINAL RESULTS:
SF 1: Carissa Moore (HAW) 15.10 def. Silvana Lima (BRA) 12.60
SF 2: Sally Fitzgibbons (AUS) 18.37 def Stephanie Gilmore (AUS) 12.60
RIP CURL WOMEN’S PRO BELLS BEACH QUARTERFINAL RESULTS:
QF 1: Silvana Lima (BRA) 15.57 def. Sofia Mulanovich (PER) 9.60
QF 2: Carissa Moore (HAW) 13.34 def. Courtney Conlogue (USA) 5.90
QF 3: Stephanie Gilmore (AUS) 15.00 def. Tyler Wright (AUS) 11.44
QF 4: Sally Fitzgibbons (AUS) 18.56 def. Coco Ho (HAW) 14.53
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 4 RESULTS:
Heat 1: Sofia Mulanovich (PER) 14.50 def. Chelsea Hedges (AUS) 8.50
Heat 2: Courtney Conlogue (USA) 12.50 def. Melanie Bartels (HAW) 12.04
Heat 3: Tyler Wright (AUS) 13.60 def. Jessi Miley-Dyer (AUS) 12.47
Heat 4: Sally Fitzgibbons (AUS) 18.83 def. Pauline Ado (FRA) 11.50
ASP WOMEN’S WORLD TITLE TOP 5 (After Rip Curl Pro Bells Beach):
1. Carissa Moore (HAW) 18,000 pts
2. Sally Fitzgibbons (AUS) 16,400 pts
3. Tyler Wright (AUS) 13,200 pts
4. Stephanie Gilmore (AUS) 11,700 pts
5. Silvana Lima (BRA) 11,700 pts
RIP CURL PRO BELLS BEACH ROUND 4 RESULTS:
Heat 1: Joel Parkinson (AUS) 15.26, Owen Wright (AUS) 13.84, Adriano de Souza (BRA) 9.14
Heat 2: Kelly Slater (USA) 13.67, C.J. Hobgood (USA) 12.17, Bede Durbidge (AUS) 11.04
Heat 3: Jordy Smith (ZAF) 14.27, Chris Davidson (AUS) 13.37, Tiago Pires (PRT) 11.63
Heat 4: Mick Fanning (AUS) 19.10, Jadson Andre (BRA) 13.17, Michel Bourez (PYF) 11.40
RIP CURL PRO BELLS BEACH ROUND 5 MATCH-UPS:
Heat 1: Owen Wright (AUS) vs. Bede Durbidge (AUS)
Heat 2: C.J. Hobgood (USA) vs. Adriano de Souza (BRA)
Heat 3: Chris Davidson (AUS) vs. Michel Bourez (PYF)
Heat 4: Jadson Andre (BRA) vs. Tiago Pires (PRT)
Photo ASP / Kirstin
The R.D. & Joan Dale Hubbard Foundation present The Bellamy Brothers at the Spencer Theater in August.
Thursday-Friday, August 23 & 24 @8.
Order an August 23 $69 ticket.
Order an August 23 $66 ticket.
Order an August 24 $69 ticket.
Order an August 24 $66 ticket.
Best known for their easy rolling ‘70s southern soft rock classic “Let Your Love Flow,” the Bellamy Brothers are the most successful duo in country music history, consistently climbing into the upper reaches of the Billboard country charts.
More than most acts of the late ‘70s and ‘80s, the Bellamys (brothers Howard and David) pushed the borders of country music with their laid-back sound, adding strong elements of calypso, soft rock, a little reggae, and even rap – many times with humorous word play and social commentary – racking up an impressive string of Top Ten singles that ran into the early ‘90s. Thereafter, they’ve cranked out a number of satirical, light-hearted songs like 2010’s “Jalapenos” (a song about the problems of political correctness) as well as a gospel album “Jesus Is Coming” with tunes like “Lord Help Me Be The Kind of Person (My Dog Thinks I Am)” and have remained an enormously popular concert attraction that packs halls year after year.
The Bellamy Brothers’ country breakthrough happened in 1979, with the tongue-in-cheek, double entendre “If I Said You Had a Beautiful Body Would You Hold It Against Me.” The song rocketed to number one on the country charts – and was also a massive hit and “Song of the Year” in the United Kingdom – followed by the top five hit “You Ain’t Just Whistlin’ Dixie.”
Success continued to roll forward in the ‘80s as they scored two straight number one hits, “Sugar Daddy” and “Dancin’ Cowboys,” for which they earned a Grammy nomination for Best Country Performance by a Duo or Group, and the Country Music Association named them the Most Promising Group of the Year. Meanwhile, they continued to rack up platinum and gold hits with humor and heartbreak – and many a passionate love song -- including “Do You Love As Good As You Look,” “Redneck Girl,” “Slippin’ Away,” “Old Hippie,” “Kids of the Baby Boom,” “Santa Fe,” “For All The Wrong Reasons,” “Lovers Live Longer,” “Too Much Is Not Enough,” “Crazy From The Heart” and “I Need More Of You.”
Also in the ‘80s, the brothers fulfilled their desire to experiment with their music. After they released the number one “For All the Wrong Reasons,” the brothers, born and raised in the tropics of Florida, followed with “Get Into Reggae Cowboy,” a ground breaking country record that incorporated Jamaican rhythms. In 1982, the group was given a Lifetime Membership of the Federation of International Country Air Personalities, as well as being named the Top Country Duo by Billboard, and they eventually went on to set the record for most duo nominations from both the Academy of Country Music and Country Music Association.
They come to us courtesy of the R.D. & Joan Dale Hubbard Foundation.
The Spencer concerts will feature Howard & David Bellamy and their band:
Waldemar Dentz – bass guitar, harmonica
Larry Rolens – steel guitar
Frank Swiech – keyboards
Randy Hiebert – lead guitar
Mike Tucker -- drums
Business surveys in Latin America consistently show that skills gaps are a serious bottleneck to firm growth and competitiveness. Lack of responsiveness by providers of technical education and professional training is often blamed for this situation. What innovations are possible to improve the quality and relevance of those programs? What role should governments, employers, universities, and civil society play in shaping the approach to technical education and professional training in Latin America? What can we learn from reforms in the region and abroad? The Dialogue and CAF - Development Bank of Latin America hosted a wide-ranging full-day seminar that brought together academics, policymakers, and other experts from the Western Hemisphere to discuss the future of technical education and professional training in Latin America.
Weld-Ons are manufactured with consistently sharp points to ensure positive contact when welded to sheet metal. Produced from carbon alloy steel, the point of the welding pin is hardened in a unique cold form process. This process hardens the points, giving them a steel temper that will not blunt or fl atten when applied, unlike other welding pins. The sharper point of contact results in a better weld and creates fewer sparks that can ignite adhesives or burn substrates. Weld-Ons are easily applied using any conventional portable or automatic resistance welding unit. Cup style washers are included with each pail and are designed to suffi ciently depress the insulation surface without tearing it.
Product comes in 1/2", 3/4", 1", 1-1/8", and 1-1/2" lengths and quantities of 3,000, and 5,000 per bucket.
More information about this product can be found at
Toronto, Ontario, Canada
Toronto is Canada's largest city, the fourth largest in North America, and home to a diverse population of about 2.8 million people. It's a global centre for business, finance, arts and culture and is consistently ranked one of the world's most livable cities.
Toronto is a city in Canada and the provincial capital of Ontario. It is located in Southern Ontario on the northwestern shore of Lake Ontario, with the original city area lying between the Don and Humber rivers.
For more information on visiting Toronto visit:
For more information on visiting Canada visit:
us-keepexploring.canada.travel/
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About this day of the trip:
Day 2
Niagara Falls - Niagara Falls Canada - Toronto (83 miles)
We will continue our tour Niagara Falls by heading into Canada to take the Hornblower Cruise boat ride and see an informational movie at the IMAX Theater. We will also ascend the Skylon Tower. The tour then departs for Toronto, ON, one of Canada's largest cities. There we will visit the CN Tower and guests will have the option to take a Lake Ontario Cruise. During the winter when the cruise is not running, we will instead visit Casa Loma. We will have dinner in historical Chinatown.
Niagara Falls Canada, Canada
Skylon Tower This observation tower on the Canadian side of Niagara Falls offers a bird's-eye views of one of the world's favorite natural wonders. The tower stands 520 feet from street level and 775 feet from the bottom of the falls.
Rainbow Bridge The Rainbow Bridge across the Niagara River connects Niagara, Ontario to Niagara, New York. It is an international landmark and impressive architectural feat. In addition to private vehicles, pedestrians and bikes can cross the bridge for a small toll.
Niagara Falls IMAX This amazing movie experience, presented on an unbelievable IMAX screen, chronicles more than 12,000 years of history and examines human interaction with the falls from ancient time through the people-- like you-- who come to see them today.
Hornblower Niagara Cruise Get ready to get wet: this world-famous boat ride takes passengers as close to the falls as it is possible to get. Formerly Maid of the Mist, Hornblower now runs Niagara cruise operations on the Canadian side of the Falls.
Skylon Revolving Restaurant Lunch The impressive Skylon Tower, jutting into the air above Niagara Falls, features the Revolving Dining Room, a one-of-a-kind eatery the makes a full revolution every hour. Sitting just below the observation deck, guests can enjoy views and food!
Toronto, ON
Lake Ontario Cruise Lake Ontario Cruises offer gorgeous views of the city of Toronto from the waters of Lake Ontario, one of the famous Great Lakes of North America. See the city of Toronto and the surrounding area in a new way!
Toronto City Hall This unique building complex is one of the most famous in Toronto, and also the home of the city's municipal government. The Toronto City Hall offers self-guided tours which are available in five languages (including English).
University of Toronto Routinely placed in the top 30 institutions of higher learning in the world, the University of Toronto has been educating the masses since 1827. Widely considered the best university in Canada, it is known for its pioneering research.
Casa Loma This century-old Gothic-style house in Toronto was originally the home of financier Sir Henry Mill Pellatt. Today, it serves as a museum that showcases the history of life in Toronto and what life was like in the early 1900s.
CN Tower Toronto's CN Tower is a Canadian icon and one of the most recognizable North American buildings. Made entirely of concrete, this massive monolith was the tallest structure in the world at the time of its completion in 1976.
Ontario Legislative Building The Ontario Legislative Building in Toronto, Ontario, Canada is the seventh structure to function as the parliamentary building of the province of Ontario. This impressive building is in the Richardsonian Romanesque architectural style and was built in 1893.
Chinatown One of the largest Chinatowns in North America is located in downtown Toronto, Ontario. Toronto contains several Chinatowns. This one is the oldest, dating back to the 1870s, and the historical area features many authentic groceries, restaurants, and shops.
Toronto Chinese Dinner Treat yourself to a specialty dinner in one of the largest Chinatowns in the Western Hemisphere! Freshly-cooked meats and vegetables decorate the windows of the esteemed restaurants, from whole cooked ducks to beef ribs and so much more. Enjoy!
Deluxe Hotel: Crowne Plaza or similar
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3-Day Niagara Falls, Toronto Canada Tour from New York
Tour Code: 655-68
July 11th, 12th, 13th 2014
Visit:
Watkins Glen State Park New York
Niagara Falls, NY USA
Thundering Water Cultural Show
USA / Canada international border crossing on Rainbow Bridge from New York United States of America to Ontario Canada
Niagara Falls, Ontario Canada
Skylon Tower
Niagara Falls IMAX
Hornblower Niagara Cruise
Skylon Revolving Restaurant Lunch
Toronto which is the largest city in Canada
Lake Ontario Cruise
Toronto City Hall
University of Toronto
CN Tower
Ontario Legislative Building
Chinatown
Toronto Chinese Dinner
Thousand Islands, Ontario Canada
Thousand Islands Cruise
Thousand Islands Cruise Breakfast
Thousand Islands Tax and Duty Free Store in Lansdowne, Ontario Canada
Canada / USA international border crossing Thousand Islands Bridge from Hill Island, Ontario, Canada across the Saint Lawrence River to Wellesley Island, New York, United States of America
For more information on the 3-Day Niagara Falls, Toronto Canada Tour from New York visit:
www.taketours.com/new-york-ny/3-day-toronto-niagara-falls...
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Hashtag metadata tag
#Canada #Canadian #Toronto #TorontoCanada #CityofToronto #TorontoCity #CityToronto #Ontario #TorontoOntario #TorontoOntarioCanada #LakeOntario #The416 #HollywoodNorth #TO #T.O. #Tee-Oh #TeeOh #T-dot #Tdot #CNTower #VisitToronto #VisitCanada
Photo
Toronto city, Ontario province, Canada country, North America continent
July 12th 2014
MADRID RIO
Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,1 desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río
Entre 2003 y 2007 se llevó a cabo la obra de soterramiento del arco oeste de la M-30 en el ámbito del río, obra que hizo posible la eliminación del tráfico en superficie y la consiguiente liberación de más de cincuenta hectáreas de terreno ocupado anteriormente por las calzadas. A esta superficie se sumaron otras casi cien hectáreas correspondientes a los diferentes suelos infrautilizados adyacentes a la autopista.
Tras la construcción de los túneles afloró una herida vacía formada por un rosario de espacios desocupados, que atesoraban la potencia latente de convertirse en nexo de unión de un corredor ambiental de casi tres mil hectáreas dentro del término municipal, que se extiende desde El Pardo hasta Getafe y que enlaza importantísimas áreas verdes de la ciudad como la Casa de Campo, el Parque de la Arganzuela o el Parque del Manzanares Sur.
Por tanto, los beneficios obtenidos al enterrar la antigua autopista, obviamente, no han quedado reducidos a la mejora de ciertos aspectos de la movilidad urbana, ni siquiera a la rehabilitación local de los barrios, sino que pueden adquirir en un futuro próximo, una dimensión de gran escala que necesariamente deberá repercutir en las relaciones entre la ciudad y el territorio, entendidas en su mayor alcance. La enorme trascendencia para la ciudad de los espacios liberados como consecuencia del soterramiento de la M-30, llevó al Ayuntamiento de Madrid a convocar un Concurso Internacional de Ideas para concebir y proyectar los nuevos espacios libres en el entorno del río. El concurso lo ganó el equipo de arquitectos dirigido por Ginés Garrido y formado por Burgos & Garrido Arquitectos, Porras & La Casta y Rubio & Álvarez-Sala y West8, con la solución para la construcción de un parque urbano de más de ciento veinte hectáreas, que ocupa la superficie liberada por el soterramiento de la autopista. Los inicios del proyecto pasaron por el intento de comprender en su totalidad las cualidades geográficas de la cuenca fluvial. Las características del territorio y la diversidad de sus elementos naturales constituyen un conjunto de claves que han sustentado muchas de las ideas contenidas en el proyecto.
Sumariamente, la estrategia del éste se basa en la convicción de que, a través del río es posible conectar la ciudad, expresión máxima de la acción artificial, con los territorios del norte y el sur de Madrid, en los que aún perviven los elementos naturales propios de la cuenca fluvial. El río se convierte en puerta o enlace entre interior urbano y exterior territorial y, a través de sus márgenes, se establece la continuidad y la permeabilidad, hasta hoy aniquiladas por los sucesivos anillos concéntricos, hollados por los cinturones viarios, M-30, M-40, M-45, M-50 …, que fueron el resultado de aplicar a la red circulatoria los modelos de movilidad propios de mediados del siglo XX.
El proyecto se ha concebido en sucesivas aproximaciones o escalas a partir de las que se ha aplicado la reflexión sobre el campo de juego, obteniendo respuestas o soluciones diversas, desde el ámbito territorial o estratégico al local o específico.
En la escala territorial se han establecido los parámetros de partida para que, en el medio plazo, sea posible la regeneración de las márgenes del río en toda su longitud, como verdaderas áreas de integración entre el paisaje y la actividad humana, bajo un entendimiento contemporáneo capaz de superar el antagonismo implícito en el binomio urbano-rural.
En la escala metropolitana, a través del proyecto y de su concepción como gran infraestructura, se lleva a cabo la incorporación del corredor que se extiende sobre los bordes fluviales a su paso por la ciudad como parte del GR 124 (Gran Recorrido de la Red de Senderos Europeos) que ya, en 2011 se podrá transitar en toda su extensión, desde Manzanares el Real hasta Aranjuez.
En la escala urbana, el proyecto incorpora el río como doble línea de fachada inédita y configura un conjunto enlazado de espacios verdes que se infiltra en la ciudad; establece en la superficie un nuevo sistema de movilidad y accesibilidad; incrementa la integración y calidad urbana de los barrios limítrofes al río; protege y revaloriza el patrimonio histórico y detecta áreas de oportunidad que, sobre este ámbito de nueva centralidad, serán capaces de generar un cambio potencial del conjunto de la ciudad en el largo plazo.
En la escala local, la propuesta se ejecuta como una operación radicalmente artificial, materializada sin embargo con instrumentos eminentemente naturales. No se debe olvidar que se actúa mayoritariamente sobre una infraestructura bajo tierra. El proyecto se implanta sobre un túnel o, más bien, sobre la cubierta de un conjunto complejísimo de instalaciones al servicio del viario enterrado. Un edificio de hormigón de más de seis kilómetros de longitud, con enormes y determinantes servidumbres y con una topografía cuya lógica obedece exclusivamente a la construcción de la infraestructura, que emerge inopinadamente sobre el suelo y con la que ha sido necesario negociar. Sobre esta edificación subterránea, la solución adoptada se ha basado en el uso de la vegetación como principal material de construcción. El proyecto establece como estrategia general la idea de implantar una densa capa vegetal, de carácter casi forestal, allá donde sea posible, es decir, fabricar un paisaje con materia viva, sobre un sustrato subterráneo inerte, modificado y excavado para el automóvil, sobre una construcción que expresa por sí misma el artificio máximo.
Las familias, formas y asociaciones de especies vegetales seleccionadas provienen de la extrapolación del estudio de la cuenca del río y su adaptación, en cada caso, al medio urbano específico. La ordenación de los distintos entornos y su caracterización como lugares de uso público se ha producido teniendo en cuenta, por un lado, las funciones requeridas y las necesidades detectadas en cada distrito y por otro, la capacidad de conformar espacios habitables, inherente a los conjuntos organizados de vegetación de distinto porte.
La solución se concreta en tres unidades de paisaje principales. Primero, el Salón de Pinos, o corredor verde que discurre por la margen derecha del río. Es la estructura que permite la continuidad de los recorridos y reacciona en su encuentro con los puentes existentes dando lugar a distintos tipos de jardines de ribera (Jardines bajos de Puente de Segovia, Jardines del Puente de San Isidro, Jardines del Puente de Toledo y Jardines del Puente de Praga). Segundo, el enlace definitivo del centro histórico (representado por la imagen imponente del Palacio Real y la cornisa elevada de la ciudad), con la Casa de Campo, parque de más de mil setecientas hectáreas. En este entorno se incluyen la Avenida de Portugal, la Huerta de la Partida, la Explanada del Rey y los Jardines de la Virgen del Puerto. Tercero, la ancha franja sobre la ribera izquierda donde se sitúa el conjunto del Parque de la Arganzuela que incluye el centro de creación de arte contemporáneo de Matadero, y que representa la mayor superficie de espacio verde unitario de la propuesta.
Además de estas tres grandes operaciones paisajísticas coherentes entre sí, el proyecto propone ciento cincuenta intervenciones de diferente carácter, entre las que destaca el sistema puentes que dotan de un inédito grado de permeabilidad al cauce. Se han desarrollado soluciones sobre más de veinte puentes o pasarelas sobre el río, rehabilitando las siete presas, reciclando algunos puentes existentes y creando nuevos pasos, unas veces con un lenguaje silencioso y otras, intencionadamente expresivo. Como en una acción microquirúrgica el proyecto incorpora, eslabón por eslabón, una cadena de fórmulas de integración del río en la ciudad y de la ciudad en el río. Son elementos que garantizarán el contagio de los nuevos valores de las orillas regeneradas sobre los ámbitos y barrios cercanos. Con este efecto de resonancia, se prevé una sucesión de operaciones que aseguren una renovación de gran alcance. Desde ahora y de manera irreversible, se está fraguando una radical metamorfosis, sin precedentes para la ciudad de Madrid.
La superestructura lineal del Salón de Pinos es el elemento que organiza la continuidad de recorridos a lo largo de la ribera derecha del río. Está construida sobre los túneles en su práctica totalidad y tiene un ancho medio de treinta metros. Sobre la losa de hormigón que cubre el paso de los automóviles se han plantado más de 9.000 unidades de diferentes especies de pinos, de diversos tamaños, formas y agrupaciones con un marco de plantación forestal. Los ejemplares han sido seleccionados fundamentalmente en campos en los que hubiese posibilidad de extraer plantas con morfologías naturales (troncos no lineales, troncos dobles, troncos inclinados, etc.) De este modo se obtiene una prolongación controlada de los pinares de la sierra situada al norte de Madrid que parecen extenderse hasta el confín de la ciudad. Estos árboles han sido anclados a la losa de los túneles mediante cables de acero y bridas biodegradables, para potenciar su estabilidad y el crecimiento de sus raíces en horizontal sobre el paquete de tierras disponible. No obstante, este paseo se encuentra frecuentemente con estructuras de gran valor urbano o patrimonial.
Dos ejemplos simbólicos de esta intersección son los puentes históricos de Segovia (1582) y de Toledo (1732). En estos enclaves el salón reacciona como espacio de estancia, ampliando sus límites y ofreciendo un diseño específico, con árboles de ribera de hoja caduca y alineaciones de setos y bancos de piedra. Las actividades integradas en el salón se incorporan con un lenguaje coherente con su carácter forestal. Un claro ejemplo de este procedimiento lo forma el conjunto de áreas de juegos infantiles, diseñado específicamente como un sistema completo de formas naturales.
Jardines del Puente de Segovia
El puente de Segovia está declarado Bien de Interés Cultural. Fue construido a finales del siglo XVI por el arquitecto Juan de Herrera, por encargo de Felipe II. El proyecto de ajardinamiento de su entorno conforma una excepción en el ámbito del Salón de Pinos, constituyendo un ensanchamiento de éste y ofreciendo un modo diferente de aproximación al río. Los jardines se ordenan mediante una serie de líneas de traza orgánica que modelan sucesivas terrazas que descienden hacia el río. Estas líneas están construidas con unas piezas de granito de gran formato que sirven también de bancos. Entre ellos se extiende una superficie de hierba de bajo consumo hídrico arbolada con diferentes especies de árboles frondosos de ribera de la familia de los populus. En las inmediaciones de la fábrica almohadillada del puente se han construido dos estanques de agua limpia sobre los cuales, por un lado alza una fuente monumental de 16 chorros con forma de ciprés y por otro se extiende un pequeño jardín de lirios acuáticos. Los estanques son accesibles mediante unas gradas de piedra que se acercan a ellos hasta sumergirse.
Jardines del Puente de Toledo
Los jardines del Puente de Toledo constituyen una de las áreas más significativas del Proyecto Madrid Río, ya que se están situados en un enclave de excepcional importancia en el que el Salón de Pinos se encuentra con uno de los puentes monumentales de Madrid, el puente de Toledo, construido entre 1718 y 1732. El proyecto aprovecha dicho monumento en un doble sentido: Por un lado se compone un espacio concebido para ser visto desde lo alto del puente que se convierte así en un mirador privilegiado. De este modo los jardines ofrecen una nueva e inédita panorámica de Madrid ya que sus trazados dibujan un enorme tatuaje que se extiende como una alfombra sobre la superficie, reproduciendo un motivo figurativo vegetal. Por otro lado, los jardines incorporan el Puente de Toledo, que es una estructura barroca diseñada por el arquitecto Pedro de Ribera, como un objeto al que admirar, al que tocar y bajo el que pasar. La disposición de los setos está organizada de modo que conforma una serie de líneas que toman como referencia los jardines barrocos de la época borbónica, aunque están trazadas con un lenguaje contemporáneo. Asimismo en este punto se ha construido un graderío que permite la máxima aproximación a la lámina de agua del río, y la mejor contemplación de los arcos del antiguo puente.
Segunda unidad de paisaje: La Escena Monumental
La vinculación del centro histórico y el barrio de La Latina con la Casa de Campo ha estado vedada a los peatones de forma secular. El nuevo contacto, que ya es posible por la desaparición de los automóviles bajo tierra, ha sido resuelto con diversas intervenciones que asumen el carácter monumental y panorámico de esta zona, en la que el zócalo elevado del Palacio Real (germen primigenio del nacimiento de la ciudad) contacta con el río. Se han propuesto diferentes soluciones afrontando con extremada atención el contexto en el que se sitúan: La “Explanada del Rey”, explanada abierta pavimentada con un gran patrón figurativo y que sirve de gran atrio ante la Casa de Campo. La huerta de la partida, que es un recinto cerrado en el que se han plantado diferentes retículas de árboles frutales (perales, manzanos, moreras, granados, higueras, nogales, avellanos, etc) acoge un extraordinario mirador de la cornisa. La avenida de Portugal, convertida en un bulevar pavimentado por calceteiros portugueses y poblado por cuatro especies de cerezos (Prunus avium, P. avium ‘Plena’, P.yedoensis y P.padus ‘Watereii’ ) permite la contemplación de una espectacular floración que se alarga más de un mes en primavera. Por último, los jardines de La Virgen del Puerto, en la otra margen del río, estructurados mediante la disposición de parterres orientados según los ejes de los principales acontecimientos urbanos del área: el puente de Segovia, el puente del Rey, la avenida de Portugal y la puerta del Rey que ha sido restaurada y resituada según los datos disponibles en la cartografía histórica de Madrid.
Plataforma del Rey
En el acceso monumental que enlaza el centro histórico de Madrid con la Casa de Campo, antiguo cazadero real, destaca la Explanada o Plataforma del Rey, que es un espacio abierto de una superficie aproximada de 14.000 m2 y un frente paralelo al río de poco menos de 250 m. El destino de este espacio es el de formar un escenario capaz de acoger diferentes manifestaciones cívicas (conciertos, celebraciones oficiales, actividades culturales, etc.) en un entorno de extraordinaria calidad ambiental, que permite contemplar la Cornisa Histórica de la Ciudad. Este lugar está conectado con el Salón de Pinos y forma parte de él, aunque por exigencias de su uso, sea un área casi desprovista de arbolado. En ella el principal elemento organizador es el pavimento que, de forma muy suave, se adapta a una topografía que integra todas las emergencias de los túneles hasta hacerlas imperceptibles. En este pavimento las pequeñas piezas de granito y basalto forman un patrón que desciende desde la Avenida de Portugal y se esparce sobre la superficie del suelo a una escala en aumento progresivo. Dicho patrón vincula la plataforma con el pavimento proyectado en la avenida. De este modo la Plataforma es un elemento que liga de manera natural importantes piezas del escenario monumental que se produce en este punto, como son el Puente del Rey, la Casa de Campo, la Avenida de Portugal y el Salón de Pinos.
Huerta de la Partida
Se trata de un espacio recuperado que en las pasadas décadas se dedicó a albergar uno de los principales nudos de la autopista. La propuesta de regeneración de este lugar incluye varias operaciones: En primer lugar la construcción de una tapia, a veces opaca, a veces permeable que constituye un cierre que confiere al recinto el carácter de huerto cerrado. En segundo lugar, el modelado artificial del terreno, regularizando su superficie y tallando un único plano inclinado de suave pendiente que se desliza hacia el río. En tercer lugar la plantación de diferentes agrupaciones de árboles frutales (granados, moreras, manzanos, perales, avellanos, almendros, higueras, olivos y nogales) que se incorporan en el entorno describiendo cuadrantes reticulados con sutiles variaciones de orientación. Por último, se ha proyectado una ría húmeda que describe la trayectoria del Arroyo Meaques, actualmente entubado y oculto. Este proyecto ha sido fruto del estudio minucioso de la historia del lugar, ya que en el pasado, cuando Felipe II adquirió esta finca después de establecer la capitalidad de Madrid, en esta posición se plantaron algunas huertas que producían el alimento necesario para los trabajadores de la Casa de Campo.
Tercera unidad de paisaje: La Ribera del Agua. Arganzuela y Matadero
En la margen izquierda del cauce la ciudad se separa del río. El ejemplo más importante de la propuesta en esta orilla es el nuevo Parque de la Arganzuela, construido sobre antiguas dehesas de pasto de uso comunal. En este entorno se construyó el Matadero Municipal, notable ejemplo de arquitectura posindustrial de la segunda década del siglo XX. Con el soterramiento de la autopista, Madrid dispone ahora en este punto de 33 hectáreas de espacios libres que forman el mayor parque del proyecto. Éste se ha concebido como un gran espacio en el que el río se ha retirado dejando su huella ancestral. Está organizado con diferentes líneas que se entrecruzan, como surcos por los que pasó el agua, dejando entre sí espacios para distintos usos. Estas líneas, de carácter marcadamente longitudinal, son los caminos de distinta especie que recorren el espacio de norte a sur.
Paseo junto al matadero
Un camino más plano y ancho (el Camino Rápido), otro más sinuoso y de pendiente variable (el Camino Lento) y una franja empedrada de márgenes frondosos (el Arroyo Seco), que vertebra el centro del parque. La construcción del espacio se plantea como una gran arboleda que contiene varios paisajes, algunos más naturales y otros más construidos, configurados por una variación de especies, alturas, densidades y texturas. De este modo el parque, concebido como un retazo de la cuenca del río, incorpora tres áreas botánicas: bosque mediterráneo, bosque atlántico y fronda de ribera. El carácter de estos paisajes interiores está relacionado con los trazados longitudinales del parque, con árboles que siguen los caminos y las sendas, con sotos y bosques que emergen sobre la topografía. La textura boscosa se intercala con las superficies plantadas de aromáticas entre los caminos y el Arroyo Seco. Siguiendo la orilla izquierda del río, se dispone una franja húmeda y verde, con una pradera de césped que se inclina hacia el agua. Una constelación de fuentes ornamentales y un conjunto de tres láminas elípticas de agua pura introducen este elemento como materia narrativa que relaciona las distintas asociaciones de vegetación. Cada fuente presenta un distinto juego sonoro y visual y se rodea de pequeñas laderas plantadas de frutales que remiten a la imagen de los jardines de las leyendas o del Paraíso. Las líneas entrelazadas que estructuran el parque permiten la formación de recintos en los que se han situado importantes instalaciones para el recreo al servicio de los usuarios de todas las edades. En él se incluye un campo de fútbol , dos pistas de patinaje y tres importantes conjuntos de juegos infantiles. El parque así mismo incorpora el conjunto dedicado a la creación de arte contemporáneo de Matadero, como una gran dotación cultural que vive dentro de él. A través de los caminos se accede a las naves del antiguo complejo, cuya rehabilitación está a punto de finalizar. El diseño de los trazados permite entender la relación entre Matadero y el parque como un continuo entre el río y la ciudad.
El sistema de puentes sobre el río
La implantación de puentes sobre el Manzanares se lleva a cabo como una estrategia global, es decir, como un conjunto en que cada elemento resuelve problemas puntuales detectados en el entorno próximo, pero también forma parte a su vez de un sistema integral de conectividad transversal de acuerdo con la relación entre la ciudad y el río. Las unidades de este conjunto son de diferente carácter: puentes y presas rehabilitados o reciclados, puentes rodados existentes acondicionados al nuevo sistema de tráfico ciclista y peatonal, puentes singulares que constituyen hitos en el recorrido del río, pasarelas funcionales situadas en los nodos de máximo tránsito transversal y puentes de grandes luces que enlazan los recorridos del parque con los territorios exteriores a la ciudad al norte y al sur, haciendo realidad la principal aspiración territorial del proyecto.
Entre los puentes existentes destaca la operación llevada a cabo con las siete presas que han sido convertidas en pasarelas peatonales a través de su restauración integral y la incorporación de un tablero de madera accesible. En segundo lugar dentro de esta serie, se debe destacar el reciclaje del puente rodado de la M-30 que cruzaba el río al sur del Puente de Segovia, reconvertido en un puente peatonal y ciclista que incorpora un talud plantado con pinos. Entre los puentes singulares cabe mencionar el puente con forma de Y construido con cajones de perfiles metálicos, que evoca el lenguaje de los puentes ferroviarios del s. XIX colgados sobre los desfiladeros forestales y los puentes gemelos de hormigón que se dan acceso al complejo Matadero, proyectados como elementos de paso capaces también de configurar un espacio al que se ingresa, como pabellones que gravitan sobre el río, pero que verdaderamente pertenecen al parque.
Pasarela de Almuñécar
Fabricada de una sola pieza con fibra de carbono, para salvar una luz de algo más de 40 metros. Se sitúa sobre el único tramo del cauce que carece de cajero de hormigón. Su diseño final responde a las capacidades del material con que está fabricada, extremadamente ligero y resistente.
Restauración de Presas
Las siete presas que regulan el río a su paso de la ciudad han sido restauradas y puestas al servicio del nuevo sistema de pasos transversales. Sus mecanismos y exclusas han sido reparados y se les ha incorporado un tablero accesible de madera y una escala de peces para favorecer la continuidad de la fauna subacuática a lo largo del río.
Puente Oblicuo
Esta estructura viaria coetánea de la M-30 se ha reciclado para incorporarla al Salón de Pinos como un paso privilegiado a través del cual los peatones, los ciclistas y los árboles pasan de una a otra orilla. La losa aligerada que componía el tablero de hormigón postesado se cortó y apeó reforzándose para soportar las cargas debidas a su nuevo uso.
Puente del Principado de Andorra
Es uno de los nuevos puentes singulares del proyecto. Está construido por jaulas de perfiles abiertos, de expresividad algo arcaica, que toma como referencia las estructuras ferroviarias sobre los desfiladeros boscosos que se construyeron en Europa y Estados Unidos a finales de siglo XIX. Antes conocido como Puente Y, en julio de 2011 se le cambió de nombre al actual de Principado de Andorra, para agradecer al gobierno de Andorra la construcción del Puente de Madrid en Andorra la Vieja. Se escogió este puente para nombrarlo como Principado de Andorra porque representa también la geografía de Andorra: el país pirenaico está formado por dos valles, el del Valira del Norte y el del Valira de Oriente, los cuales confluyen en Escaldes-Engordany y se convierten en uno solo, de nombre Gran Valira. Esta disposición de los valles y sus ríos es similar a una Y.
Puentes Cáscara
Son dos puentes gemelos construidos con una lámina de 15 cm de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río. Su bóveda se ha ornamentado con un mosaico creado por el artista Daniel Canogar.
Pasarela de la Princesa
El canto necesario para el funcionamiento de la pasarela se incorpora en las barandillas que en realidad conforman una pareja de vigas de alma llena y rigidizadores verticales. El lenguaje de la pasarela es intencionadamente sobrio.
The New Boutique Opening and Charity Event, on Robertson Blvd , SIMPLY CONSISTENT INC.
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Papa de consistencia arenosa y muy sabrosa.
Es muy absorbente, lo que la hace apropiada para platos que tienen abundante salsa. Resulta apropiada añadirla al estofado, para que se impregne del jugo. Para ello, hay que pelar la papa e integrarla pre cocida al guiso para que termine de cocinarse.
Fontaneda, Sant Julia parroquia, Gran Valira, Andorra - (c) Lutz Meyer
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Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
Autumn is consistently a great time to visit, with the foliage adding so much in spectacular, rich colors. And even during the latter part of the season, there is something so special about the bareness of many trees and vegetation. The nice thing as an observer of nature’s critters is that the birds are so much more visible. Even if they are at a fair distance, at least, one can appreciate their features. Also, many fall berries and other fruits and nuts, often with bright colors and interesting shapes, accentuate the landscape as seen only at this time of year.
The late, Doris Duke, had left a wonderful legacy in converting her magnificent estate into a Natural Wildlife Preserve for the public’s education and enjoyment. The paths throughout the estate offer such splendid scenery. One is forever exploring, always seeing something subtly beautiful. There are always pleasant surprises, from the general scenery to the world of the wildlife, even tiny insects and flowers are enjoyable to observe. The bucolic nature of the preserve is so relaxing—akin to meditating while experiencing the landscape. The beauty of visiting Duke Farms is that so many incredible views are there simply by observing all of the surroundings. Spotting new and fascinating wildlife—both animals and plants—always adds to the experience.
The old Hay Barn Ruin Sculpture Garden is hauntingly elegant. The lady statues are truly spectacular works of art, each and every one capturing your attention as if with life, possessing a unique quality of personality and character. As the sun descends and the evening tones envelope the air, this sculpture garden becomes quite atmospheric, creating an inviting, soft mood . . .
Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
Best-selling author and radio talk-show host Larry Elder and Kathleen Checki, president of Simply Consistent, Inc., came out to support Recording for the Blind and Dyslexic’s Hollywood studio on April 5 at their 16th annual Record-A-Thon.