Farmer Megertu Seboka at her rural home in Mazoria district in Ethiopia where she enjoys clean and safe water whenever she needs it, thanks to wind powered water pumps provided by funding by the African Development

Canon D60 with 3 Flashes

A 550EX & 580EX were utilized in an A:B ratio of 1:3. "A", the master was the 550ex located on-shoe but reflected off a zipdisc to add fill.

The 580EX was utilized off camera in a Morris Softbox. The flash was positioned 45degrees to the right of the model.

A Vivitar 285HV was utilized to illuminate the background. This flash was at about 1/16 in a Lumiquest, and triggered via a PC Sync cable. For some reason my Digital Peanuts do not work with the Canon E-TTL flashes.

The inside view 3D printed prototype showing the corner of new display design.

Our Industrial Design team came up with the idea of using extruded aluminum with cast aluminum corners. You can think of the design as a picture frame, where extruded aluminum planks are cut at an angle and screwed into cast corners. A sheet metal aluminum back plate is then attached to the frame. This novel manufacturing method utilizing extruded aluminum and cast corners for digital displays is patent pending.

Learn more at: ideum.com/products

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the opening reception at Wave Pool on March 12th, 2022, featuring performances by:

- Betty Page Turner (host)

- Seymour Hiney

- Bleu Vomit

- Dandy Lyin

- Delusiona Grandeur

- Dahlí

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com

White Sands Missile Range Museum

Pershing II was a two-stage improved version of Pershing la. It utilized a maneuverable re-entry vehicle and radar area-correlation guidance. By comparing the on-coming target with stored images, the missile's accuracy was greatly improved. After detonating, the warhead destroyed the target by airburst or earth penetration. Re-entry vehicles could penetrate the ground to a depth of 100 feet before exploding.

Pershing Il also had a new warhead, new propulsion sections, and modified Pershing la ground support equipment. Fully compatible with existing Pershing la ground equipment, Pershing II was still a manpower-intensive system, requiring 3,800 men for 108 missiles on launchers.

The Deputy Secretary of Defense authorized the Army to proceed with the advanced development of the Pershing II on 7 March 1974. The first Pershing II missile firing at White Sands Missile Range took place in 1977.

The increased range and pinpoint accuracy of the Pershing II were major factors influencing the Soviet Union's decision to seek the Treaty on Intermediate Range Nuclear Forces in which the United States and the USSR agreed to eliminate an entire class of nuclear missiles. The INF Treaty abolished all medium and intermediate range nuclear armed ballistic missiles. The United States and the USSR signed it on 8 December 1987, and the U.S. Senate ratified the INF Treaty on 27 May 1988.

In accordance with INF Treaty provisions all of the U.S. Army's tactical Pershing II missile stages, launchers, trainers, and deployed reentry vehicles had to be eliminated by May 31, 1991. A total of 234 Pershing II missiles were covered by the treaty. Army contractors completed the destruction of the last Pershing II in May 1991. Representatives from the Soviet Inspection Team and the U.S. On-Site Inspection Agency were present to witness the elimination process.

Each side also had permission to destroy 15 missiles and launchers by disabling, then permanently exhibiting them in museums and similar facilities. One of the Army's 15 is the Pershing I missile and launcher on display here at White Sands Missile Range, New Mexico.

Length: 35 ft

Diameter: 40 in

Weight: 16,500 pounds

Propellant: Solid

Range: 1,125 miles

First Fired: 1982

Bracesinfo’s invisalign treatment can help patient to straighten teeth and make their facial appearance. We have affordable alternative invisalign for patients with orthodontic relapse or minor crowding and spacing. Our Invisalign Express utilizes invisible aligner technology in a five stage or less treatment program. For detail information on invisalign visit our website.

At its peak, the Sikorsky SH-3 series of naval aircraft was a widely used and successful platform utilized in anti-submarine warfare and search and rescue operations. Development stemmed from a United States Navy 1957 contract proposal that would produce a flying prototype by 1959. Operational service was attained a short two years later.

In service, the SH-3 was called upon to accomplish one of the more important roles in fleet defense - protection from enemy submarines. As such, the aircraft was usually the first platform aloft, an indication of the importance of the type. Aided by the AQS81B dipping sonar radar, MAD, sonobuoys and a fleet-wide linkup, the Sea King could effectively provide an entire fleet with results of her readings. Standard armament could be 2 or 4 torpedoes along with chaff pods for self-defense against enemy missiles. Other armament configurations would see the Sea King sporting anti-ship missiles or depth charges as needed.

The SH-3 developed into a versatile performer, allowing for medevac and transport roles as efficiently as it was utilized for warfare roles. As a medical transport, over 20 wounded could be carried aloft, or these personnel replaced by 9 medical litters. Additionally, some 28 combat-ready personnel can be shuttled about when needed in the military transport role. An interesting facet of the Sea King's design is in the ability for the system to land on water as it is an amphibious design. Though it is limited in the total time it can stay afloat, the hull is designed to support this feature though it remains a seldom used capability of the Sea King's design.

The SH-3 appears in other notable guises from time to time, most notably in the form of Marine One - the VIP transport helicopter used to shuttle the President of the United States and is operated by the United States Marine Corps. SH-3's were also noted in their use during the recovery of the Apollo 14 crew. In areas of USN service, the SH-3 has already begun seeing replacement by the newer SH-60 Sea Hawk, a variant of the well-known US Army Blackhawk helicopter platform though the system still remains in some operational roles - particularly with other nations across the globe.

USS Midway Aircraft Carrier CV-41 Museum-San Diego Ca.

For Scavenger Hunt 101. #61 - The utilization of an alternative energy source

I live at the foot of a wind farm. Hundreds of these windmills sit in the hills behind my house. It's probably the best part of my commute. I just wish I could see the affect on my electricity bill.

By utilizing local commodities, Marjiati br Sembiring Meliala has risen from a disaster to a business woman. She cooks for success to support her family and to contribute to the welfare of her communities in the midst of disaster due to the eruption of Mt. Sinabung, Karo District, Indonesia.

For further information about the ILO's activities under the Sinabung Project, please visit: www.ilo.org/jakarta/whatwedo/projects/WCMS_347795/lang--e...

Copyright: ILO/G. Lingga (2017)

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US

Since the predynastic period, the ancient Egyptians have utilized tents constructed of matting, leather, and thick linen fabric as a temporary method of habitation. The everyday life scenarios revealed that tents were utilized by the ancient Egyptians on hunting trips and military campaigns, as well as as a temporary dwelling for deity statues in processions. In addition, tents were built up in the gardens and courtyards of houses for housewives to use during the last stages of pregnancy and delivery. In the hot summer days, tents and pavilions made of fine linen were erected beside the palaces’ lakes and gardens as a place for amusement and leisure. Furthermore, aristocrats and affluent individuals would place a baldachin made of matting or leather in front of their tombs for purification ceremonies, and it would eventually be buried with the corpse.

When Emile Brugsch and Ahmed Kamalc found the Deir el-Bahari cache (TT 320) in 1881, Brugsch discovered this one-of-a-kind tent buried in one of its corridors, still retaining its bright colors because it was made entirely of applique colored leather, and decorated with carefully cut-out leather ornaments and texts fixed on a different color piece of leather. These writings depict Isetemkheb II’s delightful company with God Khonsu Lord of Thebes, Goddess Mut, and the deities of the other world amid the fragrance of flowers and perfumes from Punt.

It is noteworthy as it is the sole tent from ancient Egypt that has survived to the present day.

This tent was built between 1046 and 1037 BCE for the funeral purification of Isetemkheb II, the daughter of the army general and Amun high priest Masaherta and Amun chantress Tayuheret, and the granddaughter of King Pinudjem I of the 21st dynasty. Notable, Isetemekheb II held the rank of superior of the harem of Min, Horus, and Isis in Akhmim and was one of the numerous princesses in the family to have this name.

Although Isetemkheb II’s”coffin has yet to be unearthed, her cousin Pinudjem II’s coffin was discovered in the Deir el-Bahari cache and is currently exhibited within the baldachin.

Museum Notice

Vol 6 in the Lovecraft Illustrated Editions. ISBN 978-1-8486-36-8

comment by CR:

The short novel "At The Mountains of Madness"(1931) by H.P. Lovecraft (1890-1937) is one of his most ambitious works in which he utilizes his extensive knowledge of Antarctic exploration, mythology, geology and zoology as a backdrop to his story of a unfathomable encounter with archaic extraterrestrial entities.

Much to his dismay the story was rejected by Weird Tales magazine for, among other things, being too long and not convincing. Eventually it was published in Astounding magazine as a three part serial in 1936. Lovecraft was furious that the editor truncated paragraphs and change sentences without consulting him. Credit to S.T. Joshi editor of "The Annotated H.P. Lovecraft" for this information on the publishing history.

"At The Mountains of Madness" is a lengthy story complete with the sentence structure, phraseology and arcane word use that Lovecraft aficionados find endearing and casual readers can find nearly impenetrable. For example: "Through the desolate summits swept ranging, intermittent gusts of the terrible Antarctic wind, whose cadences sometimes held vague suggestions of a wild and half-sentient musical piping, with notes extending over a wide range, and which for some subconscious mnemonic reason seemed to me disquieting and even dimly terrible."

First time readers should seek out the previously mentioned "The Annotated H.P. Lovecraft" with it's 233 footnotes for this story alone! My third reading of this story was on a Kindle with is very helpful built in dictionaries.

The other fascinating or frustrating aspect of this story is Lovecraft's extensive references to his other stories, favorite authors, and place names. The Antarctic Expedition is funded by Miskatonic University and wireless reports are published in the Arkham newspaper. The sea party travels on the whalers "Miskatonic" and the "Arkham". Numerous references are made to "The Necronomicon" by the mad Arab Abdul Alhazred - "a monstrous book" at the college (Miskatonic) library that describes the "Elder Things" and the "Cthulhu Cult. Nightmare paintings by Clark Ashton Smith are based upon "The Necronomicon". It is what it is; new readers, if so inclined are invited to sign up for many of the on-line courses sponsored by Miskatonic University.

The actual story is deceptively straightforward. I will keep my summary very brief and avoid any spoilers. An advanced party from an Antarctic scientific expedition reports to the expedition leader unbelievable geological and zoology discoveries. Suddenly all radio communications cease. A rescue teams travels to the base camp only to find gruesome remains that defies any logical explanation. The leader and a companion decide to do a little exploration on their own and make a momentous discovery.

One video still from each "Life is Drag" video portrait (performance documentation).

lifeisdrag.com

ARTIST STATEMENT:

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).

This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.

From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.

My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).

I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.

2009 Oklahoma Fellows Kristy Ford, Stacy Darling, Patricia Morgan and Kim McElroy utilized New York City's arts resources to raise standards for teaching visual and performing arts and for integration of arts into the curriculum.

All photos by Mathias Vejerslev.

Partnering with the Danish Museum of Science and Technology, InfinIT, a Danish network for innovative utilization of IT, Cotter (Laser Cutting Services) and VRKSTEDET (Underbroen) we created a Bits & Beers to kickstart our newest venture - a series of workshops called "From Old Patents to New Prototypes".

Our theme was 'crazy inventions that can change the world' and our speakers included some very special people who have contributed to our world!

Some of the people joining us included:

Jesper Vind, CEO at Future Electric

The company makes state-of-the-art electric motorcycles, with increased maneuverability and acceleration.

→ futureelectric.dk

→ facebook.com/futureelectric.dk

Christian Liljedahl: In collaboration with a small team of experts, Christian invented the Pulse Jet Concert, by playing with the pitch of the sound of the pulse jet by changing the length of the pipes. An incredible auditory experience!

→ christian.liljedahl.dk

Bent Stawski: Specialist in design and manufacturing of advanced scaled mechanical models such as steam trains, steam engines and other mechanical equipment.

Vincent Seremet: Aviation designer and military test pilot with a wide range of aeronautic designs and inventions: gyro-copters, rocketpropelled parachutes, jet packs, phantom wings, etc.

→ kristeligt-dagblad.dk/historier/vincent

→ flyvemuseum.dk/html/vincent_seremet.html

Christian Hansen & Steen Lærke: Specialists in miniature model building. Both scaling, engineering and electrical function associated with advanced model building.

Per Nielsen & Mikkel Posselt: Specialists in combustion engines and can get anything up and running, including the Hammelvogn, built in 1888 by Hans Urban Johansen at the Albert F. Hammels machine factory in Nørrebro.

Finn Helmer: Engineer and previous co-owner of the Electronic company Giga, Finn will talk about startups within inventions, and how to increase your chances of success.

Terje Lade: Manager at Ladeas and developer of the project Vindship, a hybrid merchant vessel for sustainable sea transport.

→ ladeas.no

And a F-16 Jet

The Danish Museum of Science and Technology has a F-16 Jet on loan, and Bits & Beers guests were welcome to get up close and personal, and even sit in the cockpit!

Photos by www.flickr.com/photos/mvejerslev (Credit required for use of photos).

One video still from each "Life is Drag" video portrait (performance documentation).

lifeisdrag.com

ARTIST STATEMENT:

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).

This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.

From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.

My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).

I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the opening reception at Wave Pool on March 12th, 2022, featuring performances by:

- Betty Page Turner (host)

- Seymour Hiney

- Bleu Vomit

- Dandy Lyin

- Delusiona Grandeur

- Dahlí

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com

0802-219-23

Jackson Mills Covered Bridge was built in 1875 utilizing the Burr truss, it crosses Brush Creek. The length of the bridge is 91 ft. and the width is 15 ft. The structure is owned by the county and was built by A.D. Bottomfield and Joe Pee.

The bridge was named after M.J. Jackson who owned and operated the gristmill and sawmill which is located close by. This bridge is open to all traffic it had been refurbished in 1991 at a cost of $489,000 which was much lower than the cost of a contemporary structure at the price of $850,000. The bridge has a very unusual uncovered bridge portion that extends from the roadbed to the east of the bridge.

Times Square, New York City, New Years Eve Ball Drop, 2012 - 2013

The Times Square Ball is a time ball located atop the One Times Square building in New York City, primarily utilized as part of New Year's Eve celebrations held in Times Square. Yearly at 11:59 p.m. EST on December 31, the ball is lowered 77 feet (23 m) down a specially designed flagpole, resting on the midnight to signal the start of the new year. The first ball drop in Times Square took place on December 31, 1907, and has been held annually since (except in 1942 and 1943 in observance of wartime blackouts). The ball's design has also been updated over the years to reflect new advances in technologies—its original design utilized 100 incandescent light bulbs, iron, and wood in its construction, while its current incarnation features a computerized LED lighting system and an outer surface consisting of triangle-shaped crystal panels. As of 2009, the ball is also displayed atop One Times Square year-round and is removed only for general maintenance.

The Times Square ball drop is one of the best-known New Year's celebrations internationally, attended by at least one million spectators yearly, with an estimated global audience of at least 1 billion. The prevalence of the Times Square ball drop has also inspired other similar "drops" held locally in other cities and towns around the world.

“Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest,” from American Idol as the host

Performers of the 2012 - 2013 celebration Carly Rae Jepsen, Neon Trees, Flo Rida, Pitbull, with Taylor Swift, in the headliner position just before midnight.

For more on New Years Eve in Times Square visit:

www.timessquarenyc.org/

Photo

Times Square, New York City, USA, North America

12-31-2012

Times Square New Years Eve Ball Drop in New York City 2015 - 2016

The Times Square Ball is a time ball located atop the One Times Square building in New York City, primarily utilized as part of New Year's Eve celebrations held in Times Square. Yearly at 11:59 p.m. EST on December 31, the ball is lowered 77 feet (23 m) down a specially designed flagpole, resting on the midnight to signal the start of the new year. The first ball drop in Times Square took place on December 31, 1907, and has been held annually since (except in 1942 and 1943 in observance of wartime blackouts). The ball's design has also been updated over the years to reflect new advances in technologies—its original design utilized 100 incandescent light bulbs, iron, and wood in its construction, while its current incarnation features a computerized LED lighting system and an outer surface consisting of triangle-shaped crystal panels. As of 2009, the ball is also displayed atop One Times Square year-round and is removed only for general maintenance.

The Times Square ball drop is one of the best-known New Year's celebrations internationally, attended by at least one million spectators yearly, with an estimated global audience of at least 1 billion. The prevalence of the Times Square ball drop has also inspired other similar "drops" held locally in other cities and towns around the world.

“Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest,”

Performers of the 2015 - 2016 celebration

Daya

Wiz Khalifa & Charlie Puth

Jessie J

Demi Lovato

CNCO

Luke Bryan

Maluma -(Juan Luis Londoño Arias) reggaeton singer from Medellín, Colombia performing Borro Cassette and Carnaval

Carrie Underwood

Jessie J (singing 'Imagine')

For more on New Years Eve in Times Square visit:

www.timessquarenyc.org/index.aspx

Hashtag metadata:

#HappyNewYear #HappyNewYears #FelizAñoNuevo #FelizAnoNuevo #Feliz #AñoNuevo #AnoNuevo #TimesSquare #TimesSquareNYC #TimesSquareNYE #TimesSquareNY #TimesSquareNewYorkCity #TimesSquareNewYork #TSNYC #TSNYE #NY #NYC #NewYork #NewYorkCity #NewYearsEve #NYE #US #USA #Happy #NewYear #NewYears #December #Party #Celebration #Holiday #DickClark #RyanSeacrest #DickClarksNewYearsRockinEve #New YearsRockinEve #FortySecondStreet #2015 #2016

Photo

Times Square, New York City, USA The United States of America, North America

12-31-2015

An Ethiopian villager hired to manage the operation of a windmill powered water pump providing water to rural Ethiopians through a program funded by the African Development Bank.

Islamabad, September 11, 2015 – The U.S.-Pakistan Wheat Productivity Enhancement Program (WPEP) held its annual meeting in Islamabad this week. Through the partnership, the United States, utilizing expertise from the USDA and with funding provided jointly by USAID, is supporting efforts to strengthen Pakistan's wheat rust surveillance efforts, enhance collaboration with international researchers, and improve breeding methods and testing in collaboration with the Pakistani government. Wheat rusts, which have caused hundreds of millions of dollars in crop losses during the past 50 years in Pakistan, are a critical issue for farmers worldwide.

The dynamic program is an international collaboration with a consortium of Pakistani government and university research facilities, USDA, International Center for Maize and Wheat Improvement (CIMMYT), and the International Center for Agricultural Research in Dryland Areas (ICARDA). The primary goal of the program is to protect and enhance the productivity of wheat in Pakistan, with particular attention to wheat rusts, which are difficult and expensive to treat with pesticides. The only real way to deal with the disease, according to experts with the USDA, is through the development of new, disease resistant strains of wheat.

“Long term, durable, genetic resistance to wheat rusts requires in-depth and on-going research focused on the pathogens involved, the varieties being developed, and management of the best production practices,” said Dr. David Marshall, the Research Leader at the USDA ARS Plant Science Research Unit. “A unique pool of wheat genetic resources has been developed by this project. These genetic resources can be used by Pakistani, and U.S. wheat breeders, to improve disease resistance as well as grain yield and flour quality.”

Agriculture is Pakistan’s second largest sector, accounting for more than 21 percent of the nation’s GDP. It remains the largest employer in the country, with 46 percent of the labor force working in farming. The USDA is continuing its long history of support for Pakistani scientists and farmers to enhance agricultural productivity in Pakistan, support economic objectives and meet food security needs. Wheat accounts for 60% of the daily caloric intake of the average Pakistani, and is grown on over 9 million hectares of land throughout Pakistan.

For more information about the program:

www.ars.usda.gov/research/projects/projects.htm?ACCN_NO=4...

###

The compelling moniker of Jeep’s latest machine sounds like a newly introduced hero from Avengers: End Game. While off-roading through the outskirts of Sacramento Automotive Rhythms discovered the beastly nature of the 2020 midsize Jeep Gladiator while simultaneously witnessing its powerful capabilities in various scenarios such as scaling down trails of boulders and creeping through mud like navy seals. After experiencing dozens of 4x4 adventures from Jeep and other truck brands, the Gladiator is like a chess grandmaster utilizing strategic power moves during the endgame to outmaneuver the competition.

By utilizing local commodities, Marjiati br Sembiring Meliala has risen from a disaster to a business woman. She cooks for success to support her family and to contribute to the welfare of her communities in the midst of disaster due to the eruption of Mt. Sinabung, Karo District, Indonesia.

For further information about the ILO's activities under the Sinabung Project, please visit: www.ilo.org/jakarta/whatwedo/projects/WCMS_347795/lang--e...

Copyright: ILO/G. Lingga (2017)

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US

Roughly 64 megapixels, 8 exposures, automatically stitched with Lightroom's new panorama function.

Andreas Manessinger, manessinger.com, Creative Commons BY-NC-ND

How can ICT Utilization Provide Solutions on Sustainable Development for Developing Countries? (Japan)

Possibilty of ICTs to facilitate social and economic development in developing countries

© ITU/C. Montesano Casillas

the beautiful ballad 'I Remember Clifford' 1984

1970 CBS

Reviewby Thom Jurek

This may be Freddie Hubbard's finest moment as a leader, in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. On Red Clay, Hubbard combines hard bop's glorious blues-out past with the soulful innovations of mainstream jazz in the 1960s, and reads them through the chunky groove innovations of 1970s jazz fusion. This session places the trumpeter in the company of giants such as tenor saxophonist Joe Henderson, pianist Herbie Hancock, bassist Ron Carter, and drummer Lenny White. Hubbard's five compositions all come from deep inside blues territory; these shaded notions are grafted onto funky hard bop melodies worthy of Horace Silver's finest tunes, and are layered inside the smoothed-over cadences of shimmering, steaming soul. The 12-minute-plus title track features a 4/4 modal opening and a spare electric piano solo woven through the twin horns of Hubbard and Henderson. It is a fine example of snaky groove music. Henderson even takes his solo outside a bit without ever moving out of the rhythmnatist's pocket. "Delightful" begins as a ballad with slow, clipped trumpet lines against a major key background, and opens onto a mid-tempo groover, then winds back into the dark, steamy heart of bluesy melodicism. The hands-down favorite here, though, is "The Intrepid Fox," with its Miles-like opening of knotty changes and shifting modes, that are all rooted in bop's muscular architecture. It's White and Hancock who shift the track from underneath with large sevenths and triple-timed drums that land deeply inside the clamoring, ever-present riff. Where Hubbard and Henderson are playing against, as well as with one another, the rhythm section, lifted buoyantly by Carter's bridge-building bassline, carries the melody over until Hancock plays an uncharacteristically angular solo before splitting the groove in two and doubling back with a series of striking arpeggiatics. This is a classic, hands down.

First Hill Streetcar yard lead track segment utilizing T-rail with wheel flangeways cast in concrete, 8th ave between Lane & Dearborn

Setting: Debatable, but preferably Medieval.

Abilities: She is able to create and utilize fire, she is able to absorb heat, as well as any fire based attack aimed at her, and then in turn she is able to multiply and redirect the fire within a matter of seconds.

Back story on the dragons: Dragons where once abundant, and considered the guardians of villages and kingdoms. Though as time passed and the dragons had taught magic users how to utilize their skills to fight and protect, many of the larger kingdoms no longer saw a need for the dragons. Mages(who are considered a low level of magic user, typically magic users who were not accepted by the dragons) began to hunt down, or hire others to hunt down the dragons, to use their teeth, scales, and bones in their magic. A dragon has the ability to see into a person's soul, and tell what their true nature is, any one with a dark soul, or nature are often left to learn their magic on their own terms. This leaves the self taught magic users to remain low level, and a mage at the most. Due to the loss in dragon numbers the truly skilled magic users are few. The dragons that still remain often dwell near the small villages that have remained untouched by a kingdom's rule. The villagers tend to worship their dragon guardians, and often leave them to rest until they are needed. Villagers will often die to protect their guardian and in turn they only ever confront the dragon when a new village elder is needed as they don't want anyone who would try to harm their village or their guardian.

Julian grew up in a small village located in a small valley almost directly in the middle of the Rialau mountains. The Rialau mountains are one of the largest mountain ranges in Julian's world, and just like all unexplored places many rumors surrounded this place. As a child Julian loved to explore the valley, one day she stumbled upon a cave she was unaware that in the cave dwelled the village's guardian. A large dragon slumbering peacefully awaiting the day when it would be called upon to protect the village. In the child's curiosity she ended up waking up the large reptilian creature. Despite the child's fear, and the fact that the creature could tell that she was not born of the village, the dragon accepted her. He saw a strange light within the child. As the years went by the child would visit the guardian almost every day, and during her visits the Dragon taught her how to utilize her abilities with fire, and even some techniques that very few could ever learn on their own. When she reached the point that she would have to seek out her role in the village, she went to see the dragon once again, only to find that he was missing. No one in the village knew that Julian had seen and spoke with the guardian every day, but were shocked to find out when she sought answers as to where the dragon might have gone. Without any answers Julian spoke with the village elders and obtained the blessings to seek out their guardian and hopefully one day return with their guardian, if not at least answers as to where he might have gone.

Utilizing Lightweight Aluminum, the Karman LT-980 is one of the lightest manual wheelchairs in the market, at an affordable cost. Standard features include an ultra lightweight frame weighing in at only 24 lbs, a compact folding backrest, pelvic composite seat belt, swing away removable...

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Utilizing a 2 ½ inch advantage, the 5-9 ½ Santana, 27, was victorious in an excellent, fast-paced, two-way action welterweight fight by the scores of 98-92, 97-93 and 96-94. There were no knockdowns, but Santana dominated the last half of the fight. According to SHOSTATS, Santana outhrew Gomez, 683-460, even though he was less accurate.

“After the fifth round, I saw he was getting tired and I knew I had the bigger heart,” said Santana, who was certain the decision would go his way. “He’s talented, but I knew how to put my skills to use.

(wool) Marilou Schultz (born November 6, 1954) is a Navajo weaver, artist, and educator. She has exhibited her weavings nationally and internationally, including at the documenta 14 in Kassel, Germany.

Schultz is a math teacher as well as an artist, and she is known for her science and data-inspired weavings.

Although she began weaving as a means of financial support, her love of the craft has evolved into a method of innovation and sharing her culture with others. She utilizes traditional methods learned from her mother such as plain weave, twill and double twill, and raised outline weavings, though she has also developed unique dyeing techniques with both aniline and natural dyes. Natural dyes that she uses includes cochineal and indigo. She frequently uses wool from Churro sheep raised by her family.

In 1994, Intel commissioned Schultz to weave "Replica of a Chip," which depicted a Pentium microprocessor, a computer circuit board, and referenced the historical workforce of Navajo women assembling circuit boards at an Intel factory located on a Navajo reservation in New Mexico. (Wikipedia)

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

This photograph utilizes a high exposure to show the joyfulness of the girl's emotion. I wanted to encroach on the girl's personal space to witness her emotions up close. I titled this photo as "Dreamer" because the girl is holding her face in her hands while wearing a huge smile and closing her eyes. The viewer can sense her happiness through her daydreaming just by seeing all of her smile lines up close and personal.

Tough Mudder participants utilized U.S. Army-style teamwork as they worked together to overcome the Berlin Wall obstacle, one of many obstacles participants faced on the grueling 10 mile course during Tough Mudder New England on June 18-19.

The U.S. Army Reserve team is going to Tough Mudder events around the country to demonstrate Soldiers’ leadership and teamwork, connecting physically active participants with the Nation’s most adaptable and versatile force. For more information about the U.S. Army Reserve, visit www.goarmyreserve.com.

Q166, a Canadian Pacific intermodal train which utilizes trackage rights along the CSX Shortline Sub., is seen here passing NS 205 at Berea, Ohio while making track speed on its way to Buffalo.

A coalition force member utilizes an infrared laser to point out suspicious movement in the surrounding landscape during an Afghan National Army Commando blocking operation in Sarobi district, Kabul province, Afghanistan, March 7, 2013. The Commandos protected the establishment of an Afghan Local Police checkpoint by preventing insurgent freedom of movement in the area. (U.S. Army Photo by Pfc. James K. McCann / Released)

Leather Pants Men have utilized for riding way, strolling or going to office. This outfit is adaptable for all events. Genuine cowhide pants were involved by riders for insurance. However mens cowhide bike jeans and coats were utilized as defensive stuff on the cruiser, today it is viewed as a design proclamation.

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Could Guys Wear Leather Pant?

Obviously, men can wear cowhide pants! There are so many genuine calfskin pants for men to pick. Presently not restricted to cruiser riders and rockers, calfskin jeans can without much of a stretch be fused into your home closet. Cowhide pants are a speculation purchase that will endure forever.

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The Sixth Sense is Digital

Our nervous system is an intricate matrix designed to serve each sense. And with the advent of technology, our sensory system has a new player at the table, and it’s DIGITAL. There are devices being developed to not only utilize our senses better, but to markedly enhance them. Add to that the proliferation of sensors and the technology possibilities are endless. Speakers include: Dan Munro, Contributor, Forbes, Dr. Justin Bazan, Optometrist and Medical Adviser to The Vision Council, The Vision Council, Chuck Parker, Executive Director, Continua Health Alliance, Juha Pinomaa, CEO, Omegawave, and Stanley Yang, CEO, NeuroSky, Inc.

Moderator: Dan Munro, @danmunro, Contributor, Forbes, @Forbes

WEBSITE: onforb.es/1gLZfES

FACEBOOK:

PERSONAL: on.fb.me/1bWgxuA

FORBES: on.fb.me/QUliwA

PANELISTS:

Dr. Justin Bazan, @JustinBazan, Optometrist and Medical Adviser to The Vision Council, The Vision Council, @opticalindustry

WEBSITE: bit.ly/1gLZXC1

FACEBOOK: bit.ly/VisionCouncil

Chuck Parker, bit.ly/ContinuaDHSfb, Executive Director, Continua Health Alliance, @Continua

WEBSITE: bit.ly/ContinuaDHS

FACEBOOK: bit.ly/ContinuaDHSfb

Juha Pinomaa, @jpinomaa, CEO, Omegawave, @Omegawave

WEBSITE: bit.ly/1i8YI0d

FACEBOOK: on.fb.me/18E5DeF

Stanley Yang, @stanleysyang, CEO, NeuroSky, Inc., @NeuroSky

WEBSITE: bit.ly/Neurosky

FACEBOOK: bit.ly/NeuroSkyDHS

The Digital Health Summit at the 2014 International CES®.http://bit.ly/DigitalHealthCES - Focuses on the latest products and consumers' growing demand for high-tech health services. See solutions for diagnosing, monitoring and treating a variety of illnesses - from obesity to ADHD, from poor vision to high blood pressure...Official Hashtag #DHCES ..News & Press Articles #DigiHealthCESPress ..CES Hashtag: #CES2014.Website bit.ly/DigitalHealthWebsite.Twitter bit.ly/DigitalHealthTwitter.YouTube Videos bit.ly/DigitalHealthYouTube.Flickr Photos bit.ly/DigitalHealthFlickr.Linkedin bit.ly/DigitalHealthLinkedIn.Facebook bit.ly/DigitalHealthFB.Google+ bit.ly/DigitalHealthGPlus.Instagram bit.ly/DigitalHealthInstagram..Thank you IDEAL LIFE bit.ly/J3NdZc for sponsoring Digital Health Summit Live. ..Photos by Asa Mathat www.asamathat.com

Setting: Any(Preferably modern)

Background Story: Tyshen are odd magical beings, whose origins are unknown. Many people theorize how these beings came to be, but there is no definitive proof to these theories. Although the Tyshen are quite powerful with magic, they are unable to utilize their magic alone. In order to obtain access to their arsenal of magical abilities the Tyshen must form a special bond with humans. In the beginning humans and their Tyshen worked together and treated one another like friends. Though as time passed humans became more and more greedy, with their desire for power. Now days many of the Tyshen are treated more like tools. Often times pushed to their limits in their 'masters' desire for more power. Due to the fact that only the human can break the bond between them, many of the Tyshen have been forced to accept this type of treatment from their humans in order to survive this world. Though what few realize is that the stronger the bond between the two, the stronger the Tyshen become. This strength however starts over when a Tyshen creates a bond to a new human.(WIP suggestions welcome)

Modern Background: Back when magic roamed freely throughout the land a great war broke out between the Tyshen, their masters, and those that sought to use them for evil deeds against others. Many fell victim to these horrible deeds, but in the end the Tyshen faded into myth.... Or so it was believed. Shortly after the war ended, the many of the Tyshen with their newly found freedom, became extremely picky over who they would bond with. Many blended in with their surroundings, appearing to be nothing more than a simple villager, or townsfolk. Years passed and occasionally stories would rise about strange beings, but for the most part they were simply brushed off as ramblings of a lunatic. Due to the many years of being nothing more than myth, many of the Tyshen have become restless. It seems as though they have forgotten why they have become so weary about creating bonds, or they just don't care. Slowly they have begun creating bonds with humans. Some urging their new found masters to wreak havoc upon unsuspecting people, while others simply have a bad judge of character. Things are beginning to stir, and it appears as though history is doomed to repeat itself.

Story: Like many Tyshen, over the years of lying dormant, so to speak, Jelel has learned alternate ways of fighting for protection. Over the many years of wandering the earth Jelel has gone by many names, but Jelel Felui is the one she's taken claim to now. Some claim her to be demon, rather than Tyshen, due to the long black tail she possesses, as well as the two small horns she usually hides under her hair. Despite her constant demonic appearance she's not as evil as most think of her. Although she has a hard time understanding, or expressing certain emotions which tend to come across as anger instead. All of that set aside she's actually quite caring of others. Her long 'claws' only appear when she uses her magic, and they are her best weapon. All she has to do is break the skin of her opponent, and she can cause some serious damage with the poison within them. She primarily relies upon her speed and 'claws' in battle, but she has a few other tricks up her sleeve.

Goal: utilize limited space to advertise several church features

Audience: church foot traffic

Direction: none provided

Project: create four 14"x60" vertical banners to utilize limited square footage effectively for church advertisements

Other important info:

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the opening reception at Wave Pool on March 12th, 2022, featuring performances by:

- Betty Page Turner (host)

- Seymour Hiney

- Bleu Vomit

- Dandy Lyin

- Delusiona Grandeur

- Dahlí

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the after party at Good Judy's after the closing reception at Wave Pool on April 30th, 2022, featuring performances by:

- Necronancy

- Delusiona Grandeur

- Ceres Cobb

- hosted by Seymour Hiney

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com

Philips air fryer review is our first effort for our audience. On the off chance that you are searching for an easy to utilize air fryer with touch screen operation that won't take up a considerable measure of space, the Philips HD 9230/26 Digital Air fryer with Rapid Air Technology, Black is the best air fryer for your day to day use. Moe reviews here: goo.gl/N8EP28 Read customer review in amazon amzn.to/2aH0LbC Cooking Options The Philips HD 9230/26 has a multi cooker highlight that gives you a chance to heat, dish, flame broil or sear your most loved nourishments with 70 percent less fat substance. It implies that the sustenance you put on the table will be more beneficial and feast time arrangement will never get exhausting. Security There is a programmed close off component for this air fryer. After a time of inertia taking after cooking, the air fryer will turn itself off to keep overheating from happening. It keeps the conceivable begin of a flame or electrical lack occurring in your kitchen. Cooking Capacity The Phillips HD 9230/26 accompanies a sustenance wicker container that can deal with up to 1.8 pounds of nourishment without backing off. You can without much of a stretch serve a group of four some of their most loved nourishments, for example, fresh French fries, ground sirloin sandwiches, chips or steak. Settings This air fryer gives you finish control over its operation capacities. You can set a clock to guarantee your sustenance does not overcook. The clock will sound when the cooking procedure wraps up. A temperature control permits you to confirm the warmth of the cooking oil. Your temperature gage goes up to 390 degrees. Pros Cleanup is a breeze with the removable drawer and nourishment wicker bin that are dishwasher safe. You will realize that the wicker container is purified and prepared for all the more cooking. There is a twofold layer cooking rack which expands the accessible cooking alternatives. You can concentrate on cooking steak in the fundamental fryer part as you are get ready potatoes or another side thing on the cooking rack. This item is lightweight and simple to convey if you have to revise your kitchen counters or take it to a gathering or occasion far from home. Cons The sustenance wicker container can be ungainly to evacuate amid use. It backs off your cooking time because of bungling with the crate as you are attempting to get to the nourishment inside. The nourishment wicker bin is on the little limit side, making it hard to get ready sustenance for an extensive family or another culinary occasion. The discharge catch on the sustenance crate can be difficult to press every now and then. It makes it hard to evacuate sustenance in planning for supper time. Highlights Computerized time and temperature controls empower you to preheat the air fryer before utilizing it, making for a more straightforward planning process. The clock component sets concocting times of to a hour without you worrying about smoldering the things inside. An inherent wellbeing highlight gives you a chance to touch the outside handles notwithstanding amid the cooking procedure. A non-slip base keeps the item set up which gives insurance from cooking oil slicks if you accidently knock the item while it is cooking. A Philips air fryer application is accessible for download on a cell phone or tablet. It improves the utilization of the item and makes it proportional to having a business fryer in your kitchen. The Philips HD 9230/26 Digital Air Fryer with Rapid Air Technology(goo.gl/AXlqIQ), Black makes it speedy and simple for you to put solid sustenance on the supper table. You won't need to give up taste either, making even your pickiest eater glad. I am sure this air fryer will turn into a staple in your kitchen, abandoning you thinking about how you endured supper time without it sometime recently. Read customer review in amazon amzn.to/2aH0LbC Please read more air fryer reviews here goo.gl/N8EP28 Subscribe our channel here:https://goo.gl/9ApveO Find us on Social Media Facebook:http://ift.tt/2aErCb9 Twitter:https://twitter.com/kitchenpicks Pinterest:http://ift.tt/2asdvSQ Stumbleupon:http://goo.gl/IRmfxA Google+:https://goo.gl/ktm6wp

I utilized a 6 F-STOP ND filter to allow the use of strobes and keep the sync speed of the shutter under 1/200s.

Strobist:

2x vivitar 285, both at full power in a westcott apollo softbox.

Randy utilized the comfortable Air Contact System in Deuter's ACT Zero 50+15 Backpack. It was a perfect choice for Yosemite. Enough Volume to carry the added food storage canister, and capable of easily bearing the weight of Randy's 33 lb load (weight includes four days of food and 3 liters of water).

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the opening reception at Wave Pool on March 12th, 2022, featuring performances by:

- Betty Page Turner (host)

- Seymour Hiney

- Bleu Vomit

- Dandy Lyin

- Delusiona Grandeur

- Dahlí

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com

1021-96-19-1

The bridge was built in 1854 by David Spooner using the Town truss and utilizing one span. The structure is 100 ft. long and 15 ft. wide, and it is only open to foot traffic. The bridge crosses Marsh Creek and is owned by Gettysburg Battlefield Preservation Association.

The bridge was known as Sauck's during the Civil War, it was built using oak and pine. The bridge was repaired in 1997 after heavy rains washed the bridge from it's foundation and carried it approx. one hundred yards downstream.

On July 3rd and 4th, 1863 , the bridge was used by a portion of the Confederate army, in retreat out of Gettysburg, but is said to have been used by both armies during the time of the Gettysburg conflict. Robert E. Lee had split his army into 2 sections, with one headed Northwest toward Cashtown, the other crossed Sauck's Bridge and headed Southwest.

The bridge is known to have been the site of a triple hanging at one end, and in close proximity to a crude post battle field hospital, the Sauck's Covered Bridge is a favorite of ghost hunters.

I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).

With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).

Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.

The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the after party at Good Judy's after the closing reception at Wave Pool on April 30th, 2022, featuring performances by:

- Necronancy

- Delusiona Grandeur

- Ceres Cobb

- hosted by Seymour Hiney

"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.

To see the full "Life is Drag" archive:

lifeisdrag.com