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LAS VEGAS, NV, MARCH 25, 2011 - Girl Talk performing at The Boulevard Pool at The Cosmopolitan of Las Vegas Friday night.
Girl Talk is Pittsburgh-based mash-up artist Gregg Gillis. Not too long ago, Gillis made his bread and butter as a biomedical engineer, relegating his mash-up skills to hobby status. But the buzz on both his wildly inventive productions — slicing and dicing and stitching together bits of oldies, chart hits, indie-rock favorites and hip-hop jams — and his wilder live performances eventually propelled him to make Girl Talk a full-time endeavor.
Celebrating 10-plus years of sample-obsessed production and relentless touring, Gregg Gillis released All Day this past November, his fifth album as Girl Talk, and his most epic, densely layered, and meticulously composed musical statement to date. Continuing the saga from the previously acclaimed albums, Night Ripper and Feed The Animals, Gillis lays down a more diverse range of samples to unfold a larger dynamic between slower transitions and extreme cut-ups. With the grand intent of creating the most insane and complex "pop collage" album ever heard, large catalogs of both blatantly appropriated melodies and blasts of unrecognizable fragments were assembled for the ultimate Girl Talk record (clocking in at 71 minutes and 372 samples).
Max Tundra and Junk Culture opened for Girl Talk.
For upcoming shows and events at The Cosmopolitan see the Events Calendar.
Find The Cosmopolitan on...
Twitter: @Cosmopolitan_LV
Facebook: www.facebook.com/TheCosmopolitan
YouTube: www.youtube.com/user/TheCosmopolitanLV
Website: www.cosmopolitanlasvegas.com
U.S. Air Force basic military graduation is held Mar. 26, 2020, at the 331st Training Squadron’s Airman Training Complex on Joint Base San Antonio-Lackland, Texas. Due to current world events, the graduation ceremonies will be closed to the public until further notice for safety and security of the newly accessioned Airmen and their family members due to coronavirus (COVID-19).
Bacchus Glass Table & Bedside Lamp $169 & $199 Pottery Barn www.potterybarn.com/products/bacchus-table-bedside-lamp/?...
Camera: Zero 2000 Pinhole
Film: Kodak Portra 400
Exposure Time: 12 seconds
Location: Colonial Creek Campground - North Cascades National Park, Washington State
A night in the forest and two days on the trails, surely makes for a great retreat from the rat race of the city. After spending the long 4th of July weekend attending a beer festival and going to BBQs and celebrating our nation's birthday with friends I hit the road for a night of solitude in the North Cascades National Park.
Pictured above is the walk-in site I selected upon arriving at Colonial Creek Campground, site 135 if anyone is interested. I am not good at measuring distances but I'd say it was a good 50 or 60 yards from the car, far enough in that I could no longer see my Mazda anyway. There was a real sense of being out in the wilderness, surrounded by the lush old growth forest around me. The calmness of the woods spooked me a bit once nightfall came. I suppose I am still working on my zen like oneness with nature, but other than that I did just fine.
I spent much of the two days up in the park hiking in the woods with my cameras. I came away with a handful of images I am satisfied with. Sadly the rolls I shot with my Minolta X-700 by and large had fogging issues. A reoccurring issue with the camera lately. A series of images from the trip will follow in the coming days.
OSAN AIR BASE, Republic of Korea (Feb. 8, 2018) - Vice President Mike Pence lands at Osan Air Base. This is the Vice President's second visit to the Republic of Korea within the past 12 months. (U.S. Air Force photo by Staff Sgt. Franklin R. Ramos) 180208-F-FV476-031
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Nakajima Hikoki K. K. J1N1-S Gekkos were the first Japanese aircraft designed and built specifically to intercept and destroy other aircraft at night and in poor weather. Gekkos achieved some notable successes during three years of service with the Japanese Navy. This design took shape in 1938 not as a night interceptor, but as a long-range fighter that could protect bombers. During the war with China, Japanese naval pilots complained of excessive bomber losses to Chinese fighters based beyond the range of Japanese fighters. The navy issued specifications to both Mitsubishi and Nakajima for a 3-seat, twin-engined escort fighter. The aircraft's speed must be at least 518 kph (322 mph) and it had to have a normal range of 2,410 km (1,496 miles) and a maximum range of 3,706 km (2,302 miles). Armament must include forward-firing cannon and machine guns plus a flexible gun to defend against tail attacks. The most important specification ultimately defeated the whole concept. The aircraft had to maneuver well enough to successfully engage single-engine fighters.
The Nakajima design, called the J1N1 and crafted by engineer Katsuji Nakamura, most readily met the navy's requirements and a prototype was flight-tested in May 1941. In the two years since the navy's original demand, Mitsubishi had developed and placed into service the Zero fighter (also in the NASM collection) and this superlative airplane had solved the bomber escort problem. Nakajima nonetheless forged ahead and flew a J1N1 prototype May 2. A year-and-a-half of flight tests proved beyond doubt that this aircraft was inferior to single-engine fighters. Except for range and takeoff distance, the type failed to meet any requirements in the 1938 specifications. The Germans also foolishly clung to the escort fighter concept. Early in the war, Germany placed in service a multi-engine, multi-seat escort fighter similar to the J1N1, the Messerschmitt Bf-110. It too failed disastrously in 1940 during the Battle of Britain when opposed by single-engine, single-seat Hurricane and Spitfire fighters. Like Nakajima, Messerschmitt salvaged this design when they transformed it into a successful night fighter.
The Japanese Navy took an interim step, however, before testing the J1N1 in night operations. The navy authorized Nakajima engineers to convert the design into a high-speed, long-range, naval reconnaissance aircraft based on land. Sweeping changes to the airframe, engines, and armament made the aircraft more reliable and suitable for the new mission. Between April 1942 and March 1943, Nakajima delivered just fifty-four of the new model, the J1N1-C, including four prototypes. U. S. forces first encountered the aircraft during early operations in the Solomon Islands and codenamed it the IRVING. The J1N1-Cs served in limited numbers and flew primarily from the great Japanese base at Rabaul on New Britain. The base was a regular target for night-flying U. S. Army Air Forces Boeing B-17 Flying Fortresses (see NASM collection). Sometime in the spring of 1943, Commander Yasuna Kozono ordered a J1N1-C modified for night interceptor work. Maintenance crews cleaned out the observer's position behind the pilot and mounted two 20 mm cannon fixed to fire above and to the front of the new night fighter at a 30-degree angle. Two more cannons were mounted in similar fashion but fired downward. The experimental airplane was designated the J1N1-C KAI.
On the night of May 21, the modified IRVING intercepted and shot down a pair to B-17 bombers. This immediate success caught the attention of the Naval Staff and they ordered Nakajima to begin full-scale production. The new interceptor was named the J1N1-S Gekko (Moonlight). At this time, no one in Allied intelligence circles expected the Japanese to field an effective night fighter and months passed before anyone discovered what lay behind a string of regular and mysterious losses of both B-17s and Consolidated B-24 Liberator bombers.
Nakajima concentrated on producing the Gekko version of the J1N for the remainder of the war.
In the summer of 1944, U. S. Marine and U. S. Army infantry divisions captured the Mariana Islands during several months of vicious combat. This important victory provided air fields from which to attack all the important Japanese cities and industrial targets in the home islands. U. S. Army Air Forces crews flying Boeing B-29 Superfortresses began flying daylight, precision bombing raids against Japan in November. In January, tactics changed to night, low-altitude attacks and the Gekko was one of many types of Japanese night fighters pressed into defending the homeland. There were some spectacular missions flown by IRVING crews but overall, Japan's night interceptors achieved limited results. The B-29 cruised approximately 80 kph (50 mph) faster than either the B-17 or B-24. Gekko crews usually could rarely make more than a single pass at the fast Superfortresses. Lt. Sachio Endo was credited with destroying eight B-29s and damaging another eight before he fell to the gun crews of a B-29. Another Gekko crew shot down five B-29s in one night but these combat successes were rare. Japan's night fighter forces were no match for the overwhelming number of B-29s with their great speed and defensive firepower. Escorting Allied fighter aircraft also took their toll. Many IRVINGs were shot down, destroyed on the ground, or expended during Tokko missions. Tokko is the Japanese term for Special Purpose Attackers, known in the West as kamikaze attacks. By war's end, Nakajima had built 486 Gekkos. Although the IRVING night fighter was an able night fighter, there were never enough to significantly impact the air war.
The NASM J1N1-S Gekko is the only one remaining today. Following the occupation of the home islands, U. S. forces gathered 145 interesting Japanese aircraft and sent them to the United States aboard three aircraft carriers. Four IRVINGs were in this group: three captured at Atsugi and one from Yokosuka. Serial Number 7334, the aircraft from Yokosuka, was given Foreign Equipment number FE 3031 (later changed to T2-N700). It eventually joined the Smithsonian's growing collection but the other three IRVINGs were scrapped.
Records show that after arriving aboard the "USS Barnes," air intelligence officials assigned '7334 to Langley Field, Virginia, on December 8, 1945. The airplane moved on to the Air Materiel depot at Middletown, Pennsylvania, on January 23, 1946. The Maintenance Division at Middletown prepared the Gekko for flight tests, overhauling the engines and replacing the oxygen system, radios, and some flight instruments with American equipment. Mechanics completed this work by April 9. The Navy transferred '7334 to the Army in early June, and an army pilot flew the Gekko on June 15, 1946, for about 35 minutes. At least one other test flight took place before the Army Air Forces flew the fighter to Park Ridge, Illinois, for museum storage.
The collection of museum aircraft at Park Ridge numbered more than 60 airplanes when the war in Korea forced the United States Air Force to move it to the site we now call the Paul E. Garber Preservation, Restoration and Storage Facility in Suitland, Maryland. The IRVING was dumped outside in a large shipping crate until buildings became available in 1974. In 1979, NASM staff selected IRVING for restoration. Only the second Japanese airplane to receive the skilled attentions of NASM restoration craftsmen, this rare airframe was actively corroding in many places. It was only the second Japanese aircraft restored by NASM, after the Mitsubishi Zero completed in 1976. At that time, it was the largest and most complex aircraft restoration project NASM had undertaken. Work started on September 7, 1979, and ended December 14, 1983, following 17,000 hours of meticulous, dedicated labor. It stands today as the sole remaining example of Japan's night-fighting Gekkos
Manufacturer: Nakajima Hikoki K. K.
Date: 1942
Country of Origin: Japan
Dimensions:
Overall: 15ft 1 1/8in. x 41ft 11 15/16in., 10670.3lb., 55ft 9 5/16in. (460 x 1280cm, 4840kg, 1700cm)
Materials:
All-metal, monocoque construction airplane
Physical Description:
Twin-engine, conventional layout with tailwheel-type landing gear. Armament: (2) 20 mm fixed upward firing cannon Engines: (2) Nakajima Sakae 21 (NK1F, Ha35- 21) 14- cylinder air-cooled radial 1,130 horsepower (metric)
Smithsonian National Air and Space Museum Steven F. Udvar-Hazy Center Virginia
JOINT BASE ELMENDORF-RICHARDSON, Alaska (Dec. 30, 2020) - U.S. Airmen with the 673d Medical Group prepare supplies to administer the COVID-19 vaccine at Joint Base Elmendorf-Richardson, Alaska, Dec. 30, 2020. Upon receiving the initial shipment of the vaccine, JBER began inoculating personnel following the Centers for Disease Control and Prevention’s prioritization guidelines. The vaccine is part of Operation Warp Speed, a national initiative to accelerate the development, production and distribution of safe and effective COVID-19 vaccines, therapeutics and diagnostics. (Photo by Courtesy Photo) U.S. Airmen with the 673d Medical Group prepare supplies to administer the COVID-19 vaccine at Joint Base Elmendorf-Richardson, Alaska, Dec. 30, 2020. Upon receiving the initial shipment of the vaccine, JBER began inoculating personnel following the Centers for Disease Control and Prevention’s prioritization guidelines. The vaccine is part of Operation Warp Speed, a national initiative to accelerate the development, production and distribution of safe and effective COVID-19 vaccines, therapeutics and diagnostics. (Photo by Courtesy Photo) 201230-F-XX000-1002
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Please accept my apologies for this picture being numerically out of place.
It appears that I can't count depite being an accountant for over thirty years !! . . . . . . Found on internet.
Nickel Plate Mountain. The property was rich and like the Nickel Plate, also required some novel methods for ore removal. Since the claim was on a cliff face 300 feet above the valley, access was extremely difficult. Ground transportation was out of the question. The solution was an aerial tramway constructed from the mine portal to a mill location on Twenty Mile Creek just upstream of Hedley.
I finally got to Las Vegas for a Red Flag Exercise. 20-3 to be exact. I was told by photographers that had much more experience than me, that this was a light Red Flag. I plan on going back next year.
Las Ventanas al Paraiso "The windows to Paradise"
Km 19.5 Carretera Transpeninsular
Cabo San Lucas, San Jose del Cabo - MEXICO
In the 1970's the Mexican government designated "hot spots" for tourism development including Cancun, Ixtapa and Los Cabos. Los Cabos, which means the Capes has twin towns of Cabo San Lucas and San Jose del Cabo which are separated by 20 miles of beach coast line. Mexican developer Javier Burillo Azcarraga acquired eighteen undeveloped acres at Cabo San Lucas in the early 90's. He envisioned for the site a unique, super-luxury, boutique hotel that would stand out from the crowd and reflect Baja's indigenous culture and landscape. He brought in Atlanta-based architect and developer Hal Thannisch, Jr. to create the master plan and orchestrate the design, construction, financing, and ultimate operation of the completed resort. Thannisch hired HKS Architects of Dallas to provide architectural services, and they in turn, retained The SWA Group of Dallas to create the site plan and landscape architecture. The SWA Group developed the Las Ventanas landscape which blends the natural desert environment with the sensuality of the Mexican-style architecture to enhance the resort’s sense of authenticity. Construction began in December 1995, and the five-star Las Ventanas al Paraiso, or "Windows to Paradise," welcomed its first guests in July 1997. When guests enter Las Ventanas, they don't see all the buildings at once. Rather, the resort gradually reveals itself as guests walk down to the sea. The site plan radiates out from the open-air lobby, and every guest suite has a view of the blue Sea of Cortez. The resort resembles a small, sand and earth-colored Mexican village. The hotels opening rate was $325 a night. The 61-room Las Ventanas al Paraiso claims to have the longest celebrity client list of any hotel in the world. The discreet resort does not have a sign outside on Highway 1. Zen-inspired raked-sand entrance opens to beach views from the restaurant, private rooftop patios, and infinity-edge pools, where super-attentive pool butlers clean your smudged sunglasses and provide unlimited towel service. All over-sized guestrooms have pebble-inlaid headboards, hand-carved cedar doors, wood-burning fireplaces, and telescopes for stargazing.
Javier Burillo belongs to the Azcárraga family, owner of Televisa. He is the son of Carmela Azcárraga Milmo, sister of the late Emilio Azcárraga Milmo and daughter of Emilio Azcárraga Vidaurreta, founder of Televicentro, now Televisa. Grupo Televisa, S.A.B. is a Mexican multimedia company and the largest in Latin America and the Spanish-speaking world (Univision in the United States). The company has been led and owned by three generations of Azcárraga. Javier Burillo inherited the Ritz Acapulco Hotel from his grandfather. In 1999 he and Rosewood's Hal Thannisch proposed a $62 million, 105-room Rosewood Resort in Sonoma, CA which failed to get city's approval.
Thannisch Development Services, Inc. (TDS) specializes in complex issues of development planning, financing, interdisciplinary management, design management and implementation. Thannisch was directly responsible for the renovation of the historic Cogswell College building now the Ritz Carlton San Francisco and the redevelopment of the Mahogany Run Resort, St. Thomas, USVI. In 1985, Thannisch joined Caroline Hunt's Rosewood Hotel Group as vice president, development. Based in Dallas, he was immersed in the development of the Hotel Hana-Maui at Hana Ranch and The Hotel on the Old Course, St. Andrews, Scotland. In 1989, the Ritz-Carlton Hotel Company called on his experience to manage the feasibility, pre-development, development and construction of the Ritz-Carlton Aspen, Hotel Arts Barcelona, Spain. Thannisch brought to Rosewood its first Mexico project, Las Ventanas which has emerged as a premier five-star resort in all of Mexico.
Las Ventanas al Paraíso became the first world-class resort in Los Cabos under hotelier Edward Steiner who served the hotel from opening to 2008. The resort achieved AAA Five Diamond status under his leadership.
In December 2003 Paraiso Los Cabos, S.A. de C.V. sold Las Ventana al Paraiso to Dallas based JTL Capital in partnership with Farallon Capital Management L.L.C.for an undisclosed price. Rosewood Hotels & Resorts agreed to a long-term contract to continue management of the resort. The purchase also included land entitled for up to 30 additional villa residences as well as an unfinished Phase IV building containing 8 premier villas that JTL Capital will finish constructing in September of 2004. The transaction was a first for JTL in Mexico. Morgan Stanley Mortgage Capital provided the financing. JTL Capital, L.L.C. is a closely held, real estate investment and development concern founded in 1999 by David A. Lane and Mark J. Sullivan. JTL Capital employs a "buy and enhance" strategy that produces attractive risk-adjusted returns.
In September 2004 Ty Warner Hotels & Resorts, LLC purchased the 61-room Las Ventanas al Paraíso Resort from Dallas-based JTL Capital, LLC. According to Ty Warner, the goal is to extend and enhance the beauty and amenities at the resort. Warner believed the essential component to achieving that goal is in Rosewood Hotels & Resorts' continued operation of the resort. Ty Warner is an American billionaire who created the 1990s stuffed toy fad - Beanie Babies. At the peak of the Beanie craze in 1999, the privately owned Ty Inc. is believed to have earned over $700 million in profits in a year. The Beanie Babies phenomenon, coupled with the rise of the Internet, is cited as elevating Warner to billionaire status. Ty Warner Hotel and Resort Properties include: Four Seasons Resort The Biltmore Santa Barbara, CA, Four Seasons Hotel New York, NY and San Ysidro Ranch, Montecito, CA.
Managing Directors since Edward Steiner include: Lionel Alvarez appointed Managing Director in 2008. He previously was General Manager at at Aquapura Vale Do Douro Hotel, Portugal. Martein van Wagenberg was appointed managing director of Las Ventanas in 2011. He previously was at Rosewood Little Dix Bay in Virgin Gorda. In 2014 Rosewood named Mário Candeias the managing director of Las Ventanas. He was the Director of Operations at Pestana Hotels & Resorts in Portugal. Rosewood appointed Frederic Vidal the Managing Director of Las Ventanas al Paraíso in 2014. Previously he was Managing Director for YOSH Hospitality, a company managing palaces and villas in the United Arab Emirates.
Compiled by Dick Johnson, November 2019
Hot, Young Fort Worth Artists?
There aren’t many — at least based on the art up on the walls now.
Wednesday, 21 September 2011 08:02 ANTHONY MARIANI
Where my hot, young Fort Worth artists at?! Getcher hands in the air! Getcher hands in the air!
*crickets*
I said, Where my hot, young Fort Worth artists at?!
*cough*
Oh, wait! I see you. All the way in the back there. With your Cosby sweater on. And a warm, fresh glass of Pepto in yo hand. That’s cool. That’s cool.
Anyone else? Anyone born after 1922?
Anyone?!
Nope. At least if we are to extrapolate from the art currently hanging in the handful of progressive galleries in town. Am I exaggerating a smidge to underline a point? OK, fine. The photorealist work of several fresh-faced BFA’ers from the University of Texas at Arlington can be admired at Gallery 414, and there’s one artist’s name that rings a bell at the Moudy. But, otherwise, the pickin’s? Pretty slim.
Now if you’re from Dallas or Denton (or anyplace else for that matter) you’re probably doing just swell in Fort Worth now. Actually, I’d say that Dallas and Denton artists, of all ages, are better represented in Fort Worth’s progressive galleries right now than under-40 artists from the great 817. Gaffes & Informations, the current exhibit at the normally non-817-flavored Fort Worth Contemporary Arts (Fort Worth Contemporary Arts) is by two young Dallasites, and the majority of wall space at the often very 817-friendly Fort Worth Community Arts Center is devoted to out-of-towners.
All of which is, of course, a crying shame. Well, you say (in your whiny, annoying, high-pitched voice), maybe there just aren’t any progressive young Fort Worth artists in town. To which I would stand back, inhale deeply, and shout, Brandley, Budd, Harding, Lassen, Nowlin, Yarborough! –– and that’s without even consulting my handy List O’ Hot, Young Fort Worth Artists that I whip on occasion (some would say, much too often). Well, you go on (annoyingly), maybe all of Fort Worth’s quote-cool-unquote artists don’t want to exhibit here –– maybe they think that Fort Worth is too backward for their zaniness.
Now, my incredibly annoying friend, you may have a point. For his relatively recent anthropological installation piece, “Come On Guy,” in which frat bros from the wild got shit-faced behind glass in a gallery, Richie Budd had to take his crazy spirit to the Big Apple (“Hoist a Bud to Richie Budd,” Apr. 14, 2011). And until his recent one-man’er at Gallery 76102, I can’t remember the last time Timothy Harding had a solo show here in town.
And, yes, Fort Worth is located in Tarrant County, one of the reddest counties in the entire thick-as-a-brick-red Lone Star State, and most of the galleries here skew toward watercolor society-esque politeness. But Fort Worth has not been without its glimpses of artistic derring-do. Remember Microaudiotellarevolution (“The Revolution, Televised,” Feb. 18, 2009), Chris Blay’s one-man show at Gallery 414 a couple of years ago? Dude covered an entire wall in vintage tape-recorders simultaneously playing back his voice reading from assorted scripts, and in the (unlit) back gallery, the artist offered a dollhouse-sized shanty shot through with flashlight beams and peopled by little army men. And don’t forget all of the insane Fluxus exhibits that have hung at FWCAC over the years.
However, regarding the current timeframe: For the past 35 years, the Fort Worth Art Dealers Association, a local business association, has set aside a single autumn evening for Fall Gallery Night, a gallery-walk replete with free cheese cubes and unlimited plastic glasses of Franzia. Fall Gallery Night is the time for all of the local galleries (nonprofits and academically based included) to kick off the fine-arts season and boast new and exciting work. Fall Gallery Night 2011, celebrated two Saturdays ago, witnessed perhaps the largest turnout ever, which was probably anticipated — the recent emergence of Facebook as a marketing tool nonpareil was no doubt largely responsible for the drastic uptick in foot traffic. Why then did most of our progressive galleries opt to show non-Fort Worth work, especially when most of our progressive galleries rely on Fort Worth artists throughout the year and when, well, Fort Worth is home to a lot of progressive artists?
Obviously, the most likely answer lies in an undetermined set of variables that aligned themselves to produce a set of non-817-friendly circumstances. In other words, no sinister plot is afoot. But what if Fort Worth’s persistent standing as a dreary ol’ backwater has run off our progressive talent? Maybe Brandley, Budd, Harding, Nowlin, and Yarborough were here a minute ago but have discovered the miracle of automotive transportation and absconded to some faraway fairyland like Dallas or Denton. Or Austin. Or Plano. If so, I must extend my deepest apologies to the progressive gallery owners whose civic pride I’ve undoubtedly sullied. But maybe, just maybe, in the 16th-largest city in the United States, according to the most recent census data, our Brandleys, Budds, Hardings, Nowlins, and Yarboroughs are merely trapped beneath white-tablecloth-covered tables weighted down by big, juicy sirloins or are in an eternal battle with the dreaded dark (and bold) lord Mr Coffee. Or maybe, just maybe, there’s just not enough support here — commercial, academic, and critical — for our progressive artists to thrive.
As the only underground/non-mainstream art critic in the entire county of Tarrant, I’m probably partly to blame for their lack of recognition. But, no, I actually haven’t thought about going door to door and asking the “man” of every house in the county if there’s an artist on the premises and, if so, may I see his or her etchings, please?
A more likely scenario, in my humble opinion, is that Fort Worth’s tastemakers (looking at you, curators and gallery owners) are either A.) not making themselves available to Fort Worth artists or B.) purposefully ignoring Fort Worth artists, mainly *sigh* to educate us, because we all know that Fort Worth is where trends come to die horrible, unspeakable deaths, not rise to life.
Gallery owners, hear me knockin’?
This is my kashyyyk undeground base! I love how it turned out! WIP on the inside. Outside is pretty much done! Inspiration for this goes to commdr_Neyo! and it has it functions like roof can slide and clones get out by there (ill take the pics when the inside is done)
U.S. Secretary of State Michael R. Pompeo speaks to the traveling press shortly after departing Joint Base Andrews, January 7, 2019. Secretary Pompeo will travel to Amman, Jordan; Cairo, Egypt; Manama, Bahrain; Abu Dhabi, United Arab Emirates; Doha, Qatar; Riyadh, Saudi Arabia; Muscat, Oman; and Kuwait City, Kuwait, January 8-15. [State Department photo by Ron Pryzsucha/ Public Domain]
U.S. Air Force basic military graduation and coining ceremony is held Sept. 3, 2020, for the 324th Training Squadron at the Pfingston Reception Center on Joint Base San Antonio-Lackland, Texas. Due to current world events, the graduation ceremonies will be closed to the public until further notice for safety and security of the newly accessioned Airmen and their family members due to coronavirus (COVID-19).
A visit to the Sausalito campus of the Lycée Français de San Francisco. This lower school teaches children from kindergarten to grade 5, based on the French national curriculum. It’s seems like a wonderful site for this multicultural community of a couple hundred kids. It’s a clean, well-lighted space that encourages critical thinking, collaboration, creativity in a playful setting: as I walked around, I sensed an appreciation for culture in all its forms, with cool art on the walls — even an original Picasso brought in by one of his relatives, a 5th grade student.
I met the team in charge of their extra-curricular activities, to discuss an ‘art maker’ program at their school. They seem interested in a weekly after-school class for their oldest kids, ages 8-10. This program could help students develop both their art and tech skills, as we did with our recent Wonderbox workshop ( vimeo.com/143230458 ).
I came out of the meeting energized by our conversation — and by the children's creative energy. Stay tuned …
View more photos from my visit:
www.flickr.com/photos/fabola/albums/72157661376465909
Here’s a quick video peek at their Sausalito campus:
www.youtube.com/watch?v=SjFAKXFAnDs
Learn more about their extra-curricular activities:
This are pictures of my new clone base, be sure to check out my youtube(jedimasterproductions) to se more pictures and a video of it.
Springbok
PZL4086
© 1977 Hallmark Cards, Inc.
cardboard
(over) 500 pieces, used and complete
18x23½in
2023 piece count: 34,840
puzzle no: 53
The fourth of our haul from our recent visit to Witney's charity shops is this vintage Springbok from c1977, 'Plantasia'. Not really my taste in subject matter but I love the vari-cut (a term used by Waddingtons for the UK versions) using Qualitex board (another Waddingtons term). Pieces in good condition and mercifully a complete puzzle.
I thought it would be a tricky make but as it was only c500 pieces, went together quickly.
Based on an LM3914 bargraph chip, this voltmeter measures input voltages between 10 vdc and 14.5 vdc. Using a multi-colored LED bar graph, voltage is easily read off.
Available on ebay Ebay - item # 161069862684
Detail of the base of an Ionic column from the Tetrastyle Temple (also known as the Tempio della Sibilla), Tivoli, Italy.
Date: late second century BCE.
Material: travertine base and column drums, which were covered with a layer of stucco.
Inset drawing modified from R. Delbrück, Hellenistische Bauten in Latium (Strassburg 1912).
Compare to the travertine Ionic base from the Temple of Portunus in Rome, perhaps a slightly later date by 25-50 years (note, for example, the difference in the carving of the lower terminus of the fluting):
Arriva London North (LT183, LTZ 1183, Clapton/Bohemia Place (CT)-based) at Grosvenor Gardens, Buckingham Palace Road/Terminus Place, Victoria, London. Apologies for the mark on the left hand side of the photo, caused by a clump of dust that got into one of the filters in my camera lens.
More than 600 Airmen assigned to the 322nd Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, November 22-23, 2022. Brig. Gen. Russell D. Driggers, Commander, 502nd Air Base Wing and Joint Base San Antonio, Texas, reviewed the ceremony. (U.S. Air Force photo by Christa D'Andrea)