View allAll Photos Tagged bernell
delighting "me" always
Picture: I suppose to focus my camera on the sculpture instead of on the pink lady. However, I was surprised when I got home with this result, my camera chosen to focus on pink lady! It is delighting me!!!
Canon, delighting you always...
Location: 798 Art Zone, Beijing. China
798 Art Zone (Chinese: 798艺术区; pinyin: 798 Yìshùqū), or Dashanzi Art District, is a part of Dashanzi in the Chaoyang District of Beijing that houses a thriving artistic community, among 50-year old decommissioned military factory buildings of unique architectural style. It is often compared with New York's Greenwich Village or SoHo.
The area is often called the 798 Art District or Factory 798 although technically, Factory #798 is only one of several structures within a complex formerly known as Joint Factory 718. The buildings are located inside alleys number 2 and 4 on Jiǔxiānqiáo Lù (酒仙桥路), south of the Dàshānziqiáo flyover (大山子桥).
Construction
798 Space gallery, Jan,2009. Old Maoist slogans are visible on the ceiling arches.
The Dashanzi factory complex began as an extension of the "Socialist Unification Plan" of military-industrial cooperation between the Soviet Union and the newly formed People's Republic of China. By 1951, 156 "joint factory" projects had been realized under that agreement, part of the Chinese government's first Five-Year Plan. However the People's Liberation Army still had a dire need of modern electronic components, which were produced in only two of the joint factories. The Russians were unwilling to undertake an additional project at the time, and suggested that the Chinese turn to East Germany from which much of the Soviet Union's electronics equipment was imported. So at the request of then-Premier Zhou Enlai, scientists and engineers joined the first Chinese trade delegation to East Germany in 1951, visiting a dozen factories. The project was greenlighted in early 1952 and a Chinese preparatory group was sent to East Berlin to prepare design plans. This project, which was to be the largest by East Germany in China, was then informally known as Project #157.
The architectural plans were left to the Germans, who chose a functional Bauhaus-influenced design over the more ornamental Soviet style, triggering the first of many disputes between the German and Russian consultants on the project. The plans, where form follows function, called for large indoor spaces designed to let the maximum amount of natural light into the workplace. Arch-supported sections of the ceiling would curve upwards then fall diagonally along the high slanted banks or windows; this pattern would be repeated several times in the larger rooms, giving the roof its characteristic sawtooth-like appearance. Despite Beijing's northern location, the windows were all to face north because the light from that direction would cast fewer shadows.
The chosen location was a 640,000 square metres area in Dashanzi, then a low-lying patch of farmland northeast of Beijing. The complex was to occupy 500,000 square metres, 370,000 of which were allocated to living quarters. It was officially named Joint Factory 718, following the Chinese government's method of naming military factories starting with the number 7. Fully funded by the Chinese side, the initial budget was enormous for the times: 9 million rubles or approximately 140 million RMB (US$17 million) at today's rates; actual costs were 147 million RMB.
Ground was broken in April 1954. Construction was marked by disagreements between the Chinese, Soviet and German experts, which led at one point to a six-month postponement of the project. The Germans' harshest critic was the Russian technology consultant in charge of Beijing's two Soviet-built electronics factories (714 and 738), who was also head consultant of the Radio Industrial Office of the Second Ministry of Machine Building Industry. The disputes generally revolved around the Germans' high but expensive quality standards for buildings and machines, which were called "over-engineering" by the Russians. Among such points of contention was the Germans' insistence, historical seismic data in hand, that the buildings be built to withstand earthquakes of magnitude 8 on the Richter scale, whereas the Chinese and Russians wanted to settle for 7. Communications expert Wang Zheng, head of Communications Industry in the Chinese Ministry of National Defense and supporter the East German bid from the start, ruled in favor of the Germans for this particular factory.
At the height of the construction effort, more than 100 East German foreign experts worked on the project. The resources of as many as 22 of their factories supplied the construction; at the same time, supply delays were caused by the Soviet Red Army's tremendous drain on East Germany's industrial production. The equipment was transported directly through the Soviet Union via the Trans-Siberian railway, and a 15 km track of railroad between Beijing Railway Station and Dongjiao Station was built especially to service the factory. Caltech-educated scientist Dr. Luo Peilin (罗沛霖), formerly head of the preparatory group in 1951-1953, was Head Engineer of Joint Factory 718 during its construction phase. Dr. Luo, now retired in Beijing, is remembered by his former colleagues as a dedicated perfectionist whose commitment to the obstacle-strewn project was a major factor of its eventual success.
[edit]Operation
Joint Factory 718 began production in 1957, amid a grandiose opening ceremony and display of Communist brotherhood between China and East Germany, attended by high officials of both countries. The first director was Li Rui (李瑞), who had been involved in the early negotiations in Berlin.
The factory quickly established a reputation for itself as one of the best in China. Through its several danwei or "work units", it offered considerable social benefits to its 10,000-20,000 workers, especially considering the relative poverty of the country during such periods as the Great Leap Forward. The factory boasted, among others:
the best housing available to workers in Beijing, providing fully furnished rooms to whole families for less than 1/30 of the workers' income;
diverse extracurricular activities such as social and sporting events, dancing, swimming, and training classes;
its own athletics, soccer, basketball and volleyball teams for men and women, ranked among the best in inter-factory competitions;
a brigade of German-made motorcycles, performing races and stunt demonstrations;
an orchestra that played not only revolutionary hymns, but also German-influenced classical Western music;
literary clubs and publications, and a library furnished with Chinese and foreign (German) books;
Jiuxianqiao hospital, featuring German equipment and offering the most advanced dental facilities in China.
The factory even had its own volunteer military reserves or jinweishi (近卫师), which numbered hundreds and were equipped with large-scale weapons and anti-aircraft guns.
Workers' skills were honed by frequent personnel exchanges, internships and training in cooperation with East Germany. Different incentives kept motivation high, such as rewards systems and "model worker" distinctions. At the same time, political activities such as Maoism study workshops kept the workers in line with Communist Party of China doctrine. During the Cultural revolution, propaganda slogans for Mao Zedong Thought were painted on the ceiling arches in bright red characters (where they remain today at the latter tenants' request).
Frequent VIP visits contributed to the festive atmosphere. Notable guests included Deng Xiaoping, Jiang Zemin, Liu Shaoqi, Zhu De, and Kim Il-Sung.
The Joint Factory produced a wide variety of military and civilian equipment. Civilian production included acoustic equipment for Beijing's Workers' Stadium and Great Hall of the People, as well as all the loudspeakers on Tiananmen Square and Chang'an Avenue. Military components were also exported to China's Communist allies, and helped establish North Korea's wireless electronics industry.
One of the old machine tools in front of some contemporary art in Dec 2005
After 10 years of operation, Joint Factory 718 was split into more manageable components, such as sub-Factories 706, 707, 751, 761, 797 and 798. The first Head of sub-Factory 798 (the largest) was Branch Party Secretary Fu Ke (傅克), who played a major role in recruiting skilled workers from southern China and among returned overseas Chinese.
However, the factory came under pressure during Deng Xiaoping's reforms of the 1980s. Deprived of governmental support like many state-owned enterprises, it underwent a gradual decline and was eventually rendered obsolete. By the late 1980s and early 1990s, most sub-factories had ceased production, 60% of the workers had been laid off, and the remains of the management were reconstituted as a real-estate operation called "Seven-Star Huadian Science and Technology Group", charged with overseeing the industrial park and finding tenants for the abandoned buildings.
[edit]
The Dashanzi factory complex was vacated at around the time when most of Beijing's contemporary artist community was looking for a new home. Avant-garde art being frowned upon by the government, the community had traditionally existed on the fringes of the city. From 1984 to 1993, they worked in run-down houses near the Old Summer Palace (Yuanmingyuan) in northwestern Beijing, until their eviction. They had then moved to the eastern Tongxian County (now Tongzhou District), more than an hour's drive from the city center.
Then in 1995, Beijing's Central Academy of Fine Arts (CAFA), looking for cheap, ample workshop space away from downtown, set up in the now defunct Factory 706. The temporary move became permanent and in 2000 Sui Jianguo(隋建国), Dean of the Department of Sculpture, located his own studio in the area. The cluttered sculpture workshops have always remained open for visitors to peek at the dozens of workers milling about.
In 2001, Texan Robert Bernell moved his Timezone 8 Art Books bookshop and publishing office (founded in 1997) into a former factory canteen; he was the first foreigner to move in. One of Timezone 8's early employees was fashion designer Xiao Li, who along her husband, performance artist Cang Xin, helped artists secure and rent spaces in the area.
Through word-of-mouth, artists and designers started trickling in, attracted to the vast cathedral-like spaces. Despite the lack of any conscious aesthetic in the Bauhaus-inspired style, which grounded architectural beauty in practical, industrial function, the swooping arcs and soaring chimneys had an uplifting effect on modern eyes, a sort of post-industrial chic. At the artists' requests, workers renovating the spaces preserved the prominent Maoist slogans on the arches, adding a touch of ironic "Mao kitsch" to the place.
Later that year, Mr. Tabata Yukihito from Japan's Tokyo Gallery set up Beijing Tokyo Art Projects (BTAP, 北京东京艺术工程) inside a 400-m² division of Factory 798's main area; this was the first renovated space featuring the high arched ceilings that would become synonymous with the Art District. BTAP's 2002 opening exhibition "Beijing Afloat" (curator: Feng Boyi), drew a crowd of over 1,000 people and marked the beginning of the popular infatuation with the area.
In 2002, designer artist Huang Rui (黄锐) and hutong photographer Xu Yong (徐勇) set up the 798 Space gallery (时态空间) next to BTAP. With its cavernous 1200-m² floor and multiple-arched ceilings at the center of Factory 798, it was and still is the symbolic center of the whole district. (Huang and Xu since designed at least seven spaces in the area and became the prime movers and de facto spokespersons of the District.) A glass-fronted café was set up in the former office section at the back of the 798 space, opening into a back alley now lined with studios and restaurants such as Huang's own At Café, and Cang Xin's #6 Sichuan restaurant, the area's "canteen".
In 2003, Lu Jie (卢杰) set up the Long March Foundation, an ongoing project for artistic re-interpretation of the historical Long March, inside the 25,000 Li Cultural Transmission Center (二万五千里文化传播中心). Around that time, Singapore-owned China Art Seasons (北京季节画廊) opened for display for pan-Asian art, and was one of several new galleries setting up at that time.
Source from: en.wikipedia.org/wiki/798_Art_Zone
On parade at the Barracks, Naas, Co. Kildare...
Horrendous stories from WWI - in one Comment it is reported that only 45 of 600 returned to Naas after the war, and a story from our own beachcomberaustralia "Thanks also for the Dardanelles centenary reference above. My own Irish Grandfather was with the Munster Fusiliers then; 'luckily' he was wounded not killed, and returned to Ireland to marry my Grandmother - otherwise I would not exist and you would not be reading this!"
I think all the comments here are worth a read - if you are interested in the history of WWI.
Photographer: Robert French
Collection: The Lawrence Photograph Collection
Date: 1865 - 1914 NLI Ref: L_CAB_08211
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Strobist info:
20 sec exposure F6.3 ISO 320
Back Left: 430exII 1/1 PW-Flextt5
Inside Truck: 430exII 1/1 PW-Flextt5
Forward right on ground: 430exII 1/1 PW-Flextt5
Light on couples face: Snooted 430exII 1/1 PW-Flextt5
Caption: University of Illinois College of Medicine, Class of 1932
Photographer: Gibson Studios, Chicago
Description: As pictured, left to right, top to bottom
* indicates photographed graduate not listed in June 11, 1932 Board of Trustees report
† indicates faculty/staff
John Oscar Firth
Lester White Baird
Runyon Hungate Irvin
Daniel Feiman
Joseph Allan Hubata
Maurice Irwin Edelman
Vaheh M. Seron
Irving Maurice Harter
John Todd Reynolds
John William Wall
Milton Mitchell Mosko
William Frank Sayle
Benjamin Highman
John Albert Layman
William Hester Walton
Max Boyd McQueen
Paul Lawrence Shallenberger
Isadore Elihu Steck
C. J. Gustafson * (Carl Julius Gustafson in 1932-33 Circular of Information, 4th year class 1931-32)
Theodore Julius Nereim
Charles Herbert Phifer MD †
Carl A. Hedblom BA MA PhD DSc †
Sidney Strauss AB MD †
William Henry Browne, Secretary †
Harry Woodburn Chase PhD LLD, President †
David John Davis BS PhD MD, Dean †
Charles Spencer Williamson BS MD MS †
Adolph Hartung MD †
William Henry Welker AC PhD †
LaVerne Myron Wallheiser
George Cullom Geymer
Morris Phillip Orloff
Harold Mark Hoover
Martin J. Rosenthal
Rudolph Hecht
Henry Eugene Irish MD †
Otto Frederick Kampmeier BA PhD MD †
Charles Morgan McKenna BS MD †
Hugh Alister McGuigan BA PhD MD †
Frederick Howard Falls BS MS MD †
Maurice Lewison MD †
Frank Lee Stone MD †
Francis Eugene Senear BS MD †
Charles Edward Humiston MD ScD †
Leo Jack Greenberg
Paul Hurwitz
Paul Montel Rice
Robert Grantham Hickerson
Norman Morison Shure
Arthur Henry Schumacher
Francis Loeffler Lederer BS MD †
Maurice B. Visscher BS MS PhD †
Julius Hayes Hess MD †
Harold Douglas Singer MB MD †
Ernest Sisson Moore PhB MD †
George Robert Moon AB MA, Recorder & Examiner †
Alvah Lewis Sawyer BS MD †
Robert Wood Keeton AB MS MD †
Maurice Lamm Blatt MD ScD †
Leon Marius Erenburg
Elmer Joseph Kocour
Albert Hyman Feinerman
Arthur Loyal Ennis
George Goldenberg
Isadore Louis Turow
Edmund Foley BS MD †
Michael Henry Streicher BS MS MD †
William Harcourt Browne BS MD †
Carroll L. Birch BS MD †
Lindon Seed BA MS MD †
Eric Oldberg MS PhD MD †
Hallard Beard BS MD †
Bernard John Cigrand BS MS DDS †
George Boris Hassin MD †
Cecil Earl Tate
Clarence Francis Kelly
Jack Galin
Samuel Irwin Ditkowsky
Isadore M. Nimsovitz
David Sidney Miller
Delmar Eichler Domke, President
Edward Charles Bernell
David Leonard Lerner
H. N. Cress * (Henry Noah Cress in 1932-33 Circular of Information, 4th year class 1931-32)
Arthur Harry Levine
Howard Albert Finney
David Alvin Lemberg
C. S. Eddy * (Corinne Schenck Eddy in 1932-33 Circular of Information, 4th year class 1931-32)
William Edward Bretz, Treasurer
Benjamin Appelman, Secretary
Thelma Russell Shurtz
Alfred Henry Movius Jr.
Fred William Seymour
Edward Edgar Park Seidmon
Isadore C. Udesky
David Smeaton Jaffray
Arthur Henry Schwartz
Joseph Stagman
Thomas Joseph Conley Jr.
Burtis Edgar Montgomery, Vice President
Raymond Flowers Donovan
Samuel Irving Richmond
Louis S. Weinberg
Harry Kotler
Nathan Allen Masor
Harry Gregory Becker
David Lerner
Gilbert Harold Edwards
Abraham Leff
Alfred Karl Meyer
David Andrew Bennett
Armand Jean Mauzey
George Henry Rezek
Lorin Dixon Whittaker
Edgar Abney Thacker
George Herman Fleischli
Howard George Diesner
Edward Aron
John Joseph Kazakevich
Louis Mark Steiner
Merrill John Werner
Thaddeus Marion Koppa
Emanuel A. Kominik
Ephraim Frank Goodman
Ben William Lichtenstein
Samuel Sheldon Leavitt
Joseph Samuel Miller
Fannie Buky
Murray Sayle DuMont
John Hamilton Gilmore
Adelbert Earnest Wuesteman
Harry Berman
Michael Hershel Shuger
Ambrose Daniel Schneider
Harry Edward Ryan
Not pictured:
William Jackson Copeland (William J. Copeland in 1932 Illio, Phi Beta Pi)
William Clay Dine Jr. (W. Clay Dine in 1932 Illio, Phi Beta Pi) Claire Maurice Dixon (Claire M. Dixon in 1932 Illio, Phi Beta Pi) Fred C. Endres (Fred C. Endres in 1932 Illio, Phi Chi)
Milton Handelman (Milton Handelman in 1932 Illio, Phi Delta Epsilon)
Charles David Kanter
Clarence Samuel Krakow
John Alfred Legier (John A. Legier in 1932 Illio, Phi Chi)
Loren Lennoth Love (Loren L. Love in 1932 Illio, Phi Beta Pi) Joseph Poticha (J. Poticha in 1931 composite)
Theodore Newell Rafferty (Theodore N. Rafferty in 1932 Illio, Alpha Kappa Kappa)
George Rostrom (George Rostrom in 1932 Illio, Phi Chi)
Lee Edward Siegel
Max Sinay
Walter Alfred Stark (Walter Stark in 1932 Illio, Phi Chi)
Carl Sugar
Frank Randolph Urban (Frank R. Urban in 1932 Illio, Phi Beta Pi)
Harley R. Varney (Harley R. Varney in 1932 Illio, Phi Beta Pi) Constantin Frederick Wente (C. F. Wente in 1931 composite) Robert Bruce Wilson (Robert B. Wilson in 1932 Illio, Nu Sigma Nu)
Source: University of Illinois College of Medicine Graduating Class Composite Photos. Special Collections and University Archives, University of Illinois at Chicago Library
Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library at
lib-spec@uic.libanswers.com
For more images from the collection, visit collections.carli.illinois.edu/cdm/landingpage/collection/uic_cmc
da martedì 8 a domenica 20 giugno
lun - ven ore 8.30/18.30
sab ore 8.30/13.00
bct – biblioteca comunale di terni
Eleonora Anzini e Marco Bernelli
LA LOMOSTORIA INFINITA
Menzione speciale Bando Nutrimenti 2010
Un racconto di parole e immagini, fotografia e narrazione, che lascia libero il lettore di scegliere la via da seguire.
Proprio come un librogioco che – senza voltare le pagine – chiede di muoversi per decidere il proprio destino, girovagando tra parole e foto di macchine fotografiche giocattolo
(e non solo) Lomo.
Non preoccuparti in anticipo di quello che succederà. Non
preoccuparti neppure dopo.
La lomografia è un fenomeno fotografico di moda e culto nel
mondo. Il tutto comincia quando, negli anni novanta, due
studenti austriaci trovano in un mercatino alcune macchine
fotografiche 35 mm compatte di marca LOMO. La sigla è un
acronimo che identifica anche il luogo di origine: Leningradskoe
Optiko-Mechaničeskoe Ob”edinenie. I due studenti austriaci,
colpiti dalla resa fotografica, creano un fenomeno che,
ormai da anni, si è esteso in tutto il mondo con la creazione
di Lomoambasciate, Lomomissioni, Lomoconcorsi, etc. La
filosofia della Lomografia si può condensare nella frase: non
pensare, scatta!
SAN DIEGO (May 14, 2013) – Culinary Specialist 2nd Class Bernell Browley greets his family first time after departing the amphibious assault ship USS Peleliu (LHA 5). Peleliu is the flagship for the Peleliu Amphibious Ready Group and, along with amphibious transport dock ship USS Green Bay (LPD 20) and the amphibious dock landing ship USS Rushmore (LSD 47), has returned from an eight-month deployment to the 5th and 7th Fleet area of responsibility. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jasmine Sheard/Released)
This pic was taken at the Dykes Family Reunion New Orleans La.left to right Donald Calahan, Sandra Shaw, Yolanda, Otha (nuna), Mushie,Brenda,Carolyn,Joann,Doris, Kim,Uncle Man,Gaynell,Sheryl Calahan Janice, Aunt Ruby, Denice,Red,Edna, Shang,Debra Shaw, Thelma Lee, Dorothy,Darryl,Jerome,Kevin Dykes,Shirley , (baby being held) Lil Stanley, Aunt Ruthie Mae ,Daisy (bute),Darryl Shaw,James Jr.,Tonyetta,Tracie,Uncle Ott, Big Mama,Ernie mama(baby being held) Nash, Audrey, Janelle, James Sr., James Jr. Herbert, Glenn,Maria, Robbie,? Warren,Wayne, Charles,Reginald,Steve, Felecia,? Byron, Bernell, Ted,.....
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
da martedì 8 a domenica 20 giugno
lun - ven ore 8.30/18.30
sab ore 8.30/13.00
bct – biblioteca comunale di terni
Eleonora Anzini e Marco Bernelli
LA LOMOSTORIA INFINITA
Menzione speciale Bando Nutrimenti 2010
Un racconto di parole e immagini, fotografia e narrazione, che lascia libero il lettore di scegliere la via da seguire.
Proprio come un librogioco che – senza voltare le pagine – chiede di muoversi per decidere il proprio destino, girovagando tra parole e foto di macchine fotografiche giocattolo
(e non solo) Lomo.
Non preoccuparti in anticipo di quello che succederà. Non
preoccuparti neppure dopo.
La lomografia è un fenomeno fotografico di moda e culto nel
mondo. Il tutto comincia quando, negli anni novanta, due
studenti austriaci trovano in un mercatino alcune macchine
fotografiche 35 mm compatte di marca LOMO. La sigla è un
acronimo che identifica anche il luogo di origine: Leningradskoe
Optiko-Mechaničeskoe Ob”edinenie. I due studenti austriaci,
colpiti dalla resa fotografica, creano un fenomeno che,
ormai da anni, si è esteso in tutto il mondo con la creazione
di Lomoambasciate, Lomomissioni, Lomoconcorsi, etc. La
filosofia della Lomografia si può condensare nella frase: non
pensare, scatta!
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Opening Reception for PREVIEW, BOLT Residency’s inaugural exhibition and Time Signatures, Coalition Gallery’s final exhibition for its 2010-2011 artists.
August 19th, 2011
Not shown are the teachers: Vermilya and Hayes. The last class to graduate at mid-year. Front row, left to right: Ramona Heil, Marlene Eller, Gwen Tolbert, Betty Bell, Carol Coon, Pat Kjonegaard. 2nd row: Wally Anderson, Dale ("Pillie") Paulson, Ivan Wagmeester, Ray ("Big") Dickey, Bob ("Pork") Berguin, Merlyn Reppert. 3rd: Don Kasak, Ray Elliott, Bob Scott, Dick Phelps, Doug Vilhauer, Ron Heabner. 4th: Merle Mortensen, Leroy Arneson, Don Brown, Bernell ("Barney") Simpson, Myron Mortensen. (Ramona Heyl was Ramona Loftin in 1982. Marlene Eller was Marlene Gulbrandson in 1983. Gwen Tolbert is now Gwen Green. Betty Bell is now Betty Williamson. Carol Coon is now Carol Groetken. Pat Kjonegaard is now Pat Engebretson.)