NON HINDUS

ARE NOT ALLOWED INSIDE THE TEMPLE

 

Lingaraj Temple is a Hindu temple dedicated to Harihara, a form of Shiva and is one of the oldest temples in Bhubaneswar, the capital of the East Indian state of Odisha (formerly Orissa). The temple is the most prominent landmark of the Bhubaneswar city and one of the major tourist attractions of the state.

 

The Lingaraj temple is the largest temple in Bhubaneswar. The central tower of the temple is 55 m tall. The temple represents the quintessence of the Kalinga Architecture and culminates the medieval stages of the architectural tradition at Bhubaneswar. The temple is believed to be built by the kings from the Somavamsi dynasty, with later additions from the Ganga rulers. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings), each increasing in the height to its predecessor. The temple complex has 50 other shrines and is enclosed by a large compound wall.

 

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra) as noted in Ekamra Purana, a 13th-century Sanskrit treatise. The temple is active in worship practises, unlike most other temples in Bhubaneswar and Shiva is worshipped as Harihara, a combined form of Vishnu and Shiva. The temple has images of Vishnu, possibly because of the rising prominence of Jagannath cult emnating from the Ganga rulers who built the Jagannath Temple in Puri in the 12th century.

 

Lingaraj temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple has an average of 6,000 visitors per day and receives lakhs of visitors during festivals. Shivaratri festival is the major festival celebrated in the temple and event during 2012 witnessed 200,000 visitors.

 

HISTORY

Lingaraj means "The king of Lingam", the symbol of Saivism. Shiva was worshipped as Kirtivasa and later as Harihara and is commonly referred as Tribhuvaneshwara (also called Bhubaneswar), the master of three worlds, namely, heaven, earth and netherworld). His consort is called Bhuvaneshvari.

 

The temple is more than 1100 years old, dating back in its present form to the last decade of the eleventh century, though there is evidence that part of the temple was built during the sixth century CE as the temple has been emphasized in some of the seventh century Sanskrit texts. Fergusson believes the temple might have been initiated by Lelat Indra Kesari who reigned from 615 to 657 CE. The Assembly hall (jagamohana), sanctum and temple tower wer built during the eleventh century, while the Hall of offering (bhoga-mandapa) was built during the twelfth century. The natamandira was built by the wife of Salini between 1099 and 1104 CE. By the time the Lingaraj temple was completely constructed, the Jagannath (form of Vishnu) cult had been growing in the region, which historians believe is evidenced by the co-existence of Vishnu and Shiva worship at the temple. The Ganga dynasty kings were ardent followers of Vaishnavism and built the Jagannath Temple at Puri in the 12th century.

 

The temple is believed to be built by the Somavanshi king Jajati Keshari, in 11th century CE. Jajati Keshari had shifted his capital from Jajpur to Bhubaneswar which was referred to as Ekamra Kshetra in the Brahma Purana, an ancient scripture. One of the Somavamsi queens donated a village to the temple and the Brahmins attached to the temple received generous grants. An inscription from the Saka year 1094 (1172 CE) indicates gifts of gold coins to the temple by Rajaraja II. Another inscription of Narasimha I from the 11th century indicates offer of beetel leaves as tambula to the presiding deity. Other stone inscriptions in the temple indicate royal grants from Chodaganga to village people.

 

ARCHITECTURE

The Lingaraj temple is the largest temple in Bhubaneswar. James Ferugsson (1808–86), a noted critic and historian, rated the temple as "one of the finest examples of purely Hindu temple in India". It is enshrined within a spacious compound wall of laterite measuring 160 m by 142 m. The wall is 2.3 m thick and surmounted by a plain slant coping. Alongside the inner face of the boundary wall, there is a terrace to protect the compound wall against outside aggression. The tower is 55 m high and the complex has 150 smaller shrines in its spacious courtyard. Each inch of the 55 m tall tower is sculpted. The door in the gate of the entrance porch is made of sandalwood.

 

The Lingaraja temple faces east and is built of sandstone and laterite. The main entrance is located in the east, while there are small entrances in the north and south. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings). The dance hall was associated with the raising prominence of the devadasi system that existed during the time. The various units from the Hall of offering to the tower of the sanctum increase in height.

 

The bhogamandapa (Hall of offering) measures 13 m by 13 m from the inside, 17.15 m by 17.25 m from the outside and has four doors in each of the sides. The exterior walls of the hall has decorative sculptures of men and beast. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform. It bears an inverted bell and a kalasa in the top. The natamandira (festival hall) measures 12 m by 12 m from the inside, 15 m by 15 m from the outside, has one main entrance and two side entrances. The side walls of the hall has decortive sculptures displaying women and couples. It has a flat roof sloping in stages. There are thick pylons inside the hall. The jagamohana (assembly hall) measures 11 m by 9.1 m from the inside, 17 m by 15 m from the outside, entrances from south and north and has a 30 metres tall roof. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform as in the Hall of offering. The facade to the entrances are decorated with perforated windows with lion sitting on hind legs. The inverted bell above second unit is adorned by kalasa and lions. The rekha deula has a 60 m tall pyramidal tower over the sanctum and measures 6.7 m from the inside, 16 m from the outside over the sanctum. It is covered with decorative design and seated lion projecting from the walls. The sanctum is square in shape from the inside. The tower walls are sculpted with female figures in different poses.

 

RELIGIOUS SIGNIFICANCE

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra). Ekamra Purana, a Sanskrit treatise of the 13th century mentions that the presiding deity was not seen as lingam (an aniconic form of Shiva) during the Satya and Treta yugas and only during the Dwapara and Kali yugas, it emerged as a lingam. The lingam in the temple is a natural unshaped stone that rests on a Sakti. Such a lingam is called Krutibasa or Swayambhu and is found in 64 places in different parts of India. With the advent of the Ganga dynasty in the early 12th century, who had Vaishnavaite orientation, a new movement started resulting in the synthesis of Saivism and Vaishnavism. The Ekamra was associated with Vaishanavite gods Krishna and Balaram during the period. It is attributed the raising prominence of Jagannath cult that became predominant during the construction of the temple. The Ganges remodelled the temple and introduced certain Vaishnavite elements like images of Vaishnava Dwarapalas namely Jaya and Prachanda, Jagannatha, Lakshmi Narayan and Garuda were installed. Tulsi leaves, which are favoured by Vishnu, was used along with Bela leaves for the worship of Lingaraj. Lingaraja was thus came to be known as Harihara, a combination of Shiva and Vishnu. The flag of the temple was fixed to a Pinaka bow instead of trident usually found in Shiva temples. The temple priests also changed the mark in their forehead from horizontal to a "U" sign with a dotted middle line. The Ganges also introduced certain fairs like Swing festival, Sun worship and mock quarell between priests after chariot festival, similar to the practises in Jagannath Temple in Puri. The influence of the Ganges dynasty has led to a cosmopolitan culture, that has reduced the status of Lingaraja temple as a distinct Saivite shrine.

 

FESTIVAL & WORSHIP PRACTISES

As per Hindu legend, an underground river originating from the Lingaraj temple fills the Bindusagar Tank (meaning ocean drop) and the water is believed to heal physical and spiritual illness. The water from the tank is thus treated sacred and pilgrims take a holy dip during festive occasions. The central deity of the temple, Lingaraj, is worshipped both as Shiva and Vishnu. The harmony between the two sects of Hinduism, Saivism and Vaishanvism, is seen in this temple where the deity is worshipped as Harihara, a combined form of Vishnu and Shiva.

 

Shivaratri is the main festival celebrated annually in Phalgun month when thousands of devotees visit the temple. Apart from a full day of fasting, bel leaves are offered to Lingaraj on this auspicious day. The main celebrations take place at night when devotees pray all night long. The devout usually break their fast after the Mahadipa (a huge lamp) is lit on the spire of the temple. Every year the chariot festival (Ratha-Yatra) of Lingaraja is celebrated on Ashokashtami. The deity is taken in a chariot to Rameshwar Deula temple. Thousands of devotees follow and pull brightly decorated chariots containing the idols of Lingaraj and his sister Rukmani. This chariot procession stays for five days at the Rameshwar Temple and then will be brought back. This festival commemorates Lord Lingaraj having slayed a demon. Thousands of bol bom pilgrims carry water from river Mahanadi and walk all the way to the temple during the month of Shravana every year. Sunian day is observed from royal times in the month of Bhandra, a day when temple servants, peasants and other holders of temple lands offer loyalty and tribute to Lingaraja. Candan Yatra (Sandalwood ceremony) is a 22-day festival celebrated in the temple when servants of the temple disport themselves in a specially made barge in Bindusagar tank. The deities and servants of the temples are anointed with sandalwood paste to protect from heat. Dances, communal feasts and merrymaking are arranged by the people associated with the temple.

 

The Lingaraja temple is active in worship practises, unlike the other ancient temples of Bhubaneshwar which are not active worship centres. Non Hindus are not allowed inside the temple, but it can be viewed from the viewing platform located outside the temple. The viewing platform and the back of the temple can be reached via a lineway located to the right of the main entrance of the temple. Sanctity of the temple is maitained by disallowing dogs, unbathed visitors, menstruating women and families that encountered birth or death in the preceding 12 days. In case of a foreign tresspass, the temple follows a purification ritual and dumping of prasad (food offering) in a well.

 

RELIGIOUS PRACTICES

The image of Lingaraja is abluted with water (called mahasnana) several times a day and decorated with flowers, sandal paste and cloth. Hemlock or hemlock flowers which are generally offered in other Shiva temples is not allowed in the Lingaraja temple. Bilva leaves (Aegle marmelos) and tulasi (Ocimum sanctum) are used in daily worship. Offerings of cooked rice, curries and sweet-meats are displayed in the bhogamandapa (hall of offering) and the divinity is invoked to accept them amidst scores of chanting of Sanskrit texts. Coconut, ripe plantains and kora-khai are generally offered to Lingaraja by the pilgrims. Bhang beverage is offered to Lingaraja by some devotees especially on the day of Pana Sankranti (Oriya new year).

 

The Lingaraja temple is open from 6 a.m. to about 9 p.m. and is intermittently closed during bhoga (food offering) to the deity. During early morning, lamps in the cella are lit to awaken Lingaraja from his sleep, ablution is performed, followed by adoration and arati (waving of light). The temple is closed at about 12 p.m. until about 3.30 P.M. A ceremony known as Mahasnana (ablution) is performed once the doors are closed, followed by pouring of Panchamrita (a mixture of milk, curdled milk, clarified butter, honey and ghee) upon the deity for purification. At about 1 P.M., a ripe plantain is divided into two, one half is offered to Sun god and the other half to Dwarapala (the guarding deities in the doorway). Between 1.00 and 1.30 P.M. the food offering called Ballabha Bhoga (breakfast containing curdled milk, curd and vegetables) is offered to the deity. The consecrated food is carried to the temple of Parvati and placed before her as an offering, a practice commonly observed by the orthodox Hindu housewives. At about 2 P.M., the Sakala Dhupa (morning's offering of food) takes place. After the food is offered to Lingaraja, the offerings are carried to the temple of Parvati to serve her. An offering called Bhanda Dhupa is carried out at 3.30 P.M. at the hall of offering. This food is later offered by the inmates to the pilgrims as Mahaprasad.

 

A light refreshment known as Ballabha Dhupa is offered to the deity at around 4.30 P.M. At around 5 P.M., Dwipahar Dhupa (mid day meal) is offered. At around 7 P.M., another offering called Palia Badu is placed before the deity. Sandhya arati (waving of lights in the evening) is performed during that time. Another light meal called Sahana Dhupa is offered at around 8:30 P.M. After the meals, the ceremony of waving light (arati) is performed before the deity. At 9.30 P.M, the last service of the day, Bada Singara (the great decoration) is performed when the deity is decorated with flowers and ornaments after which a light food offering is made. A wooden palanquin is laid in the room, incense is lighted, drinking water is served and prepared betel is placed. Panchabaktra Mahadeva comes to the palanquin and returns to his own abode after the arati is performed. This is a bronze image of Mahadeva having five faces and Parvati in his lap. Each of these ceremonies is accompanied by ritual observances and recitations of mantras (Sanskrit texts) specified for each occasion.

 

TEMPLE STAFF & ADMINISTRATION

King Jajati Keshari, believed to be the founder of the Lingaraja temple, deputed Dravidian Brahmins as temple priests over the local Brahmins on account of their increased knowledge of Saivism. The focus was to enhance the temple practises from tribal rites to Sanskritic. While the exact number of castes involved in the nijogas (practises) is not known, Brahmins, tribal worshippers and inmates from Untouchable castes are believed to be part of the setup. Bose (1958) identified 41 services with the involvement of 22 separate castes and Mahaptra (1978) identified 30 services. It is understood from the records that kings and temple managers of different times introduced or discontinued certain services, fairs, offerings and caste-centred core services during their regime. As of 2012, the temple practised 36 different services (nijogas).

 

In modern times, the Lingaraja temple priests are from two communities, namely Brahman Nijog and Badu Nijog. The Badu are non-Brahmin servant groups, whose origin is not ascertained due to unavailability of authentic records, while they are described as Vadu in chapter 62 of the Ekamrapurana. The caste group of Badu is called Niyoga, which elects the officers every year during the Sandalwood festival. Every Badu undergoes three distinct rites, namely, ear-piercing, marriage and god-touching. Historically, the Badus performed five different temple duties - Paliabadu and Pharaka, which were considered important and Pochha, Pahada and Khataseja, which were considered inferior. From 1962, only Paliabadu and Pharaka practises are followed and the others are discontinued. The Badus also carry out ablution and dressing of the images of Siddhaganesh and Gopalini. The temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple is guarded by security personnel deputed by the Police Commissioner of Bhubaneswar and security guards appointed by the temple administration. The temple has an average of 6,000 visitors every day and receives lakhs of visitors during festivals. The Shivaratri festival during 2012 witnessed 200,000 visitors. As of 2011, the annual income of Lingaraja temple from hundis (donation boxes) is around INR1.2 million per annum. Another INR4 million is collected annually from other sources like rents from shops, cycle stands and agriculture lands. Starting 2011, the temple charges an amount for six types of religious worship (special pujas) carried out by the devotees.

 

WIKIPEDIA

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

The Panzerkampfwagen E-100, also known as Gerät 383 and TG-01, was a German super-heavy tank design developed towards the end of World War II. It was proposed to be the basis for a heavy artillery system, an anti-aircraft vehicle, and a heavy tank destroyer. The basic design had been ordered by the Waffenamt as a parallel development to Porsche's heavy tank design "Maus" in June 1943, but it was to become an integral part of the new, standardized Entwicklung (E) series of vehicles, consisting of the E-5, E-10, E-25, E-50, E-75 and finally the E-100. The latter was the heaviest and biggest chassis of the family, which was meant to standardize as many components and production processes as possible.

 

In March 1944 the Adlerwerke company from Frankfurt am Main submitted blueprint 021A38300 for a super-heavy battle tank called E-100, after the tank was proposed in April 1943 along with the other Entwicklung series vehicles. According to the blueprints, the tank would be armed with a both a 150 mm gun and a 75 mm gun in a huge turret. Two types of engines were proposed: one was a 700 hp Maybach HL230, with a transmission and turning mechanism borrowed from the Tiger II. The estimated top speed was 23 km/h, and it was clear that this powerplant was utterly undersized for the E-100, which would be almost twice as heavy as the already underpowered Tiger II. The second engine, which was favored for serial production, was a new, turbocharged 1200 hp Maybach HL 232 engine that allowed an estimated top speed of 40 km/h on roads and a decent off-road performance, should the underground allow such an adventure. Other engines in the 1.000+ hp range were considered, too, e. g. modified Daimler Benz aircraft engines, or even torpedo boat powerplants.

 

The Adler design had a simple hull shape and featured removable side armor skirts and narrow transport tracks to make rail transport more viable. The running gear was very similar to the original 'Tiger-Maus' proposal but had larger 900 mm diameter road wheels and a new coil spring-based suspension rather than the original torsion bars. This greatly simplified the hull’s construction, avoiding openings and therefore weak structural spots, because the coil springs and their mounts remained outside of the hull. This design also made manufacturing much easier, and the simpler coil springs saved high-quality steel. A new turret was designed, too, intended to be simpler and lighter than the massive Maus turret. In the end, the E-100 was 40 tons lighter than the 188 t Maus prototype, and a much simpler and streamlined design.

 

In July 1944, through the worsening war situation and declining national resources, the development of any super heavy tanks was officially halted. However, work on the E-100 continued at a low priority and with the outlook to produce a limited number of these massive vehicles for special purposes, using existing components. With increasing panic among the military staff and a desperate search for “Wunderwaffen” that could eventually turn the Allied invasion, permission was granted in early 1945 to proceed with the E-100 project as the SdKfz. 193, with the intention to build the E-100 as a supplement to the E-50 and E-75 Einheitspanzer battle tanks, primarily in the role of a long-range tank destroyer with either a 15 cm StuK L/63 or a 17 cm StuK L/53 gun as main armament, and as a heavily armored defensive vehicle.

 

The first prototype of the basic battle tank version was quickly completed in March 1945, but from the start several variants were slated for the limited serial production. Four battle tank variants were defined, differing basically through the turret designs and the armament. The chassis was furthermore earmarked for E-100 tank hunters and assault guns like the "Krokodil" (the Sd.Kfz. 197) with a low, casemate-style hull. Some of these SPGs also had their internal layout changed, moving the rear engine into the middle of the hull for a bigger combat compartment at the rear, so that the long gun barrel would not hang over at the front. These vehicles received the designation suffix “(m)”, for “Mittelmotor” (middle engine).

 

After the first E-100 battle tanks had reached frontline units in December 1945, the new chassis was greenlighted as basis for super-heavy self-propelled artillery and anti-aircraft guns. Since these vehicles were not expected to operate directly in frontline fire and to save material and production time, the hull had its armor thickness reduced considerably, and this chassis variant was called the Sd.Kfz. 199. This led to several super-heavy SPAAGs that primarily differed in their superstructures, which included open, semi-armored and fully armored/closed weapon mounts.

 

The latter included the Sd.Kfz. 199/4, also called the Flakpanzer E-100/88. It carried a large, box-shaped turret with a crew of five and a twin-mount for a pair of coupled 88 mm Flak 43 anti-aircraft guns, the “Gerät 288”. This heavy weapon had originally been on the Marine's drawing board for the anti-air defense of medium to large battleships since 1942, but the German fleet’s demise led to an adaptation of the coupled-weapon concept to the use on land. The huge and strong E-100 chassis eventually offered enough space to consider a self-propelled mount for a fully enclosed turret with this anti-aircraft weapon.

The Gerät 288 integrated two, originally independent guns into a massive, mutual mount, working on the Gast Gun principle developed by German engineer Karl Gast of the Vorwerk company in 1916: the firing action of one barrel operated the mechanism of the other, creating a reciprocal twin gun. This system required no external power source to operate but was instead powered by the recoiling of the floating barrels. This provided a much faster rate of fire for lower mechanical wear than a single-barrel weapon, and another benefit of this arrangement was that the recoil from one barrel was largely compensated for by the movement of the other one.

 

To expand range and ceiling beyond the standard Flak 43 gun the Gerät 288 featured extended gun barrels (80 gauge instead of the field weapon’s 72), which were manufactured in two pieces for easier production and replacement. With these, the guns achieved a muzzle velocity of 1,050 m/s (3,440 ft/s), giving them an effective ceiling of 11,500 meters (37,100 ft) and a maximum of 16,000 meters (52,400 ft). The 88 mm guns could also be used against ground targets and were, using dedicated armor-piercing rounds, able to penetrate ~240 mm (9.4 inches) of vertical hardened steel armor at 1,000 m (3,280 feet). This was enough to defeat the armor of almost any contemporary Allied tank from a relatively safe distance.

 

In the Sd.Kfz. 199/4’s massive turret, the heavy-duty hydraulic gun mount had an elevation between +70° and -5°. The Gerät 288’s combined rate of fire was up to 150 RPM, even though 120 RPM were more practical to limit structural stress and avoid jamming. Thanks to two magazines with 58 rounds each in the turret’s sides, continuous auto-fire was possible, as well as short bursts of two to five rounds per gun and single shots. The guns could also be fed manually by the loaders (one per gun from the inside). The magazines were normally loaded externally through hatches in the turret roof, but they could be accessed from the inside, too, and re-filled under armor cover from a further stock of 86 rounds that were stored in the SPAAG’s lower hull.

 

To improve target acquisition and fire control, the Gerät 288 was combined with a visual coincidence range finder and an integrated analogue targeting computer, a variant of the Kommandogerät (KDO) 40. In the Sd.Kfz. 199/4, this device was operated by a dedicated crew member who assisted the gunner and the commander.

This so-called Telemeter had already been introduced in 1941 to the field troops as a mobile guidance tool for stationary anti-aircraft units equipped with the 88 mm and 105 mm Flak. But it had so far – due to its size and bulk – only been deployed on an unarmored trailer and in the recent unarmed Sd.Kfz. 282 command vehicle. In the Sd.Kfz. 199/4’s turret the rangefinder’s optical bar had a reduced span of 240 cm (95 in), but fixed target reading was possible on distances from 3,000 to 20,000 m and aerial courses could be recorded at all levels of flight at a slant range between 4,000 and 18,000 m - enough for visual identification beyond a typical anti-aircraft group's effective gun ranges and perfectly suitable for long range observation, too.

The Telemeter was mounted in the turret’s roof under armored fairings behind the Gerät 288 and its magazines. In combination with the Gerät 288, the KDO 40 replaced the traditional gun scope. Due to the weapon’s weight and bulk, all weapon orientation was carried out by means of hydraulic motors via a control column that were slaved to the gunner’s Kommandogerät, so that aiming and firing was semi-automatized. The gunner still had to use the Telemeter as an optical scope to find and pinpoint the target, but the device translated this, together with additional information like range, temperature or wind shear, into electrical input for the guns electro-hydraulic controls that automatically corrected the weapon’s orientation and triggered them with an appropriate lead at an ideal moment. This automatized process made especially the acquisition of new targets easier and sped the whole re-targeting process up.

 

In this form the Sd.Kfz. 199/4 was cleared for production in mid-1945, but initial field experience especially with the heavy and less mobile E-100 vehicles had shown that these were very vulnerable to foot soldier attacks with mines or carefully aimed RPGs. Originally, the whole Einheitspanzer family had been designed without light defensive weapons, but this turned out to be a lethal weakness. Therefore, many vehicles were retrofitted in the field and on the production lines with close-combat weapons like a 100 mm “Nahverteidigungswaffe” grenade launcher which fired SMi 35 leaping mines against approaching infantry. Other frequent upgrades were smoke mortars and remote-controlled machine gun mounts that could be manually directed and fired from the inside. There were even complete, motorized gun barbettes available like the “Schwere Waffenlafette 45” (Heavy weapon mount). The latter was a newly developed, modular weapon platform, originally designed as main armament for lightly armored infantry fighting vehicles like the Sd.Kfz. 251 where it was simply mounted onto the armored roof and replaced the former manually operated machine guns. However, since it was an autonomous, electrically driven system on a simple ring mount with a relatively small diameter, the Schwere Waffenlafette 45 could easily be installed anywhere else, e. g. on the turret of most heavy tanks or the roof of assault guns. It had three periscopes at its base that gave a hemispherical field of view, the central mirror was combined with a target scope for aiming the weapons. The barbette either replaced the commander’s cupola, or it was, if there was enough space, directly attached to the roof as an additional outlook. Due to ample space the latter was the typical configuration on board of the Sd.Kfz. 199/4. The barbette’s mount replaced an already existing ventilation opening and was added on the roof in the right rear quadrant, next to the commander’s cupola, and it was operated by one of the loaders.

This barbette could be rotated 360°, had an elevation between -10 and +80° and carried a magnifying periscope for observation and aiming. The weapons were installed in external, co-axial pods with light armor protection on both sides of the central carrier column. Typically, these were a 30 mm (1.18 in) MK 103 machine cannon with 60 rounds (typically explosive APCR rounds against soft targets, but armor-piercing rounds could be fired, too) and a rapid-firing MG 42 machine gun (with 1.200 rounds), but other weapons and combinations were possible. Like the weapons, all ammunition was carried externally, too, so that the crew had to leave the vehicle’s protection to re-arm the weapons or deal with mechanical problems.

 

With all this heavy and bulky equipment as well as a total stock of 202 88 mm rounds and a crew of seven the Sd.Kfz. 199/4 weighed – despite the chassis’ reduced armor thickness – more than 100 tons, so that its mobility and tactical value were sharply restricted, even though it was markedly better than the battle tanks with their all-up weight of 140 tons and more. Due to this limited usefulness and lack of resources, only a small number were built. Production numbers vary between 15 and 25 vehicles, some might have been created on the basis of refurbished Sd.Kfz. 193 battle tank hulls. Most of the time, the few Sd.Kfz. 199/4s were used as mobile command posts for anti-aircraft units that defended vital locations like headquarters or production sites around Berlin, so that the vehicle’s short legs did not matter much.

  

Specifications:

Crew: 7 (Commander, Gunner, Telemeter operator, 2x Loader, Driver, Radio Operator)

Weight: 108 tonnes (119 short tons)

Length: 8.86 m (29 ft), hull only

11.62 m (38 ft 1 in), overall with guns forward

Width: 3.96 m

4.48 m (14 ft 8 in) with armored side skirts mounted

Height: 3.29 m (10 ft 10 in)

3.92 m (12 ft 10 in) with Schwere Waffenlafette 45

Suspension: Belleville washer coil spring

 

Armor:

Hull front: 80 – 120 mm (3.2 – 4.7 in)

Hull sides and rear: 60 – 90 mm (2.4 – 3.5in)

Hull top: 40 mm (1.6 in)

Hull bottom: 40–80 mm (1.6–3.1 in)

Turret front: 140 mm (5.5 in)

Turret sides & rear: 60 – 90 mm (2.4 – 3.5in)

Turret top: 40 mm (1.6 in)

 

Engine:

1x turbocharged Maybach HL232 V12 gasoline engine with 1.200 hp

 

Performance:

Maximum road speed: 40 km/h (25 mph)

Sustained road speed: 36 km/h (22 mph)

Cross country speed: 14 to 20 km/h (8.7 to 12.4 mph)

Power/weight: 8,57 hp/ton

Range: 120 km (74 mi) on road

85 km (53 mi) cross country

Power/weight: 11.1 PS/tonne (10.1 hp/ton)

 

Armament:

2x 88mm (3.46 in) FlaK 43 L/80 in a Gerät 288 Zwilling mount, with a total of 202 rounds

1x Schwere Waffenlafette 45 with:

1x 30 mm (1.18 in) MK 103 machine cannon (60 RPG) and

1x 7.92 mm (0,312 in) MG 42 machine gun

6x 76 mm Wegmann smoke mortars

 

The kit and its assembly:

Another fictional German WWII/Heer ’46 SPAAG, and it’s a big one with a lot of SF appeal since it makes IMHO not much sense from a tactical point of view. However, this is whifworld, so it perfectly fits, and such paper project models seem to be very popular – even though I do not understand why many modelers build them in a style that I’d almost call “Steampunk”?

 

I had the ModelCollect E-100 twin-88 mm gun Flakpanzer kit stashed away since it came out in 2017, but never had the nerve and mojo so far to build it, because it is simply a huge tank with twin gun barrels. This changed, in the wake of other SPAAG builds, and was a quick and straightforward build. ModelCollect‘s E-100 kit is finely molded, but it has IMHO some issues. The biggest problem I found is the hull: you have to take (a lot of) care to make sure that the hull elements are properly aligned due to their sheer size. The problem is: all outer walls are standing free with no alignment reference, and I have the impression that the rear wall is too small, so that the roof does later not properly fit into the opening. An internal engine bay bulkhead that could be used as an alignment reference is missing locator pins, so that you are left to guess where to place it.

 

On the positive side: the kit comes with brass gun barrels and two small boards with PE parts, e. g. for louvres on the engine cover which hides a complete engine with a detailed motor block, radiators, dust filters, etc. This way, you can easily integrate the E-100 into a workshop diorama or a similar scene. There’s also a delicate PE mount for an infrared sight.

 

However, building troubles easily outweigh the kit’s hardware highlights. Mounting the wheels was not easy. The sprocket wheels at the front as well as the idler wheels at the rear have complicated and flimsy constructions with very thin and short pins that hold them – any tension on the vinyl track easily bends them! To improve stability, I drilled holes through these wheels’ attachment points and put a continuous metal axis through the hull. The (nicely detailed) vinyl tracks themselves are unfortunately molded in a sandy beige, and they turned out to be too short, so that they had to be carefully stretched to match the running gear before they were painted and mounted. This should really one of the final assembly steps.

But this is not the only problem zone, you stumble upon small bugs and nuisances everywhere, like missing holes on the idler wheels, poor fit on the turret parts that call for PSR or instructions that do not match the parts. And it is not helpful that different kinds of wheel halves on the same sprue are just designated ”Part 1” and “Part 2”. All these hiccups are not fatal, but the whole kit leaves a giddy (if not lousy) impression. It’s nothing for tank kit beginners, and since this is the second time that I have built one of these with several déjà vus, I am quite disappointed by the kit.

 

The kit was basically built OOB, but for a more science fiction-esque twist I added a close-range defense in the form of a (fictional) remote-controlled weapon mount on the turret roof. This is an aftermarket set from ModelTrans/Silesian Models, a resin-cast gun barbette that reminds of the early German “Marder” IFV’s main weapon. However, it made IMHO perfect sense for this behemoth because it would be very vulnerable to infantry attacks, and the huge turret offered enough space on the roof and inside to mount it.

Since I did not want to depict a vehicle during overhaul, the whole engine bay interior was left away and the space under the bonnet filled with foamed plastic and later painted black. PE grates from the OOB plate were used to block views into the bay further.

 

Another personal modification is the omittance of the bulky side skirts that cover most of the running gear and the tracks. They make IMHO sense on the heavy battle tank and maybe assault gun versions, but on the SPAAG they just add weight and use up resources. I left them away and replaced them with scratched alternatives, created from 0.5 mm styrene sheet and profiles, slightly dented at the edges for a more natural and worn look.

Because the E-100 kit lacks any equipment on the hull (well, if this heavy vehicle broke it would certainly have been abandoned – who’s salvage it!? Another weak point of thew whole concept), I added some resin storage boxes.

  

Painting and markings:

It took some time to decide how to paint this huge thing. Inspiration eventually came from the idea that it would probably have only been used to defend very important targets, most probably around or in Berlin, so that an urban environment and a suitable camouflage would make IMHO most sense.

 

I took some inspiration from the British “Berlin Brigade” urban camouflage (consisting of square fields in bluish grey, dark brown and white) and the German late-war simplified splinter schemes. Since the E-100’s bulk would be hard to conceal, esp. with rather small mottles, I rather concentrated on disrupting its outlines and blending it with buildings in the background. Such an urban/artificial environment calls for angular and horizontal lines and edges, but I did not want to make the paint scheme look too modern, like a pixel scheme. The vehicle would furthermore be painted with only limited resources at hand, or maybe just in the field, so that typical red primer would certainly show through, with camouflage added on top.

 

This led to an initial overall basis in RAL 3009 Oxidrot. This was applied from a rattle can and shaded with clouds of different similar tones like Humbrol 70 and 160, for an uneven look. On top of that I added a vertically aligned splinter scheme with thinned Panzergrau (RAL 7021, Humbrol 67) and Dunkelgelb (RAL 7028, Humbrol 83), with the primer showing through and leaving the inside of the running gear uncamouflaged. The horizontal surfaces remained Dunkelgelb. The twin gun barrels were painted in a slightly different fashion: their undersides became RAL 7028, for a low contrast against the sky when raised, and onto the upper surfaces in Oxidrot I added (only) Panzergrau mottles. The remote-controlled barbette was, as an “aftermarket piece” and to reduce its contrast against the sky, too, painted uniformly in Dunkelgelb, but in a different shade (Tamiya XF-60).

I considered adding small clusters of Hellgrau (RAL 7035, Humbrol 196) and Olivgrün (RAL 6003, Humbrol 86) here and there to break up the vehicles outlines, but found that this would look too superficial and “forced”, so that the scheme remained rather a splinter scheme.

Once the basic camouflage had been applied, the kit was weathered with a highly thinned wash of dark brown, grey and black acrylic paint. Once dry the major surfaces were lightly wet-sanded, revealing more of the underlying red primer.

 

Tactical markings are minimal, just with Iron Crosses on the hull and a white tactical code on the turret flanks. As a unit code, the s.Pz.Abt. 505’s emblem, a charging knight on a horse, was added to the turret. The decals were protected with a thin coat of varnish before the next steps.

 

Details and edges were then highlighted through dry-brushing with Humbrol 70 (Brick Red) and 168 (RAF Hemp). Dust residues and some rust traces were painted with watercolors. These were also used to weather the (rather stiff) vinyl tracks, which were molded in a sand color and had to be totally painted – with an initial overall coat of acrylic black paint from the rattle can and later with grey and red brown acrylic artist paints, and some medium grey dry-brushing.

 

Matt acrylic varnish (Italeri) was used to seal the kit, and once the tracks had been mounted, the lower hull was dusted with grey/brown mineral pigments.

  

This one took some time to materialize. The E-100 kit fought my efforts to put it together constantly, and the conversions and add-ons – while not a major surgical intervention – took some time. Finding a credible camouflage concept for this hulk of a tank (a.k.a. rolling bunker with guns) was not easy either. But the idea of using the primer color as base with additional, somewhat digital camouflage on top looks credible and “works”. - e. A relatively quick build, realized in less than a week, and some (minor) challenges. What a huge vehicle the E-100 has been – but what a waste of effort, resources and tactical limitations due to the vehicle’s sheer size and weight. Looks impressive, though, esp. when you place this hulk next to a “normal” tank…

In the end I am not really convinced of my paint scheme idea, but I ran with it since I wanted something different from the obvious German late war standard scheme.

It's getting closer!

On Friday the 24th we will have a launch event for the bike from 5pm to 8pm

at the Cascade Barrel House. More info here www.shift2bikes.org/cal/viewpp2011.php#24-2357

 

Starting June 27th, 2011 you can rent the Beer bike! - www.metrofiets.com/rentals/

PictionID:44808837 - Title:Atlas Payload Component - Catalog:14_014216 - Filename:14_014216.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Arlo by Michele Wang - upsized

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Copper hardware component for CLIC test facility.

Presentación Final del Proyecto en la Comuna 8 Medellin: Intergrando Comuna 8 Octavo Semestre/Taller9 UNAL Facultad de Arquitectura

The Tipco Maritime managed asphalt/bitumen tanker, Tasco Nirand [IMO 9689809] on September 20, 2015 as she approaches the Fremantle Harbour entrance channel to berth at No. 1 NQ, Fremantle Port.

 

IMO: 9689809

MMSI: 567502000

DWT: 4,485

Built: 2014

Flag: Thailand

Ship Manager: Tipco Maritime Co Ltd

Gala 75 Aniversario Coros y Danzas "Villa de Madridejos"

  

VÍDEO en youtu.be/3ehb5TZVQ4A

 

El 75 aniversario de la Asociación de Coros y Danzas Villa de Madridejos reunió este fin de semana en el Pabellón Santa Ana a la mayoría de los componentes que han pasado por dicha asociación desde 1940 en una gala homenaje a las personas que tuvieron la iniciativa de crear el grupo y han sabido transmitir el saber popular hasta nuestros días.

La gala consistió en un recorrido por la historia de la asociación desde su creación hasta nuestros días documentada con vídeos y fotografías, e intercalada con distintos bailes regionales, propios de La Mancha, que interpretaron miembros antiguos de las asociación, el grupo actual compuesto por 48 personas y el grupo infantil.

La pieza clave de las actuación y que sirvió como colofón a la gala fue la ‘seguidilla de Madridejos’, considerada desde el alma del grupo como el himno de esta asociación. También se interpretaron fandangos, jotas y rondeñas.

Los antiguos componentes subieron al estrado para contar algunas de sus experiencias a su paso por la asociación o recibir obsequios en reconocimiento a su labor.

Al evento asistieron el Presidente de la Federación Española de Agrupaciones de Folclore, Pedro Asuar y el Presidente de la Federación Castellano-Manchega de Folclore, Jesús Moreno.

Asuar destacó la importancia de los grupos de folclore en cuanto al cuidado de la historia e idiosincrasia de los pueblos como defensores de los mismos. Y definió al folclore como «la salvaguarda de nuestro patrimonio cultural y material», añadiendo que «esta salvaguarda la ha sabido reconocer las Cortes Generales y así ha sido también reconocida a nivel Europeo».

Por su parte Jesús Moreno recordó con entusiasmo que las «seguidillas» serán declaradas Bien de Interés Cultural si el expediente que está en curso sale adelante, hecho del que dijo que tiene esperanza que así sea en 2016.

Sendos presidentes entregaron un obsequio a la asociación madridejense que fue recogido por su presidente, Pablo Gómez, con motivo de este 75 aniversario.

El obsequio que la Federación Castellano Manchega de Folclore le entregó de manera simbólica a Pablo Gómez, consistió en la más alta distinción que puede recibir un grupo de folclore, la insignia de oro, que recibirá la Asociación de Coros y Danzas ‘Villa de Madridejos’ materialmente el próximo 15 de noviembre en Albacete.

El alcalde de Madridejos, José Antonio Contreras Nieves, también hizo entrega al presidente de la asociación de un obsequio que representaba el escudo de Madridejos y que ocupará un lugar en la vitrina de trofeos conseguidos por esta asociación.

El presidente de la Asociación de Coros y Danzas ‘Villa de Madridejos’, Pablo Gómez, intervino diciendo sentirse satisfecho con la herencia de este grupo y destacó algunos de los momentos más emblemáticos de esta asociación, e intervino en la tanda de agradecimientos a los actuales miembros de la asociación, los que han pasado por ella y en la mención que se hizo a título póstumo a los ya fallecidos.

El evento estuvo organizado por dicha asociación en colaboración con el Ayuntamiento de Madridejos y la Diputación de Toledo, y asistieron grupos de folclores de la Comunidad de Castilla La Mancha y Madrid.

De quinceañeras a un grupo cohesionado

La fecha exacta de creación del grupo se desconoce, aunque se ha recabado de un programa de festejos del Ayuntamiento de Madridejos que con motivo de la celebración de «el primer aniversario de la Victoria», el 1 de abril de 1940, la Asociación de Coros y Danzas ‘Villa de Madridejos’, entonces grupo, hacía su primera actuación en este municipio.

El grupo estuvo gestionado por la sección femenina en sus principios, con la peculiaridad de que las chicas no podían tener más de 20 años porque estaba mal visto y todas rondaban los quince años. Fue en 1967 cuando entró el primer grupo de chicos.

La actuación más importante del grupo, en sus inicios, tuvo lugar en 1947 en la muestra de bailes regionales que se ofreció el Toledo a Eva Perón en la visita que hizo a España.

El grupo participó en distintos concursos, que entonces se hacía entre los grupos de folclore, donde se medía la destreza e importancia del los grupos que participaban.

La asociación ha viajado dentro y fuera de España llevando el folclore de La Mancha e incluso fueron invitados por Televisión Española en el programa Gente Joven en la final de grupos de folk donde actuaron con una rondeña.

Con motivo de su 50 aniversario abrieron un chiringuito con motivo de las Ferias y Fiestas en honor al Santísimo Cristo del Prado de Madridejos con cuya recaudación consiguieron costear la sede que actualmente tienen.

El grupo mantiene, tras 75 años de trabajo, una cohesión que ha hecho historia en el municipio de Madridejos tal y como dejaron reflejado sus componentes en esta gala.

por Consuelo Sánchez para la Tribuna de Toledo

 

Autor: José-María Moreno García. Fotógrafo humanista y documentalista.Cronista Oficial de la Villa de Madridejos.

Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, si no también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net

 

SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com

Some cool stamping components china pictures:

Red Rose

 

Image by Connie Campbell pictures Crossville, Al

Fast Rose Facts

The rose is the official National Floral Emblem of the United States. This legislation was signed into law by President Ronald Reagan on October 7, 1986. The rose is also the...

 

Read more about Cool Stamping Components China photos

(Source from Chinese Rapid Prototyping Blog)

Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.

 

In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]

  

Contents [hide]

1 History 1.1 Park history

1.2 Branding

1.3 Timeline

1.4 Previous attractions

 

2 Park design 2.1 Production Central

2.2 New York

2.3 San Francisco

2.4 London/Diagon Alley

2.5 World Expo

2.6 Woody Woodpecker's Kidzone

2.7 Hollywood

 

3 Character appearances

4 Production facilities

5 Annual events 5.1 Grad Bash and Gradventure

5.2 Halloween Horror Nights

5.3 Macy's Holiday Parade

5.4 Mardi Gras

5.5 Rock the Universe

5.6 Summer Concert Series

 

6 Universal's Express Pass

7 Attendance

8 See also

9 References

10 External links

  

History[edit]

  

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

     

The original entrance to the theme park.

Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).

 

Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.

 

In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.

 

In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.

 

Park history[edit]

 

From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]

 

A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.

 

Branding[edit]

 

Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).

 

Timeline[edit]

1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.

1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.

1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]

1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]

1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.

1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.

1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]

1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.

1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]

1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.

1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.

1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]

2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.

2001: Animal Planet Live opens, replacing Animal Actors Stage.

2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.

2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]

2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.

2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.

2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".

2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.

2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]

2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.

2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.

2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]

2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store

2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.

2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.

 

Previous attractions[edit]

 

Main article: List of former Universal Studios Florida attractions

     

The previous icon of the Jaws ride is still a popular photo spot.

Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.

 

Park design[edit]

 

Main article: List of Universal Studios Florida attractions

 

Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.

 

The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.

 

Production Central[edit]

  

Ride

 

Year opened

 

Manufacturer

  

Despicable Me: Minion Mayhem 2012 Intamin

Shrek 4-D 2003 PDI/DreamWorks

Hollywood Rip, Ride, Rockit 2009 Maurer Söhne

Transformers: The Ride 3D 2013 Oceaneering International

The Universal Music Plaza Stage 2009

  

The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]

 

Exercise Cobra Warrior After my afternoon visit on Tuesday 14th March, where I just missed photographing the visiting fighters arriving back at base, I made up for it on the following Friday 17th - managing to record the departure home of all six of the Belgian Air Component F-16s, four of the Finnish Air Force F-18s and a pair of the 'exotic' Indian Air Force Mirage 2000s 😎 :)

 

In this view we see the third of four Belgian Air Component F-16s that departed Waddington around 09.30 - taxiing to the holding position with the fourth aircraft FA-102 behind. FA-136 carries an eye-catching "The X Tiger" display livery :)

 

Exercise Cobra Warrior is a biannual exercise run by the Royal Air Force and is designed to exercise participants in high intensity large force tactical training. This year's exercise is taking place from the 6th to the 24th of March, controlled by directing staff at RAF Waddington. More info on Exercise Cobra Warrior here: www.raf.mod.uk/news/articles/international-participants-f...

 

Cobra Warrior Participants

 

Based at Waddington

 

🇧🇪Belgian Air Force (Force Aérienne Belge)🇧🇪

General Dynamics F-16AM Fighting Falcon (Viper) x6

 

FA-77

FA-102

FA-116 (349 sqd special tail)

FA-127

FA-134

FA-136 (display special)

 

🇫🇮 Finnish Air Force (Ilmavoimat) 🇫🇮

McDonnell Douglas F-18C Hornet x6

 

HN-406

HN-411 (small bull on nose)

HN-422

HN-424 (black lynx on nose)

HN-438

HN-448

 

🇮🇳 Indian Air Force 🇮🇳

Dassault Mirage 2000 x5

 

KF112 - 2000I

KF118 - 2000I

KT208 - 2000TI

KT211 - 2000TI

KT213 - 2000TI

 

Based at Coningsby

 

🈂 Royal Saudi Air Force 🈂

EF2000 Eurofighter Typhoon x6

 

1020 - T3

316 - FGR4

8019 - FGR4

1019 - FGR4

1022 - FGR4 (Green Canard)

8018 - FGR4

 

More info here: www.fightercontrol.co.uk/forum/viewtopic.php?f=455&t=...

 

Low-res shot taken with an iPhone 6s iPhone photography - apologies for the poor quality of some of these phone photos - sometimes they're nice and sharp - sometimes they're all pixelated and not up to my usual standard. The videos are better :)

 

You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/

We have the artwork displayed around part of the parameter of our exhibit hall. You will see some of the Blast Off components such as the moon, rocket video, and constellation station.

 

The Children's Museum of Cleveland Exhibit

Families Exploring Space Together!

May 14 - September, 2011

Cleveland, Ohio

Dream Theme: Space

Artwork Due: May 1, 2011

 

View Artwork & Participants included in this exhibit at:

www.flickr.com/photos/thedreamrocket/sets/72157626483112647/

 

Download a Flyer at:

docs.google.com/viewer?a=v&pid=explorer&chrome=tr...

   

Show Participants:

 

Girl Scouts of Maine Troop 710 from Greenville, ME

Participants: Jessica, Brianna, Jessica C., Alysia, Madison, Kiana, Tiegan, Jasmin, Allison, Katherine, and Leader - Kathy Cobb;

Cynthia Butcher from Blue Springs, Missouri;

Glenda Neal & Family from Laurel, Maryland;

Girl Scout Junior Troop 134 & Lisa Davis from Adams, TN

Girl Scout Troop 2150 from Az Cactus Pine Council, Participants: Anna Coffee, Bailey Goley, Alex Petrella, Megan Ragone, Madison Ragone, and Kim Bergay;

Meena Schaldenbrand from Plymouth, Michigan;

Iris Frank, Alexander Frank (8 years Old), and Ethan Frank (7 years old) from Santa Cruz, CA;

Dawn Putney in Carrollton, GA;

Mary Kay Davis from Sunnyvale, CA;

Jefferson Township Middle School, Oak Ridge, New Jersey

Helpers: Claude Larson (Quilter), Elizabeth Poggie (Student Artist), and Karen Correia (Art Teacher);

Janice Jones from Methuen, MA;

Caroline Martin from Huntsville, Alabama (age 15);

Maureen A. Cunningham from Watsonville, CA;

The Ballance Family from Huntsville, AL (Judy Ballance);

Fresh Air Family after school program at St. Barnabus School in Birmingham, Al, organizer - Laurie Kramer;

Gerrie Congdon from Portland, Oregon;

Laura Grover from Bellevue, Washington;

Girl Scout Troop 424 from Pensacola, Florida;

Columbia Elementary School in Madison, Alabama;

Bethel Girl Scout Troop 42494 of Western Ohio Council in New Richmond, Ohio.

Participants: Katrina Morgan, Hayden Setty, Ella Leahr, Isabelle Morgan and Naomie

Moermond.

The Montessori School of Huntsville, Alabama;

Anne Clough from Huntsville, AL;

Students of the Blue Heron Art Studio

Participants: Sophie T., Morgan W., Jack Willow, Lillie, Kathryn, Ruth, Kate, Alina, Nina, Graham, Gavin, Sophie J., Audrey, Scout, Zoe, Meg, Jay, Catlin, Ryan, Will, Grant, Brian, Blair, Lucy, Myla, Clare, Grace, Kayla, Serena, Ava, Lauren, Lyall, Abbey, Ivey

3rd Grade Brownie Girl Scout Troop #11299 from from St. Pius X School: Toledo, Ohio

Participants: Emma Bodmer, Hannah Crosley, Zoe Molnar, Lily Curtis, Grace Foor, Keara Elmore, Sophia Dauterman, Izzy Huss, Kyra Buck, Madison Griffin, Imogen Ryan, Anna Lawrence, and Aili Meyers, Heather Foor, and Michelle Buck;

Brownie Troop 1231 from Fort Jackson, SC

Participants:Mary Heintzelman, Tammy Stonehill, Emily Heintzelman, Kaitlyn Stonehill, Abigail Sawyer, Kamyla McCormick, Mariah Cintron, Victoria Thomas, Zahria Ross, Sanai Brisbon, Megan Esterline;

Whitesburg Elementary School in Huntsville, Alabama

Deena Sisk (art teacher) & Students - Jessica, Paige, Faith, Erin, Allison, & Christian;

Brownie Girl Scouts Troop 4545 from Point Pleasant, WV

Participants:

“…Moon” – Gracie Queen, Hannah Walker, Kennade Pridemore, Morgan Keefer

“…Print” – Elicia Wood, Hannah Wood, Kenly Arbogast, Zoe Enos

Girl Scout Troop 30036 (Lighthouse Elementary School) from New Baltimore, Michigan (3 Artworks)

Participants:Kathy, Adelini (Leader), Stephanie Geer (co-leader), Lauren Adelini, Julie Geer, Isabella Brooks, Ava DeGowske, Grace Teetzel, Riley Naylor, Alyssa Kiroski, Isabella Andreski, Jessice Geer

Girl Scout Troop 63 from Pasadena, Maryland

Participants:Abby Palmer, Grace Palmer, Frances, Zyla, Frankie Zook, Vivian Zook, Aretee Healy, Maira Healy, Angie Healy, Julia Berger, Katie Sullivan, Mia Fernandez, Talie Kolenc, Amina Kolenc, Taylor Allaire, Natalie Edens, Susie Carns, Kyerin Simonds, Matibelle Simmonds

A Belgian Air Component F-16 goes ballistic during its display at the Royal International Air Tattoo.

These precision ballscrew nut housings, which are used on a wide range of Haas machines, are machined in large batches on Haas EC-400PP pallet pool HMCs. In-house machining and extensive use of common components help Haas Automation keep machine prices affordable, and provide customers with more value.

Various asbestos-containing friction products (mostly brake components).

A pattern from a close up of component inside of a computer.

Precipitation is a vital component of how water moves through Earth’s water cycle, connecting the ocean, land, and atmosphere. Knowing where it rains, how much it rains and the character of the falling rain, snow or hail allows scientists to better understand precipitation’s impact on streams, rivers, surface runoff and groundwater. Frequent and detailed measurements help scientists make models of and determine changes in Earth’s water cycle.

    

The water cycle describes how water evaporates from the surface of the earth, rises into the atmosphere, cools and condenses into rain or snow in clouds, and falls again to the surface as precipitation. The water falling on land collects in rivers and lakes, soil, and porous layers of rock, and much of it flows back into the oceans, where it will once more evaporate. The cycling of water in and out of the atmosphere is a significant aspect of the weather patterns on Earth.

 

Credit:

NASA

Maplin store trip

Photo: Ken Fager

Components.

 

Dr. Charles Richard Drew Mural 2014 by Susan Schwerin

 

Dr. Drew can be seen on the left, rising out of the fog (symbolizing his neighborhood, Foggy Bottom, in DC where he was born). He is holding a test tube of blood that has been separated into its individual components: plasma (55%), platelets (1%) and red blood cells (44%). Next to him is a microscope with a microscopic view of each blood element in the background. The red blood cells are marked for the various blood types (A+,A-, B+,B-, O; however, in 1 drop of someone’s blood all of the red blood cells would be the same type, I have only mixed them here to exemplify that there are different types). Plasma, however, is not very different across people making it a better candidate for transfusions, plus it does not need to be refrigerated and lasts a long time.

Dr. Drew’s steps to “SUCCESS” are created by his education and training:

 

First he went to Stevens Elementary where he was received medals for swimming2 (“S” of success with silhouette of swimmer).

 

Next he went to Dunbar high school where he lettered in track (hurdles), football, baseball and basketball1(“U” of success with silhouette of hurdles, football, baseball, basketball).

 

Then he was off to Amherst college where he was captain of the track team and was the most valuable player on the baseball team, star halfback, national high hurdles champion5(“C” of success with silhouette of baseball, football and hurdles).

 

After graduating he started saving for medical school by teaching biology and chemistry and coaching football and basketball at Morgan State University in Baltimore1. During his two years at Morgan, his coaching transformed its mediocre sports teams into serious collegiate competitors1 (“C” of success with silhouette of an instructor and a coach, a football and a basketball).

 

He then went to McGill Medical School where he earned a Doctor of Medicine degree (MD) and a Master of Surgery (CM)2. He joined the Omega Psi Phi fraternity where he helped to pen their fraternity hymn, “Omega Dear”3. He was also inducted into the medical honor society Alpha Omega Alpha2. He won a neuroanatomy award2 and continued to excel competing in hurdles (“E” of success with silhouette of music notes, brain, hurdles).

 

He then went to work as a surgeon and teacher at Howard University, where they were trying to get and/or train their faculty to be competitive in their fields (“S” of success with silhouette of instructor and surgeon).

 

Dr. Drew got a Rockefeller Foundation research scholarship to get his doctorate at Columbia University where he wrote a thesis titled, ”Banked Blood”2 (“S” of success with silhouette of researcher at microscope and thesis).

  

World War II broke out. There is a world map at the bottom of the mural where the different countries are colored according to whether they were on the side of the Axis (blue-primarily Germany, Italy, Japan, and also Slovakia, Romania, Hungary, Bulgaria, Libya, Ethiopia, Somalia, Thailand, Taiwan, Korea, Irag, Finland) or the Allies (green: primarily United Kingdom, France, China, Soviet Union, United States and also Australia, New Zealand, Canada, Belgium, Brazil, Czechoslovakia, Denmark, Estonia, Greece, India, Latvia, Lithuania, The Netherlands, Norway, Poland, South Africa, Yugoslavia with light green being countries that joined the war late: United States, Mexico, many South American countries, Liberia, Turkey, Iran, Saudi Arabia, and Phillipines) or Neutral countries (gray-primarily Ireland, Portugal, Sweden, Switzerland, Spain, and also Sahara, Angola, Mozambique, Yemen, Afghanistan, Tibet, Estonia, Latvia, and Lithuania).

 

After the war started, Dr. Drew was requested to organize the Red Cross Blood for Britain program (represented by the blood transfusion line spelling out Blood Bank, which then enters the top of the Red Cross symbol in the middle of the mural), where his attention to detail and doctorate research on blood banking enabled him to effectively collect blood, separate out the plasma and ship it to wounded British soldiers (represented by the yellow plasma transfusion line leaving the Red Cross symbol and going to the soldiers in the bottom right of the mural). The plasma transfusion line makes the shape of an EKG heart beat signal before getting to the soldiers, showing that it is giving life (giving heart beats). Beneath the soldiers is an open box with open cans, this is the box they received from the Red Cross with the dried plasma and distilled water which they combined to reconstitute the plasma to give to the soldier on the battlefield. Behind the soldiers is the British Flag. After the US joined the war, Dr. Drew led the National Blood Donor Service as well (represented by the American Flag on the far right of the mural).

 

In order to meet the huge demand for plasma, Drew initiated the use of "bloodmobiles" - trucks equipped with refrigerators6.

 

Unfortunately, the irony of his work was that the Red Cross would only accept blood from white donors. (This is shown in the mural by the 5 hands at the top. The center hand is Caucasian and is the only hand, whose blood drop has a Red Cross symbol on it, even though all the blood drops look the same, no matter what color hand is holding it). Dr. Drew publicly stated that the blood from different races was no different; however the Red Cross continued to exclude black donors. They eventually began allowing black donors, but kept the blood segregated for the recipients.

 

The NAACP gave Dr. Drew the Springarn award for "the highest and noblest achievement" by an African-American "during the preceding year or years” for his blood banking accomplishments2 (The medal and ribbon are at the top of the mural, just under the hands). This award bolstered Dr. Drew into becoming more of an advocate for black rights4.

 

Dr. Drew had a personal commitment to excellence as well as an expectation of excellence of his black medical students who frequently scored among the highest in nationwide medical exams (represented by the word “EXCELLENCE” in the mural). Dr. Drew continued to teach at Howard University where he was known by his students as ‘Big Red’ because of the color of his face when he was upset4 (represented in the mural by the Howard University Bison Logo with the words “Big Red”).

 

Dr. Drew died in a car accident in 1950 at the age of 45 (represented by the car in the upper right hand corner of the mural).

 

While attending a conference in April 1939, Drew met Minnie Lenore Robbins, a professor of home economics at Spelman College in Atlanta. They married in September of that year, and had three daughters and a son (represented on the mural by the house with the family inside, just under the Red Cross).

 

Dr. Drew’s one leisure activity was gardening, especially Canna Lily flowers4, which are featured at the base of the mural under SUCCESS.

 

The hand in the upper left corner of the mural that is punching through the wall is a representation of this quote by Dr. Drew and symbolizes how his accomplishments (the blood bank) knocked a hole out of the wall:

“Whenever, however, one breaks out of this rather high-walled prison of the "Negro problem" by virtue of some worthwhile contribution, not only is he himself allowed more freedom, but part of the wall crumbles. And so it should be the aim of every student in science to knock down at least one or two bricks of that wall by virtue of his own accomplishment.”

 

References:

1.The Charles R. Drew Papers. Profiles in Science. National Library of Medicine. profiles.nlm.nih.gov/ps/retrieve/Narrative/BG/p-nid/336

2.Bio. www.biography.com/people/charles-drew-9279094#early-life

3.Omega Psi Phi Fraternity, Inc. Website www.omegapsiphifraternity.org/about_omega.asp

4.One Blood: The Death and Resurrection of Charles R. Drew By Spencie Love books.google.com/books?id=JF3sSgLA_AC&printsec=frontc...

5.http://web.stcloudstate.edu/lstripp/charles-drew.htm

6.http://www.pbs.org/wnet/redgold/innovators/bio_drew.html

 

gold and steel

A look into the life of computers. Nude Machine Models.

Was playing around with my new flash on my new rear hub

In conjunction with CyberClimb and Legado Video, we produced a business legacy video for Component Manufacturing and Reaves Creating Systems. The video aids …

  

www.arrivalelectronics.co.uk/manufacturing Arrival Electronics delivers a full variety of Managed Electronic...

 

Read more about Component Manufacturing

 

(Posted by a Precision Machining China Manufacturer)

Refined ideas for a mascot competition.

Main shape is 1/4" MDF; the handle parts are 3/8" MDF

Operación Atalanta (EUNAVFOR).- BAM 'Rayo' (P-42)

Components of various pedigree assembled on the weight bar for Rufford Junction's Down Main co-acting Outer Home Signals.

Title: Symmetrical Components Seminar

Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas

Physical Publisher: Physical: Graphic Services, Texas A&M University

Date Issued: 2011-08-17

Date Created: 1968

Dimensions: 4 x 5 inches

Format Medium: Photographic negative

Type: image

Identifier: Photograph Location: Graphic Services Photos, Box 21, File 21-155

Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information

 

Cristina D'Avena & Gem Boy

Carroponte - Sesto San Giovanni - Milano

11 Luglio 2013

  

© Mairo Cinquetti

 

© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com

 

Cristina D'Avena nasce a Bologna lunedì 6 luglio 1964 da Alfredo, medico, e da Ornella, casalinga. All'età di 3 anni e mezzo esordisce cantando "Il valzer del moscerino" alla decima edizione della rassegna canora per bambini Zecchino d'Oro; il brano si aggiudica il 3º posto. Dopo l'esperienza allo Zecchino d'Oro, rimane all'Antoniano come componente del Piccolo Coro fino al 1976, ma continuerà a frequentarlo per altri 5 anni accompagnando la sorella Clarissa, nata 10 anni dopo di lei e anche lei diventata nel frattempo componente del coro.

 

Nel 1981 Cristina è una diciassettenne studentessa di Liceo Classico che vede il canto solo come un hobby. In quel periodo, Alessandra Valeri Manera, l'allora responsabile della tv dei ragazzi della neonata Canale 5, era alla ricerca di una voce femminile che potesse interpretare la sigla della serie animata giapponese "Pinocchio": per questo motivo interpellò Augusto Martelli, direttore artistico-musicale della rete nonché figlio del maestro Giordano Bruno Martelli. Fu proprio Martelli padre, tramite il figlio, a segnalare a Valeri Manera il nome di Cristina D'Avena, avendo egli avuto modo di frequentarla fino a poco tempo prima presso il Piccolo Coro dell'Antoniano. Dopo essere stata sottoposta ad un provino discografico, Cristina, ancora minorenne, firma un contratto di esclusiva (a cui è legata ancora oggi) con l'etichetta discografica di Canale 5, la Five Record (in seguito ridenominata RTI Music, oggi inglobata in RTI s.p.a.), e diviene così l'interprete della canzone "Bambino Pinocchio" composta da Martelli figlio che di lei all'epoca disse: « Diventerà una grande cantante ». Il successo commerciale del relativo 45 giri diede effettivamente inizio alla carriera di Cristina: da allora non ha mai smesso di incidere e, grazie alla quantità di sigle da lei registrate, è l'unico personaggio dello spettacolo la cui voce è presente sulla tv italiana ininterrottamente dai primi anni '80 almeno una volta al giorno, 7 giorni su 7, 365 giorni l'anno.

 

Sempre da questo periodo inizia a pubblicare numerosi singoli ed album, che complessivamente venderanno un totale di circa 6 milioni di copie: nel 1983, infatti, Five Record dà vita a "Fivelandia", il primo volume di quella che diventerà una longeva collana destinata a contenere le sigle dei cartoni animati in onda sulle reti del biscione; un appuntamento fisso dell'autunno a cadenza annuale, a cui si aggiungerà, a partire dal febbraio 1987, la sua versione primaverile anch'essa a cadenza annuale dal titolo "Cristina D'Avena con i tuoi amici in tv". Tra le canzoni di maggior successo dei primi anni, particolare menzione per "Canzone dei Puffi" del 1982 (grazie alla quale verrà premiata con il suo primo Disco d'Oro per le oltre 500.000 copie vendute) e "Kiss me Licia" del 1985 (Disco di Platino per le oltre 100.000 copie vendute del relativo album): quest'ultima è la sigla a cui la cantante dichiarerà più volte di essere maggiormente legata.

 

A partire dal settembre 1986 raggiunge, tuttavia, una popolarità ulteriore a quella già acquisita in 5 anni con la sola interpretazione delle sigle, nonché una notevole visibilità, quando interpreta il ruolo di Licia nella prima di 4 serie di telefilm per ragazzi intitolata "Love me Licia": la serie è basata sulla protagonista e sui personaggi del cartone animato giapponese "Kiss me Licia" (che aveva fatto il suo debutto 12 mesi prima), del quale questa produzione italiana con attori in carne e ossa prosegue idealmente le vicende. È così che quella che fino a questo momento era quasi soltanto una voce (quel timbro così particolare che milioni di bambini italiani avevano già imparato a riconoscere) diventa di fatto un volto, il volto di una ragazza dall'aspetto più giovane dei suoi 22 anni che l'intero pubblico, anche quello più adulto, ora conosce e apprezza già. A "Love me Licia" seguiranno "Licia dolce Licia" nella primavera 1987, "Teneramente Licia" nell'autunno 1987 e "Balliamo e cantiamo con Licia" nella primavera 1988; le serie vengono trasmesse il lunedì, il mercoledì e il venerdì alle ore 20:00 su Italia Uno in diretta concorrenza coi telegiornali Rai e raggiungono insperati ascolti record.

 

Nel 1987, mentre i brani da lei incisi ammontano già ad un centinaio, Cristina registra un brano in lingua francese: si tratta della versione francofona della sigla italiana "Lovely Sara" (da lei già interpretata pochi mesi prima), destinata ad accompagnare la messa in onda di "Princesse Sarah" che sarà il primo cartone animato ad essere trasmesso su La Cinq, rete televisiva francese di proprietà di Silvio Berlusconi costruita sul modello di Canale 5. Grazie a questa sua incisione la cantante, che per la prima volta vide apparire il proprio nome sulla copertina di un disco pubblicato e distribuito esclusivamente all'estero, è conosciuta e ricordata ancora oggi dai bambini francesi degli anni '80.

 

Conclusasi la saga di Licia nella primavera 1988, dall'autunno Italia Uno decide di mettere in scena proprio Cristina e la sua realtà quotidiana, costantemente impegnata tra gli studi universitari alla Facoltà di Medicina e il lavoro di cantante. Non a caso, durante l'ultima puntata dei telefilm di Licia, Cristina D'Avena compare nel ruolo di se stessa annunciando la sua intenzione di metter su una band musicale. Pochi mesi dopo viene infatti trasmessa su Italia Uno "Arriva Cristina", a cui seguiranno "Cristina" nell'autunno 1989, "Cri Cri" nell'autunno 1990 e "Cristina, l'Europa siamo noi" nell'autunno 1991. "Cri Cri" si compone di due serie da 36 episodi l'una, mentre "Cristina, l'Europa siamo noi" viene trasmessa da Retequattro anziché da Italia Uno e alle ore 19:00 anziché al consueto orario delle 20:00. Come già avvenuto per le 4 serie di Licia, per ognuno di questi telefilm Five Record pubblica un disco contenente la sigla e tutti i brani cantati all'interno degli episodi: i primi tre album diventano Dischi di Platino.

 

Tra i suoi concerti più riusciti quelli realizzati nel novembre 1989 e 1990 al PalaTrussardi di Milano, a cui assistettero un totale di circa 20.000 spettatori, e quello del 1992 al FilaForum di Assago (13.000 persone in sala e 3.000 all'esterno) i cui incassi sono stati interamente devoluti alla Associazione Italiana per la Ricerca sul Cancro.

 

Con alle spalle la stessa autrice-produttrice degli esordi ed una casa discografica che, grazie solamente alle sue canzoni, nel 1991 ottiene un fatturato di oltre 9 miliardi di lire, negli anni '90 la cantante prosegue, regolarmente e senza interruzioni, ad incidere nuove sigle e a pubblicare CD; numeri, i suoi, che tanti artisti blasonati, ancora oggi, le invidiano. Persino la cantante Mina, nel 1994, inciderà ed inserirà in uno dei suoi album una cover di una canzone di Cristina del 1988 dal titolo "Sempre attento al regolamento"; per l'occasione, testo e titolo furono modificati e la canzone divenne "Tu dimmi che città".

 

All'attività musicale e discografica si aggiunge l'attività di conduttrice e co-conduttrice televisiva (nonché radiofonica) iniziata già nel 1989 col varietà del sabato sera di Canale 5 "Sabato al circo", esperienza grazie alla quale Cristina, insieme a tutto il cast del programma, si aggiudicherà il Telegatto nella categoria "Programmi per ragazzi". Il programma andrà avanti per quattro anni, fino al 1992, quando cambia titolo, rete e giorno di programmazione e diventa "Il Grande Circo di Retequattro", in onda per 16 settimane da mercoledì 7 ottobre. Assieme a Gerry Scotti presenta per due anni lo speciale di Capodanno di Canale 5, in onda il 31 dicembre 1989 con il titolo "L'allegria fa 90" e il 31 dicembre 1990 con il titolo "Evviva l'allegria". Dall'8 novembre 1992 conduce su Italia Uno "Cantiamo con Cristina", la versione per bambini del "Karaoke" di Fiorello che va in onda alle ore 20:00 della domenica: in ogni puntata si affrontano due squadre che si sfidano sulle note delle sigle di Cristina. Nella stagione 1993/94 farà parte del cast della sesta edizione di "Buona Domenica", al fianco di Gerry Scotti e Gabriella Carlucci: qui, tra le altre cose, conduce la rubrica "Radio Cristina" dove commenta lettere e fax inviati dai più piccini e si esibisce in alcuni numeri musicali e di danza (in questi spazi avrà anche modo di eseguire le canzoni dell'album "Cristina canta Disney" fresco di pubblicazione). Avrà poi il ruolo di inviata speciale in giro per l'Italia nella quinta edizione di "La sai l'ultima?", in onda su Canale 5 nella stagione televisiva 1995/96 e condotta da Gerry Scotti assieme a Paola Barale. A partire dal 15 settembre 1996, invece, conduce per due anni di seguito, alternandosi settimanalmente col doppiatore ed amico Pietro Ubaldi, il contenitore di cartoni animati e giochi telefonici "Game Boat", in onda tutti i giorni nel preserale di Retequattro; in questo periodo, tra l'altro, viene pubblicato il quattordicesimo capitolo di "Fivelandia", premiato con il Disco di Platino per le oltre 100.000 copie vendute. Nel 1998, nel 1999 e nel 2000 ritorna allo Zecchino d'Oro in qualità di co-conduttrice al fianco di Cino Tortorella e Milly Carlucci. Nell'autunno 1998 è chiamata da Fabio Fazio per condurre con Andrea Pezzi il varietà del venerdì sera di Rai Due "Serenate", ideato dallo stesso Fazio che inizialmente doveva esserne il conduttore. Su Rai Uno, invece, condurrà il tradizionale "Concerto di Primavera", sia ad aprile 1999 che ad aprile 2000, oltre che lo special natalizio "Buon Natale a tutto il mondo" di cui sarà la presentatrice sia nell'edizione del 1999 che in quella del 2000.

 

Nel 1998 debutta anche al cinema, seppur con un cameo: interpreta infatti se stessa in una scena del film "Cucciolo" di Neri Parenti accanto a Massimo Boldi, con il quale aveva già lavorato ai tempi di "Sabato al circo".

 

Nel dicembre 2002 Cristina festeggia ufficialmente 20 anni di carriera (sebbene l'incisione di "Bambino Pinocchio", la sua prima sigla per un cartone animato, risalga al secondo semestre del 1981) con la pubblicazione di un doppio CD dal titolo "Cristina D'Avena: Greatest Hits" (ma il titolo inizialmente previsto è "Cristina D'Avena: Vent'anni"), che raccoglie i più grandi successi della cantante (il CD 1 è relativo agli anni 1981-1990, il CD 2 agli anni 1991-2002) e include una nuova versione, riarrangiata e reinterpretata per l'occasione, della sua prima sigla. Proprio nel giorno d'uscita del disco, il 6 dicembre, dall'auditorium di Cologno Monzese la rete televisiva satellitare Video Italia le dedica, in prima serata e in diretta contemporanea su Radio Italia, una puntata di oltre 2 ore della sua trasmissione "Serata con...", durante la quale la cantante esegue dal vivo gran parte dei brani dell'album, in quella che si rivela essere una vera e propria festa-concerto a cui prendono parte fan storici, amici e collaboratori di vecchia data.

 

Il suo nome per oltre 20 anni è stato professionalmente associato in modo indissolubile a quello di Alessandra Valeri Manera: responsabile dei programmi per ragazzi delle tv del biscione dal 1980 al 2001 e a conti fatti talent scout e creatrice del personaggio "Cristina D'Avena", Valeri Manera è stata anche ideatrice, autrice, direttrice artistica e produttrice di tutti i lavori della cantante alla quale è legata da una sincera amicizia, sebbene dal 2001 la sua attività si sia ridotta ad una composizione saltuaria dei testi di sigle. In coppia con Valeri Manera, nel 2002 Cristina firma per la prima volta come autrice una sua canzone dal titolo "I colori del cuore". Nel 2007 firma da sola il testo di una sua sigla per un cartone animato (il titolo del brano, e della serie, è "Dolce piccola Remì") e da allora, di tanto in tanto, alcune delle sigle da lei interpretate portano il suo nome come unica autrice delle parole.

 

Il 14 aprile 2007, al Roxy Bar di Bologna, Cristina celebra 25 anni di successi con un grande concerto, accompagnata dall'irriverente gruppo dei Gem Boy con il quale inaugura una collaborazione che dura ancora oggi. In questa occasione riceve da Red Ronnie il prestigioso riconoscimento "Gandhi 9.11", un totem luminoso creato dall'artista Marco Lodola e destinato a quei personaggi che si sono maggiormente distinti come portatori di pace. Nello stesso anno, poi, si verifica un vero e proprio record per la cantante: alla cifra di 1.210 euro si chiude l'asta online del CD del 1989 "Cristina D'Avena e... i tuoi amici in TV 3", venduto sul portale eBay il 10 settembre. La vendita viene resa nota e definita dalla divisione italiana del sito come « il primato mai raggiunto online da un CD in Italia »; non a caso, la versione CD dell'album è considerata uno tra i pezzi più rari nella produzione discografica della cantante, non tanto per le 14 sigle in esso contenute (reperibili comunque su altre pubblicazioni successive) ma poiché, nella sua versione digitale, venne stampato in un numero limitatissimo di copie rispetto ai classici formati utilizzati all'epoca (sebbene per ancora pochi anni), vale a dire l'LP e l'MC. Il record è stato addirittura superato il 10 novembre del 2011, quattro anni dopo, quando un'altra copia messa all'asta è stata venduta alla cifra di 3.010,00 euro.

 

In questa fase della sua carriera, nonostante da tempo non abbia più un programma tutto suo, la cantante continua a farsi vedere dal pubblico televisivo accettando l'invito di numerose trasmissioni Rai o Mediaset che la chiamano per intervistarla o per vederla esibirsi; nella puntata del 16 febbraio 2008 del programma di prima serata di Rai Uno "I Migliori Anni" si registrerà un picco di ascolti pari a 7.618.000 telespettatori proprio nel momento della sua partecipazione al programma in cui dal vivo canta la sigla di "Kiss me Licia". Nello stesso anno pubblica due libri per bambini, di cui la cantante è autrice e narratrice, dal titolo "Le fiabe di Fata Cri: Fata Cri e i draghetti pasticcioni" e "Le fiabe di Fata Cri: Fata Cri e il ballo degli scoiattoli": quest'ultimo venderà 37.500 copie.

 

Dopo aver scritto e interpretato la sigla della serie animata "Twin Princess - Principesse Gemelle" che diverrà il suo primo singolo ad essere commercializzato come download digitale, nel 2009 realizza un disco che si distacca dalle sigle tv per le quali è da sempre conosciuta: per la prima volta infatti si rivolge al grande pubblico, non solo a quello dell'infanzia, e lo fa con un album dal titolo "Magia di Natale", in cui reinterpreta 12 brani della tradizione natalizia, classici e moderni, tutti arrangiati dal maestro Valeriano Chiaravalle. Il disco è anche l'occasione, per la cantante, di incidere per la prima volta in lingua inglese. Nell'album figura anche una cover di "Childhood", brano di Michael Jackson con il quale l'artista ha voluto rendere omaggio al Re del Pop.

 

Da giovedì 21 gennaio 2010 torna a lavorare in tv: è nel cast della seconda edizione del programma di prima serata di Italia Uno "Matricole & Meteore". Nello show, composto da 8 puntate e condotto da Nicola Savino e Juliana Moreira, ha il doppio ruolo di ospite fisso e inviata speciale nei panni di una principessa alla ricerca del Principe Azzurro; nelle varie puntate si esibisce anche in alcuni medley di sigle fra le tante incise nel corso della sua carriera. Dal 28 febbraio dello stesso anno è testimonial di Intervita ONLUS, organizzazione umanitaria internazionale impegnata in progetti di sviluppo nel Terzo Mondo attraverso il sostegno a distanza, per la quale registrerà 15 messaggi promozionali trasmessi da Canale 5. A partire dal periodo autunnale, le serie di telefilm che la videro protagonista tra l'86 e il '91 riacquistano visibilità nonché rinnovata fortuna grazie alla loro riproposizione da parte del canale Hiro di Mediaset Premium e, poco tempo dopo, anche per mano di La5 che le trasmette, tutte le sere, allo stesso orario della prima messa in onda, vale a dire alle 20. Visto il grande successo riscosso (la fascia oraria in cui vengono trasmessi risulta essere la più seguita per la rete), la casa discografica della cantante decide di ristampare, per la prima volta su CD e dopo oltre due decadi di assenza dal mercato discografico, le colonne sonore di ciascuna delle 8 serie, raccogliendole in due box multidisco intitolati "Licia e i Bee Hive Story" e "Arriva Cristina Story", che appassionati vecchi e nuovi accoglieranno con straordinario entusiasmo.

 

Anche nel nuovo millennio la cantante ha continuato e continua a tenere concerti in tutta Italia, sia da sola che accompagnata dal gruppo dei Gem Boy; uno dei suoi ultimi concerti più fortunati è sicuramente quello tenuto ad Avellino nel maggio del 2010 dove, tra bambini e adulti, ha raccolto oltre 15.000 spettatori.

 

Nel gennaio 2011 incide una sigla per la prima volta in duetto con una voce femminile: quella di Alessia Volpicelli, piccola paziente del C.R.O. (Centro di Riferimento Oncologico) di Aviano; il brano, di cui la D'Avena è anche autrice, si intitola "Emily della Luna Nuova". Nello stesso periodo firma anche il testo di una canzone per uno dei concorrenti del programma televisivo "Io Canto": si tratta del brano "Tutto quello che ho" incluso nell'album d'esordio di Simone Frulio dal titolo "Tredici".

 

L'anno successivo la cantante torna in tv e approda su Super!: per tutta l'estate è infatti la conduttrice di "Karaoke Super Show!", la prima produzione del canale televisivo per ragazzi edito da De Agostini. In onda nel week-end dalle più belle piazze della riviera romagnola, il programma prevede la partecipazione di due squadre composte da bambini, genitori e nonni che si sfidano interpretando i grandi tormentoni estivi, le canzoni dello Zecchino d'Oro più amate e naturalmente le più famose sigle dei cartoni animati di Cristina. Ma il 2012 è anche l'anno del 30º anniversario del debutto artistico di Cristina D'Avena: per festeggiare questa ricorrenza viene messa in atto una serie di celebrazioni a partire già dal dicembre 2011, quando apre il fanclub ufficiale della cantante che gli ammiratori chiedevano insistentemente da tempo. Ad aprile del 2012 i festeggiamenti proseguono con l'inaugurazione del suo negozio online, all'interno del quale è possibile trovare gran parte della sua sempre più abbondante produzione discografica oltre a tanti prodotti e gadget esclusivi, scelti e ideati direttamente da Cristina in persona. Le celebrazioni di questo importante traguardo si materializzano anche a livello discografico con la nascita di un grande progetto in due parti dal titolo "30 e poi...", che debutta nei negozi di dischi il 27 novembre 2012 con l'uscita del triplo CD "30 e poi... Parte Prima". L'album è composto da 3 CD che racchiudono un totale di ben 70 sigle originali dei cartoni animati più famosi degli anni '80, '90 e 2000; la scaletta è impreziosita dalla presenza di tre sigle inedite (una risalente al '95, una al '99 e un'altra ancora al 2009) qui pubblicate per la prima volta in assoluto e di una ora disponibile per la prima volta su CD, da una reinterpretazione di Cristina del classico natalizio "O Holy Night", da un megamix dei suoi storici successi anni '80 e infine da una cover del brano "L'anno che verrà" di Lucio Dalla, con la quale l'artista vuole rendere omaggio al cantautore suo concittadino. Il progetto "30 e poi..." prosegue quindi nel 2013 con una serie di iniziative a tema e si concluderà nell'autunno dello stesso anno con l'uscita di "30 e poi... Parte Seconda".

the Surly Cross Check has been re-christened for its third tour of duty. The job it was likely actually born to do, and one it which it does profoundly well. It is now my one-gear Beer Bike. Absurdly overbuilt with Paul Component brakes and seat post, a lovely Brooks B17 saddle that my mother gave me ten years ago, and most recently the addition of a lovely Velo Orange Hunter Pass and Six Pack rack combo, it can carry the tastiest of six-packs anywhere in Roxborough and nearby neighborhoods a tasty six-pack is needed.

Cristina D'Avena & Gem Boy

Carroponte - Sesto San Giovanni - Milano

11 Luglio 2013

  

© Mairo Cinquetti

 

© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com

 

Cristina D'Avena nasce a Bologna lunedì 6 luglio 1964 da Alfredo, medico, e da Ornella, casalinga. All'età di 3 anni e mezzo esordisce cantando "Il valzer del moscerino" alla decima edizione della rassegna canora per bambini Zecchino d'Oro; il brano si aggiudica il 3º posto. Dopo l'esperienza allo Zecchino d'Oro, rimane all'Antoniano come componente del Piccolo Coro fino al 1976, ma continuerà a frequentarlo per altri 5 anni accompagnando la sorella Clarissa, nata 10 anni dopo di lei e anche lei diventata nel frattempo componente del coro.

 

Nel 1981 Cristina è una diciassettenne studentessa di Liceo Classico che vede il canto solo come un hobby. In quel periodo, Alessandra Valeri Manera, l'allora responsabile della tv dei ragazzi della neonata Canale 5, era alla ricerca di una voce femminile che potesse interpretare la sigla della serie animata giapponese "Pinocchio": per questo motivo interpellò Augusto Martelli, direttore artistico-musicale della rete nonché figlio del maestro Giordano Bruno Martelli. Fu proprio Martelli padre, tramite il figlio, a segnalare a Valeri Manera il nome di Cristina D'Avena, avendo egli avuto modo di frequentarla fino a poco tempo prima presso il Piccolo Coro dell'Antoniano. Dopo essere stata sottoposta ad un provino discografico, Cristina, ancora minorenne, firma un contratto di esclusiva (a cui è legata ancora oggi) con l'etichetta discografica di Canale 5, la Five Record (in seguito ridenominata RTI Music, oggi inglobata in RTI s.p.a.), e diviene così l'interprete della canzone "Bambino Pinocchio" composta da Martelli figlio che di lei all'epoca disse: « Diventerà una grande cantante ». Il successo commerciale del relativo 45 giri diede effettivamente inizio alla carriera di Cristina: da allora non ha mai smesso di incidere e, grazie alla quantità di sigle da lei registrate, è l'unico personaggio dello spettacolo la cui voce è presente sulla tv italiana ininterrottamente dai primi anni '80 almeno una volta al giorno, 7 giorni su 7, 365 giorni l'anno.

 

Sempre da questo periodo inizia a pubblicare numerosi singoli ed album, che complessivamente venderanno un totale di circa 6 milioni di copie: nel 1983, infatti, Five Record dà vita a "Fivelandia", il primo volume di quella che diventerà una longeva collana destinata a contenere le sigle dei cartoni animati in onda sulle reti del biscione; un appuntamento fisso dell'autunno a cadenza annuale, a cui si aggiungerà, a partire dal febbraio 1987, la sua versione primaverile anch'essa a cadenza annuale dal titolo "Cristina D'Avena con i tuoi amici in tv". Tra le canzoni di maggior successo dei primi anni, particolare menzione per "Canzone dei Puffi" del 1982 (grazie alla quale verrà premiata con il suo primo Disco d'Oro per le oltre 500.000 copie vendute) e "Kiss me Licia" del 1985 (Disco di Platino per le oltre 100.000 copie vendute del relativo album): quest'ultima è la sigla a cui la cantante dichiarerà più volte di essere maggiormente legata.

 

A partire dal settembre 1986 raggiunge, tuttavia, una popolarità ulteriore a quella già acquisita in 5 anni con la sola interpretazione delle sigle, nonché una notevole visibilità, quando interpreta il ruolo di Licia nella prima di 4 serie di telefilm per ragazzi intitolata "Love me Licia": la serie è basata sulla protagonista e sui personaggi del cartone animato giapponese "Kiss me Licia" (che aveva fatto il suo debutto 12 mesi prima), del quale questa produzione italiana con attori in carne e ossa prosegue idealmente le vicende. È così che quella che fino a questo momento era quasi soltanto una voce (quel timbro così particolare che milioni di bambini italiani avevano già imparato a riconoscere) diventa di fatto un volto, il volto di una ragazza dall'aspetto più giovane dei suoi 22 anni che l'intero pubblico, anche quello più adulto, ora conosce e apprezza già. A "Love me Licia" seguiranno "Licia dolce Licia" nella primavera 1987, "Teneramente Licia" nell'autunno 1987 e "Balliamo e cantiamo con Licia" nella primavera 1988; le serie vengono trasmesse il lunedì, il mercoledì e il venerdì alle ore 20:00 su Italia Uno in diretta concorrenza coi telegiornali Rai e raggiungono insperati ascolti record.

 

Nel 1987, mentre i brani da lei incisi ammontano già ad un centinaio, Cristina registra un brano in lingua francese: si tratta della versione francofona della sigla italiana "Lovely Sara" (da lei già interpretata pochi mesi prima), destinata ad accompagnare la messa in onda di "Princesse Sarah" che sarà il primo cartone animato ad essere trasmesso su La Cinq, rete televisiva francese di proprietà di Silvio Berlusconi costruita sul modello di Canale 5. Grazie a questa sua incisione la cantante, che per la prima volta vide apparire il proprio nome sulla copertina di un disco pubblicato e distribuito esclusivamente all'estero, è conosciuta e ricordata ancora oggi dai bambini francesi degli anni '80.

 

Conclusasi la saga di Licia nella primavera 1988, dall'autunno Italia Uno decide di mettere in scena proprio Cristina e la sua realtà quotidiana, costantemente impegnata tra gli studi universitari alla Facoltà di Medicina e il lavoro di cantante. Non a caso, durante l'ultima puntata dei telefilm di Licia, Cristina D'Avena compare nel ruolo di se stessa annunciando la sua intenzione di metter su una band musicale. Pochi mesi dopo viene infatti trasmessa su Italia Uno "Arriva Cristina", a cui seguiranno "Cristina" nell'autunno 1989, "Cri Cri" nell'autunno 1990 e "Cristina, l'Europa siamo noi" nell'autunno 1991. "Cri Cri" si compone di due serie da 36 episodi l'una, mentre "Cristina, l'Europa siamo noi" viene trasmessa da Retequattro anziché da Italia Uno e alle ore 19:00 anziché al consueto orario delle 20:00. Come già avvenuto per le 4 serie di Licia, per ognuno di questi telefilm Five Record pubblica un disco contenente la sigla e tutti i brani cantati all'interno degli episodi: i primi tre album diventano Dischi di Platino.

 

Tra i suoi concerti più riusciti quelli realizzati nel novembre 1989 e 1990 al PalaTrussardi di Milano, a cui assistettero un totale di circa 20.000 spettatori, e quello del 1992 al FilaForum di Assago (13.000 persone in sala e 3.000 all'esterno) i cui incassi sono stati interamente devoluti alla Associazione Italiana per la Ricerca sul Cancro.

 

Con alle spalle la stessa autrice-produttrice degli esordi ed una casa discografica che, grazie solamente alle sue canzoni, nel 1991 ottiene un fatturato di oltre 9 miliardi di lire, negli anni '90 la cantante prosegue, regolarmente e senza interruzioni, ad incidere nuove sigle e a pubblicare CD; numeri, i suoi, che tanti artisti blasonati, ancora oggi, le invidiano. Persino la cantante Mina, nel 1994, inciderà ed inserirà in uno dei suoi album una cover di una canzone di Cristina del 1988 dal titolo "Sempre attento al regolamento"; per l'occasione, testo e titolo furono modificati e la canzone divenne "Tu dimmi che città".

 

All'attività musicale e discografica si aggiunge l'attività di conduttrice e co-conduttrice televisiva (nonché radiofonica) iniziata già nel 1989 col varietà del sabato sera di Canale 5 "Sabato al circo", esperienza grazie alla quale Cristina, insieme a tutto il cast del programma, si aggiudicherà il Telegatto nella categoria "Programmi per ragazzi". Il programma andrà avanti per quattro anni, fino al 1992, quando cambia titolo, rete e giorno di programmazione e diventa "Il Grande Circo di Retequattro", in onda per 16 settimane da mercoledì 7 ottobre. Assieme a Gerry Scotti presenta per due anni lo speciale di Capodanno di Canale 5, in onda il 31 dicembre 1989 con il titolo "L'allegria fa 90" e il 31 dicembre 1990 con il titolo "Evviva l'allegria". Dall'8 novembre 1992 conduce su Italia Uno "Cantiamo con Cristina", la versione per bambini del "Karaoke" di Fiorello che va in onda alle ore 20:00 della domenica: in ogni puntata si affrontano due squadre che si sfidano sulle note delle sigle di Cristina. Nella stagione 1993/94 farà parte del cast della sesta edizione di "Buona Domenica", al fianco di Gerry Scotti e Gabriella Carlucci: qui, tra le altre cose, conduce la rubrica "Radio Cristina" dove commenta lettere e fax inviati dai più piccini e si esibisce in alcuni numeri musicali e di danza (in questi spazi avrà anche modo di eseguire le canzoni dell'album "Cristina canta Disney" fresco di pubblicazione). Avrà poi il ruolo di inviata speciale in giro per l'Italia nella quinta edizione di "La sai l'ultima?", in onda su Canale 5 nella stagione televisiva 1995/96 e condotta da Gerry Scotti assieme a Paola Barale. A partire dal 15 settembre 1996, invece, conduce per due anni di seguito, alternandosi settimanalmente col doppiatore ed amico Pietro Ubaldi, il contenitore di cartoni animati e giochi telefonici "Game Boat", in onda tutti i giorni nel preserale di Retequattro; in questo periodo, tra l'altro, viene pubblicato il quattordicesimo capitolo di "Fivelandia", premiato con il Disco di Platino per le oltre 100.000 copie vendute. Nel 1998, nel 1999 e nel 2000 ritorna allo Zecchino d'Oro in qualità di co-conduttrice al fianco di Cino Tortorella e Milly Carlucci. Nell'autunno 1998 è chiamata da Fabio Fazio per condurre con Andrea Pezzi il varietà del venerdì sera di Rai Due "Serenate", ideato dallo stesso Fazio che inizialmente doveva esserne il conduttore. Su Rai Uno, invece, condurrà il tradizionale "Concerto di Primavera", sia ad aprile 1999 che ad aprile 2000, oltre che lo special natalizio "Buon Natale a tutto il mondo" di cui sarà la presentatrice sia nell'edizione del 1999 che in quella del 2000.

 

Nel 1998 debutta anche al cinema, seppur con un cameo: interpreta infatti se stessa in una scena del film "Cucciolo" di Neri Parenti accanto a Massimo Boldi, con il quale aveva già lavorato ai tempi di "Sabato al circo".

 

Nel dicembre 2002 Cristina festeggia ufficialmente 20 anni di carriera (sebbene l'incisione di "Bambino Pinocchio", la sua prima sigla per un cartone animato, risalga al secondo semestre del 1981) con la pubblicazione di un doppio CD dal titolo "Cristina D'Avena: Greatest Hits" (ma il titolo inizialmente previsto è "Cristina D'Avena: Vent'anni"), che raccoglie i più grandi successi della cantante (il CD 1 è relativo agli anni 1981-1990, il CD 2 agli anni 1991-2002) e include una nuova versione, riarrangiata e reinterpretata per l'occasione, della sua prima sigla. Proprio nel giorno d'uscita del disco, il 6 dicembre, dall'auditorium di Cologno Monzese la rete televisiva satellitare Video Italia le dedica, in prima serata e in diretta contemporanea su Radio Italia, una puntata di oltre 2 ore della sua trasmissione "Serata con...", durante la quale la cantante esegue dal vivo gran parte dei brani dell'album, in quella che si rivela essere una vera e propria festa-concerto a cui prendono parte fan storici, amici e collaboratori di vecchia data.

 

Il suo nome per oltre 20 anni è stato professionalmente associato in modo indissolubile a quello di Alessandra Valeri Manera: responsabile dei programmi per ragazzi delle tv del biscione dal 1980 al 2001 e a conti fatti talent scout e creatrice del personaggio "Cristina D'Avena", Valeri Manera è stata anche ideatrice, autrice, direttrice artistica e produttrice di tutti i lavori della cantante alla quale è legata da una sincera amicizia, sebbene dal 2001 la sua attività si sia ridotta ad una composizione saltuaria dei testi di sigle. In coppia con Valeri Manera, nel 2002 Cristina firma per la prima volta come autrice una sua canzone dal titolo "I colori del cuore". Nel 2007 firma da sola il testo di una sua sigla per un cartone animato (il titolo del brano, e della serie, è "Dolce piccola Remì") e da allora, di tanto in tanto, alcune delle sigle da lei interpretate portano il suo nome come unica autrice delle parole.

 

Il 14 aprile 2007, al Roxy Bar di Bologna, Cristina celebra 25 anni di successi con un grande concerto, accompagnata dall'irriverente gruppo dei Gem Boy con il quale inaugura una collaborazione che dura ancora oggi. In questa occasione riceve da Red Ronnie il prestigioso riconoscimento "Gandhi 9.11", un totem luminoso creato dall'artista Marco Lodola e destinato a quei personaggi che si sono maggiormente distinti come portatori di pace. Nello stesso anno, poi, si verifica un vero e proprio record per la cantante: alla cifra di 1.210 euro si chiude l'asta online del CD del 1989 "Cristina D'Avena e... i tuoi amici in TV 3", venduto sul portale eBay il 10 settembre. La vendita viene resa nota e definita dalla divisione italiana del sito come « il primato mai raggiunto online da un CD in Italia »; non a caso, la versione CD dell'album è considerata uno tra i pezzi più rari nella produzione discografica della cantante, non tanto per le 14 sigle in esso contenute (reperibili comunque su altre pubblicazioni successive) ma poiché, nella sua versione digitale, venne stampato in un numero limitatissimo di copie rispetto ai classici formati utilizzati all'epoca (sebbene per ancora pochi anni), vale a dire l'LP e l'MC. Il record è stato addirittura superato il 10 novembre del 2011, quattro anni dopo, quando un'altra copia messa all'asta è stata venduta alla cifra di 3.010,00 euro.

 

In questa fase della sua carriera, nonostante da tempo non abbia più un programma tutto suo, la cantante continua a farsi vedere dal pubblico televisivo accettando l'invito di numerose trasmissioni Rai o Mediaset che la chiamano per intervistarla o per vederla esibirsi; nella puntata del 16 febbraio 2008 del programma di prima serata di Rai Uno "I Migliori Anni" si registrerà un picco di ascolti pari a 7.618.000 telespettatori proprio nel momento della sua partecipazione al programma in cui dal vivo canta la sigla di "Kiss me Licia". Nello stesso anno pubblica due libri per bambini, di cui la cantante è autrice e narratrice, dal titolo "Le fiabe di Fata Cri: Fata Cri e i draghetti pasticcioni" e "Le fiabe di Fata Cri: Fata Cri e il ballo degli scoiattoli": quest'ultimo venderà 37.500 copie.

 

Dopo aver scritto e interpretato la sigla della serie animata "Twin Princess - Principesse Gemelle" che diverrà il suo primo singolo ad essere commercializzato come download digitale, nel 2009 realizza un disco che si distacca dalle sigle tv per le quali è da sempre conosciuta: per la prima volta infatti si rivolge al grande pubblico, non solo a quello dell'infanzia, e lo fa con un album dal titolo "Magia di Natale", in cui reinterpreta 12 brani della tradizione natalizia, classici e moderni, tutti arrangiati dal maestro Valeriano Chiaravalle. Il disco è anche l'occasione, per la cantante, di incidere per la prima volta in lingua inglese. Nell'album figura anche una cover di "Childhood", brano di Michael Jackson con il quale l'artista ha voluto rendere omaggio al Re del Pop.

 

Da giovedì 21 gennaio 2010 torna a lavorare in tv: è nel cast della seconda edizione del programma di prima serata di Italia Uno "Matricole & Meteore". Nello show, composto da 8 puntate e condotto da Nicola Savino e Juliana Moreira, ha il doppio ruolo di ospite fisso e inviata speciale nei panni di una principessa alla ricerca del Principe Azzurro; nelle varie puntate si esibisce anche in alcuni medley di sigle fra le tante incise nel corso della sua carriera. Dal 28 febbraio dello stesso anno è testimonial di Intervita ONLUS, organizzazione umanitaria internazionale impegnata in progetti di sviluppo nel Terzo Mondo attraverso il sostegno a distanza, per la quale registrerà 15 messaggi promozionali trasmessi da Canale 5. A partire dal periodo autunnale, le serie di telefilm che la videro protagonista tra l'86 e il '91 riacquistano visibilità nonché rinnovata fortuna grazie alla loro riproposizione da parte del canale Hiro di Mediaset Premium e, poco tempo dopo, anche per mano di La5 che le trasmette, tutte le sere, allo stesso orario della prima messa in onda, vale a dire alle 20. Visto il grande successo riscosso (la fascia oraria in cui vengono trasmessi risulta essere la più seguita per la rete), la casa discografica della cantante decide di ristampare, per la prima volta su CD e dopo oltre due decadi di assenza dal mercato discografico, le colonne sonore di ciascuna delle 8 serie, raccogliendole in due box multidisco intitolati "Licia e i Bee Hive Story" e "Arriva Cristina Story", che appassionati vecchi e nuovi accoglieranno con straordinario entusiasmo.

 

Anche nel nuovo millennio la cantante ha continuato e continua a tenere concerti in tutta Italia, sia da sola che accompagnata dal gruppo dei Gem Boy; uno dei suoi ultimi concerti più fortunati è sicuramente quello tenuto ad Avellino nel maggio del 2010 dove, tra bambini e adulti, ha raccolto oltre 15.000 spettatori.

 

Nel gennaio 2011 incide una sigla per la prima volta in duetto con una voce femminile: quella di Alessia Volpicelli, piccola paziente del C.R.O. (Centro di Riferimento Oncologico) di Aviano; il brano, di cui la D'Avena è anche autrice, si intitola "Emily della Luna Nuova". Nello stesso periodo firma anche il testo di una canzone per uno dei concorrenti del programma televisivo "Io Canto": si tratta del brano "Tutto quello che ho" incluso nell'album d'esordio di Simone Frulio dal titolo "Tredici".

 

L'anno successivo la cantante torna in tv e approda su Super!: per tutta l'estate è infatti la conduttrice di "Karaoke Super Show!", la prima produzione del canale televisivo per ragazzi edito da De Agostini. In onda nel week-end dalle più belle piazze della riviera romagnola, il programma prevede la partecipazione di due squadre composte da bambini, genitori e nonni che si sfidano interpretando i grandi tormentoni estivi, le canzoni dello Zecchino d'Oro più amate e naturalmente le più famose sigle dei cartoni animati di Cristina. Ma il 2012 è anche l'anno del 30º anniversario del debutto artistico di Cristina D'Avena: per festeggiare questa ricorrenza viene messa in atto una serie di celebrazioni a partire già dal dicembre 2011, quando apre il fanclub ufficiale della cantante che gli ammiratori chiedevano insistentemente da tempo. Ad aprile del 2012 i festeggiamenti proseguono con l'inaugurazione del suo negozio online, all'interno del quale è possibile trovare gran parte della sua sempre più abbondante produzione discografica oltre a tanti prodotti e gadget esclusivi, scelti e ideati direttamente da Cristina in persona. Le celebrazioni di questo importante traguardo si materializzano anche a livello discografico con la nascita di un grande progetto in due parti dal titolo "30 e poi...", che debutta nei negozi di dischi il 27 novembre 2012 con l'uscita del triplo CD "30 e poi... Parte Prima". L'album è composto da 3 CD che racchiudono un totale di ben 70 sigle originali dei cartoni animati più famosi degli anni '80, '90 e 2000; la scaletta è impreziosita dalla presenza di tre sigle inedite (una risalente al '95, una al '99 e un'altra ancora al 2009) qui pubblicate per la prima volta in assoluto e di una ora disponibile per la prima volta su CD, da una reinterpretazione di Cristina del classico natalizio "O Holy Night", da un megamix dei suoi storici successi anni '80 e infine da una cover del brano "L'anno che verrà" di Lucio Dalla, con la quale l'artista vuole rendere omaggio al cantautore suo concittadino. Il progetto "30 e poi..." prosegue quindi nel 2013 con una serie di iniziative a tema e si concluderà nell'autunno dello stesso anno con l'uscita di "30 e poi... Parte Seconda".

Bronze Persian horse statuette

 

About 2" high and long--rumored to be a portrait of Alexander the Great's horse Bucephalus.

Faux bronze with gilt highlights. all hand sculpted.

 

Ever seen this before...:?

To view our range of Wrought Iron Components please visit:

www.fhbrundle.co.uk/groups/05__Wrought_Iron_Components

 

Hosts and guests of the U.S. AFRICOM C4ISR Senior Leader Conference tour a winery in the hills above Vicenza, Italy, Feb. 3, 2011.

 

U.S. Army Africa photo by David Ruderman

 

U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.

 

The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.

 

The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”

 

The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.

 

“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.

 

Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.

 

“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.

 

African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.

 

“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.

 

U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.

 

“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.

 

He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.

 

“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.

 

“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.

 

“Look at where we want to be at and design it that way,” Hogg said.

 

He also admonished participants to consider the second- and third-order effects of their choices in designing networks.

 

“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.

 

Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.

 

Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.

 

“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.

 

He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.

 

“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.

 

“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.

 

“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.

 

“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”

 

The main issue is not a question of technology, he said.

 

“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.

 

“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.

 

Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.

 

“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.

 

“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.

 

“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.

 

“So what do we do? We have to get our house in order.

 

“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?

 

“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.

 

Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.

 

“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.

 

Building that merged entity to support deployed forces is what he sees as the primary challenge at present.

 

“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”

 

“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.

 

“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.

 

“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”

 

The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.

 

“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.

 

“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.

 

“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.

 

Other participant responses to the conference were positive as well.

 

“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.

 

“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.

 

“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.

 

“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.

 

“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.

 

Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.

 

“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.

 

“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.

 

“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.

 

“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.

 

Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.

 

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

 

Official Twitter Feed: www.twitter.com/usarmyafrica

 

Official YouTube video channel: www.youtube.com/usarmyafrica

  

PictionID:44025874 - Title:Atlas Component - Catalog:14_009129 - Filename:14_009129.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Internal build breakdown of balancer for Peter Morris

 

And Gauntlet inspired cockpit assembly. 1x6 long slope just arrived for this today.

 

The 1x2 panels on the side of the cockpit are a pain to work around. A challenge to overcome with this build.

Surface mount FTW.

Manufacturer: EADS

Operator: Belgian Air Force/ Belgian Air Component

Type: A-400M Atlas (CT-07) transport aircraft

Event: 2023 RIAT/ RAF Fairford