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TIDE POOLIN'
Leo Carrillo beach in Malibu is consistently one of my favorite places to visit and photograph. I just love climbing around the rocks and investigating the tide pool. There are several ways to get there, but I usually take the 101 North to Malibu Canyon, head south over to Pacific Coast Highway, then West (a right turn) on PCH approximately 25 miles until you hit Leo Carrillo. From the Valley to Leo it's about a 45 minute to hour drive each way. The tide pool is just in front of the #3 lifeguard tower (and incidentally, dogs are allowed on leash from this tower and continuing west up the beach). I just google low tide Malibu to find out the best time to go there and check out the tide pool. Usually there's a several hour window about an hour before to an hour after low tide that's good. If you go after that, the waves usually are just hitting the rocks too hard and it can be dangerous to stand there. I always see tons of starfish (many different colors including orange, light blue, and purple), sea anemones (they are really fun to touch), mussels, crabs (little teeny black ones and bigger red ones), and even little fish swimming in the watery crags and crevices of the tide pool rocks. And I've spotted dolphins and whales from this beach. After an outing at Leo Carrillo, I always stop at this little food shack called Malibu Seafood, located just before you find yourself back at Malibu Canyon. It's totally no frills - you order food inside, wait for your number to be called, and find an open bench to sit down. My fave meals there are swordfish with rice pilaf and salad (the ranch is really good), fish and chips, clam chowder, or a pot of steamed clams in a nice broth.
Leo Carrillo State Park / Malibu photos by Lydia Marcus
As seen on my blog: fotonomous.blogspot.com/2008/08/tide-poolin.html
The 53rd annual Bon Odori Festival at Camp Zama was held Aug. 4. The festival is consistently the largest bilateral event of the year for U.S. Army Japan, this year attracting more than 30,000 visitors to the installation. The festival featured live entartainment, games for children, a variety of ethnic foods, bilateral sports, and a fireworks show.
About the United States Army Garrison Japan:
The United States Army Garrison Japan and its 16 supported installation sites are located in the island of Honshu and Okinawa in Japan. The USAG Japan mission is to support the Headquarters, U.S. Army Japan / I Corps (fwd) to ensure mission readiness and the quality of life of the Army community in a sustainable, transforming joint and combined environment.
The USAG-J area of responsibility spans 1,500 miles from north to south of Japan. Camp Zama, home for both HQ USARJ and USAG-J is located approximately 25 miles southwest of Tokyo in the cities of Zama and Sagamihara in Kanagawa Prefecture, Japan. The Camp Zama base cluster includes Sagamihara Housing Area and Sagami General Depot.
Akasaka Press Center is located in the center of Tokyo. The Akizuki/Kure area near Hiroshima is an ammunition depot. Yokohama North Dock is a port facility in the city of Yokohama, a major commerce port and a popular shopping area. USAG Torii Station is located 980 miles southwest of Camp Zama on the island of Okinawa.
We are the Army's home in Japan and the "Garrison of Choice" for Soldiers, Civilians and their Family members. We are committed in becoming the leader in the U.S. Army Installation Management Command by providing world-class installation services.
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To learn more about USAG Japan, please visit:
Official Website - www.usagj.jp.pac.army.mil
Facebook - www.facebook.com/usagj
Flickr - www.flickr.com/usagj
YouTube - www.youtube.com/usagjapan
Vimeo - www.vimeo.com/usagj
Twitter - www.twitter.com/usagjapan
Slideshare - www.slideshare.net/usagjapan
USARJ This Week on YouTube - www.youtube.com/usarjthisweek
Eric Miltsch, Emily Carpenter, Mike Krause
Mike Krause knows the challenges sales leaders and business professionals face every day, having sold well over $100 million in products and services in his twenty years of professional sales, consistently achieving high levels of success in sales, management and training. He is a seasoned veteran of driving and achieving quantifiable results across a wide array of business models and organization sizes.
Since running his first lemonade stand at the age of seven, Mike’s proven approach to sales is to roll up his sleeves, jump into the trenches with his client’s salespeople and do whatever it takes to teach them his customized tools, tactics and strategies to generate income and strengthen positive branding.
From building a landscape company from inception to 130 accounts in two years to being recognized as a top producer in each of the Fortune 500 companies for which he worked, Mike always exceeds his goals. Mike funded his undergraduate education at St. Bonaventure University with his landscaping company and later obtained a Master’s degree in Strategic Leadership with a concentration in entrepreneurship from Roberts Wesleyan College.
After spending over twelve years in Corporate America, Mike discovered his true passion in helping business leaders and sales professionals achieve their sales objectives more rapidly through his highly effective selling processes. His previous book, Sell or Sink: Strategies, Tactics and Tools Every Business Leader Must Know to Stay Afloat! is available online through Amazon and Barnes & Noble.
My latest book, SMART Prospecting: That Works Every Time! (McGraw Hill, March 2013)blends old school proven sales strategies with new age tactics and technology that make all sales people more productive and more effective. My clients have measured 40 to 65 percent growth in prospecting calls and increases of 22 percent in closed sales. In fact, Brian Tracy, universally acknowledged self-help author, motivational speaker, entrepreneur, business coach and keynote speaker − and 18 other top selling experts − endorse SMART Prospecting, “This is a terrific, intelligent book that shows you how to get in front of more and better prospects−faster than ever before.”
Today, Mike Krause is the president and founder of Sales Sense Solutions, Inc. where he delivers measurable results with his clients using Fortune 500 strategies, tactics, and tools. The company’s mission is to customize Fortune 500 sales experience and success systems for small and mid-sized companies. In addition to his thriving consulting work, Krause is an in-demand speaker and has received numerous awards for his acclaimed training programs. In his spare time, Mike enjoys piloting his sailboat on the Great Lakes, having successfully earned his marine captain’s license three years ago.
Visit: mdkrause.com/
To your sales success!
Michael D. Krause
585-704-6453
Author | Consultant | Strategist
Best Selling Author:
SMART Prospecting That Works Every Time!
One of the most important parts of a woman's face are the eyebrows, must be very elegant, neat, and consistent with the face; so it is imperative to learn and know everything about how to pluck eyebrows without pain. The shape and size are a personal taste; and fix our hair, lips, eyelashes, etc. we must choose a method that feels comfortable to give you a friendly and appropriate format.
Pluck Eyebrows Without Pain
There are different techniques for pluck eyebrow, among which are: eyebrow waxing with wax, creams, laser; we also have the hair with thread; or simply with a clamp; we can use a homemade method, but if we choose some professional technique should resort to a beauty salon or a beauty clinic.
Generally eyebrows are used: not very thick, trimmed, thick in the beginning but then refined and rise towards the end of the eyes; for the correct length of the eyebrow pencil is placed in the middle of the lower lip and bends pointing towards the end of the eye and give the exact point where it must end the eyebrow. The eyebrow waxing wax is effective, fast and virtually painless; if done in the homemade form, it should be very careful to give equally to both eyebrows.
Read Also: Tips For Shaping Eyebrows | How To Shape Your Eyebrows
The wax is applied and then removed with a quick pull in the opposite direction to growth; this method makes the new hair grows slowly and weakly. Hair removal creams inhibitory; the cream should be previously tested somewhere in the body, to prevent irritation or allergies thereby; after checking and see that there is no reaction, should be applied carefully on the selected part to be depilated. After withdrawing apply some soothing lotion.
Threading is an equally economical and effective method for hair removal eyebrows. The waxing eyebrows with tweezers it is the most used for hair elimination of the eyebrows household equipment; no need assistance, is economical and can be done when you have a little free time; It is recommended to be performed in natural light to see even the smallest hairs. No excuses, eyebrows should always be neat and depilated; is the ideal complement to a good makeup, and also a way to give depth to the look, one of the seductive arms of the woman. Finally, I would like to share this video I found on Youtube as plucking eyebrows.
www.youtube.com/watch?v=RQeZ0V3kT9I ustype.com/pluck-eyebrows-without-pain/
Despite some reservations due to a few false starts it appears Asda has finally become much more consistent with stocking Majorette. Its not a particularly big assortment but restocking has got much better and new releases do appear in a more timely fashion.
They've now got in a few new Street Cars filled five vehicle sets though only one caught my attention due to having a few new recolours in. It also contained some carry overs such as their cute Fiat 500 Icon in charming Pizzeria livery.
Being a more basic Street Cars aimed model does mean no opening features but this little bundle of metal cuteness does possess working suspension and decent levels of detailing and cost approximately the same as a basic Mainline Hot Wheels.
Mint and boxed.
Singapore Zoo ranks consistently (after San Diego Zoo) as one of the best in the world.
The great white pelican is a huge bird – second largest in the pelican family, and that unique bill is a real fish-trap.
For the story, please visit: www.ursulasweeklywanders.com/travel/teeth-claws-and-colou...
Panasonic Lumix DMC-FZ150.
This is consistently the best all round camera I have ever used. The others all excel at particular things, but this one does all things well. Its light, not so big you cannot shove it into a man's coat pocket, it does not have heavy demands on batteries, the flip out rear screen can be angled all ways.
The x24 optical zoom is outstanding and it has a constant f2.8 through the entire range !
This camera excels in low light, in fact a little too well at times forcing me to go manual to get the exposure I really want, but I am not knocking it for that.
It is fantastic for HD video. I am currently pitching it against the medium range Panasonic V720 camcorder and I have to say that so far I cannot see any big plus for the camcorder, but of this view may change with more experience. The lumix has an external Microphone socket (1.5mm, so buy and adaptor) and takes a Rode mic easily.
NOTE***: Always turn the external microphone on FIRST, then the camera. For some reason this camera does not like it the other way.
He consistently ranks in the Forbes list of the world's wealthiest people. He's one of the best-known entrepreneurs of the personal computer revolution. He is also the second-most generous philanthropist in America, having given over $28 billion to charity. He's Bill Gates and here are his Top
MADRID RIO
Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,1 desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río
Entre 2003 y 2007 se llevó a cabo la obra de soterramiento del arco oeste de la M-30 en el ámbito del río, obra que hizo posible la eliminación del tráfico en superficie y la consiguiente liberación de más de cincuenta hectáreas de terreno ocupado anteriormente por las calzadas. A esta superficie se sumaron otras casi cien hectáreas correspondientes a los diferentes suelos infrautilizados adyacentes a la autopista.
Tras la construcción de los túneles afloró una herida vacía formada por un rosario de espacios desocupados, que atesoraban la potencia latente de convertirse en nexo de unión de un corredor ambiental de casi tres mil hectáreas dentro del término municipal, que se extiende desde El Pardo hasta Getafe y que enlaza importantísimas áreas verdes de la ciudad como la Casa de Campo, el Parque de la Arganzuela o el Parque del Manzanares Sur.
Por tanto, los beneficios obtenidos al enterrar la antigua autopista, obviamente, no han quedado reducidos a la mejora de ciertos aspectos de la movilidad urbana, ni siquiera a la rehabilitación local de los barrios, sino que pueden adquirir en un futuro próximo, una dimensión de gran escala que necesariamente deberá repercutir en las relaciones entre la ciudad y el territorio, entendidas en su mayor alcance. La enorme trascendencia para la ciudad de los espacios liberados como consecuencia del soterramiento de la M-30, llevó al Ayuntamiento de Madrid a convocar un Concurso Internacional de Ideas para concebir y proyectar los nuevos espacios libres en el entorno del río. El concurso lo ganó el equipo de arquitectos dirigido por Ginés Garrido y formado por Burgos & Garrido Arquitectos, Porras & La Casta y Rubio & Álvarez-Sala y West8, con la solución para la construcción de un parque urbano de más de ciento veinte hectáreas, que ocupa la superficie liberada por el soterramiento de la autopista. Los inicios del proyecto pasaron por el intento de comprender en su totalidad las cualidades geográficas de la cuenca fluvial. Las características del territorio y la diversidad de sus elementos naturales constituyen un conjunto de claves que han sustentado muchas de las ideas contenidas en el proyecto.
Sumariamente, la estrategia del éste se basa en la convicción de que, a través del río es posible conectar la ciudad, expresión máxima de la acción artificial, con los territorios del norte y el sur de Madrid, en los que aún perviven los elementos naturales propios de la cuenca fluvial. El río se convierte en puerta o enlace entre interior urbano y exterior territorial y, a través de sus márgenes, se establece la continuidad y la permeabilidad, hasta hoy aniquiladas por los sucesivos anillos concéntricos, hollados por los cinturones viarios, M-30, M-40, M-45, M-50 …, que fueron el resultado de aplicar a la red circulatoria los modelos de movilidad propios de mediados del siglo XX.
El proyecto se ha concebido en sucesivas aproximaciones o escalas a partir de las que se ha aplicado la reflexión sobre el campo de juego, obteniendo respuestas o soluciones diversas, desde el ámbito territorial o estratégico al local o específico.
En la escala territorial se han establecido los parámetros de partida para que, en el medio plazo, sea posible la regeneración de las márgenes del río en toda su longitud, como verdaderas áreas de integración entre el paisaje y la actividad humana, bajo un entendimiento contemporáneo capaz de superar el antagonismo implícito en el binomio urbano-rural.
En la escala metropolitana, a través del proyecto y de su concepción como gran infraestructura, se lleva a cabo la incorporación del corredor que se extiende sobre los bordes fluviales a su paso por la ciudad como parte del GR 124 (Gran Recorrido de la Red de Senderos Europeos) que ya, en 2011 se podrá transitar en toda su extensión, desde Manzanares el Real hasta Aranjuez.
En la escala urbana, el proyecto incorpora el río como doble línea de fachada inédita y configura un conjunto enlazado de espacios verdes que se infiltra en la ciudad; establece en la superficie un nuevo sistema de movilidad y accesibilidad; incrementa la integración y calidad urbana de los barrios limítrofes al río; protege y revaloriza el patrimonio histórico y detecta áreas de oportunidad que, sobre este ámbito de nueva centralidad, serán capaces de generar un cambio potencial del conjunto de la ciudad en el largo plazo.
En la escala local, la propuesta se ejecuta como una operación radicalmente artificial, materializada sin embargo con instrumentos eminentemente naturales. No se debe olvidar que se actúa mayoritariamente sobre una infraestructura bajo tierra. El proyecto se implanta sobre un túnel o, más bien, sobre la cubierta de un conjunto complejísimo de instalaciones al servicio del viario enterrado. Un edificio de hormigón de más de seis kilómetros de longitud, con enormes y determinantes servidumbres y con una topografía cuya lógica obedece exclusivamente a la construcción de la infraestructura, que emerge inopinadamente sobre el suelo y con la que ha sido necesario negociar. Sobre esta edificación subterránea, la solución adoptada se ha basado en el uso de la vegetación como principal material de construcción. El proyecto establece como estrategia general la idea de implantar una densa capa vegetal, de carácter casi forestal, allá donde sea posible, es decir, fabricar un paisaje con materia viva, sobre un sustrato subterráneo inerte, modificado y excavado para el automóvil, sobre una construcción que expresa por sí misma el artificio máximo.
Las familias, formas y asociaciones de especies vegetales seleccionadas provienen de la extrapolación del estudio de la cuenca del río y su adaptación, en cada caso, al medio urbano específico. La ordenación de los distintos entornos y su caracterización como lugares de uso público se ha producido teniendo en cuenta, por un lado, las funciones requeridas y las necesidades detectadas en cada distrito y por otro, la capacidad de conformar espacios habitables, inherente a los conjuntos organizados de vegetación de distinto porte.
La solución se concreta en tres unidades de paisaje principales. Primero, el Salón de Pinos, o corredor verde que discurre por la margen derecha del río. Es la estructura que permite la continuidad de los recorridos y reacciona en su encuentro con los puentes existentes dando lugar a distintos tipos de jardines de ribera (Jardines bajos de Puente de Segovia, Jardines del Puente de San Isidro, Jardines del Puente de Toledo y Jardines del Puente de Praga). Segundo, el enlace definitivo del centro histórico (representado por la imagen imponente del Palacio Real y la cornisa elevada de la ciudad), con la Casa de Campo, parque de más de mil setecientas hectáreas. En este entorno se incluyen la Avenida de Portugal, la Huerta de la Partida, la Explanada del Rey y los Jardines de la Virgen del Puerto. Tercero, la ancha franja sobre la ribera izquierda donde se sitúa el conjunto del Parque de la Arganzuela que incluye el centro de creación de arte contemporáneo de Matadero, y que representa la mayor superficie de espacio verde unitario de la propuesta.
Además de estas tres grandes operaciones paisajísticas coherentes entre sí, el proyecto propone ciento cincuenta intervenciones de diferente carácter, entre las que destaca el sistema puentes que dotan de un inédito grado de permeabilidad al cauce. Se han desarrollado soluciones sobre más de veinte puentes o pasarelas sobre el río, rehabilitando las siete presas, reciclando algunos puentes existentes y creando nuevos pasos, unas veces con un lenguaje silencioso y otras, intencionadamente expresivo. Como en una acción microquirúrgica el proyecto incorpora, eslabón por eslabón, una cadena de fórmulas de integración del río en la ciudad y de la ciudad en el río. Son elementos que garantizarán el contagio de los nuevos valores de las orillas regeneradas sobre los ámbitos y barrios cercanos. Con este efecto de resonancia, se prevé una sucesión de operaciones que aseguren una renovación de gran alcance. Desde ahora y de manera irreversible, se está fraguando una radical metamorfosis, sin precedentes para la ciudad de Madrid.
La superestructura lineal del Salón de Pinos es el elemento que organiza la continuidad de recorridos a lo largo de la ribera derecha del río. Está construida sobre los túneles en su práctica totalidad y tiene un ancho medio de treinta metros. Sobre la losa de hormigón que cubre el paso de los automóviles se han plantado más de 9.000 unidades de diferentes especies de pinos, de diversos tamaños, formas y agrupaciones con un marco de plantación forestal. Los ejemplares han sido seleccionados fundamentalmente en campos en los que hubiese posibilidad de extraer plantas con morfologías naturales (troncos no lineales, troncos dobles, troncos inclinados, etc.) De este modo se obtiene una prolongación controlada de los pinares de la sierra situada al norte de Madrid que parecen extenderse hasta el confín de la ciudad. Estos árboles han sido anclados a la losa de los túneles mediante cables de acero y bridas biodegradables, para potenciar su estabilidad y el crecimiento de sus raíces en horizontal sobre el paquete de tierras disponible. No obstante, este paseo se encuentra frecuentemente con estructuras de gran valor urbano o patrimonial.
Dos ejemplos simbólicos de esta intersección son los puentes históricos de Segovia (1582) y de Toledo (1732). En estos enclaves el salón reacciona como espacio de estancia, ampliando sus límites y ofreciendo un diseño específico, con árboles de ribera de hoja caduca y alineaciones de setos y bancos de piedra. Las actividades integradas en el salón se incorporan con un lenguaje coherente con su carácter forestal. Un claro ejemplo de este procedimiento lo forma el conjunto de áreas de juegos infantiles, diseñado específicamente como un sistema completo de formas naturales.
Jardines del Puente de Segovia
El puente de Segovia está declarado Bien de Interés Cultural. Fue construido a finales del siglo XVI por el arquitecto Juan de Herrera, por encargo de Felipe II. El proyecto de ajardinamiento de su entorno conforma una excepción en el ámbito del Salón de Pinos, constituyendo un ensanchamiento de éste y ofreciendo un modo diferente de aproximación al río. Los jardines se ordenan mediante una serie de líneas de traza orgánica que modelan sucesivas terrazas que descienden hacia el río. Estas líneas están construidas con unas piezas de granito de gran formato que sirven también de bancos. Entre ellos se extiende una superficie de hierba de bajo consumo hídrico arbolada con diferentes especies de árboles frondosos de ribera de la familia de los populus. En las inmediaciones de la fábrica almohadillada del puente se han construido dos estanques de agua limpia sobre los cuales, por un lado alza una fuente monumental de 16 chorros con forma de ciprés y por otro se extiende un pequeño jardín de lirios acuáticos. Los estanques son accesibles mediante unas gradas de piedra que se acercan a ellos hasta sumergirse.
Jardines del Puente de Toledo
Los jardines del Puente de Toledo constituyen una de las áreas más significativas del Proyecto Madrid Río, ya que se están situados en un enclave de excepcional importancia en el que el Salón de Pinos se encuentra con uno de los puentes monumentales de Madrid, el puente de Toledo, construido entre 1718 y 1732. El proyecto aprovecha dicho monumento en un doble sentido: Por un lado se compone un espacio concebido para ser visto desde lo alto del puente que se convierte así en un mirador privilegiado. De este modo los jardines ofrecen una nueva e inédita panorámica de Madrid ya que sus trazados dibujan un enorme tatuaje que se extiende como una alfombra sobre la superficie, reproduciendo un motivo figurativo vegetal. Por otro lado, los jardines incorporan el Puente de Toledo, que es una estructura barroca diseñada por el arquitecto Pedro de Ribera, como un objeto al que admirar, al que tocar y bajo el que pasar. La disposición de los setos está organizada de modo que conforma una serie de líneas que toman como referencia los jardines barrocos de la época borbónica, aunque están trazadas con un lenguaje contemporáneo. Asimismo en este punto se ha construido un graderío que permite la máxima aproximación a la lámina de agua del río, y la mejor contemplación de los arcos del antiguo puente.
Segunda unidad de paisaje: La Escena Monumental
La vinculación del centro histórico y el barrio de La Latina con la Casa de Campo ha estado vedada a los peatones de forma secular. El nuevo contacto, que ya es posible por la desaparición de los automóviles bajo tierra, ha sido resuelto con diversas intervenciones que asumen el carácter monumental y panorámico de esta zona, en la que el zócalo elevado del Palacio Real (germen primigenio del nacimiento de la ciudad) contacta con el río. Se han propuesto diferentes soluciones afrontando con extremada atención el contexto en el que se sitúan: La “Explanada del Rey”, explanada abierta pavimentada con un gran patrón figurativo y que sirve de gran atrio ante la Casa de Campo. La huerta de la partida, que es un recinto cerrado en el que se han plantado diferentes retículas de árboles frutales (perales, manzanos, moreras, granados, higueras, nogales, avellanos, etc) acoge un extraordinario mirador de la cornisa. La avenida de Portugal, convertida en un bulevar pavimentado por calceteiros portugueses y poblado por cuatro especies de cerezos (Prunus avium, P. avium ‘Plena’, P.yedoensis y P.padus ‘Watereii’ ) permite la contemplación de una espectacular floración que se alarga más de un mes en primavera. Por último, los jardines de La Virgen del Puerto, en la otra margen del río, estructurados mediante la disposición de parterres orientados según los ejes de los principales acontecimientos urbanos del área: el puente de Segovia, el puente del Rey, la avenida de Portugal y la puerta del Rey que ha sido restaurada y resituada según los datos disponibles en la cartografía histórica de Madrid.
Plataforma del Rey
En el acceso monumental que enlaza el centro histórico de Madrid con la Casa de Campo, antiguo cazadero real, destaca la Explanada o Plataforma del Rey, que es un espacio abierto de una superficie aproximada de 14.000 m2 y un frente paralelo al río de poco menos de 250 m. El destino de este espacio es el de formar un escenario capaz de acoger diferentes manifestaciones cívicas (conciertos, celebraciones oficiales, actividades culturales, etc.) en un entorno de extraordinaria calidad ambiental, que permite contemplar la Cornisa Histórica de la Ciudad. Este lugar está conectado con el Salón de Pinos y forma parte de él, aunque por exigencias de su uso, sea un área casi desprovista de arbolado. En ella el principal elemento organizador es el pavimento que, de forma muy suave, se adapta a una topografía que integra todas las emergencias de los túneles hasta hacerlas imperceptibles. En este pavimento las pequeñas piezas de granito y basalto forman un patrón que desciende desde la Avenida de Portugal y se esparce sobre la superficie del suelo a una escala en aumento progresivo. Dicho patrón vincula la plataforma con el pavimento proyectado en la avenida. De este modo la Plataforma es un elemento que liga de manera natural importantes piezas del escenario monumental que se produce en este punto, como son el Puente del Rey, la Casa de Campo, la Avenida de Portugal y el Salón de Pinos.
Huerta de la Partida
Se trata de un espacio recuperado que en las pasadas décadas se dedicó a albergar uno de los principales nudos de la autopista. La propuesta de regeneración de este lugar incluye varias operaciones: En primer lugar la construcción de una tapia, a veces opaca, a veces permeable que constituye un cierre que confiere al recinto el carácter de huerto cerrado. En segundo lugar, el modelado artificial del terreno, regularizando su superficie y tallando un único plano inclinado de suave pendiente que se desliza hacia el río. En tercer lugar la plantación de diferentes agrupaciones de árboles frutales (granados, moreras, manzanos, perales, avellanos, almendros, higueras, olivos y nogales) que se incorporan en el entorno describiendo cuadrantes reticulados con sutiles variaciones de orientación. Por último, se ha proyectado una ría húmeda que describe la trayectoria del Arroyo Meaques, actualmente entubado y oculto. Este proyecto ha sido fruto del estudio minucioso de la historia del lugar, ya que en el pasado, cuando Felipe II adquirió esta finca después de establecer la capitalidad de Madrid, en esta posición se plantaron algunas huertas que producían el alimento necesario para los trabajadores de la Casa de Campo.
Tercera unidad de paisaje: La Ribera del Agua. Arganzuela y Matadero
En la margen izquierda del cauce la ciudad se separa del río. El ejemplo más importante de la propuesta en esta orilla es el nuevo Parque de la Arganzuela, construido sobre antiguas dehesas de pasto de uso comunal. En este entorno se construyó el Matadero Municipal, notable ejemplo de arquitectura posindustrial de la segunda década del siglo XX. Con el soterramiento de la autopista, Madrid dispone ahora en este punto de 33 hectáreas de espacios libres que forman el mayor parque del proyecto. Éste se ha concebido como un gran espacio en el que el río se ha retirado dejando su huella ancestral. Está organizado con diferentes líneas que se entrecruzan, como surcos por los que pasó el agua, dejando entre sí espacios para distintos usos. Estas líneas, de carácter marcadamente longitudinal, son los caminos de distinta especie que recorren el espacio de norte a sur.
Paseo junto al matadero
Un camino más plano y ancho (el Camino Rápido), otro más sinuoso y de pendiente variable (el Camino Lento) y una franja empedrada de márgenes frondosos (el Arroyo Seco), que vertebra el centro del parque. La construcción del espacio se plantea como una gran arboleda que contiene varios paisajes, algunos más naturales y otros más construidos, configurados por una variación de especies, alturas, densidades y texturas. De este modo el parque, concebido como un retazo de la cuenca del río, incorpora tres áreas botánicas: bosque mediterráneo, bosque atlántico y fronda de ribera. El carácter de estos paisajes interiores está relacionado con los trazados longitudinales del parque, con árboles que siguen los caminos y las sendas, con sotos y bosques que emergen sobre la topografía. La textura boscosa se intercala con las superficies plantadas de aromáticas entre los caminos y el Arroyo Seco. Siguiendo la orilla izquierda del río, se dispone una franja húmeda y verde, con una pradera de césped que se inclina hacia el agua. Una constelación de fuentes ornamentales y un conjunto de tres láminas elípticas de agua pura introducen este elemento como materia narrativa que relaciona las distintas asociaciones de vegetación. Cada fuente presenta un distinto juego sonoro y visual y se rodea de pequeñas laderas plantadas de frutales que remiten a la imagen de los jardines de las leyendas o del Paraíso. Las líneas entrelazadas que estructuran el parque permiten la formación de recintos en los que se han situado importantes instalaciones para el recreo al servicio de los usuarios de todas las edades. En él se incluye un campo de fútbol , dos pistas de patinaje y tres importantes conjuntos de juegos infantiles. El parque así mismo incorpora el conjunto dedicado a la creación de arte contemporáneo de Matadero, como una gran dotación cultural que vive dentro de él. A través de los caminos se accede a las naves del antiguo complejo, cuya rehabilitación está a punto de finalizar. El diseño de los trazados permite entender la relación entre Matadero y el parque como un continuo entre el río y la ciudad.
El sistema de puentes sobre el río
La implantación de puentes sobre el Manzanares se lleva a cabo como una estrategia global, es decir, como un conjunto en que cada elemento resuelve problemas puntuales detectados en el entorno próximo, pero también forma parte a su vez de un sistema integral de conectividad transversal de acuerdo con la relación entre la ciudad y el río. Las unidades de este conjunto son de diferente carácter: puentes y presas rehabilitados o reciclados, puentes rodados existentes acondicionados al nuevo sistema de tráfico ciclista y peatonal, puentes singulares que constituyen hitos en el recorrido del río, pasarelas funcionales situadas en los nodos de máximo tránsito transversal y puentes de grandes luces que enlazan los recorridos del parque con los territorios exteriores a la ciudad al norte y al sur, haciendo realidad la principal aspiración territorial del proyecto.
Entre los puentes existentes destaca la operación llevada a cabo con las siete presas que han sido convertidas en pasarelas peatonales a través de su restauración integral y la incorporación de un tablero de madera accesible. En segundo lugar dentro de esta serie, se debe destacar el reciclaje del puente rodado de la M-30 que cruzaba el río al sur del Puente de Segovia, reconvertido en un puente peatonal y ciclista que incorpora un talud plantado con pinos. Entre los puentes singulares cabe mencionar el puente con forma de Y construido con cajones de perfiles metálicos, que evoca el lenguaje de los puentes ferroviarios del s. XIX colgados sobre los desfiladeros forestales y los puentes gemelos de hormigón que se dan acceso al complejo Matadero, proyectados como elementos de paso capaces también de configurar un espacio al que se ingresa, como pabellones que gravitan sobre el río, pero que verdaderamente pertenecen al parque.
Pasarela de Almuñécar
Fabricada de una sola pieza con fibra de carbono, para salvar una luz de algo más de 40 metros. Se sitúa sobre el único tramo del cauce que carece de cajero de hormigón. Su diseño final responde a las capacidades del material con que está fabricada, extremadamente ligero y resistente.
Restauración de Presas
Las siete presas que regulan el río a su paso de la ciudad han sido restauradas y puestas al servicio del nuevo sistema de pasos transversales. Sus mecanismos y exclusas han sido reparados y se les ha incorporado un tablero accesible de madera y una escala de peces para favorecer la continuidad de la fauna subacuática a lo largo del río.
Puente Oblicuo
Esta estructura viaria coetánea de la M-30 se ha reciclado para incorporarla al Salón de Pinos como un paso privilegiado a través del cual los peatones, los ciclistas y los árboles pasan de una a otra orilla. La losa aligerada que componía el tablero de hormigón postesado se cortó y apeó reforzándose para soportar las cargas debidas a su nuevo uso.
Puente del Principado de Andorra
Es uno de los nuevos puentes singulares del proyecto. Está construido por jaulas de perfiles abiertos, de expresividad algo arcaica, que toma como referencia las estructuras ferroviarias sobre los desfiladeros boscosos que se construyeron en Europa y Estados Unidos a finales de siglo XIX. Antes conocido como Puente Y, en julio de 2011 se le cambió de nombre al actual de Principado de Andorra, para agradecer al gobierno de Andorra la construcción del Puente de Madrid en Andorra la Vieja. Se escogió este puente para nombrarlo como Principado de Andorra porque representa también la geografía de Andorra: el país pirenaico está formado por dos valles, el del Valira del Norte y el del Valira de Oriente, los cuales confluyen en Escaldes-Engordany y se convierten en uno solo, de nombre Gran Valira. Esta disposición de los valles y sus ríos es similar a una Y.
Puentes Cáscara
Son dos puentes gemelos construidos con una lámina de 15 cm de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río. Su bóveda se ha ornamentado con un mosaico creado por el artista Daniel Canogar.
Pasarela de la Princesa
El canto necesario para el funcionamiento de la pasarela se incorpora en las barandillas que en realidad conforman una pareja de vigas de alma llena y rigidizadores verticales. El lenguaje de la pasarela es intencionadamente sobrio.
Convection delivers consistent temperatures throughout the oven cavity, so you can cook food on multiple racks quickly and evenly, without transfer of flavors. Full Access telescopic make it easy to place and remove heavier items.
Do you have quixotic plans for your production or event? Our staff brings your plans to life. The only limitations are the flights of your own fantasy.
Evidence has consistently shown that smoking and obesity directly affect infertility in men. One study published in the journal Human Reproduction showed that a man with a greater body mass index (BMI) often has a lower sperm count and poor semen quality compared to a man with a lower BMI.http://www.gautamallahbadia.com
A consistent and error free resume is easy and quick to read. Conversely, a resume including one spelling mistake will damage the impression of the applicant n
Straw hats have been worn consistently in Europe in the Summer since antiquity, and arguably are the least-changed form of headgear, since many medieval examples would draw no special attention if worn today. Many are to be seen in the famous calendar miniatures of the Très Riches Heures du Duc de Berry, worn by all classes, mostly by men. The Middle Ages also produced, among the more fashionably dressed, possibly the most spectacular straw hats ever seen on men in the West, notably those worn in the Arnolfini Portrait of 1434 by Jan van Eyck (tall, stained black) and by Saint George in a painting by Pisanello of around the same date. In the middle of the 18th century it was fashionable for rich ladies to dress as country girls with a wide brimmed straw hat to complete the look.
From wikipedia.com
Discussions. ZUG, SWITZERLAND: Financial investors and leaders of more than 30 different faith traditions representing over 500 faith investment groups from eight religions and billions of dollars in assets, met in Zug's beautiful Lassalle Haus retreat centre together with representatives of the UN and some key impact investment funds, for a unique international meeting on Faith in Finance. They are there because they have all agreed to set out and make public their priorities for positive investment – a huge shift from the faith tradition of saying, for ethical reasons, what they won’t invest in. Asking the question: “what do you do with your investments to make a better planet?” they will give huge impetus to a new movement of faith assets to funds where they have a positive “faith-consistent” impact. www.arcworld.org/projects.asp?projectID=674
Il pull Alizée ha una consistenza soffice, una finezza media di linea morbida.
Creato in pezzo unico nei toni del rosa candy, verde prato, milk e limone.
Ti consigliamo questo pull se sei mora, carnagione chiara e occhi castani.
I consigli di Lille per coordinare nel migliore dei modi la creazione.
Camicia Clara in lino cotone biologico rigatino con stelle in blu navy ricamate a mano.
La camicia ha una linea ampia, perfetta per tutte le silhouette.
Il gioco di righe e stelline creerà un look contemporaneo e fresco.
Il collo coreana della camicia Clara è ideale da affiancare al girocollo leggermente a barca del pull. Per una resa sportiva e giovane.
Il pantalone proposto è il modello Flora. Color balena in un tessuto di cachemire lana.
La linea è a palazzo, cinturino in vita e bottone a vista.
Ti piace questo look?
Pull Alizée sales 70% in special price 80,00€
Camicia Clara sartoriale con ricamo stelle. 140,00€
Pantaloni Flora sartoriale 180,00€
ARC, ZUG, SWITZERLAND: PHOTO CREDIT SIIA/Stokasmud www.stokasmud.com. Financial investors and leaders of more than 30 different faith traditions representing over 500 faith investment groups and billions of dollars in assets, met in Zug's beautiful Lassalle-Haus retreat centre together with the UN, the Alliance of Religions and Conservation (ARC) and some key impact investment funds, for a unique international meeting on Faith in Finance. Asking the question: “what do you do with your investments to make a better planet?” they launched the Zug Guidelines on Faith-Consistent Investment and a new alliance to support this movement. More details see www.arcworld.org/projects.asp?projectID=674 and for press coverage arcworld.org/news.asp?pageID=864 Ajahn Amaro Bhikku, Abbot of Amaravati Buddhist Monastery lights a candle for the future of faith finance, being used to protect and improve the world.
Indumentaria deportiva consistente en dos juegos completos de fútbol, entregó la alcaldesa Virginia Reginato a la Escuela de Futbol V Zona de Carabineros, integradas por hijos de funcionarios de la institución policial, que dirige Fernando Latin.
La actividad se realizó en el Complejo Municipal de Reñaca Alto, con la presencia de las concejalas Pamela Hödar y Macarena Urenda, luego de los encuentros que sostuvieron las series pre infantil e infantil con Colo Colo, set que fueron recibidas por el Subprefecto de los servicios de Viña del Mar, comandante Ramón Bórquez.
La alcaldesa destacó este aporte del municipio a la institución: “Con Carabineros siempre hemos tenido una gran y estrecha relación y por eso era importante apoyar este tipo de iniciativas que fomentan el deporte y la actividad física. Para mí es un gran honor orgullo entregarles esta indumentaria que les permitirá jugar y representar a su institución con tenidas nuevas y adecuadas en las diferentes competencias o actividades recreativas, y que lleva la leyenda de “Viña, Ciudad del Deporte” en el corazón”.
En tanto el comandante Bórquez agradeció a nombre de Carabineros el apoyo de la Municipalidad y de la alcaldesa: “Esta Escuela se hace con bastante esfuerzo y mucho corazón, y por eso agradezco la recepción que tuvo de parte de la autoridad esta solicitud que nos permitirá mejorar las condiciones de ella para hacer deporte, ya que estábamos pobres en indumentaria”.
El aporte consistió en dos set completos para 16 jugadores, que incluye camisetas de campo, dos de arquero, medias y pantalones, y además la alcaldesa también comprometió el apoyo para destinar un recinto para que puedan desarrollar esta escuela.
Visite nuestro portal en www.ciudaddeldeporte.com
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this is now the only day of the year when i consistently post a photo, and today marks the eleventh consecutive year. the last 12 months has been pretty good for me for travelling, i went to morocco, france, norway, south africa, zimbabwe, botswana, usa, mexico, belize, guatemala, ireland, spain, back to morocco and most recently wales. now that i've written that down it does seem like a lot of places. also i see that so far i haven't posted any pictures from botswana, guatemala or wales, it's been eleven years but i'm still far more efficient at taking the pictures than processing, and particularly than posting. i took this shot for example on my first trip to marrakech eleven months ago, probably processed it ten months ago and am only getting around to posting it now. and this is one of my favourite photos. i think that just proves that i'm 10 times quicker/better at making the photos than i am at writing these words about them. also i'm not so good at maths.
here's the original
Rank Captain
Service Number 128639
Date of Death 09/04/1942 - Aged 47
Royal Artillery - 484 Bty., 139 (M) H.A.A. Regt.
Awarded Military Cross
For conspicuous gallantry and devotion to duty. He has done consistent good work in the taking of photographs under very adverse weather conditions, by his perseverance and determination he has set a very high standard of efficiency in the photographic work of this Squadron.’ - 1917
Son of Richard Arthur and Mildred Jones;
Husband of Naslie Mary Jones, of Levens.
Richard Neville Kenward Jones was born in July 1895, the son of a Master Draper who owned a large store in Chester’s “Rows”. Educated at St. Bee’s in Cumbria, young Richard was commissioned into the Army Service Corps direct from the school’s O.T.C. in September 1914, in which capacity he went out to France in the following year.
Transferring to the Royal Flying Corps, he was appointed a Flying Officer (Observer) in July 1916, and posted to No. 60 Squadron in France. Shortly after his arrival, however, the unit changed aircraft type and its Observers became redundant - but not before he had survived a crash on take-off in a Morane Biplane at St. Andre.
Next posted to No. 3 Squadron, operating out of La Houssoye in Morane Parasols, he no doubt made the acquaintance of fellow squadron members Cecil Lewis of Sagittarius Rising fame, and Charles Portal, the future Air Chief Marshal, and quickly made a name for himself as an Observer on photographic reconnaissance patrols, teaming-up with another distinguished pilot, namely 2nd Lieutenant Elmer Roberts, who ended the War with the D.F.C., M.C. and D.C.M.
In fact in the period mid-August to mid-November 1916, he flew 46 operational sorties with Roberts, a period that witnessed Jones taking to his gun to drive off enemy aircraft on a least a dozen occasions.
One of these latter actions appeared in R.F.C. Communique No. 56:
‘1 October 1916: 2nd Lieutenant Roberts and Lieutenant Jones, No. 3 Squadron, when taking photographs, were attacked by seven Rolands. The attack was driven off with the assistance of two F.Es who joined the fight. One of the Rolands, apparently hit by fire from one of the F.Es, fell in a nose dive and crashed.’
With Roberts’ loss in action while Jones was on leave, he went on to complete many more operational patrols, one of them, flown 3 May 1917, with Lieutenant Barrington as his pilot, ending with their Morane being hit by shell and rifle fire - the fuselage broke in two on landing. Having emerged from that wreckage, Jones sustained cuts and bruises to his nose and an eye following another crash-landing two days later.
He was mentioned in despatches (London Gazette 15 May 1917 refers), and recommended for a decoration by the Officer Commanding 15th Wing R.F.C. in the following terms:
‘I very strongly recommend this officer for a decoration. On coming to this Squadron I was impressed with the importance of improving the photography, which I was told was in no way satisfactory. For the past three or four months the Squadron has continually been complimented from numerous sources on its photographic work. The satisfactory results are almost entirely due to the efforts of Lieutenant Jones. He has taken photographs under great difficulties at times, and the attached gives a short history of the difficulties placed in his way by hostile aircraft. I think there are few who could be more deserving of a reward. His Pilot Lieutenant E.P. Roberts was brought down by hostile aircraft while Lieutenant Jones was on leave and sustained permanent injuries. He brought down one hostile aircraft this side of the line before his controls were shot away. He, Lieutenant Roberts, was recently awarded the M.C.’
Awarded the M.C., and rested as an instructor at No.5 School of Military Aeronautics at the completion of his tour, Jones returned to an operational footing in April 1918, when he joined No. 16 Squadron, an R.E. 8 unit, back out in France. Owing, however, to wounds received on patrol a few days later - burns to his hands - he was evacuated to England.
Rejoining No. 16 Squadron in mid-June 1918, he survived another four months of operational flying, up until being wounded on 18 October, when his R.E. 8 was hit by machine-gun fire from the ground - he was evacuated to the U.K. with a fractured right arm and saw no further action.
Demobilised in February 1919, Jones returned home to the family business in Chester, married Nasli Mary, and resided at “The Nook”, Quarry Lane, Kelsall, Cheshire. With the threat of hostilities looming, however, he enlisted as a Gunner in No. 290 Anti-Aircraft Battery, Royal Artillery (T.A.), in April 1939, and was duly mobilised that September. Advanced to Sergeant, he served as a No.1 on a Heavy Anti-Aircraft Battery throughout the Blitz on Liverpool, and was appointed to a commission on the Emergency Reserve in early 1941, following which he remained employed n A.A. duties up until his sudden death at Moston Hall Military Hospital in April 1942.
Only the band that has been consistently #1 on my Last.fm playlist for years.
Poor Chibi has been going through vocal issues of late. Vocal nodules from the screaming. 22% of why I signed up for voice lessons was because I wanted to know how to have an edge to my voice without worrying about vocal nodules or whatnot.... but thankfully, she was able to sing like an angel and shriek like a demon for the show... And the band had a ferociously awesome live vibe that only comes from a pile of actual musicians who have been playing together for quite a while and not pushing play on a laptop.
I mostly danced around and enjoyed the show in an audience of rabid fans, instead of spending the whole time taking pictures. Although I did take a few.
Il pull Alizée ha una consistenza soffice, una finezza media di linea morbida.
Creato in pezzo unico nei toni del rosa candy, verde prato, milk e limone.
Ti consigliamo questo pull se sei mora, carnagione chiara e occhi castani.
I consigli di Lille per coordinare nel migliore dei modi la creazione.
Camicia Clara in lino cotone biologico rigatino con stelle in blu navy ricamate a mano.
La camicia ha una linea ampia, perfetta per tutte le silhouette.
Il gioco di righe e stelline creerà un look contemporaneo e fresco.
Il collo coreana della camicia Clara è ideale da affiancare al girocollo leggermente a barca del pull. Per una resa sportiva e giovane.
Il pantalone proposto è il modello Flora. Color balena in un tessuto di cachemire lana.
La linea è a palazzo, cinturino in vita e bottone a vista.
Ti piace questo look?
Pull Alizée sales 70% in special price 80,00€
Camicia Clara sartoriale con ricamo stelle. 140,00€
Pantaloni Flora sartoriale 180,00€
Saying that Delaware has made consistent progress in reducing its infant mortality rate, Governor Carney told the Delaware Maternal and Child Health Summit on April 17 that the goal is that “every child in Delaware is born healthy” and has the opportunity to be successful in his or her life.
“I’m optimistic that we can address all of these challenges,” the Governor said in figuring out new and innovative ways to bring down the state’s infant mortality rate from its current 7.5 deaths per 1,000 live births to match or fall below the national average rate of 5.9. Delaware’s infant mortality rate has declined from a high of 9.3 deaths per 1,000 live births in 2005. The Delaware Healthy Mothers and Infants Consortium was created in 2005 to address Delaware’s high rate of infant deaths.
“The fact that some segments in our state already have birth outcomes that are better than the national average is a clear indication that we can get there together,” DHSS Secretary Dr. Kara Odom Walker said of the state’s white infant mortality rate that is at 5.1 deaths per 1,000 live births. The black infant mortality rate in Delaware is 12.5. “For the families who experience this terrible nightmare, we can do better,” Secretary Walker said. “That’s what gets me up every day, knowing we can do better.”
Lt. Gov. Bethany Hall-Long, a registered nurse, also applauded the progress made to reduce infant mortality in the state, but said the measure is a public health indicator of a state’s overall health.
Attorney General Matt Denn said the increasing number of substance-exposed infants in the state indicates that “the opioid crisis is a healthy infants crisis as well.”
Kenn Harris of New Haven Healthy Start, one of the summit’s keynote speakers, has devoted his career to child and maternal health after he and his wife lost their second son as a baby. “There is no single fix for this issue of infant mortality … It takes innovation,” he said in encouraging the more than 300 attendees at the Chase Center to listen to and engage their communities. “We have to work on our listening.”
To learn more about the Delaware Healthy Mother and Infant Consortium, go to:
L-R Master Yang Shihua China Daoist Association; Claudia He Yun, ARC; Martin Palmer ARC; Chantal Elkin, ARC; Monowara Gani, Muslim charities forum; Rabbi Mark Goldsmith, Shoresh Charitable Trust. ZUG, SWITZERLAND: Financial investors and leaders of more than 30 different faith traditions representing over 500 faith investment groups from eight religions and billions of dollars in assets, met in Zug's beautiful Lassalle Haus retreat centre together with representatives of the UN and some key impact investment funds, for a unique international meeting on Faith in Finance. They are there because they have all agreed to set out and make public their priorities for positive investment – a huge shift from the faith tradition of saying, for ethical reasons, what they won’t invest in. Asking the question: “what do you do with your investments to make a better planet?” they will give huge impetus to a new movement of faith assets to funds where they have a positive “faith-consistent” impact. www.arcworld.org/projects.asp?projectID=674
The 53rd annual Bon Odori Festival at Camp Zama was held Aug. 4. The festival is consistently the largest bilateral event of the year for U.S. Army Japan, this year attracting more than 30,000 visitors to the installation. The festival featured live entartainment, games for children, a variety of ethnic foods, bilateral sports, and a fireworks show.
About the United States Army Garrison Japan:
The United States Army Garrison Japan and its 16 supported installation sites are located in the island of Honshu and Okinawa in Japan. The USAG Japan mission is to support the Headquarters, U.S. Army Japan / I Corps (fwd) to ensure mission readiness and the quality of life of the Army community in a sustainable, transforming joint and combined environment.
The USAG-J area of responsibility spans 1,500 miles from north to south of Japan. Camp Zama, home for both HQ USARJ and USAG-J is located approximately 25 miles southwest of Tokyo in the cities of Zama and Sagamihara in Kanagawa Prefecture, Japan. The Camp Zama base cluster includes Sagamihara Housing Area and Sagami General Depot.
Akasaka Press Center is located in the center of Tokyo. The Akizuki/Kure area near Hiroshima is an ammunition depot. Yokohama North Dock is a port facility in the city of Yokohama, a major commerce port and a popular shopping area. USAG Torii Station is located 980 miles southwest of Camp Zama on the island of Okinawa.
We are the Army's home in Japan and the "Garrison of Choice" for Soldiers, Civilians and their Family members. We are committed in becoming the leader in the U.S. Army Installation Management Command by providing world-class installation services.
-----
To learn more about USAG Japan, please visit:
Official Website - www.usagj.jp.pac.army.mil
Facebook - www.facebook.com/usagj
Flickr - www.flickr.com/usagj
YouTube - www.youtube.com/usagjapan
Vimeo - www.vimeo.com/usagj
Twitter - www.twitter.com/usagjapan
Slideshare - www.slideshare.net/usagjapan
USARJ This Week on YouTube - www.youtube.com/usarjthisweek
Linnea Lenkus consistently creates top family photographs . Her understanding of lighting helps her make top notch photographic art .
Why is it that I consistently purchase products intended for 5 year olds? I was on my way down the aisle of my local Walgreen's retailer when these caught my eye. They're delicious shortbread cookies with bizarre copy on the back of the package:
"I scream, you scream, we all scream for . . . I'screams! One crunchy munch of these crunchy, munchy, fun, fun, treats and bet your stripes, you'll be bouncin' back for more!
Put your paws into an I'screams package and pull up a pawful of cookie surprises - crisp chocolate chip cookies in the shape of ice cream cones. They're made with the best ingredients including whole grains and a good source of calcium, but with no cholesterol, preservatives or artificial colors. So you know your family's snacking on something that isn't just good - it's tasteriffic!"
(That's word for word, mind you.)
Um projeto inovador e consistente, que não deixa de lado a elegância e o compromisso com o meio ambiente. Assim é a Praça ArcelorMittal, criada pelas paisagistas Carla e Marina Pimentel, ressaltando os benefícios da construção de jardins sobre laje, numa área de 320 m² . Uma alternativa eficiente e fascinante, que garante conforto térmico ao ambiente, além de promover um delicioso encontro com a natureza.O destaque do espaço fica por conta de um grande painel verde, que chama a atenção pela simbologia utilizada: um alerta a toda população pela preservação da Serra do Curral, um símbolo da cidade. Os materiais utilizados são ecologicamente corretos e sustentáveis. O jardim, que envolve de forma inusitada toda a área gourmet da Casa Cor 2010, é enriquecido e valorizado pela diversidade de plantas nativas e exóticas.
The 53rd annual Bon Odori Festival at Camp Zama was held Aug. 4. The festival is consistently the largest bilateral event of the year for U.S. Army Japan, this year attracting more than 30,000 visitors to the installation. The festival featured live entartainment, games for children, a variety of ethnic foods, bilateral sports, and a fireworks show.
About the United States Army Garrison Japan:
The United States Army Garrison Japan and its 16 supported installation sites are located in the island of Honshu and Okinawa in Japan. The USAG Japan mission is to support the Headquarters, U.S. Army Japan / I Corps (fwd) to ensure mission readiness and the quality of life of the Army community in a sustainable, transforming joint and combined environment.
The USAG-J area of responsibility spans 1,500 miles from north to south of Japan. Camp Zama, home for both HQ USARJ and USAG-J is located approximately 25 miles southwest of Tokyo in the cities of Zama and Sagamihara in Kanagawa Prefecture, Japan. The Camp Zama base cluster includes Sagamihara Housing Area and Sagami General Depot.
Akasaka Press Center is located in the center of Tokyo. The Akizuki/Kure area near Hiroshima is an ammunition depot. Yokohama North Dock is a port facility in the city of Yokohama, a major commerce port and a popular shopping area. USAG Torii Station is located 980 miles southwest of Camp Zama on the island of Okinawa.
We are the Army's home in Japan and the "Garrison of Choice" for Soldiers, Civilians and their Family members. We are committed in becoming the leader in the U.S. Army Installation Management Command by providing world-class installation services.
-----
To learn more about USAG Japan, please visit:
Official Website - www.usagj.jp.pac.army.mil
Facebook - www.facebook.com/usagj
Flickr - www.flickr.com/usagj
YouTube - www.youtube.com/usagjapan
Vimeo - www.vimeo.com/usagj
Twitter - www.twitter.com/usagjapan
Slideshare - www.slideshare.net/usagjapan
USARJ This Week on YouTube - www.youtube.com/usarjthisweek
The 53rd annual Bon Odori Festival at Camp Zama was held Aug. 4. The festival is consistently the largest bilateral event of the year for U.S. Army Japan, this year attracting more than 30,000 visitors to the installation. The festival featured live entartainment, games for children, a variety of ethnic foods, bilateral sports, and a fireworks show.
About the United States Army Garrison Japan:
The United States Army Garrison Japan and its 16 supported installation sites are located in the island of Honshu and Okinawa in Japan. The USAG Japan mission is to support the Headquarters, U.S. Army Japan / I Corps (fwd) to ensure mission readiness and the quality of life of the Army community in a sustainable, transforming joint and combined environment.
The USAG-J area of responsibility spans 1,500 miles from north to south of Japan. Camp Zama, home for both HQ USARJ and USAG-J is located approximately 25 miles southwest of Tokyo in the cities of Zama and Sagamihara in Kanagawa Prefecture, Japan. The Camp Zama base cluster includes Sagamihara Housing Area and Sagami General Depot.
Akasaka Press Center is located in the center of Tokyo. The Akizuki/Kure area near Hiroshima is an ammunition depot. Yokohama North Dock is a port facility in the city of Yokohama, a major commerce port and a popular shopping area. USAG Torii Station is located 980 miles southwest of Camp Zama on the island of Okinawa.
We are the Army's home in Japan and the "Garrison of Choice" for Soldiers, Civilians and their Family members. We are committed in becoming the leader in the U.S. Army Installation Management Command by providing world-class installation services.
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To learn more about USAG Japan, please visit:
Official Website - www.usagj.jp.pac.army.mil
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Flickr - www.flickr.com/usagj
YouTube - www.youtube.com/usagjapan
Vimeo - www.vimeo.com/usagj
Twitter - www.twitter.com/usagjapan
Slideshare - www.slideshare.net/usagjapan
USARJ This Week on YouTube - www.youtube.com/usarjthisweek
This hook is over 12" long was marked as 8.5mm in size. In actuality, it's probably closer to 8.25mm in it's original dowel state. I've now hand sanded from the head to about 6.5" down the shaft to about 8mm in consistent size. This has to be done carefully, as consistent sanding around the circumference is needed to maintain size and good shaping for actual use.
Here you can also see the shaping I did for the lip of this hook. The lip is left longer, but I've tapered the lip a bit (the almond shaping to the lip that you can see) to allow for more movement for larger yarns. Lips can be altered to a degree without much fear of altering the end stitch size since it's the throat work space that actually dictates the end size of a stitch. The lip's job is to catch and hold yarn while in the process of creating a stitch, and then finally release that yarn - nothing more.
Order No. 227 (Russian: Приказ № 227, romanized: Prikaz No. 227) was an order issued on 28 July 1942 by Joseph Stalin, who was acting as the People's Commissar of Defence. It is known for its line "Not a step back!" (Ни шагу назад!, Ni shagu nazad!), which became the primary slogan of the Soviet press in summer 1942.
Order No. 227 established that each front must create one to three penal battalions (Russian: штрафной батальон, romanized: shtrafnoy batalyon, lit. 'penalty battalion', commonly known as штрафбат, shtrafbat) of up to 800 middle-ranking commanders and high-ranking commanders accused of disciplinary problems, which were sent to the most dangerous sections of the front lines. From 1942 to 1945, a total of 422,700 Red Army personnel were sentenced to penal battalions as a result of courts-martial. The order also directed that each army must create "blocking detachments" at the rear that would shoot "panic-mongers and cowards". In the first three months, blocking detachments shot 1,000 penal troops and sent 24,000 to penal battalions. By October 1942, the idea of regular blocking detachments was unofficially dropped.
Intended to galvanise the morale of the hard-pressed Red Army and emphasize patriotism, it had a generally detrimental effect and was not consistently implemented by commanders who viewed diverting troops to create blocking detachments as a waste of manpower. On 29 October 1944, blocking detachments were officially disbanded by Stalin's order No. 349 citing the changed situation at the front.
History
During the first part of the war on the Eastern Front, the Soviets suffered heavy losses along with mass retreat and desertion. Stalin released order No. 227 intending to re-establish discipline in the Red Army in the battle against the Wehrmacht and Waffen-SS:
Moscow, Nr. 227, July 28, 1942
The enemy throws new forces to the front without regard to heavy losses and penetrates deep into the Soviet Union, seizing new regions, destroying our cities and villages, and violating, plundering and killing the Soviet population. Combat goes on in region Voronezh, near Don, in the south, and at the gates of the Northern Caucasus. The German invaders penetrate toward Stalingrad, to Volga and want at any cost to trap Kuban and the Northern Caucasus, with their oil and grain. The enemy already has captured Voroshilovgrad, Starobelsk, Rossosh, Kupyansk, Valuyki, Novocherkassk, Rostov on Don, half Voronezh. Part of the troops of the Southern front, following the panic-mongers, have left Rostov and Novocherkassk without severe resistance and without orders from Moscow, covering their banners with shame.
The population of our country, who love and respect the Red Army, start to be discouraged in her and lose faith in the Red Army, and many curse the Red Army for leaving our people under the yoke of the German oppressors, and itself running east.
Some stupid people at the front calm themselves with talk that we can retreat further to the east, as we have a lot of territory, a lot of ground, a lot of population and that there will always be much bread for us. They want to justify the infamous behaviour at the front. But such talk is a falsehood, helpful only to our enemies.
Each commander, Red Army soldier and political commissar should understand that our means are not limitless. The territory of the Soviet state is not a desert, but people – workers, peasants, intelligentsia, our fathers, mothers, wives, brothers, children. The territory of the USSR which the enemy has captured and aims to capture is bread and other products for the army, metal and fuel for industry, factories, plants supplying the army with arms and ammunition, railways. After the loss of Ukraine, Belarus, Baltic republics, Donetzk, and other areas we have much less territory, much fewer people, bread, metal, plants and factories. We have lost more than 70 million people, more than 800 million pounds of bread annually and more than 10 million tons of metal annually. Now we do not have predominance over the Germans in human reserves, in reserves of bread. To retreat further – means to waste ourselves and to waste at the same time our Motherland.
Therefore it is necessary to eliminate talk that we have the capability endlessly to retreat, that we have a lot of territory, that our country is great and rich, that there is a large population, and that bread always will be abundant. Such talk is false and parasitic, it weakens us and benefits the enemy, if we do not stop retreating we will be without bread, without fuel, without metal, without raw material, without factories and plants, without railways.
This leads to the conclusion, it is time to finish retreating. Not one step back! Such should now be our main slogan.
It goes on to state that The Supreme General Headquarters of the Red Army commands:
1. Military councils of the fronts and first of all front commanders should:
a) Unconditionally eliminate retreat moods in the troops and with a firm hand bar propaganda that we can and should retreat further east, and that such retreat will cause no harm;
b) Unconditionally remove from their posts and send to the High Command for court-martial those army commanders who have allowed unauthorized troop withdrawals from occupied positions, without the order of the Front command.
c) Form within each Front from one up to three (depending on the situation) penal battalions (800 persons) where commanders and high commanders and appropriate commissars of all service arms who have been guilty of a breach of discipline due to cowardice or bewilderment will be sent, and put them on more difficult sectors of the front to give them an opportunity to redeem by blood their crimes against the Motherland.
2. Military councils of armies and first of all army commanders should;
a) Unconditionally remove from their offices, corps and army commanders and commissars who have accepted troop withdrawals from occupied positions without the order of the army command, and route them to the military councils of the fronts for court-martial;
b) Form within the limits of each army 3 to 5 well-armed defensive squads (up to 200 persons in each), and put them directly behind unstable divisions and require them in case of panic and scattered withdrawals of elements of the divisions to shoot in place panic-mongers and cowards and thus help the honest soldiers of the division execute their duty to the Motherland;
c) Form within the limits of each army up to ten (depending on the situation) penal companies (from 150 to 200 persons in each) where ordinary soldiers and low ranking commanders who have been guilty of a breach of discipline due to cowardice or bewilderment will be routed, and put them at difficult sectors of the army to give them an opportunity to redeem by blood their crimes against the Motherland.
3. Commanders and commissars of corps and divisions should;
a) Unconditionally remove from their posts commanders and commissars of regiments and battalions who have accepted unwarranted withdrawal of their troops without the order of the corps or division commander, take from them their orders and medals and route them to military councils of fronts for court martial;
b) Render all help and support to the defensive squads of the army in their business of strengthening order and discipline in the units.
This order is to be read in all companies, cavalry squadrons, batteries, squadrons, commands and headquarters.
The People’s commissioner of Defense
I. Stalin
Effect
Marshal of the Soviet Union, Aleksandr Vasilevsky, wrote: "...Order N 227 is one of the most powerful documents of the war years due to its patriotic and emotional content... the document was motivated by rough and dark times... while reading it we were thinking to ourselves if we were doing everything it takes to win the battle."
Each front had to create penal companies for privates and NCOs. By the end of 1942, there were 24,993 troops serving in penal battalions, which increased to 177,694 in 1943. The number decreased over the next two years to 143,457 and 81,766 soldiers in 1944 and 1945, respectively. The total of Red Army personnel sentenced by courts-martial was 994,300, with 422,700 assigned to penal battalions and 436,600 imprisoned after sentencing. Not included are 212,400 deserters, who were not found and escaped the custody of the military districts.
In the first three months, blocking detachments shot 1,000 penal troops and sent 24,000 to penal battalions. According to an internal list of the NKVD from October 1942, 15,649 soldiers were picked up by the restricted forces who fled the front line on the Stalingrad Front from August 1, 1942, to October 15, 1942. Of these, 244 soldiers were imprisoned, 278 were shot, 218 were sent to penal companies, 42 to penal battalions and 14,833 to return to their units. By October 1942, the idea of regular blocking detachments was unofficially dropped.
The Motherland Calls (Russian: Родина-мать зовёт!, romanized: Rodina-mat' zovyot!) is a colossal neoclassicist and socialist realist war memorial sculpture on Mamayev Kurgan in Volgograd, Russia. Designed primarily by sculptor Yevgeny Vuchetich with assistance from architect Yakov Belopolsky, the concrete sculpture commemorates the casualties of the Battle of Stalingrad, and is the predominant component of a larger monument complex, which includes several plazas and other sculptural works. Standing 85 metres (279 ft) tall from the base of its pedestal to its peak, the statue was the tallest in the world upon its completion in 1967, and is the tallest statue in Europe if excluding the pedestal. The statue, along with the rest of the complex, was dedicated on 15 October 1967, and has been listed as a tentative candidate for UNESCO's list of World Heritage Sites since 2014.
The sculpture depicts a female personification of Russia, commonly referred to as Mother Russia. She wears a windswept shawl resembling wings, and holds a sword aloft in her right hand. Her left hand is extended outward, as she calls upon the Soviet people to battle. The statue was originally planned to be made of granite and to stand only 30 metres (98 ft) tall, with a design consisting of a Red Army soldier genuflecting and placing a sword before Mother Russia holding a folded banner, but was changed in 1961 to be a large concrete structure at nearly double the height, a decision that was subject to criticism from Soviet military officials and writers. It was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike.
The construction of The Motherland Calls began in 1963, and was led by structural engineer Nikolai Nikitin. The project faced numerous challenges, including the assembly of the statue's framework and its intricate features, which were compounded by the statue's size. Delays were caused by cold weather and unforeseen geological issues, necessitating extensive foundation reinforcement and relocation of water systems. Additional complications arose with the statue's sword, which was required to be redesigned due to problems with wind resistance. Despite these obstacles, the memorial was completed in 1967 for the 50th anniversary of the October Revolution.
After its dedication, the sculpture underwent numerous alterations and restoration attempts. In 1972, the statue's sword was replaced with a higher-grade steel alloy version to reduce wind resistance, and by 1986, it had tilted significantly from its original axis. Concerns about the statue's structural integrity arose by the early 21st century, with the statue in disrepair and at risk of collapsing. Comprehensive restoration efforts began later in the century, and by 2020, the monument had undergone extensive restoration, although post-renovation critiques and new structural issues have since arisen.
The Battle of Stalingrad was a major conflict between the Soviet Union and Nazi Germany on the Eastern Front of World War II, fought over six months from July 1942 to February 1943. The battle resulted in a decisive Soviet victory but came at a tremendous cost, with over a million estimated Soviet deaths. The battle was quickly mythologised in Soviet culture, and was widely referred to as the turning point in the war in Soviet history textbooks.
The idea of commemorating the Soviet victory in the Battle of Stalingrad originated in the final years of the war. Soviet politicians and artists had considered designs for monuments to the battle prior to the war's end, and the first museum honoring the Great Patriotic War was established as early as March 1943. In 1944, the publication Arkhitektura SSSR issued a number of articles detailing possible designs for memorials. Following the end of the war in 1945, several small-scale obelisks and commemorative plaques were erected across the Soviet Union; however, larger plans for monuments were curtailed by leader Joseph Stalin, who sought to refocus attention on emerging Cold War conflicts, virtually prohibiting all public observation of the war by 1948.
In 1948, sculptor Yevgeny Vuchetich, a member of the Academy of Arts of the Soviet Union, began discussing plans for a monument for the Battle of Stalingrad with architect Yakov Belopolsky, whom he had previously collaborated with on the development of the Soviet War Memorial in Berlin's Treptower Park.[6] The project was intended to be built atop Mamayev Kurgan, a burial mound that was the site of intense conflict during the battle. Vuchetich started petitioning high-ranking Soviet officials for permission to design the monument in the early 1950s, including Politburo member Georgy Malenkov.[8] In a letter to Malenkov dated December 1951, Vuchetich claimed that he had received multiple inquiries from veterans and family members of those who died in the war about the absence of a memorial on Mamayev Kurgan.
After Stalin's death in March 1953, plans for a memorial on Mamayev Kurgan were revitalised. In March 1954, the Council of Ministers announced a competition for the design of a "State Museum of the Defense of Tsaritsyn-Stalingrad", which would include a large panoramic painting depicting the battle; by this time, Vuchetich and Belopolsky had already finalised drafts for the project's structural designs. On 23 January 1958, the Council of Ministers declared that the construction of "a memorial-monument in the city of Stalingrad commemorating victory over the German fascist force" would be overseen by a committee led by Vuchetich and comprising Belopolsky and Anatoly Garpenko, an artist and Red Army veteran.
Vuchetich and Belopolsky's initial designs for the project were ambitious and took much of their inspiration from the memorial at Treptower Park. The entrance to the monument was planned to feature a triumphal arch that led into a granite staircase, followed by a brick staircase in an avenue of Lombardy poplar trees. A second granite staircase would lead to a circular plaza, with a large granite statue of a Russian man titled Stand To the Death!. Behind the statue, a final granite staircase would lead to a plaza with an entrance to an underground complex called the "Panorama". A cupola-shaped hall would include an eternal flame to memorialise the heroes of Stalingrad, a sculpture of a man shaping a sword into a ploughshare, and walls engraved with the names of those who died in the battle. An exit at the end of the hall led to a second observation platform with a panoramic painting depicting a prosperous post-war Stalingrad.
The principal component of the project was to be a colossal statue at the top of Mamayev Kurgan; at the statue's base, a foyer would be built in order to allow visitors to honor the dead with commemorative gifts. The statue was designed according to the principles of neoclassicism and socialist realism, both artistic styles that Vuchetich specialised in. The original plan for the sculpture was to have it constructed entirely of granite, with a design featuring a Red Army soldier genuflecting and placing a sword before a female personification of Russia, commonly referred to as Mother Russia, holding a folded banner; this was later changed to be a concrete statue of a lone Mother Russia wearing a windblown shawl resembling wings and holding a sword aloft in her right hand, with her left hand extended outward as she calls upon the Soviet people to fight against the enemy. The design was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike. Committee members initially suggested that the sculpture should be dressed in traditional Russian clothing. Vuchetich objected to the proposition, arguing that a traditional costume would diminish the idea of the battle as an "international event" and defy the neoclassical style he had envisioned for the statue. The sculpture was initially planned to be 30 metres (98 ft) tall from its pedestal to its peak; however, Soviet leader Nikita Khrushchev ordered it to be taller than the 46 metres (151 ft) tall Statue of Liberty in a display of dominance over the United States, their geopolitical rival during the Cold War. The height of the statue alone was increased to 52 metres (171 ft), nearly double the originally planned height, a decision that further increased the project's cost, which had already substantially overrun its budget. Valentina Izotova, a 26-year-old waitress at a local restaurant, was chosen by Vuchetich to be the model for the sculpture, while the face of the statue is believed to have been based on that of Vuchetich's wife.
The choice to make The Motherland Calls the primary feature of the monument complex was met with derision from Soviet military officials, including generals Andrey Yeryomenko and Mikhail Shumilov, who believed the statue's design would detract from the importance of the Panorama, which they thought to be the only structure that could faithfully represent the extent of the soldiers' experiences. Vuchetich rationalised the decision by asserting that the monument should reflect the widespread recognition of the Battle of Stalingrad as the turning point of the war, and marketed the project as one part of a sculptural triptych that would encompass the memorial at Treptower Park and a planned monument in Moscow. The planned sculpture also attracted criticism from Soviet writers, including author Viktor Nekrasov, who claimed that the monument would defile the historic site.
While construction on the rest of the monument complex began in 1961, work on The Motherland Calls did not start until late 1962. Vuchetich's final design for the sculpture was approved by the artist committee in December of 1962, and on 23 January 1963 the Council of Ministers ordered the development of blueprints for the statue. The process of building of the monument would prove to be more complicated than anticipated by its developers, primarily due to its size and the complexity of its details. After the Sculptural Group of the Artistic Fund requested to be relieved of their construction duties and the construction firm Volgogradgidrostroi expressed reservations about taking over the project, structural engineer Nikolai Nikitin was appointed to lead the construction efforts.
In 1963, Nikitin's design team began planning the construction process for the monument, finalizing their designs by August. Nikitin began his role as head of the team by emphasizing unresolved issues, specifically the lack of geological and hydrological studies that had been recommended earlier in the year. In a report to the Ministry of Culture made in September, he insisted that these studies were crucial due to the extensive construction already completed and the need to ensure the foundation's durability and stability, particularly given the presence of mellite clays on Mamayev Kurgan; the hill could only support the structure if the moisture of its soil remained low. Nikitin noted that the foundation, initially designed for a statue half the height, required thorough investigation to confirm its suitability. Almost immediately following his report, the Ministry sent a team to Volgograd to thoroughly investigate the issues.
Construction on The Motherland Calls commenced in November 1963. The statue, made entirely of reinforced concrete, used a special hydrostatic cement mixture that had been developed for the construction of the Ostankino Tower in Moscow. The statue's structure featured an internal framework of vertical and horizontal diaphragms forming cells that were 3 metres (9.8 ft) wide, 3 metres deep, and 4 metres (13 ft) tall, extending from its 2-metre (6.6 ft) pedestal to its neck. The external surface was a reinforced concrete membrane varying in thickness from 25 to 60 centimetres (9.8 to 23.6 in). Construction involved pouring concrete in 50-centimetre (20 in) increments into the forms shaping the vertical diaphragms, allowing each layer to harden before proceeding. Workers used small vibrators to settle the concrete, eliminate air pockets, and ensure even pours, working manually due to the tight spaces. Each 4-metre-high section was capped with a horizontal diaphragm, serving as the foundation for the next section. The statue's head, arms, and scarf were cast separately and attached using cantilevered junctions and large steel bolts, with the metal sword anchored in the right hand. Its stability was ensured by a complex system of steel tension cables to counteract wind forces, monitored by seismographic and meteorological instruments inside the structure. A radio transmitter was installed in the statue's head in order to transmit data on ground vibrations, surface temperatures, and humidity. Passageways within the statue were built to allow for interior inspections, while the exterior would be visually examined.
Initially, crews focused on assembling the metal framework designed to support the internal diaphragms, followed by welding the rebar for the external membrane and creating the plaster molds for the statue's surface. The concrete pedestal was poured, and by the end of 1963, the shawl pieces and the empty hand had been made and attached to the framework. However, the arrival of subfreezing temperatures halted further concrete pouring, which could not resume until the spring; plans were set to complete this phase of the construction by 1 July 1965. The statue's head and sword hand were then mounted, with the metal sword set to be installed later. During this period, the construction of other components of the memorial, such as the "Wall Ruins" and parts of the "Square of Heroes", progressed significantly.
Despite initial forecasts for a November 1965 opening, the construction timeline was extended into the late summer of 1966. This delay was partly due to emerging issues with the sculpture's foundation and the stability of the surrounding soil, prompting geological investigations that uncovered several critical deficiencies in the initial surveys. For instance, examinations of Mamayev Kurgan's substrata were only carried out to a depth of 9 metres (30 ft), rather than the necessary depth of at least 46 metres (151 ft). Additionally, there had been no measurement of the soil's compression under the statue's weight, nor was there any consideration of how the expansion of waterlogged clay could impact the foundation. No comprehensive assessment was made of potential groundwater sources, and no tests to evaluate the stability of the mound's slope were conducted. Addressing these issues required significant effort and expense; in early 1966, officials concluded that the only solution involved relocating all water supply pipes and reservoirs buried within the mound to a distance of at least 273 metres (896 ft) from the statue's base in order to improve drainage around the structure. The statue's foundation was reinforced, and several thousand cubic metres of extra earth were backfilled to create a levee around the pedestal. However, these adjustments necessitated the removal of several graves previously located at the hill's summit and a reduction in the size of the plaza where the Grief of the Motherland statue and the Pantheon, which had replaced the Panorama due to issues with the latter's foundation, were situated. These remedial efforts continued into 1967.
In May 1966, crews hoisted and secured the 14-ton, 28-metre-long (92 ft) sword into the statue's right hand. The sword was constructed from stainless steel and bolstered by plates made from titanium. However, by late August, strong winds revealed that the sword and its anchoring structure were subjected to lateral forces that had not been accurately accounted for. The sword's tip was observed wavering by nearly 1 foot (0.30 m) in either direction, posing a risk to the integrity of the joint connecting the arm to the metal framework. This movement resulted in visible cracks in the concrete surface around the area. A committee was formed to investigate further, who concluded that the existing sword needed replacement; temporary measures were applied, included cutting holes in the current sword and reinforcing the joint until a permanent fix could be implemented.
In February 1967, the Council of Ministers mandated that all remaining work on the memorial complex be completed by 15 October for the 50th anniversary of the October Revolution. Laborers worked throughout the spring and summer to meet this deadline, completing the earthen levee surrounding the main monument's pedestal, relocating the remaining leaking irrigation pipes and reservoirs, reinforcing the sword, installing sound and lighting systems across the complex, and setting in place the final sculptural and landscaping elements. The last major obstacle arose from complications with the Pantheon; as crews applied the mosaics to the Pantheon's interior walls in early 1967, they discovered inconsistencies in the glass tiles. With only four months until the scheduled opening, Vuchetich urgently sought intervention from officials to expedite a solution. Supplementary glass was quickly produced and delivered, and several hundred soldiers from a local garrison were enlisted to aid in construction. The crews worked diligently, completing the Pantheon's mosaic walls in under a month for the complex's opening. Once finished, the full sculpture stood 85 metres (279 ft) tall from the base of the pedestal to the top of the sword, and was the tallest statue in the world upon its completion; it remains the tallest statue in Europe.
The dedication of the memorial occurred on 15 October 1967. The event drew tens of thousands of people to Mamayev Kurgan, along with reporters from official press outlets, including Izvestia and Pravda, who wrote extensively on the memorial's scale and significance, describing the statue as a tribute to the heroism of Stalingrad's defenders. Vuchetich, along with the engineers and construction workers, were lauded for their contributions to the project, with reporters drawing parallels between their efforts and those of the soldiers who defended the city.
The opening ceremony featured speeches from party leaders and military representatives, who highlighted various themes such as the valor of those who fought in the battle, the importance of remembering past sacrifices, and the role of the Red Army in defeating fascism. Premier Leonid Brezhnev's keynote address framed the monument as a testament to Soviet unity and postwar recovery, while also emphasizing the USSR's commitment to peace and culture in contrast to American actions during the Vietnam War. The speeches collectively stressed the significance of the memorial in preserving the memory of the war and its heroes, and praised the Soviet people's enduring loyalty to the Communist Party and its Central Committee.
The years after the statue's dedication were primarily marked by alterations and several attempts at restoration. A year after the monument's opening, cracks had already started to form on the statue's surface. In order to preserve the monument, the head and hands of the sculpture were treated with a waterproofing agent once a year. In 1972, the statue's sword was replaced with a higher-grade steel alloy version featuring jalousie-like slits to reduce wind resistance. The sculpture's surface received a maintenance inspection in 1986; by this time, it had tilted 60 millimetres (2.4 in) from its original vertical axis since its initial assessment in 1966.
Between 2008 and 2009, a comprehensive safety and reliability program for the statue was developed and approved by the Russian Ministry of Culture. However, by 2009, concerns had been raised about the structural integrity of the structure; the statue's foundation was not anchored but held in place by its own weight, and was subsiding as a result of rising water levels. By this time, pieces of concrete had already begun to fall off the statue, nearly injuring passersby, and it had tilted approximately 20 centimetres (7.9 in), with further tilting risking collapse. Estimated costs to repair the structural issues were over 7 million USD (equivalent to $9,664,521 in 2023); however, efforts to secure funding for restoration were complicated by the Great Recession, and previous attempts to allocate government funds for restoration had been undermined by misappropriation. Large-scale restoration work on the sculpture funded by the federal budget began in 2010. Initial steps included replacing the piezometric network (a system for measuring pressure) to allow for hydrogeological monitoring, studying the reinforced concrete's condition, and analyzing cracks and other defects.
In 2014, the sculpture, along with the surrounding complex, was listed as a tentative candidate for UNESCO's list of World Heritage Sites. Following the 70th anniversary of the Soviet victory in the Great Patriotic War in 2015, the statue was set to undergo further renovation, with 99 of its 117 steel cables requiring replacement. By 2017, the cables had not yet been replaced, though plans were made to address the replacement along with other maintenance needs, with additional restoration efforts set to be conducted after the end of the 2018 FIFA World Cup, which was held in Russia. In late 2018, the construction company Glavzarubezhstroy completed preparations for the external restoration of the sculpture, which included creating access for special equipment, fencing off the area for material storage and worker camps, installing a two-metre fence around the sculpture, removing the lawn, setting up external lighting for the duration of the work, and digging trenches around the statue's base. In early 2019, the observation deck at the foot of the statue was closed off to visitors until March of the following year in order to allow for additional restoration work to its pedestal, surface, and framework. In May, the sculpture had begun to be covered in scaffolding, and the granite slabs at the pedestal were removed. Restoration on the external features of the monument continued from July to November, including cracks being filled in and the surface being painted with white lead. In November, the scaffolding and the pedestal's slabs were removed, with internal renovations to be finished before Victory Day on 9 May 2020, the 75th anniversary of the end of the battle. The restoration of the monument was completed in March 2020; however, due to the COVID-19 pandemic, the reopening ceremony that had originally been planned for Victory Day was postponed. A virtual tour of the structure and the surrounding complex was made available online in lieu of public visitations.
The monument complex was reopened on 24 June 2020, with a ceremony hosted by Volgograd governor Andrey Bocharov and Russian Minister of Culture Olga Lyubimova. In total, the cost of renovating the sculpture alone cost approximately 750 million rubles (equivalent to $11,296,607 USD in 2023). In August, Russian designer Artemy Lebedev criticised the statue's post-renovation appearance, arguing that the statue was in a worse condition than it had been before its restoration; his comments received criticism from residents of Volgograd, who insisted that he be punished for insulting the memory of those who died in the Battle of Stalingrad. By early 2021, dark spots and more cracks were noticed on the surface of the statue, prompting the filing of an application with a Moscow arbitration court requesting for Glavzarubezhstroy, which had not fulfilled its warranty obligations, to declare bankruptcy. Glavzarubezhstroy later filed for bankruptcy, was sued by the Battle of Stalingrad Museum-Reserve, and listed on a national registry of "unscrupulous suppliers". In a poll conducted by Bloknot Volgograd in March, a majority of Volgograd residents surveyed responded negatively to the question of whether the sculpture looked better after its restoration, with some calling on those who worked on the project to "restore it themselves, with their own money". An assessment of the reliability and safety of the structure was planned to be conducted in 2023. As of 2024, the dark spots on the statue were still noticeable.
The Motherland Calls is featured on the coat of arms and flag of Volgograd Oblast. Postage stamps and postcards depicting the sculpture were issued in the Soviet Union for the 20th anniversary of the founding of the International Federation of Resistance Fighters in 1971 and the 30th anniversary of the Battle of Stalingrad in 1973; a postcard with the statue was issued in Russia to commemorate the 60th anniversary of the battle in 2002. The sculpture also appears on a commemorative 100-ruble coin issued by the Central Bank of Russia in 2013, and a 3-ruble coin issued in 2015. There is a replica of the statue in the city of Manzhouli in Inner Mongolia, China, near the border between Russia and China.
A consistent feature of the border between Gibraltar and Spain, then and now, are the endless and pointless queues of cars and pedestrians caused by Spanish officials. Often for political reasons alone.
© DM Parody 1987
Carlo Crivelli (1430, 1494) - nationalgallery.org.uk - www.flickr.com/photos/39713999@N04/3653147063/in/set-7215...
A consistent feature of the border between Gibraltar and Spain, then and now, are the endless and pointless queues of cars and pedestrians caused by Spanish officials. Often for political reasons alone.
©: DM Parody 1987
Consistent with the creation story that begins Genesis 2:5, an angel directs Adam and Eve to leave the Garden.
Detail from a larger sketch by Gustave Dore.
He consistently ranks in the Forbes list of the world's wealthiest people. He's one of the best-known entrepreneurs of the personal computer revolution. He is also the second-most generous philanthropist in America, having given over $28 billion to charity. He's Bill Gates and here are his Top
kailittler.over-blog.com/2015/08/bill-gates-s-top-10-rule...