View allAll Photos Tagged encapsulation,
Nike, Air Jordan 1 Mid SE, Men’s Size 10, Cyber Active Fuchsia, White, Black, Cyber Pink, Active Fuchsia, CZ9834-100, UPC 00194496106688, 2019, Patent Leather Pastels, Synthetic leather upper, patent leather overlays, Air Jordan "Wings" logo stamp on heel counter, Mismatched Patent Leather Nike Swooshes, black patent leather eyelet and toe overlays, Active Fuchsia collars and heel overlays, “Cyber” green lateral Swooshes, green tongue liners, black-branded tongue tags, teal green insoles, white midsole, Black rubber outsole, lace up closure, Air Jordan Wings logo on the lateral side, Encapsulated Air-Sole unit, Padded tongue with JORDAN logo, NIKE swoosh, Cushioned inner sole, Traction rubber outsole, Jumpman woven tag, NBA, released in 1985, reddealsonline, sneaker collection, redd3413
These artistic products encapsulate the old and the new. They use traditional Desná moulds and newly designed wooden moulds and they embody modern elements and ideas. The glass-maker can then conjure up an infinite combination of colors, patterns and shapes from what was just crystal and glass shards at the beginning. You will appreciate the simplicity of design and the color shades which decorate the diverse interiors.
If you are interested in purchasing any of these items, please come and visit our company shop in Desná, but you can, of course, also come across the items from the collection at a number of other shops which specialise in Czech glass.
cross section: human pancreas
magnification: 100x by phase contrast
hematoxylin eosin stain
Technical Questions:bioimagesoer@gmail.com
nhq201609150023 (09/15/2016) --- Workers monitor the encapsulation of the Soyuz MS-02 spacecraft in its fairing on Thursday, Sept. 15, 2016 at the Baikonur Cosmodrome in Kazakhstan. Expedition 49 flight engineer Shane Kimbrough of NASA, flight engineer Andrey Borisenko of Roscosmos, and Soyuz commander Sergey Ryzhikov of Roscosmos are scheduled to launch to the International Space Station aboard the Soyuz MS-02 spacecraft from the Baikonur Cosmodrome. Photo Credit: (NASA/Victor Zelentsov)
meter-diameter payload fairing in preparation for launch on a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
meter-diameter payload fairing in preparation for launch on a United Launch Alliance Atlas V rocket. Photo credit: United Launch Alliance
Sentinel-1A is encapsulated within the half-shells of the Soyuz rocket fairing. Liftoff from Europe’s spaceport in Kourou, French Guiana, is set for 3 April 2014.
Credit: ESA–B. v/d Elst
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
This cute little benign tumor presented as a 3-mm skin-colored papule on the nose of a 44-year-old man.
Because desmoplastic melanomas can look so bland, I tend to treat spindle cell lesions from sun-exposed areas with disproportionate respect and attention. In this case, I ruled out melanoma because of 1) encapsulation, 2) lack of lymphoid response, 3) no evidence of neurotropism, and 4) no junctional/epidermal component. And even after all that, I still sent it to our dermatopathologist for his opinion!
Inside the Payload Hazardous Servicing Facility at NASA's Kennedy Space Center in Florida, the Orbital ATK Cygnus pressurized cargo module has been encapsulated in the United Launch Alliance (ULA) Atlas V payload fairing. The Orbital ATK CRS-7 commercial resupply services mission to the International Space Station is scheduled to launch atop a ULA Atlas V rocket from Space Launch Complex 41 at Cape Canaveral Air Force Station targeted for March 24, 2017. Cygnus will deliver 7,600 pounds of supplies, equipment and scientific research materials to the space station. Photo credit: United Launch Alliance
NOAA’s Geostationary Operational Environmental Satellite-T (GOES-T) is secured on a work stand inside the Astrotech Space Operations facility in Titusville, Florida, on Jan. 28, 2022, as it is being prepared for encapsulation in its fairing. The fairing will protect GOES-T on its ascent into orbit.
GOES-T is scheduled to launch on March 1, 2022, atop a United Launch Alliance (ULA) Atlas V 541 rocket from Space Launch Complex 41 at Cape Canaveral Space Force Station.
GOES-T, the third satellite in NOAA’s GOES-R Series, is scheduled to launch on March 1, 2022.
The GOES-R Series is the Western Hemisphere’s most advanced weather-observing and environmental monitoring system, helping to protect the one billion people who live and work in the Americas. GOES-T will provide high-definition imagery and atmospheric measurements, real-time mapping of lightning activity, and monitoring of space weather.
NASA’s Launch Services Program based at Kennedy Space Center in Florida will launch GOES-T for NOAA.
Photo credit: NASA/Kim Shiflett
With its striking visual façade, the 1010 LaTrobe Street building, completed in 2007, encapsulates the very spirit of innovation that the Digital Harbour precinct in Melbourne's Docklands area aims to harness. But it’s also the cutting edge internal design that helps create a truly unique and distinctive building.
From an architectural perspective, the 1010 LaTrobe Street building on La Trobe Street at Digital Harbour completely embodies the digital age.
Externally, the building’s striking façade references many of the themes and visual codes of our technological era. Offset precast concrete panels and solar glazed curtain walling allude to the visual language of circuit boards, bar codes, morse codes and binary numerals.
Internally, 1010 LaTrobe Street encapsulates the spirit of contemporary workplace culture. On a large footprint of 2,000+ sq m, the building is designed around flexibility and functionality, using open-planned spaces to facilitate easy technology upgrades, rapid space reconfiguration and to enhance cross-pollenation of ideas between tenants.
Award-winning architects Ashton Raggatt McDougall, who developed the overall urban design plan for Digital Harbour, are continuing the vision for the precinct in every facet of 1010 LaTrobe Street.
“Digital Harbour is designed to encourage informal interaction and collaboration, fostering a dynamic community that develops new ideas while crossing traditional boundaries,” says Howard Raggatt, Design Architect. “The precinct comprises active facades that employ cutting edge building technologies. The vision we have for Digital Harbour is to create much more than a place to anchor in the digital world.”
For example, the on-off perimeter wall system allows maximum flexibility of fit-out. And the building adopts a new approach for technology savvy companies, incorporating 3.6m high ceilings, exposed cable trays and services that make reconfiguring of spaces and upgrading of technology a relatively simple matter that can be done over a weekend.
1010 LaTrobe Street also benefits from a generous foyer that is anchored by a ground floor café – encouraging ‘time out’ to socialise and get to know other tenants. 1010 LaTrobe Street provides an environment that nurtures research and commercial development of innovative ideas.
The orientation of 1010 LaTrobe Street allows maximum energy efficiency, incorporating glazed curtain walls used to increase ambient light, and solar water heating systems. To minimise the environmental impact, the building has been constructed of materials with low toxicity and low embodied energy. Significantly, 1010 LaTrobe Street incorporates a closed loop black water treatment system to recycle all waste water.
Ashton Raggatt McDougall Project Architect, Jesse Judd, adds: “The overall design and construction process for 1010 LaTrobe Street has been remarkably smooth. There has been a clear focus on reducing energy demands. The primary design challenge was the orientation of the building towards the west, which required us to employ a double-glazed solar controlled curtain wall.
“On the rest of the façade our approach was to add thermal mass, using an alternating precast concrete panel system and glazed curtain wall. It creates that unique optical illusion on the outside of the building known as the Munsterberg Effect, which not only looks impressive but functionally has achieved the desired results.” - From the Digital Harbour website.
McDonnell Douglas workers in the Spacecraft Assembly and Encapsulation Facility-2 (SAEF-2) are installing a shipping container around the Mars Pathfinder spacecraft/PAM-D upper stage booster assembly in preparation for transferring the Pathfinder to Launch Complex (LC)-17 on Cape Canaveral Air Station. The Pathfinder will be encased in a protective fairing before being mated to the McDonnell Douglas Delta II expendable launch vehicle that will loft it into orbit. Mars Pathfinder is slated for liftoff Dec. 2 1996 from LC-17B.
Preceding photos:
science.ksc.nasa.gov/gallery/photos/1996/low/KSC-96PC-130...
science.ksc.nasa.gov/gallery/photos/1996/low/KSC-96PC-130...
Credit: NTRS
Also:
science.ksc.nasa.gov/mars/mpfwwwimages/mpfunpack_cape.jpg
science.ksc.nasa.gov/mars/mpfwwwimages/mpfsaef2.jpg
Credit: KSC website
via WordPress bit.ly/2UHUqTD
Sound Tribe Sector 9, more commonly known as STS9, began in Atlanta in 1996 in the midst of the rise of the mid-1990s “jam band” scene, but since their inception, there hasn’t been a category that fully encapsulated just what the band was about. And even though mixing a live band sound with electronic elements has become increasingly common on the festival scene, there still isn’t a band that is quite like STS9. When meeting up with the band I asked them about how they felt about the rise in having more live elements being introduced into EDM and if they felt like they were a big part of inspiring this wave.
“It seems as such.” replies a laughing Zach. “We feel grateful. A lot of our contemporaries from Pretty Lights, Bassnectar, The Glitch Mob and I think the list kind of goes on [have spoken about the inspiration STS9 had on their sound]. There’s a new artist every day saying kind of ’We do this because our first kind of gateway into this kind of world was STS9.’ So you know we feel very grateful and blessed to be a part of a movement.”
Movement, collection, tribe. These are the words that are used to describe the band. Throughout our interview they often refer to themselves as being a smaller part of a larger picture. The vision of STS9 and the way they see themselves and speak about their place in the world around them is very humble. Part of what has made this band almost impossible to categorize and definitely impossible to replicate is the band’s core belief of never categorizing themselves. While preparing for my interview, I came across the very first STS9 interview published. The interview (also with Zach and Jeffrey) was conducted by Bob Wiely after a show on Feb 26, 2000 and published by Surrender To The Flow magazine.
Bob Wiely: How do you feel about the term “Organic Techno” being used to describe your music?
Zach: I don’t think anything should really be labeled. I think it’s a good term in the fact that its not what we set out to do… but its kinda what has cosmically happened just through playing music and listening to the connection of it. I guess kinda organic techno, but I don’t know if I would use techno.
Jeffrey: It’s not bad, it doesn’t hurt me. It’s so much more then that… that’s just an element of it.
Bob Wiely: What would you label it?
Jeffrey: That’s hard, it’s different every night. Its true fusion I guess, without too many tags. It’s just whatever comes.
Zach: I have a hard time describing it. How would you describe it? It’s almost like classical music in the fact that we have songs that are 35 minutes long, like a lot of other “jam bands” and the fact that they are not so much jams but movements, understand? For example tonight we opened up with the second part of the last song. Everything is really interchangeable, like our song frequency. Labeling just turns me off. We read articles and people say just that “fusion, techno, blah blah blah¦” and we’ve not yet come up with what it is and can be instead of using other genres not that we are creating our own it’s like you have to go see it instead of just reading about it. We’re still working on our label I guess.
During our interview, as we began speaking about how their sound has been perceived and labeled over the years. Zach shared what he felt was the best description of their music ever told to him in an interview, “We still use this one to this day, if we’re talking retro. One of my favorite quotes from an interview was when an interviewer tried to explain [our sound] ‘Going to see STS9 is like driving down the road at a hundred miles an hour with your hair caught on fire.’ I can get that.”
And even though electronic music fans (perhaps more than fans of any other style of music) take pride in categorizing the music they are listening too and forming their own communities based on which of the genres they listen too, STS9 seems to be the exception to the rule.
Music isn’t the only medium in which STS9 has pushed the use of the available technology as it has evolved over the years. When it comes to the internet, the concept of social media and using technology to interact with their fans and help build connections amongst them STS9 was also way ahead of their time. Way before artist began using Facebook groups to create interactive fan clubs and even before MySpace was founded in 2003, STS9 used their website as a primitive social media platform. As early as 2000, STS9 fans could go to the band’s official webpage to connect with the tribe in a forum-like section of the webpage called: the Lowdown.
During my interview with Zach and Jeffrey, I set the intention of really reminding the band about the early days, get an idea of how they have changed throughout the years, and try to get a sneak-peak into how they may evolve in the future. Looking at the early editions of their website to now, one of the biggest changes seems to have come in the way the band presents itself to the world. As ahead of their time the band was, first glance of STS9’s website presents a lot of information and ideas that are fascinating and interesting, but ultimately distracting from the site’s role in promoting the band’s music.
Early on in the band’s career, STS9 was steadfast in presenting themselves as an artistic collective at the forefront of musical experimentation. The Mayan culture played a heavy part in the creation of this atmosphere. According to early editions of STS9’s website, the ancient Mayans thrived in the ninth sector of 13 in the middle of the Central American rain forest. While Europe was in the Dark Ages, the Mayan culture mapped the stars and calibrated harmonic frequencies to converge the Earth toward resonance. And it was this idea of harmonic frequencies that inspired Sound Tribe Sector 9.
A visit to the band’s official site today is a very different experience than it was in 2000. There are no references to the Mayan culture and perhaps more sadly, the Lowdown has been removed as well. When I asked Zach and Jeffrey about the links on their old site and if the Mayan’s still had a presence in their life and music, Zach and Jeffrey were both quick to jump in on the somewhat touchy subject with Zach saying “I mean yeah,” as Jeffrey simultaneously said “In its own way.” Zach and Jeffrey both took turns sharing their thoughts on the real influence the Mayan philosophy had on the band, and why it has taken a smaller role as time has passed. Jeffrey said, “I think it became less cultural and more planetary. [In the beginning] it was kind of our gateway into just trying to understand [our place in the world]. That influence was a part of our youth, and expression, and is still part of us. Just not as overt.”
Zach adds, “Yeah, I think it [the Mayan influences to their site and music] kind of originated because of the lunar calendar. The concept, not even really a concept, but the feeling [of the Mayan culture] was that idea of being more harmonious with planet Earth. And just to expand on what Jeffrey was saying, at that time in our youth we were kind of bombarded with ‘time is money.’ From management to record labels, [Every conversation was] ‘money, money, money.’ And the concept of harmonious ‘time is art’ and ‘use your time just to make art, be creative, and be authentic in that way.’ I think that that was the biggest takeaway and some of the resonance that we had with that whole thing.”
Jeffrey continuing his thought adds, “And being introduced to Jose Arguelles [founder of Planet Art Network and the Foundation for the Law of Time], getting to know him, and to have his samples in Artifact. So to have that connection was great … Honest answer, it [the Mayan influences] became such a big thing about what people are talking about. I think for us it became ‘Time is Art’ and that was the big takeaway. We spend our time creating. And [while that] was a big inspiration, to be so labeled and with a cultural thing… I think we just kind of took that to a more personal level. We want people talking about the music, and when you’re an original authentic band it’s hard for people to understand.” In order to clarify things, the band has made a concerted effort to make sure the music is the main focus: of the official website, the live shows, and even the conversation. “We promote the Tribe as art – that’s the vision,” Zach says. “We’re more inspired than we’ve ever been. It’s like a river, and when it flow’s it really flows. And right now we’re flowing.”
One thing hasn’t changed over the band’s 20 years of making and performing music, and that is the emphasis on not only creating art but creating art as a family. As a tribe. The band held their first ever festival, Wave Spell Live, in the small northern California town of Belden last August. During a solo DJ session, Zach brought a very special surprise guest artist to the stage. His daughter, Isis.
When asked if she would be joining them in the future Zach gave the enthusiastic answer, “Absolutely! Yeah. We have a lot of plans. A lot of plans. A lot of fun things. My daughter is fierce. It was actually her idea. I’m just the vessel for her right. To support her in her aspirations. It’s insane. She’s six. And the reason she didn’t come down [for the Los Angeles show] is she’s auditioning for Alice in Wonderland. She has a voice lesson two times a week, and then she’s in this program called All About Theater and she wants to be the Queen of Hearts. That’s her goal. She’s fierce. We’re trying to raise a strong child.”
View this post on Instagram
#WHOLESOME Isis Velmer stealing the show and hearts of everyone at Wave Spell Live. #STS9
A post shared by Jim Shepherd (@y2jim) on Aug 21, 2018 at 6:43pm PDT
//www.instagram.com/embed.js
In spite of the exciting prospects on bringing his little girl into the STS9 fold, Zach isn’t unaware of the influence festival culture has and foresees a time when her presence in the scene probably won’t always be as innocent as jumping onstage and jamming with her father’s band. During the interview, Zach was laughing and began to cover his eyes with his hands as if to block out a future mental image when saying “She’s gonna be the 18-year-old at the festivals. Naked, hula hooping and someone’s going to be saying ‘she has a father’. And I’ll have to say ‘that’s me.’” And while Zach may not be looking forward to that particular scenario, the main thing I took away from the anecdote was that STS9 plans to stick around, creating art, and sharing the vision of the tribe for many years to come.
This article was first published on Your EDM. Source: Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future
Sound check: Zach Velmer and Jeffrey Lerner from STS9 talk about the band’s past, present, and future published first on soundwizreview.tumblr.com/
my fellow XCeption member Chris challenged us all to encapsulate ourselves in six books - here goes:
Ghosts of Ottawa - Ottawa is my hometown having been born there and lived my life there until the age of 19 when I ventured off to such "exotic places" as Petawawa Ontario, London Ontario, Toronto Ontario, Edmonton Alberta and the back to Ottawa. We all have ghosts in our past that perhaps we may want to stay there but those ghosts make us who we are I like to confront my ghosts or at least sit down and have a beer with them from time to time :)
The Royal Regiment of Artillery Ottawa 1855 - 1952 -- What can I say about this. I was the first female army cadet in the Ottawa area with the Royal Canadian Artillery in Ottawa at the age of 13 in 1969. I answered an ad at school advertising for office help volunteer and as I took typing as an "easy credit" and was doing lousy at it (damn you manual typewriter) I figured it wouldn't hurt. My mother said "you are going to come home in a uniform" and with her always threatening me that when I was of age she would "put me in the army" I gave her the rolled eyes "ya ya" look...that night, with itchy wool battledress (a boys uniform cause there were no girls in cadets before that), a kit bag full of stuff I would have to polish (boots and brass) I came home. "ya ya" as I slinked up to my room with my new kit going past my mother who was beaming with her "I told you so look" (but she never said it).
Over the years I was known as "Sam" as I couldn't be insured as Sharon when we went out on exercise. I spent 6 years as "Sam". I ended up going to the Senate with a few of my female cadets (our little "troop" grew) as Senator Raymond Belisle's guests for lunch and speaking with Senators when they were looking to pass a bill to make females "legal" at the age of 17 standing up and telling them "I am not a girl guide I am an Army Cadet" and was quite proud of it. The year I was commissioned as an Officer with the Canadian Armed Forces (Reserve) girls could finally be insured and recognized as cadets.
I went on to serve my country as an officer from 1974 until I was honorably released in 2007. Those years as a cadet were the best of my teen years, I met friends that I still have today and I enjoyed every minute of it. The cadet program helped make me who I am today. I could go on and on but there is not enough room on the page and I am tired so we will leave it at that.
Cuba -- GP and I took our very first vacation to an exotic far away land without our kids some 22 years after we were married to Cuba. We had the time of our lives so much so we are going back next month and God willing will continue to travel there
The Miniature Pinscher - Maximus Meridius ... need I say more :-)
Awkward Family Photos -- I do pull out my camera and am most comfortable with "people shots" being family shots ... of course...they can be awkward family photos especially when someone else has a camera and starts photographing me...those are awkward shots indeed.
EOS7D -- Well what can I say....that's why we are all here...because photography is just something we like to do.
As the beautiful hand stitched DSLR in a frame (it was the perfect gift as it was made with love) that my daughter gave me for Christmas says "weapon of choice" ... and considering at one time my "weapon of choice" would have been an FN, 22 or a 303 rifle (from my cadet days) the 7D has now fast become "my weapon of choice".
Well there you have it...now you know a bit more about Gangie just by these six book titles :)
Chassis n° 1693
Motor n° 555
'Bugattis encapsulate concepts of engineering which, once seen, change your ideas radically and definitively. Drive them, and you realise that each car is form and engineering in equilibrium, and a work of art.' – William Stobbs, Les Grandes Routières.
By the early 1930s Ettore Bugatti had established an unrivalled reputation for building cars with outstanding performance on road or track; the world's greatest racing drivers enjoying countless successes aboard the Molsheim factory's products and often choosing them for their everyday transport.
The original Type 13 'Brescia' was developed from the first Bugatti to be built at Molsheim - the short-wheelbase Type 13 of 1910. Longer wheelbase Type 22 and Type 23 models were made, both of which used the single-overhead-camshaft, 16-valve, long-stroke engine that Ettore Bugatti had designed in 1914, and were built alongside 8-valve 'Petit Pur Sang' versions. First seen in 1919, the 16-valve car won at Le Mans in 1920 and took the name 'Brescia' following the factory's first four places at the 1921 Italian Grand Prix for Voiturettes, held at the eponymous racetrack in Lombardy. Some 2,000 Brescias were built between 1914 and 1926 with engine capacities of 1,368, 1,453 and 1,496cc.
The Bugatti Brescia was one of the outstanding small sports cars of its day, being able to cruise comfortably at around 100-110km/h while delivering surprisingly good fuel economy; indeed, a quarter-century later there were few 1½-litre cars capable of matching its performance.
The Bugatti Type 27 Brescia, as seen here, was essentially the same as the preceding Type 22/23, but with a more powerful 16-valve, 1,496cc engine producing 50bhp, some 10 horsepower more than before. This particular car was delivered to Le Claux in France on 15th May 1923 with the registration '3624 M3'. On June 13th 1924, Joseph Barrel of La Seyne sur Mer bought the Bugatti, which one week later was registered to one M Cordesse of 363 Rue Paradis in Marseille.
Between January 1925 and October 1926, the Brescia had a further five owners: Raoul Peralai of 98 Boulevard de la Madeleine in Marseille; Raymond Leon, Boulevard Roi Rene, Aix en Provence; Alphonse Pogalatti, 6 Cours Gambetta, Aix en Provence; Robert Mallet, Martigues; and Olivier Fernand, 6 Boulevard de la Republique in Salon de Provence.
Towards the end of the 1920s, the car was - reputedly - used for a hold-up in Le Bois de Boulogne, Paris. Apparently, the owner, together with an accomplice, would cruise Le Bois de Boulogne looking for potential lady victims. When a target was spotted, the accomplice would jump out of the car, grab the unfortunate woman's handbag, and jump in the back. Swift and nimble, the Brescia would have been the ideal getaway car for negotiating the dense Parisian traffic. From 13th June 1930, the registration was '8106 RB 9'.
In 1934, the Brescia was purchased by Louis François Arfeuille, maitre d'hôtel at Fouquets restaurant on the Champs Élysées, whose name is recorded on a plate fixed to the car. For the next 25 years, the Bugatti remained off the road in barn storage at Saint-Martial-le-Vieux in central France, concealed beneath layers of straw and earth. Reregistered as '457 00 AA 23', it was purchased in 1959 by Rene Moeuf and brought back to working condition that same year (see letter on file). Bugatti collectors, the Schlumpf brothers, went to see Moeuf and offered to buy the car for their Mulhouse collection for 800,000 French francs. The Schlumpfs' letter is available, and we are advised that there are three photographs of this car in the Bugatti Trust archive at Prescott.
Rene Moeuf must have declined their offer, for the car's next owner was Bruno Dalmas, who bought it in 1969 and kept it until 1977. On 12th March '77, Bruno Dalmas sold the car for 25,000 French francs to J P Oosterbaan of The Hague, Netherlands. The registration at this time was '457 AA 23', changing to 'AM-04-76' in the Netherlands. Mr Oosterbaan had restored two Morettis, and to pay the bill for the coachwork, he gave the Brescia to the coachbuilder, who sold it to Hugo Modderman at the beginning of 2006. Mr Modderman then had the Bugatti mechanically restored at Ventoux Moteurs Ingénierie (Laurent Rondoni) in Carpentras. This most fastidious restoration involved completely rebuilding engine, gearbox, brakes, coachwork, etc. Related invoices are on file and the car also comes with a Monegasque Carte Grise. While in the vendor's possession, the Brescia has successfully participated in numerous events run by the Dutch Bugatti Club (BCN), and in 2014 won the Preservation Class at the Schloss Bensberg Concours d'Élégance. A wonderful opportunity to acquire a well and original documented Brescia.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Sold for € 506.000
Estimated : € 380.000 - 540.000
Parijs - Paris
Frankrijk - France
February 2017
Encapsulated in its payload fairing, NASA's Interior Exploration using Seismic Investigations, Geodesy and Heat Transport, or InSight, Mars lander is transported to Space Launch Complex 3 at Vandenberg Air Force Base in California. InSight will be the first mission to look deep beneath the Martian surface. It will study the planet's interior by measuring its heat output and listen for marsquakes. The spacecraft will use the seismic waves generated by marsquakes to develop a map of the planet’s deep interior. The resulting insight into Mars’ formation will provide a better understanding of how other rocky planets, including Earth, were created. InSight is scheduled for liftoff May 5, 2018.
Photo credit: USAF 30th Space Wing/Daniel Herrera
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
Fonte Official Skindred web page :
The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.
Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.
With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.
“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”
“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”
In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.
“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”
On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.
“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”
While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.
“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”
“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”
Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…
“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”
“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”
cross section: human pancreas
magnification: 100x
hematoxylin eosin stain
Technical Questions:bioimagesoer@gmail.com