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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The G.91Y was an increased-performance version of the Fiat G.91 funded by the Italian government. Based on the G.91T two-seat trainer variant, the single Bristol Orpheus turbojet engine of this aircraft was replaced by two afterburning General Electric J85 turbojets which increased thrust by 60% over the single-engine variant. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats. The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being license-manufactured in Italy.
Flight testing of three pre-production aircraft was successful, with one aircraft reaching a maximum speed of Mach 0.98. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly.
An initial order of 55 aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered. In fact, the development of the new G.91Y was quite long, and the first order was for about 20 pre-series examples that followed the two prototypes. The first pre-series 'Yankee' (the nickname of the new aircraft) flew in July 1968.
AMI (Italian Air Force) placed orders for two batches, 35 fighters followed by another 20, later cut to ten. The last one was delivered around mid 1976, so the total was two prototypes, 20 pre-series and 45 series aircraft. No immediate export success followed, though, and the Italian G.91Ys’ service lasted until the early '90s as attack/recce machines, both over ground and sea, until the AMX replaced them until 1994.
However, upon retirement some G.91Ys were still in good condition and the airframes had still some considerable flight hours left, so that about thirty revamped aircraft were put up for sale from 1992 onwards. At the same time, Poland was undergoing a dramatic political change. After the dissolution of the Soviet Union the Eastern European country immediately turned its political attention westward, including the prospects of joining NATO. The withdrawal of Russian forces based in Poland and partly obsolete military equipment of the Polish forces themselves led to a procurement process from 1991 onwards, which, among others, included a replacement for the Polish MiG-17 (domestic Lim-5, Lim-6 and Lim-6bis types), which had been operated by both Polish air force and navy since the late Sixties, primarily as fighter bombers in their late career, but also for reconnaissance tasks.
The G.91Y appeared, even though a vintage design, to be a suitable replacement option, since its performance envelope and the equipment outfit with three cameras in the nose made it a perfect package – and the price tag was not big, either. Especially the Polish Navy showed much interest, and after 10 months of negotiations Poland eventually bought 22 G.91Y from Italy, plus five G.91T two-seaters for conversion training, which were delivered between June 1993 and April 1994.
For the new operator the machines only underwent minor modifications. The biggest change was the addition of wirings and avionics for typical Polish Air Force ordnance, like indigenous MARS-2 pods for 16 unguided 57mm S-5 missiles, iron bombs of Russian origin of up to 500 kg (1.100 lb) caliber, SUU-23-2 gun pods as well as R-3 and R-60 missiles (which were very similar to the Western AIM-9 Sidewinder and actually date back to re-engineered specimen obtained by the USSR during the Korea war!). All machines were concentrated at Gdynia-Babie Doły in a newly founded, dedicated fighter bomber of the 1 Naval Aviation Squadron, which also operated MiG-21 fighters and PZL Iskra trainers. The Polish G.91Ys, nicknamed “Polski Fiat” by their crews (due to their compact size and overall simplicity, in reminiscence of the very popular, locally license-built Fiat 126), not only replaced the vintage MiG-17 types and some Polish Navy MiG-21 fighters, but also the handful of MiG-15UTI trainer veterans which were still used by the Polish Navy for observation duties over the Baltic Sea.
When Poland joined NATO on 12 March 1999, the G.91Ys (18 were still in service, plus all five trainers) received another major overhaul, a new low-visibility paint scheme, and they were updated with avionics that ensured inter-operability with other NATO forces, e .g. a GPS positioning sensor in a small, dorsal hump fairing. In 2006, when deliveries of 48 F-16C/D fighters to Poland started, the G.91Ys were to be retired within 12 months. But problems with the F-16s’ operability kept the G.91Y fleet active until 2011, when all aircraft were grounded and quickly scrapped.
General characteristics:
Crew: one
Length: 11.67 m (38 ft 3.5 in)
Wingspan: 9.01 m (29 ft 6.5 in)
Height: 4.43 m (14 ft 6.3 in)
Wing area: 18.13 m² (195.149 ft²)
Empty weight: 3,900 kg (8,598 lb)
Loaded weight: 7,800 kg (17,196 lb)
Max. takeoff weight: 8,700 kg (19,180 lb)
Powerplant:
2× General Electric J85-GE-13A turbojets, 18.15 kN (4,080 lbf) each
Performance:
Maximum speed: 1,110 km/h (600 kn, 690 mph, Mach 0.95) at 10,000 m (33,000 ft)
Range: 1,150 km (621 nmi, 715 mi)
Max. ferry range with drop tanks: 3,400 km (2,110 mls)
Service ceiling: 12,500 m (41,000 ft)
Rate of climb: 86.36 m/s (17,000 ft/min)
Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)
Thrust/weight: 0.47 at maximum loading
Armament:
2× 30 mm (1.18 in) DEFA cannons with 120 RPG
4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)
The kit and its assembly:
This whiffy Yankee Gina was inspired by a profile that had popped up during WWW picture search a while ago. Tracking it back, I found it to be artwork created and posted at DeviantArt by user “Jeremak-J”, depicting a G.91Y in polish markings and sporting a two-tone grey camouflage with light blue undersides and a medium waterline. I found the idea bizarre, but attractive, and, after some research, I found a small historic slot that might have made this “combo” possible.
When I recently delved through my (growing…) kit pile I came across a Matchbox G.91Y in a squashed box and with a cracked canopy – and decided to use that kit for a personal Polish variant.
The Matchbox G.91Y bears light and shadow galore. While it is IIRC the only IP kit of this aircraft, it comes with some problem areas. The fit of any major kit component is mediocre and the cockpit tub with an integral seat-thing is …unique. But the overall shape is IMHO quite good – a typical, simple Matchbox kit with a mix of (very fine) raised and engraved panel lines.
The OOB canopy could not be saved, but I was lucky to find a replacement part in the spares box – probably left over from the first G.91Y I built in the early Eighties. While the donor part had to be stripped from paint and was quite yellowed from age, it saved the kit.
It was built almost OOB, since major changes would not make sense in the context of my background story of a cheap 2nd hand purchase for an air force on a lean budget. I just added some details to the cockpit and changed the ordnance, using missile pods and iron bombs of Soviet origin (from a Kangnam/Revell Yak-38).
The exhausts were drilled open, because OOB these are just blank covers, only 0.5 mm deep! Inside, some afterburners were simulated (actually main wheels from an Arii 1:100 VF-1).
The flaps were lowered and extended, which is easy to realize on this kit.
The clumsy, molded guns were cut away, to be later replaced with free-standing, hollow steel needles.
In order to add some more exterior detail I also scratched the thin protector frames around the nozzles with thin wire.
Since the replacement canopy looked quite old and brittle, I did not dare cutting the clear part in two, so that the cockpit remained closed, despite the effort put into the interior.
A personal extra is the pair of chaff/flare dispensers on the rear fuselage, reminiscent of Su-22 installations.
Painting and markings:
The inspiring profile was nice, but I found it to be a bit fishy. The depicted tactical code format would IMHO not be plausible for the aircraft’s intended era, and roundels on the fuselage flanks would also long have gone in the Nineties. Therefore, I rather looked at real world benchmarks from the appropriate time frame for my Polish Gina’s livery, even though I wanted to stay true to the artist’s original concept, too.
One direction to add more plausibility was the scheme that Polish Su-22 fighter bombers received during their MLU, changing the typical tactical camouflage in up to four hues of green and brown into a much more subdued two tone grey livery with lighter, bluish-grey undersides, combined with toned-down markings like tactical codes in white outlines only. Some late MiG-21s also received this type of livery, and at least one Polish Fishbed instructional airframe received white low-viz national insignia.
For the paint scheme itself I used the MiG-21 pattern as benchmark (found in the Planes & Pilots MiG-21 book) and adapted it to the G.91Y as good as possible. The tones were a little difficult to define – some painting instructions recommend FS 36118 (US Gunship Grey) for the dark upper grey tone, but this is IMHO much too murky. Esp. on the Su-22s, the two upper greys show only little contrast, and the lower grey does not stand out much against the upper tones, either. On the other side, I found a picture of a real-life MiG-21U trainer in the new grey scheme, and the contrast between the grey on the upper surfaces appeared much stronger, with the light grey even having a brownish hue. Hmpf.
As a compromise I settled for FS 36173 (F-15E Dark Grey) and 36414 (Flint Grey). For the undersides I went for FS 35414 (Blue Green), which comes close to the typical Soviet underside blue, but it is brighter.
After basic painting, the kit received a light black ink wash and subtle post-shading, mostly in order to emphasize single panels, less for a true weathering effect.
The cockpit was painted in Dark Gull Grey (Humbrol 140), with a light blue dashboard and a black ejection seat. The OOB pilot was used and received an olive drab suit with a light grey helmet, modern and toned down like the aircraft itself. The landing gear as well as the air intake interior were painted in different shades of aluminum.
The decals were, as so often, puzzled together from various sources. The interesting, white-only Polish roundels come from a Mistercraft MiG-21. I also added them to the upper wing surfaces – this is AFAIK not correct, but without them I found the model to look rather bleak. Under the wings, full color insignia were used, though. The English language “Navy” markings on the fuselage might appear odd, but late MiG-21s in Polish Navy service actually had this operator designation added to their spines!
The typical, tactical four-digit code consists of markings for Italian Tornados, taken from two different Italeri sheets. The squadron emblem on the fin came from a Mistercraft Su-22, IIRC.
Most stencils were taken from the OOB sheet, some of them were replaced with white alternatives, though, in order to keep a consistent overall low-viz look.
Finally the kit was sealed with matt acrylic varnish.
An interesting result. Even though this Polish Gina is purely fictional, the model looks surprisingly convincing, and the grey low-viz livery actually suits the G.91Y well.
This photo is courtesy of the late John Garnham, a British Columbia collector. The right-side front and rear prism plate modifications are shown as well as both objective decorator cap/cel housing modifications.
new modification of last model of KAMAZ dump trucks КАМАЗ-6520 - model -53 with max load 20 tons has improved classic 11.76 liter V8 diesel 740.735-400 with increased to 400 hp power and Euro-5 ecological level (Ad blue technology) as the air suspension of cabine.
The construction of the NEFAZ plant began in 1972 in Neftekamsk, Bashkiria, specifically to provide the Kamsky Automobile Plant (KAMAZ), which was under construction, with spare parts and component parts for trucks in accordance with a decree of the Council of Ministers of the USSR from December 7, 1970. Since 1977 and up to the present time NEFAZ has been the main producer of dump trucks on KAMAZ chassis. On May 19, 1982, the 100 thousandth KAMAZ-5511 dump truck was produced. In 2000 the development of a large capacity first class city bus was started and in September of the same year a prototype vehicle was produced. The first bus of the Nefaz-5299 family rolled off the assembly line on December 6, 2000. In 2001 115 buses were produced, which were delivered to Ufa, Ishimbai, Sterlitamak, Sibai, Neftekamsk, Kumertau, Beloretsk and Oktyabrsky. At present NEFAZ-5299 is the whole family of Russian buses, which are produced as high-floor (since 2000), low-floor (since 2004), full-floor (since 2011) city, suburban and long-distance buses with diesel and gas engine, as well as trolleybus (since 2008) and electric bus (since 2012) variants. The base model has undergone three significant design restyles (in 2005, 2013 and 2018). NEFAZ-5299 is one of the most popular city bus models in modern Russia: more than 10,000 copies have been produced in 15 years of production. In August 2018, the KAMAZ-6282 electric bus, a joint development of NEFAZ and KAMAZ, was released.
KRISTIN
Custom Marianne by Sheryl Designs to jpinto
MODIFICATIONS:
Remake Eyebrows
Replaced acrylic eyes
©2007-2010 Sheryl Designs Eyemech Modification
See more photos at: jpinto's Flickr
Here's a quick modification I made to the cheapo umbrella bracket from Ebay.
To make sure the flash was safe, I added a small blob of Araldite at the ends of the hotshoe plate. this would stop the flash sliding out of the bracket if the screw had not been tightened properly. To remove the flash from the bracket now requires the screw to be undone quite some way.
Hopefully this will reduce the chance of the flash falling out. Not that it's happened yet, but this seems a sensible precaution.
This photo was lit with the ring light on half power, while the bracket was standing on foam-core. I burnt out the slight shadow in CS2.
The doc is cutting off excess plaster which pressed up into dad's arm. Dad said it was a huge relief once the doc cut it off.
A small side project for a friend, I made a minor change to the nose to give it a slightly more realistic texture.
The modifications to the frame and rear carrier for Kim's very small Cargobike are complete. It's been shortened by 15cm. Now everything goes to the powdercoater to be painted ivory white.
I add two washers to the governor. This adds some preload on the spring which retards the opening of the exhaust valves. This way i eliminate a small bog/hesitation in the powerband when using the bigger 38mm carburetor.
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. I didn't show it but the body has been painted a silver metallic that is actually a satin finish. I really wanted it gloss but I like this color for some reason. I used the color to restore my 65 Rambler dealer promo. My wife walked over with a box of the kids old 90's Matchbox and Hot Wheels cars that are pretty rough and she said maybe there are some good parts in here and there was this yellow truck box with all of the old cars. Kind of a silly side graphics but I was thinking maybe better than the stake bed.
I add two washers to the governor. This adds some preload on the spring which retards the opening of the exhaust valves. This way i eliminate a small bog/hesitation in the powerband when using the bigger 38mm carburetor. Sidenote: instead of 2x 1,5mm washer you could also use just 1x3mm. NOT for ATAC engines !!! Just on HPP.
Here's a graphic showing the basic modifications I made to the Athearn RTR SW1000 to make it a better match for the prototype in its current form.
There are still a few other minor details I could change, but these have to do with the handrails and are a major nuisance to do with the flimsy plastic Athearn uses on their handrails. The row of vertical grabs on the hood should also be moved over to go between the louvers, but I decided that was not worth changing.
Vienna Concert House (2006)
The Wiener Konzerthaus was opened in 1913. It is on the 3rd Viennese district road (Lothringerstraße) at the edge of the Inner City between Schwarzenberg Square and City Park .
Architectural History
Ludwig Baumann planned Olympion Art Show 1908, the main building Concert Hall, detail
1890 for a planned house music festivals should be considered as multi-purpose building to address a broader public than the just 200 meters away traditional Viennese Musikverein. The design by architect Ludwig Baumann for a Olympion contained several concert halls except an ice rink and a Bicycleclub. In addition, an open-air arena should offer 40,000 visitors. The skating rink and its adjacent buildings were realized in 1899 by Baumann plans, the Art Nouveau ensemble but fell in 1960 to a construction of the InterContinental Hotels Group to the victim. The Vienna Ice Skating Club is located on the then reduced by about a third place today. The popular freestyle wrestling at the Haymarket took place here.
Organised by Gustav Klimt and his friends art exhibition Vienna 1908 was held in a temporary exhibition building on the undeveloped site of the later concert hall. The Wiener Konzerthaus was finally built 1911-1913 by the Europe-wide Viennese theater architects Ferdinand Fellner and Hermann Helmer Younger (Office Fellner & Helmer ) in collaboration with Ludwig Baumann.
The theme of the concert hall was:
A facility for the care of fine music, a collection of artistic aspirations, a home for music and a house for Vienna.
On 19 October 1913 the Concert Hall in the presence of Emperor Franz Joseph I with a gala concert of the Vienna Concert Society was opened (now the Vienna Symphony Orchestra ). Richard Strauss composed this be Festive Prelude Op 61. Was combined with this modern work Beethoven's 9th Symphony - the juxtaposition of tradition and modernity should be so much in the first concert of the house.
The disintegration of Austria-Hungary brought tremendous social upheaval and financial crises - and thus flexibility and versatility was also necessary for lack of money. In addition to classical repertoire, there were in the 1920s and 1930s, important world premieres (including Arnold Schoenberg and Erich Wolfgang Korngold ), concerts with jazz and pop songs, speeches from science to spiritualism and poetry readings (including Karl Kraus ). Dance and ballroom events, some large conferences and world championships for boxing and fencing completed the program.
After the annexation of Austria to the German Reich in 1938, the program for impoverished "non- degenerate entertainment operation ", to many artists remained only the emigration.
After 1945, the concert hall also had the secondary task , " prop up " the bruised Austrian self-confidence in a musical way. In addition to the standard repertoire of classical and romantic and the Viennese Waltz , there were still premieres (eg Schoenberg's oratorio The Jacob's Ladder 1961) and international jazz and pop concerts. From May 1946 spaces for recording studios and administration at the German and in Vienna living music producer Gerhard Mendelson were rented, who is considered one of the most important pop producers in Austria in the postwar period.
After several modifications that changed the original Art Nouveau decoration slightly , the house was restored from 1972 to 1975 to the only slightly altered original plans. From 1998 to 2001 the house was renovated by architect Hans Puchhammer and expanded to include a new concert hall (New Hall) .
From 1989 to 2002 the Vienna Kathreintanz also took place in the concert hall .
Building
Saw the concert at the House of Lorraine Street (Lothringerstraße), the Schwarzenbergplatz
The floor plan approximately 70 x 40 meters large concert hall with the main entrance at the Lothringerstraße and other inputs in the Lisztstraße includes Haymarket (Heumarkt) since the opening three concert halls:
Large hall with 1865 seats
Mozart Hall with 704 seats
Schubert Hall with 366 seats
The new hall (with 400 seats) was not established until the general renovation of 1998 to 2002. The new hall was renamed at the start of the 2009/2010 season in Berio-Saal.
On the home front, the right and left of the entrance, is the inscription
Honor your German Masters, then you are storing good spirits.
Here is a quote from the final chorus for the opera Die Meistersinger von Nürnberg by Richard Wagner.
In all rooms the same time can take place, since they do not affect each other acoustically different concerts.
Inside stands in the foyer of the original model created in 1878 by Kaspar von Zumbusch Beethoven Monument, which is situated opposite the Concert Hall at the Beethoven place. At the staircase there is a relief homage to Emperor Franz Joseph (1913 ) by Edmund Hellmer . Furthermore, a bust of Franz Liszt by Max Klinger to mention in 1904.
The complex of the concert hall and the building is part of the K. K Academy of Music and Dramatic Art (now the University of Music and Dramatic Art). Adjoining rooms for academic teaching purposes this part of the building also contains the Academy theater with 521 seats, which is used as a secondary stage of the Burgtheater world premieres among other modern plays.
Great Hall and Organ
The Great Hall has a capacity of 1116 visitors (ground floor) and additional 361 balconies and boxes, and 388 in the gallery. The auditorium is 750 m2 and 170 m2 of the podium. In the 1960s the hall was optimized by Heinrich Keilholz.
The organ was built in 1913 in the Great Hall of the Rieger organ (Rieger-Orgel) (Jägerndorf, Silesia) built. The instrument is located on the end wall of the big room, but has no visible Prospectus. The organ is located behind a grid and is thus hidden from the visitors. The cone-chest-116 instrument has five registers on manual and pedal works and is the largest organ in Austria. The special features of the organ counts, firstly, that the four manual divisions are swellable. In addition, the organ comprises a (swellable ) remote work with separate pedal. Stylistically, the organ is "Alsatian Organ reform " aimed at the so-called ideal of where along the lines of major instruments of Aristide Cavaillé -Coll, the strong voices are divided into two manuals. The tracker action is electro-pneumatic. For the inauguration of the instrument Strauss had the " Festive Prelude " for organ and orchestra composed. In 1982 the instrument was restored.
I Hauptwerk C
Principal 16 '
16 drone '
Principal 8 '
Gedackt 8 '
Flute hollow 8 '
Harmonique Flûte 8 '
Fugara 8 '
Gemshorn 8 '
Dulciana 8 '
Nasatquinte 51/3 '
Octave 4 '
Reed flute 4 '
Viola 4 '
Superoctave 2 '
Noise Quinte II 22 /3 '
Cornet III-V 8 '
Mixture V 22 /3 '
III cymbals 2 '
Trumpet 16 '
Trumpet 8 '
Clarino 4 '
Manual II ( swellable ) C-
Viola 16 '
Quintatön 16 '
Principal 8 '
Bourdon 8 '
Flauto Traverso 8 '
Clara Bella 8 '
Viola da Gamba 8 '
Salicional 8 '
Unda Maris 8 '
Octave 4 '
Octaviante Flûte 4 '
Gemshorn 4 '
Quintatön 4 '
Waldflöte 2 '
Sesquialtera II 22 /3 '
Progress . harm. III - V 22 /3 '
Mixture IV 22/3 '
8 'Clarinet
Krummhorn 8 '
Glockenspiel
tremulant
III . Manual ( swellable ) C-
Lovely - Gedackt 16 '
Violin Principal 8 '
Reed flute 8 '
Still Covered 8 '
Vienna Flute 8 '
Quintatön 8 '
Echo Gamba 8 '
Aeoline 8 '
Vox coelestis 8 '
Octave 4 '
Octaviante Flûte 4 '
Delicate flute 4 '
Aeolsharfe 4 '
Gemsquinte 22/3 '
Flautino 2 '
Third, 13/5 '
Larigotquinte 11/3 '
Seventh 11/7 '
Piccolo 1 '
Harmonia aetherea IV 22/3 '
Basson 16 '
Harmonique Trompette 8 '
Oboe 8 '
Vox Humana 8 '
Harmonique Clairon 4 '
tremulant
IV solo work C
16 drone '
Clarinophon 8 '
Double - Gedackt 8 '
Concert Flute 8 '
Solo Gamba 8 '
Fifth tube 51/3 '
Octave 4 '
Solo Flute 4 '
Quinte 22/3 '
Superoctave 2 '
Wholesale Cornett III - V 22 /3 '
Tuba mirabilis 8 '
Ophicleide 8 '
Harmonique Clairon 4 '
V Fernwerk ( swellable ) C-
Delicately Gedackt 16 '
Horn 8 'Principal
Lovely - Gedackt 8 '
Reed flute 8 '
Viola d' amore 8 '
Vox Angelica 8 '
Gemshorn 4 '
Flute 4 '
Piccolo 2 '
Mixture IV 22/3 '
Shawm 8 '
Vox Humana 8 '
tremulant
C- pedal
Principalbaß 32 '
Principalbaß 16 '
Violon 16 '
Subbass 16 '
Echobaß 16 '
Salicetbaß 16 '
Quintbaß 102/3 '
Octavbass 8 '
Gedacktbaß 8 '
Bass flute 8 '
Cello 8 '
Dulcianbaß 8 '
Octave 4 '
Flauto 4 '
Campana III 102/3 '
Mixture IV 51/3 '
Bombard 32 '
Trombone 16 '
Bassoon 16 '
Trumpet 8 '
Basset 8 '
Clarino 4 '
C- pedal distance
Subbass 16 '
Octavbass 8 '
Pairing :
Normal coupling : II / I, III / I , IV / I , V / I, P / I , III / II , IV / II , V / II, I / II , IV / III , V / P, I / P, II / P III / P IV / P
Superoktavkoppeln : II / I, III / I , IV / I , V / I , III / I , IV / I , III / II , IV / II , IV , V, I / P , IV / P.
Suboktavkoppeln : III / II .
Game Help: Free combinations (5 banks by 1000 = 5000 general memories ), storage rack (roll on, Pair of roller coupling to IV of roller, Manual 16 ' down, Reeds off (as buttons ), the main pedal off, remote pedal off (as flip switches ), Einzelzungenabsteller ), Tutti (push button), principal pedal down, Fernwerk pedal from, sills V in expression pedal II coupled (toggle button), kicks, interact with flip switches (switching I-IV of P, normal couplers II-IV to I, roll off ) Registercrescendo (roller for the organist, coupled with a second roller for the registrant ) .
Program
The concert hall is the main venue of the Vienna Symphony , the Vienna Chamber Orchestra and the Vienna Sound Forum. Since 1913 the Vienna Academy of Music has its permanent home of the Konzerthaus. In separate events at the Wiener Konzerthaus other international orchestras, soloists and chamber ensembles in addition to the Vienna Philharmonic regular guest. In addition, there are also numerous other events organizer at the Konzerthaus. So for example the Bonbon Ball, but also concerts in jazz and world music.
The program of the Vienna Konzerthaus also includes some festivals , such as
the Early Music Festival in January resonances
the Vienna Spring Festival
the International Music Festival
Wien Modern in autumn
Between 2003 and 2006, gave the series with the latest music generator .
From 2008, a year early in the season with a festival held focus " on a particular region or cultural community " [2 ] . The first event in September 2008, the two-day festival Spot On : Yiddishkeit , in which a cross section is presented by the diversity of Jewish music creation.
de.wikipedia.org/wiki/Wiener_Konzerthaus
AK-47 with grip and laser sight along with thermal scope and mussel flash plus metal slash aluminum parts instead of wood.
This model is actually the basic 6-Pointed Star A. Changing the gender of the initial folds, the points of the star can be made to display display 2 colours. [colour and white if Kami is used]. The folds can be repeated for the back but for this model, on the back, I have added some modifications on the points which is not included in my diagrams.
This series was created in 1988 and published in Modular Origami [self-publication]
The model is assembled from 6 modules folded from 7.5cm square Duo-coloured papers. Numerous patterns can be generated by adding simple folds to certain parts of the module.
Diagrams are posted in my old website - web.singnet.com.sg/~owrigami/geomet.htm [not updated]
and also at my new website, hosted by Nick Robinson. - www.nickrobinson.info/clients/owrigami/show_diagram.php?d...
I hope you enjoy folding these and perhaps make your own variations and hang them on your Christmas tree.
my newest piercing! I have my tragus pierced on my right side. I was so nervous to do this one because I had a horrible piercing experience with my tragus...it hurt SO bad being pierced and the guy literally took 40 minutes to get the ball on the hoop all the while tugging on a fresh piercing trying to get the ball on. I always loved this piercing but like I said I was nervous because it seems pretty thick but I hyped myself up for nothing, it was a pop from the needle going thru, the jewelry insertion was a pinch of pain (not bad though.) The worst part was the alcohol or whatever it was to clean it up at the end ...that stung horribly. Virtually no pain since being pierced and I absolutely love it!
Done by Phil @ Slingin' Ink in Scranton PA while visiting my bro. After my tragus experience I have only gone to two piercers: Phil, and local to me Tony @ Rock 'n Willy's. They have been piercing and perfecting their technique for YEARS and have been 100% WONDERFUL to work with.
Update: piercing was done on 9/12, it was absolutely fine looked like this for about 3-4 days. I was cleaning it twice a day with H2O spray and being careful not to touch it/bump it...after the 3rd day it swelled like crazy and just immense pain throbbed through my ear, woke me up out of my sleep. I was absolutely MISERABLE for a whole day...my ear was twice it's size with the swelling...I wanted to saw my ear off to get some relief from the pain.
I went back to my local piercer and he told me it was absolutely normal just to keep cleaning it, maybe doing actual sea salt soaks with hot water, take some ibuprofen for the pain, and if it was really as bad as I said it was to crush up an ibuprofen and make a paste with water and put it on my piercing. I immediately did a combination of all 3 when I got home and continued with the sea salt soaks a couple times a day and I'm now two days since that horrible day and it's helped a ton! The swellings better than that first day, the first day you could barely see the bottom ball. I can now see the bottom ball but my ear is still pretty swollen. Knowing the pain I had the other day with this, had I ever expected to go through anything like that I most likely wouldn't do the piercing again...hoping I can heal it up so I don't have to lose it because I do really love it.