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I got bored of proportional covariance matrices, so I made my first triptych with my friend the 50mm
John will be 90 years old on his next birthday and is proof of what becomes a man to have a great and beautiful wife, like Jeanie Telford.
As the Cotton Spunlace Non-woven Fabrics, were Successfully Developed, the Mission of "let Medical Products Close to Our Life, let Purcotton Take Care of Our Health",was Put Forward to Focues on People's Daily Life.
Winner Soft Dry Wipe, Made Of Cotton Only, 600 Count Unscented Cotton Tissues For Sensitive Skin,100% Pure Cotton Tissue
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Regular price
$32.98
Sale price
$25.00
Vendor : Winner
Product Type : Pure Cotton Dry Wipes
Sku : WM-308003-F1
Pack
6Pack （600pcs) Hot Sale 6Pack （600pcs) Small Size For Baby 6Pack （480pcs) 25% Thicker 1 box (100pcs ) Hot Sale 1 box (100pcs ) 25% Thicker 1 box (80pcs ) Pearl Pattern
Winner Cotton Tissue Specifications:
Brand: Winner
Color: White
Material: Cotton
Item Dimensions(L x W x H): 8.1 x 4.7 x 11.8 inches
Item Weight: 1.87 Pounds
Winner Dry Cotton Tissue Features:
SOFT DRY WIPE - This dry cotton tissue is made out of Cotton only, it's different than paper tissue but can act as paper tissue, except this cotton dry tissue is not flushable. Each wipe is the same size as facial tissue, but it's twice thicker and stronger.
CHEMICAL-FREE AND UNSCENTED PURE COTTON TISSUE - 100% naturally biodegradable, non-chemical fiber. Safe and healthy for baby's sensitive skin.
DRY AND WET USE TISSUE - Absorbent like a small towel but as convenient as a tissue pack. Soak water to become handmade water wet wipes, avoid the harsh chemicals from normal wet wipes. Won't tear up after soaking into Water, won't leave broken tissue residue. Because of its dry and wet use character, The function of 1 pcs cotton tissue is nearly equal to 3 pcs traditional paper tissue, cotton tissue is soft and unbroken.
PORTABLE SOFT BABY DRY WIPE - Clean baby's mess after a meal, clean baby’s teeth, eyes, nipple, and bottom, ideal for baby soft sensitive skincare. Handy size package, portable for a diaper bag, vacation and camping, and travel. Size: 7.8’’ x 7.8’’. 100 sheets per pack, 6 Packs. Total 600 sheets.
Multi-use paper towel, very cloth-like. Can be used as facial tissue, baby dry wipe, Baby wipes, disposable hand towel, softer and gentler for babies and adult’s sensitive skin, baby nursery, personal care, skincare routine, use to wipe face and remove makeup, incontinence care, etc.
What is cotton tissue?
Winner cotton tissue is made of 100% cotton non-woven fabric, soft like baby skin, highly absorbent, no easy to become small pieces, significantly reduce energy and carbon emissions with its patented spun lace nonwoven technique.
It's the perfect alternative to paper towels, cotton pads, face towels, and other products.
*Winner and Dimora are the sub-brand under Winner Medical.
Why Choose Winner Cotton Tissue?
Medical background
With 28 years of experience in medical manufacturing and products high-quality healthy cotton Products in a clean high standard environment, Winner Medical devotes itself to providing safe, comfortable cotton goods to meet consumers’ needs.
Dry and Wet Dual Use
Use as dry wipes to clean hands, face, runny nose, etc.
Add liquid to become wet wipe, ideal for cleaning baby’s tooth, mouth, eyes, hands, face, and diaper area.
Washable
With high tensile strength, Winner Baby Cotton Tissue can be washed 2-3 times. For example, when you use the baby cotton tissue to clean the face once, dry it and then use it for cleaning the hand next time. Don't flush it.
Chemical-free and unscented
Good care for baby’s sensitive skin
What is cotton tissue used for?
You can use this soft cotton tissue for face cleaning, kitchen cleaning, makeup removal, cleaning glasses, cleaning furniture, baby care, etc.
Used it as a disposable face wipe, disposable hand towels, and disposable butt wash for a baby.
They are soft, strong, and absorbent. Used as baby wipes. Makes a great baby wipe. Soft and durable even when wet.
Quick and clean to deal with baby's mess on a baby dining chair.
Used it for both dry and wet ways, to clean baby's face, gums and tongue.
These are very soft, sturdy wipes so you can make your own baby wipes.
No redness when using Winner baby dry wipe to clean baby's bottom.
MUST have in the diaper bag. It's super soft, has no dust, well absorbed in water.
Works really well for preventing diaper red rashes after wiping the baby with wet wipes.
Winner baby cotton tissue can ideally use as wet wipes to clean the baby's sensitive skin.
Following the successful hosting of the 1st UK South India Business Meet at the Houses of Parliament on 12th July 2012, British South India Chamber of Commerce (BSICC) is organising the 2nd UK South India Business Meet on 27th June 2013 at Houses of Parliament, Westminster, London, chaired by Mr Virendra Sharma MP, Chairperson of BSICC and supported by UK Trade and Investment, a UK Government department .The audience will include government representatives from Karnataka, Kerala, Andhra Pradesh, Tamil Nadu & Pondicherry, and Members of House of Lords & House of Commons, representatives from UK companies and Indian companies who are interested in South India and businessmen from South India who are successful in UK.
The successor to the successful series I was the series II, which saw a production run from 1958 to 1961. It came in 88 in and 109 in wheelbases (normally referred to as the 'SWB' and 'LWB'). This was the first Land Rover to receive the attention of Rover's styling department. Chief Stylist David Bache produced the familiar 'barrel side' waistline, with a 5 in greater width to cover the vehicle's wider tracks, as well as the improved design of the truck cab variant, introducing the curved side windows and rounded roof still used on current Land Rovers.
The series II was the first vehicle to use the well-known 2.25-litre petrol engine, although the first 1,500 or so short wheelbase (SWB) models retained the 52 hp 2.0-litre petrol engine from the series I. This larger petrol engine produced 72 hp and was closely related to the 2.0-litre diesel unit still in use. This engine became the standard Land Rover unit until the mid-1980's when diesel engines became more popular.
The 109 in series II station wagon introduced a twelve-seater option on top of the standard ten-seater layout. This was primarily to take advantage of U.K tax laws, by which a vehicle with 12 seats or more was classed as a bus, and was exempt from Purchase Tax and Special Vehicle Tax. This made the twelve-seater not only cheaper to buy than the 10-seater version, but also cheaper than the seven-seater 88 in Station Wagon. The twelve-seater layout remained a highly popular body style for decades, being retained on the later series and Defender variants until 2002, when it was dropped.
The unusual status of the twelve-seater remained until the end, such vehicles were classed as minibuses and thus could use bus lanes and (if registered correctly) could be exempt from the London Congestion Charge. There was some degree of overlap between series I and II production. Early series II 88 in vehicles were fitted with the old 2-litre petrol engine to use up existing stock from production of the series I. The 107 in Station Wagon continued until late 1959 due to continued demand from export markets and to allow the production of series-II components to reach full level.
General characteristics -
▪︎Manufacturer: Land Rover
▪︎Production: 1958 to 1961
▪︎Body Style: 2-door Off-road vehicle / 4-door Off-road vehicle / 2-door Pickup
▪︎Engine: 2.0 L petrol I4 / 2.25 L petrol I4 / 2.0 L I4 diesel
▪︎Transmission: 4-speed manual
▪︎Wheelbase: 88.0 in (SWB) / 109.0 in (LWB)
▪︎Length: 142.4 in (SWB) / 175.0 in (LWB)
▪︎Width: 66.0 in
▪︎Height: 77.5 in (SWB) / 81.0 in (LWB)
▪︎Predecessor: Land Rover series I
▪︎Successor: Land Rover series IIA.
Information sourced from - en.m.wikipedia.org/wiki/Land_Rover_series
Following the successful hosting of the 1st UK South India Business Meet at the Houses of Parliament on 12th July 2012, British South India Chamber of Commerce (BSICC) is organising the 2nd UK South India Business Meet on 27th June 2013 at Houses of Parliament, Westminster, London, chaired by Mr Virendra Sharma MP, Chairperson of BSICC and supported by UK Trade and Investment, a UK Government department .The audience will include government representatives from Karnataka, Kerala, Andhra Pradesh, Tamil Nadu & Pondicherry, and Members of House of Lords & House of Commons, representatives from UK companies and Indian companies who are interested in South India and businessmen from South India who are successful in UK.
On June 29, 2016 at the Redison Blu Hotel was held the Prime Minister’s Best Women Entrepreneur 2016 award ceremony. During the ceremony the awarded winners of 2015 "Best Woman Entrepreneur" event received their books titled "Successful business women" .
In the book titled "The secret of my success", was included a detailed article about Lilit Tshughuryan, the founder and director of Akademix Team according to Diploma and Encouragement award given on April 7, 2015 in the frame of the Prime Minister’s "Best Woman Entrepreneur" ceremony.
Hello, I am Leah. I have been very lucky to achieve a lot in my life. Born to a rich family after university, I went ahead to take over the reins as the CEO of our family business. That not only shaped me professionally, but it molded the person I am right now. Later, I did investments, and thankfully, everything fell into place.
Today, I am financially stable and fully independent. Nevertheless, despite all my accomplishments, lately, I have been feeling quite lonely. Teeming couples are enjoying life together, and this makes me realize how much I long to share my life with that special someone. I am now ready to find the person who will bring joy and companionship into my world.
If you’re interested in connecting with her or other Sugar Mummies or Sugar Daddies, feel free to contact Admin via SMS, WhatsApp, or Telegram at 0755765795 or 0753534822. Kindly be aware that there’s a connection fee of Kes 550.
Originally published at www.PataMpenzi.co.ke.
RUFFA AVON partnership celebrates 3 solid successful years!
Ruffa's got the midas touch, everything she touch turns to GOLD!
Avon, the company for women, is a leading global beauty company, with $10 billion in annual revenue. As the world's largest direct seller, Avon markets to women in more than 100 countries through 5.4 million independent Avon Sales Representatives.
Sharmaine Ruffa Rama Gutiérrez joined Show Business in 1986 at the age of 13. In 2010, she signed a 3-year contract with TV5 as Talk Show Host and for Acting Role projects. She is also active in Films and has completed one movie project this year. A former Beauty Queen in the Philippines, Miss World 1993 second princess and Elite Model Look participant, she is the daughter of celebrity couple Eddie Gutierrez and Annabelle Rama. She is the Co-Founder and Vice President of Royale Artists Management since 1995. Ruffa has been in the Entertainment Industry for over 20 years and has a proven track record to be highly professional and excellent collaborator.
TELEVISION:
2010 TV Host / Star Factor / TV5
2010 Acting Role / 5 Star Specials / TV5
2010-present Talent Judge / Talentadong Pinoy / TV5
2010-present TV Host / Paparazzi / TV5
2009 TV Host / Ruffa and Ai Show / ABS-CBN
2009-2010 Acting Role / I Love Betty La Fea / USA Canada TFC
2008-2009 Acting Role / I Love Betty La Fea / ABS-CBN
2007-2010 TV Host / The Buzz / ABS-CBN
2007 Acting Role / Kokey / ABS-CBN
2007 TV Host / Philippines’ Next Top Model / Solar TV
1987-2003 held various television projects regularly
FILMS:
2010 Working Girls
2009 Shake, Rattle & Roll XI
2008 Desperadas I, My Monster Mom and Desperadas II
1987-2003 (completed over 50 movies)
FOLLOW RUFFA: Twitter.com/ILoveRuffaG
Jetfemme.com
I used large rollers for this with a few of the second-largest size near the face. With smaller rollers to the bottom layers of the hair and a more wet-set approach, I think this could come out as a Lauren Bacall or Veronica Lake type of look. I applied velcro rollers to 99% dry hair for this set.
Lipstick is MAC "chili".
"Bailey's Mansion" is a magnificent boom period mansion built in 1883 for successful mine manager William Bailey on the corner of Drummond and Mair Streets, in the provincial Victorian city of Ballarat.
William Bailey was born in 1827 in Wellington, Somersetshire, and came to Australia in 1848. He landed at Melbourne and was employed at a wine and spirit merchants however he remained only a short time, and he also had a short stay of eight months at the Ampitheatre Station, Lexton, when he was made manager at the Mt Cook Station, Werribee. He left Mt Cook Station in 1851, having been bitten, like so many others, by gold fever. After initially being involved in mining he entered into partnership with Wilson Brothers in the operation of general stores. Bailey returned to mining with the Staffordshire Reef Company near Smythesdale where he remained for three years as manager before accepting a similar managerial position with the Egerton Mining Company where he was occupied for the next 12 years. The mine was owned by the renowned Learmonth family. Bailey was a loyal manager and when the Learmonths decided to sell the mine he arranged the sale. As a reward the Learmonths paid him a five per cent commission on the sale amounting to 675 pounds, a very sizable sum even in those days. At the time of the sale the returns from the mine had been diminishing, and when the Learmonths paid him his sizeable commission they were unaware that they had rewarded him for arranging the sale of a mine of which he was actually now a part owner. Fortunately, almost immediately after the mine was sold its returns increased dramatically and William Bailey was left a very wealthy man.
For the princely sum of £1,400, William Bailey had a Victorian Italianate mansion, complete with tower, designed by architects Caselli and Figgis. William Bailey and his wife Emily had eight children between 1861 and 1876, so the mansion, described as "one of the most palatial homes in Ballarat" was extended further and had an extra wing added, but in the same style.
The mansion features many architectural elements used in Italianate style houses of the period beyond the typical prominent tower, including; Corinthian columns, arcaded loggias, grouped openings, the use of arches and stuccoed wall treatment. When William built the mansion it originally had cast iron verandah posts, frieze and corner brackets along the loggias, both up and downstairs. The present heavy Ionic columns being a later modification which are not so in keeping with the overall design of the house.
Originally, "Bailey's Mansion" sat amid large and decoratively ornamental gardens, most of which have since been consumed by subsequent divisions of the land and residential construction in the early years of the Twentieth Century.
It was in his beloved mansion that William Bailey died in 1906 after catching a chill, dying a happy and still wealthy man, leaving an estate of some £10,000.
After the Great War (1914 - 1918), like so many other wealthy families of the boom period, the Baileys "gilded age" had come to a shattering end. Rates, death duties and income tax had deminished the family to far more moderate means. The "servant problem" also left them unable to live on such a grand scale as William and Emily had done. They could not sell the mansion, as no-one had the means to maintain, or the wish, to live in an old mausoleum of a bygone age in the new century. There was also a local belief that it was haunted by Bailey's ghost, which made it impossible to sell. "Bailey's Mansion", now deserted, fell into dereliction.
Salvation arrived for the grand old house in 1915 when the Catholic Church acquired it for a mere £4000, £10,000 less than its original cost and a bargain, even in the depressed property market immediately after the First World War. The church restored "Bailey's Mansion" and used it to form the St John of God hospital in Ballarat. It is still an intergal part of the hospital today, the grande dame surviving as a testimony to the wealth and tenacity of its original owner.
The is a photograph from the third running of the Athlone Flatline Half Marathon ("The Flatline") which was held at Athlone, Co. Westmeath, Ireland on Saturday 13th September 2014 at 11:00. There was beautiful weather for the event which started and finished at St. Aloysius College near the Canal Banks area of the town just slightly west of the River Shannon. This event was professionally organised and the very flat course meant that many runners both seasoned and new to the scene achieved season or personal bests. Almost 1,000 participants successfully completed the event in the beautiful September sunshine. Everyone involved must be congratulated for the flawless running of the event. This event is sure to go from strength to strength over the coming years. The event has grown from just over 600 in 2012, to over 900 in 2013 with around the same number finishing in 2014. Entry to the race closed weeks in advance.
This is a photograph which is part of a larger set of photographs taken at the start and finish of "The Flatline" 2014. The URL of the main set is www.flickr.com/photos/peterm7/sets/72157647516503901. This photoset contains photographs of the start (at the 600 meter mark) and then of the finish (at the 400 meter mark to go) up to a finish time of about 1:45.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
For reference the satellite navigation Coordinates to the event HQ are (Longitude: -7.948153, Latitude: 53.420575)
Overall Race Summary
Participants: Such is the popularity of the race this year that registration closed for the race in mid-August 2013. There were well over 850 participants who took to the start line.
Weather: The weather on the day was almost too warm for running which is a very rare complaint in Ireland. The runners were bathed in hot September sunshine for the duration of the race and into the early afternoon. In the sections of the race out towards Clonown and around the Bord na Mona areas there was a cooling.
Course: "The Flatline" ceratinly lived up to its name. It is as flat a course as one is likely to find. A garmin connect gps trace of the route is provided here [connect.garmin.com/activity/199678412] Geographically the course spends much of the race in County Roscommon with only the first and last kilometers actually in County Westmeath. This gives geographically inclined runners the novel opportunity to race in two Irish provinces in one race. The course had distance markers at every kilometre and mile along the way. There were official pacers provided by the race organisers.
Location Map: Start/finish area and registration etc on Google StreetView [goo.gl/maps/8qCes] - Ample parking was supplied with some over-flow car-parking options also available.
Refreshments: An Alkohol Frei bottle of Erdinger was provided to every finisher as they crossed the line. Light refreshments were served.
Some Useful Links
Our photographs on Flickr from the 2013 Flatline Half Marathon: www.flickr.com/photos/peterm7/sets/72157635495089498/
Jimmy Mac's Photography Services on Facebook www.facebook.com/JimmyMacsPics
Precision Timing Results Page 2014: www.precisiontiming.net/result.aspx?v=2175
Precision Timing Results Page 2013: www.precisiontiming.net/result.aspx?v=1489
Precision Timing Results Page 2012: www.precisiontiming.net/result.aspx?v=1014
Facebook Event Page for the 2013 www.facebook.com/events/495900447163378/ (Facebook logon required)
Boards.ie Athletics Discussion Thread about the 2014 race: www.boards.ie/vbulletin/showthread.php?t=2057148781
Boards.ie Athletics Discussion Thread about the 2013 race: www.boards.ie/vbulletin/showthread.php?t=2056984967
Boards.ie Athletics Discussion Thread about the 2012 race: www.boards.ie/vbulletin/showthread.php?p=80049447
GARMIN GPS Trace of the Route for 2013: connect.garmin.com/activity/199678412
Race HQ Venue in 2014: St.Aloysius College Athlone : staloysiuscollege.ie/
Race photographs from 2012's Flatline - supplied by PIXELS PROMOTIONS: pixelspromotions.zenfolio.com/p126168889 (on route) and at the Finish line pixelspromotions.zenfolio.com/p31872670 - please note these are not our photographs (see www.pixelspromotions.com/).
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Public art is successful if it makes people stop, look and think and on that basis this work by Rowan Gillespie is a huge success.
Today when I visited there was a large number of young American tourists there and their guide was telling them about the "Irish Potato Famine". Americans refer to it as the "Irish Potato Famine" while we in Ireland to it as the "Famine" or the "Great famine"
Rowan Fergus Meredith Gillespie (born 1953) is an Irish bronze casting sculptor of international renown. Born in Dublin to Irish parents, Gillespie spent his formative years in Cyprus.
The Irish Famine and subsequent catastrophic migration has motivated two major works by Gillespie, and so it must be said that the portrayal of Famine, is a major theme of the artist's work. In several of his site specific pieces, such as Famine (1997) on the Custom House Quay in Dublin, his life-sized human figures are emaciated and haunting.
In June 2007, a series of statues by Gillespie was unveiled by President Mary McAleese on the quayside in Toronto's Ireland Park.
In Ireland, the Great Famine was a period of mass starvation, disease and emigration between 1845 and 1852.
During the Famine approximately 1 million people died and a million more emigrated from Ireland, causing the country's population to fall by between 20% and 25%. The cause of famine was a potato disease commonly known as potato blight. Although blight ravaged potato crops throughout Europe during the 1840s, the impact and human cost in Ireland — where one-third of the population was entirely dependent on the potato for food—was exacerbated by a host of political, social and economic factors which remain the subject of historical debate.
The famine was a watershed in the history of Ireland. Its effects permanently changed the island's demographic, political and cultural landscape. For both the native Irish and those in the resulting diaspora, the famine entered folk memoryand became a rallying point for various nationalist movements. Modern historians regard it as a dividing line in the Irish historical narrative, referring to the preceding period of Irish history as "pre-Famine".
This is a photograph from the Clane and Rathcoffey Parishes annual 10KM and 5KM Road Races and Fun Runs which were held in Clane village, Co. Kildare, Ireland on Sunday 19th of October at 14:30. This year's event follows on from the very successful staging last year (see link to photographs below). The organisers offer both a 5km and 10km race and the event provides an opportunity for runners, joggers, and walkers of all abilities to take part in the event. The 5KM has a particular emphasis on family entrants. There was a wonderful atmosphere around the Village as both races started and finished on the main street outside the parish hall. The directly out-and-back routes provided an opportunity for a fast time on a good course and made for a great finish line atmosphere as runners, joggers, and walkers crossed the line. Great praise must be extended to the whole organising committee who organised a very efficiently run event. The events provide some runners with an opportunity to have a final race effort session in the week leading up to the Dublin City Marathon.
Event Management and Electronic Timing was provided by Irish company Precision Timing. Their website is here with links to results from the race www.precisiontiming.net/result/racetimer
This photograph is part of a larger set of photographs taken at today's event. Photographs were taken at the start, 400 meters gone, 400 meters to go, 1km gone, and at the 9KM/4KM mark. The URL of the full set of photographs is www.flickr.com/photos/peterm7/sets/72157636717081724/
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary and Logistics
Participants: There were about 200 competitors combined in the two events.
Weather: The weather was very changeable for all of the events. During the 10KM race there was a heavy rain shower around the area of the 6KM mark but this didn't actually fall in the town. There was a strong headwind against competitors in the 10KM on the return part of the course between 6KM and 8KM.
Race Course:
This summary includes information on both the 5KM and 10KM races.
Both races start in the same place - just outside the Race HQ on the main street of the town. The races then proceed north eastwards out the Dublin Road towards Straffan and Celbridge. Just after 400 meters the races take a left up a small local road and proceeds along this road until it takes a tight left hand turn at the end of the lane at Capdoo goo.gl/maps/aPo26 (Google Streetview). The route proceeds until it shortly meets the Clane-Kilcock Road - College Road R407 goo.gl/maps/SGcPa. Both races will divert into Clane Business and Industrial Park goo.gl/maps/EQMf0 . The 5KM turns around and returns on the same route to the finish. However the 10KM race continues (taking a left) back onto College Road. Soon afterwards it passes the famous entrance to Clongowes Wood College on the right the race takes the next left (goo.gl/maps/zUhrJ) and brings runners onto the road known locally as the 'Long Road' (R408 Between Rathcoffey and Prosperous) at this point goo.gl/maps/fHKr2. The race proceeds northward until runners meet the Clane Kilcock Road once again. With the exception of the partial run into the Industrial Estate the race returns to the finish on the main street in Clane via the same route as the outward part of the route.
Location Map:
Clane Parish Hall (Race HQ) goo.gl/maps/MgakJ
Start and Finish Location of both races goo.gl/maps/0wiZp
Refreshments:
There was a really wonderful array of refreshments provided in the parish hall after the race for all participants.
Some Useful Links Associated with this Race Event
Facebook Page of the Clane and Rathcoffey Parish: www.facebook.com/ParishOfClaneRathcoffey (May require Facebook login)
Homepage of the Parish of Clane and Rathcoffey: www.claneparish.com/2013/09/parish-run-sunday-20th-octobe...
Garmin Connect GPS Trace of the 2013 Clane 10KM Race: connect.garmin.com/activity/391624847
Garmin Connect GPS Trace of the 2013 Clane 5KM Race: connect.garmin.com/activity/381169067
Boards.ie Athletics Forum Discussion on the 2013 Race: www.boards.ie/vbulletin/showthread.php?t=2057062190
Our Flickr Set of Photographs from the 2012 Clane 5KM and 10KM Races: www.flickr.com/photos/peterm7/sets/72157631820732362/
Please note: These links are provided for information purposes. Some of these links might become obselete or dead links as time passess. We cannot be responsible for the content on these external websites. All websites were checked before posting here to ensure that they 'did what they said on the tin'.
Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
To prevent missue of these photographs there is a watermark embedded into the images. All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution without the watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Penal station story
Port Arthur was named after George Arthur, the Lieutenant Governor of Van Diemen's Land. The settlement started as a timber station in 1830, but it is best known for being a penal colony.
From 1833, until 1853, it was the destination for the hardest of convicted British criminals, those who were secondary offenders having re-offended after their arrival in Australia. Rebellious personalities from other convict stations were also sent here, a quite undesirable punishment. In addition Port Arthur had some of the strictest security measures of the British penal system.
Port Arthur was one example of the “Separate Prison Typology” (sometimes known as the Model prison), which emerged from Jeremy Bentham’s theories and his panopticon. The prison was completed in 1853 but then extended in 1855. The layout of the prison was fairly symmetrical. It was a cross shape with exercise yards at each corner. The prisoner wings were each connected to the surveillance core of the Prison as well as the Chapel, in the Centre Hall. From this surveillance hub each wing could be clearly seen, although individual cells could not. This is how the Separate Prison at Port Arthur differed from the original theory of the Panopticon.
The Separate Prison System also signalled a shift from physical punishment to psychological punishment. It was thought that the hard corporal punishment, such as whippings, used in other penal stations only served to harden criminals, and did nothing to turn them from their immoral ways. For example, food was used to reward well-behaved prisoners and as punishment for troublemakers. As a reward, a prisoner could receive larger amounts of food or even luxury items such as tea, sugar and tobacco. As punishment, the prisoners would receive the bare minimum of bread and water. Under this system of punishment the "Silent System" was implemented in the building. Here prisoners were hooded and made to stay silent, this was supposed to allow time for the prisoner to reflect upon the actions which had brought him there. Many of the prisoners in the Separate Prison developed mental illness from the lack of light and sound. This was an unintended outcome although the asylum was built right next to the Separate Prison. In many ways Port Arthur was the model for many of the penal reform movement, despite shipping, housing and slave-labour use of convicts being as harsh, or worse, than others stations around the nation.
The peninsula on which Port Arthur is located is a naturally secure site by being surrounded by water (rumoured by the administration to be shark-infested). The 30m wide isthmus of Eaglehawk Neck that was the only connection to the mainland was fenced and guarded by soldiers, man traps and half-starved dogs.
Contact between visiting seamen and prisoners was barred. Ships had to check in their sails and oars upon landing to prevent any escapes. However, many attempts were made, and some were successful. Boats were seized and rowed or sailed long distances to freedom.
In 1836, a tramway was established between Taranna and a jetty in Long Bay, north of Port Arthur. The sole propulsion was convicts[8]
Port Arthur was sold as an inescapable prison, much like the later Alcatraz Island in the United States. Some prisoners were not discouraged by this, and tried to escape. Martin Cash successfully escaped along with two others. One of the most infamous incidents, simply for its bizarreness, was the escape attempt of one George "Billy" Hunt. Hunt disguised himself using a kangaroo hide and tried to flee across the Neck, but the half-starved guards on duty tried to shoot him to supplement their meagre rations. When he noticed them sighting him up, Hunt threw off his disguise and surrendered, receiving 150 lashes.
Port Arthur was also the destination for juvenile convicts, receiving many boys, some as young as nine. The boys were separated from the main convict population and kept on Point Puer, the British Empire's second boys' prison.[9] Like the adults, the boys were used in hard labour such as stone cutting and construction. One of the buildings constructed was one of Australia's first non-denominational churches, built in a gothic style. Attendance of the weekly Sunday service was compulsory for the prison population. Critics of the new system noted that this and other measures seemed to have negligible impact on reformation.
Despite its reputation as a pioneering institution for the new, enlightened view of imprisonment, Port Arthur was still in reality as harsh and brutal as other penal settlements. Some critics might even suggest that its use of psychological punishment, compounded with no hope of escape, made it one of the worst. Some tales suggest that prisoners committed murder (an offence punishable by death) just to escape the desolation of life at the camp. The Island of the Dead was the destination for all who died inside the prison camps. Of the 1646 graves recorded to exist there, only 180, those of prison staff and military personnel, are marked. The prison closed in 1877.
THE OPERA STUTTGART
ONE OF THE LEADING MUSIC THEATERS WORLDWIDE
The Stuttgart Opera is one of the most important European opera houses and at the same time part of Europe's largest multidisciplinary venue.
The Württembergische Staatstheater consists of the Stuttgart Opera, the Stuttgart Ballet and the Schauspiel Stuttgart, and has been successfully run in a unique leadership model throughout Germany since 1994: All three divisions work artistically and economically autonomously under the direction of their respective directors - Jossi Wieler for the opera, Reid Anderson for the ballet and with the beginning of the season 2013/14 Armin Petras for the acting -, while the management of the joint operation is in the hands of the Executive Intendant Marc-Oliver Hendriks.
The Stuttgart Opera continues to provide important impulses for today's music theater and is regarded as one of the leading houses worldwide. The ensemble theater is deliberately maintained in this house.
The opera alone counts around 230,000 visitors in the season, of which around 16,000 are permanent subscribers. The opera house has 1404 seats. Another venue with 200 seats is the Kammertheater in the Neue Staatsgalerie. All in all, the Stuttgart Opera has been voted "Opera House of the Year" six times. The Staatsopernchor Stuttgart is one of the best choirs of European music theater and has been awarded the title "Opera Chorus of the Year" nine times. The Stuttgart State Orchestra has also been voted "Orchestra of the Year".
With the "New Lusthaus" as the stage of the Württembergischer Hof, the history of the opera in Stuttgart reaches back to the 17th century. The Renaissance building on Schlossplatz (Palace square), which has been modernized several times over the years as a theater, was destroyed in a fire in 1902. Alone a staircase has been preserved, which can be seen today in the Middle Palace Gardens. The new Royal Court Theater was rebuilt 1909-1912 by the Munich architect Max Littmann as a double theater with opera house and theater. One of the first performances after the inauguration was the premiere of Richard Strauss' Ariadne auf Naxos, conducted by the composer himself. After the Second World War, only the Grand House decorated with classical columns remained for the Stuttgart Opera and the Stuttgart Ballet.
First performances of Handel's Toboggan, Hindemith's Mathis the Painter or the first German-language Falstaff production followed. The premiere was Oskar Schlemmer's Triadic Ballet. The first and premiere tradition with works by Hindemith, Orff, Penderecki, Glass, Zender, Riehm, Hölszky and Thomalla has been and continues to this day. A DVD series documents the highly regarded Ring of the Nibelungen from 1999 to 2000. Well-known bandmasters were active in Stuttgart like the Italian composer Niccolò Jommelli, who wrote 20 operas for the Stuttgart Opera, as well as Rudolf Zumsteeg, Johann Nepomuk Hummel, Peter von Lindpaintner and Carl Maria von Weber, more recently Carlos Kleiber, Vaclav Neumann, Silvio Varviso and Riccardo Chailly. In the 60s and 70s of the 20th century, the opera became "Winterbayreuth", influenced by directors such as Günther Rennert and Wieland Wagner. After the Second World War, Walter Erich Schäfer led the theater as general manager of the theaters until 1972. After the sudden death of opera director Wolfgang Windgassen, Wolfram Schwinger and finally Klaus Zehelein from 1992 to 2006 took over the command. Albrecht Puhlmann was the director from 2006 to 2011. Since the season 2011/12 Jossi Wieler is director of the Stuttgart Opera.
Every year, the Junge Oper of Stuttgart Opera offers two or three of its own opera productions for young audiences in the Kammertheater. In addition, the Staatsorchester Stuttgart organizes seven symphonies and seven chamber concerts per season in the Liederhalle, often with high-ranking soloists and guests.
DIE OPER STUTTGART
EINES DER FÜHRENDEN MUSIKTHEATER WELTWEIT
Die Oper Stuttgart zählt zu den bedeutendsten europäischen Opernhäusern und ist zugleich Teil des größten Mehrspartenhauses Europas.
Die Württembergischen Staatstheater bestehen aus der Oper Stuttgart, dem Stuttgarter Ballett sowie dem Schauspiel Stuttgart und werden seit 1994 erfolgreich in einem deutschlandweit einzigartigen Leitungsmodell geführt: Alle drei Sparten arbeiten künstlerisch und wirtschaftlich autonom unter Leitung ihrer jeweiligen Intendanten – Jossi Wieler für die Oper, Reid Anderson für das Ballett und mit Beginn der Spielzeit 2013/14 Armin Petras für das Schauspiel – , während die Geschäftsführung des gemeinschaftlichen Gesamtbetriebs in den Händen des Geschäftsführenden Intendanten Marc-Oliver Hendriks liegt.
Die Oper Stuttgart setzt bis heute immer wieder wichtige Impulse für das Musiktheater der Gegenwart und gilt als eines der führenden Häuser weltweit. Ganz bewusst wird in diesem Haus das Ensembletheater gepflegt.
Insgesamt rund 230.000 Besucher zählt allein die Oper in der Saison, davon bilden rund 16.000 einen festen Abonnentenstamm. Das Opernhaus verfügt über 1404 Plätze. Weitere Spielstätte mit 200 Plätzen ist das Kammertheater in der Neuen Staatsgalerie. Insgesamt wurde die Oper Stuttgart sechs Mal zum „Opernhaus des Jahres“ gewählt. Der Staatsopernchor Stuttgart zählt zu den besten Chören des europäischen Musiktheaters und wurde bereits neun Mal mit dem Titel „Opernchor des Jahres“ ausgezeichnet. Auch das Staatsorchester Stuttgart wurde bereits zum „Orchester des Jahres“ gewählt.
Mit dem „Neuen Lusthaus“ als Bühne des Württembergischen Hofes reicht die Geschichte der Oper in Stuttgart bis in das 17. Jahrhundert zurück. Der Renaissancebau am Schlossplatz, im Laufe der Zeit mehrfach als Theater modernisiert, wurde 1902 bei einem Brand zerstört. Allein eine Freitreppe blieb erhalten, die heute im Mittleren Schlossgarten zu sehen ist. Die neuen Königlichen Hoftheater wurden 1909 bis 1912 von dem Münchner Architekten Max Littmann als Doppeltheater mit Opern- und Schauspielhaus neu erbaut. Eine der ersten Aufführungen, die nach der Einweihung stattfand, war die Uraufführung von Richard Strauss' Ariadne auf Naxos, dirigiert vom Komponisten selbst. Nach dem zweiten Weltkrieg blieb nur das mit klassizistischen Säulen geschmückte Große Haus für die Oper Stuttgart und das Stuttgarter Ballett erhalten.
Erstaufführungen von Händels Rodelinde, Hindemiths Mathis der Maler oder die erste deutschsprachige Falstaff-Inszenierung folgten. Uraufgeführt wurde Oskar Schlemmers Triadisches Ballett. Die Erst- und Uraufführungstradition mit Werken von Hindemith, Orff, Penderecki, Glass, Zender, Riehm, Hölszky und Thomalla wurde und wird bis heute fortgesetzt. Eine DVD-Reihe dokumentiert den vielbeachteten Ring des Nibelungen von 1999 bis 2000. Namhafte Kapellmeister waren in Stuttgart tätig wie der italienische Komponist Niccolò Jommelli, der für die Stuttgarter Oper 20 Opern schrieb, außerdem Rudolf Zumsteeg, Johann Nepomuk Hummel, Peter von Lindpaintner und Carl Maria von Weber, in neuerer Zeit Carlos Kleiber, Vaclav Neumann, Silvio Varviso sowie Riccardo Chailly. In den 60er und 70er Jahren des 20. Jahrhunderts avancierte die Oper zum „Winterbayreuth“, geprägt durch Regisseure wie Günther Rennert und Wieland Wagner. Nach dem 2. Weltkrieg leitete Walter Erich Schäfer als Generalintendant die Theater bis 1972. Auf den plötzlichen Tod des Operndirektors Wolfgang Windgassen folgte zuerst Wolfram Schwinger und schließlich von 1992 bis 2006 Klaus Zehelein. Albrecht Puhlmann hatte die Intendanz von 2006 bis 2011 inne. Seit der Spielzeit 2011/12 ist Jossi Wieler Intendant der Oper Stuttgart.
Die Junge Oper der Oper Stuttgart bietet jährlich zwei bis drei eigene Opernproduktionen für junges Publikum im Kammertheater an. Außerdem gestaltet das Staatsorchester Stuttgart pro Saison sieben Sinfonie- sowie sieben Kammerkonzerte in der Liederhalle, oft mit hochrangigen Solisten und Gästen.
www.oper-stuttgart.de/service/geschichte_opernhaus_archit...
A diver ascends after successfully completing an underwater visual survey to assess goliath grouper abundance at a shipwreck in the Gulf.
•Adrian Monck, Managing Director, Head of Communications and Media, World Economic Forum and Wang Jianlin, Chairman and President, Dalian Wanda Group, People's Republic of China; Mentor of the Annual Meeting of the New Champions 2013 at the Annual Meeting of the New Champions 2013 in Dalian, China 11 September 2013. Photo by World Economic Forum
Successfully raided the scrap bin, and used some embellies! Small victories people! Small victories!
After an extremely successful pilot program last year, Public Diplomacy Tel Aviv supported bringing together another 180 Jewish and Arab 16-year old students from 3 Arab schools and 3 Jewish schools to learn how to communicate and negotiate with one another. The workshops included mixed groups of Amal Network students from Tel Aviv, Taibe, Nahariya, Daburiya, Beersheva and Hura. The six workshops were coordinated with the Amal Network and Dr. Shula Gilad, Senior Fellow from the Program on Negotiation, Harvard Law School and facilitated by local trainers. The workshops were conducted in English and were specifically tailored for the Arab and Jewish high school students. The content steered away from political issues and focused on generic negotiation techniques and communication skills which can be applied to practical real life situations. Friendships were made between Arabs and Jews, and it was a rare opportunity for students who almost never come into contact with one another, to visit each other’s schools’, explore elements of commonality, and practice their English. The students received certificates of participation from the Harvard Negotiation Project and the Amal Network.
File name: 10_03_001168b
Binder label: Medical
Title: Successful interference. They won't kick against Pond's Extract (back)
Created/Published: N. Y. : Donaldson Brothers
Copyright date: 1894
Physical description: 1 print : chromolithograph ; 13 x 9 cm.
Subject: Women; Children; Patent medicines
Notes: Title from item.
Statement of responsibility: Pond's Extract Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Introduced in 1956, it replaced the highly-successful Austin A30. The name reflected the larger and more-powerful 34 hp (25 kW) A-Series straight-4 engine, enabling a slightly higher top speed and better acceleration.
The A35 was very similar in appearance to the A30, except for a larger rear window aperture and a painted front grille, with chrome horse-shoe surround, instead of the chrome grille featured on the A30. Both had 13 in (330 mm) wheels. The semaphore turn-signal indicators were replaced with present-day front- and rear-mounted flashing lights. A slightly easier to operate remote-control gear-change was provided. Much of the improved performance was a result of different gearbox ratios. The A30 had the first three ratios close together then a big gap to top (4th gear). The A35 ratios were better spaced and gave a max speed in third of 60 mph (97 km/h) against about 45 mph (72 km/h) for the A30.
Like the A30, the A35 was offered as a 2- or 4-door saloon or 2-door "Countryman" estate and also as a van. The latter model continued in production through to 1968. A rare pickup version was also produced in 1956.
Legendary British aircraft designer Sydney Camm began working on a replacement for the successful Hawker Hurricane fighter in 1937, what would become the Hawker Typhoon. While the Typhoon was to prove one of the best ground-attack fighters of World War II, it was less impressive as a fighter: it was hoped to be able to counter the Focke-Wulf 190, but the German fighter was far superior. To make matters worse, the Typhoon had, at first, become more of a danger to its own pilots than the Germans. A number of Typhoons had suffered complete and fatal tail failures in flight, which was later traced to the harmonic vibration of the powerful Napier Sabre engine, which itself was notoriously temperamental. While these problems would be solved and the Typhoon to go on to an enviable career, it was still not the fighter Camm intended it to be.
Even before the Typhoon had begun showing its flaws, Camm was already disappointed in its performance, which he believed was due to the thick wing. Drawing on the success of the P-51 Mustang, he experimented with fitting a clipped version of the Mustang’s laminar flow wing to a Typhoon, which improved performance considerably. This thinner wing required that the aircraft’s four 20mm cannon armament be set further back, which in turn necessitated the adoption of a Spitfire-style elliptical wing (Camm later claimed this was also to get the British Air Ministry to buy it, as “they didn’t trust anything that didn’t look like a Spitfire”). The wing shape also improved performance and helped eliminate the vibration problem that had destroyed so many Typhoons. The landing gear was made wider and the radiator moved from beneath the nose to the wings; in an interesting innovation, Camm included a small step and handholds for the pilot to get into the aircraft, which would automatically retract once the canopy was closed. The Air Ministry was indeed impressed, so much so that it was considered a new design and renamed Tempest.
However, a shortage of engines meant that Camm’s plan to fit all production Tempests with the more streamlined and improved Bristol Centaurus IV engine was not feasible; instead, two versions would be built, the Tempest II with the Centaurus and the Tempest V with the more proven Napier Sabre II. Fitting the Tempest with the Napier Sabre meant that the radiator had to be moved back under the engine, giving the Tempest a strong superficial resemblance to its “cousin,” the Typhoon. Production was concentrated on the Tempest V, since the Sabre engine was readily available, and the first flew in July 1943, a year and a half since the first pre-production Tempest I had flown.
By the time the Tempest reached combat units in April 1944, the Luftwaffe had been pushed back behind the borders of Germany and was suffering massive casualties; as a result, the Tempest would see little air-to-air combat at first. Most Tempests were kept in England itself to guard against occasional Luftwaffe sorties from France, then began to be assigned to ground attack duties, similar to the Typhoon. That changed soon after D-Day in June 1944, however, when the Germans began to attack London with V-1 cruise missiles. Intercepting the V-1 was not easy, as it was fast and small, making it hard to keep up with and hard to hit; a pilot that got too close with machine guns might be killed when he set off the V-1’s warhead. The Tempest was perfectly suited to V-1 interceptions, however: it was not immediately needed over the Continent, it had very high speed and easy handling at low altitude, and its cannon armament gave the pilot a safe distance to detonate the V-1. Tempests would shoot down 638 V-1s before the missile sites were overrun in September 1944. Tempest units now moved to liberated airbases on the Continent.
Because the Spitfire had comparatively short range, the Tempest now became the best fighter available to the RAF. Tempests based in Belgium and France could range deep into Germany, operating at low level and high speed, using their cannon armament either against the increasingly scarce Luftwaffe or against ground targets. This was dangerous work, due to heavy ground fire, but the Tempests recorded a low loss rate. When the Messerschmitt 262 began to be fielded in numbers by the Luftwaffe in late 1944, the Tempest was the best counter to it that the Allies had: while P-51s had equal performance to the Tempest, P-51 pilots usually ran into 262s by chance on escort missions. RAF Tempest squadrons, on the other hand, were assigned to “Rat Scramble” missions in which they would orbit on the edges of Germany, waiting for reports of Me 262s, then proceed at high speed and low altitude to catch the German jets as they landed. Even if the 262s were not caught with their landing gear down, the Tempest could keep up with the 262 at low level. So deadly were Tempest attacks that German flak units began to be concentrated around jet bases specifically to counter these Rat Scramble raids. In combat, the Tempest was to post an enviable 7:1 kill ratio, one of the better ratios of the European theater.
The end of World War II also brought the end to the Tempest V—production had already switched to the Centaurus-powered Tempest II, which were built with improved cooling units for “high and hot” operations in China and India. Though they would not be used against the Japanese, Tempest IIs would continue to police the British Empire in its twilight until they were finally withdrawn from service in the late 1950s, the last piston-engined fighter in British active service. Both India and Pakistan would receive Tempest IIs, and these would be used in the first of the Indo-Pakistani Wars of the 1950s. 1702 Tempests were built, and a handful, including a few flyable examples, remain in existence today.
The Hawker Tempest is represented by a Tempest V in the Malmstrom Museum’s Top Ace collection, representing the aircraft flown by French ace Pierre Clostermann. This aircraft flew with 274 Squadron from bases in France in 1944-1945, and wears late-war RAF camouflage of two shades of gray over light gray, with late-war darker roundels and smaller fin flash. It carries a Cross of Lorraine on the radiator housing beneath the nose to indicate an aircraft of the Free French flying with the RAF. Clostermann named this aircraft Le Grand Charles (“Big Charles”); the aircraft was later wrecked beyond repair in a landing accident in November 1945.
One of the most successful medium bombers ever produced, the B-25 Mitchell began as the bomber nobody wanted. North American Aviation had begun the NA-40, designed by North American’s chief designer, James “Dutch” Kindleberger, as a private venture to compete with the Douglas A-20 Havoc. The NA-40 had a very narrow fuselage in which the pilot and copilot sat in tandem, with two Wright Cyclone engines on a shoulder-mounted wing, tricycle landing gear, and high speed that made defensive armament, it was thought, unnecessary. To increase stability, Kindleberger used endplate tailfins rather than the single tail of other contemporary aircraft.
The first NA-40 flew in April 1939, but promptly crashed during a competition with the A-20, which won the US Army Air Corps’ contract. Kindleberger refused to give up, however, and redesigned the NA-40 by expanding the fuselage to carry more bombs and allow the flight crew to sit next to each other. This revised NA-40 showed even more promise, but once more it lost, this time to the Martin B-26 Marauder. Because the Martin company could only produce a few Marauders a month and only at high expense, the USAAF went ahead and placed an order for the NA-40 as well in August 1940, as the B-25 Mitchell—named for William “Billy” Mitchell, who had lobbied so hard for an independent, bomber-heavy air force in the 1930s it had resulted in his court martial. To cure instability noticed in the first flights, the NA-62 prototype was given a slight gull wing which would be retained on all B-25s afterwards.
The B-25B was the first variant to enter combat service, with the 17th Bombardment Squadron based at McChord Field, Washington; a Mitchell from this unit scored the USAAF’s first submarine kill in late December 1941, when it sank a Japanese I-Boat off the Washington coast. Its viceless performance led the USAAF to expand production of Mitchells, and these were soon pressed into urgently needed antisubmarine patrols on both coasts. B-25s taking off and landing for these missions inspired a US Navy officer, Francis Low, to consider if they could be flown off of aircraft carriers in a strike against Japan. Both the USAAF and Navy agreed to collaborate on the project as a morale boost for the home front, in desperate need for good news after a steady diet of disaster following the Japanese attack on Pearl Harbor. James Doolittle was chosen to lead a group of 16 B-25Bs taking off from USS Hornet on a strike against Japan itself on 18 April 1942: the Doolittle Raid, as it was known, was marred by a forced early launch that caused the attack to happen in broad daylight and recovery in China to happen at night, with the loss of 15 out of 16 aircraft, though all but six men survived. However, the psychological damage to Japan was so great that it changed the course of the war.
It also proved the B-25 to be a superb aircraft. Its ease of handling and bomb carrying capability put it in high demand; though the British Royal Air Force would use Lend-Lease Mitchells extensively in Europe, USAAF units preferred faster aircraft such as the A-20 and B-26, though B-25s would see quite a bit of service in North Africa and Italy. The Mitchell was also found to be very resilient: the B-25D introduced crew armor and self-sealing fuel tanks, and even earlier less-armored variants were found to be able to take a great deal of punishment. B-25s were still fully capable of flying missions with one engine out, with the only problem being slightly heavy on the controls and the loss of speed. One B-25D in North Africa was hit no less than 400 times and had taken so much damage that it required special flap and rudder settings—but it was still operational. Indeed, the only real complaint aircrew had about the B-25 was the extremely loud noise its engines produced, which could cause hearing loss.
The success of the gunship role with A-20s in the Southwest Pacific led to successive versions of the B-25: the B-25G/H, which were given solid noses equipped either with as many as 12 machine guns, or a lesser number of machine guns supplemented by a 75mm antitank gun. These aircraft, operated by the famous "New Guinea Strafers," proved deadly to Japanese shipping during the Battle of the Bismarck Sea in 1943. So successful was the B-25G/H series that North American switched production to the most common variant, the B-25J, with interchangeable solid noses for gunships, or glass noses for bomber roles. The dorsal turret was also moved forward. B-25s would be used in every theater in World War II. After the war, most were retired, though a few persisted in USAF service as executive transports until the late 1950s; B-25s were used operationally by Indonesia until 1979. Because the Mitchell remained in service for so long, quite a few survive as warbirds and in museums; of 9800 built, about 100 are still around.
Since the Doolittle Raid was arguably the most influential bomber attack of the war, and one of the most daring, the National Museum of the USAF went to great lengths to commemorate this amazing mission. By the time the USAF got around to working on a museum, there were no B-25Bs left, and the majority of surviving Mitchells were the significantly different B-25J version.
In 1956, the USAF located a former B-25D that had been used as a reconnaissance trainer, in storage at Davis-Monthan AFB, Arizona. As it would be much easier to modify a B-25D back to a B model, the aircraft (43-3374) was removed from the scrapyard and handed over to North American Aviation. 43-3374 was backdated to a B-25B and went on display at the NMUSAF in 1957 as 40-2344, the aircraft flown by Jimmy Doolittle during the raid named for him.
Today, the NMUSAF has created an entire life-sized diorama commemorating the Raid. Placed on a carrier deck simulating that of the USS Hornet, mannequins representing ground crew and Doolittle's crew are shown loading the bombs, while two more are placed near the nose, as Doolittle and then-Captain Marc Mitscher, the CO of the Hornet. The engines and dorsal turret are covered in canvas, which they were aboard the carrier to protect from saltwater corrosion.
This display is impressive enough, but surrounding the rear of the aircraft is memorabilia related to the Doolittle Raid. The most bittersweet piece of the collection is the Raiders' cup collection: each Raider that survived the raid were presented with a sterling silver cup with their name inscribed on it. When the Raider died, the cup would be turned over; when there were only two Raiders left, they would open a 19th Century-vintage bottle of champagne and drink a toast. When I saw the cups in 1977, about half were still upright, but in 2017, only one was--that of Colonel Richard Cole, Doolittle's copilot, who is (as of this writing) 102 years old. The champagne bottle is still on display, but the toast has been drunk.
After an extremely successful pilot program last year, Public Diplomacy Tel Aviv supported bringing together another 180 Jewish and Arab 16-year old students from 3 Arab schools and 3 Jewish schools to learn how to communicate and negotiate with one another. The workshops included mixed groups of Amal Network students from Tel Aviv, Taibe, Nahariya, Daburiya, Beersheva and Hura. The six workshops were coordinated with the Amal Network and Dr. Shula Gilad, Senior Fellow from the Program on Negotiation, Harvard Law School and facilitated by local trainers. The workshops were conducted in English and were specifically tailored for the Arab and Jewish high school students. The content steered away from political issues and focused on generic negotiation techniques and communication skills which can be applied to practical real life situations. Friendships were made between Arabs and Jews, and it was a rare opportunity for students who almost never come into contact with one another, to visit each other’s schools’, explore elements of commonality, and practice their English. The students received certificates of participation from the Harvard Negotiation Project and the Amal Network.
One of the most successful light rail systems in the whole of Europe, the Nottingham Express Transit system which opened in 2004 after 16 years of development and planning has become a vital part of the city's public transport system, being able to clear away the cars from the narrow streets of the city, opening up the area to have on-street restaurants and cafes to give the place an all the more European feel.
The NET system was originally conceived in 1988, in an attempt to win back the crowded and congested city from the grip of poorly designed urban road networks that had ended up becoming huge car parks full of smog. £268 million and several retreads with the Department for Transport, resulted in the 8.7 mile, 23 stop system opening on the 9th March 2004. The original route was built between Hucknall and Nottingham Station, with 2.8 miles of track built for street-running. From Wilkinson Street northward, the line runs parallel to the Robin Hood Railway line, which runs from Nottingham to Worksop on the Sheffield/Lincoln line. In addition to the Hucknall route, a small 1 mile branch to Phoenix Park diverges near the north end of the route to allow for Park & Ride connections with the M1 Motorway, with trams operating between the two termini alternating on a 10 minute headway, meaning services into the city run every 5 minutes.
However, more recently the route has garnered acclaim for the construction of its new Phase 2 scheme, which has seen the route extended beyond its elevated terminus at Nottingham Station and onwards to Clifton and Toton, extending the route to 14.8 miles and serving areas to the south of the city. The most prominent part of this route's construction was the gradual movement of a 170ft long bridge over the active Nottingham train station, taking the completed structure and pushing it wholesale over the tracks and trains below, with the result that no trains were disrupted by this inch-by-inch operation. Services began in September 2015.
Trams currently used on the route are the original fifteen Incentro AT6/5 units built by Bombardier Transportation at Derby Litchurch Lane, but have since been complimented in 2014 by Citadis 302 tramcars built by Alstom, with 22 units constructed to coincide with the opening of Phase 2. Between them, these units have an annual ridership of 7.9 million people, an average of 21,000 per day.
Hoop jumping at Jay Day
(Photo Credit: Sarah Strong/Jay Heritage Center)
Jay Day 2010 was another highly successful and cooperative effort between the Jay Heritage Center, the Whipple Foundation and Tilly Foster Farm Museum which breeds rare American heritage animals in Putnam County. Randall lineback cattle, American Jackstock donkey, blue rabbits and newborn guinea hogs were just some of the endangered native breeds that were on view to children in Rye and Westchester. Between 700 and 800 guests attended, doubling 2009's attendance. Many were young families with grandparents in tow but there were also individual visitors who had lived in Rye for years and remarked upon how pleased they were to see the property finally coming back to life.
Jay Day was also part of the 11th Annual Hudson River Ramble www.hudsonrivervalleyramble.com/home.aspx
In addition to offering seasonal refreshments like cider, JHC's newest coed friendraising group, the Young Preservationists, hosted activities including painting pumpkins and apple stamping; soft jazz on the veranda; tours by 19th century costumed docents of the historic Jay Property buildings and grounds; strolling jugglers and stiltwalkers; and professional facepainting and balloon animals. Children worked on their own mini architecture exercises inside the 1907 Van Norden Carriage House and outside they sat on quilted picnic blankets and listened to a storyteller weave folk tales and music while playing her guitar.
A truly unique highlight of the day: adults and teenagers were treated to private tours of the Zebra Barn by Ashwood Restoration which is where JHC's our preservation workshop is located and also where parts of Rye's 9/11 Memorial Gazebo were first made and assembled - free use of this work space for the project was JHC's own donation to the 9/11 commemorative effort.
New last year, JHC garnered additional support from the The Rye Women's Club - Children's Philanthropy Section which raised over $1000 towards a new hands on exploratory children's garden that is in the planning stages for the Jay Heritage Center; it is being designed with native plants and trees and incorporate historic themes from the landmark's existing cultural landscape. Whimsical ideas like a zebra topiary and a millstone fountain are being considered.
Landscape lovers travelled to the old silver mining town of Aspen, Colorado this past June 23rd to join The Cultural Landscape Foundation (TCLF) for an unparalled series of private garden visits curated by
TCLF Co-Chair Kurt Culbertson, President of Design Workshop. The 2012 Aspen Garden Excursion, featured no less than 6 award-winning residential designs, all incorporating sustainable features ranging from water conservation to native plant choices responsive to the climate and ecology of the area. The sites were all breathtaking, and participants took in dramatic views from a preserve overlook to a streamside estate, from a contemporary mountain garden to a cascade garden. As one of the highlights, Kurt arranged for Jeff Berkus, architect of The Aspen Institute’s Doerr-Hosier Center, to lead a tour through the grounds which include Herbert Bayer’s striking 1955 Marble Garden and environmental artist Andy Goldsworthy’s red sandstone installation “Stone River.” Our group travelled from McLain Flats to Red Mountain and saw a great breadth of topography and creative treatments while also learning about the agricultural history and rich heritage of Aspen and its environs. The day was a great success.
To learn more about future events at The Cultural Landscape Foundation
The Jay Heritage Center is proud to partner with TCLF on our ongoing series of Sustainable Landscape Symposiums funded by a grant from Con Edison.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
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A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
A successful program that provides lower-income families, pregnant women and seniors with coupons for locally produced food is receiving an additional $2 million investment,
The Farmers' Market Nutrition Coupon Program runs from July through October 2013 and is administered by the BC Association of Farmers' Markets. The program offers $15 worth of coupons each week to individuals and families enrolled in the nutrition and skills building programs offered by community agencies associated with each participating market.
Learn more: www.newsroom.gov.bc.ca/2013/07/2m-supports-expanded-farme...
Public art is successful if it makes people stop, look and think and on that basis this work by Rowan Gillespie is a huge success.
Today when I visited there was a large number of young American tourists there and their guide was telling them about the "Irish Potato Famine". Americans refer to it as the "Irish Potato Famine" while we in Ireland to it as the "Famine" or the "Great famine"
Rowan Fergus Meredith Gillespie (born 1953) is an Irish bronze casting sculptor of international renown. Born in Dublin to Irish parents, Gillespie spent his formative years in Cyprus.
The Irish Famine and subsequent catastrophic migration has motivated two major works by Gillespie, and so it must be said that the portrayal of Famine, is a major theme of the artist's work. In several of his site specific pieces, such as Famine (1997) on the Custom House Quay in Dublin, his life-sized human figures are emaciated and haunting.
In June 2007, a series of statues by Gillespie was unveiled by President Mary McAleese on the quayside in Toronto's Ireland Park.
In Ireland, the Great Famine was a period of mass starvation, disease and emigration between 1845 and 1852.
During the Famine approximately 1 million people died and a million more emigrated from Ireland, causing the country's population to fall by between 20% and 25%. The cause of famine was a potato disease commonly known as potato blight. Although blight ravaged potato crops throughout Europe during the 1840s, the impact and human cost in Ireland — where one-third of the population was entirely dependent on the potato for food—was exacerbated by a host of political, social and economic factors which remain the subject of historical debate.
The famine was a watershed in the history of Ireland. Its effects permanently changed the island's demographic, political and cultural landscape. For both the native Irish and those in the resulting diaspora, the famine entered folk memoryand became a rallying point for various nationalist movements. Modern historians regard it as a dividing line in the Irish historical narrative, referring to the preceding period of Irish history as "pre-Famine".