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Loy's Station, Maryland
Sadly, the original bridge, built in 1848, was destroyed by arson in 1991, when a pickup truck was set on fire while in the bridge as part of an insurance fraud scheme. The local community successfully raised money to rebuild the bridge, using some of the original hardware, rafters and braces from the old bridge. That seems like quite a huge undertaking, and I congratulate them. The new bridge has been open since 1994.
The S2 Packaging project has been long due an overhaul.
The four leaf clover package is looking a bit tired so we’ve binned it and brought in a new approach to the visualisation of the package.
The pupils are still taught about graphic composition techniques and apart from the planning stages the whole project is realised using digital skills.
As a department we believe that teaching pupils skills in the graphic industry standard software applications is the correct approach. These skills are entirely transferable and the graphic interface will be familiar to them if they choose to progress in the subject through to tertiary level and beyond. Given the results that S2 pupils can now achieve in S2 it is exciting to imagine what they progress to in S5/6.
The concept here is to design the packaging for a new snack product. Basic layout skills are taught and then pupils progress towards realising their ideas in Adobe Illustrator. Vector skills such as typography, basic Bezier path tools, scaling and colour manipulation are taught at this point. At all times pupils must work from their pre-planned thumbnail planning sketches. Upon completion of the front and back panel of the package in Illustrator the artwork is then rotated, cropped, and saved as two jpegs in Photoshop. Two materials are created in Cinema 4D and the bitmap artwork is now added to the texture channel. The materials are then mapped onto a crisp packet mesh that I created in a pre rigged studio environment and rendered as a high resolution file.
As you can see from the pupil photos everyone was pleased with their results! Jay was heard to say, “That was a pretty good lesson.” I think so too.
2018 gave the birth to a new season in Disneyland Paris: the Pirates and Princesses Festival. 4 times daily the Disney Princesses and the Disney Pirates would travel through Main Street, USA and Fantasyland to meet at Castle Square for a dance-off to prove who are better: Pirates or Princesses.
Team Pirates was led by the colorful pirate Billy Ocean, assisted by Minnie Mouse, while Team Princesses was led by Betty Rose, expert in all things "princessy", assisted by Mickey. Team Pirates was joined by Jake the Pirate from Disney Junior, Captain Hook, Mr. Smee, Peter Pan and Wendy. Team Princesses was made up by the classic Disney Princesses like Snow White, Aurora (Sleeping Beauty) and Belle, although Moana and Merida danced for Team Princesses as well.
Although the Pirates and Princesses Festival was meant as a one time event the season proved to be so successful Disneyland Paris announced it will return next year. The success of the season is, for a large part, due to the interactive media campaign Disneyland Paris used to make the season known, including youtube instruction videos on the dances for both Team Pirates and Team Princesses and the spectacular press release at the Opére Garnier in Paris, France: youtu.be/M7OXv4bVWLw
2013 World Water Week.
Tuesday, September 3.
Africa Focus: Cooperation and Hydro-Diplomacy - Successful Approaches to Optimise Transboundary Water Management, K2.
Photo: Mikael Ullén.
successfully landed the stage one on a barge in the ocean moments later - usually the smoke/contrail goes up but this rocket was heading east to the atlantic--which is seven miles from where I was standing
Pictured: The Lord Lieutenant of Bristol, Mrs Mary Prior MBE JP, accompanied by the Commanding Officer, Lieutenant Colonel Jason Williams inspects the soldiers of 2 RTR.
After a demanding and successful final tour of Afghanistan, 200 soldiers from The 2nd Royal Tank Regiment (2 RTR) marched through the streets of Bristol to mark their return home today, Thursday 6 February 2014.
The Wiltshire based Regiment spent almost seven months on active duty as part of Operation HERRICK 18 in Helmand Province, providing support to the Afghan National Security Forces (ANSF). The Regiment, based in Tidworth, Wiltshire, played a vital role in ensuring that the ANSF are fully prepared to take control of their country. The Regiment’s deployment on this operation was its last prior to amalgamation with 1st Royal Tank Regiment in August 2014.
Accompanied by applause from the public, the ‘Tankies’ in their unique black overalls, proudly marched through the city centre of Bristol, the heart of their recruitment area. Despite the rain, the parade stepped off from College Green making its way along St Augustine’s Parade to the Cenotaph before returning back along the same route to salute the dais as they passed. Taking the salute was the Lord Lieutenant of Bristol, Mrs Mary Prior MBE JP, The Lord Mayor of Bristol, Councillor Faruk Choudhray and the Colonel Commandant’s Representative, Lieutenant Colonel David Catmur. The parade concluded back on College Green and music was provided throughout by The Band of The Prince of Wales’s Division.
The Commanding Officer, Lieutenant Colonel Jason Williams said:
“The Regiment had a hugely successful tour, leaving Central Helmand a much better place with a genuinely positive outlook for the future.”
“But this success is also due to the hard work of our comrades on previous tours, and the enormous support we received from back home, especially those from Bristol.”
Returning from his first tour, 22 year old Trooper Danny Evans from Withywood, Bristol said:
“We were the most used asset out there and it was good to work with my mates, we formed a close bond”
“I have done a parade before but this time I have done the tour as well and that is great! I joined the Tank Regiment because it is my local regiment and I was very proud to march through my home town today”
After a short reception at the City Hall, the Regiment then moved off to watch the 2 RTR football team play a friendly match against the Bristol City FC Under-21s. The game, originally scheduled to be played at City’s ground at Ashton Court, was relocated to the Hand Stadium in Clevedon due to the wet weather.
END
NOTES TO EDITORS:
•The Royal Tank Regiment is the oldest tank unit in the world, forged in the horrors of the First World War. Originally formed from the Machine Gun Corps, the pioneers of armoured warfare became the Tank Corps, whose numbers expanded rapidly, forming 18 battalions by the start of 1919. In the Second World War, the Royal Tank Regiment (as it had become known) had as many as 25 battalions fighting all over the world.
•The Regiment deployed on Operation HERRICK 18 in several different roles. Battle Group Headquarters and Egypt Squadron deployed as Transition Support Unit, Lashkar Gah, responsible for providing support to the Afghan National Security Forces (ANSF) where necessary. Badger Squadron deployed as the Warthog Group, supporting deliberate operations conducted by British forces. Cyclops Squadron Headquarters deployed as mentors to an Afghan National Army (ANA) unit.
•1st and 2nd Royal Tank Regiments will merge in August 2014 as part of the restructuring of the British Army, and will form The Royal Tank Regiment, based in Tidworth.
•Bristol is at the heart of the recruiting area for 2 RTR and in support of the Army’s national recruitment campaign ‘More Than Meets the Eye’ there were stands from various Units and Regiments based in the South West on display in the city centre. Designed to attract new recruits to full-time Regular and part-time Reserve roles, the campaign aims to put right people’s misconceptions of what a career in the Army is really like by showcasing the wide range of roles and opportunities available. It features real soldiers and officers from a diverse range of Army roles, including electricians, bricklayers and HR specialists. TV adverts are supported by digital, radio and cinema advertising that will run until March.
If you have any further questions, please call Tammy Dixon, Army Press Office South West on 01980 656422/07780 764890.
NOTE TO DESKS:
MoD release authorised handout images.
All images remain Crown Copyright 2013.
Photo credit to read - Cpl Si Longworth RLC (Phot)
Email: simonlongworth@mediaops.army.mod.uk
richardwatt@mediaops.army.mod.uk
shanewilkinson@mediaops.army.mod.uk
Si Longworth - 07414 191994
Richard Watt - 07836 515306
Shane Wilkinson - 07901 590723
2013 World Water Week.
Tuesday, September 3.
Africa Focus: Cooperation and Hydro-Diplomacy - Successful Approaches to Optimise Transboundary Water Management, K2.
Photo: Mikael Ullén.
The S2 Packaging project has been long due an overhaul.
The four leaf clover package is looking a bit tired so we’ve binned it and brought in a new approach to the visualisation of the package.
The pupils are still taught about graphic composition techniques and apart from the planning stages the whole project is realised using digital skills.
As a department we believe that teaching pupils skills in the graphic industry standard software applications is the correct approach. These skills are entirely transferable and the graphic interface will be familiar to them if they choose to progress in the subject through to tertiary level and beyond. Given the results that S2 pupils can now achieve in S2 it is exciting to imagine what they progress to in S5/6.
The concept here is to design the packaging for a new snack product. Basic layout skills are taught and then pupils progress towards realising their ideas in Adobe Illustrator. Vector skills such as typography, basic Bezier path tools, scaling and colour manipulation are taught at this point. At all times pupils must work from their pre-planned thumbnail planning sketches. Upon completion of the front and back panel of the package in Illustrator the artwork is then rotated, cropped, and saved as two jpegs in Photoshop. Two materials are created in Cinema 4D and the bitmap artwork is now added to the texture channel. The materials are then mapped onto a crisp packet mesh that I created in a pre rigged studio environment and rendered as a high resolution file.
As you can see from the pupil photos everyone was pleased with their results! Jay was heard to say, “That was a pretty good lesson.” I think so too.
In the post-war years up until the mid-fifties, BMW was missing a true sports car, one that could compete with the very successful Mercedes-Benz 300 SL and a worthy successor of the legendary 328. Hence, one of the most complex and prestigious ventures in the history of BMW was launched. An important supporter of this project was the first importer of BMW cars in the US, Austrian born Max Hoffmann. He was an extremely influential man with BMW at the time and therefore involved in the 507 project from a very early stage. He also pushed for the designer Albrecht Graf von Goertz to design the new sports car.
Goertz, also responsible for the design of the BMW 503, immigrated to America in 1936, where he started working for the famous designer Raymond Loewy in 1945. Loewy put Goertz on his design team at the Studebaker company, where Goertz designed the very successful facelift for the Studebaker Champion, the so called "bullet nose". In 1953, Goertz set up his own design studio, Goertz Industrial Design in New York. When the 507 project was launched at BMW, Max Hoffmann encouraged Goertz to draft some sketches and send them to the BMW headquarters in Germany. Very pleased with what they saw, Goertz was given a contract in January 1955 to design the new BMW sports car.
The BMW 507, presented at the International Automobile Show Frankfurt in 1955, is an icon in automobile design and many enthusiasts remark that it is the most beautiful car ever built by BMW. The coachwork, formed around the frame of the 503 model with a shortened wheelbase, was almost entirely hand-formed out of aluminium. No two models were exactly the same. The aluminium body made the car very light, with a curb weight of only 1250 Kg. The engine is an aluminium alloy BMW OHV V8, with a 3.2 litre displacement and pushrod-operated overhead valves. The engine produces 150 HP, accelerating the car from 0-100 km/h in 9-10 seconds, depending on which rear-end ratio the customer chose. In terms of smoothness and comfort, the BMW 507 was superior to the 300 SL.
Although, but to rival the Mercedes-Benz 300 SL, ultimately the BMW 507 was never a thoroughbred sports car, rather a very elegant and refined sports cruiser. But the car was still able to celebrate some success in motorsport events, winning several hill-climb races in 1959 with the famous Hans Stuck at the wheel of his 507. The steep production costs made the car unaffordable for most people and BMW was never able to reach the production figures it accounted for. Instead, the company lost money on every car built and after only 252 completed cars, production of this beautiful roadster ceased in 1959, making the 507 a coveted collector's item today.
This particular car is part of the first series of which only 43 cars were built, and is the very first car delivered to Switzerland. It is one of the most original BMW 507 in existence today with only two owners from new - the second owner buying the car in 1965. Between 2007 and 2009 the car was repainted in its original colour.
Engine : V8 3.2 litre 150 HP
Gearbox : 4 speed manual
Colour : Federweiss (white)
Interior : Read leather
Options : Original factory hard-top, knock-off wheels
The last customer has left and Edith and Persimmon are relaxing with a cup of tea in the garden. They had quite a busy day with many customers. Elouise and Emmett stopped by. And Peonia dashed in and out for some cupcakes ; )
Fort McHenry, in Baltimore, Maryland, is a coastal star-shaped fort best known for its role in the War of 1812, when it successfully defended Baltimore Harbor from an attack by the British navy in Chesapeake Bay September 13–14, 1814. It was during the bombardment of the fort that Francis Scott Key was inspired to write "The Star-Spangled Banner," the poem that would eventually be set to the tune of "To Anacreon in Heaven" and become the national anthem of the United States.
Fort McHenry was built on Whetstone Point (today's residential and industrial area of Locust Point) peninsula, which juts into the opening of Baltimore Harbor between the Basin (today's Inner Harbor) and Northwest branch on the north side and the Middle and Ferry (now Southern) branches of the Patapsco River on the south side.
The Frenchman Jean Foncin designed the fort in 1798, and it was built between 1798 and 1800. The new fort's purpose was to improve the defenses of the increasingly important Port of Baltimore from future enemy attacks.
The new fort was constructed in the form of a five-pointed star surrounded by a dry moat — a deep, broad trench. The moat would serve as a shelter from which infantry might defend the fort from a land attack. In case of such an attack on this first line of defense, each point, or bastion could provide a crossfire of cannon and small arms fire.
Fort McHenry was named after early American statesman James McHenry (16 November 1753 – 3 May 1816), a Scots-Irish immigrant and surgeon-soldier. He was a delegate to the Continental Congress from Maryland and a signer of the United States Constitution. Afterwards, he was appointed United States Secretary of War (1796–1800), serving under presidents Presidents George Washington and John Adams.
Beginning at 6:00 a.m. on 13 September 1814, British warships under the command of Vice Admiral Alexander Cochrane continuously bombarded Fort McHenry for 25 hours. The American defenders had 18, 24, and 38-pound (8.2, 11, and 17 kg) cannons with a maximum range of 1.5 miles (2.4 km). The British guns had a range of 2 miles (3 km), and their rockets had a 1.75-mile (2.8 km) range, but neither guns nor rockets were accurate. The British ships were unable to pass Fort McHenry and penetrate Baltimore Harbor because of its defenses, including a chain of 22 sunken ships, and the American cannons. They were, however, able to come close enough at maximum range to fire rockets and mortars at the fort. Due to the poor accuracy of the British weapons at maximum range, and the limited range of the American guns, very little damage was done on either side before the British ceased their attack on the morning of 14 September due to a lack of ammunition. Thus the naval part of the British invasion of Baltimore had been repulsed. Only one British warship, a bomb vessel, received a direct hit from the fort's return fire, which wounded one crewman.
The Americans were under the command of Major George Armistead. They did suffer casualties, amounting to four killed and 24 wounded, including one African-American soldier and a woman who was cut in half by a bomb as she carried supplies to the troops. At one point during the bombardment, a bomb crashed through the fort's powder magazine. Fortunately for the defenders, either the fuse was extinguished by the rain or the bomb was merely a dud.
Francis Scott Key, a Washington lawyer who had come to Baltimore to negotiate the release of Dr. William Beanes, a civilian prisoner of war, witnessed the bombardment from a nearby truce ship. An oversized American flag had been sewn by Mary Pickersgill for $405.90 in anticipation of the British attack on the fort. When Key saw the flag emerge intact in the dawn of September 14, he was so moved that he began that morning to compose the poem "Defence of Fort M'Henry" which would later be renamed "The Star-Spangled Banner" and become the United States' national anthem.
en.wikipedia.org/wiki/Fort_McHenry
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
successful project with projector lens, adapted by Adaptarian for my Leica R system :) even projector lenses have a "Leica style" ... on film
The MDGs have been more successful that other UN development initiatives in mobilizing donor support. Photograph: UN Photo / P Mugabane
Amidst global crisis, a need to go beyond the MDGs.
The Millennium Development Goals are likely to remain important for the long-term task of eradicating poverty beyond 2015. But development policy is being challenged by a host of new and old issues brought into focus by the quadruple crises of the past three years: the food, climate, energy and financial crises. The favourable global economic and political conditions that existed when the MDGs were adopted in 2000 do not exist anymore. The crises and their aftermaths therefore require us to "think out of the box," to ask different questions and seek new ways of social and political mobilization to tackle the structural problems that perpetuate global inequalities.
Certainly the MDGs have marked a step forward. They have received unprecedented political commitment and forged a strong consensus on fighting poverty. They have helped expand the international debate over sustainable pro-poor development and over how to mobilize donor support for domestic efforts, especially in health, education and other social services.
When we look back at the range of UN conferences and what came out of them, the MDGs appear to have been more successful than most other attempts at setting international targets for development issues. They also have helped some civil society groups to hold governments in developing countries accountable for their decisions.
Grasses are monocotyledonous flowering plants in the family Poaceae. Members of this family are some of the most ecologically successful and economically important plants in the world.
Members of Poaceae include: Wheat, barley, oats, rice, corn, and sugarcane... making Poaceae the most important source of calories for humans and animals.
Grasses grow on all continents, and make up about 24 percent of the earths vegetation. The economical importance of grasses is due to their role as an important food source. About 70% of agricultural land is found in the form of crop grasses and more than 50% of calories that are consumed are found in the form of grasses. This includes grains that are used in cereals and other food sources such as bread wheat, barley, oats, rye, rice, corn, sugarcane, etc.
Cultivation of members of this family began about ten thousand years ago, allowing human beings to shift from being hunter gathers, to domesticating animals and plants.
The relationship between humans and agricultural plants is mutualistic due to agricultural plant modifications that have occurred as a result of cultural selection by humans. Many of these plants no longer have the ability to survive in the wild and without humans to plant and care for them, they would become extinct. One example of these agricultural plant modifications can be found in maize, although they are apparent in many other agricultural plants as well.
Over time, human maize selection has been those that have fruiting bodies (kernals) enclosed inside leaf structures that do not open, with seeds that do not separate easily from the cob. These modifications make seed dispersal particularly difficult for natural reproduction.
Grasses are photosynthetic organisms, creating a consumer-herbivory interaction with humans that use grasses as a food source. Herbivores are classified based on the part of the plant that they consume. Grazers are a type of herbivore that consume grasses and low shrubs. This is also a form of interspecific interaction that involves the consumption of primary producers--the foundation of most food webs.
Grasses have adapted to persist in a wide range of environmental conditions including some of the coldest regions, areas of high elevation, deserts, aquatic environments, and more. They can survive in a variety of communities such as those found in freshwater and saltwater marshes, tundras, meadows, and disturbed habitats. While they can survive in many habitats, grass persistence is inhibited with the presence of some woody competitors.
Grasses rely on wind for dispersal of seeds and produce hollow stems that grow from the base of the plant as a form of predation adaptation. The difference between cool-season and warm-season grasses is based on the carbon fixation of the plant. Cool-season grasses utilize the C3 carbon fixation pathway, with most of the photosynthetic processes occurring in the mesophyll cells on the leaf surface. Warm-season grasses use C4 carbon fixation, which performs the initial CO2 fixation and Calvin Cycle as separate steps in different cell types.
Sources:
www.britannica.com/plant/Poaceae
Symbiosis - Symbioses Between Humans And Other Species
Jennifer M. Lang (University of Dayton) & M. Eric Benbow (University of Dayton) © 2013 Nature Education
Citation: Lang, J. M. & Benbow, M. E. (2013) Species Interactions and Competition. Nature Education Knowledge 4(4):8
The S2 Packaging project has been long due an overhaul.
The four leaf clover package is looking a bit tired so we’ve binned it and brought in a new approach to the visualisation of the package.
The pupils are still taught about graphic composition techniques and apart from the planning stages the whole project is realised using digital skills.
As a department we believe that teaching pupils skills in the graphic industry standard software applications is the correct approach. These skills are entirely transferable and the graphic interface will be familiar to them if they choose to progress in the subject through to tertiary level and beyond. Given the results that S2 pupils can now achieve in S2 it is exciting to imagine what they progress to in S5/6.
The concept here is to design the packaging for a new snack product. Basic layout skills are taught and then pupils progress towards realising their ideas in Adobe Illustrator. Vector skills such as typography, basic Bezier path tools, scaling and colour manipulation are taught at this point. At all times pupils must work from their pre-planned thumbnail planning sketches. Upon completion of the front and back panel of the package in Illustrator the artwork is then rotated, cropped, and saved as two jpegs in Photoshop. Two materials are created in Cinema 4D and the bitmap artwork is now added to the texture channel. The materials are then mapped onto a crisp packet mesh that I created in a pre rigged studio environment and rendered as a high resolution file.
As you can see from the pupil photos everyone was pleased with their results! Jay was heard to say, “That was a pretty good lesson.” I think so too.
HANNA BARBERA STUDIOS
ABBOTT and COSTELLO
Original Animation TELEVISION SERIES 1967
Type: AWESOME Original Production Animation MODEL Drawing
from the 1967 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring UNCLE WOLFGANG
Date 1967
NOTES:
The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.
The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)
William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)
The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.
In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.
Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.
In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.
In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.
Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances
The S2 Packaging project has been long due an overhaul.
The four leaf clover package is looking a bit tired so we’ve binned it and brought in a new approach to the visualisation of the package.
The pupils are still taught about graphic composition techniques and apart from the planning stages the whole project is realised using digital skills.
As a department we believe that teaching pupils skills in the graphic industry standard software applications is the correct approach. These skills are entirely transferable and the graphic interface will be familiar to them if they choose to progress in the subject through to tertiary level and beyond. Given the results that S2 pupils can now achieve in S2 it is exciting to imagine what they progress to in S5/6.
The concept here is to design the packaging for a new snack product. Basic layout skills are taught and then pupils progress towards realising their ideas in Adobe Illustrator. Vector skills such as typography, basic Bezier path tools, scaling and colour manipulation are taught at this point. At all times pupils must work from their pre-planned thumbnail planning sketches. Upon completion of the front and back panel of the package in Illustrator the artwork is then rotated, cropped, and saved as two jpegs in Photoshop. Two materials are created in Cinema 4D and the bitmap artwork is now added to the texture channel. The materials are then mapped onto a crisp packet mesh that I created in a pre rigged studio environment and rendered as a high resolution file.
As you can see from the pupil photos everyone was pleased with their results! Jay was heard to say, “That was a pretty good lesson.” I think so too.
www.AmericanFranchiseDream.com/successful-franchises/ - A successful franchise begins with a vision. It doesn't matter that its product may be only bread, beef and a few condiments. Often times it is how you combine simple ingredients with superior customer service to create successful franchises.
Sooraj Pancholi and Jaey Gajera together at the Premiere Night of Sarbjit. Film is Now Running Successfully World Wide.
Follow JaeyGajera Now on Snapchat ;)
#SoorajPancholi #JaeyGajera #RandeepHooda #Bollywood #RichaChadha #Sarbjit #AishwaryaRaiBachchan — in Mumbai, India.
The P-47 Thunderbolt, which would become one of the most successful and widely produced fighters in history, began as the brainchild of two Russian aircraft designers who fled the Soviet Union—Alexander de Seversky and Alexander Kartveli. Kartveli had begun designing fighters for Seversky, including the P-35, and staying on with Seversky Aircraft after it was renamed Republic Aviation. Kartveli had designed the radial-engined P-43 Lancer and P-44 Rocket, and was working on the inline-engined XP-47 when the US Army Air Force cancelled all three programs in 1940, citing that they were inferior to the German Messerschmitt Bf 109.
Kartveli then proposed a new design based on the P-43/44, but much larger, with a turbocharged R-2800 Double Wasp engine, one of the most powerful radials available at the time. The size of the turbocharger and the engine meant that the fuselage had to be much larger as well; as the USAAF wanted an eight-gun fighter along the lines of the Supermarine Spitfire and Hawker Hurricane, the new design was equipped with elliptical wings containing eight .50 caliber machine guns. The resulting design, designated XP-47B Thunderbolt, was huge: it was 65 percent heavier than the P-43 and nearly twice the weight of the Spitfire. Even Kartveli himself referred to it as a “dinosaur.” When pilots saw it, they thought that its size and shape (and likely, its flying characteristics) resembled that of a milk jug, forever earning the Thunderbolt its moniker of “Jug.” Though the first XP-47B prototype crashed soon after its first flight in May 1941, its speed and performance were impressive.
Minor problems with the P-47B production version led to the P-47C, the first combat-ready version of the Thunderbolt, which arrived in England in January 1943. Assigned to the 4th Fighter Group, whose pilots were used to flying Spitfires, initially the Thunderbolt seemed a failure. It could not turn with either the Bf 109 or the new Focke-Wulf 190, and its climbing ability left much to be desired. Pilots hated the Thunderbolt’s size, its lack of performance as compared with the Spitfire, and its low ground clearance, though they did appreciate the comfortable and roomy cockpit, and especially the armor around it.
The indifferent performance of the P-47C and high accident rate led Republic to refine the design in the definitive P-47D variant, which introduced better cooling for the engine and, most importantly, paddle-bladed propeller blades. Now the Thunderbolt began to prove Kartveli’s faith in the fighter. The 56th Fighter Group, led by Hubert Zemke, had been trained from the start in the P-47 and benefited from earlier experience. Zemke, assisted by future aces Francis Gabreski and Robert Johnson, developed ambush tactics that emphasized the Thunderbolt’s advantage in weight; the P-47D’s improved engine and propeller gave it an edge over the Luftwaffe over 15,000 feet that the Germans were not able to equal until the introduction of the Messerschmitt 262 jet in 1944. This was a huge advantage for USAAF pilots, as the majority of air combat over Germany took place at altitudes of 20,000 feet. While the P-51 Mustang was more maneuverable, longer-ranged, and better in the vertical, it was Gabreski and Johnson, in their P-47s, who became the top American aces in Europe. In response to pilots complaining about the lack of rear vision in the “razorback” P-47D, Republic introduced the “bubbletop” version, which cut down the rear fuselage and added a P-51 style bubble canopy, giving the Thunderbolt pilot superb visibility.
What endeared the Thunderbolt to its pilots, however, was its legendary toughness. Since it was far more survivable than the inline-engined P-38 and P-51, much of the European Theater’s P-47s were shifted away from bomber escort and to 9th Air Force’s ground-attack force. Armed with rockets, bombs, and their eight machine guns, Thunderbolts proved to be devastating in this role, attacking anything that moved in Western Europe: by war’s end, ground attack P-47s had destroyed over 6000 tanks; it was especially deadly to trains, accounting for 9000 locomotives. 3752 German fighters became victims of P-47 pilots in the air. P-47Ds also served in the Pacific theater, though in fewer numbers compared to the P-38; nonetheless, they also turned in a stellar combat record, and the third highest ranking ace in the Pacific, Neel Kearby, was a Thunderbolt pilot. Allied air forces also flew P-47s, including the RAF (mainly in the Pacific), and expeditionary units of the Brazilian and Mexican Air Forces.
After war’s end, though more advanced “Pacific” versions of the Thunderbolt had been introduced in the P-47M/N, it was rapidly retired from service in favor of jets (namely the F-84 Thunderjet) and the P-51. A few lingered on until 1953 in Air National Guard service, when it was retired. France used a few P-47s during the Algerian War of Independence in the mid-1950s, while it persisted in South American air forces into the late 1960s. In 1993, Croatia seriously considered returning a museum-piece P-47 to active service during the Croat-Serbian War. 15,686 P-47s were produced, making it second only to the P-51 in US service; today, about 47 survive.
This P-47D is 45-49385, which was delivered to the USAAF less than a month before World War II ended. Deemed obsolete, it may have gone into storage immediately, or possibly served with an Air National Guard unit until 1953, when it was supplied to the Peruvian Air Force. It was retired in 1963, and once more went back into storage until 1969, when it was acquired by a warbird collector and shipped back to the United States.
45-49385 was restored back to flyable condition by 1973, and joined the Confederate (now Commemorative) Air Force, but was only with the CAF a year before being acquired by the Chino, California based Military Aircraft Restoration Corporation (MARC). 45-49385 suffered a crash in 1980 that led to six years of restoration, then went on display at the Mid-America Air Museum in Liberal, Kansas until 1990. Returning to Chino that year, it crashed again (though with less damage this time), and would be out of action until 1993. Finally, in 2004, it was acquired by Westpac Aviation, which did yet another restoration job, this time with original P-47 parts, including a turbocharger--making 45-49385 one of only three P-47s with a functioning one.
Since then, it's been part of the National Museum of World War II Aviation's collection, displayed (and still flyable) as an aircraft of the 78th Fighter Group, based at RAF Duxford, complete with invasion stripes. I saw 45-49385 in August 2020.
Lee Cossey and Andrea Hah descending the ridgeline to Homer Saddle after a successful ascent of Revelations (27), a four pitch alpine rock route on Moir's Mate's Little Brother (which is bigger than it sounds).
The successful 1000 MB Model was produced between 1964 and 1969. The model was characterized by a unitary construction and a liquid-cooled engine behind the rear axle and weighing only 755 kg. A total of 349.348 units were produced. This is a 1966 model, the year in which larger air intakes in the rear fenders were introduced.
988 cc
4 In-line
48 hp
Vmax : 125 km/h
349.348 ex.
Exposition : Škoda 125 Years
18/12/2020 - 24/01/2021
Autoworld
Brussels - Belgium
December 2020
What would become arguably the most successful fighter aircraft since World War II started modestly, and like many late 20th-Century fighter designs, as a result of lessons learned in the Vietnam War. Among those lessons was that large, heavy fighters were not always the answer: the F-4 Phantom II, while a superlative aircraft, had often found itself outclassed by smaller, more nimble North Vietnamese MiG-17s and MiG-21s. The call for the US Air Force to develop its own lightweight fighter was spearheaded by fighter pilot and air combat theorist John Boyd. At first, Boyd’s proposals were dismissed by the USAF, who feared losing funding for the F-15 Eagle then in development. Boyd and others were able to convince the USAF of the usefulness of a light, cheap fighter as a complement to the heavy, expensive F-15, and finally the USAF agreed to issue a requirement for a Lightweight Fighter (LWF)—though with no guarantee that it would actually buy it.
Both General Dynamics and Northrop responded with designs, which would become the YF-16 and YF-17 Cobra. The first YF-16 was rolled out in December 1973, and first flew in January of the next year—accidentally, as the prototype veered off the runway and the test pilot felt it safer to takeoff rather than try to steer it back. The YF-16 won the flyoff against the YF-17, and the USAF selected it to go into service as the F-16 Fighting Falcon. Simultaneously, the YF-16 won a flyoff for the Multinational Fighter; the MNF was planned to be the successor to a number of aircraft in NATO service, and the competition between the YF-16, YF-17, France’s Mirage F.1M, and the SEPECAT Jaguar was fierce. Once selected, production of the F-16 would be vastly expanded, with it not only being produced in the United States, but also in the Netherlands and Belgium as well (to be followed later by Turkey and South Korea). In a short time, the F-16 had come a long way.
Production F-16s differed from the prototype by being slightly larger and heavier, though the initial production batch retained the “small tail” tailplanes of the prototype. Though heftier than the prototype, the F-16 retained the basis of Boyd’s ideal lightweight fighter: it was extremely maneuverable, to the point that a number of early F-16s crashed as the aircraft could take more than the pilot. Its maneuverability is due both to a favorable thrust-weight ratio and its deliberately unstable design: the F-16 was one of the first fighters to employ a wholly-fly-by-wire control system, with the hydraulic controls of older fighters being replaced by microprocessors controlled by a central computer. The microprocessors are able to make the dozens of decisions per second required by the design. For this reason, the F-16 is also known as the “Electric Jet.” General Dynamics had attempted to mitigate these effects on the pilot by reclining the ejection seat backwards and moving the control stick to the side. The pilot also has superb visibility due to the F-16’s bubble canopy.
The Fighting Falcon’s baptism of fire would not take long. Israel, which had been among the first to purchase the F-16, scored the type’s first air-to-air kill over Lebanon in 1981, as well as its first significant strike mission, the raid on Iraq’s Osirak reactor. In the following year, Israeli F-16s scored possibly as many as 30 victories over Syrian MiGs during the 1982 Lebanon War. Pakistani F-16s were to see limited action during the Soviet-Afghan War, shooting down 10 Afghani and Soviet aircraft that strayed into Pakistan’s airspace. For the United States, the F-16 would see its first action in the First Gulf War, though here the USAF used the Falcon’s large payload in strike missions; USAF F-16s saw no aerial action during this conflict.
By the early 1990s, the USAF relegated its F-16A models to the Air National Guard and Air Force Reserve, reequipping its units with later mark F-16Cs. Many of the ANG’s F-16As were upgraded to ADF standard. The last USAF F-16A left service around 2000; aircraft not placed in storage at AMARC in Arizona have been sold to other nations, while some are scheduled for conversion to QF-16 drones.
F-16As are among the most prolific fighters in the world, in service worldwide, flown by ten nations, three of which are in NATO. These aircraft (save those flown by Venezuela) have been significantly upgraded to F-16 MLU (Mid-Life Upgrade) standard, making them equivalent to F-16Cs. Besides Israeli and Pakistani kills in the type, a Dutch F-16AM shot down a Serbian MiG-29 during the Kosovo War in 1999. Other NATO F-16AMs have seen service over Bosnia, Kosovo, and Afghanistan. These older models of F-16s will remain in service until probably 2020 at least, to be replaced by the F-35A Lightning II.
This is obviously not an "accurate" F-16A, but one of Hasegawa's parody "Eggplanes"--a chibi (baby) version of the F-16. Hasegawa began putting these out in the 1970s, and recently began reissuing them, along with newer aircraft. I started building these for fun, but wanted to do something a little different from the norm--so I did a 120th Fighter Wing (Montana ANG) F-16. The buffalo skull tail logo is hand-painted, along with the "Montana" tail stripe. The decals are from the kit; the real 80-0486 served with the 8th TFW at Kunsan, South Korea, and was the first F-16 deployed there. It wears standard F-16 camoufalge of gunship gray and light ghost gray, along with two (albeit stubby) AIM-9 Sidewinders.
This one was fun, but later I would just paint out the canopy.
At the end of World War II, the victorious Allies captured both German scientists and research papers in aerodynamics which had given the Germans a slight edge in technology during the war. Among this was research into swept wings, which promised better handling at high speeds, a feature used successfully in the Messerschmitt Me 262. All the combatant nations had been developing jet fighters at the end of the war, and the Soviet Union was no different: like the Western Allies, it found the swept wing concept to be a perfect solution to add speed without sacrificing stability; unlike the West, the Soviets could not take advantage of it due to a lack of adequate jet engines. Soviet metallurgy was simply not up to the task, and experimental jet fighters were severely underpowered. Engine designer Vladimir Klimov, however, came up with a novel idea: he asked the British in 1946 if they could provide a few examples of their latest engine. To the stunned surprise of Klimov, the Mikoyan-Gurevich design bureau, and Josef Stalin, the British complied, providing Klimov with the plans for the Rolls-Royce Nene turbojet, one of the most successful jet engines in history. Klimov quickly reverse engineered it as the VK-1, and just like that, the Soviets had the perfect engine for their planned jet interceptors.
MiG OKB already had a jet fighter in service, the MiG-9, but it was a poor performer. By modifying a MiG-9 into the I-310 prototype, with VK-1 propulsion and swept wings and tail surfaces, the resultant aircraft was superb: it was very manueverable and fast. It was placed into production as the MiG-15. This in turn was superseded by the more advanced and reliable MiG-15bis, which added airbrakes and a few minor avionics changes. Though pilots hated the cramped cockpit, which forced them to fly without heated or pressurized flight suits—a real concern in frigid Russian winters—they loved its responsiveness and speed. Though the MiG-15 was designed to intercept the B-29 Superfortress, hence its heavy cannon armament, it could quite easily hold its own in a dogfight. It rapidly replaced most propeller-driven fighters in the Soviet inventory, and was quickly supplied to Soviet client states.
The MiG-15 would get its first taste of action during the Chinese Civil War, when Russian-flown MiG-15s flew on behalf of the Communist Chinese against the Nationalists; a P-38L was shot down on 28 April 1950 for the type’s first victory. By far, however, it would be Korea where the MiG-15 would see the most action.
After starting out well, the North Korean armies were, by fall 1950, in full rout from South Korea, pursued by United Nations forces. The World War II-era North Korean People’s Air Force had been annihilated by UN aircraft, and though China intended to intervene on behalf of North Korea, it lacked trained pilots. Stalin agreed to secretly provide both MiG-15s and the pilots to fly them, operating from bases in China across the Yalu River from North Korea. The pilots, under command of Soviet top ace Ivan Kozhedub, were instructed to speak in what little Korean they knew, and never fly over territory where they might be captured. The former was rarely heeded in the heat of combat, while the short range of the MiG-15 limited pilots to flying in and around the Yalu valley in any case. This rapidly became known as “MiG Alley.” By November 1950, Russian-flown MiG-15s were in combat against American and British aircraft, both sides fielding pilots who had already flown combat in World War II. Both sides were to find they were close to evenly matched as well: the Russians claimed the first jet-to-jet victory on 1 November, when a MiG-15 shot down a USAF F-80C; four days later, they suffered their first loss, to a US Navy F9F Panther. Most engagements were to occur between the F-86 Sabre and the MiG-15.
Once more, the two were closely matched. The MiG-15 had a better rate of climb, was superior above 33,000 feet, and had harder hitting cannon armament. The F-86’s six machine guns were often ineffective against the rugged MiG, but it was more manueverable, especially at low level, and if the machine guns did not cause as much damage, they fired at three times the rate of the MiG-15’s cannons, and usually hit what they aimed at, due to a superior radar-ranging gunsight. Both sides had to deal with instability at high speeds: if the MiG pilot got into trouble, he would climb out of danger, whereas the Sabre pilot would dive. The pilots were evenly matched, though the Russians would later admit that the Americans were better trained. Both sides overclaimed during the war, with both Soviet and American pilots claiming 12 to 1 kill ratios: the truth may never be known, though 40 Russians were awarded the title of ace during the war. The MiGs did succeed in one task, driving the B-29s into night attacks, after six were shot down or badly damaged on a single mission in October 1951.
Interestingly enough, the F-86 was as much a surprise to the Soviets as the MiG-15 was to the West, and both sides attempted to procure an example of the other. The United States’ Operation Moolah, offering $100,000 to any Eastern Bloc pilot who defected with a MiG-15, resulted in three MiG-15s, two flown by Polish pilots to Denmark and the third by North Korean pilot No Kum-Sok.
After the end of the Korean War, the MiG-15 remained in service, though it slowly began to be replaced by the MiG-17 and MiG-19. Nonetheless, MiG-15s were involved in eleven separate incidents during the Cold War, shooting down several US and British reconnaissance aircraft and an Israeli airliner. By the mid-1950s, however, the MiG-15 was beginning to show its age, and in combat with Sidewinder-equipped F-86s of Taiwan and Israeli Super Mysteres, it came off second best. Gradually, single-seat MiG-15s were retired from active service, though hundreds of two-seat MiG-15UTI “Midget” trainers remained in service; the MiG-15UTI is still flown by several air forces to this day. About 16,000 MiG-15s were produced in the Soviet Union, Poland, and Czechslovakia, and a good number remain in existence today in museums and numerous flyable examples, including 43 in the United States.
Though No Kum-Sok was not the first MiG-15 pilot to defect, he was the most famous, mainly because his MiG-15 was not returned to its previous owners. No took off from his base in North Korea on 21 September 1953 and landed at Kimpo, South Korea, where he asked for asylum. He had defected because his mother lived in South Korea, and was unaware of Operation Moolah--though he did not turn down the $100,000! No's MiG-15 was taken to Okinawa and flight tested, then was offered to its "rightful owners," either North Korea or the Soviet Union, to be returned. When neither country accepted, the MiG was taken to Wright-Patterson AFB, Ohio, and eventually placed on display at the National Museum of the USAF in 1957.
When I saw this aircraft as a kid in 1977, I don't recall if it had been repainted in North Korean DPRKAF colors, or was still in its "temporary" USAF registration. In any case, this is how No Kum-Sok's MiG-15 is displayed today, with its original markings and bare metal finish. The mannequin in the foreground is wearing No's actual flight gear. For many years, this was the only MiG-15 on display anywhere in the West, and it was good to see 2057 again.
As of this writing, No Kum-Sok is still alive and lives in the United States, though he has changed his name to Kenneth Rowe. EDIT (2023): No Kum-Sok passed away on January 6, 2023.
A slightly successful experiment in drawing a person by removing most of him (whose awareness seems to a great extent to have disappeared into the etheric web world). I used Procreate to abstract out the "drawing" and Aquarella HD to texture the background. Color was later changed again with PhotoWizard (I had a hard time finding colors for this that still looked good enough to me several minutes later).
Only by for Austria successful outcome of Ottoman wars in Europe the conditions were given to turn the old Hofburg, which until now was more fortress than imperial residence, into a befitting palace of a powerful dynasty. When Emperor Charles VI in 1711 succeeded to the throne, stood along the Schaufler alley until St. Michael's square yet the old two-story Chancellery Wing from the time of Ferdinand I. It was significantly lower than the Amalien wing and the Leopoldine wing, bordering the Interior Castle courtyard on the southwest and the southeast side. Between the Chancellery Wing and the Swiss courtyard there was a by Daniel Suttinger created Gate construction. In its place erected Johann Lukas von Hildebrandt in 1712 the so-called Carolingian Triumphal Arch but which was as well demolished in 1728 because now they had laid the foundation for a much more representative Chancellery Wing and in 1723 started the construction work. Hildebrandt's plans provided the unification of the entire inner castle but failed in the end due to the immense cost. 1726 he had to cede construction management to in the meantime appointed Court architect Joseph Emanuel Fischer von Erlach. This one let the already finished construction at Schaufler alley remain but put in front of it the splendid late baroque wing at the courtyard side. Fischer too could due to lack of sufficient liquid funds of the Imperial family his ideas which comprehended also the entire castle not fully realize. Work came to a halt in 1735 and was finally discontinued. The St. Michael's gate was only from 1888 after the demolition of the old Hofburg theater finished.
Herakles of Mattielli
In Chancellery wing were until 1806 when Emperor Franz II/I resigned the Roman-German Imperial Crown the central offices of the administration of the Holy Roman Empire housed. This included especially as the most important Imperial authority the Aulic Councel. 1810 lived here the French ambassador Berthier, when he, on behalf of Napoleon, asked for the hand of Maria Louise, the daughter of Francis I. At the time of the Vienna Congress in some rooms of the Imperial Chancellery Wing was housed the king of Bavaria. 1848 served archduke Johann a suite of rooms as an apartment. In the summer of this year, he received in Great Audience Hall a delegation from Frankfurt Imperial Diet, offering him the dignity of a "German Imperial Regent". A few years later the rooms were renovated, refurbished and converted into apartments for the Imperial family. Traditionally, no Austrian Emperor has taken over the apartment of his predecessor. Franz Joseph moved into his apartment in 1857, three years after his marriage, and lived there until his death in 1916. The apartment of his wife Elisabeth was in the neighboring Amalien wing. Today, the Imperial Apartments as well as the recently opened Sisi Museum and the former Court Silver and Table Room can be visited. The latter is dedicated to the culture of courtly household and the court ceremonial.
While the front is not very spectacular in Schaufler alley, turns the five-story face side of the Imperial Chancellery Wing towards the interior courtyard. This one served till the 16th century as a tournament court. In 1561 issued Thurnierbuch (tournament book) is yet of tournaments of the future Emperor Maximilian II reported which this one had held here in June of last year. In the 17th century but here no more tournaments took place but mounted tournaments, as the then popular horse ballet. The long facade facing the courtyard is accented by three only little projecting risalits with portals and balconies (1727/29) and divided by giant pilasters. The design of the façade is already reminiscent of the design language of French classicism. Franz Joseph and Elisabeth got through the Imperor's gate in central projection to their rooms on the first floor. The leading upwards Emperor's stairway has a magnificent stucco marble equipment and is decorated with gilted bronze vases. But it is hardly ever used. Today's visitor entrance to the Imperial Apartments is located beneath the dome of St. Michael's gate. The five windows above the Emperor's gate are preceded by a long balcony which rests on strong consoles. On the attic of the central projection is attached the huge blazon of Emperor Charles VI with the double-headed eagle. It is overtopped by the German imperial crown and surrounded by a golden chain with the Golden Fleece. Flanked is it by two, carrying trumpets genii. Beside the portals of the side projections stand each two sandstone sculptures of Lorenzo Mattielli. They show the deeds of Hercules. On the ground floor were housed until 1918 various court offices, as the Chamber for payments of the Court, the House, Court and State Archives (until 1902) and the Control office of the Court. In the premises of once Imperial linen room was from 1921 to 1987 the Vienna tapestry manufacture whose leading products have been exported throughout the world.
Study of Franz Joseph
Additionally to the living quarters of the Emperor - those of the Empress were in neighboring Amalien wing - belongs to the Imperial Apartments the Guard room where the bodyguards were on sentry duty but most of all the large Audience waiting room and the Audience chamber, where the Emperor, standing at his desk, used to receive his visitors individually. Under Maria Theresa, took place the deliberations of the Imperial, Court and State Councils of the former Imperial Chancellery in Audience waiting room. Unfortunately, this beautiful, decorated in white, red and gold hall was similarly to fairy-tale grotto recently equipped with figurines in the national costume of the individual crown lands in order to document that here waited people from all walks of life and from all provinces of the country for an audience. During his long reign, there were at least more than 250,000. In this room, hang large, many-figured murals (1832) of Biedermeier painter Peter Krafft, showing scenes from the life of Emperor Franz I. From the ceiling hangs a eighty-flammy Bohemian crystal chandelier still dating from the time of Maria Theresa. The originally fitted with candles chandelier of the Imperial apartments were in 1891 electrified. The ornate pottery kilns partly still stem from the 18th century. They were heated externally via the situated behind the rooms heating passage with wood. In the equipment of his private rooms the personal modesty of the emperor is reflected. Unlike his wife, he had not even running water injected. Noteworthy is also the simple iron military bed that served him for decades as a place to sleep. His office, in which he most of the time was yet active from six o'clock in the morning is adorned with numerous photos and paintings of his family. Here hangs also a famous portrait of the Empress by Franz Xaver Winterhalter. The equipment of the 22 official and residential premises of Emperor Franz Joseph and his wife Elisabeth, which today can be visited as Imperial Apartments, stems from several eras: from late Baroque to Rococo and the Empire to the 19th century neo-Baroque. These include also the four rooms of Stephan's apartment which is named after Archduke Stephan Viktor. The former theater corridor which enabled a direct connection to the old Hofburg Theater is walled off today.
Introducing Clara, a successful and independent lady from Eldoret looking for a genuine connection. Clara works as a manager in a well-known company in Nairobi and handles a cross-border business. Clara is endowed and has achieved so much in life but feels the need for companionship. She seeks a caring and attentive man-sugar boy-to share her life with, valuing love, quality time, and a strong emotional bond. Clara is ready for a real relationship with a man who will be there for her.
If you’re interested in connecting with Clara 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.
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.
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I want to download these pictures to my computer or device?
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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
Only by for Austria successful outcome of Ottoman wars in Europe the conditions were given to turn the old Hofburg, which until now was more fortress than imperial residence, into a befitting palace of a powerful dynasty. When Emperor Charles VI in 1711 succeeded to the throne, stood along the Schaufler alley until St. Michael's square yet the old two-story Chancellery Wing from the time of Ferdinand I. It was significantly lower than the Amalien wing and the Leopoldine wing, bordering the Interior Castle courtyard on the southwest and the southeast side. Between the Chancellery Wing and the Swiss courtyard there was a by Daniel Suttinger created Gate construction. In its place erected Johann Lukas von Hildebrandt in 1712 the so-called Carolingian Triumphal Arch but which was as well demolished in 1728 because now they had laid the foundation for a much more representative Chancellery Wing and in 1723 started the construction work. Hildebrandt's plans provided the unification of the entire inner castle but failed in the end due to the immense cost. 1726 he had to cede construction management to in the meantime appointed Court architect Joseph Emanuel Fischer von Erlach. This one let the already finished construction at Schaufler alley remain but put in front of it the splendid late baroque wing at the courtyard side. Fischer too could due to lack of sufficient liquid funds of the Imperial family his ideas which comprehended also the entire castle not fully realize. Work came to a halt in 1735 and was finally discontinued. The St. Michael's gate was only from 1888 after the demolition of the old Hofburg theater finished.
Herakles of Mattielli
In Chancellery wing were until 1806 when Emperor Franz II/I resigned the Roman-German Imperial Crown the central offices of the administration of the Holy Roman Empire housed. This included especially as the most important Imperial authority the Aulic Councel. 1810 lived here the French ambassador Berthier, when he, on behalf of Napoleon, asked for the hand of Maria Louise, the daughter of Francis I. At the time of the Vienna Congress in some rooms of the Imperial Chancellery Wing was housed the king of Bavaria. 1848 served archduke Johann a suite of rooms as an apartment. In the summer of this year, he received in Great Audience Hall a delegation from Frankfurt Imperial Diet, offering him the dignity of a "German Imperial Regent". A few years later the rooms were renovated, refurbished and converted into apartments for the Imperial family. Traditionally, no Austrian Emperor has taken over the apartment of his predecessor. Franz Joseph moved into his apartment in 1857, three years after his marriage, and lived there until his death in 1916. The apartment of his wife Elisabeth was in the neighboring Amalien wing. Today, the Imperial Apartments as well as the recently opened Sisi Museum and the former Court Silver and Table Room can be visited. The latter is dedicated to the culture of courtly household and the court ceremonial.
While the front is not very spectacular in Schaufler alley, turns the five-story face side of the Imperial Chancellery Wing towards the interior courtyard. This one served till the 16th century as a tournament court. In 1561 issued Thurnierbuch (tournament book) is yet of tournaments of the future Emperor Maximilian II reported which this one had held here in June of last year. In the 17th century but here no more tournaments took place but mounted tournaments, as the then popular horse ballet. The long facade facing the courtyard is accented by three only little projecting risalits with portals and balconies (1727/29) and divided by giant pilasters. The design of the façade is already reminiscent of the design language of French classicism. Franz Joseph and Elisabeth got through the Imperor's gate in central projection to their rooms on the first floor. The leading upwards Emperor's stairway has a magnificent stucco marble equipment and is decorated with gilted bronze vases. But it is hardly ever used. Today's visitor entrance to the Imperial Apartments is located beneath the dome of St. Michael's gate. The five windows above the Emperor's gate are preceded by a long balcony which rests on strong consoles. On the attic of the central projection is attached the huge blazon of Emperor Charles VI with the double-headed eagle. It is overtopped by the German imperial crown and surrounded by a golden chain with the Golden Fleece. Flanked is it by two, carrying trumpets genii. Beside the portals of the side projections stand each two sandstone sculptures of Lorenzo Mattielli. They show the deeds of Hercules. On the ground floor were housed until 1918 various court offices, as the Chamber for payments of the Court, the House, Court and State Archives (until 1902) and the Control office of the Court. In the premises of once Imperial linen room was from 1921 to 1987 the Vienna tapestry manufacture whose leading products have been exported throughout the world.
Study of Franz Joseph
Additionally to the living quarters of the Emperor - those of the Empress were in neighboring Amalien wing - belongs to the Imperial Apartments the Guard room where the bodyguards were on sentry duty but most of all the large Audience waiting room and the Audience chamber, where the Emperor, standing at his desk, used to receive his visitors individually. Under Maria Theresa, took place the deliberations of the Imperial, Court and State Councils of the former Imperial Chancellery in Audience waiting room. Unfortunately, this beautiful, decorated in white, red and gold hall was similarly to fairy-tale grotto recently equipped with figurines in the national costume of the individual crown lands in order to document that here waited people from all walks of life and from all provinces of the country for an audience. During his long reign, there were at least more than 250,000. In this room, hang large, many-figured murals (1832) of Biedermeier painter Peter Krafft, showing scenes from the life of Emperor Franz I. From the ceiling hangs a eighty-flammy Bohemian crystal chandelier still dating from the time of Maria Theresa. The originally fitted with candles chandelier of the Imperial apartments were in 1891 electrified. The ornate pottery kilns partly still stem from the 18th century. They were heated externally via the situated behind the rooms heating passage with wood. In the equipment of his private rooms the personal modesty of the emperor is reflected. Unlike his wife, he had not even running water injected. Noteworthy is also the simple iron military bed that served him for decades as a place to sleep. His office, in which he most of the time was yet active from six o'clock in the morning is adorned with numerous photos and paintings of his family. Here hangs also a famous portrait of the Empress by Franz Xaver Winterhalter. The equipment of the 22 official and residential premises of Emperor Franz Joseph and his wife Elisabeth, which today can be visited as Imperial Apartments, stems from several eras: from late Baroque to Rococo and the Empire to the 19th century neo-Baroque. These include also the four rooms of Stephan's apartment which is named after Archduke Stephan Viktor. The former theater corridor which enabled a direct connection to the old Hofburg Theater is walled off today.
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Meet and Greet my mascot BEARRE
Skua has successfully mobbed a Tern, here you can see the Skua diving to catch the fish which can be seen at the bottom of the photograph
Only by for Austria successful outcome of Ottoman wars in Europe the conditions were given to turn the old Hofburg, which until now was more fortress than imperial residence, into a befitting palace of a powerful dynasty. When Emperor Charles VI in 1711 succeeded to the throne, stood along the Schaufler alley until St. Michael's square yet the old two-story Chancellery Wing from the time of Ferdinand I. It was significantly lower than the Amalien wing and the Leopoldine wing, bordering the Interior Castle courtyard on the southwest and the southeast side. Between the Chancellery Wing and the Swiss courtyard there was a by Daniel Suttinger created Gate construction. In its place erected Johann Lukas von Hildebrandt in 1712 the so-called Carolingian Triumphal Arch but which was as well demolished in 1728 because now they had laid the foundation for a much more representative Chancellery Wing and in 1723 started the construction work. Hildebrandt's plans provided the unification of the entire inner castle but failed in the end due to the immense cost. 1726 he had to cede construction management to in the meantime appointed Court architect Joseph Emanuel Fischer von Erlach. This one let the already finished construction at Schaufler alley remain but put in front of it the splendid late baroque wing at the courtyard side. Fischer too could due to lack of sufficient liquid funds of the Imperial family his ideas which comprehended also the entire castle not fully realize. Work came to a halt in 1735 and was finally discontinued. The St. Michael's gate was only from 1888 after the demolition of the old Hofburg theater finished.
Herakles of Mattielli
In Chancellery wing were until 1806 when Emperor Franz II/I resigned the Roman-German Imperial Crown the central offices of the administration of the Holy Roman Empire housed. This included especially as the most important Imperial authority the Aulic Councel. 1810 lived here the French ambassador Berthier, when he, on behalf of Napoleon, asked for the hand of Maria Louise, the daughter of Francis I. At the time of the Vienna Congress in some rooms of the Imperial Chancellery Wing was housed the king of Bavaria. 1848 served archduke Johann a suite of rooms as an apartment. In the summer of this year, he received in Great Audience Hall a delegation from Frankfurt Imperial Diet, offering him the dignity of a "German Imperial Regent". A few years later the rooms were renovated, refurbished and converted into apartments for the Imperial family. Traditionally, no Austrian Emperor has taken over the apartment of his predecessor. Franz Joseph moved into his apartment in 1857, three years after his marriage, and lived there until his death in 1916. The apartment of his wife Elisabeth was in the neighboring Amalien wing. Today, the Imperial Apartments as well as the recently opened Sisi Museum and the former Court Silver and Table Room can be visited. The latter is dedicated to the culture of courtly household and the court ceremonial.
While the front is not very spectacular in Schaufler alley, turns the five-story face side of the Imperial Chancellery Wing towards the interior courtyard. This one served till the 16th century as a tournament court. In 1561 issued Thurnierbuch (tournament book) is yet of tournaments of the future Emperor Maximilian II reported which this one had held here in June of last year. In the 17th century but here no more tournaments took place but mounted tournaments, as the then popular horse ballet. The long facade facing the courtyard is accented by three only little projecting risalits with portals and balconies (1727/29) and divided by giant pilasters. The design of the façade is already reminiscent of the design language of French classicism. Franz Joseph and Elisabeth got through the Imperor's gate in central projection to their rooms on the first floor. The leading upwards Emperor's stairway has a magnificent stucco marble equipment and is decorated with gilted bronze vases. But it is hardly ever used. Today's visitor entrance to the Imperial Apartments is located beneath the dome of St. Michael's gate. The five windows above the Emperor's gate are preceded by a long balcony which rests on strong consoles. On the attic of the central projection is attached the huge blazon of Emperor Charles VI with the double-headed eagle. It is overtopped by the German imperial crown and surrounded by a golden chain with the Golden Fleece. Flanked is it by two, carrying trumpets genii. Beside the portals of the side projections stand each two sandstone sculptures of Lorenzo Mattielli. They show the deeds of Hercules. On the ground floor were housed until 1918 various court offices, as the Chamber for payments of the Court, the House, Court and State Archives (until 1902) and the Control office of the Court. In the premises of once Imperial linen room was from 1921 to 1987 the Vienna tapestry manufacture whose leading products have been exported throughout the world.
Study of Franz Joseph
Additionally to the living quarters of the Emperor - those of the Empress were in neighboring Amalien wing - belongs to the Imperial Apartments the Guard room where the bodyguards were on sentry duty but most of all the large Audience waiting room and the Audience chamber, where the Emperor, standing at his desk, used to receive his visitors individually. Under Maria Theresa, took place the deliberations of the Imperial, Court and State Councils of the former Imperial Chancellery in Audience waiting room. Unfortunately, this beautiful, decorated in white, red and gold hall was similarly to fairy-tale grotto recently equipped with figurines in the national costume of the individual crown lands in order to document that here waited people from all walks of life and from all provinces of the country for an audience. During his long reign, there were at least more than 250,000. In this room, hang large, many-figured murals (1832) of Biedermeier painter Peter Krafft, showing scenes from the life of Emperor Franz I. From the ceiling hangs a eighty-flammy Bohemian crystal chandelier still dating from the time of Maria Theresa. The originally fitted with candles chandelier of the Imperial apartments were in 1891 electrified. The ornate pottery kilns partly still stem from the 18th century. They were heated externally via the situated behind the rooms heating passage with wood. In the equipment of his private rooms the personal modesty of the emperor is reflected. Unlike his wife, he had not even running water injected. Noteworthy is also the simple iron military bed that served him for decades as a place to sleep. His office, in which he most of the time was yet active from six o'clock in the morning is adorned with numerous photos and paintings of his family. Here hangs also a famous portrait of the Empress by Franz Xaver Winterhalter. The equipment of the 22 official and residential premises of Emperor Franz Joseph and his wife Elisabeth, which today can be visited as Imperial Apartments, stems from several eras: from late Baroque to Rococo and the Empire to the 19th century neo-Baroque. These include also the four rooms of Stephan's apartment which is named after Archduke Stephan Viktor. The former theater corridor which enabled a direct connection to the old Hofburg Theater is walled off today.
We watched at this Secretary Bird (Sagittarius serpentarius) pair gathered sticks and branches from the surrounding area and brought them back to the nest. She eventually tried the nest out for size and the snuggled as they celebrated their success.
Studio Tour Preview by RCR Entertainment Reporter Brittany Leoni
Exciting news...LA is now open! There is no doubt that Angelinos have missed being out and about during the past year. Now that LA is open, everyone is very excited about the expansion of the iconic Warner Bros. Studio Tour Hollywood here in Burbank. The updated tour opens today, June 26th, with a wide range of expansions honoring the studio’s history.
When guests first arrive they will see a new Welcome Center, expanding into a “Storytelling Showcase” exploring the studio’s origins and history.
I was super excited to have the pleasure of interviewing Wonder Woman and Wonder Woman 1984 director, Patty Jenkins, at the early tour opening on Thursday, the 24th.
Q: "Having had the chance to now walk through the exhibit and see the props and costumes for Wonder Woman, is there anything you see in the exhibit that sparks a fond memory from filming?"
Patty: I think that they all do. I think that all of the objects in there mean something special to me. Particularly the wings from Wonder Woman 1984 - to see those out in full display in the exhibit. We actually made those wings on set even though we didn't really need to, because you could just do them in CG. But we did, and so everything about them like the curvature of the line at the top is perfect. I saw myself going back into that critical mode of, "Oh good, you guys really got that line right." So many of those objects are such beautiful things ultimately that these great people I have worked with bring back great memories.
Q: "What's been your experience directing such an iconic character, not only on the individual movies but being a part of the DC family?
Patty: It's an incredible honor. It's such an honor that you can't even...you don't know what to do with it. Growing up I watched Superman and the Batman's. I get to be the first who makes Wonder Woman, and I'm like, "What do you do with that thought process?! I don't know." All I end up knowing is that I love Wonder Woman and I loved the comic book films. And someone's gotta direct it. It turned out that was me and I'm glad I got to be a part of it. I believe in these DC characters. I think that they really are about trying to be a hero in the world. There are heroes who are about different things, like being unlikely and chosen. The DC heroes aren't about that, they are about helping people, and I love that and believe in that."
After the “Storytelling Showcase,” guests will hop into a tour car and be driven across the lot to Stage 48: Script to Screen, the Studio Tour’s interactive sound stage. In Stage 48 there is both a Central Perk set from Friends and a set reproduction of Sheldon’s apartment from The Big Bang Theory.
So, we know there has always been a Central Perk/Friends part of the tour. HOWEVER there is a huge expansion of Central Perk Café—this new version is way bigger than the original one, and directly connects to replicas of the characters props, including Joey and Chandler’s seats and their foosball table.
Speaking of Friends, none other than Chandler's ex-beau, Janice, AKA Maggie Wheeler, also greeted us by the Central Perk Café to say some special words about her experience of playing Janice.
Q: "In your mind, where would Janice be today in 2021?"
A: "Oh. My. God," (in her Janice voice). I think she has a very successful line of handbags - animal print, zebra, tiger, leopard, and a podcast for how to get past the one who got away."
Q: "Where does Maggie end and Janice begin?"
A: "I don't know where Maggie ends and Janice begins - but probably when "this happens," (in her Janice voice). But I grew up in NYC around a lot of women like Janice, and I think it was just a matter of time before I let the cat out of the bag."
Guests will then enter an “Action and Magic Made Here” exhibit. You’ll see a big Batcave full of costumes, vehicles, and props from the DC heroes and villains that we know and love.
Starting June 26th, be sure to grab your ticket for the studio tour...you won't want to miss it!
About Warner Bros. Studio Tour Hollywood
Warner Bros. Studio Tour Hollywood gets you closer to the entertainment you love by taking you on a working studio lot. As a recipient of multiple Trip Advisor’s Travelers’ Choice Awards and recognized as one of the Top 25 Attractions in the United States, the Studio Tour gives guests a revealing look behind the camera at how Hollywood magic is made.
FromFriends and The Big Bang Theory to Harry Potter and the DC Universe, fans can explore the nearly 100-year-old studio as they visit the real sets and backlots spanning Warner Bros.’ 110 acres, celebrating where the greatest entertainment in history was made.
New and Expanded Features Include:
The “Storytelling Showcase,” where guests can explore the evolution of Warner Bros.’ nearly 100-year history;
“Action and Magic Made Here,” the new grand finale experience featuring the DC Universe and Harry Potter and Fantastic Beasts series;
An expansive new Warner Bros Studio Store, which will be open to the public without a Studio Tour ticket purchase;
The Studio Tour now welcomes families with children five years and older.
Warner Bros. Studio Tour Hollywood is located at 3400 Warner Blvd., Burbank, CA 91505. Tours are offered in English and Spanish. Advanced bookings are required, and children five years and older are welcome. To book your tickets online, visit wbstudiotour.com
Upon reopening, the Studio Tour will be open on weekends, from June 26 through July 11, with the Tour also being open on July 5. From July 15, the Studio Tour will operate 5 days a week and remain closed on Tuesdays and Wednesdays. Tours will depart from 9:00 AM to 3:00 PM with departures every 30 minutes. Tickets are available online for $69 for adults (ages 11 and up) and $59 for children ages 5 to 10 at wbstudiotour.com (advanced reservations will be required). Additionally, Southern California residents are eligible for a special rate of $57 on weekdays only, through September 30,2021.
COVID-19 Safety Protocols: The Studio Tour follows all City, State and Federal health guidelines in addition to internal mandates to ensure the health and safety of our guests, employees and production partners.
My name is Felicia, a successful businesswoman living in Nairobi. I’m looking for a man aged 22-36 from the East African Community region to connect with. I was fortunate to grow up in a wealthy family and have worked hard to build my own success through thriving businesses.
As an international entrepreneur, I’m ambitious and focused, but despite my achievements, I sometimes feel lonely and want to meet a caring and driven man. Based in the vibrant city of Nairobi, I’m ready to find someone special to share great moments and build a meaningful connection with.
If you’re interested in connecting with Felicia 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.
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.
In der Varusschlacht (auch: Schlacht im Teutoburger Wald oder Hermannsschlacht, von römischen Schriftstellern als clades Variana, als „Varusniederlage“ bezeichnet) in der zweiten Hälfte des Jahres 9 n. Chr. erlitten drei römische Legionen samt Hilfstruppen und Tross unter Publius Quinctilius Varus in Germanien eine vernichtende Niederlage gegen ein germanisches Heer unter Führung des Arminius („Hermann“), eines Fürsten der Cherusker.
Die Schlacht, in der ein Achtel des Gesamtheeres im Römischen Reich vernichtet wurde, leitete wahrscheinlich das Ende der römischen Bemühungen ein, die rechtsrheinischen Gebiete Germaniens bis zur Elbe (Fluvius Albis) zu einer Provinz des Römischen Reiches zu machen. Sie gehört daher zu den wichtigsten Ereignissen in der Geschichte der Römer in Germanien.
Als Ort der Schlacht wurden und werden verschiedene Stätten in Ostwestfalen, Norddeutschland und in den Niederlanden vermutet. Seit Ende der 1980er Jahre werden intensive archäologische Ausgrabungen in der Fundregion Kalkriese am Wiehengebirge im Osnabrücker Land durchgeführt, die den Ort zu einem Favoriten in der Diskussion als Stätte der Varusschlacht machten, wobei die Lokalisierung zunächst als so wahrscheinlich galt, dass es vor Ort zur Errichtung eines Museums kam. In den letzten Jahren werden jedoch wieder verstärkt Zweifel an der Auffassung geäußert, ein Teil der Schlacht habe in Kalkriese stattgefunden.[1] Das Hermannsdenkmal bei Detmold im Teutoburger Wald erinnert an die Varusschlacht.
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The Battle of the Teutoburg Forest (German: Schlacht im Teutoburger Wald, Hermannsschlacht or Varusschlacht), described as clades Variana (the Varian disaster) by Roman historians, took place in the Teutoburg Forest in 9 CE, when an alliance of Germanic tribes ambushed and decisively destroyed three Roman legions and their auxiliaries, led by Publius Quinctilius Varus. The anti-Roman alliance was led by Arminius, who had acquired Roman citizenship and received a Roman military education, thus enabling him to personally deceive the Roman commander and foresee the Roman army's tactical responses.
Despite several successful campaigns and raids by the Roman army in the years after the battle, they never again attempted to conquer Germanian territory east of the Rhine River. The Germanic victory against the Roman legions in the Teutoburg forest had far-reaching effects on the subsequent history of both the ancient Germanic peoples and on the Roman Empire. Modern historians have regarded Arminius' victory as "Rome's greatest defeat" and one of the most decisive battles in history.
Quelle: en.wikipedia.org/wiki/Battle_of_the_Teutoburg_Forest
More Information / Weitere Info`s:
www.kalkriese-varusschlacht.de/
www.lwl.org/westfaelische-geschichte/portal/Internet/find...
Buffalo, New York
Listed 7/3/2013
Reference Number: 13000462
Hamlin Park is significant under Criterion C for community planning and development and landscape architecture as an illustration of several important aspects of nineteenth and twentieth century subdivision planning in Buffalo. The residential development in the northern section, called the Hager Division, began in the late nineteenth century and contains Olmsted-inspired street layouts and feeling. The southern section initially contained the large Driving Park, but began to develop in 1912 similar to other streetcar neighborhoods in the city after the land was sold in 1912. The district encompasses two neighborhoods that are united by their architectural styles, development patterns, and homebuilders. The district is also significant under Criterion A in social history as a successful example of the Model Cities programs utilization of Baltimore Plan-inspired rehabilitation loan programs in Buffalo. Hamlin Park was heavily influenced by post-World War II demographic shifts in the city, particularly as German, Polish, and Jewish residents migrated to the suburbs, prompting the movement of middle-class African Americans into formerly all-white neighborhoods. Homes in Hamlin Park began to transform according to postwar aesthetics, utilizing wartime savings and disposable income, though many residents also benefitted from funding through the federal Model Cities program in the late 1960s. Developed partly in response to the failure of many urban renewal programs to deliver the kind of city-revitalization envisioned after World War II, Model Cities grants funded both physical projects, such as home improvement and code enforcement, and social ones, such as education and job opportunities, seeking the active involvement of residents in neighborhood improvement. In Hamlin Park, the Model Cities program was crucial in maintaining the housing stock through grants and low interest loans to homeowners who required assistance to make their residences code compliant. Many residents took advantage of the program to replace deteriorated roofs, gutters, porch columns, and windows. As a result of the rehabilitation loans, as well as the community organizations that were encouraged by the Federal program, the housing stock in Hamlin Park has remained largely intact and in good condition, particularly in comparison to adjacent neighborhoods.
National Register of Historic Places Homepage