text:
Politicize the CIA? You've Got to Be Kidding!
Bush Administration
No alien penetration or treachery of double agents has ever done nearly as much damage to the CIA as the infighting consequent upon the arrival of each new director, charged by his White House ma
By Alexander Cockburn
No alien penetration or treachery of double agents has ever done nearly as much damage to the CIA as the infighting consequent upon the arrival of each new director, charged by his White House master with cleaning house and settling accounts with the bad guys installed by the previous White House incumbent.
Bush's new director, former Republican Florida Representative Porter Goss, and his team of enforcers are now rampaging through the corridors of CIA HQ at Langley. Goss was once an undercover CIA officer, so there's probably a personal edge to his mission of revenge, as he strikes back at the dolts who nixed his expense accounts or poured scorn on his heroic endeavors in the field.
But Goss's most pressing task is to exact retribution for the anti-White House stories emanating from the CIA in the months before the election. Goss and his hit team have acted swiftly. In early November the CIA's number 2, John McLaughlin, resigned, followed days later by the top man on the clandestine side and his deputy. And, no surprise, into retirement goes "Anonymous," Michael Scheuer, leader of the CIA unit hunting Osama bin Laden. I'm with Goss on that one. Scheuer probably spent most of each day hunting down his next book advance and kibitzing about royalties from Imperial Hubris with his true "controls" at Brassey's Inc., owned by shadowy Books International.
So Goss will exact vengeance, spill blood, leak to favored journalists and deliver Bush daily intelligence briefings tailored to meet the expectations of his patron.
Of course there's a portentous uproar and wringing of pious hands as the cry goes up that the abilities of the agency to collect and analyze useful intelligence are being compromised by "unparalleled" political partisanship. "We need a director," cries Jay Rockefeller, ranking Democrat on the Senate Intelligence Committee, "that is not only knowledgeable and capable, but unquestionably independent."
There's nothing new in all this. Permit me to take you on a brisk tour of CIA directors. Before Goss we had George Tenet, a politically agile former Congressional staffer so eager to please Bush that he uttered the imperishable words "slam dunk" about the supposed ease of making a case for Saddam's WMD.
Tenet, whose political agility is advertised in the fact that he was one of the longer-serving DCIs, supplanted John Deutch, an MIT prof who divided his brief sojourn as director between downloads of the agency's darkest secrets onto his personal laptop, business ventures with a revolving doorman from DoD, William Perry, and excursions to attend town meetings in Los Angeles, claiming to black audiences that the CIA had no role in funneling cocaine into the nation's ghettos. Among the few secret files Deutch apparently failed to download onto his laptop were materials later excavated by the CIA's own inspector general, Fred Hitz, establishing CIA complicity in the cocaine trade.
Deutch's predecessor was Jim Woolsey, unusual for someone in the Clinton-Gore milieu in having no conspicuous record of marijuana consumption, hence a security clearance. Clinton and Gore mostly liked Woolsey for political reasons, because he had street cred with the neocons (who used to sail under the flag of "Jackson Democrats"). Woolsey later became a prime lobbyist for attacking Iraq.
DCI before Woolsey was Robert Gates, in trouble for lying to Congress; before him was William Webster, brought in as an air freshener after William Casey, one of the most consummate scoundrels ever to run any government agency in the entire history of the United States. Casey was Reagan's campaign bagman, then put in as CIA chief with the prime function of misrepresenting the threat posed by the Soviet Union and, nearer at hand, Nicaragua.
Casey dislodged Jimmy Carter's man, Adm. Stansfield Turner, a relatively honest fellow. Turner, roasted for firing many in the CIA "old guard" of that era, took over from Bush Sr., who, like JFK, sanctioned a Murder Inc. in the Caribbean, and who wilted under pressure from the Jackson Democrats, a k a the Military Industrial Complex. It was Bush who appointed the notorious "Team B" to contradict previous in-house CIA analyses suggesting the Soviet threat was not as fearsome as that depicted on the cartoon (a k a editorial) page of the Wall Street Journal.
Bush's predecessor as DCI was William Colby, a CIA career man mostly famous for running the Phoenix assassination program in Vietnam and testifying with undue frankness in the Church Congressional hearings into the CIA. In retirement Colby continued his career as a conspiracy buff, probing the suicide of Clinton's counsel Vince Foster for his newsletter. Colby finally stepped into his canoe on Maryland's eastern shore after a dinner of clams and white wine and turned up drowned a few days later.
Colby replaced James Schlesinger, who ran the agency for a few months in the midst of the Watergate scandal. Ray McGovern, a twenty-seven-year career analyst with the CIA, now retired, remembers how he and his agency colleagues were taken aback when Schlesinger announced on arrival, "I am here to see that you guys don't screw Richard Nixon!" To underscore his point, McGovern recalls, Schlesinger "told us he would be reporting directly to White House political adviser Bob Haldeman and not to National Security Adviser Henry Kissinger."
We'll stop with Schlesinger, but you get the idea. There's nothing new about the "political" appointment of Porter Goss, who at least has the agreeable distinction of owning an organic farm in Virginia, where tiny donkeys supervise hairy sheep from Central Asia and chickens lay green eggs, thus reduplicating the agency's most expensive op ever, the Afghan caper, wherein the CIA supervised the mujahedeen, costing $3.5 billion and launching Osama bin Laden on his chosen path.
Most intelligence is worthless, with the scant truthful stuff rapidly deep-sixed. Whatever makes its way onto the desks of Presidents or Congressional overseers is 100 percent "political." Anyone who wants to find out what's happening in the world would be better advised to ask a taxi driver.
Alexander CockburnAlexander Cockburn, The Nation's "Beat the Devil" columnist and one of America's best-known radical journalists, was born in Scotland and grew up in Ireland. He graduated from Oxford in 1963 with a degree in English literature and language. After two years as an editor at the Times Literary Supplement, he worked at the New Left Review and The New Statesman, and co-edited two Penguin volumes, on trade unions and on the student movement. A permanent resident of the United States since 1973, Cockburn wrote for many years for The Village Voice about the press and politics. Since then he has contributed to many publications including The New York Review of Books, Harper's Magazine, The Atlantic Monthly and the Wall Street Journal (where he had a regular column from 1980 to 1990), as well as alternative publications such as In These Times and the Anderson Valley Advertiser.
He has written "Beat the Devil" since 1984.
He is co-editor, with Jeffrey St Clair, of the newsletter and radical website CounterPunch(http://www.counterpunch.org) which have a substantial world audience. In 1987 he published a best-selling collection of essays, Corruptions of Empire, and two years later co-wrote, with Susanna Hecht, The Fate of the Forest: Developers, Destroyers, and Defenders of the Amazon (both Verso). In 1995 Verso also published his diary of the late 80s, early 90s and the fall of Communism, The Golden Age Is In Us. With Ken Silverstein he wrote Washington Babylon; with Jeffrey St. Clair he has written or coedited several books including: Whiteout, The CIA, Drugs and the Press; The Politics of Anti-Semitism; Imperial Crusades; Al Gore, A User's Manual; Five Days That Shook the World; and A Dime's Worth of Difference, about the two-party system in America.


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Go 2 Talent Agency
The Next Step In Dance And Choreography Representation
Go 2 Talent Agency (GTA) is a boutique talent agency that represents the Go-To Artists to put your project in motion. We opened our doors in 2011 with a primary focus on Dancers and Choreographers in all genres of movement for all mediums of the entertainment industry. As the careers of our clients evolved so to has our roster that now includes dancers, choreographers, triple-threats, educators, influencers, specialty acts, creative directors and performance producers for TV & Film, Commercial & Print, Music Videos & Tours, Theatre & Corporate as well as new & emerging platforms.
The genesis of GTA was to create a company where we could remain with our clients throughout the evolution of their careers. Our formula for success has revolved around the core values of individual relationships, outstanding communication and the elevation of our community.
Our mission is to provide our clients with bespoke representation services as an advocate in support of their interests in the entertainment industry and to establish ourselves as a trusted resource for artists specializing in the craft of dance and choreography to buyers around the world.
Go 2 Talent (GTA), a licensed talent agency pursuant to the CA Talent Agencies Act labor code section 1700 et seq., is a proud member of the Association of Talent Agents (ATA), franchised with the American Federation of Television & Radio Artists (Legacy AFTRA), Actor's Equity Association (AEA) and is a member of the Academy of Television Arts & Sciences (ATAS).
Terry Lindholm
President/Senior Agent
Terry Lindholm is the Founder and President of Go 2 Talent Agency, Inc. (GTA), a boutique talent agency he opened in 2011, with wife, Lisa Coppola Lindholm. A seasoned dancer, choreographer, and teacher, Terry's career has seen him tour with Reba McEntire, perform at three Academy Awards ceremonies and choreograph premiere shows for Buena Vista Pictures!
Terry grew up in his mom's dance studio in Palatine, Illinois and trained extensively in the Chicagoland area. He cites performing "Bojangles" with Hubbard Street Dance Company for Chicago's 150th birthday celebration as a highlight. After graduating from the Chicago Academy of the Arts, Al Gilbert encouraged him to move to Los Angeles where he studied on scholarship with Joe Tremaine. This was the catalyst that eventually led to his teaching with Tremaine Dance Conventions from 1989 to 2001. During this time, he also worked on many memorable projects including Newsies directed by Kenny Ortega, Greogory Hines' Tap, I'll Do Anything choreographed by Twyla Tharp, the role of Flagstaff in Bette Midler's Gypsy, as well as choreographing Rita Moreno for Jerry Herman's Broadway at the Bowl, and under the direction of Bill Conti, the tap sequence for the film score of The Thomas Crown Affair, among others.
From the inception of the dance/on-camera department at McDonald Selznick Associates (MSA) in 2002, Terry guided the creation and development as its Executive Director through 2010 before opening GTA the following year. Terry is currently on the advisory board for The World Choreography Awards, the Global Dance Initiative, and Dance Spirit Magazine as well as a member of the advisory committee for the choreography peer group at the Academy of Television Arts & Sciences (ATAS).
He avidly educates dancers through his speaking engagements and is grateful to work as an advocate for the elevation of the dance community. His diverse range of experience has benefited both emerging and established artists alike, quickly turning GTA into one of the leading agencies focused on the representation of dancers and choreographers in the entertainment industry.
Lisa Coppola Lindholm
Vice President/Senior Agent
Known for her unparalleled personal attention and customer service Lisa Lindholm is excited to be able to bring GTA to life. It is truly a dream come true for her and husband/partner Terry Lindholm. With over ten years of experience in the agency business she has developed a reputation with producers, casting directors and managers as a straight shooter who stands up for her clients and creates solutions. From 2002-2011 she held the position of co-director and senior agent of the Dance Department at McDonald Selznick Associates (MSA), prior to that she held talent agent positions at bloc Agency and DDO Artists Agency. During this time she has had the privilege of working with the best of the best in the dance community. Her clients have worked at the highest levels in the entertainment industry including but not limited to the TV shows So You Think You Can Dance, Dancing With The Stars and Glee, recording artists Ne-Yo, Rihanna & Janet Jackson and feature films, Step-Up, Burlesque & This Is It just to name a few.
Prior to becoming an agent, Lisa began her career as a professional dancer and is a proud member of the EDGE scholarship program alumni. She assisted faculty members Rhonda Miller, Cindera Che and Phineas & Karine Newborn and eventually became the manger of EDGE Performing Arts Center in Los Angeles. As a successful dancer and model her credits range from Feature Films to Commercials (Fanta), Hair Shows (Sebastion, Redken, and Joico), designer runway shows (In China, Japan, New York and LA), and more.
She feels through her own experiences as a dancer she can guide the dancers she represents in a direction that will enable them to have a long and prosperous career in the entertainment industry.
Armine Marukyan
Bonnie Lindholm
Carol Connors
Gabe Vargas
Julie Medeiros
Kris Engelstad
Lynn Givens
Megan Engelstad
Go 2 Talent Agency, Inc.
© Go 2 Talent Agency 2023
Photos by Tio Von Hale, Rob Daly, Rose Eichenbaum, Michael Higgins and Lindsay Rosenberg
Website created & powered by StirStudios

redpajama_set_name: RedPajamaCommonCrawl


Monday Aug 14. Sounds of birds in the garden to wake me once again. Generally, a lazy day. Knees and hip playing up a bit after the driving on Thursday and Sunday, so had a nanna nap after lunch. Frosty in the morning, and not terribly warm during the day.


text:
Врбово је насеље у Србији у општини Пријепоље у Златиборском округу. Према попису из 2011. било је 63 становника.

Демографија
У насељу Врбово живи 97 пунолетних становника, а просечна старост становништва износи 61,3 година (59,5 код мушкараца и 62,7 код жена). У насељу има 49 домаћинстава, а просечан број чланова по домаћинству је 2,02.

Ово насеље је у потпуности насељено Србима (према попису из 2002. године).

Референце

Спољашње везе

 Мапе, аеродроми и временска ситуација локација (-{Fallingrain}-)
 Гугл сателитска мапа (-{Maplandia}-)

Општина Пријепоље
Насељена места у Златиборском управном округу
Википројект географија/Насеља у Србији

redpajama_set_name: RedPajamaWikipedia


Now in its fifth year, the Foodservice Pioneering Concept Competition continues to draw innovative designs for concepts that can open in nontraditional spaces. Beginning with the call for entries in the first quarter of the year, the FPC invites foodservice design consultants and conceptualists to dream up a foodservice operation that's especially suited to a nontraditional location, such as a lobby, a courtyard, hallway, concourse or any high-traffic space not specifically outfitted to foodservice. They're challenged to use today's most innovative equipment and technologies to produce exceptional menus and service experiences. The concept can only run on electric, must require little water and must operate without the need for overhead ventilation, so designers are challenged to come up with viable, revenue-generating foodservice where no foodservice could go before.
The FPC is the brainchild of Program Director Marsha Diamond, who saw in the competition the potential to enhance the HX: The Hotel Experience Show for the attendees, operators, consultants and business partners. By staging equipment and supplies in a working model of the winning concept at the show, attendees understand how a clever selection of foodservice equipment and technology can equip them to open a foodservice venue in a smaller footprint and quicker timeframe than traditional foodservice and often at a fraction of the cost of construction, utilities and other such investments.
The 2016 winning concept, Refresh Eatery & Market, was created by Kris Morphis, FCSI, Sr. V.P., Foodesign Associates, and Erik Haviland, V.P./Group Creative Director, TheFUZE, Foodesign's graphic design and communications partner, both located in Charlotte, N.C. The concept provides a fresh, healthy, made-to-order alternative to fast-food options typically found in a food court or public space, and it uses the latest technology through iPad and mobile-app ordering, with food produced off of a flexible, ventless cooking platform. The concept provides a retail component for take-home, along with a made-to-order quick-service for customers who want to dine at the location.
Judges found the Refresh concept flexible and innovative, saying the design had lots of curb appeal and that the equipment selection was smart and labor-friendly. They especially praised the concept's menu versatility and adaptability to local and regional cuisine.
Refresh offers a selection of fresh, locally sourced and pre-portioned ingredients that mix and match into an assortment of upscale flatbreads, salads, sandwiches and entrées. Patrons can order and pay for their food using a mobile app or enter their orders and pay via iPads set up at an order-entry kiosk. Then, they collect their recipe ingredients, which are in packages along a refrigerated display wall labeled Starch, Protein and Vegetable. Packaged snacks and a full beverage counter can be included in the concept. Customers can either take ingredients home to prepare themselves or hand them off to the onsite chef who is equipped with a down-draft induction grill and undercounter refrigeration.
"This concept appeals to millennials, but also the business traveler and the corporate professional who might pass this foodservice space in high-traffic, under-used areas," adds Haviland. He and his team developed the menu, recipes and all graphic components for Refresh's onsite and mobile presences. "Technology and social networking is a critical part of their daily routine, and the Refresh concept we created meets them where they are already engaging—on their mobile devices," he says.
Bringing the concept to "life" on the show fl oor took months of coordination, beginning with fi nding a fabricator. "Carts of Colorado stepped up and were incredibly talented and easy to work with," Diamond says. Before work started on the model, the winners along with the HX show team reached out to multiple manufacturers to ask them if they could use their equipment in a live, interactive booth that would enhance their tradeshow strategy.
Through this outreach, the team was able to equip Refresh with everything from an undercounter dishmachine and espresso maker to the grill and refrigerated wall displays (see Sponsor Thanks for a full listing).
"Hosting the Refresh Eatery & Market model at the show was a very worthwhile experience," Morphis says. "We received tons of leads not only to buy the concept or an adaption of it, but we also were approached by operators in need of foodservice consulting. The FPC program goes beyond the typical approach to exhibiting as the attending operators can see fi rst-hand not only the creativity displayed by our team, but they can walk through an interactive presentation of a foodservice operation. Carts of Colorado did an incredible job building the concept." The FPC provides great exposure for the manufacturers, as well, because potential buyers get to see equipment in a real operation; they can watch it being used, taste the food and walk through the concept. "It's a different exposure than that provided by a traditional exhibit booth," he adds.
Second place in the 2016 competition was awarded to Nightingale, designed by A.J. Barker, Principal, Concept Kitchen + Bar, Lynnwood, Wash. The judges deemed the glass-enclosed, egg-centrically menued concept a true original delivering unique, experiential dining. Third place was awarded to Make Station, an urban farm-stand concept designed by Peter Christensen, Principal, Christensen Consultants, San Jose, Calif. Special thanks go out to Phil Robinson, HX Show Director, for having the vision to finance the FPC and the insight to understand the benefits of hands-on engagement a live platform delivers to audiences at today's tradeshows. Thanks, too, go to the associations that support these initiatives for the foodservice and hotel industries including HX sponsors the American Hotel & Lodging Association, the Hotel Association of New York City, and the New York State Hospitality & Tourism Association. HX is managed by Hospitality Media Group.
Foodservice Equipment Reports is the official media partner of the HX: The Hotel Experience 2016 Foodservice Pioneering Concept Competition.
• Does the concept have the ability to generate revenue in a formerly empty space?
• Does it comprise a flexible, compact footprint?
• Does it appeal to multiple demographics, ages, cultures and professions?
• Does it deliver a local/regional menu?
• Does it use multifunctional equipment that's compact, easy to use, mobile, energy efficient and ventless?
• Does the concept embrace technology?
• Is the concept sustainable? In food? In its practicality over time? Energy?
• Does the concept enhance customers' perception of the host venue in which it's located?
Distinguished industry judges for the FPC in 2016 were Zia Ahmed, Sr. Dir., Dining Services, The Ohio State University; Michael Atanasio, Dir., Food & Nutrition Services, Overlook Hospital; Maura Doran, RDN, Dir., Food & Nutrition Services, New York Methodist Hospital; David M. Heymann, G.M., Sheraton Syracuse University Hotel and Conference Center; Tom Prykanowski, Dir. of Brand Strategy and F&B Innovation, Choice Hotels; Chef Michael Roddey, CEC, President and Principal, Gastronomic Services and Consulting; and Kirk Rodriguez, Dir., Hospitality Services, Texas Tech University.
The Foodservice Pioneering Concept and in particular Refresh Eatery & Market could not be realized without the generous help of business partners. Huge thanks go to Carts of Colorado for the actual build-out of the Refresh model at the HX: The Hotel Experience Show, which was held last November at the Jacob K. Javits Convention Center, New York. Many thanks also are due for equipment and supplies donated for use in the actual working model by the following companies: Featured sponsors: Carts of Colorado, ITW FEG, Traulsen/ITW FEG and Hobart/ITW FEG. Product Sponsors: Ali Group, Egro/Ali Group, Rancilio/Ali Group, Scotsman/Ali Group, Beverage-Air/Ali Group and Seating Concepts. Product Contributors: BSI LLC, Spring USA, Hatco, SmartPack and TheFUZE.


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text:
Saudi Arabia: Baby boy and three relatives killed in minibus crash
Keywords:MeccaMedinaSaudi Arabia minibus crash
Four members of the same family including a two-month-old baby boy have been killed in a minibus crash in Saudi Arabia as they returned from a pilgrimage to Mecca.
The family believed to be from Manchester died in the incident near Medina on Wednesday along with another couple from Glasgow.
They have been named locally as Mohammed Khursheed and his wife, Noshina Ahmed, their two-month-old grandson Adam Anis and Mrs Ahmed's sister Rabia.
Glasgow Central Mosque have named the Scottish victims as Mohammad and Talat Aslam, parents of five, from the Newlands area of the city.
The Foreign Office said it was supporting the families of the six victims and helping others who were injured in the crash.
The group had just completed Umrah, a pilgrimage to Mecca, according to Glasgow Central Mosque.
A statement from the Scottish mosque said: "Mr Mohammad Aslam and Mrs Talat Aslam of Glasgow, the parents of Shehla, Saba, Omar, Osman and Haroon, have returned to the mercy of Allah.
"On Wednesday January 18 they had just completed Umrah and were travelling in a minibus to visit our beloved Prophet's Masjid in Madina. Tragically they were involved in a fatal accident.
"Four members of another family from Manchester were also killed in this tragedy."
A Foreign Office spokeswoman said: "We are supporting the families of six British people who have sadly died following a road accident in Saudi Arabia.
"We are also helping several more British nationals who were injured in the crash. Our thoughts are with the victims and their families at this very difficult time."
Glasgow Central Mosque said Mr and Mrs Aslam were popular members of the community.
A Facebook post by the Mosque read: "We understand they had just completed the Umrah pilgrimage to the holy city of Makkah (Mecca) and were travelling in a minibus to visit the holy city of Madinah.
"We have every confidence in the Saudi authorities currently investigating the crash and in giving the dearly departed due dignity and decorum.
"Mr Mohammad Aslam and Mrs Talat Aslam were popular members of the community and are survived by their five children. We pray Allah the Almighty grants the deceased a high rank in Paradise and gives their loved ones strength and patience at this difficult time.
"We would kindly request the family be given space and time to grieve for their loved ones and to come to terms with their sudden loss."
Umrah is a pilgrimage to Mecca by Muslims made at any time of the year, differing from the annual Hajj which takes place in the month of Dhul Hijjah, the 12th month of the Islamic lunar calendar.
The Hajj is seen as a mandatory religious duty that must be carried out at least once by adult Muslims who are physically and financially capable of undertaking the journey.
Last year it was held in September with more than one million Muslims travelling to Saudi Arabia.
Source: belfasttelegraph.co.uk
Analytics, Breaking
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In Egypt, ecstatic pilgrims start journey to Mecca
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We wandered down a residential alleyway in the character-filled village of Zhuxianzhen in Henan Province, and came upon an elderly lady eating her lunch. She sat us down, fed us a stodgy chunk of wheat dough steamed with vegetables and a massive bowl of sweet potato congee straight from her kitchen, right there in the dusty lane. It was one of those magical gestures of hospitality so often encountered when venturing off beaten Chinese paths.
Combine the rice and stock in a large saucepan and bring to a simmer. Cook over a low heat for 1½ hours, or until the rice is soft and the mixture has thickened. Peel the sweet potato and cut into 1 cm pieces, then add to the rice mixture. Cover the pan and cook for another 30–40 minutes, or until the sweet potato is soft. Season with a little sea salt and white pepper, but not too much, as congee should not be salty.
Meanwhile, to make the deep-fried eggs, cook the eggs in a saucepan of simmering water for 5 minutes. Drain, then cool under running water. Peel the eggs, then pat dry with paper towel.
Fill a wok one-third full of oil and heat to 190°C, or until a cube of bread dropped into the oil turns deep golden in 10 seconds. Add the spring onions and cook for 5 minutes, or until golden, then remove using a slotted spoon and drain on paper towel. Working in two batches, add the eggs and cook for 6–7 minutes, or until golden. Remove and drain on paper towel.
Pour off all but 1 tablespoon of oil from the wok. Add the soy paste, oyster sauce, vinegar and sugar to the wok and bring to a simmer over a medium heat, swirling the wok to combine the ingredients well.
Cut each egg in half and place on a serving platter. Drizzle the sweet sauce over the eggs, then scatter the fried spring onions over the top. Divide the congee among six large bowls and drizzle with a little sesame oil. Serve the congee with the sweet eggs and preserved bamboo, to add to the congee as desired.


text:
Evergreen Art Discovery
Volunteer-Based Elementary Art Education
Become an Art Discovery Volunteer!
Art Definitions
Tips for Art Discovery Volunteers
What Can I Expect in the Classroom?
Resources for Art Instruction
Rotation #1
Packet #1. Prehistoric Cave Art
Packet #2. Masks of Many Cultures
Packet #3. Vermeer
Packet #4. Japanese Art
Packet #5. Henri Matisse
Packet #6. Minoan Art
Packet #7. Eric Carle
Packet #8. Carousels
Packet #9. Picasso
Packet #10. Cityscapes
Packet #11. Art of Fantasy
Packet #12. Color Photography
Packet #13. Adventures in Art
Packet #14. Renoir
Packet #15. Australian Aboriginal Art
Packet #16. Abstract Art
Packet #17. Frederick Remington
Packet #18. Illusions in Art
Packet #19. Poster Art
Packet #20. Pop Art – Andy Warhol
Packet #21. English Victorian Fairy Art
Packet #22. Renaissance Art
Packet #1. Sculpture in Our Backyard
Packet #2. Children in Art
Packet #3. African Textiles
Packet #4. Claude Monet – Impressionist
Packet #5. Musicians in Art
Packet #6. Liberty Enlightening the World
Packet #7. Balance & Symmetry
Packet #8. The Art of Quilts
Packet #9. Northwest Coast Native American Art
Packet #10. Monumental Sculpture
Packet #11. Flowers by Redouté
Packet #12. Charles Russell Western Artist
Packet #13. Fresco
Packet #14. Women in Portraiture
Packet #15. Bessie Pease Gutmann
Packet #16. Alexander Calder
Packet #17. Circus Art
Packet #18. Norman Rockwell's "Willie Gillis"
Packet #19. Cats in Art
Packet #20. George Washington in Art
Packet #21. Still Life Photography
Packet #22. Geometric Abstract Expressionism
Packet #1. The Art of Photography
Packet #2. I Never Saw a Purple Cow
Packet #3. Female African-American Artists
Packet #4. Sue Wall Victorians
Packet #5. Joni Eareckson
Packet #6. Modern Sculpture
Packet #7. Portraits in Pink and Blue
Packet #8. The Magical World of Bev Doolittle
Packet #9. Landscape Paintings
Packet #10. A Poem Lovely as a Tree
Packet #11. Norman Rockwell and His Rivals
Packet #12. Still Life
Packet #13. Male African-American Masters
Packet #14. Vincent van Gogh
Packet #15. American Visions of the Sea
Packet #16. Sharon Anhorn— Repoussé Artist
Packet #17. Barbara Schrag Collection
Packet #19. Wildlife Art
Packet #20. Gargoyle Sculpture
Packet #21. Georgia O'Keeffe
Packet #22. Pop Art—The Art of Roy Lichtenstein
Burnt Bridge Creek
Fisher's Landing
Hearthwood
Illahee
Mill Plain
Sifton
Art Discovery Program Questions
Website Technical Difficulties
2. Preliminary Terra Cotta Sculptural Design Models
6. Hammering the Copper Sheets—Repoussé (ree poo say)
Packet Extra:
The Statue of Liberty is a very unusual and unique sculpture. First, she is a FULL ROUND sculpture—a freestanding statue, sculpted all the way around. Her bronze (copper mixed with tin) "skin" is RELIEF SCULPTURE. The repoussé (reh pooh say) sculpting method of hammering the metal into wooden molds created the raised FORMS of her nose, eyes, lips, hair and the folds of her robe. She is as tall as a ten-story building—fifteen stories if you count her pedestal. An iron frame originally supported Liberty but during her more recent renovation (1984-1986), for her 100th birthday, the iron frame was replaced with a stainless steel frame.
Liberty was a gift to America from France, celebrating the mutual freedom citizens from each of these countries mutually share. Liberty came to America in more than 300 pieces of hammered copper, which had to be pieced together and riveted in place. EMMA LAZARUS, a young Jewish immigrant, created the poem, The New Colossus, which gave words to the various feelings that this sculpture came to represent for the many immigrants whose first vision of America was this giant lady, who still stands on New York City's shore. The poem, with vocabulary explanations, is included in the packet information and may enrich your classroom discussion about this famous American sculpture.
Be sure ALL 11 pictures AND the video are returned to the Packet Carrier after your Presentation is finished
The Story of America's Statue of Liberty
The idea for Liberty came from Edouard de Laboulaye (La boo lay), a professor of law, in Paris, France. The idea that a monument be built in the United States "by united effort [as] if it were a common work of both nations," came up at a dinner party in Laboulaye's home in 1865. He wanted to honor the friendship between the United States and France since the days of the American Revolution. France had helped the struggling Americans win their independence from England. The two nations both cherished the same ideals—liberty and freedom. The idea excited Frédéric-Aguste Bartholdi (bar tol DEE), a sculptor, known in France for his monumental (very large) sculptures and he began sketches for the statue in 1869, using his mother as the model for the face of Liberty.
Bartholdi chose Bedloe Island, at the entrance to New York Harbor, for Miss Liberty's home. Fort Hunt was located there at the time. The star-shaped Fort was transformed into the base of Liberty's Pedestal. (Bedloe Island was renamed Liberty Island on October 3, 1956)
Bartholdi was an expert sculptor. He knew how to make the huge statue but he did not know how to keep it from swaying and cracking in the strong winds of New York Harbor. For this, Bartholdi needed the help of an engineer. He went to his friend, Gustave Eiffel, who designed a frame to support the huge Statue. Eiffel was well known in France as a designer of bridges and he was the same man who later designed the famous "Eiffel Tower" in Paris. Eiffel designed the inside of Liberty with four giant iron columns, linked by crossbars that fastened to her copper "skin". Liberty rested on this frame, allowing her to stand even in high winds.
Lady Liberty was built in Paris. A small, 9-foot, clay model was made first. Then, a large 36-foot model showed workers how big each section of the statue should be at full size.
Carpenters made a wooden skeleton and a plaster cast was formed over it. Big wooden forms were next fitted to the exact shape of the plaster. These wooden forms were then used as molds to shape the details on the copper "skin". Big, flat sheets of copper were laid inside the wooden forms and hammered into the smooth curves and lines of the colossal statue. This hammering, called REPOUSSÉ (ree poo say), made Liberty strong, yet light in weight. In repoussé, hammering on the inside surface raises the outer surface of the metal. After the sheets were removed from the wooden molds, the copper was hammered on the outer side, to develop the detail that hammering on the inner side could not achieve. Liberty's copper "skin" is very thin, less than the thickness of two pennies.
(Display the picture Hammering the Copper Sheets—Repoussé as you demonstrate the idea of repoussé using a mold [candy, plaster, sand or candle] and a piece of aluminum foil. Lay the foil on top of the mold and push the foil, to create the design of the mold. Explain that Liberty's artisans had to use hammers, to push the sheets of copper into the nooks and crannies of the wooden repoussé molds, in much the same way your finger pushed the aluminum foil into your mold.)
In the last stage of the creation of Miss Liberty, the completed copper pieces (over 350 in all) were taken outside the studio and assembled. Bartholdi needed to check and make sure all the pieces would fit together correctly when she arrived in America. Putting all the copper pieces together was very much like doing a giant jigsaw puzzle. The people of Paris watched Liberty as she was being built. When she was completely assembled, Miss Liberty could be easily seen since she was so much taller than the other buildings of Paris.
Liberty was then taken apart in pieces and packed into 214 specially built crates that were marked so she could be put together, piece-by-piece, on Bedloe Island in America. Miss Liberty arrived in New York harbor in June 1885. However, she had to wait for almost a year before she was reassembled because the pedestal she was to stand on was not finished yet!
(Show editorial cartoon about America's unfinished pedestal for Liberty.)
The people of Paris had raised the money to build Miss Liberty. The people of America were supposed to raise the money to create a pedestal for her to stand on. Americans were not doing very well in their fund raising efforts.
Joseph Pulitzer, an immigrant who was publisher of the New York World newspaper, decided to help. He started a fundraising drive that quickly raised $100,000 from individual contributions. Pulitzer promised to publish the name of each contributor in his newspaper, no matter how small his or her donation. Contributions of .10, .25, and .50 cents were ordinary. True to its word, the New York World printed names—long lists of them—and the amounts people donated.
Richard Hunt, a famous American architect trained in Paris, designed Liberty's pedestal. It was 89 feet tall and the last stone was set in 1886. The workers put coins from their pockets into the mortar of the last stone to symbolize all the small contributions, made by so many Americans, to help pay for the pedestal.
Lady Liberty was finally finished and dedicated on October 28, 1886—twenty-one years after the idea was first discussed at Laboulaye's dinner party. Laboulaye, one of the strongest French supporters of the project, died in 1893—just three years before Liberty was dedicated.
Repoussé (ree pooh say) Sculpture
Repoussé is a type of RELIEF SCULPTURE (RELIEF means to raise a surface). It is a term used to describe work produced by modeling (or shaping) sheet metal with hammer and punches. The surface of the metalwork is bent back and forth (raised or indented) to catch the light at different angles.
The artistic process is derived from the French repousser, which means "to push against, to thrust back". When referring to this type of artwork, repoussé has come to be used as a noun to describe a type of sculpture. The word REPOUSSÉ describes the part of the work that is done from the reverse side of the metal—pushing up the lines or patterns from the back. To create Liberty, large sheets of copper were laid inside wooden forms (or molds). These metal sheets were then hammered (from the back) into the raised curves and lines forming the folds of her robe, the shape of her body and her finer details (eyes, nose, fingernails, waves of hair, etc.).
Repoussé is usually one piece of metal. In the case of the Statue of Liberty, there were more than 300 metal pieces, which were bolted together like a jigsaw puzzle. Liberty is the world's biggest and most impressive example of repoussé sculpture. She is the largest, FULL ROUND, repoussé sculpture ever created!
After the hammering on the back of the metal piece was finished, the artisans removed the metal from the wooden mold. The hammered copper was then turned over, so it could be hammered on the outer side. CHASING, or hammering from the front, was usually done to finish or touch up the last bit of fine detail, which hammering on the inner side could not achieve. Today, the term REPOUSSÉ has come to mean all RELIEF work done on metal, from either the back or front.
Repoussé techniques date back to the Bronze Age. It is one of the oldest metalsmithing techniques in the world. Almost every ancient culture of the world has left examples of this art form behind. Items made of bronze were produced in Africa as early as 2500 BC and work was done in iron as early as 400 BC. Copper, gold and silver were also used for repoussé work. With these metals (and a variety of techniques), tools, weapons, jewelry and containers of all kinds were made.
Surprise Leads to Liberty's Expensive Makeover
On a spring day in 1980, two men picked a strange place to camp out. They took their mountain climbing equipment and climbed partway up the outside of the Statue of Liberty. The men then ate dinner, spread out their sleeping bags on a fold of Liberty's robe, and fell asleep. The next morning the men were fine. They hooked up their climbing equipment and repelled down Lady Liberty.
Some people were not very happy about the two men camping on this important American Symbol. They were worried that the climbers' equipment may have damaged Liberty, so it was decided that Liberty needed a complete inspection. The inspection discovered some surprising facts. The climber's had not damaged the statue but time, weather, water and pollution had. Liberty's inside frame and outside "skin" needed major repair!
Liberty then received a complete, inside and out, cleaning. The lighting, ventilation and elevator systems were all improved. Her iron framework was replaced with stainless steel and her copper "skin" was repaired. Liberty was given a brand new torch with a flame covered in real gold leaf. The repairs were finished just in time for Liberty's 100th Birthday party. The cost to restore Liberty, and the island home she stands on was $86 million! That is more than 150 times the statue's original cost!
Update on Current Repair Plans
*To view press release, go to http://www.doi.gov/news/09_News_Releases/050809.html
Every year, more than 2.5 million tourists visit the Statue of Liberty. After New York City's Twin Tower buildings were attacked, people were not allowed to visit Liberty for a while. Americans were worried that America's symbol of Freedom might also become a target.
The statue was finally reopened to the public. If you wanted to visit Liberty, you would need to take a 15-minute ferryboat ride to Liberty Island. The only way to get to Liberty Island is by using the Statue of Liberty – Ellis Island Ferry system. Private vessels are not allowed to dock at Liberty and Ellis Islands. If you were brave enough, you might climb all the way to the top of the statue. Visitors can take stairs or an elevator from the pedestal to the base of the statue. From this point on, your feet have to do all the work.
It is a very long climb! *[The interior of the statue has two stairways that wind up to the crown. Visitors must climb 162 steps (about 12 flights) on a narrow, winding stairway. There are rest seats at every third turn of the spiral. When you finally get to the top, you will be rewarded for all the hard work. From the observation deck in Liberty's crown, about 40 tourists at a time can enjoy a beautiful view of New York Harbor!]
*After 9/11, the government closed The Statue of Liberty for a time. It was eventually opened to the public again, but the viewing windows of the crown remained closed for safety and security reasons. Secretary of the Interior, Ken Salazar, announced in *May of 2009 that the viewing windows of Liberty's crown would be opened again to visitors, beginning July 4, 2009. Access to the crown is now limited to 10 people at a time, guided by a National Park Service ranger.
"On July 4th, we are giving America a special gift," Salazar said. "We are once again inviting the public to celebrate our great nation and the hope and opportunity it symbolizes by climbing to Lady Liberty's crown for a unique view of New York Harbor, where the forbearers of millions of American families first saw the new world."
"We cannot eliminate all the risk of climbing to the crown, but we are taking steps to make it safer," Salazar said. This includes raising the handrails on the spiral staircase and stationing rangers throughout the Statue to aid visitors, as well as help them enjoy the experience and learn more about the Statue and its symbolism.
The Statue of Liberty will be open for the next two years. Then it will be closed again for work on a long-term solution that will improve safety and security permanently.
In addition, the Department of the Interior will invest $25 million (under President Obama's economic recovery plan) to stabilize the Baggage and Dormitory Building at Ellis Island, built in 1908 to house immigrants waiting for further processing, and repair 2,000 feet of the island's crumbling seawall.
Liberty Enlightening the World
Liberty is an amazing feat of sculpture and engineering. Bartholdi designed her as a monument to American independence. At her feet, he put a broken chain to show that the United States had broken free from England's rule. In her left arm, she carries a tablet with the date of the Declaration of Independence written in Roman numerals—July 4, 1776. This is because the Declaration of Independence launched the great American experiment—the founding of a Republic where the people govern themselves. Bartholdi hoped the success of the American Republic would be an example for the rest of the world. He hoped that the American belief in individual human worth and dignity would spread across the seven seas to the seven continents. He symbolized this hope with Liberty's seven-rayed crown and the burning torch that she holds high in her hand.
Miss Liberty is 111 feet tall from her heel to the top of her head. Her height from pedestal to torch is 151 feet. Her index finger is eight feet long. She weighs almost 240 tons. For 13 years, Liberty was the tallest, modern structure in existence. She was born years before the modern skyscraper and was originally reddish-brown in color—like a copper penny. Over the years, the copper has oxidized and changed the statue to a pale green patina.
During World War I, the United States War Department decided to make the torch shine brighter as a sign of hope for the millions of soldiers fighting in Europe. In 1916, hundreds of windows were cut in the torch's flame and powerful lights were installed inside. The torch glowed more brightly but the new windows also leaked. Because of this, the iron ribs inside the torch and her right arm gradually rusted. By the 1970's, the supports inside the torch were so weakened and damaged by rust that the torch seemed ready to break off.
By the late 1970's, Liberty's shoulder needed major repairs. Liberty's head had tilted until one point of her crown was threatening to poke a hole through the copper skin of her right arm. Over the years, the salty, polluted air of New York Harbor has eaten away at the outside of the statue. Liberty had suffered badly from corrosion. A chemical reaction between the iron rods of the supporting framework and the copper skin caused the rods to swell up and break off many of the rivets that held the copper skin to the iron framework. In a major restoration project of the 1980's, EVERY iron rod of the supporting framework was replaced with stainless steel. Workers began repairs in 1984 and finished them in the early part of 1986, just in time for Miss Liberty's 100th Birthday Party on July 3, 1986!
For 12 million people, the immigrant experience began at Ellis Island. Ellis Island was America's first federal immigration facility. The island is located about a half-mile north of Liberty Island, in New York Harbor. About 100 million living Americans (42 percent of our nation's population) have ancestors who passed through Ellis Island, to get to America.
• If you would like to learn more about American Immigration Escaping to America—a True Story, published by Harper Collins (2000) and written by Rosalyn Schanzer, is a wonderful picture book. The book's illustrations are very detailed and the story is about the real grandparents of the author. The book tells about the immigration of a Jewish family, in 1921. It is a story of how these people were badly treated in their native Poland, just because of their faith. The details of riding in steerage, getting sick and uncomfortable on the voyage, are included in the story. Of course, the Statue of Liberty was the first thing the family saw as they entered New York Harbor!
• Coming to American—the story of Immigration, published by Scholastic Inc. (1996) and written by Betsy Maestro is an excellent picture book about the process of Immigration. The book features information about the first person to step ashore at the new Ellis Island facility. Her name was Annie Moore, a 15 year-old girl from Ireland.
• Journey to Ellis Island—How my Father Came to America, by Carol Bierman and published by Madison Press Books (1998), is another true story account. It tells of the ocean voyage and arrival at Ellis Island of eleven-year old Julius Weinstein who, along with his mother and younger sister, emigrated from Russia in 1022. Beautiful illustrations also include old time photos of Ellis Island and the immigration process. This is one of the very best of these picture books, although all books listed are highly recommended.
• Watch the Stars Come Out, by Riki Livinson, published by E.P. Dutton of New York (1985), is a short and special story told by a grandmother to her granddaughter. The author says, "I wrote the story to hold onto one of the special times when I was a child—to hear the sound and feel the warmth of my mother telling me a story." It tells about the long journey to America of a 10 year-old girl. She and her young brother traveled alone on a ship to join their Mama, Papa and little sister in America.
Some other good books include:
Immigrant Kids by Russell Freedman, Published by Puffin Books, 1995; Ellis Island by Patricia Ryon Quiri, Published by Children's Press, 1998; Immigration—A Library of Congress Book by Martin Sandler, Published by Harper Collins, 1995; Becoming a Citizen by Sarah Capua, Published by Children's Press, 2002; The Statue of Liberty by Patricia Ryon Quiri, Published by Children's Press, 1998.
Statue of Liberty Project Ideas
Lady Liberty is the largest bronze statue ever created. Bronze is made of copper, mixed with tin. Tin makes the soft, pliable copper stronger. The more pliable copper made it possible to create Liberty's details using repoussé. The metal needed to fit the shape of the mold as it was hammered. Bring in a sheet of copper for the kids to see (check craft stores).
• Use one of the pictures of Miss Liberty for a pattern to create a repoussé design on aluminum foil. Kids can also draw their own simple line versions of Miss Liberty for this project. Lay a sheet of aluminum foil on top of a magazine (for padding). Tape a drawing of Miss Liberty to the foil with masking tape on the top and bottom so it does not move. Use a Ballpoint pen to trace over the lines of the drawing. After all the lines have been traced, remove the drawing from the foil. The design will be pressed into the foil. Tape the foil around a piece of tag board and mount on a larger piece of construction paper, to form a frame. If you use white construction paper, color the frame with red, white and blue stripes and foil star stickers. A contrasting black frame would make Miss Liberty show up well.
• Sculpt a statue of Liberty from a large piece of foil (2'-3'). Sculpt her dress, head and upraised arm first. Don't worry about the details, just her silhouette. Be sure the head is big enough to wear her rayed crown. A small piece of cardboard could be covered with foil to be her tablet. Foil can be crushed and shaped, just like clay. The draped part of Liberty's gown could be added separately and glued or taped.
• Use HEAVY-DUTY aluminum foil to create molded facemasks. This is a project for 5th graders, because the finished foil mask is easily crushed. Have kids work with a partner. Center the piece of foil on a person's face and gently push, beginning with the nose, to wrap the foil around the face. Close eyes and carefully push around the brow and above the cheek. Keep lips together as the foil is pushed against them. Wrap foil under the chin and over the front of the forehead. These three-dimensional masks can be displayed by stapling or gluing them to construction paper. This last step will give masks a chance to make it home!
• Create a paper mâché statue of liberty. She could be spray painted with copper or hand painted with a light green (like the patina color) TINT of tempera or acrylic paint. This type of project would take at least 2 class sessions to complete. Discuss the idea with the teacher, in advance, to make sure the time required for the project can be scheduled. It is not recommended doing more than ONE larger project like this during a school year, as some teachers won't have the time.
• Sculpt a clay version of the Statue of Liberty's hand with her torch, or the entire statue.
• (Grade 5) Draw a large Liberty using a grid. (5th grade classes often create large maps this way.)
• Families were very important to early American immigrants, the ones they left behind and the ones they were with in this new country. Color or paint a large tree. Create a family tree from this by cutting circles and making the faces of the people in your own family. These portraits can be glued to the tree branches with the names of each family member written beneath.
• (K-1) Create a Statue of Liberty face stick puppet using a small paper plate, foil and a craft stick. Cover 7 tag board triangles with foil and glue to her head. Draw a face in the center of the plate. Challenge kids to go home and teach mom and dad facts they learned about the statue!
• (K-1) Create your own Statue of Liberty crown. Use inexpensive, plastic headbands and attach 7 cardboard triangles with duct tape. Cover everything with heavy-duty aluminum foil.
• Some of the feelings or MOODS that a statue like Liberty Enlightening the World might create for people could be patriotism, pride, beauty or understanding. Since the tragedy of September 11th, the Statue of Liberty may have come to mean more than it used to for some people. Challenge older kids to write about how they feel about being American citizens or living in the United States of America.
• (Grade 4-5) Discuss the history of immigration in America. Help kids come up with sculpture ideas that say something about immigrants, immigration, freedom, and the hopes of all people for a bright future for themselves and their family. Be sure the class understands that their statues should not resemble Liberty. The sculptures should be an abstract or realistic visual SYMBOL of an idea, their own feeling about the freedom they have because they live in the United States. Discuss what types of three-dimensional symbols might represent words like FREEDOM, LIBERTY, CHOICE, SAFETY, SECURITY? Be sure kids understand that the sculptures should be a visual representation of an idea or feeling. Everyone should sculpt (or draw) their own visual representation of these ideas and give their artwork a meaningful title.
The Great Bartholdi Statue, Liberty Enlightening the World
By Currier & Ives, 1885
Currier & Ives is the most famous American Firm of Lithographers. The work of this firm created a true pictorial record of American history and life in the later 19th century. The lithographs weren't intended for this purpose though. They were created for a market of average people, who wanted to inexpensively decorate the walls of their homes, during the later half of the 1800's. Although hundreds of other lithographic firms published prints during the same period, Currier & Ives prints were superior in quality and quantity.
James Merritt Ives was born in New York City on March 5, 1824. He was an artist and created a lithography firm of his own. Currier hired Ives as a bookkeeper, in 1852, and made him a partner in 1857.
Although she did not create this particular print, Fanny Palmer drew hundreds of other Currier & Ives prints. Fanny was an immigrant herself, who sailed past Lady Liberty, on her way to her new home in New York. She and her family came to New York as penniless immigrants from England. Fanny was a talented artist and soon found work with Currier and Ives. She started with only drawing backgrounds and landscapes for the firm. Eventually Fanny became one of Currier & Ives' most printed artists. She worked for the firm for almost 30 years.
This picture of Liberty is a lithographic print. A lithograph is a type of printing invented in the late 1700's. First, a picture or design was drawn on a smooth stone with a special crayon. It was a simple Line Drawing. Then the stone was treated with a chemical that allowed the ink to stick only where the crayon was used. Finally, the surface was inked and the crayon design was printed on the paper.
Instead of making only one original version of a picture, lithographers were able to make many copies, or prints, of the original drawing by using this inking process. Lithography was the first technique to offer inexpensive, almost unlimited prints in both black and white and later, color.
Currier & Ives originally printed their lithographs using black ink. A team of artists individually painted each print so it would have color. These artists were never given individual credit and because they did not sign their work, their names are lost to history. All credit was given to the owners of the Lithography firm, Currier & Ives. The prints were then hand colored by many different artists. These artists never signed their creations so their names have been forgotten over time.
Originally, Currier & Ives prints could be ordered from their catalogue in prices that ranged from eight cents to $3.50. Today, these original prints sell for thousands of dollars and copies of these originals are still being printed.
Suggested Dialogue
What is a LINE DRAWING? Artwork created simply with the artistic element of LINE
Currier & Ives had teams of artists to hand paint these inexpensive lithograph prints, which were similar to a coloring book picture. The prints were popular during (and shortly after) the celebration of Liberty's dedication, once she was finally fully assembled in New York City's harbor.
In what ways might New York harbor look different today than when this print was made? Modern ships look very different than these types of ships, which were typical of the time. The roughly sketched background appears very flat, with sparse buildings or roads, compared to the tall, closely spaced skyscrapers and busy streets that now cover New York City. Today, Liberty Island would have many more sight seers on any given day than the few pictured here. The torch flame is now gold.
Preliminary Terra Cotta Sculptural
For a Visual Representation of an Abstract Concept
Bartholdi first had to decide what an abstract idea would look like. A sculpture about "Liberty" or "Freedom" involves a problem of imagination first. By their very nature, these concepts had no material shape or texture. To make the idea of Liberty or Freedom visible, the artist had to personify them, reduce them to a FORM recognizable to viewers. Some symbolic associations were already familiar to people. Courage was often pictured as a dying soldier; knowledge—a wise elder; virtue—a young, innocent maiden. What would an abstract word such as "Freedom" or "Liberty" look like? Another consideration was that the artist was not just picturing Liberty, but American Liberty. The sculptor had to conceptualize a visual definition to personify this intangible concept. No existing conventional figure of the time was appropriate.
Bartholdi had years earlier first imagined America as a young man—proud and almost savage—his arms resting on a machine, a horn of plenty at his side, and the shattered idols of the past at his feet. The emphasis was upon power and material strength; and ample evidence of that vigor passed before the sculptor's eyes as he toured America. However, those were not the qualities that Bartholdi wanted to stress with his sculpture of this American Liberty.
The familiar European images of Liberty did not satisfy the sculptor either. He knew Delacroix's famous painting of 1830 in which Liberty was a young woman, her clothes half torn away, leaping to the barricade over the bodies of fallen comrades. That personification of Liberty was too violent and did not match the country he had seen or his own ambition for Constitutional freedom.
The picture of Columbia that commonly came to the minds of many Americans at the time was closer to Bartholdi's idea, but not quite adequate. Originating from the lines of Joel Barlow's epic tale and imprinted on the face of American coins; Columbia was portrayed as a Roman Goddess—mild-mannered, detached from man, offering no hint of passion or involvement. Bartholdi wanted more strength and passion for the Liberty of his sculpture.
As his design evolved, Bartholdi executed half a dozen small-scale models of the statue. In the process,
• Liberty's torch was shifted from her left to her right hand (the first three models have the various torches in their left hand)
• A thicker folded mantle was added over her dress (beginning with fifth model)
• The aggressive thrust of her upraised arm was toned down
The statuette on the far right, which most nearly resembles the monument itself, includes both the familiar spiked crown and the tablet that was to be inscribed with the date July 4, 1776.
Photograph of Liberty Island
(Formerly known as Bedloe's Island)
Writing of his entrance into New York Harbor, Bartholdi said:
"The picture that is presented to the view when one arrives in New York is marvelous, when, after some days of voyaging, in the pearly radiance of a beautiful morning is revealed the magnificent spectacle of those immense cities [Brooklyn and Manhattan], of those rivers extending as far as the eye can reach, festooned with masts and flags; when one awakes, so to speak, in the midst of that interior sea covered with vessels… it is thrilling. It is, indeed, the New World, which appears in its majestic expanse, with the ardor of its glowing life."
New York Harbor was the perfect locale, he added, since it was "where people get their first view of the New World." Continuing, he said, "I've found an admirable spot. It is Bedloe's Island, in the middle of the bay… The island belongs to the government; it's on national territory, belonging to all the states, just opposite the Narrows, which are, so to speak, the gateway to America."
"Liberty Island" was originally named "Bedloe's Island", until the name was officially changed on October 3, 1956. This photo was taken sometime during the early 1970's; New York City is seen in the background. Notice the Twin Towers to the left. The photograph also predates Liberty's 100 year make-over (repair), finished in 1986, when her torch was replaced with a metallic gold flame, which she now holds.
The foundation that supports Liberty's granite pedestal was created inside the star-shaped walls of the U.S. army's old Fort Wood (which had been completed for the War of 1812), on the Fort's original parade ground. The initial walls of the Fort had been designed in a multi-pointed star pattern. Inside the Fort, the parade ground was excavated, creating a hole that was over 17 feet deep. The digging went very slowly because there were some bombproof shelters and old stone wells below Fort Wood. These had to be broken up and cleared away in order to crate a firm foundation that would hold the colossal weight of the statue, along with the pedestal on which Liberty stood.
Beginning at the bottom of the excavated hole of old Fort Wood, workers built a stepped pyramid of concrete. This concrete foundation was solid, except for a 27-foot square shaft in the center. It was the largest mass of concrete ever made up until that time. The concrete weighed more than 23,000 tons and was 65 feet high.
Liberty's eighty-nine foot pedestal was then placed on top of this concrete foundation. The pedestal was also made of concrete but the facing of the pedestal was covered with granite blocks. Richard Morris Hunt, the architect who designed the pedestal, originally designed it to be 114 feet tall. However, the American Committee, the fund-raisers for creating the pedestal, asked him to make a shorter pedestal design, in order to save money and finish it sooner. The committee preferred and agreed upon Hunt's second pedestal design, although the intricate granite stonework made the second pedestal even more expensive.
The only way to get to Liberty Island today is by using the Statue of Liberty – Ellis Island Ferry system. Private vessels are not allowed to dock at Liberty and Ellis Islands.
Liberty's Full-Sized Wooden Skeleton
Photo was taken in Bartholdi's Paris workshop
Fabricating Liberty was a very complex process involving many different artisans—sculptors, plasterers, carpenters and metal-smiths.
Carpenters built a wooden skeleton of each section of Liberty. A plaster cast was formed and sculpted over this wooden skeleton, to show the three-dimensional folds of her sleeve and the FORM of her fingernails.
In this photo, Bartholdi stands near Liberty's wrist, next to a man in a top hat. The full sized skeleton of Liberty's left hand can be seen, made from wooden planks and dwarfing its creator, who is standing next to it. The plaster sculpture of the statue's sleeve is complete and the next step will be covering and sculpting the wood frame of the wrist and hand in plaster.
Can you find the plaster sculptor sitting on the statue's sleeve? He is all white (probably covered with plaster) and hard to see because he blends in with the sculpted fold of the sleeve, on which he is sitting
Full-Scale Plaster Model of Liberty's Hand
Wooden frame molds were then built up against the dried plaster sculpture, duplicating the exact FORM of each fold, bend, bump and curve. These many wooden molds resembled odd shaped bookcases with closely spaced shelves (Point out empty molds, which resemble bookcases, and can be seen in the left Middle Ground, in Background leaning against the plaster sleeve, and in Background on the far right).
The wooden molds were then laid out horizontally on sawhorses around the workshop. Large sheets of copper were laid across each mold. Can you find the wood frame molds in the FOREGROUND? Some of the wooden frame molds are pictured in the Foreground, resembling tables and covered with large sheets of copper
Metal-smiths next hammered each flat, two-dimensional piece of copper for the statue into a sculptured, three-dimensional FORM. Some of the men in the photograph can be seen holding repoussé (ree-poo-say) hammers. (You may wish to have teacher display the photo on the classroom screen so everyone can see these small details.)
The complex task of scaling up Bartholdi's first model involved a three-step conversion, the final stages of which can be seen here. The final sized version of Liberty's left hand is shown on the left side of the background. Behind this, on the right side of the background, is the next smaller sized plaster version of Liberty's hand. The smaller sized version of her finished plaster head can be seen beside this, on the farther right side of the background.
Hammering the Copper Sheets—Repoussé
This photograph shows a closer view of workers moving large copper sheets into the wooden molds, which were carefully shaped over the large plastered sections of the statue. Do you think some of these repoussé (ree poo say) molds resemble odd shaped bookcases turned on their side?
The metal-smiths laid large, flat sheets of copper inside the wooden frame molds, then hammered and shaped these sheets of copper into the smooth curves and detailed lines of the statue. This hammering, called repoussé (ree-poo-say), made Liberty strong, yet light in weight. Liberty's copper "skin" is very thin, less than the thickness of two pennies!
Once the copper sheets were removed from the wooden molds, the copper was then hammered on the outer side, to develop the finer detail that hammering on the inner side could not accomplish. The copper sections (350 in all) were later riveted together like a giant jigsaw puzzle, into the large finished sculpture of Liberty Enlightening the World.
Can you find the worker placing a large sheet of copper into one of the repoussé molds? He is in the center of the photo; a second man stands on the opposite side of this mold
Can you see a worker removing a piece of copper that has been hammered and shaped? On the far right side of the photo
Is this hammered piece of the sculpture now finished? No, the copper piece will be hammered on the outer side next, to more clearly develop and sharpen the finer details
Liberty Temporarily Assembled in Paris
In the last stage of the creation of Miss Liberty, the completed copper pieces (350 in all) were temporarily assembled outside Bartholdi's Paris studio. The sculptor needed to check and be sure all the pieces would fit together correctly when the statue arrived in America, so he temporarily attached them to the iron frame. The people of Paris watched as Liberty was built. After she was completely put together, Miss Liberty could be easily seen, since she was much taller than the other buildings of Paris at the time.
Can you see the buildings on the far left and right of the statue?
Although is not quite halfway finished in this photograph, Liberty already towers over nearby Paris buildings. In the left FOREGROUND, you can see Liberty's hand holding the torch. Beside this, we can see Liberty's head, both of which have not yet been attached to the iron framework. (You may wish the teacher to display this photograph on the classroom screen so detail can be seen.)
Look closely at Liberty's flame. Can you find the two men standing on the deck of the torch? This gives you a better idea of the size of Liberty compared to a human being. In America, a stairway led up to the torch and it was once opened to the public for viewing across New York's harbor. Because this was not very safe, access to the torch has been closed since 1916. Since this time, the public was only allowed to view the harbor through the windows of Liberty's crown, just above her head. Do you see these viewing windows in the photo?
Liberty's Inside Frame and
Attached Copper Skin
The copper skin of the statue expands in hot weather and contracts in colder weather. These metal supports, shown from the inside of the statue, help the copper sections stay together. The statue was riveted with 300,000 copper bolts, to hold each sheet of copper on the sculpture's frame supports. Can you find the rows of copper rivets in the photograph? The heads of the bolts can be seen as LINES of dots
Close up of Miss Liberty's Toes
The Statue of Liberty is not standing still. A symbolic feature that people cannot see on the statue is the broken chain wrapped around Liberty's feet. Protruding from the bottom of her robe, broken chains symbolize Liberty's free forward MOVEMENT, enlightening the world with her torch, free from oppression and servitude.
Point out the broken chain near Liberty's foot (right FOREGROUND). Bartholdi included a broken chain at Liberty's feet to represent the freedom won by the American colonists, from England's unjust rule, during the Revolutionary War. The broken chain also celebrates France's assistance to America during the Revolutionary War, which aided America in winning her freedom from Britain.
Can you see the detail of the folds created in the bottom edge of Liberty's long, flowing robe? Each bend and curve of this sculpture was made by hammering thin copper sheets into a finished three-dimensional FORM (repoussé).
Does the photograph make you wonder what size shoe Liberty wears? Her feet are very large.
Detail of Liberty's Face
This is a photograph of the statue's face as it was seen from the front (left) and from behind (right), before being completely assembled. Can you see the metal supports attached inside the copper "skin" of Liberty's face?
What type of MOOD or feeling does Liberty's unattached face create? Stern, serious, fierce, hard, rigid
When you look at the completed sculpture of Liberty, with her attached hair, crown and neck, does her face create the same MOOD? The face is serious but softer, hot quite as harsh
Front Page of "The World" Newspaper
Announcing the Completion of the Funding for Liberty's Pedestal
Dated August 11, 1885
This is a front page copy of Joseph Pulitzer's New York newspaper, dated August 11, 1885, announcing that Liberty's pedestal fund had not only reached its goal of one hundred thousand dollars the day before, but had exceeded it by $2,000!
To boost the circulation of his newly acquired newspaper, The World, Joseph Pulitzer announced a campaign to bolster the lagging pedestal fund. Pulitzer, a Hungarian immigrant, promised to print the names of all donors to the pedestal fund in the columns of his newspaper. His relentless editorializing added more than $100,000 to the fund while doubling and then redoubling his newspaper's readership. By early August of 1885, The World could take front-page credit for the "triumphant completion" of the pedestal fund—and for the largest newspaper circulation in the Western Hemisphere.
In March of 1885, Joseph Pulitzer pointed out that it would be "an irrevocable disgrace to New York City and the American Republic to have France send us this splendid gift without our having provided even so much as a landing place for it."
For two solid months, the ceaseless reminders, editorials and long lists of donor names published in The World, along with theatrical and sports benefits, all kept the issue of money for the pedestal alive. A good part of the total amount collected was contributed in amounts of $1.00 or less. The impact of accumulated small gifts from poor and middle class Americans achieved in a few weeks what years of fundraising from wealthy Americans had failed to accomplish.
Liberty's Dedication Day—October 28, 1886
On Dedication day, an enormous French tricolor flag veiled the face of the great statue. The city streets were thronged with people, the harbor filled with ships and pleasure boats full of spectators. Bartholdi and his wife had arrived in New York three days earlier. When President Grover Cleveland was introduced to the sculptor Bartholdi that day he said, "You are the greatest man in America today."
One boat in the harbor was full of protestors. Today it seems incredible, but no women were invited to Liberty's unveiling except for the wives of the French officials. A group of suffragists campaigning for women's rights positioned their boat directly in front of the viewing stand. These women wanted to point out the irony that a statue dedicated to the idea of liberty was in the form of a woman at a time when women were denied even the basic right to vote in America—a right women finally won in 1920—thirty-four years after The Statue of Liberty was dedicated.
The honor of unveiling Liberty's face was reserved for the artist himself. In the middle of one of the numerous speeches, signals were mixed and Bartholdi pulled the cord too soon. "Suddenly the tricolor vanished and looking down through the fog and rain was that mighty human face. At that moment from the guns of the men-of-war burst forth a tremendous salvo of artillery and all the steam whistles in the flotilla blew as they never blew before."
Joseph Pulitzer's New York newspaper "The World" described the scene on Liberty's Dedication Day as being like "A hundred Fourths of July." When the great celebration was finally over, Liberty's sculptor, Auguste Bartholdi simply and humbly stated, "The dream of my life is accomplished."
Ellis Island—Processing into America
The U.S. government began keeping records on immigration in 1820. Ten years later, records indicated that roughly a half-million of the 13 million people in the United States were foreign-born. From that point and for the next century, the flood of humanity that washed onto America's shores was truly overwhelming.
Between 1880 and 1920, 23 million immigrants arrived in the United States. They came mainly from the countries of Europe, especially from impoverished towns and villages in southern and Eastern Europe. The one thing they had in common was a passionate belief that in America, life would be better.
Most of these immigrants were poor. Somehow, they managed to scrape together enough money to pay for the passage to America in steerage, deep in the hold of a steamship, occupied by passengers paying the lowest fare. Many immigrant families arrived penniless. A steerage ticket to New York cost $10 – $15. Very often, the trip cost too much for an entire family to go at once, so the father went first and when he earned enough in America, he sent for the rest of the family.
The majority of immigrants landed in New York City, at America's busiest port, and never forgot their first glimpse of the statue of Liberty in New York harbor. Edward Corsi, who later became United states Commissioner of Immigration, was a ten-year-old Italian immigrant when he sailed into New York harbor in 1907:
"My first impressions of the New World will always remain etched in my memory, particularly that hazy October morning when I first saw Ellis Island. The steamer Florida, fourteen days out of Naples, filled to capacity with 1600 natives of Italy, had weathered one of the worst storms in our captain's memory; and glad we were, both children and grown-ups, to leave the open sea and come at last through the Narrows into the Bay.
My mother, my stepfather, my brother Giuseppe, and my two sisters, Liberta and Helvetia, all of us together, happy that we had come through the storm safely, clustered on the foredeck for feat of separation and looked with wonder on this miraculous land of our dreams.
Giuseppe and I held tightly to Stepfather's hands, while Liberta and Helvetia clung to Mother. Passengers all about us were crowding against the rail. Jabbered conversation, sharp cries, laughs and cheers—a steadily rising din filled the air. Mothers and fathers lifted up babies so that they too could see, off to the left, the Statue of Liberty…"
To accommodate this immigration process, the U. S. government established Ellis Island as a clearinghouse, to establish whether immigrants should be allowed into the country. The island's location was New York Harbor, which served as a moat that quarantined the incoming immigrants from the mainland of the United States. The island is about one mile south of Manhattan and was once used by early Dutch settlers as a picnic ground.
When a fire destroyed the original immigration reception center, a new brick and limestone building was constructed, completed and opened on Ellis Island in 1892. On the day the new processing center opened, the first person to step ashore was Annie Moore. She was a fifteen-year-old girl from Ireland and had traveled with her two brothers to join their parents, who had settled in the United States three years earlier. The great registry hall processed as many as 5,000 immigrants each day before allowing them entry into the United States.
When their ship docked at a Hudson River pier, the immigrants had numbered identity tags pinned to their clothing. Then, they were herded onto special ferryboats that carried them to Ellis Island. Officials hurried them along, shouting at them in half a dozen languages.
Some immigrants were cleared within hours and left for the mainland of the United States, but many spent hours in the massive registry hall, waiting for physical exams and document checks. Many left the hall with new names when exasperated immigration officials were unable to spell the immigrants multisyllabic real names. Yet to most, the delays were acceptable when they were at last on the Ellis Island dock waiting for the ferry that would take them to their new home.
Immigrants continued to flood onto American shores until a strict immigration law went into effect on July 1, 1927, severely restricting the number of immigrants that would be allowed into the United States. The island was closed as a processing center in 1954, but in 1965, it was declared a National Monument, joined with the Statue of Liberty National Monument, and is now a museum of immigration, annually visited by hundred of thousands of tourists. Ellis Island is one of New York City's most popular tourist attractions today.
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Taco Bell will launch the new $1 Stacker starting December 21, 2017 and plans to introduce 20 additional new $1 menu items throughout 2018 as a move to highlight their $1 value menu.
While many-a-fast-food chain has abandon their dollar menu (although, notably, McDonald's is bringing theirs back and rival Del Taco sports a "Buck and Under" value menu), Taco Bell chugs along with a dollar menu that has expanded (with the arrival of breakfast) since it came about as the successor to their "Why Pay More" menu (which was even cheaper with items at 59, 79, and 99 cents).
The new, limited-time $1 Stacker is basically a folded quesadilla and features melted 3-cheese blend, nacho cheese, and seasoned beef folded inside a flour tortilla and grilled/pressed and then folded three times to form a "stack."
The $1 Stacker can be ordered by itself or as part of a $5 Box along with a Doritos Locos Taco, a crunchy taco, chips and nacho cheese, and a medium fountain drink.
A breakfast version, the $1 Breakfast Stacker, will also be available. It's mostly the same as the $1 Stacker but replaces the seasoned beef with scrambled eggs.
In recent years, Taco Bell has mostly targeted the $1 and $5 price points for their value deals although they've also played around with other price points.


We invite the public, the investment community and members of the media to learn more about our company through our press releases and resources below.
Hybrid Advisor-Focused Ladenburg Subsidiary Bolsters its Management Team with Addition of Experienced Sales and Client Relations Executive.
Hybrid Advisor-Focused Ladenburg Subsidiary Welcomes Experienced Leader as VP, Technology Solutions Consultant.
Ladenburg Subsidiary Congratulates Hybrid RIA and OSJ Resources Investment Advisors on Formation of One of the Nation's Leading Networks of Retirement Plan-Focused Advisors in Affiliation with Retirement Benefits Group.
Hybrid Advisor-Focused Ladenburg Subsidiary raised funds during firm's 2018 National Conference in Boca Raton, Florida. A Warrior's Wish campaign supports financial grants to provide adaptive equipment, tools for hobbies or businesses, and family bonding experiences.
Hybrid Advisor-Focused Ladenburg Subsidiary Further Strengthens Leadership Team By Bringing On Seasoned Recruiter With Deep Industry Experience.
Hybrid Advisor-Focused Ladenburg Subsidiary Commemorates its Growth During National Gathering in Boca Raton, Florida. Industry Experts Discuss Best Practices and Market Dynamics; Keynote Speaker George Blankenship Shares Insights From His Tenures at Tesla, Apple and Gap Inc.
Hybrid Advisor-Focused Ladenburg Subsidiary Names Hugh Tarbutton Executive Vice President and Chief Operating Officer and Kiliaen Ludlow Becomes Executive Vice President of Operations and Client Services.
The Ladenburg Institute of Women & Finance kicked off its second annual women advisor symposium Nov. 7-8 with the introduction of its LIFT Mentoring Program that pairs experienced advisors from each Ladenburg broker-dealer with an up-and-coming woman advisor. The institute is a collaborative effort of Ladenburg Thalmann Financial Services and its subsidiaries: Ladenburg Thalmann Asset Management, Securities America, Triad Advisors, Investacorp and Premier Trust.
Triad Advisors, Inc., announced today at their annual September 25th-28th National Conference at the Mayflower Renaissance Hotel in Washington DC that they have raised over $46,000 in donations from their advisors and partners for The Independence Fund.
Triad closed their annual National Conference with an interactive speech from the Honorable Newt Gingrich, Speaker of the House of Representatives 1995-1999. Gingrich, 2012 Republican Presidential Candidate and author of the "Contract with America," is currently co-host of CNN's Crossfire. During his closing address, he interwove his extensive knowledge of American history with topical events ranging from the Syrian crisis, to healthcare and financial reform. Mr. Gingrich discussed the challenges that face our nation today as well as how we continue to be seen as the light of freedom for those across the world. He left the audience with a powerful reminder that American ingenuity and persistence will always be our keys to success.
Roger Greenway has been promoted to Senior Vice President, Business Operations Group.
In the June 2013 issue of Investment Advisor Magazine, Triad Advisors, Inc. was ranked the #1 Friendliest Broker-Dealer for RIAs for the fourth year in a row. Triad was placed among the top 25 independent broker-dealers with 83% of reps with their own RIA. That is over 25% higher than the #2 ranking at only 52.3%. Triad was also ranked #3 for Highest Revenue Growth in InvestmentNews and Financial Planning Magazine with an increase of 17.6% from 2011-2012.
Triad Advisors, Inc., a subsidiary of Ladenburg Thalmann Financial Services Inc. (NYSE MKT:LTS), announced today that Atlanta-based, Sugarloaf Wealth Management has joined Triad as an independent branch office.
Ladenburg Thalmann Financial Services Inc. (NYSE MKT: LTS) along with its independent broker dealer subsidiaries, Investacorp, Inc., Triad Advisors, Inc. and Securities America, Inc., today announced highlights of its recently-hosted Ladenburg Institute of Women & Finance symposium, held at the Conrad Hotel in Miami on November 1-2, 2012.
With $11 trillion in multi-generational transfers at stake, Las Vegas fiduciary launches multi-media informational campaign to reinforce the importance of continuity as part of a truly long-term estate plan.
Mark Mettelman, President and CEO of Triad Advisors, Inc., recently helped lead a grassroots effort on Capitol Hill with the goal of preserving Americans' access to affordable, unbiased financial advice and protecting consumers. Mark, along with five of Triad's top advisors, Bob Carson, Jeff Gitterman, Mike Hensley, David Millican and Mark Robare, met with members of Congress and their staffs as part of the Financial Services Institute (FSI) team on June 6, 2012.
Triad Advisors, Inc., a subsidiary of Ladenburg Thalmann Financial Services Inc. (NYSE MKT:LTS), announced today that Texas-based, Karsten Advisors has joined Triad as an independent branch office. Founded in 1977, the second generation firm serves select families in the management of their tax and financial affairs. Karsten Advisors manages over $200 million in client assets.
Triad Advisors, Inc. has hired Amanda Teeple as Junior Due Diligence Officer. Amanda, 30, earned her undergraduate degree in Computer Information Systems and International Business from Mercer University in 2002 and her MBA in Business Analysis from Georgia State University in 2007.
Ladenburg Thalmann Financial Services Inc. (NYSE Amex: LTS) and the Financial Services Institute (FSI) today announced that all three of Ladenburg's independent broker-dealer subsidiaries – Securities America, Triad Advisors and Investacorp – as well as their approximately 2,700 affiliated independent financial advisors are now FSI members for 2012. With the addition of the Ladenburg Thalmann advisors, FSI's financial advisor membership count is now more than 30,000 financial advisors.
In the December 26, 2011 issue of Investment News, Triad Advisors, Inc. was ranked #1 in revenue growth by percentage. Triad was placed among the top 50 independent broker-dealers growing at a rate 50.2% in 2010 vs 2009. Triad's fee revenue grew at rate of 66.4% and revenues from commissions grew 38.2%. Investment News also reported that Triad's average payout per advisor increased by 17.7%.
Triad Advisors, Inc., a subsidiary of Ladenburg Thalmann Financial Services Inc. (NYSE Amex:LTS), announced today that New Jersey-based, Prestige Wealth Management Group has joined Triad as an independent branch office.
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