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[PHOTOS] 17 Spine-Chilling Photos From The Polar Vortex That Hit The US This Week
WARNING: This story might make you believe that the world is pretty much ending.
By Sadho Ram — 08 Jan 2014, 02:18 AM — Updated about 9 years ago
#snowstorm
#cold
#PolarVortex
#photograph
Cover image via
Some of the areas in the US has dropped to their coldest temperatures in years as a Polar Vortex flooded the country from Canada, spreading into the Midwest and expanding to other states from coast to coast
A person struggles to cross a street in blowing and falling snow as the Gateway Arch appears in the distance on Sunday, Jan. 5, 2014, in St. Louis, Missouri.
Image via parade.com
Wind chill in Minnesota reached to -50 degrees Fahrenheit, that's cold enough for exposed skin to get frostbite in five minutes
A woman walks in frigid cold temperatures though downtown Chicago, Illinois, January 6, 2014.
Image via rt.com
Dozens of other places saw sub-zero weather, temperatures so cold that many officials shut down schools, highways and tourist attractions as a means to try to keep people inside
A commuter walks across the Chicago River in sub-zero temperatures.
Image via mshcdn.com
Among the deaths since late last week, from the bitter cold and snow and ice in the Midwest, were 6 in Michigan, 4 in Indiana, 3 in Wisconsin, 2 in Illinois and 1 in Missouri
Four homeless men warm themselves on a steam grate by the Federal Trade Commission, blocks from the Capitol, during frigid temperatures in Washington
Image via independent.co.uk
Homeless shelters across the country were overwhelmed by people seeking shelter from the cold, which the National Weather Service warned was severe enough in North Dakota and Minnesota to freeze human flesh in five minutes
Nicholas Simmons warms himself on a steam grate with three homeless men by the Federal Trade Commission, just blocks from the Capitol, during frigid temperatures in Washington
Forecasters said that the effects of the system, a swirling mass of North Pole air that has pushed unusually far south, would be felt by as many as 187 million people, more than half the country's population
A woman walks through a gust of blowing snow in frigid cold temperatures though downtown Chicago, Illinois
Hard freeze warnings for Tuesday extended all the way south to the Gulf Coast. In Texas, one utility asked people to turn down the thermostat because the power capacity was running low
North Avenue Beach looked more like an ice rink on January 6, as Chicago temperatures fell farther than they ever had before.
Residents of Indiana and Kentucky were warned not to leave their homes as temperatures dropped into the single digits, and wind chill in the minus 20s and below
A view of the War Memorial in Indianapolis, Indiana. According to news reports, Indianapolis received about 30 centimeters of snow and the morning temperature was -9 degrees Celsius
The record-breaking freeze is being caused by a wavy and elongated jet stream, which is carrying Arctic air far more to the south than normal
A man barrels through single digit temperatures in New York City as he walks by a steam vent
Tens of thousands of people were still without power in Illinois and Indiana because of weekend snowstorms, and the cold made it dangerous for the workers trying to get the lights and heat back on
Icicles hang from a municipal building at Navy Yard Park in Amherstburg, Ontario as winds blow in from the Detroit River during sub-zero temperatures on January 6, 2014
Image via windsorstar.com
Thousands of air travellers remained stranded as JetBlue and other airlines cancelled scores of flights in and out of Kennedy, LaGuardia and Newark airports due to the double whammy of last week's snowstorm and the Polar Vortex
A man waits for a flight at Kennedy International Airport in New York City. Thousands of flights were canceled yesterday due to freezing temperatures.
The temperatures are the coldest for some parts of the country in two decades
A couple walks through the winter white-out on Swan Avenue in Webster Groves
The Polar Vortex, referred by NBC weather icon Al Roker as a "Polar Hurricane," is a weather system that is usually seen in Canada, but has moved south
Pedestrians cross Woodward Avenue in Detroit on Monday as the snow comes down
Image via nydailynews.com
The Polar Vortex effect was so powerful that it was blamed for high winds and huge ocean swells on the southwest coast of Britain, caused by an expansive, deep atmospheric depression over the Atlantic Ocean
Ice builds up along Lake Michigan at North Avenue Beach in Chicago, Illinois
A detailed definition of a Polar Vortex is pretty complicated and over the heads of most folks without a background in meteorology, but according to NBC news weatherman Al Roker, you can "think of it as a polar hurricane"
Downtown Windsor, Ont. appears to be in a deep freeze from this perspective from the city's east end looking over a frozen portion of the Detroit River on Monday, Jan. 6, 2014.
That is, a spinning mass of extremely cold air high in the atmosphere, typically rotating counterclockwise around the north and south poles
Detroit is still dealing with several icy inches of snow in the wake of Winter Storm Hercules and the polar vortex that has engulfed much of the nation.
Although, the good news is that this Polar Vortex is expected to retreat relatively quickly. The large amount of warmer air in the more southerly US states will rapidly break down the cold polar air masses
Mist rises along Lake Michigan.


Top YouTube selection with 80 million views of award-winning Celtic singer. Irish singer recorded this in 2014. -God must need another angel. Jealous of the angel around the throne tonight- In memoriam.
Sun has been around for 5 billion years and constitutes over 99 percent of the solar system. NASA used UV light ultraviolet light to record new images of the sun in 4K. Stunning views of stellar chaos. Solar System is speeding at 66000 miles per hour MPH or over 100000 kilometers per hour KPM. But it is interesting that lightening bolts on earth are hotter than the surface of the sun.
The Milky Way galaxy that we call home is seen using new telescope that uses submiilimeter electromagnetic radio radiation to see Milky Way -star nursery- where new stars are being born in this most detailed image of galaxy. As report by ESO APEX ATALAGAL through CNN News.


These videos are presented to visually supplement information offered in the book. They are officially part of the Beginning Programming with C For Dummies course material. Please contact the publisher if you'd like to obtain the full course material.


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Amal leaving London August 19 2015 Daily Mail
George Clooney's Open House :: Friends and Family :: Amal Clooney, wife
Re: Amal leaving London August 19 2015 Daily Mail
by Donnamarie on Thu 20 Aug 2015, 23:51
I can't imagine George letting Amal pay for much of anything. He is old fashioned and probably feels he should support his wife in everything. George and Amal's finances aren't our business. We know nothing about how they handle their finances. I wouldn't even begin to judge how they should handle them.
George has also said that designers loan or give her items to wear too. So we have no idea how much the Clooneys are actually putting out for her clothes.
by LizzyNY on Fri 21 Aug 2015, 00:42
annemarie - This isn't worth arguing over. We'll never know how they handle their money matters. I imagine they'll do whatever works for them. What we would do, or what we think they do really has nothing to do with them.
by annemarie on Fri 21 Aug 2015, 00:45
Hey Lizzy no arguing we are simply having a nice conversation , sharing our opinions no harm in that.
annemarie - Fair enough!
by kat19 on Fri 21 Aug 2015, 04:43
What am I missing? George explicitly stated in an interview that she pays for most of her own stuff when they were asking him about her wardrobe. He said something like "she's a grown up and pays for her own stuff"......so I'll take his word for it. He probably pays for other stuff but her clothes are what she gets for herself. She wore very expensive stuff before she ever married him and by the way so does Tala, her sister, who is not married to George either, lol. I'm pretty sure her family is loaded with $$$. And her high powered career is paying her very nicely as well.So why do we suddenly think he's footing the bill for all of it? There's no reason to think George is being taken for his bank account. He probably does pay for a lot of other household expenses or dinners or whatever but he always has, that's just who he is.
Not implying he is being taken , just saying he is a very generous and old fashioned guy. We all have different ways we handle finance in relationships , besides we will never know the truth and it is none of our business.
by Alisonfan on Fri 21 Aug 2015, 13:02
kat19 wrote: What am I missing? George explicitly stated in an interview that she pays for most of her own stuff when they were asking him about her wardrobe. He said something like "she's a grown up and pays for her own stuff"......so I'll take his word for it. He probably pays for other stuff but her clothes are what she gets for herself. She wore very expensive stuff before she ever married him and by the way so does Tala, her sister, who is not married to George either, lol. I'm pretty sure her family is loaded with $$$. And her high powered career is paying her very nicely as well.So why do we suddenly think he's footing the bill for all of it? There's no reason to think George is being taken for his bank account. He probably does pay for a lot of other household expenses or dinners or whatever but he always has, that's just who he is.
Hobbs dresss is only one we see in old pic?Hobbs not expensive.
by Donnamarie on Fri 21 Aug 2015, 13:04
Agree annemarie. I said as much last night in my post. I think that their finances are none of our business.
But there is some public opinion (not me and most here I hope) out there that says Amal is going to cause George to go broke because of her high price tag wardrobe.
Alisonfan wrote:
Actually she has worn zara and they aren't that expensive.
The fact is no one knows how much George is worth ,all the estimates on line are just that. He gets paid well for his movies and endorsements. I also think he has some investments . He has a very expensive lifestyle for all those who say he dresses so plainly the price tags on his clothes are not cheap not by any means. The idea he will go broke because Amal likes expensive things is ridiculous.
by Joanna on Fri 21 Aug 2015, 17:25
Arrived late to the thread.
I like Amal's travelling outfit and the luggage
is gorgeous even though not suitable for the humble
traveller by air.
It would look great coming out of the boot of my
Ford Fcus though !!
by oldweston on Fri 21 Aug 2015, 17:37
I believe that many of her clothes in the early days were quite expensive. Her handbags. Very high end. I looked up that wonderful pair of shoes where one was pink and the other was purple - as I absolutely loved them. Way way out of my price range. I think she always a mix of high end and the much more affordable Zara and so forth.
oldweston
Getting serious about George
Joanna wrote: Arrived late to the thread.
Lol Joanna. Mixing the extravagant with the practical. A woman with real style!
Miss your posts lately
oldweston wrote: I believe that many of her clothes in the early days were quite expensive. Her handbags. Very high end. I looked up that wonderful pair of shoes where one was pink and the other was purple - as I absolutely loved them. Way way out of my price range. I think she always a mix of high end and the much more affordable Zara and so forth.
Most of time we don't see what she wears. I'm sure she mixes her outfits far more than we realize.
Remember the outfit she wore leaving Greece last year? She had that before she and George went public. She was at some conference wearing it. That was designer. That one sticks out in my mind. Yep, she has been wearing designer clothes for quite some time. It's just that her designer wardrobe has expanded.
If I could just have her handbag collection ...........
Amal also shops second hand clothing as well.
by PigPen on Fri 21 Aug 2015, 20:03
annemarie wrote: Amal also shops second hand clothing as well.
Thanks... that's the best laugh I've had all week.
PigPen
by Nicky80 on Fri 21 Aug 2015, 20:09
Amal Clooney and "dressing for the Occasion"
Vanity Fair posted an article yesterday about Amal Clooney:
Amal Clooney and the Lost Art of Dressing for the Occasion
The thesis: that Amal is the "last woman standing" who makes it happen. They interview fashion experts and industry insiders about her approach to fashion, and the "fashion opportunities" she creates – from the white gloves at the Golden Globes (click here to see) to her bellbottoms for dinner (click here to see) – she "uses couture like a uniform, harnessing what seem like the impracticalities of fashion into just the opposite".
It's mega-asskissy. So if you can't with Mrs Clooney – and many of you can't – you'll eyeroll through the whole piece. If you're down with Mrs Clooney, and I am, because she's Good For Gossip, goddamnit!, you'll eyeroll too…but with a lot more joy.
How about she just loves clothes and wants to wear all of them? And most of the time, I love how she wears them. Like today, in London, in Stella McCartney and a Lego bag. But resisting the urge to go with strappy sandals (boring) or pumps (also boring), she put on a pair of high fashion docs instead. YES.
OK. I'm ready. Start yelling.
annemarie wrote:
She wore that Zara white top. That's one item. Maybe she wore another Zara item I don't know about. But a lot of the other items she wore pre-marriage were indeed very high priced.
She shopped at what comes around goes around which is a vintage store. She had shopped there before she met George when she lived in New York according to the owner.
annemarie - I know you really like Amal and will defend her at every turn, but even you can't believe she regularly buys her clothes at thrift shops. She might shop at one for a lark, but the truth is what she spends on clothes could support most of us into a comfortable retirement.
by party animal - not! on Fri 21 Aug 2015, 23:14
.........may be true, Lizzie, but it's also true of most people of status.......I think nothing has really changed in her attitude towards wardrobe - take a look at some of the stuff she wore, say, when she was suddenly being papped. She already had many pieces she'd worn previously that were labels and she obviously has a weakness for D & G earrings or equally Sarah's bag clutches from Lebanon made by rape survivors, or Masai Mara beads......but she's obviously being inundated - and loving it - with stuff - and may or may not have already known some of these designers b g (Before George)
I didn't say she regularly shops them, I said she has shopped vintage . The bottom line is she is not poor was not poor before George. She likes nice things and can afford them whether new or vintage. What is expensive to us is not expensive to George or Amal they have the money and can afford the best of the best. I think if you have the money and can afford it why not have whatever makes you happy.
by LornaDoone on Sat 22 Aug 2015, 02:42
What Would He Say wrote: Oh pooh sticks!!! I was hoping for a picture of MY BOY too, grrrr.....suppose now I'm here I'll have to say something interesting....Nice spec's......
And that letter box could do with a rub of Brasso..... or a spit and polish at least.....
brahahahahaha!!
I have a friend that ONLY shops thrift stores. She has gotten some gorgeous, barely worn clothes for CHEAP.
She actually printed out a list of Goodwill stores and will drive all over town looking for clothes. Those near high end residential areas, of course, have the best clothes!
by carolhathaway on Sat 22 Aug 2015, 11:28
Donnamarie, I totally agree with you. How often do we see Amal? Maybe once a week. And that's just a snap-shot when she's going out or wears a business outfit. We don't know much about how she dresses casually or at home.
I just spent eight days in England and my family were split up in two families. I realized that British women (at least those we know) really dress up for the evenings, much more than we do. For us it's o.k. to wear jeans when we go out at night, our hosts all wore suits and dresses. We've been to a few pubs for lunch and also at night and the British hosts who joined us all dressed up for the evening at the pub whereas it was absolutely o.k. for them to wear jeans and a T-shirt for lunch.
carolhathaway
by LizzyNY on Sat 22 Aug 2015, 13:00
carolhathaway - You raise an interesting point about how we dress much less formally here in the US than our friends do in Europe and the UK.
We weren't always so casual. There used to be all kinds of rules about what to wear when and if you followed the rules you knew you were appropriately dressed for the occasion - whatever it was. Now it's a free-for-all and anything goes. I'm not sure it's progress, although it usually is more comfortable.
As far as Amal's wardrobe is concerned, Annemarie is right. She has the money and she can spend it any way she wants. It just bothers me to see anyone spending so much money on something as unimportant as clothes.
by annemarie on Sat 22 Aug 2015, 13:27
LizzyNY , for everyone what is important to them is different , also different things make people happy. Clothes also show your personality I feel like Amal when she is working has to look proper and business like, but on her own time she can show her fun side. I wouldn't wear the stuff she does that is not my personality but it seems to be hers.
annemarie - I have no problem with Amal's style choices (other than that her skirts are often too short for a woman her age). My problem is with the amount of money she appears to spend on her wardrobe.
Yes,it's her money to do with as she sees fit. Yes, if it makes her happy she has every right to spend as much as she wants any way she wants. And, yes, many of the things she wears are probably lent to her by designers to get free publicity.
I still think a woman can dress stylishly and look beautiful for a lot less - and most of us do! We have to. There are too many other things that are more important priorities for us than what we wear. There are so many people struggling to stay afloat, I guess it just offends me to have someone (anyone) shoved in my face every few days because they're wearing something ridiculously expensive.
I doubt her clothes are her priority she has George her work, family and friends to think about. I do think like a lot of women she enjoys clothes even those without as much money as she has .
The press puts the emphasis on what she wears, the gossip press are not gonna write about her work too boring. They also put her out there because she is George's wife. Like poor Eli she is married and pregnant and every time something is written she is theex girlfriend of George Clooney it is ridiculous but comes with being involved with George.
I get what your saying about looking good for a lot less, Amal and others in her position don't have to worry about prices.
George and Amal live in a different financial place than you and I . It is funny no one ever adds up what George spends on himself, his clothes are expensive the leather jackets I think he wore Tod's shoes those are over $400 a pair. Even his jeans and T's are good quality, George enjoys nice things homes cars and upkeep none of that comes cheap.
by Donnamarie on Sat 22 Aug 2015, 15:15
Annemarie says it often here. Amal and George are living their lives. It's their business. if a woman chooses to wear high end fashion, and she can afford it, should that be held against her? Is she any less of a person?
Different people have different priorities in their lives. Too often we judge others because they don't meet our expectations.
Amal loves fashion and can afford to wear it. Designers want to dress her. Should we resent her for that? From what I know she has a very good job, which pays well. She has a loving and close family. She and her husband are very much in love with each other. And she is highly admired and respected by people who know her. And all who know her claim she is a kind and sweet woman.
What is she doing wrong? Wearing too many expensive clothes? Is that grounds for dislike and worse????
by fava on Sat 22 Aug 2015, 16:39
annemarie wrote: I doubt her clothes are her priority she has George her work, family and friends to think about. I do think like a lot of women she enjoys clothes even those without as much money as she
Not her top priority, no (and I don't think anyone said it was ). But for a woman as busy as she is, dressing like she does tells me she has to make it one of her priorities. She has to spend time deciding what to pack, wear, what relationships with designers to cultivate, which bag to switch her stuff to..... All of that takes time and effort, so she is making that a priority even if she has help from a stylist and a ladies maid. She is perfectly within her rights to choose that as a priority, but I don't buy the idea that it isn't one for her.
carolhathaway wrote:
Since we don't see her, I don't know how we can be "sure" of anything. You think she only pulls out the designer stuff when she knows she will be photographed? I guess that is what the designers expect if they give you free stuff. No publicity otherwise. So who arranges the photographers outside her front door?
by melbert on Sat 22 Aug 2015, 17:03
fava wrote:
So who arranges the photographers outside her front door?
Maybe it's a deal they get a picture and she gets peace while in London. To be fair we get one shot sometimes when she is there she is not shown doing everything she does in a day.
O.K. how about this for a lot of women looking good dressing up is one of their priorities I don't think the clothes are her top priority that is what I should have said.
Anyone can tell she loves dressing up for many occasions. She likes to look her best. She pays attention to what she wears. There is absolutely nothing wrong with that.
A lot of negative judgement for a woman you guys don't even know!
by party animal - not! on Sat 22 Aug 2015, 19:52
Er, Melbert, she doesn't arrange it. They are agency paps lurking all the time on every corner or they have a look out who lurks. That's how they work. Seen it in Italy and NYC too. Phones, headphones and scooters.
They obviously have her address which they haven't put into the public domain, and of course they know where she works.
However if you''re a Z list model, you float around in not a lot outside a well known restaurant and call up your go-to-pap who releases your pix via the agency and maybe you'll get a couple of column inches in the Mailonline, pay off your agent later and keep the rest.............fun, fun, fun
Any woman he married some would have found irrational reasons to dislike her. It seems some loved the not so proper women he dated and took great pleasure in tearing them down. They were easy targets Sarah Larson licking sand in a bikini, Eli topless nun and let's not forget Stacy too tall badly dressed wrestler.
George falls in love with an intelligent woman with her own career not riding his as the others were accused . There are no nude pictures of her anywhere, hell we have never even seen the woman in a bikini , no men coming out telling sordid details of relationships. She has never done an interview just gets on with her job and life with George yet there are those who don't like her for whatever strange reasons they come up with.
We are all entitled to our opinions but sometimes it gets to be a bit much when it comes to Amal clooney.
Last edited by annemarie on Sat 22 Aug 2015, 20:22; edited 1 time in total
by Nicky80 on Sat 22 Aug 2015, 20:21
Well PAN, I think I agree with melbert on that. Yes the paps hang around everywhere but when there are pics from Amal in Lake como why would a pap sit in front of her door just "hoping" one day she comes back. If so, why are there no pics when she was arriving to her flat when she left como?
I agree with Annemarie, they might got a deal for those pics and than didn't follow any further so she can do her Job. Nothing bad about it.
As about the Cloth. If I had more Money I would spend much more for Cloth as I find the look and Quality much better when I pay more Money and they last longer. But that's just my opinion
Donnamarie wrote: Anyone can tell she loves dressing up for many occasions. She likes to look her best. She pays attention to what she wears. There is absolutely nothing wrong with that.
I don't dislike her--or like her. I merely pointed out that she makes her wardrobe a priority. If you see that as a negative judgement, that is you, not me.
Fava,
of course we don't know anything for sure. That's why I say that we don't know what Amal wears when she's at home. She sometimes wears clothes like we all do: jeans and shirts by Brands most of us can afford - as I guess, and on the other hand she wears designer outfits and has bags which price are just unbelievable. What do we expect her to wear? I know we had the discussions about Target (a brand I don't know but I think we all have department stores in our countries which are synonemous with that. She can spend as much money on clothes as she likes (in my opinion) and I don't care how much she actually spends on them and if she or George can afford this because that's their business. Do we talk about other people's clothes? I like the blog about Amal's fashion, the only thing I never liked was that the price were mentioned as well. Everybody can find out the price easily once you know the brand or designer and every outfit she wore ended in a discussion about how one can wear such expensive clothes.
fava, your question implicades - at least for me - that Amal informs paparazzi where she will when and melbert answered this question that way. I'm sure many celebs do so and maybe George does it as well sometimes but then I would expect much better and clearer photos. If you look at quite a few photos that were taken during the last months they were blurry, shot from quite a distance (and I'm not talking about those which were taken on their property in Laglio). If there would be a sort of agreement or contract between Amal and designers which includes that photos have to be publizised I would expect much better photos which make it easier to identify the designer. Paparazzi seem to know know her address in Notting Hill and know where she works, they also hang out at places where they usually see celebs. I remember a video on youtube where one paparazzo was watching the entrance of a restaurant in Hollywood and George and Grant arrived on their motorbikes. They didn't respond to the reporter's call. By the time they left there were at least 50 reporters and paparazzi who followed them, and I remember how awful I felt when I watched this because I found it really ridiculous.
Maybe some of the photos are not the best quality, yet the fashion blogger still seems able to identify every item, down to shoes, jewelry and bags.
As far as my implication about the paparazzi being informed--if designers give or lend her clothes on a regular basis (and I don't know that they do beyond special occasion dresses like the Galliano), if they do it to promote their business, they may expect something from her in return. My understanding of how this works in Hollywood, is that the designer expects the person to be "seen" in the clothes and probably photographed so the exposure is wider than the people at a particular event.
Fashion bloggers have to know their designers that's how they get paid it's their job.
by Silje on Sat 22 Aug 2015, 21:39
annemarie wrote: Fashion bloggers have to know their designers that's how they get paid it's their job.
Are you saying that the woman that runs the Amal's Style Blog is paid for it? By the designers? By Amal?
well a Blogger Needs to know they stuff in order to have enough hits on the Website. Also they earn through advertisement. There are really famous Fashion Bloggers out there and some get an Invitation to sit in the first row in some Fashion Shows. So yes they get paid. But not from Amal.
Personally I don't believe that Amal has an arrangement where she or a PR person for her calls the paps to arrange a photo op.
IMO I think she has made an arrangement to wear those items lent to her and she can decide if she wants to keep them or not. And if she is out with or without George and gets photographed by the paps then that's a bonus. Otherwise whatever she is wearing is seen only by those at whatever public venue she happens to be at.
There have been many times when she has been out wearing designer pieces and the only pics are taken by random people with their cell phones.
My reference to the negative judgements about Amal pertains to posts by some here who do it on a continuous basis. Was not referencing fashion priorities discussion.
fava wrote: Maybe some of the photos are not the best quality, yet the fashion blogger still seems able to identify every item, down to shoes, jewelry and bags.
fava, it often takes this blogger several days to identify outfits, she often get help by other bloggers or reader, and she often adds photos after days. And not everybody reads this blog so what about the advertising impact? I couldn't afford any designer outfit nor could anybody I know.
Donnamarie wrote: Personally I don't believe that Amal has an arrangement where she or a PR person for her calls the paps to arrange a photo op.
Not an Arrangement, I don't believe that as well. But I think in some Situation they feed the paps in order to avoid the chase through the City or while doing her Job is happening. And again, I said "some situations"...like this one in this thread I believe this one was set up. No one knew she was in London. There were pics from Como before. And after those pics no pics at the Airport? So they didn't follow? It was a fair deal. The paps got they pics and Amal got her peace.
Donnamarie wrote:
No I don't think this is a bonus. To get pics is expected.
George said in an interview that designer sent her stuff to get pics with the Cloth and promote the designer. So if she decide to Keep them or not means also she has to decide to be photographed with it or not. No designer is sending something for free and get nothing in return. and that is nothing bad. George even said in the interview and it it was not a big deal. We talked about it before.... I don't see the Problem with it anyway.....And then again some Cloth she gets sent to and others she buys herself. So she doesn't has to be photographed with everything.
George said designers will send her a dress to wear to get their names out there. He also said she pays for a lot of her stuff.
Yep there are only certain items she gets photographed in that are sent to her. I know If I were in her position and a designer sent me a free dress and all I had to do is wear it and get photographed I would. Free is good to me lol, they get the publicity and I get an expensive piece of clothing for nothing. Leaves more money to spend on other lovely purchases.
Yeah I like free things too. Amal is lucky. I would do the same. But need a diet before otherwise I don't fit in those dresses hehehe
Nicky80 wrote: Yeah I like free things too. Amal is lucky. I would do the same. But need a diet before otherwise I don't fit in those dresses hehehe
Lol me too.

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Рі́п'євка (, ) — присілок у складі Белебеївського району Башкортостану, Росія. Входить до складу Тузлукушівської сільської ради.

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Примітки

Посилання
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Населені пункти Белебеївського району
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Українські поселення Башкортостану

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Stage lighting instruments (lanterns, or luminaires in Europe)  are used in stage lighting to illuminate theatrical productions, concerts, and other performances taking place in live performance venues. They are also used to light television studios and sound stages.

Many stagecraft terms vary between the United States and the United Kingdom. In the United States, lighting fixtures are often called "instruments" or "units". In the UK, they are called "lanterns" or "luminaires". This article mainly uses terms common to the United States.

Components
See the picture at the top of the page for the physical location of most components.
Stage lighting instruments all have the following components:

Housing
The lamp housing is a metal or plastic container that serves as a body for the entire instrument and prevents light from spilling in unwanted directions. It comprises all of the exterior of the fixture except for the lens or opening. The housing may be designed with specific elements that help reduce heat and increase the efficiency of a lamp. Older instruments were made from rolled and machined steel or aluminum. With the advent of the Source Four, many lighting instruments are being made from die cast metal. Die casting allows for one single, light-weight body that is more economical to produce and use. The first lantern to make use of die castings was the Strand Pattern 23 designed by Fred Bentham in 1953, this small mirror spot enjoyed a 30-year production run and found its way into many British schools, halls and theaters. Some instruments are made from plastic, such as the Selecon Pacific.

Lens or opening

The opening is the gap in the housing from where the beam of light is intended to come. Many fixtures use a lens to help control the beam of light, though some, such as border or cyclorama lights, do not have any lenses or optics other than the reflector. The lens and the reflector, along with other beam-altering devices, are both considered part of the optics system.

There are two main lens types. Profile Lens Systems and Wash Lens Systems. Instruments with profile lens systems usually have a beam that is narrow and hard edged. ERS lights and follow spots use these lenses. On the other hand, fixtures such as PAR's and Fresnels use wash lens systems. The wash lens system casts a diffused wash of light with a softer beam edge.

Reflector
The reflector affects the quality and directionality of the light output. A reflector is located behind or around the light source in such a way as to direct more light towards the lens or opening. Each unit has a characteristic reflector, used in conjunction with the lens (or lack thereof) to create the desired effect. An ellipsoidal reflector has a lamp set at one focus point of an ellipsoid-shaped reflector that bounces the light and focuses it at the second focus point of the ellipse. This focuses the beam of light into a tight beam. Ellipsoidal reflectors often are used for tight, focusable spots, although they can be used for floodlights, such as in scoops (see below). A parabolic reflector has a lamp set at the focus point of a parabola-shaped reflector that bounces the light in parallel beams away from the reflector. There is no point at which the light converges, so the light is unfocusable. Parabolic reflectors are used for lights intended to provide an unfocused wash, such as PAR cans.

Reflectors can also be used to selectively reduce or eliminate unwanted thermal emission. Incandescent lamps produce light through heating of the filament, while arc lamps produce light through the heating and ionization of a gas. In either case, this heat is also emitted from the lamp as infrared light. The thermal energy is often projected onto the stage with the visible light, and thousands of watts of incandescent lighting can be uncomfortably hot for the actors on stage. Specially designed reflectors are able to absorb and dissipate infrared at the fixture before the visible light reaches the stage.

Yoke
Most instruments are suspended or supported by a U-shaped yoke, fixed at two points to the sides of the instrument, providing an axis of rotation. The base of the yoke is typically a single bolt around which the yoke can be rotated, providing a second axis of rotation. Combined, these two axis allow the fixture to point nearly anywhere in a spherical range of motion encircling the yoke.

The yoke is connected to a pipe or batten by one of the clamps mentioned below. It may also be affixed to the deck with floor mounts, or attached to the set with a stage screw.

Some yokes are motorized, allowing remote control systems to change where a fixture is pointing during a show.

Attachment apparatus
C-Clamps are hook clamps that use a threaded bolt to attach to a pipe or batten and to hold the instrument secure. Once secured, the fixture can be panned and tilted using adjustment knobs on the yoke and clamp. In addition, safety cables (a loop of aircraft cable terminated with carabiners) are used to support the lighting instrument in case the clamp fails.
A side arm is a metal pole bolted to the instrument with a clamp on the end. This enables the instrument to be hung to the side of an electric as opposed to below it.

Lamp or arc source
All instruments need some type of source to produce light. The bulbs used are referred to as lamps. Stage lighting instruments typically use incandescent lamps, tungsten-halogen lamps, encapsulated arcs, or LEDs. Most theatrical lamps are tungsten-halogen (or quartz-halogen), an improvement on the original incandescent design that used halogen gas instead of an inert gas. Fluorescent lights are rarely used other than as work lights (see below). Although they are far more efficient, they cannot be dimmed (run at less than full power) without using specialized dimmers, cannot dim to very low levels, do not produce light from a single point or easily concentrated area, and have a warm-up period during which they emit no light or do so intermittently. High-intensity discharge lamps (or HID lamps) are now common where a very bright light output is required, for example in large follow spots, HMI (hydrargyrum medium-arc iodide) floods, and modern automated fixtures. Because these types of lamps cannot be electrically dimmed, dimming is done by mechanical dousers or shutters that physically block portions of the lamp to decrease output. Some specially-designed fittings now use light-emitting diodes (LEDs) as a light source. LEDs are ideal where an intense but unfocused light source is required, such as for lighting a cyclorama. LEDs have now been added to fixtures such as the Source Four LED, which looks similar to the source four onstage, but is controlled with LEDs.

Incandescent lamps are most likely the type of light one is used to seeing. They are typical household lights that are usually between 40 and 100 watts. However, the US has been taking them out of production due to their inefficient nature. Typically, an incandescent lamp has a tungsten filament surrounded by an inert gas. This is all encapsulated by a bulb. The inert gas stops the formation of anything that could darken the bulb, such as carbon. The bulb is usually made from Pyrex or synthetic quartz. Incandescent lamps also have a base. The base screws into a socket and serves as an electrical contact point for the socket and the filament inside. For the most part, higher watt bulbs will use larger bases. Incandescent bulbs for stage lighting may have pins on the bottom instead of a screw. This allows them to be positioned properly in relation to a reflector. The filament of the lamp is usually tightly coiled tungsten wire.

Tungsten-Halogen lamps, or T-H lamps, are similar to incandescent bulbs, but instead of an inert gas being used, a halogen gas is used. Halogens are chemically active. Therefore, when the filament releases tungsten particles, the halogen gas forms a compound with them that the filament attracts back. The particles of tungsten then attach to the filament again. Because of this, there are less tungsten deposits on the bulb and the filament is constantly rebuilt, and so the light lasts much longer than a typical incandescent light.

LEDs are of an advantage because they are available in many colors today. LEDs are semiconducting diodes that emit light. The chemical composition of the LED determines the color of the light. Unlike conventional fixtures, LEDs do not need dimmers, but have intensities controlled by wattage. LED lights are much more energy efficient than incandescent or T-H lamps. While a household incandescent may be rated for 100 watts, an LED of the same intensity could be under 15 watts. One of their advantages to T-H and incandescent bulbs is that they do not require colored gels. LED fixtures typically come with multiple colors of LED lights. Color theory shows that mixing the primary colors of light will make white light. Therefore, through color mixing, LED's can form a wide variety of colors from white light to deep primary colors to many others. This reduces the time taken to change the color of an already hung fixture. The introduction of the LED allows much more variety of color and they also require much less power, making them useful to have in a theater or production.

Arc Sources produce an electric arc. Electric current moving in the gap between the two electrodes creates a bright blue light. They can typically be found in follow spots and moving fixtured. One of their downsides is that they cannot be dimmed Therefore, the light can either be turned on or off. They can also use mechanical dimmers, such as dousers, that are made with slats or an iris that moves to limit the light leaving the fixture.

Accessories

Conventional (non-intelligent) fixtures are designed to accept a number of different accessories intended to assist in the modification of the output. The most common, found on almost all stage lights, is the gel frame holder. The gel frame holder is intended to hold gel, mounted in cardboard or metal gel frames. Other common accessories include gobo holders or rotators, iris holders, donuts, barn doors and color scrollers. Gobos are templates made from a thin piece of metal that have designs to project patterns. An Iris is an accessory which can alter the size of the projected beam of light. Color scrollers hold a spool of color media that have been attached to each other. It can then scroll through the gels to change the color.

Transaction

Lighting instruments can be broadly separated into two categories: floodlights, which illuminate a wide area, and spotlights (sometimes known as profiles), which produce a narrower, more controllable light beam. The distinction has to do with the characteristics of the light produced by the instrument. Spotlights produce a potentially tightly focused light, while floodlights produce a much more diffuse light. Instruments that fall somewhere in the middle of the spectrum can be classified as either a spot or a flood, depending on the type of instrument and how it is used.

Stagelights

PAR lights

Parabolic Aluminized Reflector lights, or PAR lights, or PAR cans, are used when a substantial amount of flat lighting is required for a scene. A PAR can is a sealed beam PAR lamp housed in a simple can-like unit. Like an old-fashioned automotive headlight, the reflector is integral to the lamp and the beam spread of the unit is not adjustable except by changing the lamp. PAR lamps are widely used in architectural lighting and may often be found at hardware stores. PAR lights have seen heavy use in rock and roll shows, especially those with smaller budgets, due to their low cost, light weight, easy maintenance, high durability, and high output. They are often used in combination with smoke or haze machines which make the path of the beam visible. They are also often used as top, back, or side lights in the theatre and for special effects.

All PAR lamps except those with narrow or very narrow lenses produce an intense oval pool of light, some with fixed focus and soft edges. In order to adjust the orientation of the oval, the lamp must be rotated. The number associated with a PAR light (e.g.: Par 64, Par 36, Par 16) indicates the diameter of the lamp in eighths of an inch.

Four different beam angles can be obtained on the PAR-64. The beam angle is determined by the lamp. Lamps come in "very narrow" (6° x 12°), "narrow" (7° x 14°), "medium" (12° x 28°), and "wide" (24° x 48°). Each angle has two numerical values since the beams are elliptical rather than circular. PAR 16s are often referred to as "birdies".

PAR-bars are aluminum pipes with par cans permanently attached and circuited through the pipe. Par-bars with 4 instruments are often referred to as 4-bars, and par-bars with 6 instruments are referred to as 6-bars.

In 1995 Electronic Theatre Controls (ETC) introduced the Source Four PAR as an alternative to PAR cans
. The Source Four PAR is similar to the PAR can, but it has differences as well. Unlike the PAR can, the Source Four PAR does not have a movable parabolic reflector. Also, instead of using a PAR lamp, it uses the same lamps as the Source Four Ellipsoidals. Additionally, the Source Four PAR uses changeable lenses that affect the beam.

Strip lights

Strip lights, also known as cyclorama or cyc lights (thus named because they are effective for lighting the cyclorama, a curtain at the back of the stage), border lights, and codas (by the brand name), are long housings typically containing multiple lamps arranged along the length of the instrument and emitting light perpendicular to its length. Lamps are often covered with gels of multiple colors (often red, green, and blue, which, in theory, allow almost any color to be mixed) with each color controlled by a separate electrical dimmer circuit. Many striplights use round pieces of glass (called roundels) rather than plastic gels for color. Roundels can sustain heavy use for a long time without fading and are often found in more permanent installations.

Scoop lights

Scoop lights or scoops are circular fixtures that do not have any lenses. They have an ellipsoidal reflector at the back of the fixture that directs the light out of the fixture. Since they do not have any sort of lens system they are cheaper than other fixtures. However, the light cannot be focused at all (even PARs allow more control than scoops). Scoops are most often used to flood the stage with light from above, or to light backdrops. Scoops can have gels affixed. Occasionally they are used as work lights (see below).

House lights and worklights

House lights provide light on the theater's seats and aisles for the audience before and after performances and during intermissions. They are generally incandescent lights, however fluorescent lights or scoops may be used in some instances. House lights are often controlled by dimmers, but are sometimes on simple switches. Worklights provide general lighting backstage or in the house, and are often fluorescent fixtures. Work lights are almost always non-dimmed.

House and work lights are usually off during performances but are occasionally included in the lighting design to establish focus or emphasize plot elements. When the house lights are not on a dimmer, the switch is usually under the control of the stage manager.

LED stage lights

LED stage lighting instruments are stage lighting instruments that use light-emitting diodes (LEDs) as a light source. LED instruments are an alternative to traditional stage lighting instruments which use halogen lamp or high-intensity discharge lamps. Like other LED instruments, they have high light output with lower power consumption. Most LED fixtures use three or more colors (usually red, green, and blue) which can be mixed to hypothetically create any color.

Types
LED stage lights come in four main types. PAR cans, spotlights, striplights, and "moving head" types. In LED PAR cans, a round printed circuit board with LEDs mounted on is used in place of a PAR lamp. Moving head types can either be a bank of LEDs mounted on a yoke or more conventional moving head lights with the bulb replaced with an LED bank.

Uses

LED instruments can and have been used to replace any conventional lighting fixture, and some shows, such as Radiohead's recent tour, have used only LED lighting instruments. Most shows use LEDs only for lighting cycloramas, or as top, side, or back light due to their low throw distance. They can also be used as audience blinders (lights pointed directly at the audience from a low angle).

Spotlights
A spotlight is any lighting instrument used in theater to create a pool of light on the stage. There are many different types of spotlights which break down into three general areas:
 Fresnel lanterns or Fresnels (US) are small fixtures giving a soft-edged spot or pool of light. Their name comes from the distinctive ridged Fresnel lens used on the front.
 Profile spots (UK) or ellipsoidal reflector spotlights (US) tend to be longer fixtures containing convex lenses and having a gate at their focal point which enables the insertion of gobos or irises to shape the beam of light. They give a hard-edged beam most often associated in the public mind with "spotlights". Large versions are operated by a technician as a 'followspot' to follow performers on the stage. The term Profile Spot used in the UK refers to a focussing spotlight which may, or may not use the ellipsoidal reflector design, this design was not common in the UK until the 1970s and many UK and European manufacturers have still to adopt this design instead preferring a twin PC lens design.
 Pebble Convex lanterns (or "PCs") are similar to Fresnels, but use a plano-convex lens with a pebbled effect on the planar (flat) side, resulting in less "spill" outside the main beam. They are used much more widely in Europe than North America.

Fresnel lantern

A Fresnel lantern (UK), or simply Fresnel (US), employs a Fresnel lens to wash light over an area of the stage. The lens is named after French physicist Augustin-Jean Fresnel, and consequently pronounced with a silent "s". The distinctive lens has a 'stepped' appearance instead of the 'full' or 'smooth' appearance of those used in other lanterns. The resulting beam of light is wide and soft-edged, creating soft shadows, and is commonly used for back light, top light, and side light. Another method of controlling the spread of light is to use either a top hat (also referred to as a snoot), which generally limits the light coming out, or a barn door, whose flaps work as though they were shutters on an ERS (shown on the right). These methods limit light output and keep excess light from spilling into the eyes of audience members or where it is not desired.

Fresnels use a spherical reflector, with the lamp at the focus point. The lamp and reflector remain a fixed unit inside the housing, and are moved forward and back to focus the light. This is accomplished using a slider on the bottom or side of the lantern, or using a worm track. At very tight focus, the lanterns are the least efficient, as the least light can escape the housing. Therefore, Fresnels are not good for tight focus on small areas. They are most often used at medium distances from the stage for area lighting.

In 1999, ETC introduced a new lighting fixture, the Source Four PARNel, which combined the design of the PAR fixture with that of the Fresnel. The fixture is more versatile, allowing for a flood or a softer spot.

Ellipsoidal reflector spotlight

The ellipsoidal reflector spotlight (ERS), also known as profile (after its ability to project the silhouette or profile of anything put in the gate) (UK) and Découpe (French), is the most abundant instrument type currently in theatrical use. The flexibility of the ERS allows it to fulfill the bulk of lighting roles in the theater. They are sometimes known as a profile spotlight (in Europe) or by their brand names, especially the Source Four (a popular lantern from ETC) and 2 the Leko (short for Lekolite, from Strand lighting).

The major components of an ERS light are the casing in which the internal parts are mounted, an ellipsoidal reflector located in the back of the casing(truncated conical ellipse), a lamp mounted to position the filament at the rear focal point of the ellipsoid, a dual plano-convex lens (two plano-convex lenses facing each other in the barrel), and at the front, a gel frame to hold the color gel. The light from the lamp is efficiently gathered by the ellipsoidal reflector and sent forward through the gate, shutters and lens system.

The truncated conical ellipse allows better focusing abilities for the light. If the bulb is placed in the first focus, then all light will pass through the second focus at the same time. This creates a very bright beam of light.

ERS or profile lanterns have many useful features. One of the most useful are the metal shutters at the focal plane of the lens to shape the beam of light. The original shape of the beam is round, but with the use of the shutters one can limit the beam to avoid obstacles or parts of the set that should not be illuminated in a specific look. Another feature is a gate, also in the focal plane, for sliding in gobos (also known as templates or deckles). These have patterns cut into them, like a stencil. These patterns are projected onto the stage. An iris also can be inserted in this position to make the beam smaller in diameter, reducing the light cast without the sharp edges of the shutters. ERS instruments from ETC, Altman, Selecon, and a variety of others have interchangeable lens tubes (or barrels) which can both create a very sharp or very soft beam as well as alter the beam spread. The barrel sizes can range from a narrow, long distance 5- or 10-degree spot to a broad and short-distance 50- or even 90-degree. The first 90-degree profile lantern was developed by Selecon Performance Lighting as part of their "Pacific" range of products. Since its introduction many other manufacturers have introduced their own 90-degree barrels. ERS instruments allow many different lens tubes to be used with the same body. This makes them more versatile, since a venue can purchase varying degrees of barrels without buying as many instruments. Many manufacturers also produce zoom lenses which offer the ability to change the beam angle. Some zoom ranges have a poorer optical quality making them difficult to use in sharp focus.

Field angle
The field angle of an instrument is the angle of the beam of light where it reaches 10% of the intensity of the center of the beam. Most manufacturers now use field angle to indicate the spread that the fixture has. However, older fixtures are described by the width of the lens x focal length of the instrument. For example, a 6x9 ellipsoidal would have a 6" lens and a focal length of 9" (creating an approximately 37° beam angle). This nomenclature was used because traditionally a larger lens directly equated with more light output. This is no longer necessarily true, so most manufacturers now identify their fixtures by beam angle and light output. As the field angle narrows, the instrument can either be used further from the stage to create a similarly sized beam as a closer, larger instrument, or it can be used from the same distance to create a smaller beam.

Beam projector

A beam projector is a lensless instrument with very little beam spread. It uses two reflectors. The primary reflector is a parabolic reflector and the secondary reflector is a spherical reflector. The parabolic reflector directs the light into nearly parallel beams, and the spherical reflector is placed in front of the lamp to reflect light from the lamp back to the parabolic reflector, which reduces spill. The result is an intense shaft of light that cannot be easily controlled or modified. The beam projector no longer is used to the extent that it once was, as newer fixtures and PAR lamps have created easier ways to produce the effect.

Followspot

The followspot (also called a spotlight, trackspot, lime (uk), or dome) is a lighting instrument that is moved during a performance by an operator or by DMX control to provide emphasis or extra illumination and usually to follow a specific performer moving around the stage. Follow spots are commonly used in musical theater and opera to highlight the stars of a performance, but may be used in dramas as well. They are also used in sports venues, as well as many other applications.

These lighting instruments come in a variety of sizes with light sources ranging from low power incandescent light bulbs to very powerful xenon arc lamps. Carbon arc lamp spots were common until the 1990s, using the arc between carbon rods as their light source. These follow spots required special installations that include high volume ventilation due to the hazardous fumes produced by the carbon arc. The current generation, xenon, has extremely high internal pressure in the lamp and thus has its own safety concerns.

Followspots contain a variety of operator-controlled optical mechanisms. They may include mechanical shutters, which allow the light to be doused without turning off the lamp, lenses to control and focus beam width, and internal color gels, often in a color magazine.

Intelligent lighting

Moving lights (or intelligent fixtures) began to gain widespread acceptance in the concert industry in the early 1980s. As the digital age progressed, the cost of these fixtures reduced, and they are increasingly used in many major theatrical productions.

Their principal feature is the ability to remotely control the movement and characteristics of the output beam of light. This is achieved by either moving a mirror which reflects the beam, or by moving the entire fixture, which can pan and tilt by means of a motorized yoke. Usually they also contain other controls to shape, texture and color the light, such as gobo or dichroic wheels. Almost all of the parameters are controlled by step motors. These are capable of very precise movement in either direction that can count a specific number of steps. This allows the fixture to quickly and accurately move. This ability to precisely, and repeatedly set the position of the fixture allows one light to perform many functions, lighting multiple different areas in different ways. They can also move 'live' (with the lamp on), to achieve many of the effects used in modern productions.

The majority of intelligent fixtures employ arc lamps as a light source, and therefore use a variety of mechanical methods to achieve the effect of dimming. Some fixtures employ standard halogen lamps. Mechanically, stepper motors connected to various internal optical devices (such as gobos and color wheels) manipulate the light before it escapes the fixture's front lens.

Discharge fixtures are seeing competitive advantages from the LED industry take place, and many companies are now offering an LED-based intelligent lighting fixture across all arenas of intelligent lighting genre, from wash fixtures to spot fixtures, beam-type fixtures and hybrid units that incorporate two or all of these types.

Moving light programs are often much more complex than that of stationary instruments. While it is possible to operate them with any console that uses the DMX512 Protocol, many lighting board operators find a console dedicated to moving light operation to be much more efficient. Oftentimes there will be encoder wheels which will control the Pan, Tilt, Focus, Zoom, Color, and Effects. Many people find visualization software (such as WYSWIG, VectorWorks, and others) to be helpful when programming while other people prefer a hard tactile control.

Intelligent lights are used heavily in shows in very large venues, like events in stadiums, where it is very difficult to reach lighting trusses for manual focusing. Although the fixtures may not be moved during the run of the show, they are focused remotely.

DMX512 is a standard from the United States Institute for Theatre Technology (USITT). It is a recommended practice to allow lighting systems to "talk." Before DMX512, every manufacturer had its own means of controlling their fixtures. This was inconvenient being that many theatres do not use lights from one single company.

References

External links
 Page on lighting instruments
 Strand Archive. Information on old lighting instruments


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package org.n52.iceland.statistics.api.interfaces.geolocation;

import java.util.Map;

import org.n52.janmayen.net.IPAddress;
import org.n52.shetland.ogc.ows.service.OwsServiceRequestContext;

public interface IStatisticsLocationUtil {
    Map<String, Object> ip2SpatialData(IPAddress ip);

    /**
     *
     * @param host String of the IPv4 address e.g.: 123.123.123.123
     *
     * @return geo loation data in Elasticsearch's accept format
     */
    Map<String, Object> ip2SpatialData(String host);

    IPAddress resolveOriginalIpAddress(OwsServiceRequestContext ctx);
}


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Q: How to replace browser back button on cart page? i am working on a product page with lots of selections. (they are required by industry, so i can't really remove them)
About every 5th customer makes the needed selections, and then presses "add to cart" - and than goes back to product page to change smng.
We've added "Change product options" button which brings them back to product pages with their selections saved, so they can change options easily without needing to select everything again - the page url looks like this ourmagentostore.com/checkout/cart/configure/id/5231/
However some people still click back button in browser, and it brings them to ourmagentostore.com/product-name - it's not saving any selections, so they have to start over again, and some people give up at this point.
How i can replace the browser back button on cart page with checkout/cart/configure/id/XXXX/ ?
I know it's possible with js, but is there a better way to do it?

redpajama_set_name: RedPajamaStackExchange