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La saison 2010 de l'Eurocup Formula Renault 2.0 se déroule au sein des World Series by Renault du  au . La saison comprend huit meetings, où chaque course durent 30 minutes. Toutes les courses faisaient partie de la World Series by Renault.

Historique
La saison 2010 de la discipline est entamé par une nouveauté avec l'introduction du châssis Barazi-Epsilon pour remplacer le châssis d'origine Tatuus, pilier de la Formula Renault 2.0 au cours des années 2000. Les deux premières courses de la saison disputées au Motorland Aragón ont été remportées par Kevin Korjus, pilote estonien issu de la Formula Renault 2.0 Northern European Cup. S'ensuivit une domination du début à la fin du protégé du Koiranen Bros. Motorsport, avec sept victoires supplémentaires au cours de la saison, devenant le plus jeune champion de la discipline à l'âge de 17 ans et 253 jours. Le titre a été acquis lors de l'avant-dernière épreuve à Silverstone, Korjus ne pouvant être rejoint au général à l'issue de la deuxième course du meeting britannique. Arthur Pic, un temps deuxième, se fait déloger de son titre de vice-champion par Luciano Bacheta à la suite d'une disqualification en Catalogne pour avoir omis d'observer une pénalité par un passage dans la ligne des stands après avoir coupé une chicane alors qu'il tentait de passer son coéquipier Carlos Sainz Jr., participant au meeting espagnol en tant qu'invité. Le trio de tête s'est octroyé 14 des 16 courses de la saison, les autres victoires revenant à Giovanni Venturini, cinquième, et Javier Tarancon, invité. À noter que ces derniers se sont engagés au sein d'Epsilon Euskadi.

Engagés
J = Concurrents de la Classe Junior pour 2010
 Les invités sont listés en italique.

Règlement sportif
 Chaque week-end de compétition comporte deux courses.
 Les pilotes seront distribués dans deux groupes de qualification (A et B) ayant chacun 20 minutes de session. La grille de départ de la première course est déterminé en fonction du meilleur temps du pilote. En ce qui concerne la deuxième course, les seconds meilleurs temps des pilotes détermineront la grille de départ.
 L'attribution des points s'effectue selon le barème 15, 12, 10, 8, 6, 5, 4, 3, 2, 1 dans les deux courses du week-end
 Afin de réduire les coûts, mais aussi pour donner plus d'impact aux championnats nationaux, aucun pilote ne sera en mesure de participer à un autre championnat de Formula Renault 2.0. En plus de la discipline principale qu'est l'Eurocup Formula Renault 2.0, un pilote sera autorisé à participer à deux meetings supplémentaires dans le championnat de Formula Renault 2.0 de son choix. Les équipes seront toutefois en mesure d'entrer une seule voiture dans plusieurs championnats.
 Un maximum de 32 monoplaces est accepté en Eurocup Formula Renault 2.0, avec une limite de quatre voitures par équipe. Lors de la sélection des équipes, le comité organisateur donnera la priorité aux équipes ayant déjà une expérience en Formula Renault 2.0, ou dans l'un des championnats de la World Series by Renault.
 Le vainqueur de l'Eurocup Formula Renault 2.0 recevra une subvention de 500 000 € pour financer sa participation à l'édition suivante de la Formula Renault 3.5 Series.

Courses de la saison 2010

Classement des pilotes

Classement des écuries

Lien externe
 Site officiel de l'Eurocup Formule Renault 2.0

Championnat de Formule Renault
Sport automobile en 2010


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Michelangelo's David Research Paper
The story of David was one that held great significance to the people of Italy and many artists had used David as the subject of their work. Michelangelo's David (1501-04) and Bernini's David (1623) both depict the same subject matter but their interpretations are very different due to the time periods they were produced in. In my paper I will be explaining how the Renaissance and the Baroque periods notably changed the portrayal of David and how it influenced the artists of their times.
To begin, these art periods focused and displayed very different aspects of art. The renaissance brought back Classical themes and techniques from ancient Roman and Greek societies. Some of the most notable being a focus on the human body, using contrapposto,…show more content…
Although using David as the subject of a piece was something that previous artists had done, Michelangelo's David became a favorite to the people of Florence when it was unveiled in 1504.The importance of David's nude body and its positioning is obvious when we remember it was made during the Renaissance. Celebrating the human form and having figures in contrapposto were defining aspects of this period. Aside from being one of the most famous Renaissance artists, Michelangelo is also regarded as one of the greatest artists and sculptors in history. Michelangelo's David was, and still is, seen as the perfect and ideal image for the human body. The amount of detail able to be seen, from the veins on his arms, to the muscles lining his abdomen, shows how very meticulous Michelangelo was when it came when it came to the human body. He cared so much about correct anatomy that he even studied and dissected a human body to ensure an accurate but even more perfect portrayal of the male figure. The elegance, beauty, and perfection displayed in Michelangelo's David has made it into one of the most recognizable pieces of Renaissance art in history. Many artists have been inspired by him and his artwork, including Gian Lorenzo
The Bronze David By Donatello Of The Early Renaissance
The Bronze David by Donatello of the Early Renaissance shows a subtle transition through style and form to the High Renaissance when compared to the marble David by Michelangelo. Yet a similar Renaissance interpretation of the character of David is seen in both pieces. Donatello's David embodies the humanism and classicism of the Italian Renaissance, and pioneers styles that would influence a generation. The perfection of David by Michelangelo creates a similar allusion to humanism and classical form while indicating Donatello's lasting influence and inserting neoplatonic ideas of the High Renaissance.
Pieta Michelangelo Research Paper
Michelangelo is known as one of the most influential Western artists of all time. Michelangelo Buonarroti was born on March 6, 1475, in a Florentine village called Caprese. Michelangelo had been attracted to art from a young age, but his father was a chairman of the Florentine Republic, so being an artist was considered an inferior occupation for his family. At the age of 13, Michelangelo's father agreed to apprentice him to the fashionable Florentine painter's workshop. At this workshop, Michelangelo was exposed to the extraordinary technique of fresco and his entire career as an artist was changed forever. (Bio.com)
How Did Bernini Influence Michelangelo
In the fourteenth to fifteenth centuries many influential artists created multiple pieces of art that were very significant for their period. Michelangelo, Donatello, and Bernini all were key contributors to this influential movement sweeping through the land at the time. Michelangelo played a major role in sculpture and architecture in Italy as well as creating many unapparelled affects in the development of art in the west. Donatello, on the other hand, was a master sculpture who played influential roles in the Renaissance era. Finally, Bernini was probably the best architect and sculptor of his time. Each of these major architects created their own version of a sculpture, David, that had wide effects throughout their home countries.
Essay Comparing the Three Statues of David
The pieces of art I will be comparing and contrasting are the three statues of David, by Donatello (Donato di Niccolò di Betto Bardi), Michelangelo (Michelangelo di Lodovico Buonarroti Simoni), and Bernini (Gian Lorenzo Bernini). The statues are modeled after the biblical David, who was destined to become the second king of Israel. Also most famously known as the slayer of the Philistine giant Goliath with a stone and a sling. The sculptures are all based on the same biblical hero, but differ from one another. Each David is unique in its own certain way.
Renaissance Ideals of Humanism Are Expressed in the Italian Art of the Period
Another significantly important artist of the Italian renaissance who expresses the ideals of humanism is Michelangelo Buonarroti in his piece "The David". The giant 17-feet tall sculpture, or contrapposto of David initially started by another artist who was biblically intended to represent a young shepherd who defended the city from the Goliath. However, abandoned and later rescued by Michelangelo, the sculpture's message innovated to represent the strength and divinity of the man. "The Renaissance ideals of humanism were expressed in the physical and psychological balance of the piece." (en.wikipedia.org) The art piece of David shows the physical strength of a man somehow by exaggerating some features such as the hands. However, his face shows divinity and dignity of humanity, "Michelangelo captures the human emotions of confidence, determination, and hope in the face of David." (en.wikipedia.org) He demonstrates his own view of the human form, "Michelangelo's David seems to encapsulate his dualistic view, that however noble the human body may be, it
This piece created by michelangelo was sculpted in 1501 and is made out of marble. The location that was chosen was Accademia Gallery, in Florence, Italy. People think that this sculptor just represents David and Goliath, but there is more to it. The sculptor is not showing david while he is fighting, but mere seconds after victory. Before the Renaissance, if one did not have money, man was looked upon as only a worker. During the Renaissance, man was recreated as a beautiful, rational, and heroic figure. "David" signified a man at his best with the glory and confidence that a man needs to live life to the fullest. Life was hard for most men during this time and Michelangelo showed us that by expressing a deeper meaning in
Michelangelo's David Essay
When thinking of sculptures, one of the first that comes to mind is David. This statue was created of marble between 1501 and 1504 and stands over 14 feet high. David is a symbol that represents strength and anger. The statue had intended political connotations for the ruling of the Medici family. Michelangelo used David as model of "heroic courage" to demonstrate that "spiritual strength can be more effective than arms". Michelangelo insisted that David should stand as a symbol of the republic and act as a warning that Florence shall be governed justly and bravely". This was the first time since antiquity that a large nude statue be exhibited in a public place.
The Renaissance : A Rebirth Of The Ideas Of Ancient Greece
Art during The Renaissance brought about a style of realism that led into the portrayal of perfection and movement associated with the Baroque art of the 17th century while continuing the undertones of religion affiliated with the Middle Ages. While people who share beliefs with Burckhardt would say that the perfection of the Renaissance style art was a drastic shift from the crude gothic art of Medieval Times, it still contained much of the religious overtones prevalent in its predecessors, depicting saints and Jesus Christ himself in much of it. There were several statues depicting David, from the biblical story of David and Goliath, and entire chapel ceiling painted by Michelangelo, and one
Florence and the David Statues
The city of Florence has gone through many invaders, illnesses and many other deaths not related to the battlefield. They had survived it all they believed that they had God on their side and have always come out on top, much like the biblical story of David in battle against Goliath. This influenced Florence to take on David as their symbol and used it to portray the success of Florence. Many artists have created sculptures portraying works of David. It has been depicting it in so many different manners, that there is at least one surviving example from each major art periods. Although there are many we will only be focusing on two works of David. First is Donatello's classically inspired youthful boy depiction of David, and the second is Bernini's heroic warrior.
Renaissance Italian Art : Art And Art Of The Renaissance
After returning to Rome, Michelangelo heard about a sculpture that two other artists could not complete because of its difficulty. Because of his success with ''La Pieta,'' Michelangelo decides to take over the job. He created ''David'' in 1501 and four years later the sculpture was placed outside the Palazzo Vecchio in Florence. Michelangelo's intention was to portray ''David''as the perfect and ideal man. Michelangelo took three years to sculpt this 17 feet sculpture, and ''David'' quickly became the pride of Florence.
Ethos Pathos Logos
Michelangelo's creation is his interpretation of the biblical figure of David. "The brave David stands in a tense manner, with one leg relaxed while the other holds its total body weight. Hence, this causes his shoulders and hips to rest at an opposite angle. Moreover, David's head turns towards his left, and he is carrying a sling at his back. With all these features, many people regard the sculpture as a symbol of youthful beauty and human strength (History)." "Michelangelo's hero is at rest, in a moment of calm anticipation before confronting Goliath (Sayre, 327)." The lack of movement and straight posture shows balance and clarity within the sculpture, which is why most people would consider this piece of art work ethos. "In contrast, Bernini's sculpture captures the young hero in the midst of action. David's body twists in an elaborate spiral, creating dramatic contrasts of light and shadow. His teeth are clenched, and his muscles strain as he prepares to launch the fatal rock (Sayre, 327)." Bernini's David uses the characteristic of emotion and motion to label his sculpture as pathos. "Bernini's David uses the space around it – reaching out into the space of
Essay about Michelangelo's Statue of David
The statue of David, completed by Michelangelo in 1504, is an easily recognizable symbol to people not only in Florence, but from all around the world. The David has a special meaning for Florentines, and is a symbol of what the city strives to be; strong, courageous, and youthful. The sculpture tells the tale of the battle between David and Goliath. David, a young boy at the time, was angered at the way Goliath was treating the Israelis and stood up to the giant feat of taking on Goliath. With a simple slingshot and stone, he defeated the angry giant, and became a symbol of liberty. The story shows that anything can be done with the help of God. David is not only the most well-known sculpture in the world, but is housed in one of the
The Paintings On The Ceiling Of The Sistine Chapel
One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, "the David" or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango's art changed the world and he will continue to be studied with awe throughout history.
Gianlorenzo Bernini David
It acted as a connection piece to pull Catholics back to their faith. They could place themselves in David's place and connect with the Church because of his relatable human characteristics. A stylistic change towards the more emotionally intense sculptures and artwork of the time period, was known as "Baroque." Previous statues had been still, lifeless, and predominately frontal pictures. "David" makes the viewer walk around it, and see it from all angles possible, which creates the feeling of being a spectator, caught in the middle of the conflict being represented. He even enters the boundaries of life by stepping across the platform. For realistic value, Bernini also portrays David in ways that would conform to the contemporary conventions about how a military figure would appear.
Bernini's David
Bernini's David represents the Baroque time shift in art. The shift towards the baroque art period seemed to have a change within the overall narrative of the sculptures. Prior to Bernini's version of David there existed David's sculpted by Donatello and Michelangelo. Donatello's David was sculpted during the time of humanism, where a large influence came from the ancient Greco-Roman culture. The overall emotion of the sculpture is soft and youthful and creates the image of David after he had beaten Goliath. There really is no distinct emotion within David himself in this sculpture. In the high renaissance period Michelangelo sculpted his version of David. This sculpture began to form some energy which was seen in David's tensed facial expression,

redpajama_set_name: RedPajamaCommonCrawl


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France in NATO
Permanent Representation of France to NATO
The French Delegation to NATO
The Military Permanent Representative
News from the French Delegation to NATO
What is NATO ?
Ministerial meetings and summits
NATO's history
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France and NATO
France and NATO : presentation
France and NATO: news
Current NATO issues
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Home > France and NATO > France and NATO : presentation > France and NATO : presentation
France and NATO : presentation [fr]
France in NATO during the Cold War
France, a founding member of NATO, participated fully in the Alliance from the beginning, and hosted NATO's first permanent seat in Paris (in the Palais de Chaillot and then in Dauphine).
In 1966, France decided to withdraw from the integrated military command of the Alliance. This decision did not in any way call into question the French commitment to participate in the collective defence of the Alliance: according to General de Gaulle's formulation, it was a question of "modifying the form of our Alliance without altering its substance".
France's solidarity with its Allies did not fade during the Cold War's times of tension, from the Cuban missile crisis to that of the "euromissiles", during which France supported the deployment by NATO of Pershing missiles in the Federal Republic of Germany in response to the deployment of SS-20 Soviet nuclear missiles.
France's commitment to NATO operations
France has been one of the main contributors to NATO post-Cold War operations since their early days. France participated in NATO crisis management operations in Bosnia from 1993 to 2004 in the framework of IFOR, and in Kosovo in 1999 as part of the NATO air campaign to end abuses against civilian populations (SFOR). It has since contributed to the NATO force in Kosovo (KFOR).
France has been active in Afghanistan since 2001 and significantly contributed to the International Security Assistance Force (ISAF), which has been under NATO command since 2003. It withdrew its fighting forces in 2012 and has since retained training and supporting staff in the framework of ISAF.
In Libya, as part of Operation Unified Protector, France was one of the most active Allies in the Alliance's action to protect the civilian populations.
The return of France to NATO's integrated military structures
France's 2009 decision to return to full participation intervened in the context of a partial return to NATO's military structures from as early as 1995. Even since, the defense ministers participate to ministerial meetings, the chiefs of joint defence staff take part in meetings with their counterparts from the Allied countries, and the French military representatives to NATO sit at the Military Committee. Since then, French officers also serve at the headquarters of the Allied Forces in Europe (SHAPE), at the operational level headquarters and in some organizations of the Command for Transformation.
The French decision of full participation to NATO, announced by the President of the Republic in June 2008 during the debates on the White paper on national defence, had two objectives: on the one hand, to increase our presence and influence in the Alliance; on the other hand, to facilitate the strengthening of the Europe of defence by removing any ambiguity about possible competition between the two organizations.
France also laid down several conditions for this return to the military structure:
the preservation of its full freedom of judgement for France's contribution to NATO operations;
the retention of its nuclear independence; France thus decided not to join NATO's Nuclear Planning Group (NPG);
no French forces are permanently placed under NATO command in peacetime;
finally, the non-participation in the common financing of certain expenses decided before our return in the structure of command.
The government having engaged its responsibility on a foreign policy declaration under article 49 (1) of the Constitution, the decision was subject to a vote in the National Assembly, which approved it in March 2009. France officially announced its full participation to NATO military structures at the Strasbourg-Kehl Summit in April 2009.
As a result, France occupies since 2009 approximately 750 additional officer positions within the NATO integrated command, and in particular the post of Supreme Allied Commander for Transformation (SACT), which was occupied successively by General Abrial (2009-2012), General Paloméros (2012-2015) and General Mercier (since 2015).
The Védrine report
On 18 July 2012, the President of the Republic entrusted former Foreign Minister Hubert Védrine with a report on the full participation of France in the integrated military structure of NATO.
This report, entitled "The consequences of the return of France to the integrated military command of the North Atlantic Treaty Organization (NATO), the future of the transatlantic relationship and the prospects for the outlook for the Europe of defence" was submitted on 14 November to the President who approved its conclusions and wished that they would contribute to the work on the new White paper on defence and national security.
The report concludes that a "French re-exit from the integrated command is not an option" and stresses the importance of avoiding any "trivialization" of France's position in NATO. It calls on France to be "vigilant and demanding", in particular on issues such as the role of nuclear deterrence and the promotion of the Europe of defence, particularly with regard to the industrial and technological implications of capability initiatives.
France, an autonomous but solidary ally
According to the 2013 White Paper, France's defence and national security strategy cannot be conceived outside the framework of the Atlantic Alliance and its involvement in the European Union.
France is a reliable and solidary ally, essential to the proper implementation of NATO missions, but which retains a capacity for action outside the Alliance and a full autonomy of decision. France thus fully assumes to put forth its interests in the Alliance, to retain an original voice and to be a source of proposals.
France fully assumes its responsibilities within NATO's balanced burden-sharing:
In terms of the budget, the French defence effort represents 1.84% of GDP in 2018 (estimate), against 1.81% in 2017, placing France in 10th position out of 29 Allies. France dedicates 23.66% of its defence budget in 2018 (estimated) to major acquisitions and to research and development, compared to 24.17% in 2017 (10th out of 29). The goal of "striving towards the objective of a defence budget representing 2% of the gross domestic product" is inscribed as in the Military Programming Act for 2014-2019;
In terms of capabilities, France is one of the few Allies to have a combat-proven defence tool that covers the entire spectrum. The national capability priorities will help to maintain and modernize this defence tool, in line with the objectives agreed within NATO and the European Union.
Regarding operations, France contributes to the overall security of the Alliance and Europe through its operations in the Sahel and the Levant. It deploys 300 staff under the enhanced forward presence (eFP) to contribute to the deterrence mission agreed at the Warsaw summit. Through its operational commitments, France contributes to the political and military credibility of NATO.


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People at Lignieres-de-Touraine Communal Cemetery
EWEN, James Alwyn
Flying Officer, No. 467 Squadron (RAAF), Royal Australian Air Force
JENKINS, Arthur Hedley
Flight Sergeant, No. 467 Squadron (RAAF), Royal Australian Air Force
PATERSON, David Alastair
PAUL, William
TICKLE, Frank Reginald
Flying Officer, No. 207 Squadron (RAF), Royal Air Force
WRIGHT, Wilson Harry Emanuel
Pilot Officer, No. 467 Squadron (RAAF), Royal Australian Air Force


Studying at IES equips you with analytical and soft skills – solid fundaments for a good career! Let us tell you more about how you can make yourself a great candidate for a career in consulting.
This is an open event for all first-year students.
The presentation takes place on Thursday May 17th 2018 from 5 pm at the IES FSV UK (Opletalova 26, Prague 1), room #109.


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The Influence of Qatar on American High Schools: Collusion of Haters and Educators
September 16, 2020 APT K-12 Mis-Education, Newton, Weston 0
Qatar mis-education
The kingdom of Qatar uses its enormous wealth to promote radical Islam around the world. Qatar is a leading sponsor of global terrorism. It has provided funding to al-Qa'idah, ISIS, Hamas, and the Muslim Brotherhood
In Newton, MA: The Influence of Qatar on American High Schools — Collusion of Haters and Educators from Peace Tolerance on Vimeo.
Qatar is also a major promoter of Jew-hatred. Qatar has been active in distributing anti-Semitic educational material in the Arab and Muslim world, including cartoons repeating blood libels which are meant to incite children against the Jewish people.
In addition to promoting terrorism, Qatar has invested billions in trying to influence American politics and education. Most disturbingly, Qatar has targeted the American educational system as a way of influencing American politics and foreign policy.
Qatar funds K-12 Middle East Studies curricula for use by American teachers which promote the pro-Arab, pro-Islamic, anti-American, and anti-Israel points of view. This is often done under the guise of "mutual understanding" or "global citizenship."
Qatari efforts to influence U.S. education are managed through the Qatar Foundation International. In Massachusetts, QFI promotes its educational agenda through Primary Source, an educational non-profit which trains K-12 teachers in "global education." At least three high school history teachers in the Newton, Massachusetts, school system participated in Qatari-funded programs.
Qatar is not the only Arab country influencing American public school children. Taxpayer-funded school textbooks are often vetted by activists with Saudi ties, who advise and influence major American textbook companies.
WATCH: Jacobs Lecture on How Jewish Leaders Failed Us
APT's Charles Jacobs: 20th Anniversary of Boston Freedom Award for Freeing Black Slaves


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Q: React | Change parent styling when child has class I have a menu that has a dropdown menu on one of the items. When I choose one of the dropdown menu items it adds a class to it changings its styling.
I need to also change their parents styling so that the user understands that something inside that dropdown is selected but I haven't been able to wrap my head around this (I'm probably not approaching it properly).
How can I then change this parent based on one of the children having this said class?
class NavigationSection extends Component {
  renderInternalLinks(internal, proeminent) {
    return (
      <InternalLinksWrapper className={proeminent ? 'is-proeminent' : ''}>
        <SectionTitle>{internal.title}</SectionTitle>
        <LinkList>
          {internal.links.map(({ title, link, type, submenu }, index) => {
            switch (type) {
              case 'internal_link':
                return (

                    <NavigationGatsbyLink to={link}>
                      {title}
                    </NavigationGatsbyLink>
                    {submenu && submenu.length > 0 ? (
                      <SubMenu className="submenu" aria-label="submenu">
                        {submenu.map(({ link, title }, index) => (

                            <NavigationGatsbyLink key={index} to={link}>
                              {title}
                            </NavigationGatsbyLink>

                        ))}
                      </SubMenu>
                    ) : null}

                );

              [...]
          })}
        </LinkList>
      </InternalLinksWrapper>
    );
  }
  [...]
}

One item of the SubMenuwill have the is-active class and I have to then change the styling of the NavigationGatsbyLink that comes right before {submenu && submenu.length > 0
is-active is added to NavigationGatsbyLink by activeClassName, a class that gets added to Gatsby Link when it is active

A: Gatsby documentation shows that you can do advanced link styling by calling out the getProps property on the Link component. From your comment in your post, it seems all you really needed was partiallyActive={true}.

redpajama_set_name: RedPajamaStackExchange


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Correcting Common Flu Shot Myths
by Eve Becker | Nov 5, 2020 | Action Alerts, COVID, General Interest, News
This article was originally published October 14, 2020 on Chicago Health Online.
Bottom line: Get your flu vaccine now
More than ever before, it's important to get a flu vaccine this year.
Health officials warn of the possibility of a twindemic — with co-occurring spikes of the flu and Covid-19 that will put a huge burden on the healthcare system.
While there's not yet a Covid-19 vaccine, there is a flu vaccine. And the Centers for Disease Control and Prevention (CDC) recommends that almost everyone age 6 months and up get a flu vaccine.
An overlapping surge in the flu and Covid-19 could be very dangerous, says Kevin Smith, MD, chief medical officer at Loyola University Medical Center.
"If we see a spike of flu and Covid at the same time, it can potentially overwhelm our health systems," Smith says. "The fear is that if you add a large number of flu patients who are critically ill or require prolonged hospital stays, that could put us at a breaking point."
Even determining whether you had the flu or Covid-19 would be problematic, says Julie Holland, MD, vice chair of the department of pediatrics at NorthShore University HealthSystem.
"It means additional trips into the hospital or doctor's office. It means a lot more Covid tests are going to be done, a lot more strain on the healthcare system, and, ultimately, a lot more sick people if we don't prevent as much influenza as possible," Holland says.
We talked to some local physicians to tackle common myths about the flu vaccine and give you the facts about why you need to get a flu vaccine now.
MYTH: The flu happens every year. No big deal.
FACT: People can — and do — die from the flu.
The flu is more than a bad cold. "We know that every year somewhere around 30,000 to 60,000 people in the U.S. die of influenza," Holland says. "The best way to prevent that is to prevent the flu, and the best way to do that is to get the vaccine."
MYTH: I should avoid the doctor's office because of Covid-19.
FACT: Doctors' offices are doubling down on infection prevention.
Doctors' offices, clinics, and pharmacies are taking health precautions to make sure the flu vaccine is administered safely, without exposing patients to Covid-19.
For instance, staff take patients' temperatures and screen for Covid-19 symptoms before administering the vaccinations. They have enhanced cleaning regimes, social distancing protocols, and mask and face shield procedures.
If you want to reduce the time you are at the doctor's office or pharmacy, make an appointment for a specific time and fill out forms in advance.
MYTH: I have a healthy immune system; I don't need a vaccine.
FACT: Even healthy people get sick.
"I've seen younger people get very sick with the flu," Smith says. "We often think we're immortal and we're not going to get these things. But sometimes even if you are healthy, you can have a very substantial hospitalization, you can even die from it."
A vaccine doesn't only protect you; it protects others, too, Holland says. When more people are vaccinated, it's less likely the flu will be spread to others — a process called herd immunity.
"There are not only individual benefits, but there are community-wide benefits for everybody who you care about and everybody who lives near you," Holland says. "Your vaccine benefits all those people."
MYTH: I can't afford to get a flu shot and/or I don't have insurance.
FACT: Most people are able to get the flu vaccine at no cost or low cost.
The flu vaccine is free with most insurance plans, including Medicare Part B. Also, the Chicago Department of Public Health (CDPH) is hosting more than 50 community flu clinics where city residents can get a flu shot at no cost, regardless of their immigration status or insurance.
MYTH: It's too early/late for the flu vaccine.
FACT: October is perfect timing.
The CDC recommends people get their flu vaccine by the end of October, as the flu season generally runs from October through March.
"It takes two to three weeks to establish a good immune response to the flu vaccine. So getting the vaccine now means people will be protected," moving into flu season, Holland says.
But it's better to get a flu shot late — even in January or February — than not at all, Smith says. "There's not really too late of a time to get it. Any time people can get it is the right time."
MYTH: I'm allergic to eggs. I can't get the flu vaccine.
FACT: Egg allergy doesn't preclude the flu shot.
While most flu shots and the nasal spray are made using eggs and may contain a small amount of egg proteins, the CDC says it's safe for people with egg allergy to get the flu vaccine.
If you want to take extra precautions, two flu vaccines — Flublok Quadrivalent and Flucelax Quadrivalent — are made without eggs and are considered egg-free.
MYTH: My child is scared of needles — and so am I — so we can't get a flu vaccine.
FACT: Don't like shots? Get the nasal spray.
FluMist nasal spray is available for people age 2 to 49. The nasal spray is just as effective as the injected vaccine, Holland says. But it's a live virus, which means some people should not get it, including if you are pregnant or have a weakened immune system.
The nasal spray is a good option for kids. "It's quite common for kids to be hesitant about all shots, especially school-age kids," Holland says. "A lot of them appreciate getting a brief spray up their nose versus a shot in the arm."
MYTH: The flu vaccine is not effective in older people.
FACT: Certain flu shots are designed for older adults.
Older adults do not have as strong of an immune response as younger people, Smith says. People 65 and older can receive any flu shot that's approved for their age group, according to the CDC. However, two vaccines aimed specifically at seniors are formulated to increase their immune system's reaction.
Fluzone High-Dose Quadrivalent has four times the antigen — the inactivated virus that promotes the immune response — as a standard vaccine. Fluad and Fluad Quadrivalent are adjuvanted vaccines that have special ingredients — called adjuvants — added to increase the immune response.
Healthcare providers give flu vaccinations based on a person's age, health history, and CDC guidance, but seniors might want to double-check with their providers to make sure they are getting the appropriate vaccine for them, Smith says.
MYTH: I can get the flu shot and still come down with the flu. It's not worth it.
FACT: Some protection is better than none.
While it's true that the flu vaccine is generally 40% to 60% effective each year, "We know that children and adults who get the vaccine and then get the flu generally have much milder illnesses. They're less likely to be hospitalized, and they're less likely to die or wind up in the intensive care unit," Holland says.
"It's important for people to remember that this is not a shot that prevents 100% of flu, but it prevents a huge amount of flu," she says. "For those people who still get the flu, they tend to get much milder illnesses and fewer complications."
To find vaccines available near you, check vaccinefinder.org, visit CDPH's flu shot locations, or talk with your doctor or pharmacist.
Eve Becker is the editor of Chicago Health, an award-winning writer and former managing editor of Tribune Media Services.
Republished with permission from Chicago Health magazine
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Aside 3 Comments Mar 12, 2017 Robert McKie
Like the Ordnance services of Australia, Canada and other Commonwealth nations, New Zealand's Army Ordnance services utilised the insignia for the Royal Army Ordnance Corps (RAOC) as inspiration for the New Zealand Ordnance Badge.
From 1912 to 1996, the design of the New Zealand Ordnance Badge evolved, including these design elements.
1937 – 1955 – the Kings (Tudor) crown
1955 – 1996 – the Queens (St Edwards) Crown
Annulus
1937-47 pattern badge – annulus inscribed with the words "New Zealand Army Ordnance Corps
1948 -96 pater badges – annulus was the royal Garter inscribed with the motto of the British Order of the Garter 'Honi soit qui mal y pense'
Riband
The Riband has had Many variations since 1916. Inscriptions have included.
Ordnance
Army Ordnance Dept
Army Ordnance Corps
Sua Tela Tonanti
The most recognisable feature on all Ordnance badges is the Ordnance shield of three cannons and three cannonballs.
Collar badges
Collar badges were either a variation or copy of the cap badge, coming in pairs with the cannons facing inwards.
THE BADGES
Pre-war
Before the 1st World War, no military Ordnance Organisation was included in the organisational structure of the New Zealand Military Forces. The Defence Stores Department and the Royal New Zealand Artillery divided responsibility for Ordnance services. The Defence Stores Department managed the supply and maintenance of clothing and accessories, Small Arms, Machine guns and associated ammunition with the Royal New Zealand Artillery, managing the storage and maintenance of all Artillery related equipment and Ammunition. The need for a New Zealand Ordnance organisation had been identified as early as 1900. However, despite Canada and Australia creating indigenous Ordnance organisations based on the British model, New Zealand's approach was more hesitant.
Three Armourers of the British Army Ordnance Corps (AOC) had been seconded to the New Zealand Defence Stores since 1900. By 1912 they had trained sufficient men as armourers to the stage that a formal career structure from apprentice to senior Armourer was required. Providing a trade and career structure for New Zealand military Armourers, the New Zealand Ordnance Corps (NZOC) was established on 1 May 1912. The AOC Armourers were seconded to New Zealand's Military Forces and expected to wear the uniforms and embellishments of New Zealand's Military Forces. However, with the establishment of the NZOC, it is possible that as a specialist Corps, the British NCOs reverted to wearing their AOC badges.
Badge of the Army Ordnance Corps 1895-1918. Robert McKie Collection
For the provision of general Ordnance Services, it was not until the annual camps of 1913 that a proof-of-concept trial of temporary Ordnance Store Depots was conducted. This trial saw the nucleus of an Ordnance Corps formed by training specific men from within the Territorial Army in the knowledge of Ordnance duties. A temporary arrangement established under the Director of Equipment and Stores for each Annual camp from 1913, it is unknown if any unique insignia was adopted for the personnel working in these Ordnance Stores Depots.
First World War 1914-1921
Ordnance Depots were formed as part of the mobilisation and manned by the individuals trained in Ordnance duties in the previous Annual camps. Some individuals, such as Temporary Sergeant Norman Levien, transferred from the strength of the 3rd Auckland Regiment into the Ordnance Department as the IC of Stores and Equipment and assisted in equipping the troops for overseas service. Levien was enlisted into the NZEF and was a foundation member of the New Zealand Army Ordnance Corps (NZAOC) when it was established as a unit of the NZEF in 1915. Levien remained with the NZEF NZAOC for the duration of the war, attaining the rank of Major as the Chief Ordnance Officer for the NZEF in the United Kingdom.
Royal New Zealand Artillery Ordnance Corps Section
Conceived as an economic measure due to the tyranny of distance from traditional sources of supply and the shortfalls caused by the 1914–19 war, it was decided to create an Ordnance Corps Section to inspect and manufacture artillery ammunition. Established on 1 April 1915, the Ordnance Corps Section of the Royal New Zealand Artillery was located at Fort Balance in Wellington. Part of the Royal New Zealand Artillery, the Ordnance Corps Section wore the Badge of the Royal New Zealand Artillery.
NZEF New Zealand Army Ordnance Corps 1916-1919.
The New Zealand Army Ordnance Corps (NZAOC) had existed as an ad-hoc organisation of the New Zealand Expeditionary Force (NZEF) since mobilisation in 1914, formally established as a unit of NZEF in March 1915 with the commissioning of Sergeants T.J King and N.J Levien as Second Lieutenants in the NZAOC. It is unknown when insignia was adopted for the NZAOC. However, pending the issue of a New Zealand Ordnance Badge, there is photographic evidence of a New Zealand Soldier wearing a British AOC Insignia at Zeition Camp in 1915, an indication to identify themselves as New Zealand Ordnance Soldiers British AOC Badges were worn.
New Zealand Supply Depot Staff at Zeitoun Camp, 1915. National Army Museum of New Zealand
Unsupported by any photographic or written evidence, modified AOC badges exist where New Zealand Ordnance soldiers modified the AOC badge by having the letters "NZ" affixed to the Badge. However, these modified badges were short-lived as an official NZAOC based on the British Army Ordnance Department (AOD) badge was adopted for use by the NZAOC in the NZEF.
1895-18 AOC modified into an NZAOC Badge. Robert McKie Collection
Official NZEF NZAOC Badge
The official NZEF NZAOC badge is a British AOD Badge with the letters "NZ" mounted on top of the shield. It is unknown what the process was that led to the introduction of the NZAOC badge. In late 1916 Levien, Promoted to Captain, was appointed Chief Ordnance Officer for the NZEF in the UK. Levien's interactions with all the other Commonwealth Ordnance Services, including the Canadians and the insignia of the Canadian Ordnance Corps (COC), influenced the design of the NZEF NZAOC Badge. The COC had, in 1903, adopted a badge based on the UK AOD badge, with a Beaver on the crest to provide the desired national distinction.
Canadian Ordnance Corps badge, 1903-1922. Robert McKie collection
Army Ordnance Department. 1895-1918. Robert McKie Collection
J R Gaunt of London manufactured existing examples of the NZEF NZAOC Badge. The Badges were produced by the die stamping process, with the NZ sweated on, which leads to the assumption that; either surplus UK AOD badges were used or new badges were made using new dies. Matching Collar badges were produced and were miniatures of the cap badge, in pairs with the cannons facing inwards.
This Badge was possibly introduced in late 1916 and was utilised until the demobilisation of the NZEF in 1919, with some individuals carrying out residual duties in the UK continuing to wear it until 1921. Unused stocks were returned to New Zealand as part of the NZEF demobilisation.
New Zealand Army Ordnance Corps Badge, 1916-1919 (Robert McKie Collection 2017)
Major Gossage, DADOS HQ NZ Division Leverkusen, Germany Feb 1919.
Variations of the NZEF NZAOC Badge
Examples of the NZEF NZAOC Badge with matching collar badges can be found in;
Brass, and
The NZEF Badge remained in use by some NZAOC members with NZEF service, for example, in the following picture from 1934 with Armament Staff Sargent Arthur Stewart Richardson wearing the NZEF pattern Badge and Armament Staff Sargent John William (Bill) Dalton wearing the 1917 pattern badge.
Armament Staff Sergeant John William(Bill) Dalton and Armament Staff Sergeant Arthur Stewart Richardson, Artillery camp, Waipukurau March 1934. Photo courtesy Norm Lamont
New Zealand Army Ordnance Department and New Zealand Army Ordnance Corps 1917-1923
Gazetted as of 1 February 1917, The New Zealand Army Ordnance Department (NZAOD) was made up of Commissioned Ordnance Officers, while the New Zealand Army Ordnance Corps (NZAOC) was comprised of Warrant Officers, NCOs and men. Both agencies were responsible for supplying, maintaining and repairing equipment, small arms and all stores required for the Defence Force and absorbed the men from the Defence Stores Department, Armourers of the NZOC and gunners of the RNZA Ordnance Corps Section.
New Zealand Army Ordnance Department Badge 1917-1924
The NZAOD badge was based on the British Ordnance insignia. The New Zealand version modified the British insignia by having the letters NZ replace the centre cannonball in the top panel of the shield and with the inscriptions Army Ordnance Department on the scroll beneath the shield.
New Zealand Army Ordnance Department badge 1917-1924. Robert McKie collection
New Zealand Army Ordnance Corps Badge 1917-1937
The NZAOC badge was also based on the British AOC insignia. The New Zealand version modified the British insignia, having the letters NZ replace the centre cannonball in the top panel of the shield and with the inscriptions Army Ordnance Corps on the scroll beneath the shield.
The 1917 Pattern NZAOC Badge is unique as it is one of the few Ordnance cap badges where the cannons face in the opposite direction to all other ordnance badges.
NZAOD and NZAOC Collar Badges
The NZAOC and NZAOC shared a collar badge. They consisted of a simple version of the Ordnance shield with cannons facing inwards and the letters NZ replacing the centre cannonball. The collar badge had no scroll.
The NZAOD was reorganised into the NZAOC in 1924, with the NZAOC badge remaining in use as the Corps badge until 1937.
New Zealand Army Ordnance Corps badge 1917-1937. Robert McKie Collection
Variations of the NZAOC 1917-1937 Badge
Examples of the NZAOC 1917-1937 Badge can be found in;
New Zealand Army Ordnance Corps 1937-1947
By 1936, stocks of the 1917 pattern Cap badge had been exhausted, with only collar badges remaining in stock. The Director of Ordnance Services of the time proposed to the Quartermaster General that existing stock of the NZEF NZAOC badge (180 Cap Badges, 319 Pairs of Collar Badges) be used as a replacement, and the current Badge made obsolete. The Quartermaster General did not authorise the replacement of the 1917 Badge but did allow the use of the NZEF NZAOC Badge until the provision of new badges could be arranged from the UK.
The Director of Ordnance Services counted with a proposal in February 1937 chosen by a competition held within the NZAOC. The winning design by Sergeant C Bryant was an interpretation of the RAOC badge of the time. The New Zealand Badge differed from the RAOC version by having the Inscription "New Zealand Army Ordnance Corps" in the Annulus field and the inscription "Sua Tela Tonanti" in the Riband. The new design was approved on 31 May 1937.
Examples of the NZAOC 1937-1947 Badge can be found with matching collar badges in the following finishes.
Bronze,
Plastic,
Gilt Silver and Enamel
New Zealand Army Ordnance Corps, Officer Gilt, Silver and Enamel Badge. 1937-1947, Robert McKie Collection.
New Zealand Army Ordnance Corps,1937-1947. (This picture illustrates the Brass OR's Cap badge and Officers Bronze Collar Badge) Robert McKie collection
Plastic New Zealand Army Ordnance Corps,1937-1947. Robert McKie collection
Wartime use of the NZEF NZAOC Badge 1939-1947
During the wartime years, the NZEF NZAOC badge was recycled for use by both the New Zealand Temporary Staff and the New Zealand Ordnance Corps.
New Zealand Temporary Staff 1939-1947
New Zealand Temporary Staff. Robert McKie Collection
With the massive expansion of the home army from late 1939, The New Zealand Temporary Staff (NZTS) was created to allow the temporary recruitment of officers and men to fill the gaps created by increasing military establishments. As a temporary measure for the duration of the war, many of the positions at the Main Ordnance Depot and 1,2 and 3 Sub depots were filled by older men and those graded as medically unfit for overseas but suitable for home service. The NZTS was disestablished in January 1947 with the creation of the post-war interim army. Although the badge of the NZTS was the Fernleaf Badge, the earlier NZEF NZAOC badge was utilised as the badge for NZTS personnel attached to Ordnance units.
The New Zealand Ordnance Corps (NZOC) was formally constituted as a stand-alone Corps in December 1940. The NZOC was the Ordnance element of the New Zealand Territorial Army and was tasked with home defence and as a feeder for the Expeditionary Forces. In 1947 a Reorganization of New Zealand Military Forces removed the distinction between Regular and non-Regular soldiers, and the NZOC ceased to be a separate Corps, becoming part of the NZAOC.
Photographic evidence suggests that only the Cap badge was used.
Variations of the NZTS & NZOC 1939-1947 Badge
Examples of the NZTS & NZOC 1939-1947 Badge can be found in
New Zealand Army Ordnance, Christchurch. 1947. Archives New Zealand Te Rua Mahara o te Kāwanatanga, Christchurch R1309080
Royal New Zealand Army Ordnance Corps 1947-1955
On 12 July 1947, the NZAOC was granted Royal status and adopted a new badge. Mounted with a Kings (Tudor) crown, the new RNZAOC badge had in the Garter the inscription 'Honi soit qui mal y pense', the letters NZ below the Garter surrounded by the Riband with the inscription 'Sua Tela Tonanti'.
The Badge was produced in Brass for Other Ranks, with a Gilt, Silver and Enamel badge available for officer use.
The Design for the new Badge was approved on 27 October 1947, and orders were placed on 14 January 1948 from manufacturers in the United Kingdom and New Zealand.
The United Kingdom.
175 Gilt, Silver and Enamel cap badges,
158 Pairs Gilt, Silver and Enamel cap collar badges.
New Zealand;
1600 Brass cap badges,
850 Pairs Brass collar badges
Royal New Zealand Army Ordnance Corps 1947-55 badge (Robert McKie Collection 2017)
Royal New Zealand Army Ordnance Corps, Officer Gilt, Silver and Enamel Badge. 1947-1955, Robert McKie Collection.
In 1947 NZ Army Order 36/1947 authorised that a 2 inch Diamond patch was to be worn on the Cap GS or Beret as a backing to Corps cap badges. The patch for Ordnance was Red and Blue (vertical), an example is shown below.
Royal New Zealand Army Ordnance Corps, 47-55 Badge with Ordnance diamond backing patch. Robert McKie collection
Variations of the RNZAOC 1947-1955 Badge
Examples of the RNZAOC 1947-1955 Badge with matching collar badges can be found in.
Gilt Silver and Enamel.
Due to the ascension of Queen Elizabeth, the Second in 1953 and a replacement design with the St Edward Crown was approved in 1955. However, due to the new anodised badges not being ready for issue until 1962, the 47-55 Badge remained in use well into the 1960s.
With the ascension of Queen Elizabeth, the Second, to the throne in 1953, the design of the RNZAOC badge was upgraded from having a Kings crown to having a Queens (St Edwards) crown. The modern design was approved in 1955.
Anodised Badges
Eager to retain a Brass finish, the original issue of post-1955 badges were plain gilt anodised badges. Although approved in 1955, the first gilt anodised badges were not ready for issue until 31 May 1962.
Royal New Zealand Army Ordnance Corps GILT, annodised plain 1955-1996.(Robert McKie Collection 2017)
In 1964 it was decided to transition to a coloured anodised badge, with three samples provided by J.R Gaunt.
Sample A – Background of the Ribanb, less the Garter buckle and the letters 'NZ' coloured blue.
Sample B – Background of the Riband, less the Garter buckle coloured blue.
Sample C – Background of the Riband, including the Garter buckle coloured blue.
Sample C was accepted and progressively intruded into service from October 1965.
Royal New Zealand Army Ordnance Corps GILT, annodised coloured 1955-1996 (Copyright © Robert McKie 2017)
Both the plain and coloured anodised badges were provided with matching collar badges.
As with the previous two iterations of the RNZAOC Badge, a Gilt Silver and Enamel badge version of the 1955-96 badge with matching collar badges was provided for use by Officers and Warrant Officers.
Royal New Zealand Army Ordnance Corps, 1955-1996 Gilt, Silver & Enamel Officers Badge. Robert McKie collection
Bullion Woven
RNZAOC Bullion Woven Cap Badge. Robert McKie Collection
The Final Badges
To dispense with the expense of maintaining separate Officer and Other Ranks badges, a range of new Cap and Collar badges were introduced across the New Zealand Army during the early 1990s.
The New and final RNZAOC cap badge was similar to the Gilt, Silver & Enamel Officers Badge, but with a White Metal piece containing the three cannonballs above the shield. It was found that on this pattern of badge, the white metal piece was placed on a slight angle during the manufacturing process resulting in holdings of this badge being quarantined, with few issued before the disestablishment of the RNZAOC.
The final Collar badge was a metal badge with a gilt finish, the painted coloured areas.
Last Patten RNZAOC Badges. Robert McKie Collection
Copyright © Robert McKie 2022
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