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Dal 2016 è Direttore Principale dell'Orcherstra Sinfonica Nazionale della RAI di Torino.

Biografia
Nacque a New York, nel 1950, è cresciuto in una famiglia con altri quattro fratelli a Cherry Street, Douglaston, Queens, New York. Sua madre, Angeline L. Conlon, era scrittrice freelance, mentre suo padre era assistente presso il Commissario del Lavoro di New York durante l'amministrazione di Robert F. Wagner. I suoi fratelli non erano portati alla musica, né lo furono i suoi genitori. All'eta di undici anni, è stato invitato ad andare ad una rappresentazione de La traviata da una società amatoriale fondata dalla madre di Edith Mugdan, madre del migliore amico di Conlon, Walter Mugdan, fondatore della North Shore Opera. Rimasto folgorato dalla prestazione partecipò a delle lezioni di musica divenendo corista in un coro di voci bianche in una società del distretto di New York del Queens. Desiderava diventare tenore o baritono, desiderando persino di ricoprire il ruolo femmine di Carmen. Si rese conto infine che il suo talento era per la direzione d'orchestra operistica. Conlon è noto per le sue interpretazioni delle opere di Zemlinsky e, soprattutto dei compositori che subirono la persecuzione nazista, come Viktor Ullmann, Pavel Haas, Kurt Weill, Erich Wolfgang Korngold, Karl Amadeus Hartmann, Erwin Schulhoff e Ernst Krenek.

Fra il 1995 ed il 2004, è stato direttore musicale dell'Opéra national de Paris.

Formazione
All'età di 15 anni entrò nella Fiorello H. La Guardia High School of Music & Art, mentre a diciotto fu accettato nell'Aspen Institute al corso di direzione d'orchestra, e, nel settembre 1968 si iscrisse alla Juilliard School.  Nel 1971 a seguito di un tour in Europa della Juilliard Orchestra, venne invitato al Spoleto come assistente del coro e direttore d'orchestra répétiteur. Durante quel periodo, diresse una performance di Boris Godunov. Ricordò in giovane età che si era innamorato di quest'opera desiderandola dirigere prima di tutte le altre.

Nel 1972, ad una produzione prevista dalla Juilliard La bohème diretta dal regista Michael Cacoyannis, il direttore d'orchestra Thomas Schippers mancò improvvisamente. In quel periodo Maria Callas stava facendo una serie di masterclass alla Juilliard e sentì Conlon durante le prove. La Callas suggerì al presidente della Juilliard, Pietro Mennin, di affidare a Conlon la direzione dell'orchestra dell'opera. Così Stanisław Skrowaczewski si incaricò di istruire per mesi James Conlon in modo che potesse dirigere l'orchestra.

Carriera

New York, Metropolitan
Conlon ricevette il premio in direzione d'orchestra dell'American National Orchestra Association. Nel 1974 divenne il più giovane direttore d'orchestra impegnato nella New York Philharmonic Orchestra. Nel 1976 debuttò al Metropolitan Opera di New York con Il flauto magico e in Otello al Kennedy Center di Washington Jakea McCracken. Seguirono:

 Nel 1977, sempre al Metropolitan, La bohème con Renata Scotto, Plácido Domingo e José van Dam.
 Nel 1978 Tosca con José Carreras e Renato Capecchi e La traviata.
 Nel 1979 Carmen ed Aida con Fiorenza Cossotto
 Nel 1979 ha debuttato al Covent Garden di Londra dirigendo Don Carlos con Renato Bruson e Boris Christoff.
 Nel 1980, sempre alla Royal Opera House, nel 1980 dirige Die Zauberflöte con Kiri Te Kanawa,
 Nel 1981 Simon Boccanegra con Sherrill Milnes e Leona Mitchell
 Nel 1982 Pagliacci con Jon Vickers e Piero Cappuccilli e Cavalleria rusticana e nel 2008 Boris Godunov.
 Nel 1982 Il trovatore con Leontyne Price e Boris Godunov,
 Nel 1988 Khovanshchina,
 Nel 1990 Salomè con Hildegard Behrens e Semiramide con Marilyn Horne e Samuel Ramey.
 Nel 1991 Le nozze di Figaro con Frederica von Stade
 Nel 1992 L'olandese volante e Jenůfa di Leoš Janáček con Leonie Rysanek
 Nel 1994 Lady Macbeth del Distretto di Mcensk e Peter Grimes,
 Nel 1999 Susannah di Carlisle Floyd con Renée Fleming,
 Nel 2002 I dialoghi delle Carmelitane
 Nel 2005 Un ballo in maschera e la prima assoluta di An American Tragedy di Tobias Picker con Susan Graham e Jennifer Larmore
 Nel 2006 un concerto con The MET Orchestra nella Carnegie Hall
 Nel 2009 La damnation de Faust con Ramón Vargas
 Nel 2013 Sogno di una notte di mezza estate.

Altre direzioni
Fino al 2014 Conlon ha diretto in 280 rappresentazioni al Met.

Dopo gli impegni con la Paris Opéra, Maggio Musicale a Firenze, Rotterdam Philharmonic Orchestra e Chicago Lyric Opera, nel 1989 divenne direttore dell'Opera di Colonia. Nel 1996 fu nominato direttore musicale della Opéra National de Paris mentre prestava servizio anche come direttore musicale della città di Colonia, in Germania.

Dal suo debutto New York Philharmonic nel 1974 su invito di Pierre Boulez, Conlon ha suonato con praticamente tutte le più importanti orchestre del Nord America ed Europee. Ha anche suonato con molte delle compagnie d'opera più importanti del mondo, tra cui Teatro alla Scala (Milano), la Royal Opera House di Covent Garden (Londra), la Lyric Opera di Chicago, e il Maggio Musicale Fiorentino (Firenze). Associate per quasi 30 anni con la Metropolitan Opera, dove fece il suo debutto nel 1976, ha diretto più di 250 esibizioni lì, conducendo una vasta gamma di opere da quelle italiane, tedesche, francesi, russe e ceche.

Conlon continua a essere direttore musicale del Cincinnati May Festival, incarico che ricopre dal 1979.

Ha inoltre ricoperto diversi e importanti incarichi in Europa, tra cui come Direttore Principale dell'Orchestra filarmonica di Rotterdam (1983-1991), direttore musicale generale di Colonia, in Germania (1989-2002), dove è stato contemporaneamente direttore musicale della Gürzenich Orchestra e l'Opera di Colonia, e Direttore Principale del Teatro dell'Opéra National de Paris (1995-2004). La sua permanenza a Parigi è stata la più lunga dal 1939. La sua leadership fu associata ad un aumento del livello artistico, alla produttività complessiva e alle presenze, che, in un'epoca di diminuzione degli spettatori, è aumentata negli ultimi dieci anni .

Parigi
Conlon a Parigi ha ricoperto diversi incarichi, tra cui la direzione d'orchestra per diverse opere

 Nel 1995 dirige La bohème
 Nel 1996 Rigoletto con Ramón Vargas e Andrea Rost e Lohengrin con Gwyneth Jones,
 Nel 1997 Pelléas et Mélisande con José van Dam, Le nozze di Figaro con Barbara Bonney, un concerto sinfonico e La traviata con Angela Gheorghiu,
 Nel 1998 Tristano e Isotta, Carmen con José Cura, Don Carlo con Ramey e Der Zwerg di Alexander von Zemlinsky e L'Enfant et les sortilèges,
 Nel 1999 Parsifal, Don Giovanni con Bryn Terfel, Carol Vaness, Barbara Frittoli e José van Dam, Turandot e Falstaff,
 Nel 2000 Les contes d'Hoffmann con Natalie Dessay, L'olandese volante, Nabucco e Don Quichotte di Jules Massenet,
 Nel 2001 Peter Grimes, Wozzeck e Khovanshchina,
 Nel 2002 Macbeth con Leo Nucci ed Il cavaliere della rosa con Angelika Kirchschlager, Rusalka (Dvořák) con Renée Fleming, Boris Godunov,
 Nel 2003 Perelà, uomo di fumo di Pascal Dusapin, I vespri siciliani con Ferruccio Furlanetto, Salomè ed I maestri cantori di Norimberga
 Nel 2004 l'Otello di Verdi con Jonas Kaufmann e Bluebeard's Castle di Béla Bartók e
 Nel 2007 Simon Boccanegra.

Chigago, Edimburgo, Milano, Firenze
All'Opera di Chicago nel 1988 dirige La forza del destino con Nucci e  Florindo Andreolli e Falstaff con Ingvar Wixell, la Horne, Alessandro Corbelli e Jerry Hadley e nel 1989 Don Carlo con Tatiana Troyanos, la Te Kanawa e Ramey.

Nel 1988 dirige la prima esecuzione nella Husher Hall di Edimburgo del Requiem di Verdi.

Nel Teatro alla Scala di Milano nel 1993 dirige Oberon (opera), nel 2000 Wozzeck con Waltraud Meier, nel 2004 nel teatro degli Arcimboldi Eine florentinische Tragödie di Zemlinsky e Gianni Schicchi con Nucci, nel 2005 la prima assoluta di Perelà Suite di Pascal Dusapin trasmesso da Retequattro e nel 2010 Rigoletto.

Nel Teatro Comunale di Firenze nel 1995 dirige la replica di Macbeth (opera) di Giuseppe Verdi, nel 1998 Der Zwerg di Alexander von Zemlinsky, Gianni Schicchi, nel 2004 Kovancina e nel 2008 Lady Macbeth del Distretto di Mcensk trasmesso da Rai 5.

Nel 2002 è stato insignito della Légion d'honneur.

Nel 2006 dirige nella colonna sonora del film Il flauto magico.

Los Angeles, Venezia, Modena, Roma, Edimburgo, Torino
Dalla stagione 2006-2007, Conlon è il direttore musicale della Los Angeles Opera. Attualmente è anche direttore musicale della Ravinia Festival, ricoprendo questo incarico dal 2005. Nel settembre 2007, Conlon ha prolungato il suo contratto con la Los Angeles Opera fino alla stagione 2010-2011.

Il suo lavoro a Los Angeles Opera include una serie chiamata "Recovered Voices", un progetto pluriennale durante il quale Conlon porterà la musica dei compositori colpiti dalla Shoah alla Los Angeles Opera. La serie inizia questa stagione con un doppio disegno di Alexander von Zemlinsky's Der Zwergem, I Nani, Viktor Ullmann' s Der zebrochene Krug opere, la brocca rotta funziona, e comprenderà da compositori come Schreker e Braunfels, tra gli altri, nelle stagioni future. Sin dall'inizio della sua permanenza a Los Angeles Opera, Conlon ha cercato di stabilire una tradizione wagneriana a Los Angeles.

Nel 2006 dirige un concerto con l'Orchestra Regionale dell'Emilia Romagna nel Teatro comunale Luciano Pavarotti di Modena.

Nel 2008 dirige due concerti nel Teatro La Fenice di Venezia.

Nel 2010 dirige Niño all'Edinburgh International Festival.

A Los Angeles nel 2011 dirige Eugene Onegin e Così fan tutte e nel 2012 Simon Boccanegra con Plácido Domingo, Albert Herring di Benjamin Britten, I due Foscari con Domingo e Don Giovanni (opera).

Nel 2012 dirige Sogno di una notte di mezza estate (opera) al Teatro dell'Opera di Roma ed al Martin Theatre di Chicago per il Ravinia Festival, Die Zauberflöte ed Idomeneo, re di Creta e Don Giovanni con Ildebrando D'Arcangelo.

Nel 2013 al Ravinia Festival dirige Aida con Roberto Alagna e The Burning Fiery Furnace, la Fornace Ardente, di Britten ed a Los Angeles Falstaff con Roberto Frontali e Carmen Giannattasio e Il Flauto Magico con Erika Miklósa e nel 2014 a Los Angeles Billy Budd (opera), Lucia di Lammermoor con Saimir Pirgu e La traviata con Nino Machaidze ed al Ravinia Salomè.

Nel 2014 dirige I due Foscari al Theater an der Wien, I vespri siciliani con Franco Vassallo e Ferruccio Furlanetto al Teatro Real di Madrid e The Prodigal Son di Britten nella Basilica di Santa Maria in Aracoeli a Roma.

Nel 2015 dirige The Ghosts of Versailles, i Fantasmi di Versalilles, di John Corigliano con Patti LuPone, Il barbiere di Siviglia (Rossini) con Alessandro Corbelli e Le nozze di Figaro a Los Angeles, La dama di picche (opera) a Roma, Così fan tutte al Festival dei Due Mondi di Spoleto, debutta al Wiener Staatsoper con Khovanshchina ed a Los Angeles Moby-Dick di Jake Heggie e Norma (opera).

Nel 2016, 1º gennaio, conduce la tredicesima edizione del Concerto di Capodanno di Venezia al Teatro La Fenice. Trasmesso in mondovisione, «James Conlon sul podio dell'Orchestra e Coro del Teatro La Fenice è stato affiancato dal soprano statunitense Nadine Sierra e dal tenore Stefano Secco»

Dall'ottobre 2016 è il Direttore principale dell'Orchestra sinfonica nazionale della RAI. Dall'ottobre 2019 è il Direttore onorario dell'Orchestra Regionale Toscana.

CD parziale
 Beethoven: Triple Concerto, Op. 56, Concerto Triplo - Trio Wanderer/Gürzenich-Orchester Kölner Philharmoniker/James Conlon, 2000 harmonia mundi
 Chopin: Piano Concerto No. 1 - Nobuyuki Tsujii/Fort Worth Symphony Orchestra/James Conlon, 2010 harmonia mundi
 Corigliano: The Ghosts of Versailles, il Fantasma di Versailles - James Conlon/Patricia Racette/Guanqun Yu/Patti LuPone, Chandos 2016 - Grammy Award for Best Opera Recording 2017
 Debussy: Jeux, Khamma & Le martyre de Saint-Sebastien, Jeux, Khamma  & Il Martirio di San Sebastiano - James Conlon/Rotterdam Philharmonic Orchestra, 1991 Erato
 Liszt: Dante Symphony - Choeur de Concert de Helmond/James Conlon/Rotterdam Philharmonic Orchestra, 1986 Erato
 Mendelssohn: Elias - Chor Der Stadtischen Musikvereins Zu Düsseldorf/Gürzenich Orchester Köln/James Conlon, 1998 EMI/Warner
 Poulenc: Concerto for 2 Pianos, Piano Concerto, Aubade - François-René Duchable/James Conlon/Jean-Philippe Collard/Rotterdam Philharmonic Orchestra, 1996 Erato
 Schreker: Die Gezeichneten "The Stigmatized", "Gli Stigmatizzati"- Los Angeles Opera, 2013 Bridge
 Stravinsky: Le Rossignol; Renard - James Conlon/Natalie Dessay, 1999 EMI/Warner
 Weber: Oberon - James Conlon/Deborah Voigt/Gurzenich-Orchester Kölner Philharmoniker, 2011 Warner
 Zemlinsky: Orchestral Music - James Conlon/Gürzenich-Orchester Kölner Philharmoniker, 2008 EMI
 Zemlinsky: Der Zwerg & Opern-Vorspiele & -Zwischenspiele , Il Nano, Preludio e Intermezzo - James Conlon/Gurzenich-Orchester Kölner Philharmoniker, 2013 Warner
 Zemlinsky: Der Traumgörge, Il Sogno di Görge - James Conlon/Susan Anthony/Gürzenich-Orchester Kölner Philharmoniker/David Kuebler/Iride Martinez/Patricia Racette/Andreas Schmidt, 2001 EMI/Warner
 Bo Skovhus: Baritone Arias - Bo Skovhus/English National Opera Orchestra/James Conlon, 1997 SONY BMG

DVD & BLU-RAY parziale
 Puccini, Tosca - Conlon/Pavarotti/Verrett/MET Opera Orch., regia Tito Gobbi 1978 Decca
 Verdi, Traviata - Conlon/Fleming/Villazón, 2006 Decca
 Weill: Rise and Fall of the City of Mahagonny - Conlon, McDonald, LuPone, Los Angeles Opera, 2007 EuroArts - Grammy Award for Best Opera Recording e Grammy Award al miglior album di musica classica 2009

Note

Collegamenti esterni
 EuroArts 2056258 - WEILL, K.: Rise and Fall of the City of Mahagonny (Los Angeles Opera, 2007)

redpajama_set_name: RedPajamaWikipedia


Additional information concerning your membership.
Your membership is good is for one year unless you paid for a lifetime membership. Year memberships run from September to September.
If you pay for a lifetime membership you can receive a copy of the Bear Facts newsletters from 1949-1986 upon request. You can either get them on CD's or a thumbdrive. If you did pay for a lifetime member, please e-mail me at sbhsmail@gmail.com to let me know you want the Bear Facts. Please include your name, year graduated and your address that you would like it mailed to. Also let me know if you want the 2 CD set or the thumbdrive.
I sincerely appreciate everyone's patience during this transition.
Your support of the foundation is greatly appreciated.


Students are encouraged to participate in at least one activity outside of the classroom. They may choose from a variety of offerings listed below. The clubs meet during G period. There are over 10 club activities from which MS students may choose that provide them with opportunities for leadership, collaboration, and personal development. Many of our clubs have long associations with the School, while others reflect the interests of students who choose to form a new club.
In the beginning of each school year, King runs an assembly where students and faculty who have proposed clubs can present them and allow students to sign-up. Students have a chance to try different clubs each semester to gain new experiences.
Here is a sampling of the clubs from the 2018-2019 school year.


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Home › 2016 GAME OF THRONES CHARDONNAY 750ML
2016 GAME OF THRONES CHARDONNAY 750ML
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Bob is a fourth-generation grape grower from the San Joaquin Valley, who grew up tending to vines on his family ranch. He joined Williams Selyem in 1998 after previous winemaking stints at such prestigious brands as Alderbrook, DeLoach, Hartford Court and Kunde.
He is currently Director of Winemaking and partner at Three Sticks Winery, owned by Bill Price, of the Price Family Vineyards group whose holdings include the celebrated Durell and Gap'??????????s Crown vineyards.
Bob has crafted more than 100 wines ranked in the 95 to 100 point category. In 2011, he was honored with the Wine Star Award from the Wine Enthusiast Magazine as Winemaker of the Year. As a fan of Game of Thrones, Bob was challenged to craft wines that match the personalities of the characters and the terrain of their kingdoms. Bob's meticulousness and patience has yielded wines that embody the spirit of the HBO???? series.
This wine is a blend of 90% Chardonnay and 10% Riesling, fruit was gently pressed, and went through partial malolactic and barrel fermentation.
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After deploying ManageIQ on OKD as described in Running the Installer, there are two methods for enabling container provider integration. You can manually add OKD as a container provider, or you can try the playbooks included with this role.
Automated container provider integration can be accomplished using the playbooks included with this role.
Gathers the necessary authentication secrets.
Finds the public routes to the ManageIQ application and the cluster API.
Makes a REST call to add the OKD cluster as a container provider.
As well as providing playbooks to integrate your current OKD cluster into your ManageIQ deployment, this role includes a script which allows you to add multiple container platforms as container providers in any arbitrary ManageIQ server. The container platforms can be OKD or OpenShift Container Platform.
Using the multiple provider script requires manual configuration and setting an EXTRA_VARS parameter on the CLI when running the playbook.
Copy the files/examples/container_providers.yml example somewhere, such as /tmp/cp.yml. You will be modifying this file.
If you changed your ManageIQ name or password, update the hostname, user, and password parameters in the management_server key in the container_providers.yml file that you copied.
Fill in an entry under the container_providers key for each container platform cluster you want to add as container providers.
auth_key - This is the token of a service account that has cluster-admin privileges.
hostname - This is the host name that points to the cluster API. Each container provider must have a unique host name.
name - This is the name of the cluster to be displayed in the ManageIQ server container providers overview page. This must be unique.
port - Update this key if your container platform cluster runs the API on a port other than 8443.
endpoint - You may enable SSL verification (verify_ssl) or change the validation setting to ssl-with-validation. Support for custom trusted CA certificates is not currently available.
You copied the container_providers.yml file to /tmp/cp.yml.
You want to add two OpenShift Container Platform clusters.
1 Replace <token> with the management token for this cluster.
After the playbook completes, you should find two new container providers in your ManageIQ service. Navigate to the Compute → Containers → Providers page to see an overview.
After adding either a single or multiple container providers, the new provider(s) must be refreshed in ManageIQ to get all the latest data about the container provider and the containers being managed. This involves navigating to each provider in the ManageIQ web console and clicking a refresh button for each.


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Dow jumps 300 points as Trump admin begins transition to Biden #duzline #duzlinenews #follow4follow
Wall Street's main stock indexes vaulted out of the gate on Tuesday after President Donald Trump okayed the formal transition of power to the incoming President-elect Joe Biden's administration, ending months of political uncertainty that took markets on a wild ride.
The Dow Jones Industrial Average opened up more than 305 points or points or just over 1 percent at 29,896.34.
The broader S&P 500 index – a proxy for the health of retirement and college savings accounts – gained 0.78 percent and the Nasdaq Composite Index vaulted jumped 0.48 percent.
On Monday, Trump said the head of the General Services Administration could go ahead with a transition to Biden's administration.
Trump confirmed his approval with a tweet that also pledged to "keep up the good fight".
Meanwhile, Biden's cabinet is taking shape.
The President-elect is reportedly tapping former Federal Reserve Chair Janet Yellen as his Treasury Secretary – a crucial role always, but especially now given the fragile state of the nation's economic recovery and fresh financial perils posed by new business-sapping restrictions to curb record-breaking COVID-19 infections and hospitalizations.
…fight, and I believe we will prevail! Nevertheless, in the best interest of our Country, I am recommending that Emily and her team do what needs to be done with regard to initial protocols, and have told my team to do the same.
To date, the coronavirus has claimed the lives of 257,671 Americans, according to Johns Hopkins University.
State and local governments are urging caution ahead of the Thanksgiving holiday. California, Ohio, North Carolina, and New York are imposing new restrictions.
The nation's economic recovery was already downshifting as nearly $3 trillion in federal government virus relief aid waned and key programmes expired.
Economists have been sounding the alarm, urging more stimulus to help struggling businesses and households as well as state and local governments.
New York City's Mayor Bill De Blassio warned on Tuesday that the city needs stimulus aid from the federal government to stay above water.
"If there's not a stimulus, the state of New York is going to be in dire, dire shape, and, unfortunately, might have to pass on cuts to localities," de Blassio said a news conference.
Nurse Caren Williams talks to a passenger waiting for a coronavirus test at Tom Bradley international terminal at LAX airport, as the global outbreak of the coronavirus continues, in Los Angeles, California, United States [File: Lucy Nicholson/Reuters]
More red flags are being waived by the airline industry – a sector of vital importance to national security that has been financially gutted by the pandemic.
Globally, airlines will lose another $39bn next year on top of the $118bn they are expected to bleed out this year the International Air Transport Association (IATA) said on Tuesday.
IATA had forecast back in June $100bn dollars in losses over the two years but with surging coronavirus infections and shutdowns, it upgraded that number to $157bn on Tuesday.
Among stocks to watch on Tuesday:
Tesla Inc shares gained 2.59 percent, putting the electric-car maker on track to hit $500bn in market value on Tuesday.
Tesla's relentless rise has also boosted Chief Executive Officer Elon Musk's net worth by $7.2bn to $127.9bn, pushing him past Bill Gates to become the world's second-richest person, the Bloomberg Billionaires Index said.
On the retail front as we approach Black Friday weekend, shares of Abercrombie & Fitch Co fell 2.3 percent. The apparel retailer outdid Wall Street's expectations for quarterly profit and sales after it cut costs and saw a spike in online sales, but said it sees net sales in the fourth quarter down 5 percent to 10 percent.
Tiffany & Co's shares were virtually unchanged after it also beat forecasts for quarterly profit. The US jeweler, which is being bought by French luxury giant LVMH, benefited from an over 70 percent rise in sales in China and recovering demand at home.
Joe Biden's inauguration day: What you need to know
A Capital Under Siege
Tunisia's burgeoning youth-led protests in 700 words
New York City schools to close again as city fights COVID-19 #duzline #duzlinenews #follow4follow
US's Pompeo to visit Brussels on Wednesday to meet NATO chief


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Jupiter Prediction Abdul Rehman Makki
Master of lagn and 10th house,Jupiter in the 9th house indicates that Abdul Rehman Makki is very lucky. Abdul Rehman Makki will be religious and god fearing. Abdul Rehman Makki is very popular and is a competent speaker. Abdul Rehman Makki will be very wealthy and will have a happy family life. Abdul Rehman Makki will have very helpful brothers and friends. Abdul Rehman Makki is kind hearted and will travel to foreign countries. Abdul Rehman Makki will be very famous and will get honours from government and society. Abdul Rehman Makki will have many good friends. Abdul Rehman Makki will do many good deeds. Abdul Rehman Makki is a calm and serene person. Abdul Rehman Makki will travel to religious places. Abdul Rehman Makki will pay respect to elders. His brothers and friends will be famous and respected in the society. Abdul Rehman Makki is very active, hardworking and truthful. His mother will have very high morals and Abdul Rehman Makki will be very proud of her. His is very religious and will do many good deeds. Abdul Rehman Makki have a strong personality. Abdul Rehman Makki will be rich,religious,prudent, and honourable. There will be success in long journeys and good children. His father will enjoy a long life. Abdul Rehman Makki will be lucky for father. Abdul Rehman Makki will be famous, learned, successful, and may hold the position of an advisor or a minister. Abdul Rehman Makki get respect from His children. Abdul Rehman Makki will be a favourite with royalty. Abdul Rehman Makki will be a commander.Abdul Rehman Makki will be anxious to perform religious rites. Abdul Rehman Makki is devoted to His His elders. Abdul Rehman Makki will take true interest in the shastras. Abdul Rehman Makki is a competent worker. Abdul Rehman Makki will be a good advisor and will be religious.
Name : Abdul Rehman Makki
Place of Birth : Bahawalnagar
Moon Sign(Rashi) : Leo
Moon Sign Lord : Leo
Birth Star(Nakshatra) : P.Phalguni
Current Vimshottari Dasa : Sat-Mer
Sign Pisces Sagittarius Leo Leo Sagittarius Scorpio Capricorn Cancer Aries Libra
Lord Jup Jup Sun Sun Jup Mar Sat Mon Mar Ven
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3. The rocket body may be no longer than 7 inches, not including the propeller and fins. Width 2.75 inches -Three rubber bands per rocket. Each Pack must supply extra rubber bands if the Pack should need them.
4. There are no restrictions on the weight or design of the rocket. Rockets may be detailed in any way as long as it does not exceed length restrictions, is flight worthy, structurally sound and does not interfere with another rocket during the race.
6. Scout shall use rocket built for this year, no previous year rockets will be allowed.
7. Each ROCKET will be wound 100 times. Track will be 40 foot set up.
8. Once the rocket is submitted for entry, no further adjustments can be made except in the case of mechanical failure.
9. The race will be double elimination.
10. Any entry that experiences a mechanical failure will be allowed to re-race if it can be repaired during the same heat. It will count as a heat loss if it cannot be repaired prior to the beginning of the next heat. All repairs of this type must be done with "Space Command" observing and certifying as to its flight worthiness.
11. In the event that all rockets don't reach the end of track, the one that goes the furthest is declared the winner.
12. One Rocket Only per scout.
13. Racing volunteers are only allowed in the Space Track area.
16. All rulings by "Space Command" are FINAL.
Note: All illegal rockets must be disqualified prior to racing.
3. Contestants report to gatekeeper, who lines them up in the order in which they will compete. As the cub time approaches he will begin to wind his rocket.
4. When the cub scouts name is called, he will hook his rocket on the guideline assigned to him.
5. The rocket you compete should be a new rocket, with a balsa wood body, not one built in a previous year.
1. Propeller is balanced. Sand if necessary.
2. Propeller wire is as short as possible. Notch on propeller engages propeller wire securely.
7. Rubber bands have been tested to select the most powerful. Lubricate rubber bands in castor oil or a glycerin/soap mixture.
11. Rocket is balanced fore and after when a pin is inserted in rocket carrier hole.
2. Each Pack are required to have extra boxes of rubber bands on hand. Remember, it takes three rubber bands to fly each ship properly.
3. Experienced rocket racers "warm up" their space ships by gradually winding the rubber band motor to it full capacity.
9. A potato peeler is good for carving the balsa wood.
1. -Reduce air friction or "drag" by making all surfaces as smooth as possible. A blunt, rounded nose causes less drag than a sharp nose. A good design has all leading edges rounded and trailing edges tapered to reduce the drag.
2. -Rocket body is shaped as small as possible. FAST ROCKETS HAVE A MINIMUM PROFILE.
3. -Inside of body is hollowed out to reduce weight. If possible, select the lightest body you can obtain. LIGHTER ROCKETS GO FASTER.
4. -Use a sharp knife for cutting the grooves for the hanger fitting and fins. A dull knife will crush and splinter the balsa wood. bullet When you start to carve, remember that the end with the small hose is the rocket nose.
5. - A new potato peeler is good for carving the shape.
6. -To help increase the rocket's speed reduce the wall thickness to a minimum of 1/8 inch. Do not weaken the area around the hanger (carrier) or carve away the nose button circle.
7. -Rocket is balanced before and after when a pin is inserted in rocket carrier hole.
8. -Plastic hanger is fastened securely to body.
9. -Groove for rear dowel is deep enough so dowel does not twist when rubber motor is wound tight.
1. -Do not glue the front nose/propeller assembly into the front of the space derby. It is pulled off to re-load new rubber bands!
2. -Do not glue the back dowel onto the rocket. It is pulled off to re-load new rubber bands!
3. -Propeller is balanced. Sand if necessary.
4. -Be careful not to get glue on the plastic carrier, especially in the holes through which the monofilament line runs. Glue can interfere with smooth operation.
5. - Make the propeller shaft as short as possible by bending it close to the prop. Cut off the excess wire with wire cutters.
6. -The propeller should have the rounded shaft-end pointing into (touching) the space derby (this makes the bending of the wire easier and it reduces friction).
7. -Propeller wire is as short as possible. Notch on propeller engages propeller wire securely.
8. -The little plastic straw MUST go over the hook (not just the shaft as the drawing in the space derby kit illustrates) This is where the rubber bands will hook on - the wire hook will cut the rubber bands without the plastic straw liner!!!
9. - The plastic dowel at the rear of the space derby to hold the rubber bands MUST be kept from rotating (groove out the back so the dowel can sit in it!) - do not glue it!
10. -Test the rocket's balance by hanging it from a string through the hole of the hanger fitting. If the rocket is nose-heavy, carve or sand a little wood off of the end. It it's tail-heavy, remove wood from the tail area.
11. -Propeller nose button is lubricated with graphite.
1. -Lubricate the rubber bands before the derby. This prolongs the bands' life and power and will help reduce the possibility of breaking during the competition. They can be soaked overnight in castor oil. Or mix two parts green soap, one part glycerin, and one part water and rub the mixture on the rubber band about an hour before racing.
2. -Have extra boxes of rubber bands on hand. Remember, it takes three rubber bands to fly each ship properly.
1. -A small hand drill is excellent for winding rubber bands. It also helps speed up the event. Check the ratio of the drill by making one revolution of the crank handle and count the number of times the chuck turns. Most drills average a one-to-four ratio; thus it would take 40 turns of the crank to give 160 winds on the rubber band motor.
2. - When using the hand drill winder, it's best for one person to hold the rocket and propeller while another stretches the bands about 12 to 15 inches beyond the rocket tail and turns the rubber bands, he gradually shortens the distance between him and the rocket. bullet For a more evenly matched race, wind all rocket motors the same number of turns. For 100-foot launch lines, 150 to 170 winds should be sufficient.
1. - Painting and decorations are encouraged.