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zipnote(1) General Commands Manual zipnote(1)
zipsplit - split a zipfile into smaller zipfiles
zipsplit [-t] [-i] [-p] [-s] [-n size] [-r room] [-b path] [-h] [-v] [-L] zipfile
zipfile Zipfile to split.
-t Report how many files it will take, but don't make them. -i Make index (zipsplit.idx) and count its size against first zip file. -n size Make zip files no larger than "size" (default = 36000). -r room Leave room for "room" bytes on the first disk (default = 0). -b path Use path for the output zip files. -p Pause between output zip files. -s Do a sequential split even if it takes more zip files. -h Show a short help. -v Show version information. -L Show software license.
zipsplit reads a zipfile and splits it into smaller zipfiles.
To be filled in.
Does not yet support large (> 2 GB) or split archives.
zip(1), unzip(1)
Info-ZIP v3.0 of 8 May 2008 zipnote(1)


text: Now, as i'm writing this introduction to this post I will pre-warn you that my bucket list is heavily travel related, I LOVE TO TRAVEL. Another thing you may begin to notice is that it is most of these are probably the most un realistic things ever. I thought this would be a super cool […]Read More MY BUCKET LIST

subset: commoncrawl


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Branson Show Times
When you visit Branson, you want to experience as much of the atmosphere as you can, and luckily for Branson visitors, it's possible to see more than one show on any given day. Many shows run at 10:00am, 3:00pm, and 8:00pm, and some of the most popular shows run more than one show per day. Morning, afternoon, and night, Branson offers visitors a variety of entertainment choices to choose from. Check out the latest Branson Shows 2010 Branson show schedule to plan your Branson vacations.
Morning Shows in Branson, Missouri
When you get up in the morning, get ready to start your day the right way with Branson's own brand of Ozark entertainment. You'll want to head on out early to catch one of Branson's many morning shows. Whether you're in the mood for the hit songs of performer Jim Owen, the comedy and charm of the handsome Hughes brothers, the entertaining songs and antics of The Rat Pack, Live from Las Vegas, or the wholesome family fun that the Brett Family provides, Branson morning shows deliver the entertainment you need to start your day on the right foot.
Afternoon Shows in Branson, Missouri
After you've been delighted by a morning show, do some quick shopping, grab a bite to eat for lunch and then head off for some afternoon entertainment. When planning what to see during the afternoon, you have quite the variety to choose from. If you're in the mood to see the superstars of the past like Elvis and Marilyn Monroe you'll want to check out the Legends in Concert show, which brings them all back to life.
If you'd rather enjoy some country melodies, you'll want to check out music and laughter at the Paul Harris Show, or Branson's Grand Country Jubilee. The show features Grand Country's very own New South quartet and delivers a blend of classic and modern country music. However, if you want to hear the hits of Patsy Kline, Karen Carpenter, and Ann Murray among other country female favorites, you'll want to hit the Delene show. This talented singer does them all and does them well.
Evening Shows in Branson, Missouri
When your afternoon show has ended, you'll want to sit down to a nice dinner and then get ready for the time of day when Branson comes into full swing, during the evening. The variety of shows you have to choose from is truly awe-inspiring, making you question how so much talent can be found into such a rural part of the country. For a magical evening, try seeing Kirby Van Burch - The Prince of Magic. Country western fans will delight at Country Tonite, families can experience the talent of the Haygoods, and Broadway fans can enjoy Broadway, a Star Spangled Celebration. If you reminisce about the fifties, Lost in the Fifties and 50's at the Hop will take you back to where you want to be.
But who says you have to keep your dinner and evening entertainment separate? Branson does an awesome job of combining the two with shows like the Dixie Stampede and Branson Belle, combining great entertainment with mouthwatering meals. You can even take a step further and combine your dinner and entertainment with a cruise on the Branson Belle and you're sure to have the time of your life.
Limited Engagement Shows in Branson, Missouri
Limited engagement shows can bring big names to Branson, Missouri for a few short weeks - or even days. But if you plan ahead, you can see superstars like Ann-Margret or two-time Grammy nominee, Barbara Fairchild.
In addition, Branson Mo offers great museums and attractions open all day, including Silver Dollar City, IMAX Branson, Branson Scenic Railway, and Hollywood Wax Museum. Check out the Branson Mo Map to locate these attractions!
With so much to see and do, it's no wonder Branson is one of America's top vacation destinations. Bet you never guessed so much fun and entertainment could be packed into a single day!


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As he was doing these experiments, Priestley made an enormously important observation. A flame went out when placed in a jar in which a mouse would die due to lack of air. In other words, he had a flame and mouse in a sealed container. As time went on, the mouse died and the flame went out. We know now that that is because the mouse couldn't breathe because there was no oxygen. The flame went out for the same reason, since oxygen is needed for combustion. He did another experiment when he put a live plant in the container with the candle and the mouse. When the plant was exposed to sunlight, it would "refresh" the air, allowing the candle to burn down to a stub and the mouse to live on happily. Perhaps, Priestley wrote, "the injury which is continually done by such a large number of animals is, in part at least, repaired by the vegetable creation." He didn't know at the time that he just witnessed photosynthesis [6]. His research would pave the way for future scientists to look into this further.
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Reporter Terry Lloyd, who was killed while working for ITV News in Iraq at the weekend, had every T-shirt going.
He once dropped into Hawaii to eat Christmas dinner while following Richard Branson's around-the-world balloon journey.
He spent weeks in the Arctic with Sir Ranulph Fiennes, lived under siege in Sarajevo at the height of the Bosnian war - and was attacked by Eric Cantona on a paradise island.
When it came to "When I" stories, as in "When I was in...", Terry had some of the best.
Cantona incident
The Cantona incident was one of his favourites. Sent out to find Cantona after the soccer ace had attacked a fan with a flying karate kick, Terry tracked him to Guadeloupe and promptly also came on the receiving end of the Frenchman's fury.
Volatile and talented himself, Terry didn't bear a grudge towards Cantona and came back to discover himself all over the front pages and in a Daily Mail cartoon.
As his producer when ITN opened its north of England Bureau in 1990, I soon got to know the real Lloydy.
If he'd won - as he so often did - it was cause for a team celebration in the nearest bar.
Being a member of a team was important to him - he loved his colleagues and would always make sure the cameraman, the picture editor - and the producer - took their part of the credit and shared the inevitable herograms. In turn, he inspired loyalty.
When I became slightly more senior and put together teams for a particular assignment, the first question I'd be asked would be: "Who's the correspondent?"
When told it would be Terry, big grins appeared. They knew with Terry they'd have a real chance of producing a real scoop. And many times, they did.
Kosovo first
During the Kosovo war, Terry was the first correspondent to clandestinely cross the border into Serbia with cameraman Mike Inglis and together they produced a memorable - and award-winning - piece about the dangers faced by refugees fleeing Milosevic.
Almost his first assignment was covering his own father's inquest for the agency he'd joined in Derby at the age of 17. It seems harsh now, but Terry saw it all as part of his new vocation.
He was to see many courts and inquests in the following years as his career developed - he became a reporter for ATV - now Carlton - and began doing shifts for ITN in London.
He was able to make valuable contacts easily, and worked hard at keeping them. They knew he would never betray a source of information and he never did.
For some years, he concentrated on stories involving individuals facing enormous personal challenges where courage and endurance were the key to success.
Terry realised the only way to cover them properly was to share the privations and to throw himself whole-heartedly into the challenge as if success or failure depended on him too.
He was given a renewed vote of confidence and went back on the road as a foreign correspondent, doing what he did best, working in a small team, getting under the skin of a story and producing results to make the opposition envious.
Who knows what he might have achieved in Iraq. He certainly had the best around him - Fred Nerac, a quiet Frenchman who is still missing along with their interpreter, and cameraman Daniel Demoustier.
His death is a tragedy for the whole journalistic community, but far more so for his wife Lynn, daughter Chelsey and beloved young son Ollie.
Jim Buchanan is a former ITN journalist, who now works in world newsgathering for the BBC.


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About Us
Merry Gold International Co., Ltd is mainly engaged in developing and producing electric sightseeing car, classic car, police car, fire engine car, cleaning car, mini truck and so on. Our company adheres to philosophy of "People oriented, Goal Management, and Continuous Improvement", and continuously pursues high quality of product and service.
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Yorktown-class aircraft carrier
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The Yorktown class was a class of three aircraft carriers built for the United States Navy and completed shortly before World War II. They immediately followed Ranger, the first U.S. aircraft carrier built as such, and benefited in design from experience with Ranger and the earlier Lexington class, which were conversions into carriers of two battle cruisers that were to be scrapped to comply with the Washington Naval Treaty, an arms limitation accord.
USS Enterprise
|Class overview
|Newport News Shipbuilding
|United States Navy
|Preceded by:
|USS Ranger
|Succeeded by:
|In commission:
|30 September 1937 – 17 February 1947
|General characteristics
|Aircraft carrier
|32.5 kn (60.2 km/h; 37.4 mph)
|12,500 nmi (23,200 km)
|Aircraft carried:
|Aviation facilities:
These ships bore the brunt of early action in the Pacific War, and two of the three were lost: Yorktown, sunk at the Battle of Midway, and Hornet, sunk in the Battle of the Santa Cruz Islands.
Enterprise, the sole survivor of the class, was the most decorated ship of the U.S. Navy in the Second World War. After efforts to save her as a museum ship failed, she was scrapped in 1958.[1]
A forerunner to modern weapons development, the Yorktown class was a result of standardized war gaming exercises using Langley and the Newport Naval War College. The Naval War College became the sole repository of American naval expertise.[2] The results were that islands on the carriers were highlighted and speed itself was considered very important. The 27,000 ton plan for the Yorktown class was a fall back plan from a 23,000 ton carrier that could not achieve that desired speed. The realization that larger carriers would be more survivable was a happy coincidence. Nevertheless, the war games and the Naval War College highlighted the greater flexibility presented by large air groups and fast speed. These became, along with torpedo protection, the guiding principles in the Yorktown class designs.[3] In particular, the 23,000 ton design had to sacrifice protection features and that along with the 60 aircraft limit led to the choice of the 20,000 ton design. All studies showed that the 27,000 ton designs were to be preferred, however all treaty limitations made this impossible. Later it would be noted that the large carriers provided close to an all weather ability to launch aircraft.[4] The British Royal Navy had constructed several carriers during this time and the problems of flush deck carriers were revealed. Admiral Marc Mitscher had in particular pushed for such a carrier. The US naval attaché in Britain, J.C. Hunsacker, reported that HMS Furious had problems exhausting boiler smoke without proper smoke stacks. The aviation community continued to demand flush decked carriers. Given additional problems with controlling air groups, all American carriers would be constructed with islands. In any case BuAer retracted all demands for flush decked carriers. The 1931 design show an island and the design for USS Ranger. The contractor stated that gun control was impossible without a raised island.[5] Both USS Ranger and USS Wasp further showed the limitations of sub-20,000 ton designs. USS Ranger proved to be unable to withstand rougher weather in the Pacific while lack of virtually any protective features soon relegated her to a training ship. USS Wasp's lack of torpedo protection contributed to her loss in the Pacific theater. The Navy had learned from operations with the large converted battlecruiser Lexington-class in comparison with the smaller purpose-built Ranger that large carriers were more flexible in operational terms and were more survivable than smaller ones. As the result of this experience, the U.S. Navy built Yorktown and Enterprise, commissioned in 1937 and 1938 respectively. These were fast and versatile carriers, which could carry and operate over 80 aircraft, almost as many as the much larger Lexington class.
With the addition of the 14,700-ton USS Wasp, a scaled down version of the class, the U.S. Navy used up its full 135,000 ton Washington Naval Treaty limit of aircraft carrier tonnage. The abandonment of the arms limitation treaties system in 1937 allowed the US to begin building more carriers, and the first of this new carrier program was Hornet, another of the class, commissioned in 1941. Improvements to the Yorktown design and freedom from the Washington Treaty limitations brought about the Essex-class aircraft carriers.
The Yorktowns carried a seldom-used catapult on the hangar deck. This catapult was subsequently eliminated from U.S. carriers as it was relatively useless in operation. The hangar-deck catapult was removed from Enterprise and Hornet in late June 1942.
All three ships of the Yorktown class were built at the Newport News Shipbuilding Company, Newport News, Virginia.
Ships in classEdit
|Laid Down
|Newport News Shipbuilding and Drydock Co., Newport News
|21 May 1934
|4 April 1936
|30 September 1937
|Sunk by submarine following the Battle of Midway, 6 June 1942
|16 July 1934
|3 October 1936
|12 May 1938
|17 February 1947
|Struck 2 October 1956, Broken up at Kearny, New Jersey, 1958
|25 September 1939
|14 December 1940
|20 October 1941
|Sunk following the Battle of the Santa Cruz Islands, 26 October 1942
Operational historyEdit
The three ships of this class are noted for bearing the brunt of the fighting in the early months of the Pacific War, most notably during the Battle of the Coral Sea, the Battle of Midway, and the Guadalcanal campaign. During the latter campaign, Hornet and later Enterprise had the distinction of being the only operational carrier in the United States Pacific Fleet.
Enterprise was at sea on the morning of 7 December 1941 (the day of the Attack on Pearl Harbor). That evening, Enterprise, screened by six of her Grumman F4F Wildcat fighters, put into Pearl Harbor for fuel and supplies. The aircraft were fired on by anti-aircraft defenses, and one pilot radioed in, reporting that his aircraft was an American aircraft.[6] Enterprise later participated in the first offensive actions against Japan, launching attacks against the Marshall Islands, Wake, and Marcus Island.
Yorktown transferred to the Pacific on 16 December 1941 and later raided the Gilbert Islands in the same operation as Enterprise. Along with Lexington, she raided bases in New Guinea, then participated in the Battle of the Coral Sea. Her planes helped sink the Japanese aircraft carrier Shōhō and damaged the carrier Shōkaku. Damaged by Japanese carrier aircraft, Yorktown returned to Pearl Harbor and was hastily repaired in time to participate in the Battle of Midway.
Hornet spent the first months of the war training in Norfolk, Virginia, before being assigned to the Doolittle Raid. Loaded with a squadron of B-25 bombers and escorted by Enterprise, the ship launched the first air raids against the Japanese mainland.
All three ships of the class saw action during the Battle of Midway (4–7 June 1942), Enterprise and Yorktown aircraft were responsible for sinking all four Japanese carriers engaged in the battle, while Hornet assisted in the sinking of one heavy cruiser and severely damaging another. All three carriers suffered severe losses among their air groups, most notably Hornet's Torpedo Squadron 8, which lost 15 aircraft with only a single surviving airman. Yorktown was damaged by aerial bombs and torpedoes and abandoned on 4 June. Later re-manned by repair crews, the ship was spotted and torpedoed by a Japanese submarine and eventually sank on 7 June 1942.
Enterprise was assigned to the invasion of Guadalcanal and participated in preliminary strikes on the island. She suffered moderate damage during the Battle of the Eastern Solomons but was repaired in time to join Hornet in the Battle of the Santa Cruz Islands. Hornet was severely damaged during the latter engagement and had to be abandoned. Attempts to scuttle the ship by her escorts failed, and she was left adrift before finally being sunk by Japanese destroyers on 27 October 1942. Enterprise was again damaged during the battle, but was repaired enough to deliver her air group to Guadalcanal, where it participated in the Naval Battle of Guadalcanal. Enterprise aircraft assisted in finishing off the heavily damaged battleship Hiei and were instrumental in destroying the Japanese transport fleet, thereby ending Japan's last serious attempt at reclaiming the island.
After a lengthy overhaul and repair period at Bremerton, Washington, Enterprise joined the Central Pacific Fleet as part of the Fast Carrier Task Force. She participated in every major invasion of the Central Pacific campaign, including the Battle of the Philippine Sea and the Battle of Leyte Gulf. Her air groups contributed to the development of carrier night operations, executing a night air raid on Truk Lagoon and operating as a specialized night air group towards the end of the war.
Enterprise was finally put out of action on 14 May 1945 when she was struck in the forward elevator by a kamikaze aircraft flown by Japanese pilot Lt. Shunsuke Tomiyasu,[7] which destroyed the elevator and severely damaged her hangar deck. She was still out of action on V-J Day but was subsequently fitted out for Operation Magic Carpet, ferrying over 10,000 veterans home from Europe.
By the end of World War II, Enterprise had been considerably modified. Her final displacement was 32,060 tons and her final armament was 8 single 5-inch/38 caliber DP guns, 40 40 mm Bofors AA guns, 6 quad and 8 twin (replacing the ineffective 1.1"/75 caliber gun quad mounts which the Yorktown class had initially been fitted with) and 50 single 20 mm Oerlikon AA cannons. The Yorktowns had proved to be vulnerable to torpedoes, and while undergoing repairs at Bremerton, Washington, from July to October, 1943, Enterprise received an extensive refit, which included an anti-torpedo blister that significantly improved her underwater protection.
With the commissioning of the more advanced Essex and Midway-class carriers, Enterprise was surplus for post war needs. She entered New York Naval Shipyard on 18 January 1946 for deactivation, and was decommissioned on 17 February 1947. Stricken from the list in 1959 after multiple attempts to preserve her as a museum and memorial, ex-Enterprise met her fate in the breaker's yards at Kearny, New Jersey in 1960, although several artifacts were retained.
See alsoEdit
- ^ Budge, Kent G. "The Pacific War Online Encyclopedia: Yorktown Class, U.S. Fleet Carriers". pwencycl.kgbudge.com. Retrieved 27 August 2018.
- ^ Friedman, Norman. U.S. Aircraft Carriers ISBN 0-87021-739-9, pg. 57
- ^ Friedman, pg. 58-59
- ^ Friedman, pg. 62
- ^ Friedman, pg. 72
- ^ "The Encyclopedia of Air Warfare" Salamander Books, Ltd., 1974. ISBN 0 690 00606 3.
- ^ Naval Aviation news July August 1994
- Brown, J. D. (2009). Carrier Operations in World War II. Annapolis, Maryland: Naval Institute Press. ISBN 978-1-59114-108-2.
- Friedman, Norman (1983). U.S. Aircraft Carriers: An Illustrated Design History. Annapolis, Maryland, USA: Naval Institute Press. ISBN 0-87021-739-9.
- Sumrall, Robert F. (1990). "The Yorktown Class". In Gardiner, Robert (ed.). Warship 1990. London: Conway Maritime Press. ISBN 0-85177-547-0.
- Polmar, Norman; Genda, Minoru (2006). Aircraft Carriers: A History of Carrier Aviation and Its Influence on World Events. Volume 1, 1909–1945. Washington, D.C.: Potomac Books. ISBN 1-57488-663-0.
External linksEdit
Media related to Yorktown class aircraft carriers at Wikimedia Commons


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Credit Karma is an online personal finance platform where, in exchange for entering personal information, individuals can access and monitor their credit report/scores for free. These scores are already available on the web for a fee and are not produced by Credit Karma. The site also offers tools and suggestions on how to improve these scores.
Credit scores are a number that indicates an individual's credit worthiness. In the US these scores are produced and owned by credit bureaus and can be accessed for a fee. There are three nationwide credit bureaus in the US: Experian, Equifax and TransUnion. Credit Karma offers free access to scores from Equifax and TransUnion.
The Credit Karma is able to offers access to these scores for free by using tailored product ads for loans and credit cards based on an individual's credit profile as their source of revenue. The adverts displayed have additional value for consumers as only products that match an individuals credit profile are displayed. These products are sorted and highlighted based on the probability of a customer's application being approved.
Credit Karma provides this service through tailored recommendations and via a search and comparison engine for credit cards and loans. Companies pay Credit Karma to promote their products on this engine, with Credit Karma also taking commission for lead generation. Credit Karma states it does not sell, rent or share information of its users.
Businesses showcasing their products on Credit Karma's search and comparison engine creates additional value for consumers looking to discover their credit score, as these customers may then assess credit products that have been pre-selected to fit their credit profile. Consumers access this
additional value through the search and comparison engine provided by Credit Karma or through the recommendations section of their profile. This indicates that for customers who enter data Credit Karma operates a triadic multi-sided business model.
In addition to the core business model Credit Karma offers its users a portfolio of supporting services including: tracking of credit card, loan transactions and balances; forums for financial product reviews and credit advice; calculator tools for debt repayment, home affordability and simple loans.
Kenneth Lin founded credit Karma in June 2007 with the aim of making credit reports easier to access and more transparent. The company now employs over 250 staff and is based in San Francisco. It secured Series A funding of $2.5 million in November 2009 and has raised $368.5 million in financing overall. The business has a valuation of $3.5billion and over 60 million users.
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Credit Karma provides access to an individual's own credit score free of charge. The site also provides advice and offers a search and comparison engine to enable consumers to find loans and credit cards products that match their credit profile. These products are not provided by Credit Karma and are from the companies utilising the site for advertising. Credit Karma does however, tailor the adverts shown to match the searchers credit profile. These tailored adverts create value for consumers as they can apply for loans or credit with a higher probability of being approved. The ability to search by likelihood of approval is not available to customers who do not sign up for the Credit Karma service but this group of customers can still compare credit cards and access advice.
Companies draw value from access to Credit Karma's 60 million users and its ability to use data to target their credit/loan products at consumers who are likely to be approved or who fit the risk profile of the company.
DELIVERY – THE VALUE CHAIN:The service is accessed via website or a mobile device application. Individuals must create a profile and enter personal information to access their scores and recommendations. Consumers can search advice and compare products without a profile but these results will not be tailored to an individual's credit worthiness and they will be unable to access their credit score or report. Companies looking to showcase their products on the site must contact the firm via email.
Credit Karma does not publish detailed information about its revenue but Credit Karma's Communications Director Christina Ra has stated the company has revenue in the "hundreds of millions of dollars" range and that it is "profitable". Credit Karma does not share, sell or rent individuals' information.


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The Statue of Liberty (Liberty Enlightening the World; French: La Liberté éclairant le monde) is a colossal neoclassical sculpture on Liberty Island in New York Harbor, designed by Frédéric Bartholdi and dedicated on October 28, 1886. The statue, a gift to the United States from the people of France, is of a robed female figure representing Libertas, the Roman goddess of freedom, who bears a torch and a tabula ansata (a tablet evoking the law) upon which is inscribed the date of the American Declaration of Independence, July 4, 1776. A broken chain lies at her feet. The statue has become an icon of freedom and of the United States.
Bartholdi was inspired by French law professor and politician Édouard René de Laboulaye, who commented in 1865 that any monument raised to American independence would properly be a joint project of the French and American peoples. Due to the troubled political situation in France, work on the statue did not commence until the early 1870s. In 1875, Laboulaye proposed that the French finance the statue and the Americans provide the pedestal and the site. Bartholdi completed the head and the torch-bearing arm before the statue was fully designed, and these pieces were exhibited for publicity at international expositions. The arm was displayed at the Centennial Exposition in 1876 and in New York's Madison Square Park from 1876 to 1882. Fundraising proved difficult, especially for the Americans, and by 1885 work on the pedestal was threatened due to lack of funds. Publisher Joseph Pulitzer of theWorld started a drive for donations to complete the project that attracted more than 120,000 contributors, most of whom gave less than a dollar. The statue was constructed in France, shipped overseas in crates, and assembled on the completed pedestal on what was then called Bedloe's Island. The statue's completion was marked by New York's first ticker-tape parade and a dedication ceremony presided over by President Grover Cleveland.
The statue was administered by the United States Lighthouse Board until 1901 and then by the Department of War; since 1933 it has been maintained by the National Park Service. The statue was closed for renovation for much of 1938. In the early 1980s, it was found to have deteriorated to such an extent that a major restoration was required. While the statue was closed from 1984 to 1986, the torch and a large part of the internal structure were replaced. After the September 11 attacks in 2001, it was closed for reasons of safety and security; the pedestal reopened in 2004 and the statue in 2009, with limits on the number of visitors allowed to ascend to the crown. The statue, including the pedestal and base closed beginning on October 29, 2011, for up to a year so that a secondary staircase and other safety features can be installed; Liberty Island remains open. Public access to the balcony surrounding the torch has been barred for safety reasons since 1916.
The origin of the Statue of Liberty project is generally traced to a comment made by French law professor and politician Édouard René de Laboulaye in mid-1865. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, stated: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations."[6]Bartholdi'sdesign patent
Laboulaye's comment was not intended as a proposal, but it inspired a young sculptor, Frédéric Bartholdi, who was present at the dinner.[6] Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Instead, Bartholdi approached Ismail Pasha, Khedive of Egypt, with a plan to build a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.[7]
The American project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia.[6] In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France.[6] As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans.[8] In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.[9]
Arriving at New York Harbor, Bartholdi focused on Bedloe's Island as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states."[10] As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue.[11]Bartholdi crossed the United States twice by rail, and met many Americans whom he felt would be sympathetic to the project.[9] But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.[12]
Bartholdi'sLion of Belfort
Bartholdi had made a first model of his concept in 1870.[13] The son of a friend of Bartholdi's, American artist John La Farge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge's Rhode Island studio. Bartholdi continued to develop the concept following his return to France.[13] He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.[14]
Detail from a fresco byConstantino Brumidi
in theU.S. Capitol
inWashington, D.C.
, showing two early symbols of America:Columbia
(left) and the Indian princess
Bartholdi and Laboulaye considered how best to express the idea of American liberty.[15] In early American history, two female figures were frequently used as cultural symbols of the nation.[16] One, Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Marianne came to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans.[16] The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time,[15] and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.[15]
Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Liberty.[15] A figure of Liberty was also depicted on the Great Seal of France.[15] However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830). In this painting, which commemorates France's Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen.[16] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[16] Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.[17]
Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve aspresident of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet.[18] Delacroix's figure wears apileus,[16] and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head.[19] In so doing, he avoided a reference to Marianne, who invariably wears a pileus.[20] The seven rays form a halo or aureole.[21] They evoke the sun, the seven seas, and the seven continents,[22] and represent another means, besides the torch, whereby Liberty enlightens the world.[17]
Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. The face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother.[23] He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose.[17] Bartholdi wrote of his technique:Thomas Crawford
'sStatue of Freedom
The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.[24]
Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does rise over a broken chain, half-hidden by her robes and difficult to see from the ground.[19] Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata, a keystone-shaped tablet[25] used to evoke the concept of law.[26] Though Bartholdi greatly admired the United States Constitution, he chose to inscribe "JULY IV MDCCLXXVI" on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.[25]
Consultations with the metalwork foundry Gaget, Gauthier & Co. led Bartholdi to conclude that the skin should be made of copper sheets, beaten to shape by the repoussé method.[27] An advantage of this choice was that the entire statue would be light for its volume—the copper need be only .094 inches (2.4 mm) thick. He decided on a height of 151 feet (46 m) for the statue, double that of Italy'sColosso di San Carlo Borromeo and the German statue of Arminius, both made with the same method.[28] Bartholdi interested a former teacher of his, architect Eugène Viollet-le-Duc, in the project. Viollet-le-Duc planned to construct a brick pier within the statue, to which the skin would be anchored.[29]
By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exhibition in Philadelphia led Laboulaye to decide it was time to seek public support.[30] In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World.[31] The French would finance the statue; Americans would be expected to pay for the pedestal.[32] The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia.[31] French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life.[32] Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.[31]Stereoscopic image
of right arm and torch of the Statue of Liberty,1876 Centennial Exposition
Despite its initial focus on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The firm of Japy Frères, copper merchants, donated all the copper needed to build the statue, a gift valued at 64,000 francs (about $16,000 at the time or the equivalent of $323,000 today).[33][34] The copper is said to have come from a mine in Visnes, Norway,[35] though this has not been conclusively determined.[36]
Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop.[37] In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition,[38] and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities.[39] The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi.[40]Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds.[41] After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.[41]
During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union.[42] Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia.[43] The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee".[44] One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States.[42] On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.[45]
The statue's head on exhibit at theParis World's Fair
, 1878
On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered.[34] The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.[46]
The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier.[47] The following year, Bartholdi was able to obtain the services of the innovative designer and builder Alexandre-Gustave Eiffel.[34] Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. To enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using what was dubbed an armature—a metal framework that ends in a mesh of metal straps, known as "saddles", that are riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually.[48][49] To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.[50] The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.[51]
Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown.[52] Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long.[53]As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure.[54]
In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton.[55] The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors.[56] Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban.[57] By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue.[58] Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York.[59] The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.[60]
, June 1885, showingwoodcuts
of the completed statue in Paris, Bartholdi, and the statue's interior structure
The committees in the United States faced great difficulties in obtaining funds. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete.[61] There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue.[61] There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen.[62] Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once."[63]The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances."[64] Faced with these criticisms, the American committees took little action for several years.[64]
The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station.[65] The fortifications of the structure were in the shape of an eleven-point star. The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean.[66] In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months.[67] He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).[68]
Hunt's pedestal design contains elements of classical architecture, including Doric portals, and the large mass is fragmented with architectural detail to focus attention on the statue.[68] In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 40 U.S. states), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises.[69]According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty".[68] The committee hired former army General Charles Pomeroy Stone to oversee the construction work.[70] Construction on the 15-foot (4.6 m) deep foundation began in 1883, and the pedestal's cornerstone was laid in 1884.[67] In Hunt's original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks.[71][72] The concrete mass was the largest poured to that time.[72]
Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events.[73] As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled anti-Semitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue.[74] The resulting sonnet, "The New Colossus", including the iconic lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in the base.[75]Richard Morris Hunt
's pedestal under construction in June 1885
Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, failed when Democratic representatives would not agree to the appropriation. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.[76] Joseph Pulitzer, publisher of the World, a New York newspaper, announced a drive to raise $100,000 (the equivalent of $2.3 million today).[33] Pulitzer pledged to print the name of every contributor, no matter how small the amount given.[77] The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial."[78] One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with."[79] Another dollar was given by a "lonely and very aged woman."[78] Residents of a home for alcoholics in New York's rival city of Brooklyn (the cities would not merge until 1898) donated $15; other drinkers helped out through donation boxes in bars and saloons.[80] A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.[78]
As the donations flooded in, the committee resumed work on the pedestal.[81] In June, New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel Isère arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère.[82] After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar.[83]
Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel I-beams within the concrete pedestal and assembled.[84] Once this was done, the sections of skin were carefully attached.[85] Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from the armature by ropes while installing the skin sections. Nevertheless, no one died during the construction work.[86] Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch (which was covered with gold leaf) and placed the lights inside them.[87] A power plant was installed on the island to light the torch and for other electrical needs.[88] After the skin was completed, renowned landscape architect Frederick Law Olmstead, designer of New York's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication.[89]
(1886) byEdward Moran
. Oil on canvas. The J. Clarence Davies Collection,Museum of the City of New York
A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event.[90] On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to Battery Park at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.[91]
A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication.[92] De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. A French flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address.[91] President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world".[93] Bartholdi, observed near the dais, was called upon to speak, but he refused. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.[94]
No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote.[93] A scheduled fireworks display was postponed until November 1 because of poor weather.[95]
Shortly after the dedication, the Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":
"Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.[96]
Government poster using the Statue of Liberty to promote the sale ofLiberty Bonds
When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon."[88] Bartholdi suggested gildingthe statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch's effect; in spite of its efforts, the statue remained virtually invisible at night. When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel's design.[88] In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue's transfer to the War Department, as it had proved useless as a lighthouse.[97] A unit of the Army Signal Corps was stationed on Bedloe's Island until 1923, after which military police remained there while the island was under military jurisdiction.[98]
The statue rapidly became a landmark. Many immigrants who entered through New York saw it as a welcoming sight. Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled,
I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.[99]
Originally, the statue was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue.[100] In the belief that the patina was evidence of corrosion, Congress authorized $62,800 to paint the statue both inside and out.[101] There was considerable public protest against the proposed exterior painting.[102] TheArmy Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful."[103] The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.[103]
Bedloe's Island in 1927, showing the statue and army buildings. The eleven-pointed walls ofFort Wood
, which still form the statue's base, are visible.
On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated, and seven people were killed. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about $100,000. The narrow ascent to the torch was closed for public safety reasons, and it has remained closed ever since.[94]
That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise $30,000 for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.[104]
After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty Bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.[105]
In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a national monument.[97] The only successful suicide in the statue's history occurred five years later, when a man climbed out of one of the windows in the crown and jumped to his death, glancing off the statue's breast and landing on the base.[106]
September 26, 1972: PresidentRichard Nixon
visits the statue to open theAmerican Museum of Immigration
. The statue's raised right foot is visible, showing that it is depicted moving forward.
In 1933, President Franklin Roosevelt ordered the statue transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe's Island.[97] With the Army's departure, the NPS began to transform the island into a park.[107] The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue's halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete;[108] the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal.[109] The statue was closed to the public from May until December 1938.[108]
During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed "dot-dot-dot-dash," the Morse code for V, for victory. New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night.[110] In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.[109]
In 1956, an act of Congress officially renamed Bedloe's Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it.[111] Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965.[97] In 1972, the immigration museum, in the statue's base, was finally opened in a ceremony led by President Richard Nixon. The museum's backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.[84]
The statue was several times taken over briefly by demonstrators, publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada. Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.[112] A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island.[113] The day concluded with a spectacular display of fireworks near the statue.[114]
See also: Liberty Weekend
July 4, 1986: First LadyNancy Reagan
(in red) reopens the statue to the public.
The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986.[115] In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure. In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced.[116] Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.[117]
In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work.[118] Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations.[119] The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign. A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.[120]
In 1984, the statue was closed to the public for the duration of the renovation. Workers erected scaffolding that obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. Blasting with baking soda powder removed the tar without further damaging the copper.[121] The restorers' work was hampered by the asbestos-based substance that Bartholdi had used (ineffectively, as inspections showed) to prevent galvanic corrosion. Workers within the statue had to wear protective gear, dubbed "moon suits", with self-contained breathing circuits.[122] Larger holes in the copper skin were repaired, and new copper was added where necessary.[123] The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue's; in exchange, the laboratory was provided some of the old copper skin for testing.[124] The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi's unaltered torch.[125] Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead.[126]
The entire armature was replaced. The puddled iron bars used by Eiffel were gradually removed. The new bars that attach to the pylon are made of low-carbon corrosion-resistant stainless steel. The bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves.[127] To prevent the ray and arm making contact, the ray was realigned by several degrees.[128] The lighting was again replaced—night-time illumination now comes from metal halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details.[129] Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation.[130] A modern elevator was installed, allowing handicapped access to the observation area of the pedestal.[131] An emergency elevator was installed within the statue, reaching up to the level of the shoulder.[132]
September 11, 2001: The twin towers of theWorld Trade Center
burn with the Statue of Liberty in the foreground.
July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail,[133] and the statue was reopened to the public on July 5.[134] In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."[133]
Following the September 11 attacks, the statue and Liberty Island were immediately closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004,[134] but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of theBush administration.[135] New York Congressman Anthony D. Weiner made the statue's reopening a personal crusade.[136] On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.[135] The statue, including the pedestal and base, closed on October 29, 2011 (the day after celebrations to mark the statue's 125th anniversary), for installation of new elevators and staircases, and to bring other facilities, such as restrooms, up to code. Although the statue is closed to the public for up to a year, Liberty Island remains open.[1][137]
Tourists aboard aCircle Line
ferry bound forLiberty Island
, June 1973
The statue is situated in Upper New York Bay on Liberty Island, south of Ellis Island. Both islands were ceded by New York to the federal government in 1800.[138] As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay's midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Land created by reclamation at Ellis is New Jersey territory.[139]
Entrance to the Statue of Liberty National Monument is free, but there is a charge for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953.[140] The ferries, which depart from Liberty State Park in Jersey City and Battery Park in Lower Manhattan, also stop at Ellis Island, making a combined trip possible.[141] All ferry riders are subject to security screening, similar to airport procedures, prior to boarding.[142]
The statue, pedestal, and base are presently closed for renovation work.[1] When the structure is open, visitors intending to enter the statue's base and pedestal must obtain a complimentary museum/pedestal ticket along with their ferry ticket.[143] Those wishing to climb the staircase within the statue to the crown purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day are permitted to ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.[144]
Plaque honoring poetEmma Lazarus
, with the text of "The New Colossus


text:
What a Load of Golf Balls
Through out the history of golf the golf ball has evolved more than any other piece of equipment used in the game. From the very first wooden balls followed by the feathery to the latest 4 piece, high energy core, tungsten weighted, titanium, super thin covered, go further go straighter last forever golf ball, advances in science and the materials used in manufacturing has taken that little white thing to a new level of performance.
At the moment in my shop I have 36 different balls to choose from and there are plenty more types I could stock. This being the case it is difficult for a golfer to choose which is the right ball for them especially when they all claim to be the best thing since the couch potato was given the remote control.
The Number one
Titleist golf balls have been known for many years as 'The Number 1 Ball in Golf' and it is true that more tour players across the world use a Titleist ball. Some golfers think that if Ernie Els is playing with a Titleist then they should play with a Titleist as well, however, that is not necessarily the case. Believe it or not in amongst this huge selection there is the right ball for you and the ball you choose to play with needs to suit your requirements and level of skill.
In my opinion the huge range of golf balls on the market can be broken down into 5 categories.
1) Budget
2) Hard
3) Medium
4) Soft
5) Swing speed
If you are a beginner, or lose a lot of golf balls, then buying budget balls is the best thing to do. These are often packaged in 15 ball boxes and are a hard durable ball that will generally go further when you hit them. The draw back of this ball is that it is very lively off of the club face and when it comes to chipping and putting can lack some of the soft feel that some golfers prefer.
The harder golf balls such as Topflite XL 3000, or Callaway CB1 are perfect for the golfer who doesn't lose too many balls but could do with more distance off the tee. These balls are not as hard as the budget type, but are durable and offer some feel around the green although they still won't stop very quickly on landing.
If you want the combination of distance, feel and durability then balls such as the Titleist NXT Tour, the Callaway Hex 2 or the Strata Tour Straight are ideal. These are all what I call a medium ball giving the golfer consistent performance in all areas.
The top players in the world all use soft golf balls. Up until about 4 years ago the cover of the ball was actually soft enough to mark with your finger nail and marked very easily when miss hit. This meant that only the best ball strikers, or golfers with more money than sense, would use them. These days the covers on these balls are very durable and the ball will spin and stop very quickly on and around the greens. The leading balls in this category are Titleist Pro V1, Callaway Hex, Strata Tour Ace, Hogen Apex Tour and the Maxfli M3. These balls are manufactured to the highest specification and quality and every golfer could play and enjoy them. They are however very expensive at about Ј10 for 3 balls if you are a bit wayward with your shots then it could cost a fortune in golf balls.
When it comes to swing speed some players just cannot swing the golf club very quickly. If this is the case some manufacturers are now making balls specifically for those of you who struggle to get any distance because you just can't hit it hard enough! The Maxfli Noodle ball is perfect for anyone who has a slow swing and they are durable and affordable.
Whichever ball you choose, try to stick with that ball every time you play. You will get used to the feel and performances of the ball, which in turn will help, play more consistent golf.
Clay Morris


text:
In Australia, the government is seriously committed to enhance the productivity of Australian people in various sectors through several complementary funding programs. It is very easy to complete courses and earn certificates in different fields of interest with these schemes. You cannot only get necessary knowledge and skills for your desired job with almost no fees, but you can also boost the worth of your job resume with that extra qualification.
There are some security courses in Brisbane and in the whole Queensland which are largely funded by the government. This is a great help by the government to lighten the monetary burden of undertaking the security courses. With such a great opportunity to do security courses in Brisbane with a heavy government funding, what is stopping you from getting yourself enrolled in one of the security courses?
Check out the following government funded security courses in Queensland available at the Universal Training Academy.
1. Certificate 3 Guarantee- Certificate III in Security Operations
Certificate 3 Guarantee programs are subsidized security training programs offered by the Queensland government. The main objective of the certificate 3 Guarantee program is to provide funded security training in Certificate level II and III which would help the students in career progression. This program intends to teach the students some foundation skills required for a certificate level III course. With a certificate III in security operations course you can practice as a security worker in shopping malls, night clubs, building sites, monitoring centers, and more. This course will also equip you with the roles of a security manager and supervisor. This security course is also a pre-requisite for various other security courses, such as bodyguard, crowd controller, security guard, etc.
2. Certificate 3 Guarantee- Certificate II in Security Operations
Certificate II in security operations is also a government funded security course if done through a certificate III guarantee program. A certificate level II in security operations is the first and mandatory level of qualification in the security training. It gives one an entry into the security industry and includes the basic units of competency required for the roles of an unarmed security guard and a crowd controller.


text:
For Release:
Michael Powell
"I passionately believe that we should fix, not close or ignore, public schools that need improvement."
LOS ANGELES—Low-performing schools should be fixed, not closed or ignored. We must use real education reforms that have been shown to improve teaching and learning, such as the teacher-led, collaborative model that has turned around Woodland Hills Academy in Los Angeles, American Federation of Teachers President Randi Weingarten said today at a news conference.
Following a visit to the school, Weingarten announced an AFT Innovation Fund grant to United Teachers Los Angeles to help teachers design teacher-led public schools like Woodland Hills, which has witnessed improving student achievement and growing enrollment.
Weingarten noted that so-called reformers too often rely on counterproductive measures, like closing schools or turning them over to private entities.
"That's not good for our students, and it's certainly not good for neighborhoods. I passionately believe that we should fix, not close or ignore, public schools that need improvement," she said. She lauded Woodland Hills' strategic, structured, collaborative education reform plan. "Parents were at the front end of reform and continue to be part of the educational process, which is absolutely essential."
Woodland Hills Academy was the city's first school of choice using expanded school-based management. Teacher and parent collaboration on the school's reform efforts has resulted in improved student achievement and increased enrollment.
Weingarten said this effective model stands in stark contrast to the parent trigger model being considered for 24th Street Elementary School, where, she said, "parents and teachers need to work together to help the struggling school; parent trigger is not the best way to improve it."
Also speaking at the news conference were UTLA President Warren Fletcher, Los Angeles Unified School District school board member Steven Zimmer and two parents, who explained that they chose to send their children to Woodland Hills because parental engagement is embedded in the school's operations, and because of the various interventions and other efforts to help individualize education for the students.
Michael Bennett, the former principal of Woodland Hills, has been hired by UTLA to run the Center for Effective School Improvement using the AFT Innovation Fund grant.
The AFT Innovation Fund, launched in 2009, has made more than 25 investments in groundbreaking work across the nation. Support comes from the AFT and private philanthropies, including the Bill & Melinda Gates Foundation and the Ford Foundation.
Weingarten also visited Stanley Mosk Elementary School, where she helped distribute nearly 1,000 books provided by First Book and funded by UTLA—about half will be given to students to take home and the other half will be used in classrooms.


text:
Do Interior Designers still make mood boards for clients? When I studied for my diploma in Interior Design we spent a lot of time making and creating mood boards. I once almost lost a thumb with a Stanley knife, and one day I glued myself and my dress to a chair. (There is another story at the end of this blog…) The question is: Is it still relevant in today's digital world? Many of our clients ask us: "Will you also make me a mood board for the design?" The answer is "yes" and "no". A physical mood board is great to give a client the overall look and feel of a design, so we do include a mood board in most of our designs. However, there are so many other design tools available today.
One of our tools we use are hand sketches and 3D visualisation where you can literally "walk through your home". With digital technology we find we can make a client almost 20 to 30 different "mood boards" to explain different elements of the design concept. If we now stick all the samples to a mood board, the client can't always mix and match the different options. It also makes it very uncomfortable for a client to walk into a home ware shop with their A3 sample board under the arm! We prefer to provide the samples separately in a box, basket or file. It also makes it easier to change samples if a supplier is out of stock or the client decides to use another fabric.
So if you are thinking of being your own designer, get yourself a specific basket, tray, cork board or folder for each room. This way you can add samples, magazine snippets or even trinkets that resemble your colour and style. Most of us want to touch and feel tiles, timber or fabric before we make a decision. So have fun and create a basket full of texture. When needed, you can spread them all over your home to help you make final decisions.
Even if you want to eventually make use of Interior Designers (like us for instance!), it will be great to gather as many elements as possible even before the first meeting. The more we know about your taste, the easier we can get to a great design. Don't stress that everything in your basket need to match, your designer will narrow it down now that they understand your taste.
My biggest fiasco with a mood board was the one Monday morning I had to do a presentation at my design school in the city. (I studied at Sydney Design School) I was holding on to this A2 sized mood board full of tile, timber and fabric samples. I worked on this mood board until about 3 am the previous night, pasting and cutting and preparing for my presentation. So needless to say I was really tired at 8am on the train. When I reached my station I stood up to exit the train. At the door I realised I had my mood board but not my handbag. I rushed back to my seat and ran back to the door again. I slightly tripped (mind the step) as I exited, hitting the mood board against the train door. At that moment, my precious timber and tile samples slid off and fell between the train and the platform. Gone. On the tracks laid my samples, my dignity and my presentation marks.
Our advice is: Don't be too hung up on the mood board that is created, but rather look into the design concept, visualisation elements, colour and spatial design elements. Your interior designer might not be the best at arts and crafts creating a fabulous mood board, but might actually be a fantastic designer with loads of ideas for spatial layout and colour recommendations.
Happy decorating,


text:
Last evening I drove out with my car to Brescia to attend the annual fest of local long time independent radio called Onda D'Urto. I'm glad I've managed to make it there since I got to see a great concert and without the possibility to make advance planning and arrangements I, by chance, hooked up with Walls Of Jericho's Candace Kucsulain, she was out of backstage wandering around through the stalls selling colourful-hippish dresses, who kindly offered a bit of her time to reply a few questions for an interview will be featuring shortly -this despite her confiding to me that she really had to save her road's worn out voice for tonite show.
Okay, let's start reporting what went on up on the huge festival-like stage the radio set up for the live music events they'll be hosting until 29th August (today is just the second day).
The band that has had the usually awkward task to open up the gig, a few minutes past 9.00 pm, is Stockholm, Sweden's NO OMEGA.
|No Omega


text:
International Management Trainee
National Gay & Lesbian Chamber of Commerce – Digital Media Manager – previous digital promoting experience, including web site, social media, and/or e-newsletter method development and management specifically sought. The specialisation contains courses on consumer buyer behaviour, visual merchandising and shopper practical experience management, retail promoting abilities, industrial retailing, retail merchandising and buying, retail shops and operations management, franchising in retail, retail finance and analytics and e-retailing. No matter no matter if you perform for a organization or You make your personal business enterprise, Operations Management supplies lots of useful business concepts and tools.
In addition to language issues, cultural variations make international organization additional difficult, but with the globalization of the planet markets, it is well worth your time and work to learn multi-cultural business enterprise etiquette. Growth of international business enterprise will also contribute to an anticipated raise in demand for management analysts.
For example 50% of the individuals who perform the job of International Sales Manager are anticipated to make much less than the median. The following are the subjects covered below this course, International Logistics, Export and Import Management, Foreign Exchange Management, International Advertising and marketing and International Finance. I got a job provide from gulf uniform designer plant, they are providing me a sal of 3000 SAR p.m I am from India.


text:
By Mikkayla Guillett, Toros Nation
The Toros played host to the Tulsa 66ers in their first game back from their 10-day break.
Like recent home games Cousin started hot scoring 11 of the Toros first 12 points. His early efforts were not enough to hold on to the lead. The Toros largest lead of the night (two) came early and didn't last long at 8-6 early in the first. By the end of the quarter they trailed by 10 at 34-24.
The deficit normally seems easy to diminish yet seemed to be out of the Toros reach the majority of the game.
Tulsa's speed and ability to move around the court made it seem as if they had six men on the court. For every bucket the Toros made the 66ers would answer back with a pair. In the first half alone the Toros were outscored 38-18 in the paint. By intermission Tulsa doubled their lead, 63-43. Cousin led all with 17 points (8-9).
Click HERE for the complete recap at Toros Nation.