Puget Sound Naval Shipyard Puget Sound Naval Shipyard and Intermediate Maintenance Facility, is a United States Navy shipyard covering 179 acres on Puget Sound at Bremerton, Washington in uninterrupted use since its establishment in 1891. It is bordered on the south by Sinclair Inlet, on the west by the Bremerton Annex of Naval Base Kitsap, on the north and east by the city of Bremerton, Washington, it is the Pacific Northwest's largest naval shore facility and one of Washington state's largest industrial installations. PSNS & IMF provides the Navy with maintenance and technical and logistics support. Puget Sound Naval Shipyard was established in 1891 as a Naval Station and was designated Navy Yard Puget Sound in 1901. During World War I, the Navy Yard constructed ships, including 25 subchasers, seven submarines, two minesweepers, seven seagoing tugs, two ammunition ships, as well as 1,700 small boats. During World War II, the shipyard's primary effort was the repair of battle damage to ships of the U.
S. fleet and those of its allies. Following World War II, Navy Yard Puget Sound was designated Puget Sound Naval Shipyard, it engaged in an extensive program of modernizing carriers, including converting conventional flight decks to angle decks. During the Korean War, the shipyard was engaged in the activation of ships. In the late 1950s, it entered an era of new construction with the building of a new class of guided missile frigates. In 1965, USS Sculpin became the first nuclear-powered submarine to be maintained at PSNS; the shipyard was designated a National Historic Landmark in 1992. The historic district includes 22 contributing buildings and 42 contributing structures, as well as 49 non-contributing buildings and objects; the most visible feature of the shipyard is its huge green hammerhead crane, built in 1933. The PSNS hammerhead crane is 80 feet wide with a lifting capacity of 250 tons; the Puget Sound Naval Shipyard contains five historic districts: Officers' Row Historic District. These five units are a comprehensive representation of the historic features of the naval shipyard.
In 1990 the Navy authorized the Ship-Submarine Recycling Program to recycle nuclear-powered ships at PSNS. 25% of the shipyard's workload involves inactivation, reactor compartment disposal, recycling of ships. It has pioneered an environmentally safe method of recycling nuclear-powered ships; this process places the U. S. Navy in the role of being the world's only organization to design, build and recycle nuclear-powered ships. On 15 May 2003 PSNS and IMF were consolidated into what is now known as PSNS & IMF. PSNS is the only U. S. facility certified to recycle nuclear ships. During all this period Puget Sound Naval Shipyard has scrapped more than 125 submarines and some cruisers; the shipyard contains a portion of the United States Navy reserve fleet, a large collection of inactive U. S. Navy vessels, including the aircraft carrier USS Kitty Hawk. Kitty Hawk is mothballed, meaning that she is stored in case she is needed by the Navy in the future. Gorst Creek Ravine near Port Orchard, Washington was a hazardous waste dump for the Navy's shipyard waste between 1969 and 1970, when the site was not permitted by local authorities to take waste.
After several collapses since 1997 the landfill could blow out Highway 3. The landfill is an "ongoing source of pesticides, polychlorinated biphenyls and metals flowing downstream with the potential to affect groundwater wells, sport fisheries and the Suquamish Tribe's fish hatchery. In October 2014, the US EPA ordered the Navy to fix the problems. List of U. S. National Historic Landmark ships and shipyards Puget Sound Naval Shipyard & Intermediate Maintenance Facility
Cleaner fish are fish that show a specialist feeding strategy by providing a service to other species, referred to as clients, by removing dead skin and infected tissue from the surface or gill chambers. This example of cleaning symbiosis represents mutualism and cooperation behaviour, an ecological interaction that benefits both parties involved. However, the cleaner fish may consume mucus or tissue, thus creating a form of parasitism called cheating; the client animal is a heterospecific fish, But can involve aquatic reptiles, mammals or octopuses. A wide variety of fish including wrasse, catfish, pipefish and gobies display cleaning behaviors across the globe in fresh and marine waters but concentrated in the tropics due to high parasite density. Similar behavior is found in other groups such as cleaner shrimps. There are two types of cleaner fish, obligate full time cleaners and facultative part time cleaners where different strategies occur based on resources and local abundance of fish.
Cleaning behaviour takes place in pelagic waters as well as designated locations called cleaner stations. Cleaner fish interaction durations and memories of reoccurring clients are influenced by the neuroendocrine system of the fish, involving hormones arginine vasotocin and serotonin. Conspicuous coloration is a method used by some cleaner fish, where they displaying a brilliant blue stripe that spans the length of the body. Other species of fish, called mimics, imitate the behavior and phenotype of cleaner fish to gain access to client fish tissue; the specialized feeding behaviour of cleaner fish has become a valuable resource in salmon aquaculture in Atlantic Canada, Scotland and Norway for prevention of sea lice out breaks, beneficial to the economy and environment by minimizing use of chemical delousers. Cultured for this job are lumpfish and ballan wrasse; the most common parasites that cleaner fish feed on are copepod species. The following is a selection of few of the many marine cleaner species.
Studied cleaner fish are the cleaner wrasses of the genus Labroides found on coral reefs in the Indian Ocean and Pacific Ocean. Neon gobies of the genera Gobiosoma and Elacatinus provide a cleaning service similar to the cleaner wrasses, though this time on reefs in the Western Atlantic, providing a good example of convergent evolution of the cleaning behaviour. Lumpfish who are utilized as salmonid cleaner fish in aquaculture, but it is unknown if they display cleaning behaviour on salmon in the wild. Brackish water refers to aquatic environments that have a salinity in between salt and fresh water systems. Cleaning symbiosis has been observed in these areas between two brackish water cichlids of the genus Etroplus from South Asia; the small species Etroplus maculatus is the cleaner fish, the much larger Etroplus suratensis is the host that receives the cleaning service. Cleaning has infrequently been observed in fresh waters compared to marine waters; this is related to fewer observers in the former habitat compared to the latter.
One of the few known examples of cleaning is juvenile striped Raphael catfish cleaning the piscivorous Hoplias cf. malabaricus. In public aquariums, Synaptolaemus headstanders have been seen cleaning larger fish. A facultative cleaner fish does not rely on specialized cleaning behaviour for nutrient consumption. Facultative cleaners can be further divided by stationary vs. wandering facultative cleaners. Facultative cleaners may display cleaning behaviour through their whole life history or during juvenile stages for additional nutrients during rapid growth. Examples of facultative cleaners are wrasse species such as the blue headed wrasse, noronha wrasse and goldsinny wrasse, sharp nose sea perch in Californian waters, the lumpfish. Using the example of the blue wrasse from Caribbean waters, their alternative feeding strategy is described as being a generalist forager, meaning they eat a wide variety of smaller aquatic organisms based on availability; when displaying cleaning behaviour, it has been noted that the blue wrasse inspects potential clients and only feeds on some, implying that the wrasse is seeking out a particular type of parasite as diet supplementation.
It has been quantified that the blue wrasse foraging behaviour does not change proportionate to cleaning opportunities, again promoting the idea that the cleaning behaviour in this facultative fish is for diet supplementation and not out of necessity. An obligate cleaner fish relies on specialized cleaning behaviour for nutrient consumption. Therefore, obligate cleaners have a higher output of cleaning on a wider range of parasites in comparison to facultative fish. To maximize nutrient consumption, obligate cleaners utilize a higher proportion of cleaning stations. Obligate cleaner fish may be divided by stationary and wandering and these life history choice are made based on the amount of interspecific competition from other obligate cleaners in the area. An example of an obligate cleaner is the shark nose goby in the Caribbean Reef, where it has been observed to perform up to 110 cleanings per day. Cleaning stations are a strategy used by some cleaner fish where clients congregate and perform specific movements to attract the attention of the cleaner fish.
Cleaning stations are associated with unique topological features, such as those seen in the coral reef and allow a space where cleaners have no risk of predation from larger predatory fishes, due to the mutual benefit from the c
Kodo Nishimura is a Japanese Buddhist monk and makeup artist. He is active in the United States, he is gay and a supporter of LGBTQ issues. Nishimura grew up in Tokyo, his father was a Jodo shu Buddhist priest, Nishimura was raised in his temple. He studied ikebana for eight years. After watching The Princess Diaries in junior high school, Nishimura became interested in visiting the United States. Nishimura struggled with his perception of his own beauty as an Asian man before discovering makeup, which he did not use in Japan because of social stigmas. After graduating from high school, Nishimura moved to the United States and studied at Dean College, where he asked drag queens working at makeup stores questions about what to buy, he purchased makeup and learned how to use it. He graduated from the Parsons School of Design. Nishimura began working as a makeup artist when he was 22, he got an internship with a makeup artist that led to a job. His work was featured in Life & Style, he does makeup for beauty queens in Miss Universe contests.
In addition, Nishimura spends time teaching transgender women. Nishimura came out as gay; when he returned to Japan, Nishimura began to train as a priest. At first, he was hesitant to do so because of his career as a makeup artist, he thought. After consulting with a mentor, he realized that he could be both a Buddhist priest and a makeup artist as long as his goal was to spread Buddhist beliefs about living in happiness and harmony with others, he was ordained in 2015 and serves in his father's temple. Nishimura splits his time between his work as a makeup artist and his work as a priest. Official website
Lý Hoàng Nam is a Vietnamese tennis player. Nam has a career high ATP singles ranking of 430 achieved on 21 May 2018, he has a career high ATP doubles ranking of 415 achieved on 24 July 2017. He won the 2015 Wimbledon Championships – Boys' Doubles title along with his Indian partner Sumit Nagal, defeating Reilly Opelka and Akira Santillan in the final, becoming the first Vietnamese tennis player to win a Grand Slam trophy. Nam represents Vietnam at the Davis Cup, where he has a win/loss record of 15–7. Lý Hoàng Nam at the Association of Tennis Professionals Lý Hoàng Nam at the International Tennis Federation Lý Hoàng Nam at the Davis Cup
Life Express is a 2010 Indian drama film about a career-minded woman who decides to become a mother through surrogacy after having an aboriton. Mumbai-based Tanvi Sharma, married to financier, for 3 years, is thrilled when she is not only promoted as Assistant Vice-President with her employer, ICBI Bank, but tests positive for motherhood, her joy surrounding her pregnancy is short-lived when she realizes that motherhood will not only negatively impact her marriage but her promotion as well. After her abortion and Nikhil decide to have a child through a surrogate, who will live with them during the pregnancy period. A broker, arranges a surrogate, Gauri, an impoverished village-based mother of two children, the wife of an unemployed idol-artist, Mohan. While dealing with pressures of the stigma attached of nursing a child sired through another woman from family and friends, she must deal with the fact that a naive Gauri may decide to keep the child. Rituparna Sengupta as Tanvi N. Sharma Kiran Janjani as Nikhil Sharma Yashpal Sharma as Mohan Alok Nath as Mr. Singh - Tanvi's dad Nandita Puri as Mrs. Shanti Singh - Tanvi's mom Anjan Srivastav as Paresh Daya Shankar Pandey as Shukla Vijayendra Ghatge as Tanvi's boss Divya Dutta as Gauri Sapan Saran as Soni Roop Kumar Rathod was the music director.
Shakeel Azmi wrote the lyrics. The album has 8 tracks. Life Express on IMDb
The Théâtre Historique, a former Parisian theatre located on the boulevard du Temple, was built in 1846 for the French novelist and dramatist Alexandre Dumas. Plays adapted by Dumas from his historical novels were performed, although the theatre survived the 1848 Revolution, it suffered increasing financial difficulty and closed at the end of 1850. In September 1851 the building was taken over by the Opéra National and renamed again in 1852 to Théâtre Lyrique. In 1863, during Haussmann's renovation of Paris, it was demolished to make way for the Place de la République; the name Théâtre Historique was revived by some other companies in early 1890s. Dumas tells the story behind the founding of the Théâtre Historique in his 1867 memoir Histoire de mes bêtes, his drama adapted from his novel The Three Musketeers had premiered on 27 October 1845 on the boulevard du Temple at the Théâtre de l'Ambigu-Comique. On that occasion Dumas met the 21-year-old Duke of Montpensier, youngest son of the French king, Louis-Philippe.
The Duke invited Dumas to his box at the end of the performance, during their conversation, he offered to use his influence to help Dumas obtain a license to open a theatre. The Duke first approached the Minister of the Interior, Tanneguy Duchâtel, who declined saying that Paris had enough theatres; the Duke went directly to his father. By 14 March 1846 the privilège was assigned to Hippolyte Hostein, designated by Dumas as the director of the new theatre; the license granted the right to present prose dramas and comedies, as well as lyric choral works for two months of each year. A company was formed on 24 March composed of Dumas, M. Védel, the banker Auguste-Armand Bourgoin, M. Ardoin, Hostein. Within a month the company purchased two sites on the boulevard du Temple, near its intersection with the rue du Faubourg du Temple: the former Hôtel Foulon and a small café-bar, the Epi-Scié, next to the Cirque Olympique. Together, the two sites cost about 600,000 francs. Work began immediately under the direction of the architect Pierre-Anne Dedreux and the architectural decorator-painter Charles Séchan.
The awkward site, wedged between two buildings at the front, wide at the back on the rue des Fossés du Temple, "required great skill in adapting it to its new purpose." The facade on the boulevard du Temple was narrow, not more than 26 feet in width. The entrance was flanked by two pairs of engaged fluted Ionic columns on a high base with two broad sculptured bands on the lower portion of each column. Two facing caryatides, presenting in profile to the boulevard and representing the muses of Tragedy and Comedy, supported the flat architrave at the front of a semicircular entryway with four spaced Ionic columns delimiting the curvature of the inside doorway. Above the entablature of the entrance was an unusual semicircular Corinthian balcony enclosed at the front by a thin balustrade surmounted with four lampposts. At the top of the two double-width flat pilasters bracketing the balcony were masks of Tragedy and Comedy, below which were engraved the names of six playwrights: on the left, Corneille and Molière.
The balcony was covered with a semidome above a semicircular frieze. Both the cupola and the frieze were painted in fresco by Joseph Guichard; the central group of figures in the cupola represented Poetry, leading Comedy by the hand, Tragedy, each carrying their respective attributes, the comic mask and the poniard. Below these to the right were Aeschylus, Euripides, Shakespeare, Racine, Schiller, Nourrit, Méhul, to the left, Menander, Terence, Molière, Lope de Vega, Regnard, Mlle Mars, Grétry; the panels in the frieze portrayed the Temple of Bacchus and scenes from Medea, Phèdre, Cinna, Le Misanthrope, Le Bourgeois gentilhomme, Mahomet, William Tell, L'Avare. Flanking the semidome on the front were pairs of figures representing on the left, Corneille's Cid and Chimène, on the right, Shakespeare's Hamlet and Ophelia; the central figure in the break in the circular pediment represented the "Genius of Modern Art". All of the sculpture was the work of Jean-Baptiste-Jules Klagmann known for his sculpture work at the Fontaine Louvois.
The entrance vestibule was only 60 feet long and 14 feet high. A foyer, located on the floor above the vestibule, provided access to the exterior balcony and was "surprisingly warm" with tones of white-gold enhanced with the dark red of the velvet coverings of the divans and chairs, light from elaborate chandeliers of a "fantastic and capricious design."The shape of the auditorium was quite different from most Parisian theatres of the time, being an ellipse the long axis of, aligned parallel to the stage rather than perpendicular to it. This arrangement was reminiscent of Pallidio's 16th-century theatre, the Teatro Olimpico, in Vicenza; the long axis, from the back of the boxes on one side to the other, was 65 feet in length, while the short axis was 52 feet. The exceptional width of the opening to the stage, at 36 feet, was considered advantageous to the presentation of spectacle, while the shape of the house favored excellent sight lines and good acoustics, since it brought most of the spectators closer to the stage.
The striking oval ceiling was designed and painted by Charles Séchan, Ju