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PRG's New Concert Touring Products on U2's eXPERIENCE + iNNOCENCE Tour
Pure10 and Rolling Video Floor Risers elevate the touring industry
LOS ANGELES – May 14, 2018 – Production Resource Group LLC, (PRG), the world's leading provider of entertainment and event technology solutions, announces two product innovations - Pure10 and Rolling Video Floor Risers - which have been integrated into the design, production and operations for the U2 eXPERIENCE + iNNOCENCE Tour. Both solutions demonstrate PRG's dedication to innovating products that respond to the needs of artists, tour designers and managers seeking to push boundaries and deliver a more immersive concert experience.
"PRG has supported every U2 tour since 1992, and they always challenge us to be innovative with available technology or to create something new," said Jeroen Hallaert, director of PRG Projects North America.
U2 eXPERIENCE + iNNOCENCE Tour is a follow up to the 2015 Songs for Innocence Tour for which PRG provided the video cage on the moving catwalk between the video screens. However, for the 2018 tour, U2's creative team required high-resolution, super transparent LED video screens and an independent automated kinetic catwalk between the video screens. The purpose of the transparent LED video screens is to allow band members to perform amidst the LED walls (as during the 2015 tour) without creating a visual divide in the arena. It also provided the ability to integrate Augmented Reality into the show.
Further, the design team wanted the catwalk to be accessible by a moving staircase, and therefore the catwalk should move independently from the video screens. This added automated catwalk required more motors and equipment, thus adding weight. This meant PRG Projects had to find a solution to make not only high-resolution, super transparent LED video screens but also make it super light-weight.
In response to U2's challenge to create a transparent LED wall, PRG Projects revolutionized the way LED screens are built and created the patent-pending Pure10. Rather than mounting the printed circuit boards (PCB) holding the LED in standard clunky frames, PRG Projects sliced the PCB in strips and turned them 90 degrees with the LED mounted on the side. This resulted in 75 percent transparency.
The added specially curated Augmented Reality scene-setter - triggered by the LED screen – required a transparent, high-resolution screen. The way PRG Projects chose to build the screen allowed for a 10mm pixel pitch. A pitch far superior than what PRG Projects initially imagined.
"The creative team and the band were looking for a LED screen that allowed them to use AR in the way they envisioned. Pure10 works so well thanks to the magic combination of the pixel pitch, the high transparency and the brightness," said Hallaert. "The band now calls the screens and catwalk the barricage."
Additionally, rather than metal fabrication to house or frame the Pure10, PRG Projects used knowledge gained from developing the SPACEFRAME® and engineered a fast-building system in carbon fiber. This resulted in the weight savings that the tour's production team was looking for. It also gave free reign to the designers and the band to further use the automated catwalk creatively.
As with the innovative transport design for the SPACEFRAME, PRG Projects has advanced the way concert touring is taken on the road with Pure10 by maximizing space and volume in trucks, airplanes and sea containers. The number of trucks needed is cut in half compared to the 2015 tour. Further, when the equipment is used during the show, empty transport dollies fold, stack and roll away in the tiniest spaces. This allows for other departments to move around the venue more freely and makes for ergonomic and superior logistics for load-ins and load-outs.
Rolling Video Floor Riser
The Rolling Video Floor Riser is a revolutionary system in how it's built and disassembled. Initially revealed last year, PRG Projects updated and upgraded it for U2 to be used as the round stage. Each riser is fitted with 2 LED modules offering a high resolution 4mm pixel pitch during performances. Each riser has integrated magnets to enable a speedy assembly - an LED Floor of up to 1,076 square feet can be set up in less than 20 minutes.
"The Rolling Video Floor Risers were developed to meet the short set-up and change-over times of LED flooring which is perfect for the concert touring and festival segment," said Mark O'Herlihy, vice president of PRG Global Entertainment.
Not only do the Rolling Video Floor Risers dramatically reduce the set-up time for an LED floor on stage, they also are transported in especially fitted dollies, which contain six risers each. The dollies are 1.6 m in height, allowing shipment via airfreight on the lower deck, which drastically reduces the shipping costs.
Credits Pictures © Steve Jennings
A technical symbiosis of light and video
It is the most visited ice show in the world - Holiday on Ice! This year, the production celebrates its 75th anniversary. "Atlantis" is one of two shows currently touring Germany and France, exciting its audiences with spectacular costumes, great choreography and impressive scenography.
Once again this year, PRG will return to Holiday on Ice's frozen world and support the show in terms of event technology. In addition to rigging and audio technology, PRG also provides lighting and video technology.
Adam Bassett of Woodroffe Bassett Design is the lighting designer of the show. Among other things, he and his team have worked on the lighting for the Rolling Stones, Lady Gaga and the Olympic Games. Adam Bassett explains what aspects played a role in the implementation of the current tour:
"Whenever we develop projects, it's the interplay between the design and what we have available in terms of budget, equipment and technology to meet the specific design challenges. It was very helpful to work closely together with PRG from the start, trying to find technical solutions to the complexities, within our budget."
One of the technical highlights of this year's tour are the ten automated Roll-up screens in the middle of the ice rink. For this, PRG uses six Panasonic PT-DZ21K projectors. The Roll-ups are controlled via DMX by the GrandMA2 console. The GrandMa2 console also controls the WO media server to track the different positions during the show. A completely redundant WO system is used as an output.
As a backdrop of the ice rink, we installed a large video projection. Two Barco HD projectors W f 26K project in different depths so that with the help of the WO system, the data is mapped and a 3D effect is created.
The projections also emphasize the costumes of the figure skaters and thus create the magical atmosphere of the lost city of Atlantis.
Kjell Peersman, Technical Manager of Holiday on Ice, is delighted with the successful video-technical implementation of the show content:
"We had to find a tailor-made solution to deliver video content on the automated roll-ups. PRG developed a great solution for this, making all boards and media servers communicate with each other. The result is just great! "
In addition to video technology, the lighting has been carefully adapted to the scenario of the show. A total of 40 Icon Edges were used. This moving head is a fast beam, spot and wash luminaire; it contains a wide range of gobos and offers a lot of lighting effects, which benefits the tour.
Bob Walpot, Director of Operations and Asset Strategy PRG, is satisfied with the technical solutions the team has created for the show:
"The combination of these video and lighting elements in synergy with the sumptuous costumes creates a wonderful and immersive show."
Holiday on Ice's Anniversary Tour is also a great success! In total, over 90 shows are performed. Till the end of February, the ice skaters will still enchant the audiences before Atlantis sinks back into the sea.
The 9th edition of the Longines Masters of Paris, European leg of the Indoor Grand Slam of Showjumping took place from Nov 30th to Dec 3rd.
This renowned competition is one of the most prestigious equestrian events worldwide, which attracts more than 50 000 spectators and is broadcasted in more than 120 countries.
PRG Belgium provided all lighting, video and sound for this 5* Event and premiered with 130 of its' new sports lighting fixtures the Ephesus Arena Pro 300 in Europe.
Bruno Sepulchre, Production Director EEM, explains: "PRG accompanies us on the Longines Masters since numerous years. Their team is aware of our needs in terms of technology, services and flexibility but also has the broad and fundamental knowledge of the venues. Affinities create themselves and the way of work is reinforced with every production we do together.
I have been wanting to find an LED sports lighting fixture, which offers a irreproachable even lighting and that can be relit instantly in case of a small power failure or technical problem without any cooling time in Europe for years — it was my absolute dream — and it is absolutely fabulous that PRG made it possible for us! For me it is a fantastic achievement!"
The Ephesus Pro 300 LED sports lighting fixture provides a high quality flood lighting which meets the lighting standards of every arena sport.
The field of play is lit uniformly without any glare, unwanted shadows or hot spots. It's an up to 50% energy saving spot lighting solution with colour tuning technology, which offers the possibility to flood the field in any colour from 3500K to 6500K and can be implemented in the show lighting to enhance the spectators experience. It is fully HDTV compliant and is rated IP66!
Frank Lombaers, Show Producer, adds: "The Longines Masters is much more than a sport event. It's about lifestyle, it's about luxury, it's about presenting brands and all of this makes the Longines Masters what it is and what it has become since it first started as the Audi Masters in Brussels in 2004. At every production, and believe me, I have a long history of productions with PRG, their teams bring us absolute added value to the events we produce. A load of know-how, a lot of professionalism and a structure with which it is very good and trustworthy to work with worldwide!"
In addition to the lighting technology supplied by PRG, of which the lighting kit was composed of 130 Ephesus Arena Pro 300 and 32 Icon Edges for the competition area and 164 SGMs for the VIP zone and the seating zone of the spectators, PRG also provided three ROE MC7 LED screens and a comprehensive kit of 100 KIVA Acoustics.
Stephan Paridaen, President & COO of PRG Group, stipulates: "PRG is very proud to be associated with the Longines Masters Series globally because a lot of the production synergy and values that EEM and Longines are bringing to this sport, which I happen to be passionate about, are very tied to our PRG values — attention to detail, attention to quality, going global and making sure that the entire production and the services are of top-notch quality! We can supply products, we can provide technology but PRG stands for Productions Resource Group and that is really the value we bring to our customer."
PRG would like to thank Christophe Ameeuw, CEO of EEM, creator, owner and organizer of the Longines Masters, Matthieu Gheysen, Bruno Sepulchre and Frank Lombaers for the trust they place in our 360° services and thank our own team for their great dedication and their great team-spirit which was complimented by the client.
In February 2018, the Longines Masters Series will open its' doors in Hong Kong before heading to New York in April 2018.
We hope to see you there!
The French indie Rockers Group Phoenix started its' world Tour, Ti Amo, in North America in May this year, before rocking the festival season here in Europe, then hitting the Asian continent and returning for their shows in London and Paris this month of September.
Once the whole of the creative design in place, Live Nation France, renowned organizer of prestigious concerts worldwide, approached PRG France with a very ambitious and challenging set design needing to dazzle spectators on a festival stage as well as an Arena stage, without changing the design.
The guideline resumed itself in 'modularity and time saving touring concepts' for this Phoenix World Tour, for which PRG France pulled in the PRG Projects team, who specializes in the integration and development of unique staging and visualisation items.
In very close collaboration with the client, PRG France and PRG Projects met this thrilling challenge by engineering, customizing and producing 126 Rolling LED Floor Risers with integrated magnets to enable an assembly in less than 30 minutes of an LED floor of up to 93sqm during the changeover time of a festival.
The custom video risers were equipped with two ROE LED Black Marble 7 tiles each and had to be interlockable like Lego blocks.
Second, but no less of a challenge was the request for an inclined floating mirror on stage, just above the band, which needed to be built simultaneously. PRG Projects designed two sets of 100sqm of mirrors, weighing 2,8 tons, which were suspended in a very strong aluminium frame from a separate grid with bumpers above the stage, to withstand any eventual windy passages.
Matthias Leullier, Deputy Managing Director Live Nation France, comments: "I was very happy to work with PRG on a global production level for this project, because they came up with lots of solutions and managed to realize every aspect of this set design! Without PRG's expertise and knowledge the whole thing would not have been possible!"
Thierry Kra, General Manager PRG France adds: "I would like to thank Matthias Leullier, for the utmost confidence he placed in us for this challenging project! It was an absolute pleasure to realize this standout design and stage setup with him!
Furthermore, I would like to thank the whole of the PRG Projects team as well as my own here in Paris for their dedication and team spirit! It was simply phenomenal!"
ECA2 produced a spectacular opening ceremony on the Danube in front of the Budapest Castle and the Chain Bridge in association with the Cultural center MÜPA Budapest for the Opening Ceremony of the World Swimming Championships on July 14th.
PRG France, contracted as lighting, sound, video projection, scenic LED displays, and power distribution (Aggreko), supported this technical and artistic production by transforming the historic centre and the Danube into a full-fledged massive show, entirely run by time-code.
PRG installed just over 600 projectors, including 350 ROBE projectors (BMFLs, Spiider, Pointe), 70 new PRG Icon Edges, SGM P5s and GLP X4 Bars, everything controlled by five GrandMA2 lighting consoles.
The audio system consisted of a complete L Acoustics kit (K2/K1Sub/SB28/SB18/Kara2/Arcsll), with a DANTE broadcast network, two Yamaha CL1 & CL5 consoles and a Digital Performer station.
In terms of video technology, PRG installed around 300m2 of LED Absen X5 screens on the background display columns, 8 mapping zones on the stage by video projection with Panasonic PTDZ21k, a video projection on a water-screen (Barco's HDQ-40K VPs) and 100 autonomous HEX Panels with built-in media servers for the artists performing the choreography. The control booth had 4x D3 4x5 and 2x D3 2.5 servers.
This vast technical production was a joint effort between ECA2 and the PRG subsidiaries in France, Belgium, and PRG Projects, with technicians from across the globe (Belgium, France, Qatar, Estonia, Italy, Spain, China, and England). 1,800 working days were needed for pre-production, installation, and operation during the ceremony by our 42 technicians, operators and on-site managers.
The highlights of the ceremony were PRG Projects' Hex Panels, which in combination with the video mapping on the scene, the LED columns and the projection images on the water-screen and the illumination of the castle, the bridge and the quays, illuminated the city beautifully.
Magical laser effects and a magnificent firework also accompanied this spectacular ceremony.
Once again, ECA2 succeeded in producing an extraordinary show combining technologies, special effects, art and scenography.
We would like to extend our warmest thanks to our long-time customer ECA2 for the trust they have placed in our PRG teams for the last 18 years, resulting each time in high quality result and sublime performances, thanks to a flawless commercial, technical and logistical collaboration.
Everyone involved in this project demonstrated excellent teamwork to deliver a truly sublime show! Thank you!
© Show: ECA2 - Photos: Julien Panie
Innovative Touring Frame and 4K Broadcast Camera System Elevate Operational Performance, Stage Design and Fan Experience
Production Resource Group LLC, (PRG), the world's leading provider of entertainment and event technology solutions, announced today that a new product innovation along with the application of an industry-first technology solution – SPACEFRAMETM and a 4K Broadcast Camera System – have been integrated into the design, production and operations for the U2 The Joshua Tree Tour 2017. Both solutions demonstrate PRG's dedication to innovating products that anticipate the needs of tour managers, designers and artists seeking to push boundaries and deliver a more immersive concert experience onsite or virtually.
"SPACEFRAME and the 4K Broadcast Camera System perfectly demonstrate how PRG excels at seeing an opportunity for innovation that will add operational, economic and creative value from a customer's perspective, allowing artists to more freely tell their story," said Steve Greenberg, PRG's CEO of Global Music/TV/Film.
SPACEFRAME is a revolutionary touring frame design seamlessly integrating LED panels to provide industry-changing operational efficiencies and the opportunity for unlimited creative expression. The carbon fiber touring frame is ultra-lightweight, collapsible and fully wind braced creating an intensive built-in structural strength. This allows for a free-form approach to stage designs enabling artists and designers to think outside the conventional LED box. This latest patent-pending technology from PRG also dramatically reduces pre-tour engineering time, shipping footprint/weight, carbon emissions, load-in and load-out times, as well as labor required on tour and locally.
SPACEFRAME features and advantages:
"The quality and resolution of LED products have vastly improved over the last decade, but the frames have basically stayed the same. At PRG Projects, we saw an opportunity to innovate the way in which LED walls were assembled and transported, to rethink the construction of the frame and how it might impact the operational side of the business as well as the design experience," stated Frederic Opsomer, PRG Projects' Managing Director and innovation leader.
Leveraging in-house talent and partnerships already in place, PRG was able to produce the carbon frames from prototype to final product in just 17 weeks, enabling U2 to be the first to take advantage of the innovation. SPACEFRAME has allowed U2's designer to create a 200 foot wide screen¬, custom painted in silver and gold to mimic the original artwork of their 1987 album.
4K Broadcast Camera System
The U2 tour also marks the introduction of PRG's 4K (UHD) Broadcast Camera System as a first for concert touring. The PRG broadcast system, developed and integrated over three months, is a combination of products that can operate in 4K (UHD) and 3G SMPTE Standards. This design philosophy allows concurrent production to operate at the highest level of broadcast standards. The system delivers 60 frames per second (fps) with a UHD resolution of 3840 x 2160 pixels.
The concert touring system interconnects cameras and LED wall processors on fiber because of the enormous amounts of data and length of signal distances. The entire broadcast touring system can be set up within an hour and is designed to be operated by one video engineer, eliminating the need for four-to-five onsite engineering positions.
"PRG has been a part of every U2 tour since 1992 and the band always challenges us with pushing technology to its limits," said Wolfgang Schram, PRG's director of video engineering. "We have to be creative and that is the fun part."
PRG are excited to be an official service supplier for the 62nd Eurovision Song Contest, being held in Kiev's International Exhibition Centre from May 9th-13th, as Ukraine hosts Eurovision for the second time. PRG are working in partnership with Litecom to support Lighting Designer Jerry Appelt and Stage Designer Florian Wieder by supplying lighting, video and rigging technology for the show.
Kiev is Jerry's third time working on Eurovision, having also designed the shows for Dusseldorf in 2011 and Baku in 2012, as well as numerous other high-profile productions, such as the Commonwealth Games ceremonies for Delhi in 2010. Jerry said: "I'm very happy to work with PRG on this project, because aside from the enormous quantity of lighting fixtures and complex parameters, it's essential to work with a company who has the resources to deal with all kinds of unexpected eventualities, who can deliver on the biggest occasions, in the most challenging environments. There are few companies who can provide this level of service, anywhere in the world. I know that whichever challenge I set PRG, they will deliver."
Production management guru, Ola Melzig, has taken the reigns as Head of Production for the Kiev show, his 13th Eurovision. Ola said: "I'm returning to Kiev for my 4th Eurovision event in the city since 2005, and I am blissfully happy to be back. It's a city I love, with great people, a lot of parks and green areas, a huge river running through the city centre and tons of yummy restaurants!"
Ola gave an overview of the technology behind the show: "Eurovision is always a production of monumental proportions, we started the load in on March 27th, since then, we've emptied 200 trucks into the halls. It took four and a half weeks to do all the rigging, hang the lights and audio and then build the stage. After that, we went into rehearsals, which will get more and more intense as we approach the broadcast shows. This venue's fantastic, there are few spaces around the world which can accommodate 212 tons in the roof, and only be at 70% capacity. Full credit to our Head Rigger, John Van Look, and his team of riggers from PRG for overseeing a complex rigging design, and a smooth load in and fit-up."
John spoke briefly about the practicalities of the rigging design for the show: "The Eurovision rig uses 735 rigging points, spread over the stage, green room and audience areas. This is a complex design and a very heavy rig, one of the heaviest I've ever worked on. We have more than 20 points over four tons, including one centre point which is 12 tons—because the roof cannot support such a heavy single point, we split it into two separate six ton points. Because we were dealing with incredibly high loads we were unable to use conventions steels, and bought in products normally used for shipping and heavy duty cranes. To maximise the load bearing capacity of our trusses, we used Prolyte D75T in places, this is capable of carrying exceptionally heavy loads and normally used for towers, rather than as a straight truss; also being only 75cm high, meant we didn't lose as much trim height as we could have done using bigger truss. The roof is quite low here, so we need as much height as possible. The mother grid is made up of X4K 100, again due to it's high load carrying capacity. This grid is monitored by over 100 Load Cells, so we can keep an eye on how the weight is being distributed; something which is very important, considering we have a lot of movement in the rig, utilising 112 Cyber Hoists to make that happen. The rigging load in took two weeks, with a team of 52 riggers working day and night shifts."
Jerry leads a comprehensive team in the front of house area, which spans the full width of the back of the arena, including individual operators for the main show lighting, audience lighting, key lights, spot calls and video content. The lighting and video control network is one of the largest ever uses of GrandMA consoles, with five active full size GrandMA2, three GrandMA Light, and a selection of additional faders and playback wings. The whole network has reached the maximum number of active participants in a single session, 31, and are controlling 89,000 channels of DMX over 9865 programmed fixtures. This is driven through 20 GrandMA Network Processing Units (NPUs) and 28 nodes. There is, of course, substantial back-up, should anything not perform as it should. The total number of lighting fixtures is an incredible 1816. Amongst others, these include: 68 PRG Best Boy HP2, 56 PRG Best Boy Wash Blade, 55 PRG Bad Boy Wash, 130 Icon Edge, and the new JDC1 LED strobe from GLP.
Haze is provided by 6 MDG ATMe DMX hazers, positioned around the stage.
Followspotting for the Eurovision Song Contest 2017 is done exclusively with PRG GroundControl. The production in Kiev uses 14 PRG Bad Boy GroundControl Followspot systems and four of the new long throw version. Jerry commented: "GroundControl is a revolutionary product. It means we have all our operators on the floor, in two areas—with overall control taken by my spot caller on the GrandMA2. For this project it is perfect, because it saves time, space and weight."
Ola Melzig added: "I first saw the GroundControl at LDI back in 2015, and I thought it was both really cool and incredibly practical. To have 18 of them on this show is amazing—and I'm very proud of it being the biggest deployment of GroundControls ever on a single show."
In addition to the lighting technology supplied by PRG, we are also providing a comprehensive package of LED screens and projectors. The back screen is made up of ROE MC-12 and MC-18, with sections of MC-7 used at various other points around the rig. There are 56 high output projectors in use, which are used to map onto the stage surround, directly down onto the surface of the stage, onto two high transparency projection screens at the front of the stage, as well as various 'standard' screens in and around the arena.
On May 13th, the world will tune in and watch the Eurovision final, with an expected audience of over 200 million cheering on acts from the 26 countries who make it through to the final. After the winner has been announced and the party starts, the team of over 400, including around 100 technicians from PRG, will commence the load out. What took over a month to build will be pulled out of the venue in seven days, and planning for Eurovision 2018 will commence.
First impressions from Eurovision 2017
An insight into rigging at Eurovision Song Contest 2017
Tour of the Eurovision arena
Production Resource Group, L.L.C., (PRG) organized its annual summit for the members of its global partner network program – PRG Alliance – during the Prolight + Sound 2017 trade fair at Messe Frankfurt.
Currently in its third year, the PRG Alliance has 15 members in 28 countries delivering high quality technical production services worldwide.
The theme for this meeting was "Building on Success", and celebrated numerous collaboration projects among the members, including some from Italy, Poland, and Portugal. During the summit they shared success case studies and discussed future initiatives to promote greater business and information exchange.
"The PRG Alliance is praised by our clients and the market in general. What started with a recognition of PRG partners three years ago, today is a substantial network of remarkable companies – and the largest resource pool of knowledge, qualified professionals and inventory in the world," said Tom Van Hemelryck, Director of PRG Alliance and PRG's CEO Central Europe.
"We invited the lighting and video designers from The Voice Portugal, Marco Silva and Ricardo Maia, who shared their experience of using PRG's proprietary products, Bad Boy moving lights and MBox media server, for the TV show," continues Van Hemelryck.
During the event, a variety of activities for PRG Alliance were presented and these included training in project management; PRG's Global Sales Officer Jens Zimmerman hosted a session on global account initiatives; opportunities for participation in international exhibitions were discussion; and the latest PRG proprietary equipment purchase options were delivered. The event ended with a demo of the new PRG exclusive Icon EDGE lighting fixture, and a lively networking dinner which gave the members further opportunity for networking and to discuss collaboration.
For more information on PRG Alliance visit www.prgalliance.com.
Production Resource Group LLC (PRG), the world's largest supplier of technology and services for events and entertainment has appointed Tom Van Hemelryck as CEO of PRG Central Europe, the umbrella name for PRG Belgium, the Netherlands, France and Spain.
Van Hemelryck brings more than 20 years of experience in the entertainment industry and has been part of PRG since 13 years, during which he engaged various international positions within the last ten years.
He will mainly focus on harmonizing and optimizing the internal collaboration within the PRG Group for PRG Central Europe to effectively make use of the strong operational processes and teams of the group.
In his new role, Van Hemelryck will report directly to Stephan Paridaen, President and Chief Operating Officer of the PRG Group.
"I'm delighted to have Tom in this crucial leading position," explains Paridaen. "He has proven his skills to identify growth opportunities and is able to apply the right commercial strategy in order to achieve those goals. These qualities are certainly beneficial to further support the team in Central Europe".
"It's a great honor to support the teams with whom I have been working for the past 13 years in terms of their future development and the optimization of the Central European organization." says Van Hemelryck. "I highly value the cooperation within the group and I am convinced that we can continuously improve and strengthen the services and efficiency we have offered to our clients for more than 20 years."
"About 20 years ago, I did my first freelance job for EML Productions and ended up working for ETF and PROCON in an international role. Today, working with Central Europe's highly talented and motivated team feels like coming home. The circle is now complete."
Tom will lead and work together with PRG's Central European Management Team, Jan Van Malder - General Manager Entertainment Belgium, Alex Van Vlierberghe - Financial Director, Walter D'Haese - Production Director Entertainment Belgium, Bob Walpot - Head of Assets, Thierry Kra - General Manager PRG France, Laurent Boillot - Production Director and Account Manager PRG France and Xavier Thys - General Manager PRG Spain.
Currently one of the world's biggest music artists, Drake is selling-out arenas around the globe. Following a hugely successful tour of North America, the show was brought to Europe.
Tour Director and Designer, Steve Kidd, and Lighting Director and Designer, Guy Pavelo, have both worked with Drake for more than five years, providing the designs for multiple tours, and use PRG to supply lighting and video technology for the tour worldwide, working with Curry Grant in North America, and Yvonne Donnelly Smith and Stefaan Michels for Europe.
The design incorporates multiple elements of lighting and video technology including a kinetic LED lighting system; a curved video wall; an array of lighting fixtures from high brightness beams to remote followspots; and video projection.
Guy Pavelo explains their approach to the design for the tour: "This was our fourth master rendition of the design. It was a conglomeration of different elements Drake liked. We spent five months on the design from the first plan. We would show Drake different elements and he would pick and choose what he liked most.
"One of his team found a stop-motion video of an art installation in Japan which was similar to our ball and winch set-up, and had little baseball-sized things which moved in one pattern over the course of about six hours, but since it was stop motion it looked like it took 20 seconds. They wanted us to recreate that.
"In order to accomplish this, we determined that we needed to make a gridwork for the spheres and not spread them out across the whole venue otherwise it wouldn't make sense to anyone except in the last row.
The design started with a curved video wall built from 9mm LED. Guy explains: "We started with the curved wall, and then we created the set with the lifts and all of that stuff that Drake liked, and added the overhead structure which encompassed some of the house rig. With the kinetic addition, that's what finally tied all the last pieces together and created the system over the deck."
Steve Kidd continues: "That's kind of our relationship with Drake. We come to him with our ideas, what we believe would be great concepts, he then takes those ideas and bends them a little, as all great artists do, and then we create a reality, knowing what our vendors are capable of, but we also have to be realistic about how we can actually tour it."
Steve and Guy's main consideration is making a design which can be easily toured around the world, packed into trucks and into venues quickly and easily. Guy explains: "A good part of that is how we worked with SGPS to build some of the elements, from the curved framework for the LED wall to the fact that every piece of truss up there which isn't a cable bridge is custom made. We moved from 24 to 32 to 48-inch double-bay truss with a shorter leg set and cast assembly so that almost every lighting fixture on the show stays in the truss.
"The truss stacks three high in Europe in the trucks and four high in the States. It's a time saver, personnel saver, and truck space saver. Yes, it's big and consumes a little more floor space, but there are 700-800 winches up there that never need to be touched again.
"If we went with anything thinner to save on truck space, we would have a cart with pipes and poles, and we'd have to hang everything each day, which encompasses the potential for more failure, so this saves that."
Steve agrees: "When building a new production, we're always up against time. Time and space are the two things which we consider – particularly how much time we have to build the show and what it's going to take space-wise to actually put it inside the venue."
When planning shows, smaller venues or those with weight restrictions have to be taken into consideration. Guy Pavelo elaborates: "We're up to the limit of the venue capacity in terms of what we can actually rig, but the guys aren't killing themselves to load it in. We're fortunate that a little extra money was able to be spent on custom truss so we could save the guys a little."
A notable part of the show is the kinetic moving spheres which wow the audience at multiple points during Drake's set. Guy explains how the system was developed: "The kinetic spheres are a collaborative project. Glow Motion Technologies gave us all the pieces - it's actually two different components; the sphere, the physical plastic ball, and the LED chip inside all developed by Glow Motion Technologies. The winch itself is from Stage Kinetik, the hard-powered winch, data, and control, but Glow Motion handled acquiring all the necessary stuff to put it together."
Steve Kidd continues: "The winch from Stage Kinetik does all the work. Initially when Guy and I first started talking about this design it wasn't a sphere, but by luck we got these spheres from a mutual friend of ours. They were used on an auto show in Germany, and were sitting in storage. The spheres are what they are, but without the winch it simply doesn't work."
Guy explains: "Without the winch, it's similar to an art installation where the lights just go on and off, but after a few seconds, you're done looking at it. With this people watch it, and then there's another number and it looks different, and people don't stop watching it."
A major addition to the show design for the European leg was the projection globe. Drake was keen to give everyone in Europe a different show to the one which had been seen in North America.
The addition of a B-stage and the globe with projection meant some adjustments to the kinetic system. There had been a fly rail as Drake flew for one song, but with that removed, the winch system could be tightened up.
Guy explains the inspiration for the new projection globe: "That was from an art installation that happened in Toronto this past season. It was called Death of the Sun and it was a 45ft round sphere on top of a pedestal which was projection mapped. It was a 12-15 minute progression which had the different stages of the sun – from the birth of the star, through the nebula, until it finally burns out.
"The guys who created that had dealt with Drake in the past, so we were fortunate that with one phone call we were able to secure the ideas and the original and get the ball rolling. Two days later we had an object to start playing with here in Europe.
"We have eight Panasonic 30k laser projectors which are what's driving the globe itself – four double-stacks in quadrant, and the guys are using d3 and Blacktrax to map and track the ball as its inflated during the show, so we can realign and hit it completely."
The addition of the globe meant a quick change to the set up in Europe, for which PRG needed to add projectors and media servers to the setup. Guy explains the fast response to their request: "We called up Yvonne Donnelly Smith (Director of Music, PRG XL Video) and said, 'we have a situation where we're going to need a substantial amount of adjustment to the design'. They opened the shop back up at the weekend, and got personnel back in for loading the truck on a Sunday, which I know doesn't usually happen, and we had the equipment on the Monday. It was a rush, but every single fixture worked and every one of them was clean, and they were sitting there Monday morning waiting for us to show up. It was fantastic. It was no problem, they said 'just give us the list and we'll figure out how to deliver it'."
Another addition for Europe was the use of Barco projectors and their moving mirror system. Guy explains how they're used: "They are a concept which High End came up with originally in lieu of lasers. They're not laser projectors, but you can put content into them which makes them look like a regular laser. You can broadcast out over the audience with no regulations, or health and safety restrictions, and it gives a different look and colour. You don't get the super-vivid green laser beam but, past that, you get its own type of effect which works really well towards the end of the show."
The lighting for the tour was designed to complement the kinetic sphere system with many fixtures chosen for their compact size, energy consumption, and high brightness and impact.
Guy Pavelo explains the choice of the lighting fixtures: "We have a range of fixtures – PRG's Best Boy Spot HP and Best Boy Washes, a small boat load of the Icon Beam; plus Clay Paky Sharpy and Stormy; SGM P5 and Q7 LED fixtures; a quantity of the new High End Solaspot 1500 and LED Solawash 37, with Martin Atomics and GLP XBar 20 fixtures.
"The spots and washes are used for overhead coverage – the trick being the size of the units. We had a very specific size range as we didn't want to take the fixtures out of the truss every day, and if they were any bigger, they wouldn't fit in order to stack it and fit in the truck. The overheads needed to fire through the winch and spheres to cover the deck.
"We went with the Icon Beam because the beam that comes out of it is a step forward. Drake wanted a different look and the beam is bigger than a Sharpy. Having the beam with some width, but coming out of a small compact head really worked out.
"For Europe we added the P5 and Q7 to give different mood coverage and house coverage elements as well. For followspots, the team chose the use of PRG's GroundControl remote followspot system which situates the fixture on the truss, but with the control unit on the ground. They have two operators out at front of house and four backstage because the show is built in two halves – a forward U which includes the B-stage and then the main stage package.
Guy found several benefits in using GroundControl for this tour: "We have the GroundControl Bad Boy Followspot – six of those. We always usually have truss spots up top but with pyros and having people up there kicking their feet around, that's a problem when mixed with the kinetic, so the GroundControl is a saving grace in that regard.
"When we made the shift to Europe and having the B stage all we had to do was take two of the lights down, move them over 10 feet, plug them back in and we were done. It didn't turn into a six hour process to move two truss spots with trees and flight lifelines.
"We're already rigging close to max capacity in most of the venues. The fact that we would have to have six more guys up there with an extra 5000-6000lb overhead for safety was saved."
Steve and Guy have worked with PRG globally for a number of years to supply tours they design. For them service and support is the key. Steve elaborates: "We find that PRG has been an excellent provider of every aspect of all our designs. What I love about them is that the support is there, not only from the sales side so that Guy can achieve his dream of what he's trying to deliver to the artist, but also where I have to come in on a budget number. We can say 'what do you have that nobody else has used yet or that has just come out and looks amazing', and we also get the crew support which comes along with such a great product.
Steve continues: "PRG has been great for us both domestically in North America, and worldwide. PRG has been a great supporter of Drake, and now with them purchasing video companies, that has escalated our relationship because we can now get lighting and video all in one. One of the hardest things in touring is getting different vendors to blend together. They have a cohesive team which all works together.
"It was important for us to work with people who wanted to be partners, and I know with both Curry Grant and Yvonne Donnelly Smith that the partnership worldwide means a lot to them, but it means a huge amount to us because we can count on them.
"Our client is one of the biggest in music right now – selling more albums and selling-out more venues than any other artist currently, so his expectation is high, and as the designers, our expectation of our vendors is also high."
PRG XL Video's Yvonne Donnelly Smith comments: "We have worked with Steve and Guy for a while now and their designs always push the boundaries of creativity. We're proud to be able to support them on a global basis, working with our colleagues in North America, across Europe and beyond. The current tour looks amazing and audiences are giving it a fantastic reaction wherever it goes!"
More information on Guy and Steve's work: www.gp-sk.com
Photo credits: PRG XL Video/Alison Barclay
PRG XL Video, the UK operation of Production Resource Group (PRG), has been awarded Favourite Video Rental Company at the TPi Awards in London.
This is the thirteenth time the company has been awarded the prize, which is nominated and voted for by production industry peers and clients.
At the ceremony held at Battersea Evolution in South London, the award, which was sponsored and presented by media server manufacturer d3, was collected by PRG XL Account Director, Steve Greetham.
Steve comments: "It was great to win this award for our video work, which covers concert touring and festivals, theatre, television and corporate events. We had a busy year with a variety of different applications including massive screens at Creamfields and Isle of Wight festivals, through to a custom curved screen for Big The Musical, and video projection for a Royal Charity Gala, and it's great to see video being used in such diverse ways."
"We'd like to say a huge thank you to everyone who voted for us. It's a really an honour to be recognised by our industry colleagues!"
PRG XL Video was also shortlisted in the Favourite Rigging Company and Favourite Lighting Rental Company categories.
PRG XL Video was also a sponsor at this year's awards. The Live Production of the Year category at the awards was won by Coldplay's A Head Full of Dreams World Tour.
For the fourth year in a row, PRG brought its expertise to its prestigious customer Van Cleef & Arpels during the 27th International Fine Watchmaking Exhibition, which opened its doors from the 16th till 20th of January 2017 in Geneva.
PRG highlighted the felted and friendly space where their newest and older models were exhibited, representing the excellence of the Fine Watchmaking of the brand through lighting and audiovisual services realized in its magnificent showroom. The ensemble giving the place an atmosphere where "Each watch tells a moment of grace, luck or happiness, inscribed in Poetic Time™."
The whole of the space, the Showcases, the Historical Gallery, the Trade Zones, as well as the magnificent Rotunda were illuminated by PRG using 800m of LED ribbons (RGB, RGB White, Warm / cold white), 200 mini LED spotlights 3W Lunéo (Hallier Process) and 40 Q7 LED projectors (SGM).
The traditional press room was highlighted from the ceiling by a video mapping activated with 2 video projectors HD 20K (Barco) and piloted by a Watchout V6 (Dataton) system.
PRG France is proud to have once again been part of this prestigious project by offering its professionalism and technical skills to its client Van Cleef & Arpels.
For the opening ceremony of Marseille's European sports capital, Red Bull transformed the city center into a giant ice skating track.
PRG was technical supplier for the lighting, the power distribution and energy (Aggreko), sound system (in collaboration with Match Event) and video for this spectacular speed skating race that overlooked the old harbor.
PRG installed more than 180 moving lights for the architectural lighting around the skating track, 30 Best Boys, 25 Bad Boys, 30 Icon Beams and 20 K20.
For the lighting of the track, which was of a length of 340m and 8m large, PRG used 320 LED flood strobe SGM Q7 to illuminate the competitors.
Watch the video!
In terms of video, PRG installed more that 300m2 of LED screens, of which 1 LED trailer of 100m2, 2 of 50m2, 2 LED trucks of 30m2 and one modular Roe MC-7H screen, in order to share all the highlights of the competition with nearly 30 000 spectators.
We would like to thank the entire Red Bull team for the confidence they have placed in us by entrusting us with the technical services for this final of the Red Bull Crashed Ice Championship.
While innovation is the hallmark of PRG's award-winning GroundControl™ Followspot System, GroundControl also offers multiple cost saving benefits to event budgets. In this animation, go on a visual tour of GroundControl in a show setting and see side-by-side comparisons of how GroundControl measures up to a traditional followspot setup. Designers will be interested to hear how savings accumulate thanks to GroundControl's reduction in space, weight, fuel needs, and overall load-in times. In addition, GroundControl also uses the same power distribution as automated lighting fixtures, doesn't require any special cable, reduces seat kills (increasing ticket revenue), and reduces rigging costs.
For questions and rental or sales inquiries, don't hesitate to contact us.
Hamburg, Germany, and Dubai, UAE: Production Resource Group LLC (PRG) was honoured to work with Balich Worldwide Shows (BWS) to supply a huge multi-surface video projection for the United Arab Emirates National Day celebration in Abu Dhabi.
The event, held at the request of the Crown Prince's Court, celebrated 45 years since the unification of the United Arab Emirates, and took place in the presence of a selected crowd of dignitaries.
Tom van Hemelryck, VP Global Sports and Special Events was contacted by Balich Worldwide Shows to provide both the technical expertise and technology for this special commemorative show.
Tom brought together video and technology specialists, Yves Winand, from PRG in Belgium and his counterpart Bill Ainley from the group's UAE operation to work with the design specification from Balich Worldwide Shows. Starting with the mapping of the surfaces, d3 was identified as the media server for this project. It was used to design, and previsualise the projection, and whilst on site used for line-up and playback of the content created by Charles Darby and the team at Clonwerk.
Yves Winand explains: "We needed a strong partner for this challenging project, and we worked closely with d3 to improve some processes on site in order to save time in the line-up. We had to share preparation nights with lighting programming and rehearsals, and waiting for the arrival of large moving elements, so time for the set-up was limited."
The projection covered over 6500 m2 of floor, which was a particular challenge due to the flat angle and positioning of the projection towers. Either side of the stage, two wing screens of 600m2 were also covered with projection. Four sand dunes, each measuring 35 metres by 8 metres, which tracked across the stage, and a rising sun of 16 metres by 8 metres, which rose from behind the dunes were also projection mapped and covered perfectly as they moved into place during the show.
Panasonic PT-DZ21KE projectors were used for the floor and wing projections, and a combination of Barco HDF-W30 and HDF-W26 projectors covered the dunes and rising sun. In total 126 projectors were used across the event to create the spectacular effect.
Bill Ainley commented: "Whilst this event presented many challenges, we are proud of our team's ability to seamlessly draw upon design, technical and logistical expertise from three PRG operations across three countries to ensure our approach at the design phase would achieve our client's expectation on site. This, along with the team of expert technicians who worked very hard in a challenging environment, ensured we could deliver the project to an exceptionally high standard."
Tom van Hemelryck concludes: "We are delighted to continue our working relationship with Balich Worldwide Shows, and honoured that they chose PRG as a partner in delivering this prestigious, high-profile show. Everyone involved in this show worked in great collaboration to deliver a show which looked truly spectacular."
Photo Credits: Luca Parisse for Balich Worldwide Shows
Show Credits: Creative & Executive Production Balich Worldwide Shows
For further information on Balich Worldwide Shows go to www.balichws.com.
Continuing a long working relationship with Production Executive, Andy Derbyshire, Event Manager, Maggie Mouzakitis, Event Production Manager, Lisa Shenton, and Show Lighting Designer, Tom Kenny, PRG XL Video has supplied lighting for the 2016 MTV EMA.
This year's event was held on November 6th, at the Rotterdam Ahoy, Netherlands, and was hosted by US artist Bebe Rexha.
The event opened with glamorous red carpet arrivals from the star presenters and performers, hosted by Laura Whitmore and Sway Calloway, and PRG XL also supplied lighting, rigging, and video technology for the red carpet event.
PRG XL's Account Managers, Kelly Cornfield and Mat Ilott were initially contacted by Line Producer, Sophie Huda, and Red Carpet Event Manager, Sean McNally, to supply an outdoor video wall, high impact lighting, and supporting rigging for the red carpet area.
Working with Set Designer, Adam Neville, and Lighting Designer, Stuart Pring, PRG XL's Head of Rigging Services, Q Willis specified the supporting structures for the video and lighting. Rigging crew chief, Chris 'Karrit' Harris delivered the show on-site.
Creating a glittering arrivals area for the stars, Adam and Stuart's designs incorporated a video wall formed from Barco C5 outdoor LED. Content for the video wall was supplied via one of PRG XL's own Mbox media servers, and included live feeds from the OB truck, social media feeds, and playback content.
Stuart Pring's lighting design used a combination of fixtures, with Encapsulite LED stick lights built into the set, and PRG Icon Beams lighting the way for the VIPs as they made their way into the venue. PRG's Sam Healey was Crew Chief for the red carpet lighting team.
Inside the iconic Rotterdam Ahoy, production designer Julio Himede created a vast set filling an entire side of the venue, curving around to create an immersive arena for the audience in the venue, and stunning visuals for the TV broadcast.
Acclaimed lighting designer Tom Kenny worked closely with Julio to create his lighting design for the show. Tom Kenny has designed the lighting for MTV VMA and EMA events for more than a decade, as part of highly creative and much-talked about show designs.
Tom explains his initial approach to his design: "Working with Julio, and with PRG's Lighting Crew Chief, Rich Gorrod, we looked at the set design. This year, the huge wide set featured a massive wall of video, built from multiple elements. We wanted to cover the whole set and create a layered effect with plenty of back light and presence. With that in mind, and with one eye on the budget, we used a lot of strong beams, spread across the set, big wash lights at the back, lots of Icon Beams, PRG Bad Boys and Robe Robin 100s. We added Solaris Flares for extra strobe effects – they're a real workhorse."
Tom continues: "As part of the design, I look at the line-up of artists performing and try to tailor the fixtures to what I think they'll need. In some cases artists will have specific requests, but often we'll already have their needs covered in the main rig."
Some artists do have special requests, based on their individual performance. Tom explains: "Martin Garrix wanted a particular fixture for his set, so we brought in a load of GLP X4 Bars to satisfy that need. For One Republic, who included rain in their performance, we needed to find some waterproof LED lamps for the pool, and Rich Gorrod sourced custom-built fixtures for that purpose."
"For Green Day's 'Global Icon' performance we needed to give them a really huge look, so we added a bunch of Par Cans."
"Another fixture I was keen to use was the ACL 360 Matrix from Elation, which includes 25 4-in-1 RGBW LEDs. We arranged a demo of the unit, were suitably impressed, and that was used scenically to create colour and depth."
With an array of star performers, followspots were also a key consideration, and Tom Kenny was keen to use PRG's GroundControlTM Followspot System, which includes a remote followspot, flown from the lighting rig and the operator is located with control unit at ground level elsewhere within the venue. Tom has used the system on multiple shows: "I first used GroundControl on Desert Trip festival and was really impressed by it. It's a very flexible system and allows you to place followspots in locations that wouldn't usually work. I love it!"
Lighting console operators on the night were Alex Passmore and Jonathan Rouse, who Tom Kenny described as "two of the best programmers/operators I've worked with. Alex took care of the majority of the pre-programming, and on the night looked after the cueing on the main set, and Jonathan focussed on the keylighting for the bands, live elements, and audience lighting."
PRG XL's Lighting Crew Chief Richard Gorrod led a team of twelve lighting technicians and operators for the show. Tom Kenny comments: "The MTV EMA is a big beast of a show. There's never enough time, but Rich and his brilliant PRG crew have high standards and work really hard to make it all happen. Rich is a total workhorse – he does the job of three people, and he has such a positive attitude. You couldn't have a better person on an event of this type."
Richard Gorrod summed up: "We're happy to continue our long relationship with Maggie, Andy, Lisa, Tom, Julio and the whole MTV EMA team. The show always looks amazing and really pushes the boundaries for a live event show. It's a huge production, and there are lots of suppliers all working side by side, harmoniously to make it happen. We're proud to be a part of bringing it all together!"
Photos: William Gallegos
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|aren't we all wanting the same thing? - via tumblr.
I love ALL Katie Ermilio collection. She's my new favorite designer!
Antipasto Pizza and Creamy Prosciutto Pasta recipe!
I love Downton Abbey and also love the fact that people at that time were always dress properly. Can't wait for season 3.
DIY Chevron Wall ((:
I love Korean Food and would love to try making Kimbap. Looks good, yes?
Some cute cardigans.
Stripes wedding theme, I LOVE!
Can't wait to watch this and this at the cinema.
This photo makes me miss Toledo. I will come back for a longer visit one day.
Jakartans! Two artists are going to perform this coming Sunday, March 18th: Kina Grannis and Jessie J. Which concert are you going to? I'm going to Kina's! (:
I'm thinking of going to this year's Disney On Ice show. ((:
Don't forget to check my pre-loved items here.
'til next week darlings! xox
PS. See my previous Fabulous Friday Finds posts here.

subset: commoncrawl


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Topshop Venus Stud Sandals - £52 // Topshop Oversized Chambray Shirt - £32 // Topshop Western Detail Leather-Look Belt - £16 // ASOS Ridley Ankle Grazer in Sunday Midstone Wash - £28
I don't know if I'm starting to have a mid life crisis or finally getting my act together, however I've decided that I want an entire wardrobe overhaul and actually own pieces which I can dress up or down. Jeans and shirts are standard attire in my wardrobe, however my favourite buy for March has to be Topshop's Venus Stud Sandals - just look at them. Can they be dressed up - yes, dressed down - yes. The best thing about them (apart from being real leather) is the fact that they're comfy and don't ruin your feet.
They got their first outing last week while at the Metro Centre with Tor for the House of Fraser Big Beauty Event and honestly I was amazed that after wearing them for a good four hours straight of shopping (and eating) they didn't hurt my feet at all. I can't wait for the weather to become sunnier or warmer to be able to wear these with dresses. What are your staple wardrobe pieces?


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Margaret J. Johnson and Carole Janisch
The children in Mrs. Judy Roger's third grade classroom recently began a unit on the age of exploration and colonial America, and a large K-W-L chart now dominates one wall. The children have listed what they know about the voyages of Columbus in the K column and posed questions indicating what they want to know in the W column. On this morning, small groups of children are poring over information books on Columbus and other explorers seeking answers that they will subsequently post in the L column, indicating what they have learned. In the process, several children have found that some of their claims in the K column were erroneous.
"Oh," Chelsea exclaims, "Look at this. The Mayflower wasn't one of Columbus' ships. The Mayflower was the Pilgrims' ship."
The children in Chelsea's group verify her finding and then correct the K-W-L chart using a blue marker, which is the color marker they use to indicate changes and corrections. Soon the children begin to write in their journals in response to their group discussions and the reading they have done that morning.
A visitor to the classroom compliments Mrs. Rogers on an interesting social studies lesson. The teacher explains to the visitor that the students have just completed their English/language arts period. "The children are working on comprehending informational texts. In their groups and in their journals they compare sources, and compare their own ideas with the information they find in books."
Mrs. Rogers and her colleagues at Ramirez Elementary School in Lubbock, Texas, use thematic teaching to make connections across subject areas, and to provide students with rich literacy instruction. The teachers, participants in a project to design curriculum that links literacy with content knowledge, have found that focusing on social studies topics is an effective way to organize their students' literacy learning.
For this project, the teachers selected areas of content that they believed would be of interest to their students. For example, a fifth grade teacher combined a study of the American Civil War with a study of other civil conflicts, including the events in Bosnia. A sixth grade teacher focused a geography unit on parts of the world to which the children in her class traced their roots. The class studied China, Mexico, and West Africa. These units of study formed the basis of instruction for social studies and also for reading and English/language arts.
One criterion for selecting thematic unit topics was the variety of appropriate materials available. For example, Mrs. Rogers was able to amass a collection of literature of different genres about colonial times: historical fiction, information books, and reference books. To accommodate the varying levels of reading ability in her classroom, she chose materials on different reading levels. In addition, she was able to provide students with CD-ROMs and videos on the topics.
In some instances, teachers were not experts on the themes they chose. For example, a teacher teaching a unit on the Middle Ages explained that she chose the topic because it was one about which she wanted to know more. "It's been wonderful," she noted, "to build our knowledge together. As the students discovered interesting pieces of information, they took great pride in sharing them with me, as if they were bringing me presents."
In many elementary classrooms, social studies instruction is limited to very brief periods each week. By using social studies as a vehicle for instruction in reading and English/language arts, teachers are able to capture extensive blocks of time that permit children to study social studies topics in depth. The following sections explain how Ramirez Elementary School teachers used social studies content to enhance their students' reading, writing, and thinking.
Recent research in reading reveals strong connections between the knowledge a reader brings to a text and the reader's capacity to comprehend the text.1 Reading selections in intermediate classrooms are often fragmented, consisting of collections of reading passages on unrelated themes. Whatever knowledge children gain from reading one passage does not necessarily aid comprehension of their next reading selections. In contrast, when children focus on a particular theme or topic, their understandings build, and they can bring an increasing body of knowledge to their subsequent reading of texts related to the subject.
Ramirez Elementary School prepared students for reading success by helping them build and organize their topical knowledge prior to reading. This was usually done through non-print materials (e.g., videos) or graphic organizers. Sometimes teachers and students made charts to document their prior knowledge and to generate questions they wanted to answer. In other instances, teachers read aloud a particularly engaging story or book to introduce a topic and arouse interest.
The teachers recognized the importance of strategies that help students with reading comprehension and content area learning. Such strategies include helping students to develop an awareness of question/ answer relationships, to understand the structure of texts, and to develop their vocabularies.
Mrs. Rogers' taught her third grade students the Question-Answer-Relationship (QAR) strategy for posing, analyzing, and answering questions.2 For example, as the children read informational books about the founding of Jamestown, they learned to pose literal questions (In what year did the settlers arrive?), questions that required them to combine information from different sections of the text (How did conditions in the colony change from the first year to the second?), and inferential questions (Was John Smith a good leader?). These questioning strategies helped to heighten the students' knowledge of content and their ability to derive meaning from expository prose.
Ms. Gomez decided that her fifth grade students needed explicit instruction in text structure to help them read informational articles and books. She taught them to look for headings, subheadings, bold print, and other features common to informational text. In addition, Ms. Gomez stressed eliciting students' personal responses to what they read. She asked them to articulate what the text reminded them of and how it made them feel. For example, when they read Zlata's Diary, a young girl's account of the civil war in Bosnia, Ms. Gomez's students were moved by the experiences of children in Sarajevo and willingly talked and wrote about their feelings.3
The teachers used a variety of vocabulary-building strategies. For example, as part of their study of the Middle Ages, students created vocabulary journals that recorded terms and definitions for the specialized words they were learning. The fifth graders often worked in small groups to brainstorm definitions, connotations, and implications of vocabulary terms. They displayed the results of their efforts on "word walls" in their classroom and in the school's hallways. The third grade classroom had a display of "Hitchhiking Bubbles" (see photo). With the help of a one word prompt, students recorded familiar words similar in meaning to the prompt to help them understand the new vocabulary term. For example, the familiar word "soup" was linked through students' associations to the word "pottage," a food popular in colonial times.
In all the intermediate classes, reading was also accompanied by group discussion. Teachers often found novels to accompany social studies topics. Fifth graders read True North as part of their Civil War studies. As they read their books, students would get together periodically in literature circles to discuss the reading and share responses and interpretations of the books.4 Thus comprehension was deepened through social interaction and discussion.5
Some of the writing activities children engaged in were intended to promote reading comprehension. Journals were used extensively to help children record information from their reading and to help them understand their responses to their learning. Other writing activities were intended to help children learn how to organize and communicate their knowledge and ideas to others. Because motivation for writing occurs when children have real reasons to write, sharing information and receiving responses from others can be a powerful incentive.6
Reading, writing, and social studies were integrated by sixth grade students as they used ClarisWorks to create accurate travel brochures about Africa. Composing persuasive essays was part of the sixth grade writing curriculum, so students used their skills to write brochures that would convince tourists to visit particular places in Africa. The students gathered information from a variety of sources (informational books, encyclopedias, the internet, CD-ROMs) and wrote compositions that demonstrated both their knowledge of the area and their ability to think and mount a persuasive argument.
Students were able to connect their reading and writing by learning to read like a writer.7 For example, when classes read historical fiction, they did so with multiple purposes. One purpose was to examine the author's craft and to discover how he or she combined historical characters and events with fictional characters and situations. Another purpose was to determine how the authors created a sense of time and place. The children used the authors as their writing "teachers" to help them compose their own historical fiction stories.
All students in intermediate grades conducted research on social studies topics and wrote about their findings. Ms. Gomez noted that using social studies content to teach students how to write a report changed the attitudes of both students and teachers toward the "dreaded research paper." Because students chose their particular topics and were interested in learning as much as they could, their research projects took on an air of excitement rather than one of dread. In all classes, students had opportunities to work with writing partners. In one instance, third graders collectively generated a timeline related to colonial times and cooperatively wrote the narrative to accompany it.
Even when students worked on individual pieces, they did not do so alone. Students read drafts of their writing to classmates to check for clarity and gather responses. Writing was considered a communicative act and a public act. Students published their writing by creating books for classroom libraries, displays, computer programs, and video presentations. Children were able to impart their understandings to others and to learn from the writing of their classmates.
As teachers devised instructional strategies to deal with the content, they helped children think critically about the topics under study. For example, teachers taught children how to compare, contrast, and draw conclusions by linking topics and noting connections. Thus, the students studying the American Civil War and the recent events in Bosnia addressed the elements these conflicts had in common and ways in which they differed. Their study of one civil conflict illuminated and informed their study of another. As students consulted various sources, their teacher encouraged them to evaluate them and judge their quality. The children checked for accuracy, thoroughness, bias, and point of view. As the children acquired information, Ms. Gomez challenged them to draw conclusions, put forth arguments, and generate informed opinions.
Tapping the Power of Engagement
The power of literacy engagement to enhance literacy skills is illustrated by the experiences of Andre, a student in Ms. Gomez's fifth grade class, who arrived after the school year had begun. Ms. Gomez gave him an informal reading assessment that confirmed her observation that he was reading well below grade level. Ms. Gomez read a biography of Harriet Tubman aloud to the class one day. She noted that Andre had moved from the back of the room to a spot next to her. He became fascinated with the life and works of Harriet Tubman, and chose to do his research project on Tubman and the underground railroad. He asked the librarian to find him all the books and materials she could. Soon, when other students in the class came across a reference to Tubman in pursuing their own research topics, they would point out the source to Andre.
Andre quickly became very knowledgeable about Tubman, and his teacher realized that he was able to comprehend materials on this topic that were beyond his measured reading ability. Andre was strongly motivated to gain meaning from even difficult texts, and brought his prior knowledge, persistence, and all his skills to bear on the task. When he consulted texts with challenging vocabulary and text structure, he was able to comprehend them and take a personal stance through using his growing knowledge and interest. Ms. Gomez indicated that "no text was too difficult for him to read because he was so involved in the research." When Ms. Gomez retested Andre at the end of the school year, she found that he had made impressive gains in reading.
All teachers want their students to expand and enlarge their content area knowledge and to become competent users of literacy. The teachers described in this article adopted the premise that content area learning and literacy learning occur concurrently, and planned literacy lessons based on social studies content. Students used the knowledge they acquired to improve their thinking skills as they asked questions such as: What does this mean to me? How can I relate it to what I already know? How can I apply it to a new context? Is there any bias?
As children engage in reading and writing to gain information on social studies themes, they simultaneously develop their abilities to read and write. The need and desire to find out about the voyages of Columbus, or to know more about the courage of those traveling on the underground railroad, provided functional and authentic purposes for literacy activities.
Student excitement and interest in a topic served as scaffolds for developing important literacy skills they could apply to any topic. Teachers sometimes say they would like to teach more social studies content, but worry about what they would have to give up. By using social studies themes as the content in their reading and English/language arts lessons, these intermediate teachers were able to explore social studies topics in depth while helping their students become skilled readers, writers, and thinkers.
1. Linda G. Fielding and P. David Pearson, "Reading Comprehension: What Works, Educational Leadership 51 (1994): 62-68.
2. For a description of the QAR technique, see Taffy E. Raphael, "Teaching Question Answer Relationships, Revisited," The Reading Teacher 39 (1986): 564-570.
3. For a discussion of the value of taking an aesthetic stance when reading nonfiction, see Louise Rosenblatt, "LiteratureóS.O.S.!" Language Arts 68 (1991): 444-448.
4. See Maryann Eeds and Deborah Wells, "Talking, Thinking, and Cooperative Learning: Lessons Learned from Listening to Children Talk about Books," Social Education 55 (1991): 134-137 for a description of literacy circles.
5. James R. Gavelek and Taffy E. Raphael, "Changing Talk about Text," Language Arts 73 (1996): 182-192.
6. For a general discussion of motivation and writing, see Donald Graves, A Fresh Look at Writing (Portsmouth, NH: Heinemann Press, 1994); and Lucy Calkins, The Art of Teaching Writing (Portsmouth, NH: Heinemann Press, 1994).
7. Frank Smith, "Reading Like a Writer," Language Arts 60 (1983): 558-567.
Children's Books
Filipovic, Zlata. Zlata's Diary. New York: Viking, 1994.
Lasky, Kathryn. True North: A Novel of the Underground Railroad. New York: Blue Sky Press, 1996.
About the Authors
Margaret J. Johnson is an assistant professor at Texas Tech University teaching in the program areas of elementary education and language/literacy. Carole Janisch is an assistant professor in the College of Education at Texas Tech University and director of the Early Literacy Learning Initiative training site.


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- Home
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- Events
The Big 5 2017 – the largest construction show in the Middle East is all set to host an unprecedented line-up of visionary leaders this year, from 26 to 29 November at the Dubai World Trade
From the co-founder of Hyperloop Transportation Technologies, Bibop G. Gresta, to 3D printing experts Benjamin Piper and Nick Billotti, construction pioneers will present their revolutionary ideas, which are transforming our transportation systems, homes and cities.
Dignitaries and key decision makers already confirmed they participation at The Big 5, including Dr Ahmad Bin Hassan Al Shaikh, chairman of Ducab HV, and Ahmed Al Khatib, vice-president of Real Estate for Expo 2020 Dubai.
Expected to welcome 79,000 construction professionals this year, the show will be strong of over 2,500 exhibiting companies from 60 countries, offering 360º building solutions. Raktherm, Khansaheb, Wurth, Ritver Paints, Al Anwar, Nassar Stone, Dupont, Pedrollo, Zamil Industries, NAFFCO, Kludirak, Danube, Gulf Extrusion, Emirates Steel, Hassan Abul, Finpower, SABIC, Arabian Extrusions, and Robosoft Solutions, and are just some of the leading industry players that will be exhibiting their newest products in Dubai.
Josine Heijmans, portfolio event director of The Big 5, said, "The upcoming edition of the event will mark a turning point in the construction industry, setting the way to build better, more efficiently, and develop smart, sustainable cities.
"We are extremely proud to announce that The Big 5 2017 will gather some of the most brilliant and forward-thinking minds from around the globe to discuss the present and even more the future of construction. The most promising technologies, building solutions and materials will be on display at the exhibition, which will define key industry trends, opportunities and best practices in the region and beyond."
The Big 5 has expanded its educational offer this year. Beyond the returning "Excellence in Construction Summit" on November 26, the event will also feature the first 'Big 5 Innovation in Precast Summit' on November 26 and 27. More than 80 regional and international industry experts will deliver 72 CPD certified 'Big 5 Talks' across the four days of the event, focusing on Architecture, Project Management, MEP, Business, Sustainability and Technology in construction.
Visitors will be able to find and source thousands of construction products and solutions from all over the world, clustered in five dedicated product sectors: MEP services, Building Interiors & Finishes, Building Envelope & Special Construction, Construction Tools & Building Materials and Construct Technology & Innovation. Moreover, the Live Product Demonstration will provide an interactive display of the most innovative products and technologies presented in real time by The Big 5 exhibitors.
On November 28, the GAIA Awards will also announce the most sustainable construction product of the year, selected by a panel of industry experts among exhibitors and non-exhibitors at The Big 5 whose products are distributed within the MENA Region.
For the first time, the event will be co-located with The Big 5 Solar, dmg events' new platform pursuing the escalating green demands in the GCC market. Beyond showcasing solar technologies, The Big 5 Solar will offer an education agenda geared towards industrial development, featuring 12 Big 5 Solar Talks and the third edition of the Global Solar Leaders Summit under the patronage of the UAE Ministry of Energy.
Organised by dmg events Middle East, Asia & Africa, The Big 5 runs from 26 to 29 November at the Dubai World Trade Centre, from 11 am to 7 pm. Entry is free to all pre-registered visitors.
Alain Charles Publishing, University House, 11-13 Lower Grosvenor Place, London, SW1W 0EX, UK
T: +44 20 7834 7676, F: +44 20 7973 0076, W: www.alaincharles.com


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We're a dependable team of scrap car breakers working out of Northallerton (DL7), North Yorkshire. If you have an old car that you are not using you will still be expected to keep it taxed whilst it is on the road. You don't need to give someone money to get rid of your old scrap car. We will collect your vehicle at no cost to you and recycle it in the most environmentally sound way!
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Scrap Car Northallerton will dispose of your car the right way. Dishonest scrap car collection companies may sell on your car as opposed to scrapping it, most of the time not even informing the DVLA of any change of ownership. This will leave you very vulnerable legally, you will be expected to pay any fines that may occur over the following months. Scrap Car Northallerton will always notify the DVLA that your vehicle has been scrapped, meaning you can rest assured that you are in the very safest of hands. Here at Scrap Car Northallerton we make sure that we recycle everything, so as you can tell we always do our bit for the environment.
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The car scrappage scheme
The car scrappage scheme in Northallerton might seem like a great idea at first. But you can not get any car, you are infarct restricted as to what car you can buy. You won't be able to go and purchase any car you wish. This is a very frustrating issue as you have got to buy a car that is in the current scheme.
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There are a lot of different reasons for wanting to dispose of an old car. One of the main reasons for scrapping a car will be that it has failed its MOT, and the work costs to much to put it right. If your car is ruined you might want to declare it off road but usually most people will scrap it.
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It really is easy to scrap your car in Northallerton. We have many lines into our offices and always answer the phone so call today. If you would rather not call you can find out the process on our how to scrap your car guide.
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People are still discussing the Obama election night speech. A surprising number of generally cynical Kiwis seem very impressed. That's got to be some sort of sign of Obama's effectiveness!
Last week a guy on one of our courses told me about attending the speech. He and a group of friends, decided to go from New York to Chicago to experience it for themselves. He said that Obama's presence reached out across the massive bullet proof glass shield and seemed to speak to every single individual in Grant Park and the surrounding streets.
No doubt the speech will be analysed right through future generations, but here is one analysis from Bert Decker and here is the hard copy of the speech, courtesy of the interesting presentation blog: Pivotal Speaking


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This article nolvadex purchase is only available to paid subscribers.
Recently, Google announced a service that lets anyone create a topical search engine by selecting URLs and gathering them together into a distinct "Custom Search Engine." This opens up the possibility of an infinite number of "mini-Googles" buy sildalis on any conceivable subject, all run by anyone with an expertise or passion about a specific topic.
Real world example: let's say you are an expert in archery and run an online archery store. You can create a Google-powered search engine comprised only of archery-related sites or other archery content. Put a custom Google search box on your archery site, and anyone using your search box will get results free of the junk and spam they'd get with that exact same search at Google.com. It sounds complicated, but one can be set up in 5 minutes. Google even offers a wizard to take you through the process of creating a CSE (Custom Search Engine). See google.com/coop/cse for the FAQs and wizard.
Another example – I run three different sites, so for fun I created a Google Custom Search Engine made up of all the pages from my sites only. I use this for my on-site search.
What a quick and easy (and free) way to add a search engine to your site!
Several other buy Viagra Caps, buy zithromax online. players are in this same niche (e.g., Rollyo, Eurekster, and Yahoo!), but with Google being Google, they've gotten far more publicity and traction lately.
In some ways this is an extension of the burgeoning UGC (User Generated Content) movement, since by having experts handpick URLs and create vertical engines, Google cleverly improves the existing algorithm with a layer of human involvement. Bingo! A whole world of potential human spam filters.
I see the most useful implementation of CSEs in the creation of a CSE on a specific subject or topic. An example is Diabetes Web Search (http://search.diabetesdaily.com/), where you can search over 250 diabetes-related sites and blogs.
What This Means for Marketers
For website owners reading this, CSEs equal opportunity. An obvious first move is to create a CSE if none exists in your niche. If you don't, someone else eventually will. You can check for new CSEs at customsearchguide.com.
Second, using the diabetes example, if you have a diabetes-related site, look to see that your site is included in the Diabetes Web Search CSE Priligy without prescription mentioned above. If it isn't, request that it be included.
Finally, I have a hunch that PPC ads that run on CSEs could make you some spare change (or maybe a lot of spare change). Look for custom and vertical engines that fit your content. Check Google CSEs, check Rollyo, look for others; then request inclusion from the owners of the vertical engine.A�Inclusion won't be automatic, since the nature of a vertical search engine is to be picky about what sites get in. You will need quality no prescription allegra d. content that adds value to the engine's results.
Developing a CSE can be well worth the effort. My advice? Spend the necessary time to investigate this new addition to search.


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In response to all the hype around the FDA adverse event reports citing 5-Hour Energy shots, the company released an advertisement citing a comment from Michael F. Jacobson, executive director of the Center for Science in the Public Interest. The comment came from a Time magazine article in which Jacobson was reported as saying, "Overdoing caffeine alone is actually pretty difficult to do, says Jacobson. 'It's highly unlikely. Someone would really have to make an effort to consume 40 or so 200-mg caffeine tablets.'"
The 5-Hour Energy advertisement used this quote to indicate the safety of the product. The ad did, however, leave out some context about the concerns of interactions between additives like taurine, guarana, and B vitamins with even low levels of caffeine. An oversight that the Center for Science in the Public Interest quickly moved to correct by sending a letter to Living Essentials asking them to take down the ad and issuing a press release clarifying CSPI's myriad concerns around energy drinks and shots.
Bottom line: The beginning of the ad states that 5-Hour Energy has been used over a billion times. A billion! And there have been 13 deaths in four years. So 0.0000013% of the time drinking 5-Hour Energy might play some kind of a role in a death. Though to clarify, that in no way means that 5-Hour Energy caused the death or even necessarily contributed.
So what's with the public outcry?


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Print this list out and hand it to your honey! While were getting things clean and cozy, they need to get things safe and maintained!
This is the list for the husbands to get accomplished this month!
- If you have a pool and haven't closed it up yet, now is the time!
- Call a heating contractor for an annual furnace checkup and cleaning. If you have a gas or oil fired furnace, have the contractor check carbon monoxide emissions and examine the flue for leaks, which can send carbon monoxide gas into your home. If you have a gas-fired furnace, open the fire door periodically through the heating season when the flames are visible. They should be blue. If the you see yellow at all in the flame call your contractor, as the air/gas mix is incorrect and needs adjusting. Be sure the filters are changed often, depending on use.
- Wood burning Fireplace. Check the flue for obstructions such as leaves or birds nests. On a sunny day, use a mirror or flashlight to look up the chimney through the open damper. If you see blockage, call a chimney sweeper. You should hire a chimney sweep at least once a year to clean soot from the flue and inspect it for cracks. You want to be assured that no flame will find its way to your houses' framing through a crack. Also be sure that caked soot, which can cause a chimney fire is cleaned.
- If your fireplace has warm air circulators embedded in the firebox walls, vacuum the ducts at the beginning of each heating season. Have any cracks in the firebox and hearth repaired!
- If you have a gas fireplace, be sure to have a carbon monoxide monitor nearby, and check the batteries often.
Cover the outside air conditioning unit to prevent rusting.
- Weatherproofing. Weatherproof all the doors and windows in the house. Sealing leaks saves dollars! Don't forget to check for drafts behind electrical outlets and light switches. You can easily seal them with expanding foam, which comes in a spray can.
- Check gutters for blockages. Scrub the gutters and downspout surfaces with a stiff scrub brush and water. Inspect the inside of the gutter for signs of wear. Patch even the smallest pinhole before it grows. After you clean the gutters you can cut the time down next time by installing gutter guards. You can find them at any hardware store.
- Lawn maintenance.
- For the final mowing cut low, and rake up the cuttings. This discourages insects and bacteria that thrive in the tall blades during the winter. If you intend to reseed, do so in the fall, unless you live in the southern states when that should be done in the spring.
- Replace batteries in all smoke detectors and carbon monoxide detectors
And anything else your wife needs done, do so with a smile!


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Highlight Condos
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Additional information
|Square Feet
438 sq ft, 722 sq ft, 980 sq ft, 1500 sq ft
There are no reviews yet.
Why Highlight Condos?
Estimated to be completed by June 2020, Highlight Condos is a new Mississauga pre-constructuction development that will be 14 stories tall with 238 units, including 8 lofts and 16 townhouses. With amenities such as an exercise centre, party room, media room and lounge you won't have to go far for your basic needs.
About the Property
Developer: Hazleton
Address: 4070 Dixie Road, Mississauga
Storeys/Suites: 14 storeys
Suite Types: 1 bedroom – 3 bedroom suites
Square Feet: Up To 1500 square feet for townhomes with rooftop terraces
Occupancy: 2021
Suite Finishes: Laminate flooring, stone counters, stainless steel appliances, stacked washer and dryer
Incentives: Capped levies, right of assignment
Building Amenities: Fitness centre, party room, underground parking, 24 hour concierge, outdoor terrace and more
Highlight Condos Features
Just minutes from Square One Shopping Centre and close to Rockwood Mall, Highlight Condos will enjoy spectacular views of the Mississauga skyline and nearby parks including Golden Orchard Park, Jaycee Park and Dixie Woods Park. If commuting if commuting is important it will also be close to MiWay (Mississauga Transit).


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The ATMEA Company's projects are governed by the General Management team and Board of Directors. Our governance structure involves the participation of ATMEA General Management team, as well as representatives from our parent companies EDF Group and Mitsubishi Heavy Industries (MHI).


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Library Session
Location: Markuli Hall, Savar Campus, BRAC University
Participant: ENG 102 (Reading/Writing), BIL. Resource Person: Mr. Ahmad Parvez, Senior Assistant Librarian
features of the Library home page
using the catalogue to search for resources, place holds, renew loans, etc.
introduction to electronic databases
basic to advanced search techniques
citing references
Event Date:
Sunday, March 4, 2018 - 12:35 to 14:00


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Tom Brady was unfazed by it all.
He shrugged off the brutal weather, dismissed one of the league's stingiest defenses and all but yawned when someone mentioned the New England Patriots are headed back to the playoffs.
Brady threw for 369 yards and two touchdowns, and the New England Patriots locked up their eighth playoff berth in 10 years with a 36-7 pounding of Chicago on a snowy, blustery, bone-chilling Sunday.
"They don't cancel football games very often," Brady said. "It's not like baseball. We don't play out there in San Diego all the time."
It sure looked like a day in the sun, even with the brutal conditions.
The win was the fifth straight for the Patriots (11-2), and this one was no less impressive than their 45-3 rout of the New York Jets on Monday night.
They wasted little time blowing it open, grabbing a 33-0 halftime lead and sending Belichick to his 174th career win. That put him in a tie for 10th place with Mike Holmgren.
Brady picked apart the league's third-ranked defense, completing 27 of 40 passes with no interceptions for the eighth straight game. And the Patriots increased their lead in the AFC East to two over the Jets.
"It was a chess match, and he said checkmate," Bears safety Chris Harris said.
Deion Branch caught eight passes for a career-high 151 yards, including a 59-yard touchdown at the end of the first half. Wes Welker had eight receptions for 115 yards and the Patriots totaled 475 yards while holding NFC North leader Chicago to 185.
"It's not that we're a bad football team" Bears defensive end Julius Peppers said. "We played a good football team today. I don't know if you all saw the game last Monday night. They beat somebody else worse than they beat us today. It's not like we were playing a bad football team. We played a great team today and they came to play and they executed better than we did. That's it."
The Bears (9-4) had won five straight since their bye, saving their season when it appeared to be slipping away. But they were no match for the team that came in tied for the league's best record.
Chicago is still a game ahead of Green Bay in the division, but came out flat with a chance to widen its lead and join the league's elite.
"It happens from time to time, especially against a good football team, but then you go back and this game counts as one loss, no more than that," coach Lovie Smith said. "We went into this game against the Patriots in first place in our division and we still are. We just have to take care of business from here on out."
Jay Cutler struggled, going 12 of 26 for 152 yards with two interceptions and two sacks. He had a 32.9 rating, and the running game was a non-factor.
The game-time temperature was 26 degrees, and with snow and a 30-mph wind swirling through the stadium, visibility wasn't great. The field was blanketed in white and the boundaries, goal lines and yard markers were tough to see. Logos were all but invisible, too.
That didn't stop Brady from throwing for 195 yards and two touchdowns in the first half as the Patriots put up 33 points, the second most allowed by the Bears in an opening half.
"We've been playing in an environment in Foxboro for a long time that has inclement weather conditions," Brady said. "So, all of us who were out there today have certainly played in snow and wind and bad weather. Everyone executed pretty well at times today."
NOTES: Devin McCourty sat out the second half with a rib injury, and coach Bill Belichick said he wasn't sure how serious it was. Defensive lineman Ron Brace also suffered a head injury. ... The Patriots scored 45 points in the first half against Tennessee last season in a 59-0 romp. ... They were without LB Brandon Spikes after he was suspended four games without pay for violating the league's policy on performance-enhancing substances. ... The 475 yards were the most allowed by the Bears this season.
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text: Earthquake and scalar energy as we understand it today. Scalar energy is a primal force in nature that is capable of assembling and disassembling physical matter. The scalar energy associated with an earthquake can instantly assemble water from the elements, minerals and soil inside the earth's crust resulting in a liquid-like ground condition. This phenomenon Read More


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St. Bernadette
We are pleased to welcome you to the parish of St. Bernadette in Amelia, OH.
Mass times for St. Bernadette are below. Also, if you need directions to St. Bernadette, please click here.
Also, be sure to download the St. Bernadette mobile app. It is a great way to get all the latest news from St. Bernadette. It is free, and available for both Apple and Android.1479 Locust Lake Rd., Amelia, OH 45102
(513) 753-5566
Archdiocese of Cincinnati
Rite: Roman-Latin
Mass Times
- Saturday5:00pm
- Sunday9:00am, 11:00am
- Monday12:00pm
- Tuesday8:15am
- Wednesday8:15am
- Thursday8:15am
- Friday8:15am
Other Services
- AdorationFri: 7:00pm-8:00pm - 1st Friday
- ConfessionsSat: 4:00pm-4:45pm, Sat: 9:30am-10:30am, Thr: 6:00pm-7:00pm, Sun: 8:15am-8:45am, Sun: 10:15am-10:45am
Additional InstructionsTurn South on Jenny Lind, right on Locust Lake, 1st. on left.
Current BulletinMay 26, 2019
Bulletin ArchiveMay 19, 2019
May 12, 2019
May 5, 2019
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