title: Ardhanarishvara

text: The iconographic 16th century work Shilparatna, the Matsya Purana and Agamic texts like Amshumadbhedagama, Kamikagama, Supredagama and Karanagama – most of them of South Indian origin – describe the iconography of Ardhanarishvara. The right superior side of the body usually is the male Shiva and the left is the female Parvati; in rare depictions belonging to the Shaktism school, the feminine holds the dominant right side. The icon usually is prescribed to have four, three or two arms, but rarely is depicted with eight arms. In the case of three arms, the Parvati side has only one arm, suggesting a lesser role in the icon.


title: Ardhanarishvara

text: The male half wears a "jata-mukuta" (a headdress formed of piled, matted hair) on his head, adorned with a crescent moon. Sometimes the "jata-mukuta" is adorned with serpents and the river goddess Ganga flowing through the hair. The right ear wears a "nakra-kundala", "sarpa-kundala" ("serpent-earring") or ordinary kundala ("earring"). Sometimes, the male eye is depicted smaller than the female one and a half-moustache is also seen. A half third eye ("trinetra") is prescribed on the male side of the forehead in the canons; a full eye may also be depicted in middle of forehead separated by both the sides or a half eye may be shown above or below Parvati's round dot. A common elliptical halo ("prabhamandala"/"prabhavali") may be depicted behind the head; sometimes the shape of the halo may differ on either side.


title: Ardhanarishvara

text: In the four-armed form, a right hand holds a "parashu" (axe) and another makes an "abhaya mudra" (gesture of reassurance), or one of the right arms is slightly bent and rests on the head of Shiva's bull mount, Nandi, while the other is held in the "abhaya mudra" gesture. Another configuration suggests that a right hand holds a "trishula" (trident) and another makes a "varada mudra" (gesture of blessing). Another scripture prescribes that a trishula and "akshamala" (rosary) are held in the two right hands. In the two-armed form, the right hand holds a kapala (skull cup) or gestures in a "varada mudra". He may also hold a skull. In the Badami relief, the four-armed Ardhanarishvara plays a veena (lute), using a left and a right arm, while other male arm holds a "parashu" and the female one a lotus.


title: Ardhanarishvara

text: The Shiva half has a flat masculine chest, a straight vertical chest, broader shoulder, wider waist and muscular thigh. He wears a "yagnopavita" (sacred thread) across the chest, which is sometimes represented as a "naga-yagnopavita" (a snake worn as a "yagnopavita") or a string of pearls or gems. The "yajnopavita" may also divide the torso into its male and female halves. He wears ornaments characteristic of Shiva's iconography, including serpent ornaments.


title: Ardhanarishvara

text: In some North Indian images, the male half may be nude and also be ithyphallic ("urdhavlinga" or "urdhavreta": with an erect phallus), however, connotes the very opposite in this context. It contextualize "seminal retention" or practice of celibacy (illustration of "Urdhva Retas"), and represents the deity as "the one who stands for complete control of the senses, and for the supreme carnal renunciation", other images found in North India include full or half phallus and one testicle. However, such imagery is never found in South Indian images; the loins are usually covered in a garment (sometimes a dhoti) of silk or cotton, or the skin of a tiger or deer), typically down to the knee, and held in place by a "sarpa-mekhala", serpent girdle or jewellery. The right leg may be somewhat bent or straight and often rests on a lotus pedestal ("padma-pitha"). The whole right half is described as smeared with ashes and as terrible and red-coloured or gold or coral in appearance; however, these features are rarely depicted.


title: Ardhanarishvara

text: The female half has "karanda-mukuta" (a basket-shaped crown) on her head or well-combed knotted hair or both. The left ear wears a "valika-kundala" (a type of earring). A "tilaka" or "bindu" (a round red dot) adorns her forehead, matching Shiva's third eye. The left eye is painted with black eyeliner. While the male neck is sometimes adorned with a jewelled hooded serpent, the female neck has a blue lotus matching it.


title: Ardhanarishvara

text: In the four-armed form, one of the left arms rests on Nandi's head, while the other is bent in "kataka mudra" pose and holds a "nilotpala" (blue lotus) or hangs loosely at her side. In the three-armed representation, the left hand holds a flower, a mirror or a parrot. In the case of two-armed icons, the left hand rests on Nandi's head, hangs loose or holds either a flower, a mirror or a parrot. The parrot may be also perched on Parvati's wrist. Her hand(s) is/are adorned with ornaments like a "keyura" (anklet) or "kankana" (bangles).


title: Ardhanarishvara

text: Parvati has a well-developed, round bosom and a narrow feminine waist embellished with various "haras" (religious bracelets) and other ornaments, made of diamonds and other gems. She has a fuller thigh and a curvier body and hip than the male part of the icon. The torso, hip and pelvis of the female is exaggerated to emphasize the anatomical differences between the halves. Though the male private parts may be depicted, the female genitalia are never depicted and the loins are always draped. She wears a multi-coloured or white silken garment down to her ankle and one or three girdles around her waist. The left half wears an anklet and her foot is painted red with henna. The left leg may be somewhat bent or straight, resting on a lotus pedestal. In contrast to the Shiva half, the Parvati half – smeared with saffron – is described as calm and gentle, fair and parrot-green or dark in colour. She may be draped in a sari covering her torso and legs.


title: Ardhanarishvara

text: The posture of Ardhanarishvara may be "tribhanga" – bent in three parts: head (leaning to the left), torso (to the right) and right leg or in the "sthanamudra" position (straight), sometimes standing on a lotus pedestal, whereupon it is called "samapada". Seated images of Ardhanarishvara are missing in iconographic treatises, but are still found in sculpture and painting. Though the canons often depict the Nandi bull as the common "vahana" (mount) of Ardhanarishvara, some depictions have Shiva's bull "vahana" seated or standing near or behind his foot, while the goddess's lion "vahana" is near her foot.


title: Ardhanarishvara

text: The Parashurameshvara Temple at Bhubaneswar has a dancing eight-armed Ardhanarishvara. The upper male arms hold a lute and "akshamala" (rosary), while the upper female ones hold a mirror and a book; the others are broken. Another non-conventional Ardhanarishvara is found at Darasuram. The sculpture is three-headed and eight-armed, holding "akshamala", "khadga" (sword), "pasha", "musala", "kapala" (skull cup), lotus and other objects.


title: Ardhanarishvara

text: The Naradiya Purana mentions that Ardhanarishvara is half-black and half-yellow, nude on one side and clothed on other, wearing skulls and a garland of lotuses on the male half and female half respectively. The Linga Purana gives a brief description of Ardhanarishvara as making "varada" and "abhaya mudras" and holding a "trishula" and a lotus. The Vishnudharmottara Purana prescribes a four-armed form, with right hands holding a rosary and "trishula", while the left ones bear a mirror and a lotus. The form is called "Gaurishvara" in this text.


title: Ardhanarishvara

text: The mythology of Ardhanarishvara – which mainly originates in the Puranic canons – was developed later to explain existent images of the deity that had emerged in the Kushan era.


title: Ardhanarishvara

text: The unnamed half-female form of Shiva is also alluded to in the epic "Mahabharata". In Book XIII, Upamanyu praises Shiva rhetorically asking if there is anyone else whose half-body is shared by his spouse, and adds that the universe had risen from the union of sexes, as represented by Shiva's half-female form. In some narratives, Shiva is described as dark and fair-complexioned, half yellow and half white, half woman and half man, and both woman and man. In Book XIII, Shiva preaches to Parvati that half of his body is made up of her body.


title: Ardhanarishvara

text: In the "Skanda Purana", Parvati requests Shiva to allow her to reside with him, embracing "limb-to-limb", and so Ardhanarishvara is formed. It also tells that when the demon Andhaka wanted to seize Parvati and make her his wife, Vishnu rescued her and brought her to his abode. When the demon followed her there, Parvati revealed her Ardhanarishvara form to him. Seeing the half-male, half-female form, the demon lost interest in her and left. Vishnu was amazed to see this form and saw himself in the female part of the form.


title: Ardhanarishvara

text: The "Shiva Purana" describes that the creator god Brahma created all male beings, the Prajapatis, and told them to regenerate, which they were unable to do. Confronted with the resulting decline in the pace of creation, Brahma was perplexed and contemplated on Shiva for help. To enlighten Brahma of his folly, Shiva appeared before him as Ardhanarishvara. Brahma prayed to the female half of Shiva to give him a female to continue creation. The goddess agreed and created various female powers from her body, thereby allowing creation to progress. In other Puranas like the Linga Purana, Vayu Purana, Vishnu Purana, Skanda Purana, Kurma Purana, and Markandeya Purana, Rudra (identified with Shiva) appears as Ardhanarishvara, emerging from Brahma's head, forehead, mouth or soul as the embodiment of Brahma's fury and frustration due to the slow pace of creation. Brahma asks Rudra to divide himself, and the latter complies by dividing into male and female. Numerous beings, including the 11 Rudras and various female shaktis, are created from both the halves. In some versions, the goddess unites with Shiva again and promises to be born as Sati on earth to be Shiva's wife. In the Linga Purana, the Ardhanarishvara Rudra is so hot that in the process of appearing from Brahma's forehead, he burns Brahma himself. Ardhanarishvara Shiva then enjoys his own half – the Great Goddess – by "the path of yoga" and creates Brahma and Vishnu from her body. In the repetitive cycle of aeons, Ardhanarishvara is ordained to reappear at the beginning of every creation as in the past.


title: Ardhanarishvara

text: The Matsya Purana describes how Brahma, pleased with a penance performed by Parvati, rewards her by blessing her with a golden complexion. This renders her more attractive to Shiva, to whom she later merges as one half of his body.


title: Ardhanarishvara

text: Tamil temple lore narrates that once the gods and sages ("rishi") had gathered at Shiva's abode, they prayed their respects to Shiva and Parvati. However, the sage Bhringi had vowed to worship only one deity, Shiva, and ignored Parvati while worshipping and circumambulating him. Agitated, Parvati cursed Bhringi to lose all his flesh and blood, reducing him to a skeleton. In this form Bhringi could not stand erect, so the compassionate ones who witnessed the scene blessed the sage with a third leg for support. As her attempt to humiliate the sage had failed, Parvati punished herself with austerities that pleased Shiva and led him to grant her the boon of uniting with him, thereby compelling Bhringi to worship her as well as himself in the form of Ardhanarishvara. However, the sage assumed the form of a beetle and circumambulating only the male half, drilling a hole in the deity. Amazed by his devotion, Parvati reconciled with the sage and blessed him. The seventh-century Shaiva Nayanar saint Appar mentions that after marrying Parvati, Shiva incorporated her into half of his body.


title: Ardhanarishvara

text: In the Kalika Purana, Parvati (called Gauri here) is described as having suspected Shiva of infidelity when she saw her own reflection in the crystal-like breast of Shiva. A conjugal dispute erupted but was quickly resolved, after which Parvati wished to stay eternally with Shiva in his body. The divine couple was thereafter fused as Ardhanarishvara. Another tale from North India also talks about Parvati's jealousy. Another woman, the river Ganga – often depicted flowing out of Shiva's locks – sat on his head, while Parvati (as Gauri) sat on his lap. To pacify Gauri, Shiva united with her as Ardhanarishvara.


title: Ardhanarishvara

text: Only in tales associated with the cult of Shakta (in which the Goddess is considered the Supreme Being) is the Goddess venerated as the Maker of All. In these tales, it is her body (not Shiva's) which splits into male and female halves.


title: Ardhanarishvara

text: Ardhanarishvara symbolizes that the male and female principles are inseparable. The composite form conveys the unity of opposites ("coniunctio oppositorum") in the universe. The male half of Ardhanarishvara stands for Purusha and female half is Prakriti. Purusha is the male principle and passive force of the universe, while Prakriti is the female active force; both are "constantly drawn to embrace and fuse with each other, though... separated by the intervening axis". The union of Purusha (Shiva) and Prikriti (Shiva's energy, Shakti) generates the universe, an idea also manifested in the union of the Linga of Shiva and Yoni of Devi creating the cosmos. The Mahabharata lauds this form as the source of creation. Ardhanarishvara also suggests the element of Kama or Lust, which leads to creation.


title: Ardhanarishvara

text: Ardhanarishvara signifies "totality that lies beyond duality", "bi-unity of male and female in God" and "the bisexuality and therefore the non-duality" of the Supreme Being. It conveys that God is both Shiva and Parvati, "both male and female, both father and mother, both aloof and active, both fearsome and gentle, both destructive and constructive" and unifies all other dichotomies of the universe. While Shiva's rosary in the Ardhanarishvara iconography associates him with asceticism and spirituality, Parvati's mirror associates her to the material illusory world. Ardhanarishvara reconciles and harmonizes the two conflicting ways of life: the spiritual way of the ascetic as represented by Shiva, and the materialistic way of the householder as symbolized by Parvati, who invites the ascetic Shiva into marriage and the wider circle of worldly affairs. The interdependence of Shiva on his power ("Shakti") as embodied in Parvati is also manifested in this form. Ardhanarishvara conveys that Shiva and Shakti are one and the same, an interpretation also declared in inscriptions found along with Ardhanarishvara images in Java and the eastern Malay Archipelago. The Vishnudharmottara Purana also emphasizes the identity and sameness of the male Purusha and female Prakriti, manifested in the image of Ardhanarishvara. According to Shaiva guru Sivaya Subramuniyaswami (1927–2001), Ardhanarishvara signifies that the great Shiva is "All, inseparable from His energy" (i.e. his "Shakti") and is beyond gender.


title: Ardhanarishvara

text: Across cultures, hermaphrodite figures like Ardhanarishvara have traditionally been associated with fertility and abundant growth. In this form, Shiva in his eternal embrace with Prakriti represents the eternal reproductive power of Nature, whom he regenerates after she loses her fertility. "It is a duality in unity, the underlying principle being a sexual dualism". Art historian Sivaramamurti calls it "a unique connection of the closely knit ideal of man and woman rising above the craving of the flesh and serving as a symbol of hospitality and parenthood". The dual unity of Ardhanarishvara is considered "a model of conjugal inseparability". Padma Upadhyaya comments, "The idea of ... Ardhanārīśvara is to locate the man in the woman as also the woman in the man and to create perfect homogeneity in domestic affairs".


title: Ardhanarishvara

text: Often, the right half of Ardhanarishvara is male and the left is female. The left side is the location of the heart and is associated with feminine characteristics like intuition and creativity, while the right is associated with the brain and masculine traits – logic, valour and systematic thought. The female is often not equal in the Ardhanarishvara, the male god who is half female; she remains a dependent entity. Ardhanarishvara "is in essence Shiva, not Parvati". This is also reflected in mythology, where Parvati becomes a part of Shiva. It is likewise reflected in iconography: Shiva often has two supernatural arms and Parvati has just one earthly arm, and his bull "vahana" – not her lion vahana – typically accompanies them.


title: Ardhanarishvara

text: Ardhanarishvara is one of the most popular iconographic forms of Shiva. It is found in more or less all temples and shrines dedicated to Shiva all over India and South-east Asia. There is ample evidence from texts and the multiple depictions of the Ardhanarishvara in stone to suggest that a cult centred around the deity may have existed. The cult may have had occasional followers, but was never aligned to any sect. This cult focusing on the joint worship of Shiva and the Goddess may even have had a high position in Hinduism, but when and how it faded away remains a mystery. Though a popular iconographic form, temples dedicated to the deity are few. A popular one is located in Thiruchengode, while five others are located in Kallakkurichi taluk, all of them in the Indian state of Tamil Nadu.


title: Ardhanarishvara

text: The "Linga Purana" advocates the worship of Ardhanarishvara by devotees to attain union with Shiva upon dissolution of the world and thus attain salvation. The "Ardhanarinateshvara Stotra" is a popular hymn dedicated to the deity. The Nayanar saints of Tamil Nadu exault the deity in hymns. While the 8th-century Nayanar saint Sundarar says that Shiva is always inseparable from the Mother Goddess, another 7th-century Nayanar saint Sambandar describes how the "eternal feminine" is not only his consort, but she is also part of him. The renowned Sanskrit writer Kalidasa (c. 4th–5th century) alludes Ardhanarishvara in invocations of his Raghuvamsa and Malavikagnimitram, and says that Shiva and Shakti are as inseparable as word and meaning. The 9th-century Nayanar saint Manikkavacakar casts Parvati in the role of the supreme devotee of Shiva in his hymns. He alludes to Ardhanarishvara several times and regards it the ultimate goal of a devotee to be united with Shiva as Parvati is in the Ardhanarishvara form.


title: Patrick Wilson (musician)

text: Patrick George Wilson (born February 1, 1969) is an American musician, singer, and songwriter. He is best known as the drummer and co-founding member of the rock band Weezer, with whom he has recorded fifteen studio albums.


title: Patrick Wilson (musician)

text: Patrick Wilson was born in Buffalo, New York, on February 1, 1969, and raised in nearby Clarence. He was introduced to music very early on in his life, making his first musical purchase of Barry Manilow's 1976 album "This One's for You". Shortly after his fifteenth birthday he went to his first concert, seeing Van Halen. As a result, he was inspired to start taking drum lessons. By his senior year at Clarence High School, Wilson and his friend Greg Czarnecki began teaching the instrument, eventually amassing over 30 students.


title: Patrick Wilson (musician)

text: After graduating from high school in 1987, Wilson attended a local college briefly, dropping out after one semester. He commented, "College is such bunk. Too much politics and jockeying for favor. I just couldn't do it. College is great if you want to learn, but that's not what college is about, it's about making your professor happy and getting good grades and getting into IBM. Any place that says that they're only accepting college graduates is not a place I'm very interested in being."


title: Patrick Wilson (musician)

text: Growing tired of the local music scene, and at the urging of friend Patrick Finn, Wilson moved to Los Angeles at the age of 21. Shortly after arriving in Los Angeles, he joined the short-lived band Bush (not Gavin Rossdale's Bush) While in Bush, Wilson met future Weezer bass player Matt Sharp, with whom he developed a friendship. Eventually by the spring of 1991, Wilson started a band with Patrick Finn, and later Jason Cropper called Sixty Wrong Sausages.


title: Patrick Wilson (musician)

text: Meanwhile, Wilson was also in another band with future Weezer frontman Rivers Cuomo called Fuzz, which dissolved within three months. "By the time I had met Matt Sharp, and we were trying to figure out something to do. We had a lot of passion and interested in certain kinds of music, but we didn't know how that was going to translate into what we were going to do. So we met Rivers – 'He's got an 8-track, let's get with him' – and we convinced him to move into this apartment with us. Rivers was just starting to write songs and he asked me to play drums on a song for him. That turned into a band called Fuzz, with this girl bass player. That was pretty cool, but it had to die."


title: Patrick Wilson (musician)

text: In the spring of 1991, Sharp moved north to Berkeley to pursue what Karl Koch called, "some sorta symphonic keyboard sequencing music." Other members of the band moved to separate apartments. During this time, Wilson performed in a number of different bands, such as The Dum Dums and United Dirt. Eventually Cuomo, Wilson, and Cropper would reunite in a band called Sixty Wrong Sausages with Patrick Finn. Later, after Sixty Wrong Sausages broke up in late 1991, Matt Sharp would end up replacing Finn. During this time, Wilson and Cuomo embarked on the "50 song project" in which they would dedicate themselves to writing 50 new songs. Out of this project, future Weezer songs would be created such as "Undone—The Sweater Song," "My Name Is Jonas," "Lullaby For Wayne," and "The World Has Turned and Left Me Here."


title: Patrick Wilson (musician)

text: In January 1992, Sharp reconnected with his former bandmates Cuomo, Wilson, and Cropper, and Wilson showed him material from his and Cuomo's "50 song project." Sharp was pleased with the material and returned to Los Angeles to join the band, consisting of Rivers Cuomo, Patrick Wilson, and Jason Cropper, now under the name Weezer.


title: Patrick Wilson (musician)

text: In addition to his drum duties, Wilson has three song co-writing credits on Weezer songs – "The World has Turned and Left Me Here," "Surf Wax America," "My Name is Jonas" – and solo writing credits on "Automatic" and "In the Mall." He also has lead vocal/lead guitar duties on "Automatic." However, Rivers Cuomo and Pat Wilson have written far more songs collaboratively including "Lemonade" (released on "") and "Lullaby For Wayne" (released on the deluxe version of "The Blue Album").


title: Patrick Wilson (musician)

text: In the past, Wilson's amusing stunts on skateboards, scooters, and bicycles have been video taped and released on Weezer's official website. Some of these videos can be seen on Weezer's DVD, "Video Capture Device", released in 2004. Wilson can be seen playing guitar for Weezer when they play acoustic versions of songs on tour; in 2005 during the Foozer tour (with Foo Fighters), Wilson played lead guitar and sang for the song "Photograph," which was always followed by him leading a cover of Blur's "Song 2."


title: Patrick Wilson (musician)

text: Wilson wrote and performed lead vocals/guitars on "Automatic," on Weezer's third self-titled album. The song was remixed by LA Riots for the video game "Gran Turismo 5 Prologue". Wilson also sang lead vocals on "Red Album" b-sides "Life's What You Make It" (a Talk Talk cover), a cover of "Love My Way" by The Psychedelic Furs, and lead vocals in parts of Weezer's cover of Gary Numan's "Are 'Friends' Electric?," which he had sung live with Weezer in 2005.


title: Patrick Wilson (musician)

text: On Weezer's 2008 Troublemaker tour, Wilson played drums and sang lead vocals first on a three part lead vocal with Scott Shriner and Rivers Cuomo on "My Name is Jonas"; sang lead vocals and played lead guitar on "Automatic" and covers of Nirvana's "Sliver," Oasis's "Morning Glory," and Pink Floyd's "Time"; and played drums and sings back-up vocals on "The Greatest Man That Ever Lived."


title: Patrick Wilson (musician)

text: On Weezer's 2009 tour supporting Blink 182, Josh Freese played drums for Weezer while Wilson played guitar for 90% of their set. Rivers Cuomo insisted that he wanted to be more interactive and mobile on stage, so Wilson took up his responsibility of guitar and only played drums on songs that didn't require multiple guitar parts.


title: Patrick Wilson (musician)

text: Wilson records and performs with his own band, The Special Goodness, for which he writes songs, performs vocals, and plays the majority of the instruments. The band has released several albums, and Wilson himself has made songs available on his website in the past.


title: Patrick Wilson (musician)

text: Almost immediately after Weezer's initial success, Wilson played drums on The Rentals' first record "Return of the Rentals" but never toured with the band.


title: Patrick Wilson (musician)

text: Wilson and Weezer guitarist Brian Bell collaborated on a cover of the Velvet Underground song "Heroin" for the 2006 film "Factory Girl". Additionally, Wilson and Bell were given small roles in the film as John Cale and Lou Reed, respectively.


title: Patrick Wilson (musician)

text: Wilson married Jennifer Wilson in 1994 and they had two sons, Charlie, born in 2004, and Ian Patrick, born in early 2008. Jennifer died following a battle with cancer in August 2013. Patrick remarried in February 2015, to Camille Wilson. They had a son, Cruz, born in 2016. They live in Southern California. Patrick also participated in episode 82 of MacBreak Weekly, Leo Laporte's Weekly Mac Podcast.


title: Sikorsky S-64 Skycrane

text: The Sikorsky S-64 Skycrane is an American twin-engine heavy-lift helicopter. It is the civil version of the United States Army's CH-54 Tarhe. It is currently produced as the S-64 Aircrane by Erickson Inc.


title: Sikorsky S-64 Skycrane

text: The Sikorsky S-64 was designed as an enlarged version of the prototype "flying crane" helicopter, the Sikorsky S-60. The S-64 had a six-blade main rotor and was powered by two Pratt & Whitney JFTD12A turboshaft engines. The prototype S-64 first flew on 9 May 1962 and was followed by two further examples for evaluation by the German armed forces. The Germans did not place an order, but the United States Army placed an initial order for six S-64A helicopters (with the designation YCH-54A Tarhe). Seven S-64E variants were built by Sikorsky for the civil market.


title: Sikorsky S-64 Skycrane

text: Originally a Sikorsky Aircraft product, the type certificate and manufacturing rights were purchased from them by Erickson Air-Crane in 1992. Since that time, Erickson Air-Crane has become the manufacturer and world's largest operator of S-64 Aircranes and has made over 1,350 changes to the airframe, instrumentation, and payload capabilities of the helicopter. The Aircrane can be fitted with a fixed retardant tank to assist in the control of bush fires, and it has proven itself admirably in this role. The helicopter is capable of refilling its entire tank of water in 45 seconds from a water slide thick.


title: Sikorsky S-64 Skycrane

text: S-64 Aircranes have been sold to the Italian and Korean Forest Services for fire suppression and emergency response duties. Those in the Erickson Air-Crane fleet are leased worldwide to organizations, companies, and Federal Government agencies for either short-term or longer term use in fire suppression, civil protection, heavy lift construction, and timber harvesting. Erickson is manufacturing new S-64s, as well as remanufacturing existing CH-54s.


title: Sikorsky S-64 Skycrane

text: Erickson gives each of its S-64s an individual name, the best-known being "Elvis", used in fighting fires in Australia alongside "The Incredible Hulk" and "Isabelle". Other operators, such as Siller Brothers, have followed with their Sikorsky S-64E, "Andy's Pride". The Erickson S-64E nicknamed "Olga" was used to lift the top section of the CN Tower into place in Toronto, Ontario, Canada.


title: Lloyd's building

text: The Lloyd's building (sometimes known as the Inside-Out Building) is the home of the insurance institution Lloyd's of London. It is located on the former site of East India House in Lime Street, in London's main financial district, the City of London. The building is a leading example of radical Bowellism architecture in which the services for the building, such as ducts and elevators, are located on the exterior to maximise space in the interior.


title: Lloyd's building

text: In 2011, twenty-five years after its completion in 1986 the building received Grade I listing; at this time it was the youngest structure ever to obtain this status. It is said by Historic England to be "universally recognised as one of the key buildings of the modern epoch".


title: Lloyd's building

text: However, its innovation of having key service pipes, etc routed outside the walls has led to very expensive maintenance costs due to their exposure to the elements.


title: Lloyd's building

text: The first Lloyd's building (address 12 Leadenhall Street) had been built on this site in 1928 to the design of Sir Edwin Cooper. In 1958, due to expansion of the market, a new building was constructed across the road at 51 Lime Street (now the site of the Willis Building). Lloyd's now occupied the Heysham Building and the Cooper Building.


title: Lloyd's building

text: By the 1970s Lloyd's had again outgrown these two buildings and proposed to extend the Cooper Building. In 1978, the corporation ran an architectural competition which attracted designs from practices such as Foster Associates, Arup and Ioeh Ming Pei. Lloyd's commissioned Richard Rogers to redevelop the site, and the original 1928 building on the western corner of Lime and Leadenhall Streets was demolished to make way for the present one, which was officially opened by Queen Elizabeth II on 18 November 1986. The 1928 building's entrance at 12 Leadenhall Street was preserved and forms a rather incongruous attachment to the 1986 structure. Demolition of the 1958 building commenced in 2004 to make way for the 26-storey Willis Building.


title: Lloyd's building

text: The current Lloyd's building (address 1 Lime Street) was designed by the architect company Richard Rogers & Partners and built between 1978 and 1986. Bovis was the management contractor. Like the Pompidou Centre in Paris (designed by Renzo Piano and Rogers), the building was innovative in having its services such as staircases, lifts, ductwork, electrical power conduits and water pipes on the outside, leaving an uncluttered space inside. The 12 glass lifts were the first of their kind in the United Kingdom. Like the Pompidou Centre, the building was highly influenced by the work of Archigram in the 1950s and 1960s.


title: Lloyd's building

text: The building consists of three main towers and three service towers around a central, rectangular space. Its core is the large Underwriting Room on the ground floor, which houses the Lutine Bell within the Rostrum. Also on the first floor is the loss book which for 300 years has had entries of significant losses entered by quill. The Underwriting Room (often simply called "the Room") is overlooked by galleries, forming a high atrium lit naturally through a huge barrel-vaulted glass roof. The first four galleries open onto the atrium space, and are connected by escalators through the middle of the structure. The higher floors are glassed in and can only be reached via the exterior lifts.


title: Lloyd's building

text: The 11th floor houses the Committee Room (also known as the Adam Room), an 18th-century dining room designed for the 2nd Earl of Shelburne by Robert Adam in 1763; it was transferred piece by piece from the previous (1958) Lloyd's building across the road at 51 Lime Street.


title: Lloyd's building

text: The Lloyd's building is to the roof, with 14 floors. On top of each service core stand the cleaning cranes, increasing the overall height to . Modular in plan, each floor can be altered by addition or removal of partitions and walls.


title: Lloyd's building

text: In 2008 the Twentieth Century Society called for the building to be Grade I listed and in 2011 it was granted this status.


title: Lloyd's building

text: The building was previously owned by Dublin based real estate firm Shelbourne Development Group, who purchased it in 2004 from a German investment bank. In July 2013 it was sold to the Chinese company Ping An Insurance in a £260 million deal.


title: Lloyd's building

text: The much-vaunted design innovation of having the service pipes, ducts, and stairwells outside the walls in fact led to such costs caused by weathering and maintenance that Lloyds considered vacating the building in 2014.


title: Lloyd's building

text: Lloyd's former chief executive Richard Ward stated: "There is a fundamental problem with this building. Everything is exposed to the elements, and that makes it very costly."


title: Lloyd's building

text: It is seen on the cover of British pop group Five Star's 1986 album "Silk and Steel"; Hundred Reasons' debut album "Ideas Above Our Station"; and the 2001 reissue of British electronic musician Mike Paradinas's 1993 album "Tango n' Vectif", under the alias μ-ziq.


title: Paul M. Nakasone

text: Paul Miki Nakasone (Japanese: 仲宗根ミキ "Nakasone Miki", born November 19, 1963) is a four-star general in the United States Army who serves as the commander of United States Cyber Command. He serves concurrently as the director of the National Security Agency and as chief of the Central Security Service. Nakasone took command of the United States Second Army and Army Cyber Command in October 2016, until the Second Army's inactivation in March 2017. In May 2018, he became head of the National Security Agency, the Central Security Service and the United States Cyber Command.


title: Paul M. Nakasone

text: Born in White Bear Lake, Minnesota. He is the son of Edwin M. Nakasone, a second-generation Japanese American and a retired United States Army colonel who served in the Military Intelligence Service during World War II, and Mary Anne Nakasone (née Costello). His paternal grandparents came from Misato village in the Nakagami District, Okinawa.


title: Paul M. Nakasone

text: Nakasone grew up in White Bear Lake, Minnesota, and attended White Bear High School. He is married to Susan S. Nakasone (née Sternberg), and has four children. Nakasone attended St. John's University, where he received a commission as military intelligence officer in 1986 through the Army Reserve Officers' Training Corps program. Nakasone also attended the University of Southern California, the National Defense Intelligence College, and the United States Army War College, earning a Master's degree from each institution. He also is a graduate of the United States Army Command and General Staff College.


title: Paul M. Nakasone

text: Nakasone has commanded at the company, battalion, and brigade levels. He also served in foreign assignments in Iraq, Afghanistan and Korea, and has served as a senior intelligence officer at the battalion, division, and corps levels. Nakasone served on the Joint Chiefs of Staff as Deputy Director for Trans-Regional Policy in 2012 when he was promoted to the rank of brigadier general and previously served as a staff officer for General Keith B. Alexander.


title: Paul M. Nakasone

text: Prior to promotion to lieutenant general in 2016, Nakasone was the deputy commanding general of United States Army Cyber Command and later commander of the Cyber National Mission Force at Cyber Command. Nakasone has twice served as a staff officer for the Joint Chiefs of Staff and was the director of intelligence, J2, for the International Security Assistance Force in Afghanistan. On October 14, 2016, he took command of the United States Second Army and United States Army Cyber Command. Nakasone was also given control of United States Cyber Command's Joint Task Force-ARES, a task-force designed to coordinate electronic counter-terrorist activities against the Islamic State. He served as commander of the Second Army until it was inactivated for the fourth time in its history on March 31, 2017, and continued to serve as commander of United States Army Cyber Command.


title: Paul M. Nakasone

text: In January 2018, it was reported that Nakasone was on the list of potential replacements for outgoing NSA Director Michael S. Rogers. In February 2018, he was nominated for promotion to general. In April 2018, Nakasone was unanimously confirmed by the United States Senate as director of the National Security Agency and head of the United States Cyber Command. He was also promoted to the rank of general. In May 2022, Nakasone was asked to remain as the head of U.S. Cyber Command and the National Security Agency until 2023. In those roles, he has attracted attention for disclosing that the U.S. government took unspecified cyber offensive action against ransomware gangs operating outside the United States that targeted American infrastructure, as well as against Russian targets associated with the invasion of Ukraine.