This Yves Saint Laurent creation from F/W 1977 is the cutest little dress you could possibly imagine. Made from a lightweight black wool fabric with a blue, red, green and wool white floral print, it features a wide babydoll- or balloon-esque cut with many lovely details. The dress has a buttoned bodice with a ruffled stand-up collar and another ruffle to front and back, billowing sleeves with fitted buttoned cuffs, large inseam pockets and a short skirt that finishes with a ruffled hemline. Unlined. Made in France. Reference pic from Vogue US, September 1977.


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Jim Dine was born in Cincinnati, Ohio. His parents were second-generation immigrants from Eastern Europe and practicing Jews, an identity which influenced his artistic career. He later claimed he was "raised in a family of ironmongers and the tools were always around me." His family owned a hardware store, where he gained a deep interest in the power of ordinary objects. He was particularly fascinated by the "metaphorical" or "mythic" quality of the tools of iron-working; they would inspire his works of the early 1960s, where he attached tools to canvases creating combinations of found object and pictorial image.
Dine's mother died when he was 12 years old, and as a result, as he says, "I took care of myself." He attended Walnut Hills High School before going to the University of Cincinnati. Being dyslexic, he found reading difficult, but found poetry easier than novels. He has consequently been a lover of poetry, and a poet himself, ever since.
Early Training and work
From 1953, Dine attended evening classes at the Art Academy of Cincinnati, where he studied with Paul Chidlaw, a well-known Abstract Expressionist painter. This was a style Dine would eventually reject, although his painterly training would impact his later work. He attended Ohio University, graduating with a BFA in 1957. In the same year, he married Nancy Minto, and in 1958 the couple moved to New York.
It was in New York that Dine became involved with other important artists, including Claes Oldenburg, Allan Kaprow, and John Cage. Together, they staged "Happenings," chaotic performances that took place around the city (but mostly downtown, away from the areas traditionally associated with art museums and galleries). One of the aims of the "Happening" was to break from the ubiquitous Abstract Expressionist style, as championed by the art world. Dine later stated, "It's said we were the inheritors of Pollock's tradition. That's crap. Oldenburg and I came out of the theater that we knew; we were literate young men. We came out of Brecht, Artaud. We looked to Genet."
Dine met Oldenburg soon after arriving in New York, and the pair became good friends. Dine recalls that they were introduced by a friend who had an art space in the Judson Memorial Church in Greenwich Village: "Claes and I got together, drank a lot of beer, and talked and talked and talked. We talked about what we could do." These conversations led to the founding of Judson Gallery, which Dine and several friends opened in a Greenwich Village basement in 1959. The short-lived gallery showed important experimental work as an antidote to the supremacy of abstract expressionism on the Upper East Side before closing in 1961.
Mature Period
In 1962, Walter Hopps asked Dine to provide work for his ground-breaking show, "New Paintings of Common Objects." Generally credited with being the first exhibition of Pop art in the United States, Dine's paintings were shown alongside works by Roy Lichtenstein, Andy Warhol and Ed Ruscha. This exhibition secured Dine's reputation and his place in a new art movement, however, Dine never saw himself as a Pop artist. Instead, he thought of himself as continuing the legacy of artists such as Jasper Johns and Robert Rauschenberg. He could be dismissive of Warhol, saying "I hadn't got anything to say to Warhol. He came to my studio early on and bought work, and I was aware of him as a very successful graphic designer."
By the mid-1960s, Dine was well-known on an international scale. In 1966, Robert Fraser staged an exhibition of Dine's work at his gallery in London, but police raided the exhibition and twenty of Dine's works were seized and confiscated; Fraser was prosecuted under the Obscene Publications Act. The court eventually determined that Dine's drawings weren't "obscene" but they were "indecent," labeling them "crudely offensive and disgusting." Fraser was heavily fined for exhibiting them. The next year, Dine made the decision to move to London with his wife and three young sons, where Fraser continued to represent him and he befriended artists such as R.B. Kitaj. Although Dine only lived in London for four years, his love of the city endured throughout his life, and, in 2015, he gifted 234 prints to the British Museum.
Returning to America in 1971, Dine chose to focus on his drawing, making an effort to hone his technique and achieve a quieter, more nuanced style. A talented draftsman, he completed many self-portraits and portraits of his wife Nancy. During these years, he also developed a series of visual motifs which would crop up again and again in his works, including hearts, bath robes, and painters' palettes.
In the 1980s Dine also began to experiment with sculpture as a medium. In particular, he created a series of large-scale heart shaped sculptures for a range of different outdoor locations. Many of his sculptures made use of saws and blow-torches to create his works in an almost heavy-handed style reminiscent of the techniques of workmen, connecting these three-dimensional works to his lifelong fascination with workers and their tools.
Current Practice
In contrast to his earlier conceptual and Pop-style painting, much of Dine's latest production has been photographic. Dine contends that photography held a power he hadn't found in other media, saying "It's been very illuminating to me what one could say with photography that I haven't wanted to say with painting and sculpture." Dine has also developed new autobiographical iconography, pulling from his childhood to explore the character Pinocchio and a lifelong fascination with birds.
In 2005, Dine married Diana Michener, who had been his partner since the early 1990s. The couple lives in Walla Walla, in the foothills of the Blue Mountains in Washington, where Dine maintains several studios. They also have a home in the West Village in New York, however, Dine continues to travel extensively, often creating temporary studios in other cities when he's working on particular projects or preparing for exhibitions.
The Legacy of Jim Dine
Jim Dine's legacy extends to multiple styles and artistic media. His main influence can be found in the emergence of performance art, which sprung up following the Happenings in New York. These influenced movements such as Fluxus and Neo-Dada, with artists such as Joseph Beuys and Yoko Ono building on the avant-garde ideas expressed in these early New York Happenings.
Although he rejected the Pop art label, his colorful paintings in this style had a significant influence on a younger generation, along with the work of artists such as Andy Warhol, Roy Lichtenstein and Ed Ruscha. Artists working in the Neo-Pop movement, such as Jeff Koons, borrowed Dine's tropes of elevating commonplace objects to the status of fine art; Koons' New Hoover Convertibles (1980) are an example of this.
Dine artwork

redpajama_set_name: RedPajamaCommonCrawl


text:
Is the India ebook market ready to explode?
By Susan Lulgjuraj -
India seems to be the next market digital publishers are looking into.
And the jumpstart of the India ebook market might come sooner than anticipated. When Penguin India decided to remove and pulp Wendy Doniger's book "The Hindus: An Alternative History," it draw backlash from authors, educators and other publishers. The New York Times reported two Penguin India authors came forward and requested their books also be withdrawn and pulped in protest.
Jyotirmaya Sharma, the author of two books about Hindu nationalism, and Siddharth Varadarajan, the author of "Gujarat: The Making of a Tragedy," in letters to Penguin cited in The Times of India, said the publisher's decision to end its four-year defense of Ms. Doniger's book had undermined their own faith in the publisher.
"I no longer have the confidence that Penguin will stand by my book," Mr. Varadarajan, a journalist and former editor of The Hindu newspaper, wrote. "I would be grateful if our contract is canceled, all remaining copies of my book with you are pulped, and copyright for the book is reverted to me so that I may freely distribute it electronically without the fear of any future, arbitrary withdrawal by Penguin in the face of pressure from the sort of intellectual bullies who have managed to have their way with Prof. Doniger's book."
In a statement on the Doniger case, Penguin — which withdrew the book before the legal case was resolved — cited a responsibility to "respect the laws of the land in which it operates, however intolerant and restrictive those laws may be," and "to protect our employees against threats and harassment."
For years, many have predicted India's e-book market will have a massive upswing – maybe this is what finally makes that happen.
At Digital Book World in January, the Nielsen Company discussed evolving markets and consumer e-book purchasing behavior on one of the panels. Of the nine areas Nielsen Bookscan monitors, India was the only country that showed a year-on-year growth in 2012 (16 percent). The United States showed a 9.3 percent decrease with the UK decreasing by 3.4 percent, comparatively.
This past week, New Delhi hosted the World Book Fair. Publishers, retailers and authors attended the event including Amazon, Penguin, Random House, HarperCollins and more.
According to Business Standard, Amazon was a first-time participant at the New Delhi World Book Fair and Jon P. Fine, an Amazon director, was quoted as saying: "India has a tradition of rich narrative and storytelling. So, it's a natural market for self-publishing."
A major factor will be telling authors they cannot publish a book or big publishers not sticking with their authors and following arcane laws that disallow freedom of ideas to be shared.
The Indian ebook explosion might finally be coming and maybe Penguin India should be thanked for that.
Indian ebook market
Jyotirmaya Sharma
Susan Lulgjuraj
Wendy Doniger
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Editor. Writer. Social media specialist. Reader. Video game player. Sports lover. Card Collector. "I used to be a library junkie with books piled on my nightstand. I'd be constantly renewing books until I finished all of them. There had to be a way to escape the clutter. That's when I discovered e-book apps for my old Blackberry. I bought plenty of books and read and read and read. I even developed what I called 'Blackberry Eye,' small wrinkles under my eyes from staring down at my phone all day."
Amazon books $3 billion passage to India – but with or without books?
'Smell of books' perfume flourishes in the e-book age
Trump's anti-Bezos jihad: Could Amazon's e-book side hurt Jeff?
Can any of these five things slow Amazon down? Probably not
E-books change the dynamics of publishing in India
Indian start-up seeks to roll into e-book publishing like a Juggernaut


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text:
Accueil › Irma Voth
Irma Voth
Miriam Toews (CA)
livre broché - $21.00 CAD
Miriam Toews is a master storyteller at the height of her powers, who manages with trademark wry wit and a fierce tenderness to be at once heartbreaking and laugh-out-loud funny in Irma Voth.
Banished to a neighbouring farm for the sin of marrying a non-Mennonite Mexican, Irma Voth lives apart from the other Mennonites in her colony. Her new husband soon abandons her, and her only reprieve from isolation comes from the occasional secret visits of her younger sister Aggie and the little gifts sent by her mother. But change comes when a film crew from Mexico City moves into the empty house next to Irma's to make a film about Mennonites. Irma is hired on as translator and cook, and her involvement with the bohemian film crew sets her on a path that will push her into dangerous conflict with her strict, religious father, and out into the unfamiliar, exotic world of the big city.
Brimming with Toews's dazzling wit, Irma Voth tells the story of a young woman's turbulent journey towards self-discovery. It's a book that will grab you from the first page, and won't let go even after the last.
Format: Paperback / softback Trade paperback (US)
Imprint: Vintage Canada


text:
The Emperor of Night
There was no day, here at the utter north of the world, in among snow-blanketed hillsides and evergreen forests. This was the cold land where the Old Empire was born when Druanu rose to become a hero of his people, and now he returned to this place a shadow of himself, driven by powers he could not overcome, and the swordmaker's daughter followed him, with a horned helm and a blade made all of fire.
Shan waded through the deeps of the snow, following the path of blackened footfalls as it wound through the deeps of the valleys. The trees closed in overhead, and she was shielded from the baleful glow of the sky fires as she made her weary way. The sword warmed her flesh, but her heart was cold, her spirit worn and hollow from the deaths she had seen and encompassed to reach this place. She was tired down into her bones, yet she would not turn aside.
She entered a valley that stood silent and undisturbed beneath the blazing sky, and she saw the entrance marked by pillars of stone. They were ancient and worn, but they still bore the mark of the craft of man. Beyond the gateway was a place of hollow hills, and she knew she now entered the great secret of the Karkahd people, the ground they had lived and died to defend for a thousand years. This was the valley of tombs.
The graves were mounds raised over the fallen, marked here and there by stone monuments chiseled into ancient faces now all but worn away. Once stone guardians as well as flesh had protected this final resting place, but that was gone now. All of it was gone. The years had come and worn the lives of men away. The Karkahd were dead, dwindled from once mighty nations to a few savage remnants, and now they had died seeking to fulfill the task appointed to them in a dim age by a dead emperor who now walked as a revenant in his own kingdom.
She followed his tracks now, and she began to find his followers dead along the path. Pallid wights with hollow eyes and yawning mouths lay half-frozen along the trail, drained of the unearthly power that had made them live. Only the path of the Tyrant was plain, his footfalls melted through the snow, seared into the permafrost beneath like the touch of hot iron. She did not have to wonder where his path led; she could not miss it, nor could she miss that she was drawing closer to him, for now steam sometimes rose from the fresh marks.
She reached a long, narrow valley, and at the far end there was a sheer cleft in the hillside, like another gate, and this one was dark, almost covered over with trees and the fall of snow over ages, but she saw it, and she followed the footfalls of the Tyrant to it. There were bones grown into the wood of the trees that flanked the path, and she knew there had been a killing in this place on some long-ago night of blood and death. The sword lit her way as she followed the trail that led her into darkness, and up the jagged, rocky slope beyond, until she emerged into a new place, the heart of all darkness in the cold lands.
This valley had lain untouched by men for a thousand years, and there was nothing left here of the mark of man. The wall of ice that had once been the far northern bulwark had moved, crept down over long ages, and now it stood near, looming above her and lit as from within by the fires of the sky. Blue and green and red coursed within the glass-clear ice, shimmering like witchfire.
And there, like a dark blot against the clarity of the glacier, she saw the shadow of the Emperor, his shadow stretching long behind him, limned by the ghostly flames that coursed within the ice. He knelt there in the snow, a black outline hidden in the haze of ice and smoke that boiled around him. She felt power simmering in the air all around, a silence with an edge like steel that lay waiting to cut. Shan approached him slowly, her sword in her hand, placing each step deliberately. Now, at the end, he would be most desperate, and most dangerous.
She felt the cold emanate from him, saw it shimmer in the air when it met the heat given forth by her sword. It made mist in the dark air. He felt it, and he rose and turned to face her. She saw him loom over her as though he were a giant, his eyes blazing down upon her, and now she saw one of them was cold and white, while the other burned red like a coal. The aura around him was weaker, and the ice turned to vapor when it met the heat from her blade.
He lifted his hands, and in them he bore broken shards that glimmered like black ice. He still carried the pieces of the ember sword that had served him so long, and so well. Now it was nothing more than blackened glass, broken apart and powerless. Now his own power was failing him. The power that shrouded, and stretched out a cold hand to take all the life it could reach. That power was fading.
"Stop," she said, not knowing if he could understand her words, for he came from a time when dead languages were still spoken across a younger world. "It is not you, Druanu, Hammer of the North, who does this. It is the power you contested with in your youth, and overcame, and yet you did not destroy it, and so it has waited, and now it would use you for its own ends. Dead, it refuses to rest. It is done, but it will destroy all it can before it gives way. Do not go to it. Come away. Lie down, and rest again."
He shuddered, as if a wind tore at him that she could neither feel, nor see. The tempest around him died, and she saw him plain for the first time. His flesh was dark from years in his tomb, sunken and polished like glass. He turned his head and looked at her, and she saw that he wore a mask on his face, and through it only one eye burned – the cold one.
He made a sound, and it was like a beast howling in some lost abyss. He clenched his hands and the pieces of his broken sword cut his skin, cracked apart and sifted down like black jewels. He rose up, and he towered over her like a giant out of dreams. She held up the sword, not to threaten, but as a talisman to ward him back. She knew the heat would keep him from her.
It did not. He pressed forward against the radiant warmth and grasped the blade of Kingbreaker with his bare hands. She saw his long, dark fingers clutch the blade, and she thought he would try to wrench it from her, but he clung to it, and she saw smoke boil up as the steel seared his ancient flesh. He made another low sound, a cry of agony, and he shuddered all over, his desiccated skin cracking apart. She saw the wound she had given him glow like a river of hot coals, and then he bowed his head. When he lifted it, the cold eye was gone, and she saw only the bright one.
He gave another cry and released the blade, fell to the snow, his hands smoking where they touched it, hissing with the great heat. He choked, and it was such a human sound she found it more frightening than all the bestial howls and bellows she had ever heard him give voice.
When he spoke, his voice was dry and jagged as stones in the earth, and colder still. His words were harsh, and she could just barely understand him, so ancient was his speech. "So much time. A long dream, and now awake." He looked at her, and she felt she stood at last in the presence of a man, not a monster. "It calls me," he said, his voice desperate.
"It lies," she said. "It has used you for long ages."
"The night god. The cold god," he said. "It came in my youth, and I fought it. I thought I had won." He looked to the glacier, looming near and suffused with colored fire. "It is there."
"You did win," she said. "But you did not destroy."
"It lived in me," Druanu said. He reached up, slowly, and he clawed the decayed armor away from his chest. There, on his dark flesh, she saw four glowing points like embers. "But here is the last of the power that would oppose it. It sought to devour all, but it cannot. It is too weak." He dug his smoking fingers into the iron-hard flesh and drew forth what glowed, and Shan saw another glassine dagger that blazed with fire and light, like the one she had crushed to forge her blade.
"I have carried these for too long, let them be set free." He drew out another, and another, until he held all four in his dark hands. Shan felt the heat that washed out from them, saw them sear his dead fingers. She did not know what he meant to do, but then he closed his hands around the blade of Kingbreaker, pressing the ember knives to the steel, and he squeezed down with all his ageless strength.
Driven by his will, his dead hands exerted their terrible power, and the crystal shards cracked apart. Shan flinched from the sparks that shot into the air and trailed down to melt the snow, but she did not draw the sword away. Druanu crushed the crystals and ground them to powder upon the steel, and she saw the veins of fire in the dark blade grow brighter and seem to flow with new light, and he knew the power of the one was drawing in the other four. She felt the heat and the seeming weight of the sword grow greater in her hands.
As the shards broke apart they lost their fire, their ragged edges slicing the Tyrant's dead flesh, until they fell to the snow as blackened fragments and Druanu's hands were savaged and cut to the bone. Her sword glowed like a sullen star, and he fell back into the snow, his ruined hands hooked like claws before him. He breathed out a last stream of smoke.
"All the fire is yours," he said. "Mine is fading." He looked at her with an eye that was simply human beneath the blackened mask. "Do not let it take me again."
She knew the cold power was rising again, filled with fury and vengeance, and she knew it would control him and use him as a weapon against her. She lifted the red blade and held it there for a breath, bright against the haunted sky. She struck once, severing the Tyrant's head, so that it fell into the snow beside his body, and it smoked there, the ancient flesh smoldering and at last withering away. So fell Druanu, the Sleeping Tyrant.
Something screamed deep in the heart of the glacier, and then the earth convulsed and the wall of ice fractured, the crack racing up across the pristine face. Shan stepped back, the sword in her hands like a bonfire. Something dark moved in the ice, something old and alive and depthlessly cold. She saw something reach toward her, and then a hand burst through the ice and sank long fingers into the earth, like claws.
The arm was immense and white, the skin sunken and hanging. The fingers were hooked and the ends fleshless, showing black bone tips. The ice erupted, and Shan reeled back among the trees as something monstrous heaved itself out of the glacier and emerged into the flickering, baleful light of the sky fires.
It was the shape of something human, but sunken and twisted and malformed. The flesh was white and hung like rags upon a black skeleton that jutted through like spears of dark glass. Ice slid down in a cascade that struck the ground and sent up a billowing cloud of ice shards that washed over her and hid the thing from her sight.
Shan felt it moving, even when she could not see it. The earth shook under her as it crawled free of its prison. The ice blinded her, and she saw the tiny crystals turn to steam when they met the radiating heat of her sword. The thing made a long, hollow sound, like a howl of uttermost hunger, and then she saw its face emerge from the fog. It was fleshless and long-toothed, and one eye was a blackened ruin while the other was a frozen sphere of white. It moaned in the depths of its starving need, and she knew she looked on the face of the Night God, the Hunger God.
It clawed for her with one arm, dragging itself through the trees, branches snapping off as it forced its way through them. Shan fell back, and she saw that blinded skull turn to follow her. It could sense the heat from the blade, and it yearned for it. It wanted the power that remained of the burning one, even as that power could be used to destroy it.
It crawled after her, and Shan saw that the other arm was only a stump that it used to dig at the snow. Behind that, the massive body was gone, only a blackened spine trailing off like a dead tail, with no legs remaining, no organs that could be called that. It was a hunger without a body, only sustained by the terrible will that had kept it alive for so long, clinging to the half-existence that was all it had left. Now, at the end, desperation drove it to motion, the need for the power within the sword – all that remained of the other force that fell from the sky.
Shan backed against a boulder, looked and saw she was against a slope made of great, tumbled stones, and she had nowhere else to go. The thing clawed through the trees, splintering wood before it. Deformed, ruined, weakened, still it would crush her if it caught her. The least remnant of that terrible strength would be too much for her, if she let it fall upon her frail flesh.
She climbed, backing up the slope, clawing her way up the pile of rocks, her boots skidding on the snow and ice. Shan was exhausted, and yet she did not falter, pushed herself higher and higher, and the thing followed. The rocks beneath her feet shook, and she looked back and saw the one-armed god crawling after her, jaws open, yawning, reaching. It was driven by an ages-old hunger she could not imagine, and it slithered after her. Boulders ripped free under it and rolled down, ice splintering off them, but they only slowed it.
It was close, she could feel the cold that came from it, feel the freezing breath that washed from its jaws. The great, clawed hand came for her and she leaped aside as it slammed down, shattering rocks and sending pieces tumbling down the slope. Before it could draw back she sprang in and struck with both hands on the hilt of Kingbreaker.
The edge bit cleanly through the disintegrating flesh, and then it bit through the bones and sparks flashed out. The impact shivered up through her hands and she fell back, almost numb from the blow. The thing shrieked and its single hand fell away, severed and smoking. Shan tried to catch herself but she slid downward, bounced hard off another boulder and fell toward that yawning black mouth.
Blind, it howled, and she dropped toward it, turning slow in the air, and with her last strength she caught herself with her feet braced against the skinless black bone of its face. She stared into that white frozen eye, and then she struck.
There was a sound like breaking stone, and the sword she had forged sheared through bone, and then the skull of the dark god split apart. There was a sound that was not a sound, a scream that echoed down from lost aeons as through an endless sky, and then the shadow out of darkness fell back and away from her, streaming back blood from its ruined head. Shan tried to stop herself, but she slid down after it, in among the breaking, shattering bones and the flesh turning to ice and breaking apart.
She rolled and tumbled down the long slope, and the body of the dark god disintegrated around her, curling up and away like burning leaves, until she landed hard at the bottom among the ruins, and sent up a plume of ash like charred paper. She looked up as it rose around her, glowing embers rising up and up, higher than they ever could have reached, and then the wind came and tore them away, and as she watched the phantom glow of the sky fires overhead faded away, and was gone.
She walked out of the northland, alone. The sword in her hands glowed with a dying fire, and she knew it would one day fail. For now, it kept her warm as she left behind the frozen lands. The God of Darkness might be slain, but the ends of the earth were still a place of night, and of winter. She found a horse wandering the wilderness, and then she rode. The land was empty, and when she passed the place where the battle had been fought, snow had already buried the dead.
Shan went to the heart of the old fortress, where the fallen star had lain so long and burned for so many ages, and found it empty, and silent, and cold. She took her ember blade, and she drove it into the heart of the cracked stone, and she left it there. It was the last fire of a power older than man, and she would not take it with her back into the lands of life. The war between the consuming fire and the engulfing cold was ended, and she resolved to let it die.
Her horse was weary, and so was she. She cast off the horned helm and left it behind her, for she had seen enough war to last her whole life. She rode south, away from the lands not made for life, and toward the warmth of the sun.
The Old Ways
The Sword and the Planet
Ablaze in the Northern Sky


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I had the afternoon off today after a very long (super duper long and stressful) day at work yesterday.
So after indulging in a spot of Christmas Present purchasing, along with some crafting supplies…… I baked.
I started off another little sourdough recipe from Paul Hollywood's book, but then I decided to make one of the recipes from the series 3 bake off book that I had eyed up when I first flicked through it. It was also made as part of the Masterclass series after this series of the Great British Bake Off. You can find the recipe here.
Make the dough, kneady knead….. then leave to rise for an hour until it goes quite wild! – Note: one of the commenters below (Thanks Richard Juniper!) pointed out to me that in the masterclass episode, Paul actually adds 40g of caster sugar to the dough, which isn't stated in the recipe either in the book or online. Naughty naughty! This may well be an error in the printed recipe, as I had an issue with another recipe (the doughnuts and their frying temperature), which when I then watched the masterclass did seem to be different to what Paul actually did! I haven't had chance to test this yet, but once I do I shall update accordingly, or let me know if you find this better! See update below.
Roll up, slice, arrange in a deep baking tin, and leave to rise again.
Bake, then brush with warm apricot jam..
I will try not to eat them all in one go…..
Tomorrow, I craft. I have been itching to get my beloved Bernina out for a while. Today I bought some material that I have had my eye on for a while, and have been planning a little something that I have been wanting to make for a while too!
A little bit puffier……………….. then I baked them as before, and brushed with some melted butter for added shiny….
Appearance-wise, they don't look a massive amount different to the others, but texture-wise? Much softer, so definitely worthwhile to add the sugar!
But how disappointed am I in these recipes now?! If I have chance, I still have some of the masterclass recipes on TiVo, so will try and re-watch them and figure out if any others are wrong too!
I'm quite new to baking but The GB Bake Off has got me trying all sorts of things. I made these exact Chelsea buns a few days ago but instead of being light and fluffy they were very hard and stodgy.
It was my first time making them too, as long as they rose, then the yeast should still be active, as it's the respiration of the yeast that creates the carbon dioxide and thus the rise.
I don't have a very good warm place in my kitchen, so it sometimes involves step stool/radiator/teatowels in order to tuck it in nice and warm, and an extended proving time before it's ready.
I'm not by any means very experienced at this though!
Thanks love! Perhaps we should set up some sort of monthly challenge with a theme? What do you think?
I just did it quite gradually, bit by bit, until it was the right size, trying not to force it too much as it just will resist it.
thank you i will give it another try this week.
gave them another try and they turned out nice and soft this time. however on both occasions the 2nd proofing didnt rise that much so dont know what to do. but thanks for the tips.
I tried making them again today, but I made them chocolate and caramel instead. For my second proving, I covered the tin in cling film, and put it on top of a radiator and it worked much better. I also left it a little longer until they were nice and puffy!
I made Paul's Chelsea buns for all the family and even for family who were visiting from the USA.
They went down a treat and were a great success. I have orders to make many, many, more.
I liked them, but I think I can improve on my technique a bit! I think they hadn't risen quite enough before baking I think…..
Today I am having another go… but with a twist!
Check out my Chocolate and Caramel Chelsea Buns!
I made these bins at the weekend and like Natalie found them a bit stodgy and not as light as a proper Chelsea bin.
I had a look at the GBBO Masterclass on BBC iPlayer and noticed that Paul included 40g of caster sugar in with the dough. This is not listed in his recipe. Surely an oversight??
I'll try again with the sugar and see what happens.
I haven't re-watched the chelsea buns masterclass since making them, but I did notice that on the doughnuts one, he states on the masterclass to fry them at 160C, while the book/recipe online says 180C. I did start off doing them at 180C as stated, but had to reduce the temperature to 160C as they were cooking too fast. Once I watched the masterclass and he said that, it all made sense!
This could in fact explain a lot of the problems people have been having with this recipe, as although they do rise without sugar, those little yeastie beasties will be a whole lot happier with some nice tasty sugar!
Thanks for that, that's really helpful, I shall add it to the post!
Sorry about the slip of the finger on the keyboard. Of course I meant buns not bins.
Very useful as after having had a go at the plaited loaf, I now want to try the Chelsea buns. I couldn't quite work out how to get them bun shaped I think I get it now, she says! I also think I will add the sugar and a few cherries, so here goes! Do you have a link by any chance for the inlayer?
The link to the recipe on the BBC Food website is in the above post, but be careful as the dough recipe is incorrect, it needs 40g of caster sugar adding to the dough, otherwise you may find the texture a bit hard.
Many thanks, I thought there might be a youtube demo or something but I've got the bake off book but have added the 40g of sugar as you suggest so again, thanks for that. You would have thought they would have it correct in the book, never mind. Also I've added the orange zest to the fruit – note to self – I really must read the words! Dough is now proving!
Oh, I've just found a youtube vid and yet another mistake, in the book it says dough in an oiled bowl and on the vid it's the exact opposite!
You just can't trust anyone these days!
Wish I'd read this before I made them! Mine are delicious at first, but end up very dry overnight, which spoils them. I'll have to try again with the sugar.
Made my second batch the other day and yes again very yummy. I've found if left overnight they do go a little hard, but found that a few seconds in the microwave puts them to rights. Also had a go at Mary Berry's Chocolate Log and that turned out lovely. Today I tried her Apple Tart Tatin – blimey how messy is that to make ha ha, everything in the kitchen so sticky. Turned out ok – I think, have yet to try it. Next on my list is the triple chocolate long and the American Lime pie!
I made these, with the added sugar (not caster, ordinary) and without oiling the bowl for the proving. They are delicious, really soft and fluffy. I had watched the youtube clip with Mary Berry and noticed the discrepancies from the BBC recipe. So as with most new recipes I did a bit of research of other recipes first and came across your website. Thank you so much for the photos and details as this gave me the confidence to try it. I have fantastic first time results and a recipe I'll use again and again. Thanks again, I really appreciate it.
p.s I added lemon juice to icing sugar for a touch of zing and used chopped dates and sultanas……extra strong white flour and fresh yeast.
That's great! Glad you found them useful. I find that sometimes recipes seem really hard from looking at them, then once you bite the bullet and give it a go, they are really not all that bad! Like Choux pastry, actually really simple!
I also made Chelsea buns yesterday, but my chocolate and caramel variation. I may have just had another one for breakfast. And got chocolate ALL OVER MY FACE. Yum.
Thanks for commenting, and keep at it, let's challenge ourselves to something else!
They are tasty! I made some with chocolate and caramel instead and they were even better, but then I do love a bit of chocolate!
I did try them with the original recipe, using no sugar, and with the 40g. Great improvement in texture with the sugar added.
I have to say it makes me lose faith in his recipes! Especially having found problems with others too!
Totally agree Lindsay, he is a professional baker and his recipes should all be exactly the same or what is the point in us following them if they vary so much? For people like me who are not experienced bakers I want a recipe that I can just follow and know it's got a good chance of coming out well!
Hi Lindsay, I have made the chelsea buns several times and they have worked out really well, especially with the addition of the 40g of sugar and 40g of butter, I did write to the BBC saying that their recipes did not match the Masterclass, but all they said was that the recipes were tested, which didn't really answer the question, as you say its not very professional really! And confusing for those who are not that experienced at baking.
Anyway as I didnt have any cranberries, I use mixed fruit which I soaked in cold tea, this makes the buns much softer with extra flavour, but do dry the fruit before adding as it will be to wet otherwise, also they freeze really well, and the flavour seems to enhance with time in the freezer.
I also make lardy cake which also freezes well.
My favourite version that I have made are some that I made with chocolate and caramel. Yummy.
But yet we are still missing the earliest episodes….. Who knows why.


text:
Boats Buying Guides
An Overview of Industrial Radiation Sources
Workshop Insider
Two main types of industrial radiation are used in industrial radiographic testing: X-rays and Gamma rays (γ). X-rays and gamma rays differ from other types of electromagnetic radiation only in their relatively short wavelengths that give these radiations the capability to penetrate material and expose internal defects.
As X-rays and gamma rays are physically similar, they differ only in how they are generated.
Principle of X-Rays
The X-ray tube consists of a glass envelope; the glass envelope, which is evacuated to an ultra-high vacuum, contains the anode (positive electrode) and the cathode (negative electrode).
Under the electrical tension effect (high voltage direct current) between the anode and the cathode, the cathode filament generates electrons, which get attracted to the anode and accelerate their speed. The voltage applied between the anode, and the cathode is called the X-ray tube voltage. The stream of electrons is concentrated into a beam by the focusing cup, and the surface area of the anode struck by electrons is called the target.
The accelerated electrons collide with a target on the anode. Their rapid motion is stopped, and a part of the electron's energy converts to X-radiation. The X-radiation is known as X-rays, and the vacuum tube that utilizes this phenomenon is called an X-ray tube.
The target in the anode in most X-ray tubes is typically made of tungsten. The high atomic number of tungsten makes it an ideal material to interact with high-speed electrons. Besides, tungsten has a high melting point, making the target reliable to use under the high temperatures resulting from electron impingement. In fact, most of the kinetic energy from the electrons is converted into heat; therefore, the anode must have the capability to dissipate the heat. Typically, 97–99% of the electrons' kinetic energy converts to heat, and approximately 1–3% converts to x-radiations.
The target size in the anode is an important parameter to consider; the target size directly affects the image sharpness of the object being radiographed and thus affects the definition of the final image. In general, the produced radiographic image is sharper and has a higher definition when the target size is small.
The total number of the generated electrons from the cathode can be adjusted by changing the X-ray tube's filament voltage. Thus, it changes the dose of X-rays generated off the target of the anode. The change in X-ray tube voltage changes the speed at which electrons strike the target and, therefore, control the generated X-rays' nature. The X-rays with relatively short wavelengths are called hard X-rays, while the X-rays that have relatively long wavelengths are called soft X-rays.
The radiation energy is expressed in voltage or kilo-voltage; however, the common expression for X-ray energy is kilo-electron volts (keV) or, as generally known, kilovolt (kV), which is equal to one thousand volts. Most industrial radiographic techniques use an energy range from about 100 kV to 400 kV. The intensity of the radiation is expressed in milliamperes (mA).
The radiation's energy is known as the quality of the radiation, while the intensity of the radiation is known as the quantity of the radiation.
Principle of Gamma Rays
Gamma radiography is similar to X-radiography; the difference is how the radiation is generated. The significant advantage of gamma rays over X-rays is the compact size of gamma-ray sources, which allow gamma-ray shots to be performed in small and difficult to access places. The downside of using gamma rays is the longer exposure period than X-rays, and the gamma-ray source cannot be turned off like an X-ray.
The most common gamma-ray sources (radioactive isotopes) in industrial radiography applications are 192 and cobalt 60. Thulium 170, caesium 137, and radium 226 are also used in industrial applications but are limited.
Each radioactive isotope has a unique energy. Some of these radioactive isotopes give off a number of unique energy bundles. The radioactive isotope energy never changes; however, radioactive isotopes lose activity and decay with time. Decay means a reduction in activity or quantity, which varies depending on the kind of radioactive material. For instance, the intensity of the radiation from a cobalt 60 source decreases to half its original value in about five years; and that of an iridium 192 source in about 70 days. The amount of time it takes for a specific radioactive isotope to decay and reduce its activity to one half of its original is called the radioactive half-life.
The unit of radioactive isotope energy is electron volt (eV). A gamma-ray with an energy of 0.5 MeV (500 keV) is equivalent in wavelength and penetrating power to the most penetrating radiation emitted by an X-ray tube operating at 500 kV.
The amount of radiation given off by an isotope source known as the intensity is expressed in curies or becquerels. One curie is equal to 3.7 × 1010 disintegrations per second (decays per second), one becquerel is equal to one disintegration per second.
The degree of concentration of a radioactive source is known as the specific activity. Specific activity is expressed in terms of curies per gram. When comparing two gamma-ray sources of the same material and activity but different in the specific activity. The source with greater specific activity will be smaller in size. Therefore, the source of higher specific activity produces radiographic images with less geometrical unsharpness; besides, it will provide shorter source film distances and shorter exposure time.
Difference between X-Rays and Gamma Rays
As previously mentioned, X-rays and gamma rays are physically similar; however, they differ only in how they are generated and their material properties.
The main difference between the two radiations sources are as follow:
X-rays require electric power to operate, while gamma rays require no electric power supply, making it easy to use in the field. However, an X-ray source from the safety perspective upon disconnecting the power source will be switched off and have no associated risk, while a gamma-ray source cannot be switched off.
Gamma rays can be obtained in a range of source diameters; thus, they can be used with a very short source-to-film distance and a small diameter source.
Gamma rays provide a wide variety of radiation hardnesses (energy level); however, the energy level (radiation hardness) and intensity cannot be adjusted. On the opposite side, adjusting the energy level as well intensity is possible with X-rays.
Gamma rays have higher radiation hardness (more penetration power) than those of conventional X-ray equipment can produce.
X-rays produce higher radiographic image contrast than gamma rays.
Gamma rays have a limited service life due to source deterioration.
Gamma-ray sources are compact, which allows the test to occur in small and difficult to access places.
Read: What Are The Certification Programs Of NDT Personnel?
Kodak – Radiography in Modern Industry.
GE – Industrial Radiography – Image forming techniques.
Handbook of Nondestructive Evaluation.
Founded on the core mission of connecting mechanical engineers globally to share knowledge and experience. Our Authors are qualified Mechanical Engineers, Marine Engineers, Welding Engineers "CSWIP Certified", Coating Inspectors "NACE CIP LII" & NDT Experts "ASNT NDT LIII Certified".
Ultrasonic Testing (UT) – Insider's Overview
Ultrasonic Testing (UT) is a non-destructive testing (NDT) method that utilizes the propagation of high-frequency sound waves or ultrasonic waves.
Blacklights Overview and NDT Application
Blacklight (or Ultraviolet Light "UV-Light") is electromagnetic radiation with 320-400 nm wavelengths. Blacklight lamp emits long-wave UV‑A radiation and little
Radiographic Testing (RT) – Insider's Overview
Radiographic testing (RT) is a non-destructive testing (NDT) method used to examine the test specimen's volume and show the discontinuities
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text:
Freie Wirtschaft bezeichnet unter anderem:

 Teile der Wirtschaft, die nicht dem öffentlichen Dienst zuzurechnen und keine Privathaushalte sind
 Privatunternehmen
 Privatwirtschaft
 Vereinigung für freie Wirtschaft

Siehe auch:
 Freiwirtschaft
 Freie Marktwirtschaft
 Wirtschaftsordnung

redpajama_set_name: RedPajamaWikipedia


text:
Баши́р Ха́мфрис (; ) — английский футболист, защитник клуба «Челси» выступающий в аренде за немецкий «Падерборн 07».

Карьера
Хамфрис — воспитанник клуба «Рединг». В 15 лет он подписал контракт с «Челси» на получение стипендии. В октябре 2021 года подписал с клубом профессиональный контракт.

27 декабря 2022 года попал в заявку команды на матч Премьер-Лиги против «Борнмута»; на поле не появился. 8 января 2023 года в 3-м раунде Кубка Англии по футболу против «Манчестер Сити» он дебютировал за «Челси». 27 января был арендован немецким клубом «Падерборн 07» до конца сезона.

Карьера в сборной
14 января 2019 года в товарищеском матче против сверстников из Албании он дебютировал за Англию (до 16 лет). В июне 2022 года был включен в заявку национальной сборной на чемпионат Европы до 19 лет. На турнире сыграл в матчах против Сербии и Израиля.

Достижения

 Сборная Англии (до 19 лет)

 Победитель чемпионата Европы (до 19 лет): 2022

Примечания

Ссылки

 Профиль футболиста на сайте «Челси»

Футболисты Англии
Игроки ФК «Челси»
Игроки ФК «Падерборн 07»


text:
pushd $(dirname $0) >/dev/null || exit $?
SCRIPTROOT=$(pwd)
TAG=$(basename $SCRIPTROOT)
popd >/dev/null

sudo docker build --force-rm --tag="$TAG" $SCRIPTROOT

redpajama_set_name: RedPajamaGithub


Designer and architect Jürgen Gebauer brings with his leather accessories color and cheerfulness to the modern woman.Jürgen Gebauer is the owner of the brand focused on tension between color and form.
The functionally well thought leather accessories are distinguished by their proportionally harmonious design, imaginative impressions, extraordinary colors and color combinations.
Both the coloring of the leather in the tanning and the manufacture of accessories are made entirely by hand.Highest quality materials are essential for the production. The leather and the components such as threads, zipper, adhesives, etc. are of the same high quality standards. The result is the long life of all de'qua leather accessories.
Delivery times: In-stock items right away, customized items 4-8 weeks.


In deutschen Großstädten fehlen Wohnungen und freie Flächen. Die sogenannte "Nachverdichtung" könnte die Wohnungsnot mindern. Das Potenzial ist groß - doch Anwohner sind oft alles andere als begeistert. [ ... In ballungsgebieten ...] 2030 würden dann bereits eine Million Wohnungen fehlen. [...] Das gelingt nicht immer. Wird zu stark verdichtet, geht das zulasten der Wohnqualität - die Menschen leiden unter mehr Lärm und Verkehr, haben weniger Freizeitflächen in ihrer Umgebung. Entstehen mehrheitlich Eigentums- oder teure Mietwohnungen, ist der neue Wohnraum für viele nicht bezahlbar - das beschleunigt die Gentrifizierung. [... Active change in Planning Laws to allow new types of developments ... ] Die Bundesregierung unterstützt Nachverdichtung, indem sie Kommunen zum Beispiel mehr Spielräume für die Bebauung von Innenstadtflächen einräumt.
// cost of entry? // unable to make it happen? // Can't you write software from anywhere? // problem, heavily diluted early on approaching A/B, traditional shops don't like the cap table of pre-seed, angels, seed, accelerator & Micro VC's already owning ~+40% ... you come to a traditional A/B shop and not one of the existing investors is actually leading the round or committed in paper do double down? // // from a financial perspective/investment/math --- in the PRIVATE MARKET thrown under the bus by NIRP, QE, hunt for yield and FOMO (looking for their female unicorn or own Zuck) everyone can run 100 burger stands with unlimited/stellar returns in their spreadsheet model (bc cost of capital being 0 or negative). Despite the deflation of price of software & hosting (marginal cost, economics of abundance), Talent got bid up heavily (+200k/y in LA by Snapchat) in certain cities (SV, NY, London) // &! Steen Jakobsen - youtu.be/fnp5ETnKylU - min 16 avg guy does not have access to credit!
But just because AOL can't make money off a niche blog, that doesn't mean the niche blog is dead: It just needs to evolve. We might be looking at a future where niche blogs stay far away from multi-million dollar corporations, and find different forms of money-making apart from blanket advertising. Ben Thompson wrote a fantastic piece this morning on blogging's bright future that follows those lines: No, it's not scale that is the problem, but rather reach. I am, of course, acutely aware that there is a tradeoff when it comes to the subscription business model: by making something scarce, and worth paying for, you are by definition limiting your number of readers. Stratechery, though, serves a niche, and niches are best served by making more from customers who really care than from milking pennies from everyone.
But one outlet, eager to compete in what the Awl's John Herrman calls "The Content Wars," ( http://www.theawl.com/slug/the-content-wars ie http://www.theawl.com/2014/11/the-john-oliver-video-sweepstakes-finale ) made a huge error in its play for Star Wars trailer traffic: It posted a fake trailer. [...] How many hours a year do bloggers, interns, and homepage editors of news sites spend writing the same article and embedding the same video as their competitors? Couldn't this time be better devoted to finding new stories or new avenues for analysis? [...] It's hard to blame publishers. They need clicks to placate advertisers who, after all, are the ones paying most of our salaries. But if this Rolling Stone mess-up teaches us anything it's that, while competitive click-chasing can be a dangerous game, it's always easy to cover up your mistakes.
We Are Literally Living In The Best Time Ever For Hyperbole // alles in massen.
we are very bad at detecting lies.
"We look at it, first and foremost, as a successful distribution platform," Iger said. "One that can command more eyeballs, more consumption and more advertising revenue." + Beyond that, Iger said, the Maker team has a depth of expertise in creating short-form video that Disney lacked internally. +++ Big Data ( each channel has an audience (interest, location, age) = better targeting of advertising campaigns. >> "We think there's a huge marketing opportunity for this company," Iger said.
"With the things that get us to really crave the news, the tenor of the story tends to have a negative impact on the way we see the world more generally," he said, referring to the controversial and scandalous subjects that draw in chronic readers and viewers. "We become more cynical." Does he regard his own bingeing on these topics as escapist? + https://www.youtube.com/watch?v=A4aAJrJB6h0 + http://alaindebotton.com/news-users-manual/ "Absolutely," he said. "You forget about your life for 30 minutes while you read about Chris Christie's implosion." Joshua Ferris's forthcoming novel, "To Rise Again at a Decent Hour," is about "the obsessive-compulsive nature of your own personality emerging through these platforms, and disliking the person who is taking advantage of them," he said. Mr. Ferris, 39, confessed to bingeing on news, TV and YouTube videos, though he recently took a six-month purgative sabbatical.
Wordpress - democratising publishing. Wordpress VIP plus its new corporate communication platform geto2.com - will compete with the likes of Yammer (MSFT owned) and Slack, atlassian's platforms as well as Salesforce's platform. smart raising a round when money is flushing around - hunt for yield. taking the money for the long-term. likely giving them +5 years runway and solidifying their publishing platform might. there will be acqui-hires along the way I guess. + Automattic's competitors have certainly been investing, noted Mullenweg. In their last rounds, Weebly raised $35 million, Squarespace $40 million and Medium $25 million. In addition, Wix is currently valued at around $730 million, raising $127 million, in an IPO. ... Automattic's aim is, to become cash-flow positive - I guess. Not in a hurry but naturally with pushing mobile, e-commerce and the Freemium model (driving up conversion) on Wordpress.com.
engineering ... iteration, iteration, a/b testing, ... and sometimes you have to experiment with a small user base sample, to discover something new - not so obvious user behaviour. ala Occrams Razor theory, sometimes the simplest thing is the best and most elegant solution. ... only hands on experience and mentorship can teach you such things. not college degree. no masters degree. only real world application.
At annual narrative conference, storytelling's power remains as it changes | Poynter.
But at the heart of narrative and the conference "is a concept that informing the public involves telling true stories," he said. "And stories don't only involve a sequence of events, but they involve a storyteller." [...] "Good stories are good stories," he said, "and we can all learn important lessons in technique from them no matter in what medium they are told." [...] Journalists now have to be flexible, she said, able to tell strong stories and open to how best those stories work. "When you're paying attention to what the story is, it will tell you what the right form is," she said. [...] Narrative endures, he wrote in an email to Poynter, but how it's delivered has changed.
StyleHaul is one of several YouTube-focused video networks that have sprung up in recent years that produce their own content and aggregate many clips by amateurs and semi-professionals, as well. That's the technique, for instance, that Machinima has used to generate billions of views for its videogame clips. It's not a coincidence that Machinima CEO Allen DeBevoise is a StyleHaul investor. Many of these "multi-channel networks" (terrible name, but it might stick) are now also looking to build businesses outside of YouTube, and StyleHaul is on that path, too. Horbaczewski says she'll use the money to build out her direct-sales team, and to build her own destination site; earlier this week, she hired former Yahoo executive Alvin Fong as her COO. At a minimum, you can see the investment as another sign that lots of big-media players are trying to get their heads around YouTube as well as lay some bets on the site.
Machinima's long road for this round is partly a reflection of its own problems — several of the company's top executives have left in the last year, it has had multiple layoff rounds, and is looking for a replacement for CEO and founder Allen DeBevoise — and may also be related to issues many video producers are having as they try to make money on YouTube. Even companies that garner lots of eyeballs on the world's biggest video site — and Machinima says it generates billions of views a month — have had a hard time turning that into a profitable business, because ad rates are low and much of the money they do make goes back to YouTube.
when you sleep certain genes are switched on, responsible for restoration (recovery), energy savings, brain function (efficiency, learning, storing into long-term memory, creativity enhanced, problem solving enhanced), metabolism, .... ie study has shown people who have no REM sleep for 3 days turn shizophrenic. ie studies have shown, sleep deprivation slows down metabolism. body is stressed and slows down the metabolism. stress hormone cortisol goes up. you tend to eat more. get fat over time vs normal sleep and normal cortisol levels.


We put in at the John's Road bridge and took out at the Lock 17 bridge(12.2 miles). The Oak Grove water station was showing a streamflow discharge of 111 CFS.
Water level/flow was not sufficient to make this an easy trip. Kayaks did a fair amount of dragging. There are four places along this section of the creek where large trees have blocked nearly the entire width of the creek. The water was crystal clear for the majority of the trip, pretty good fishing.
Trip took approximately 7 hours and 45 minutes.
The put in at John's Road bridge is easy to get up and down. There is plenty of room for parking and I've never experienced any issues with vandalism to vehicles.
The take out at Lock 17 Road Bridge is STEEP, but manageable.


text:
Leonard Maltin Chats About His New Book – 151 Best Movies You've Never Seen
If you're a fan of movies, and I mean a real fan, one of the things you love most is sharing those lesser-known titles. Now sure, everyone likes talking movies and sharing their thoughts about them to some degree or other. Most people play critic on Monday, talking up (or wildly trashing) whatever they happened to catch that weekend. But, if you've ever thrown out that virtual unknown as a recommendation, and had your… victim… return singing its praises, then you have an idea what it's all about.
There's that little, instant in-group bias that kicks in. That curious sense of added depth of relationship that seems to come from suddenly "knowing" someone who liked that film that didn't make it to mainstream awareness for one reason or another. You can get a certain sense of the same thing when people love or hate the mainstream big shots, but it's a completely different idea when you're talking about Big Night, The Legend of 1900, or Pumpkin (those are from my list, not his), and that's on the fairly good end of the obscurity spectrum.
Of course, there's always just that strange pleasure that comes from the idea that without you, that person may have never found that little treasure.
When you're a film critic, the whole concept gets taken up a notch or two, obviously, and you find yourself forced to put together some manner of list of personal gems, because it's hard to talk to people without being asked, "So, what's good?"
Born of this occupational hazard, Leonard Maltin has a new book out, 151 Best Movies You've Never Seen. In it, Maltin puts together a unique mix of genres and a widely-spaced timeline (focused on newish), and convinces you to see them all. It's a hell of a list, and it includes some of my favorites, but the key is the two pages or so of personal appeal each film gets.
I got to talk to the man himself recently, and as you may imagine, two film critics tackling the general subject is a recipe for loss of focus.
Maltin tells me that his own efforts along the standard recommendation line started with House of Games, but after a while that became almost a cliche answer to the lesser-known film question. It has recently become The Lookout, but over time he's been forced to develop a list, and the eventual result is not only this book, but also his ReelzChannel show, Leonard Maltin's Secret's Out.
Now, I know what you're thinking. In fact, to a certain extent I'm inclined toward the same initial reaction. A long-time film critic puts together a list of movies that few people have seen, and what pops into your head is boring, artsy, foreign, cerebral stuff, with no one I've heard of in it, and frankly, you probably never saw them quite on purpose. Let me assure you, this is not that list. Most of them are post-2000, almost all of them have at least one person you know, and Bubba Ho-Tep is on the list. That's a different sort of list.
Maltin calls this a very personal list. There aren't any films in the book based on merely a sense of appreciation. They're only there if he finds them wonderfully enjoyable. As you read through the book, there are even some that he fully acknowledges were destroyed by the majority of critics, and there are those that he admits are not, in some sense, "great films," but they're fun, interesting, and deserve more attention.
You may wonder, as I did, how we arrived at the number 151, and it turns out that it's simply a kind of 'strange number marketing,' but I was interested in getting to that number from a different angle. At first glance, 151 movies may seem like quite a pile, but I was rather astounded by the task. I had to wonder how I would stop adding things to such a list.
Despite discussing this with him for a while, I'm not sure I ever really got a handle on just how the list came together. He mentioned trying to work a good balance, not only of genres, but of those that really are great, those that are good fun, and a few that are perhaps somewhat goofy. He also said that there had to be a few documentaries, and a couple of older titles, but for the most part he wanted a contemporary, well-rounded list that had something for everyone.
It was quite an honor to get a chance to talk movies with one of the best-known critics around, and truth be told, the majority of the time we were only tangentially talking about the book. You might say that for much of the time we were actually talking about what the book stood for, rather than the book itself. It's fun to mention some favorites that are included (like Waking the Dead), and run through their merits with someone else who is a real film lover, but it's hard (or at least it was for us) to avoid repeatedly shifting to talking about why such movies become part of such lists.
He explained his theory to me, which may actually seem sort of obviously true, and the theory is that the general public is so brainwashed by the behemoth that is media and marketing, that if a film doesn't have a giant press push, it must be because it isn't any good. There are probably a host of ten-dollar words psychologists could kick around the subject, but it seems that the public generally has latched onto the idea that if a studio really believed in their film, they'd let you know about it. Expanding on that idea, there is something about the mere fact that you've never heard of a movie that is hard to ignore. Beyond the marketing money, when you run into a movie, you just can't help but think it must not be that great, or someone would have told you.
Well, Leonard Maltin is telling you, and I'm here to tell you that I'm behind virtually all of these films as well, and even if you end up not liking any of them (incredibly hard to imagine), the book is worth a read anyway. It's a personal list, as he says, and his take on these films makes for a great read.
I have to also mention that his Classic Movie Guide is newly updated with more than 300 additional titles, and a great many revisions and additional information.


An Outer Pole of approximately 1.5" in diameter and 3.5 to 4.5 ft in length.
An Inner Pole of 15 feet long and 1" in diameter. This pole should have 4-5 O-rings around the base, which would make it fit snugly into the outer pole and keep it from shifting orientation.
Yellow Vertical Tape to ensure proper orientation.
Electrical Tape to make O-rings around the base of the inner pole.
Check charge. The devices should be at full charge when you receive them, but double check by a quick press of the button. The lights will count up around the Arable 'A' logo on the device twice. If it flashes with 3 or 4 of the lights lit then you are good to go to the field! This means the device is 50% or more charged.
Attach the device to the mount. On the bottom of the device is an alignment tick. Align this tick with the button on the vertical mount and twist counterclockwise until until you hear a click.
Deploy Device. Lights on the device will start blinking to indicate that the deployment sequence has initiated. The initiation sequence boots the system, runs two sensor tests and connects to the server. This may take several minutes. Please stay with the device. When the sequence is finished, all four lights around the arable logo should shine solid blue and blink in unison a few times.
Secure outer pole 2-3 ft into the ground with 1.5 ft sticking out the surface. This height was designed to allow the device to be removed, so equipment could run through the field and clear the 1.5 ft height.
Attach the device to the inner pole. Make sure the lens on the bottom are over the maize leaves and tassels.
Place the yellow vertical tape down the side of both poles before securing inner pole into outer pole. Align the vertical tape on both poles, which will ensure the device was oriented properly (spectrometer facing south). This will also facilitate quick removals and re-installations (which should be fairly easy, depending on winds in location) in the future without having to look at the top dome/light UI.
Attach inner pole to inner pole.
Log into the app to see the devices that have just deployed. It may take up to 4 hours for the devices to show in the app. You can select the new locations from the list in the right hand of the interface and give them a name or tags (such as the varietal) etc.


What words came to mind when you watched the three videos we linked to in Part One of this post?
All of these describe what you see, in all three of these videos—and all of these are what children in Montessori experience every day.
When Ruby reaches for the toy, and her mother lets her struggle for it, instead of handing it to her, Ruby learns to be persistent, to work at what she wants. She learns if she works at something, she can get it. She learns that her mother trusts her to succeed, rather than bailing her out at the first sign of struggle. She gains the confidence that comes from slowly mastering her own body.
When Jackson walks into his classroom, he has the freedom to choose his activities. When he feels trusted, he will, over time, make good choices—empowered by the environment that enables him to complete his chosen activities successfully. When he gets to choose where to work, with whom, for how long, he experiences autonomy, a powerful motivator. When he can repeat an activity until he is done, without interruptions for mandatory group activities, he discovers the thrill of mastery.
When the little girl in the FastDraw video expands her division problem until it reaches from the ceiling to the floor, she experiences that the sky is the limit. She gets to know herself as someone who, with effort and persistence, can tackle touch challenges. She acquires a growth mindset (in addition to great math skills).
In Montessori, children at every level—infant, primary or elementary—spend their time in a carefully prepared environment. In that environment, they have a big say in what they want to do. They are free to act as they see fit, to make choices and experience the consequences. And yet, it is naturally healthy behavior, not anarchy, that reigns. Because the environment is prepared, a child's spontaneous choices end up being directed towards productive, meaningful ends. The environment (and the teacher) provide a framework that guides and clearly delimits the exploration. The child is not abandoned or neglected; instead, she's empowered and supported in her natural quest for learning.
Take Ruby. Her mother created a safe space, and equipped it with appropriate toys. She was there, next to Ruby, a presence in her daughter's day. She also had the discipline of observing without interfering, a task that must not have been easy when Ruby struggled so much! Ruby was free to move, free to explore, within the safe environment her mother had set up, and within a safe emotional environment by virtue of her mother being there with her.
Jackson's freedom is much wider than Ruby's. He has the freedom to walk within the classroom at will, and even walk to other classrooms or maybe the yard without constant direction by a teacher. The limits aren't that visible in the video—but that's only because he has internalized them. He's learned to walk around his peers' mats. He's probably using a calm inside voice. He knows to place his materials back on the shelf when he is done. And he knows, in accordance with the "ground rules" of the Montessori classroom, that materials which haven't yet been demonstrated to him are off-limits until he is ready for them and the teacher gives him a lesson. He's not tempted to grab a material from another child who has it, because he has internalized the simple rule that materials may only be taken from the shelves, never from another child.
The Montessori elementary child's freedom to move about the classroom, to work with peers, to progress to whatever challenge she feels ready for (like ceiling-to-floor long division) is in sharp contrast to the adult-directed learning typically found in traditional schools. That freedom, again, takes place in a carefully designed environment. The young girl wasn't able to just jump into long division on day one in first grade, because she wanted to touch the colorful materials. Instead, her teacher introduced her to materials by means of carefully sequenced lessons, each of which optimally challenged her, and then gave her space to explore and practice. Over time, through voluntary engagement, she became comfortable with numbers. The passion and confidence to tackle big problems also similarly grew in her over time, instead of being extinguished by handing out gold stars for minor achievements. The result was that she was both capable and eager to take on a big challenge, within a framework of inner and environmental limits.
"Freedom within limits" is a cornerstone concept within Montessori. It distinguishes Montessori from the two most common educational approaches. In contrast to traditional or classical education, which is largely determined by the teachers and adult led, Montessori allows true freedom and supports the child's autonomy. In contrast to progressive education or the unschooling movement, which often lack clear limits or curricular structure, Montessori autonomy operates within the limits and guidance of a carefully prepared learning environment—an environment with clear rules, a carefully structured curriculum and deliberate coaching and guidance by a highly-trained teacher.
"Freedom within limits" is one of those hidden, beautiful ideas that make the Montessori magic happen. Look for it the next time you observe in a good Montessori classroom. I bet you'll be surprised by how much it helps you understand just how different authentic Montessori at LePort is from the other educational alternatives you might consider.


WASHINGTON, D.C. – Mar. 15 (SEND2PRESS NEWSWIRE) — The Georgetown Public Policy Institute is hosting its 13th Annual Conference, entitled Securing Our Nation's Future, this Friday, March 23, in the Rayburn House Office Building in Washington, D.C. The conference will examine multiple dimensions of national security including the growing threat of terrorism, the nation's long-term fiscal future and the innovative health care reforms taking place across the country.
With the importance of national security and continued public concern over the nation's stability, this conference presents an opportunity for top public officials and policy researchers to offer their insight on America's future.
Public interest in expanding health insurance coverage is rising and 2008 presidential candidates are taking notice. Massachusetts's Commissioner of Health Care Finance and Policy, Amy Lischko, will be on hand to discuss the Commonwealth's unique approach to health care reform, which includes plans to ensure all of its states residents. Joining her are Susan Dentzer, award-winning health correspondent on The NewsHour with Jim Lehrer and Stephen Zuckerman, Principal Research Associate, Health Policy Center of the Urban Institute.
If terrorism threatens American security from outside our borders, financial insolvency threatens American security from within. Participating in a panel focusing on long-term financial security are Comptroller General of the United States, David M. Walker and former Vice-Chair of the Federal Reserve and founding director of the Congressional Budget Office, Alice Rivlin. Joining Walker and Rivlin are Stuart Butler, Vice President of Economic Policy and the Heritage Foundation, and Maya MacGuineas, Director of the Fiscal Policy Program at the New America Foundation. These panelists are also participants in the Fiscal Wake-Up Tour, a series of public forums organized by the Concord Coalition.
Also participating on the terrorism panel are James Carafano, Senior Research Fellow for Foreign Policy Studies at the Heritage Foundation, and Neal Pollard, Georgetown Professor and former Vice President of Hicks and Associates, a leading homeland security consulting firm.
Other prominent panelists include Andrew Natsios, former Administrator, US Agency for International Development; E.J. Dionne, columnist Washington Post; Clark Ervin, Director of the Homeland Security Program at the Aspen Institute; Mark Krikorian, Executive Director of the Center for Immigration Studies; Mark Shields, political analyst, PBS's NewsHour; and Lew Watts, President and CEO of PFC Energy.


And, I, in my tendency to succumb to the seduction of a silent reverie, found myself wondering about snails, their purpose, and why they are the way they are. Why a shell? Why have they their houses on their back?
Then I thought 'Snails are independent in a weird way'.
They rely on themselves for their shelter, their security; unattached to anything but themselves.
They travel leaving only a trail of glittering experience of the path they've taken, despite how long it has taken them.
A snail didn't choose to be a snail, it didn't choose to be slow and burdened with its shell, but despite its wavering purpose in nature, it still carries itself and travels to a new place, independent of all that surrounds it, and irrespective of what humanity thinks of it.
With its beautifully grotesque shell, intricately designed by the hand of nature, the snail climbs up walls, unaware of what is before it, never questioning.
It goes on, until a bird comes and ends its insignificant life, fulfilling its purpose as a meal for its avian predecessor on the food-chain... and the world goes on.
And I think, perhaps I'm too like this snail. I, too, am burdened by an unreckonable force upon my back, that is, my Mental Health. With such a heavy burden I'm tempted to wait in hope of a winged figure to pluck me from the perils of my physical encasement on this Earth.
But, despite the weight, and the fear of an ominous shadow, I have become accustomed to it.
I, too, can keep going despite what humanity thinks of me. It's only with my beautifully grotesque mind, my perseverance and struggle that I can leave my glittering trail of experience.
Perhaps my purpose is to show that despite the weight of my mental illness, I can still travel to new places, explore new grounds and live, unattached to the stigma and social 'impressions' of what it means to have a Mental Health problem. To show, that despite all the odds, I can still live.
I have come out of my shell and accepted who I am.
My Mental Health disorder has conditioned me to be strong, to persevere through everything that life offers. I chose to turn something negative into something positive, so going to therapy, taking medication and working on myself holistically has taught me to realise that I can have control over how I feel.
I consider what I thought was a curse, as a blessing. I feel blessed because what was once a burden is now a monument that signifies my success through the toughest struggle that I've ever endured, and I'm leaving my glittering trail of experience.
Living with a Mental Health disorder doesn't define who I am as a person. Having a Mental Health disorder does not make me any less a dreamer, any less a daughter, sister or girlfriend. Being a snail doesn't mean it's any less an insect. Having a Mental Health disorder means I just have something extra to deal with in my daily life.
There was a time when I considered myself 'cursed', questioning why I was inflicted with such mental torment, convincing myself that I was being punished.
How I perceived my Mental Health disorder is indicative of how society can penalise and ostracizes anything that is 'abnormal' or 'taboo'. In the daylight hours society doesn't blatantly outlaw those who have Mental Health issues; in fact, it encourages inclusion and well- being of everyone. It's only in the dark corners of quiet moments, when the day has yawned and the tie is pulled off, that the other face of society looks warily from the corner of its eye upon us and wonders are we actually monsters, psychopaths and murderers like the people in those horror movies.
Society paints a sloppy picture using only limited colours to portray those with Mental Health issues.
We deserve to be painted by our own experienced hands, we who have experienced the inner turmoil that Mental Health can cause. If each of us could choose to contribute to what Mental Health is like using our own artistic technique, our own stroke of the brush, our own unique colour upon the canvas of society, then perhaps the art depicting Mental Health wouldn't be abstract art, but simply naturalism, a reflection of our minds, our struggles, beautiful dashes of colour with trails of glittering experience.
We owe it to ourselves to keep going and to make our own purpose despite what nature has given us.


text:
Which team won the XXXI Super Bowl?
Super Bowl XXXI
The Green Bay Packers beat the New England Patriots 35-21 in Super Bowl XXXI played on January 26, 1997.
Q: Which team won the XXXI Super Bowl?
Who coached Green Bay when they won Super Bowl XXXI?
Mike Holmgren was the coach of the Packers when they won Super Bowl XXXI.
Who was the quarterback that won Super Bowl XXXI?
The winning quarterback of the 1997 Super Bowl XXXI was Green Bay Packers Brett Farve.
When did the green packers last win the super bowl?
The Packers won Super Bowl XXXI in 1996.
How many have the broncos won a Super Bowl?
2 super bowls XXXIII XXXI
Who won Super Bowl XL Super Bowl XXXI and Super Bowl XVI?
Pittsburgh, Green Bay, and San Fransisco, in your order
Who was the only quarterback to be on different teams and win the Super Bowl?
Jim McMahon won a Super Bowl as the quarterback of the 1985 Chicago Bears. He later was on a winning Super Bowl team as Brett Favre's backup in Green Bay in Super Bowl XXXI.
When was the last championship the Green Bay Packers won?
they won Super Bowl XXXI in 1996
Which NFL team has gone through a twenty nine year gap between winning Super Bowls?
The Green Bay Packers who won Super Bowl II in 1968 and then won their next SB in 1997 (Super Bowl XXXI).
Has Brett Favre ever won Super Bowl mvp?
No. In Super Bowl XXXI, Desmond Howard was the MVP. The Packers lost Super Bowl XXXII.
Who won Super Bowl XXXI?
The Green Bay Packers defeated the New England Patriots 35-21 in Super Bowl XXXI. Click on the 'Super Bowl XXXI' link on this page to read about the game. Super Bowl XXXI was played on January 26, 1997 at the Louisiana Superdome. The Green Bay Packers beat the New England Patriots by the score of 35 to 21.
Have the Packers won a Super Bowl?
The Packers won the Super Bowl in 1966 (I), 1967 (II), and 1996 (XXXI). Also 2011(XLV) (Improved By Jboy2111)
When did Brett Favre get his Super Bowl ring?
Brett Favre won Super Bowl XXXI with the Green Bay Packers in 1996.
what is 0.580 as a repeated fraction?
Asked By Alyzah Ruiz
What is 0.1347 to the nearest tenth?
Asked By Delia Scolnic
Who is telling the story?
Asked By Javen Brown
what makes muscle tissue different from other tissues?
Asked By Ugyen Tshomo
what is the solute in a fruit punch?
Asked By Chloe Yamaha Tande
What do the parents perceive as their role to the Day Care worker?
Asked By Mario Sacnanas
What multiplies to -8 and adds to 1?
Asked By Fatou Darboe
What is online consultation doctor?
Asked By Moden Medical Group


If it's important to you to save money on health-care costs, you might be interested in learning about Medicare Supplement plans in Virginia. They may help with the "gap" left by Original Medicare (Part A and Part B) – those expenses you typically have to pay, like coinsurance and deductibles.
When you go to the doctor's office under Original Medicare (Part A and Part B), you may have to pay the Part B deductible. Then, you'll generally have to pay a coinsurance or copayment amount for many types of medical services.
And if you go to the hospital, you may also face a deductible: the Part A deductible. After a certain length of time in the hospital, you might also pay coinsurance amount for every day you're an inpatient.
You may be happy to hear that Medicare Supplement plans in Virginia (as in all states) typically help pay for certain out-of-pocket costs, like that coinsurance mentioned above. Some plans generally pay the Part A and/or Part B deductible as well.
Medicare Supplement plans in Virginia (and in most states) are standardized with lettered names. There are 10 of them: Medicare Supplement Plan A, Plan B, Plan C, and so on up to Plan N. (Plans E, H, I, and J are no longer sold.) Each plan of the same name has the same basic benefits no matter where you buy it.
All 10 standard Medicare Supplement plans in Virginia have some basic benefits in common. All of them generally cover an extra year (365 days) of Medicare Part A hospital costs and coinsurance after Medicare benefits run out.
Each of them may cover at least 50% of the following costs. Most plans cover 100% of these costs.
Here's a comparison chart of all 10 Medicare Supplement (Medigap) plans.
Not every Medicare Supplement plan may be available in your part of Virginia. Also, please note that premiums can vary from one insurance company to another, even for the same plan. For example, if you decide you want Medicare Supplement Plan A, you may want to shop around – you might find different companies charge different premiums for this plan.
You can see for yourself which Medicare Supplement plans in Virginia may be available to you just by clicking the Find Plans button on this page.
Medicare Supplement plans in Virginia: what else should I know?
Medicare Supplement plans in Virginia (and all states) are guaranteed renewable. That means that once you have this type of plan, your plan can't drop you as a member unless you don't pay your premium; the plan goes bankrupt; or you weren't honest on your application.
If you think you'd like to buy a Medicare Supplement plan in Virginia, please be aware that there's a certain time when you can buy a plan and be sure you'll be accepted, even if you have a health problem. If you don't buy the plan during this time, it's possible you might not be accepted, or you might have to pay more.
The time when you have a "guaranteed-issue right" to a plan is called your Medicare Supplement Open Enrollment Period (OEP). Your six-month OEP starts the first month when you're at least 65 years old and enrolled in Medicare Part B.
You can usually go to any doctor that accepts Medicare assignment when you have a Medicare Supplement plan in Virginia. On the other hand, if you have a Medicare Advantage plan, you might have to see only the doctors in the plan's network.
Do you have questions about Medicare Supplement plans in Virginia? Just follow the links below to set up a phone call with me or have me email you information. You can also compare Medicare Supplement plans in Virginia anytime – click the Find Plans button on this page to get started.


This Tiffany & Co. Platinum Bubbles Ring is a timeless and joyous classic that wraps your finger in elegant and unique style. It features solid 950 Platinum with bezel set Rubies and Diamonds around in different sizes making them look like bubbles floating on your finger. This modern classic looks great when worn with jeans, evening dresses, and everything in between. Retail price is $9800.
The ring is clean and beautiful throughout. The 18k white gold has a few minor, hairline surface scratches but overall is in excellent condition.


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Thank you Telkom for bringing the future to South Africa. For those of you who don't know Telkom have successfully launched their "integrated data wallet" which will allow Telkom ADSL users to share data between ADSL and mobile data.
"The mobility data usage will be deducted from your SoftCap/Integrated Data Wallet Quota – for every 1 byte of mobile data used, 1 byte will be deducted from your wallet," said Telkom.
The service seems to still be in beta mode, however the idea of having a data wallet and sharing resources between cell phone and home seem to be where the future of mobile should be heading.
Once again, thank you Telkom Mobile.


I bite into the peach angrily, imagining that it is you. The soft skin of your arm perhaps, maybe a thigh, or a calf. I chew and swallow down the pulp slowly, closing eyes and savouring it. I open them to see the blank wall opposite me. I would like to cover it in something. Get rid of the ugly beige. Throw an entire can of bright pink paint over it and watch the drips drop towards the floor. I take another bite of the peach.
I haven't always been so vicious with my foodstuffs. I do not usually pulverise chunks of tomato with my teeth or squash entire grapes underneath my tongue. It is only really since the apathy in my life reached an aching crescendo that it has started. I pick and peck at accidental mistakes and traits that have belonged in your personality for years. It is somewhat passive aggressive I suppose, voicing my anguish at the toilet seat being left up via messages blue-tacked to the refrigerator door, ready for your perusal before breakfast.
However, you, my once-angelic groom, ignore them utterly. I return home after a gruelling day, creep down the dim hall and stealth my way into the kitchen, ready for action, so ready for an argument, and there you are. Newspaper up, glasses on, favourite radio broadcast shouting into the room. You say hello, I mutter one back, grab pen and post-it and harangue you on paper until yours ears must be bleeding. And yet each day, each slow day that ticks and tocks by full to the brim with boredom you have no reaction. I take another bite of the peach.
i think this one is a pretty good stand alone piece though.
i realy like this piece.
i was wandering if these where done for a uni course.
peachI bite into the peach angrily, imagining that it is you. The soft skin of your arm perhaps, maybe a thigh, or a calf. I chew and swallow down the pulp slowly, closing eyes and savouring it. I open them to see the blank wall opposite me. I would like to cover it in something. Get rid of the ugly beige. Throw an entire can of bright pink paint over it and watch the drips drop towards the floor. I take another bite of the peach.