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In less than two weeks, Renaissance will be leaving Australia so don't miss this once in a lifetime opportunity to see works by Raphael, Botticelli, Bellini and Titian in Australia. Pre-book your Renaissance tickets now at ticketek.com.au/renaissance
or phone 132 849.
Renaissance will be open every day of the Easter long weekend with extended opening hours.
The busiest sessions are consistently 10am, 11am and 2pm and these sessions often sell out. The best time to visit the exhibition is during the late afternoon sessions.
Easter weekend opening hours Friday 6 April, 10am – 7pm
Saturday 7 April, 10am – 9pm
Sunday 8 April, 10am – 9pm
Monday 9 April, 9am – 5pm
Giovanni Bellini 'Madonna and Child' c.1488
Accademia Carrara, Bergamo, bequest of Giovanni Morelli 1891
Veuve Clicquot Sculpture Bar
There are only two more Fridays left to enjoy Sculpture Bar! Join us from 5pm on Friday 30 March and Friday 4 April. Enjoy a drink before or after the exhibition or just celebrate the end of the working week.
From the beginning of the fifteenth century, Renaissance art was dominated by the patronage of the Catholic Church. Gradually over the course of the next two centuries, however, this dominance began to wain. As audiences walk through Renaissance they will see the return of portraiture. This heralded new ideas concerning the importance of the individual and the position that humans held in the hierarchical structure of Renaissance society. Of around twenty-two images of real people in the paintings in the exhibition, there are fourteen discrete, commissioned portraits.
Along with these works, visitors to Renaissance will also see a handful of works which do not have spiritual significance that the many devotional panels do. Marco del Buono and Apollonio di Giovanni where two Florentine artist who ran a very successful workshop that specialized in producing decorative cassoni or wedding chests. These often elaborate trunks held dowry items or trousseau which a new bride would take with her to her husband's home. Love procession is believed to be part of the front section of a cassoni painted by these two artists in around 1440. It shows a procession of people each with their hands tied together, possibly symbolizing the binding power of love.
attributed to Marco del Buono and Apollonio di Giovanni 'Love procession' c.1440s Accademia Carrara, Bergamo, bequest of Antonietta Noli, widow of Carlo Marenzi 1901
In this same vein, Francesco Botticini's wooden panel Tobias and the Archangel Raphael c.1480–85 was originally used as a standard. It would originally have been attached to a pole and carried in procession through the streets of Florence to celebrate the Confraternity of Saint Raphael. Although the banner depicts a religious story, the main purpose of the image would have been its connection to the namesake of this lay group.
Francesco Botticini '
Tobias and the Archangel Raphael' c.1480-85
Accademia Carrara, Bergamo
Bequest of Giovanni Morelli 1891
Stefano Canturi and Jewels of the Renaissance
Members recently enjoyed two wonderful events here at the National Gallery in association with the current Renaissance exhibition. On Sunday 18th March members were invited to attend Afternoon Aperitifs and Antipasti with special guests Lucio Galletto and David Dale, who engaged the audience with tales from their Italian travels and the story behind their recently published cookbook – The Art of Pasta. Christine Dixon, the coordinating curator of the exhibition gave an insightful introduction to the exhibition and the works, followed by a viewing of the exhibition.
Stefano Canturi, master Australian Jeweller, visited us on Tuesday 20th March and toured the exhibition with curator Lucina Ward and a small group of members. Discussing jewellery appearing in the works of the exhibition, Stefano delighted us with his engaging and overwhelming knowledge of renaissance jewellery and the influence it has had on his work. This was followed by afternoon tea in the Sculpture Garden restaurant, where Stefano continued to share his enthusiasm for his art with our members.
We would like to express our sincere thanks to Lucio, David and Stefano for sharing their passion and knowledge with NGA members.
The Temporary Exhibition Gallery has been transformed for Renaissance. The challenge of such a task is to create a built environment which supports and adds to the experience of the works on display without detracting from their significance.
The design brief for this transformation contained three key elements:
-The design of the space should reflect the six themes of the exhibition's curatorial structure.
-The design should contain elements of Renaissance architecture.
-The design should contain wall colours which relate to the Northern Italy as well as echoing Italian Museum scenographies.
Patrice took inspiration from many renowned buildings such as San Miniato al Monte basilica in Florence. A semi circular archway between each room in the exhibition was introduced. Observations of typical Renaissance architectural vocabulary revealed the main elements: arch, capital, moulding, pilaster and base. These same features can be seen in the works in the exhibition by Schiavone, D'alemagna, Foppa and Botticelli. These elements were stylistically simplified to avoid bringing unnecessary additions to the experience of the paintings.
The corners of the oblong rooms have been softened using angled walls. This is commonly seen in ecclesiastical architecture. Interestingly visitors may not notice this device, just the intimate, less angular feeling it produces.
The spectacular view from one end of the exhibition through the archways creates a symmetrical enfilade – a vista of doorways, this is also particularly reminiscent of a ecclesiastical architecture.
Another design element which has been successfully engaged to create a feeling of intimacy in the space is the use of a moulding to reduce the height of the display walls. The height of the moulding was tailored to accommodate the small to medium scale works in the exhibition, which would have been lost on the standard five metre high walls without such a device.
The colours chosen for the walls of the first three rooms are taken from inspiration such as Brunelleschi's Pazzi Chapel in Florence and Michelangelo's Laurentian Library. The Venetian Red in the last room creates a striking conclusion to the exhibition as well as denoting the change in the works. The portraiture in this room with their grey backgrounds, as apposed to religious subjects adorned with gold, are beautifully set off by the red walls.
One of the inspirations for the Renaissance Family Activity Room was Andrea Palladio's Teatro Olimpico in Vicenza, Italy. In this theatre Palladio was able to distort perspective to create a spectacular street scene backdrop.
View a gallery of images of the Renaissance exhibition space.
Patrice is now working on another transformation of the Temporary Exhibition Gallery for UnDisclosed: 2nd National Indigenous Art Triennial which opens in May.
Visitors entering the Play exhibition, currently on display in the Children's gallery, are greeted by the twinkling Peter Tully Liberace Memorial Fountain. This three-metre high tribute to the late pianist's life is an object of wonder to both adults and children. Made from a dazzling array of found objects, this sculpture pays tribute to overlooked everyday materials, including the kitsch and the broken, and highlights Tully's message "that art is for everyone."
Andrew Pearce, Objects Conservator, tells us about his experience preparing this unique sculpture for its first display in 20 years.
For an objects conservator, our work is highly varied. Many hours can be spent painstakingly stabilising a tiny but fragile item of beadwork, or delicately treating the corrosion on a single coin. In the gallery environment, these objects seem often to get little more than a cursory glance by the passing visitor. Now and then however, the opportunity arises to prepare a work of art which has a little more impact. The Peter Tully Liberace Memorial Fountain was one such opportunity.
It is truly a delight to work on an object such as this. Over three metres in height, festooned with crystals, shiny beads and pearls, surfaces of gleaming white plaster, brass and chrome, mosaics of buttons and fragments of mirror, dozens of sparkling decorative items, spilling reams of crushed velvet, and surrounded with strings of white fairy lights. This is art that doesn't sit quietly in the corner expecting to be overlooked, it leaps out you squealing "Hey! Look at Me!"
It's over 20 years since the Liberace Memorial Fountain was last on display. For many people, this will be their first opportunity to view it, and that merely adds to the impact.
The first decree when it came to preparing the fountain for exhibition was the following:
"It's not going on display if the lights don't work."
After assembling the core structure of the fountain we could commence some serious electrical detective work. Once rendered both electrically operational and safe for display, it was time to face the task of preparing the decorative side, re-attaching loose beads, repairing aged glue joints and polishing a myriad of mirrors and buttons. With the work benches covered in ornaments, visitors to objects conservation were dazzled, pondering how they might have stumbled into a baroque version of Alladin's cave or something akin to the worlds most flamboyant garage sale.
Installation week was a fascinating time for me, seeing the complete structure together for the first time rather than simply the component parts in isolation. It's certainly a sight to behold. Do please come and see the Liberace Memorial Fountain in the newly opened Play exhibition. I think you'll understand why I view working on it as one of the highlights of my conservation career. Play is on display until 24 June.
In 2004, the NGA produced a cookbook called 'Eat Art' featuring recipes by well-known chefs in response to works of art in the Gallery's collection. Over the coming months we will be sharing some of these recipes with you in artonline.
Kylie Kwong chose Brett Whiteley's Interior with time past 1976 as her inspiration. Below is what Kylie wrote about the work and the dish it inspired her to cook.
'The sensuality and seductive quality of Brett Whiteley's Interior with time past, its movement and aliveness, reflect the experience I have when I am cooking 'Steamed mud crab with black bean and chilli'. Cooking this dish is the most intense and gratifying act. The deliciously sweet, silky textured, luxurious flesh is tossed into a flaming wok - alongside the dizzying aromas and flavours of black bean, garlic and chilli. One's heart begins to thump, total emotional absorption - energy, life, rich, deep orange hues, visual beauty - nothing else matters.'
Brett Whiteley 'Interior with time past' 1976 National gallery of Australia
Purchased 1978
This work appears on the screen courtesy of the estate of Brett Whiteley
Fred Williams: Infinite Horizons opens at The Ian Potter Centre: NGV Australia on 7 April. We are giving you the chance to win two complimentary tickets to the exhibition, plus a copy of the Fred Williams exhibition catalogue.
To enter email email@example.com. Winners will be notified by COB 13 April 2012.
New South Wales
The Elaine and Jim Wolfensohn gift: Red and Yellow cases | Manning Regional Art Gallery, Taree NSW, 2 March – 9 April 2012
The Elaine and Jim Wolfensohn gift: Blue case | Arts OutWest Inc, Bathurst NSW, 14 March –
30 April 2012
The Elaine and Jim Wolfensohn gift: Red and Yellow cases | Arts North West, Glen Innes NSW,
10 April – 21 May 2012
Roy Lichtenstein: Pop remix | Mornington Peninsula Regional Gallery, Mornington, Vic, 19 April – 11 June 2012
Fred Williams: Infinite Horizons |
The Ian Potter Centre: NGV Australia, Melbourne Vic., 7 April – 22 July 2012
Fred Williams
'Baobab trees, Kimberleys' 1979
Private collection
© estate of Fred Williams
In the spotlight: Anton Bruehl photographs 1920s–1950s | QUT Art Museum, Brisbane, QLD, 18 February – 15 April 2012
Australian portraits 1880–1960 | Gladstone Regional Art Gallery, Gladstone QLD, 11 February – 12 May 2012
South Australia
The Elaine and Jim Wolfensohn gift: 1888 Melbourne cup | Civic Hall Galleries Port Lincoln SA, 15 March – 18 April 2012
On average, a visitor spends 17 seconds or less looking at an individual work of art. Slow Art Day encourages a more contemplative approach to art and is celebrated in over 75 galleries throughout the world.
The NGA will be holding a Slow Art event on 28 April from 11.00 am - 2.00 pm. Enjoy some of the national art collection highlights, including Jackson Pollock's Blue poles 1952 and Henri Matisse's Oceania the sea 1946, and give them the attention they deserve. Then join the group for a lively facilitated discussion over lunch.
For more information visit nga.gov.au/slowart.
Register online for Slow Art Canberra 2012 at the NGA or call 02 6240 6524.
The Slow Art 2012 website includes a full list of cities that are participating.
The Latin American embassies in Canberra
are proud to present the Latin American Film Festival. The festival, which runs from 24 April - 4 May, showcases 11 films from Latin America, including international award-winning pieces featuring some of the most exciting and creative productions to reach the big screen in recent years. All films are subtitled. Visit our website to view the full program.
Venue: James O Fairfax Theatre
National Gallery of Australia, Canberra. Limited numbers,
no bookings required. All screenings R18+.
Poster from Bazillian film 'The year my parents went on vacation' 2006. Directed by Cao Hamburger.
Jene-Rene (Benoît Poelvoorde - Coco and Chanel) is the boss of a chocolate factory and Angelique (Isabelle Carré – The Refuge) is a talented chocolatier. They are both emotionally – challenged people. Drawn together through a shared passion for chocolate, Jean- Rene and Angelique fall in love, but neither is able to express how they feel. Their crippling shyness is driving them apart. Will they manage to overcome their lack of self confidence and risk baring their true feelings?
View the trailer for Romantics Anonymous.
Romantics Anonymous opens 19 April.
We have 10 double passes to giveaway. Tickets are valid at selected cinemas in NSW, ACT, VIC, QLD, SA. Click here to see a list of cinemas screening this film. To enter respond by email to firstname.lastname@example.com. Winners will be notified by email by COB Friday 20 April.
The 2012 Selby & Friends Season, directed by eminent Australian pianist Kathryn Selby, has begun with raves such as 'superlative' and casting a 'bewitching spell' from the Australian whilst the Sydney Morning Herald talked of Selby's "easy mastery" and the "treasure trove" of gems to be found in the repertoire and artists of the series. The 2012 season visits Canberra, Sydney, Melbourne, Adelaide, Bowral and Turramurra.
Selby & Friends is delighted to make this special offer to all NGA Members: receive a 10% discount off full priced tickets to any or all of the remaining four concerts in the 2012 season, concerts occurring in May, July, September and October.
For full season details please visit selbyandfriends.com.au.
To take advantage of this offer simply visit the Selby and Friends website, choose your venue and concert date(s) and place 'NGAMEMBERS' in the promotional code box on the payment page. Or phone (02) 9969 7039 and quote 'NGAMEMBERS' when purchasing.
For the City Recital Hall series please visit cityrecitalhall.com and use the same special members code when purchasing. This offer is available whilst tickets last.
Continuing their tradition of supporting visionary artists and inspiring exhibitions in Australia, Canberra based property developers Molonglo Group announced their support of the National Gallery of Australia exhibition Roy Lichtenstein: Pop remix. In 2010-11 Molonglo Group were Cultural Partners of the National Gallery's popular street art exhibition Space Invaders and now they are back supporting Roy Lichtenstein, who was one of the 'greats' of the American Pop Art movement.
Molonglo Group are passionate about the cultural enrichment of Canberra and their landmark NewActon precinct is designed to foster a dynamic sense of community, where residents and visitors connect through art and cultural experiences, design, sustainable living and the best that city life has to offer.
Roy Lichtenstein: Pop remix will open on 19 April 2012 in Mornington Penninsula, VIC, and will travel back to Canberra in July 2013.
Stay tuned for the next edition of artonline for your chance to win a unique NewActon experience!
Visit newacton.com.au to find out more about this exciting company and how they are reshaping and re-imagining life in Canberra.


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subset: commoncrawl


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...how soon before we are looking at a $10 Big Mac? Whenever the unions take a company over, not only do the ignorant employees that helped vote it in get their just rewards, but the consumer takes it in the shorts as well. Corporations aren't in the business to pay employees more than their value withour passing those costs on to the consumer.
As long as this regime of socialistic believers is in power, unions will be emboldened to think they can cow any operation they please. If this happens to the fast food industry you can kiss ALL entry-level jobs goodby, and rather than 25% UNemployment among the teens, there will be an impossible chance FOR employment in that age group. Even the constant push by the socialistic democrats for increases in the minimum wage, at what everyone with even an entry-level bit of intelligence knows, is making it harder for the teens to find a job now. Unionization will make that impossible. Couple that with Obamacare, and many of the local fast food outlets that are already marginal will be out of business.
Fast Food No More: How The SEIU & Union Front Groups Want To Occupy Your Big Mac
By: LaborUnionReport (Diary) |
With union bosses once again clamoring that they are in crisis, union bosses are looking to expand their membership into areas that have been traditionally immune to unions.
For the last several months, union-supported fast food workers have been staging impromptu strikes throughout the country.
Like the union-supported Occupy movement before it, the fast-food workers efforts are being coordinated by media-savvy professional organizers employed by the Service Employees International Union, a union front group called ROC (Restaurant Opportunities Center), as well as an assorted array of pro-union politicians and community activist groups.
- More about ROC and its agenda here.
In actuality, however, the entire fast-food effort is part of a four-year old plan cooked up by the Service Employees International Union (SEIU).
So far, the union-funded protesters are demanding raises to $15more than twice the minimum wageunder the slick campaign slogan Fight for $15. However, the true aim of the SEIU and its allies is to unionize the industry and it appears the SEIU is about to launch a full-out blitzkrieg fast food joints across the country.
Based on an interview with Salon.com, it seems that SEIU boss Mary Kay Henry, using typical Marxist logic, is trying to alter the world of the french-frying proletariat and bourgeoisie.
Its more about, How do we shift things in the entire low-wage economy? she claims.Henry was joined by SEIU assistant to the president for organizing Scott Courtney, who said to expect a big escalation from fast food workers in the next week or 10 days.While Courtney claims its brand new, the reality is the SEIUs strategy is only an altered version of its 2009 blueprint:
The story is leverage in and of itself. And the fact that workers are taking these risks I think is our leverage.
Where does that leverage lead? Could the endgame be a deal where corporations agree to pave the way for union negotiations and the union agrees before formal bargaining to carve out some parts of the country or cap the potential increase in labor costs? It could be something like that, said Courtney. I think anything you know about traditional collective bargaining is possible, said Henry, and then things we havent imagined. She added that innovations may be necessary to address the franchisee structure of the industry, in which fast food corporations set the business model and reap substantial portions of the revenue but dont directly employ many of the workers. Could that franchisee structure itself be vulnerable to political or legal challenge? Yeah, I think theres a lot of areas, said Courtney. But again, its brand-new and certainly not fleshed out. [Emphasis added.]
- Initiate a focused experiment in one or two metro areas to test the organizing theory and bring resources to bear on a limited geographical target.
- Choose metro areas with a favorable local political environment and workforce composition (Los Angeles and an east coast market) [The SEIU chose New York to launch its fast food union campaign]
- Target 7-10 of the largest chains to keep bargaining manageable and map out geographic clusters where field work can be concentrated. [Though McDonalds was the first, other chains are now being targeted by the union.]
- Build broad-based support for targeted workers via extensive community outreach and organizing and political work with prominent local elected officials
- While staying focused on the 7-10 chains, bring workers together across companies within geographic clusters to build a sense of movement and solidarity. [Fast-food strikes, when they occur, are not at a single restaurant but several.]
- Use a living wage as a vehicle to excite, build momentum, build worker lists/ID potential leaders and potentially support collective bargaining. We believe we will have enough traction with an ordinance to use as a legitimate tool for organizing and potentially as legislation to raise standards.
- Move fast and furious with an army of 200-300 Staff/MOs/VOs/other volunteer organizers and the necessary number of leads to:
- Petition for living wage
- ID leaders
- Bring workers together within geographies
- Sign authorization cards
- File on dozens of restaurants per week
Does this sound familiar?
Although the SEIUs actions are a modified version of its 2009 blueprint, the actions are remarkably similar to what the SEIU laid out four years ago.
So, what is the end game?
Money. Money for the SEIU that is.
While fast-food workers wont get the $15 they are campaigning for, if unionized, the SEIU will get union dues. Moreover, with union dues standing averaging 1.3% (or more) of pay, if a fast-food worker earns $8 per hour, the SEIU gets at least $0.10 per hour for every hour the employee works.
Thats not, of course, counting the initiation fees the SEIU will collect for every new worker hired. With turnover in the fast-food industry, initiation fees alone will account for millions in the SEIUs coffersand the more turnover there is, the more money the SEIU makes.
Of course, along with unions come union rulestypically designed to make jobs less productive and require more workers. (More workers mean more union dues.)
No matter how you slice it, it appears the SEIUs campaign to unionize fast food workers is escalating and, like it or not, someday, your Big Mac may come with a union label stamped on those two all-beef patties.


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Results 1 to 7 of 7
Silver hatchetfish - regarding pH
Curious if anyone has kept Silver hatchetfish in a tank with water that stays around 7.6 pH. I like the look of these fish and would like some fish that spend most of their time in the top area of my tank. I recently found articles though that suggest a pH range lower than my current tank's pH. Would there be a big difference between 7.0 and 7.6? Would hate to purchase and see them die.25 Gal - Tropical
Custom made Wet/Dry/Sump Filter System, AquaClear 20 Powerhead, RenaCal Excel 300 Heater, artificial plants
Fish - 7 Blackskirt Tetras, German Blue Ram, Bulldog Pleco, Assassin snail.
"Plans go wrong for lack of advice; many advisers bring success." King Solomon.
Pictures of my 10 Gal Sump Filtration project
07-28-2013, 11:32 AM #2Senior Member Red tailed catfish
- Join Date
- Dec 2010
- Location
- Israel
- Posts
- 3,680
There is something called acclimation - getting new fish used to the pH in your tank.
Consider that many people order fish online and you don't necessary know the pH they are coming from. There is a "sticky" in one section of this forum that describes different methods of doing this
Edit: here it is! http://www.aquaticcommunity.com/aqua...ad.php?t=62211 - slowly getting a new fish used to your tank water so they aren't shocked - many fish can adapt to a range of pH - if your tank is appropriate for these fish (won't be overstocked and you have really good cover for the top because they are jumpers), go for it!
I believe my pH is close to what you have and I would get them if I wanted them.
The more important question is what is your water hardness? pH shock is less fatal than TDS shock so that is the one to concentrate on in my opinion."Somewhere, something incredible is waiting to be known." Carl Sagan
~ 350 Litre Tank Journal ~ ~ 30 Litre Tank Journal ~
I've kept them at your pH with no problems, the Marble's are a little more sensitive, like the above post stated as long as you acclimate them right you will be okay.
Floating plants that provide shade and cover will go a long ways to providing for this great fish's well being.Perfection is not attainable, but if we chase perfection we can catch excellence.
Once you learn to quit, it becomes a habit. -Vince Lombardi
Be more concerned with your character than your reputation, because your character is what you really are, while your reputation is merely what others think you are. ― John Wooden
Sandy Hook Elementary......Lest We Forget
See my profile for my tanks and what fish I keep
I concur with firefly that GH is by far the more significant parameter than pH. Having said that, if by "Silver Hatchetfish" you mean Gasteropelecus sternicla which is the most commonly seen "Silver" hatchet species, it should be OK. This species is a bit more active, gets slightly larger, and is a bit more robust than the species in Carnegiella such as the Marble (C. strigata) or the Black-winged (C. marthae) which are frequently available. The latter might be commonly referred to as "Silver" since it is basically silver-coloured. They are easy to tell apart, as none of the Carnegiella species have an adipose fin, whereas G. sternicla does. The Carnegiella species will be wild caught and require soft water or they will not do as well long-term.
At this point, another issue arises, and that is space. If this is the 25g tank in your signature, I personally would not get G. sternicla as they azre (in my experience) quite active for hatchets. The Carnegiella species would be much better; they remain almost motionless if they are settled. And here your GH needs to be looked at.
Thank you all. I will look at testing Gh and go from there.25 Gal - Tropical
Custom made Wet/Dry/Sump Filter System, AquaClear 20 Powerhead, RenaCal Excel 300 Heater, artificial plants
Fish - 7 Blackskirt Tetras, German Blue Ram, Bulldog Pleco, Assassin snail.
"Plans go wrong for lack of advice; many advisers bring success." King Solomon.
Pictures of my 10 Gal Sump Filtration project
If you don't already have a GH test kit, you don't need to get one. The municipal water supply people can tell you the GH of your tap water; they probably have a website with water data posted. The GH is not likely to change unless something in the aquarium targets it specifically, so knowing the GH of the source water is sufficient at this stage.


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Here are the current standings for most desired figures from Episode IV. Once a figure is slated for production (Example: BoShek) they get taken off the list...
1. General Dodonna
2. Uncle Owen Lars
3. Dannik Jerico (hookah smoking bar patron)
4. Tonnika Sisters
5. Biggs Darklighter(Rand Ecliptic Uniform)
6. Capt. Antilles (He who Vader choked on Leia's ship)
7. CZ Droid (CZ-1, CZ-3, CZ-4...they're all the same.)
8. Dr. Evazan
9. Wioslea (Speeder Sales...uh..thing)
10. Hem Dazon (Arconan, wedge headed alien in cantina)
Nice even mix across the board. Suprising to see Dodonna top the list rather than a more "exciting" figure like Biggs or Antilles. R1-G4 nowhere to be seen, so again I am wondering where Hasbro gets their poll choice ideas. Here were other notable figures asked for:
R1-G4 (everybody knows who this is NOW, so maybe he'll move up the list)
R3 droids (R2's with clear domes)
R4 droids (R2's with conical domes such as R4-E1 and R4-M9)
R5-A2 (Yellow R5 droid from Mos Eisley)
RA-7 droid (Silver Death Star Droid variant fron Sandcrawler)
WED-9-M1 Bantha droid (big blue droid rolling around Mos Eisley)
2X-3KPR ("porchlight" droid on Lars farm)
LIN Mining droid (half- sphere droid from Sandcrawler)
M-HYD ("stovepipe" droid from Sandcrawler)
Cantina Aliens
Dice Ibegon (Creepy leech thing "talking" to Ketwol)
Djas Puhr (Shiny skinned, bald, black, lame Star Trek lookin' dude)
Feltipern Travagg (Furry, two horned guy talking to Mi'yoom Onith)
Mi'Yoom Onith (Ugly beak nosed thing talking to Feltipern)
Elis Helrot (Givin...Ghostface from the "Scream" movies)
Myo (one eyed...guy...I think)
... And Ponda Baba with sliced off arm action
Core Figures
Stormtrooper Han Solo (carded figure for the first time...)
Damaged R2-D2 (After Vader shoots him in the trench...)
Luke W/poncho (The definitive Tatooine Luke)
And these other guys...
Rebel Tech in gray jumpsuit.
Rebel guards in green jumpsuits.
Gavin Dries (Red leader)
Camie and Fixer (from the Lost Anchorhead scene)
General Tagge (Imperial Flunky)
Chief Bast (Imperial Flunky)
Davin Felth (Stormtrooper resculpt I guess...)
And a Dianoga...
So those are the figures you guys have been clamoring for. Maybe Hasbro will pay attention and crank a few of these puppies out!


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When mixed with water, flour is naturally sticky and elastic—a texture caused by a protein in wheat called gluten. All batters and doughs made from wheat flour benefit and suffer from the properties of gluten. In dumpling dough, the gluten helps hold the dough together when rolling and when submerged in the boiling water. The downside is that gluten sometimes makes the dough difficult to roll out. Because it is elastic, the gluten tends to snap the dough back after it is stretched. The secret is to allow the gluten to relax after mixing the dough and before rolling. After a short rest, the dough will roll out without fighting back.
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text: PolyOne Corp.s acquisition of Spartech Corp. for almost $400 million is featured in this weeks Material Insights video. PolyOne North Americas largest compounder is paying $393 million for Spartech, a leading plastic sheet maker that also operates a sizable compounding unit. The deal moves PolyOne into downstream products and includes PolyOne taking on $142 million in Spartech debt. Major global job cuts from Dow Chemical Co. and DuPont Co. also are featured in this weeks video. Dow is cutting 2.400 worldwide, while DuPont is eliminating 1,500 positions. The impact of the cuts on the firms plastics units are unclear. Poor third-quarter financial results primarily in Europe and Asia - were cited as reasons for the cuts. DuPont officials also cited weakness in titanium dioxide, a material used as a whitener in plastics and other products. The video wraps up with news that compounder A. Schulman Inc. posted higher profit in its just-completed 2012 fiscal year. Schulmans profit for the year rose 27 percent to $52 million, even as sales fell almost four percent to just over $2.1 billion. Schulman also spent almost $100 million on two acquisitions during the fiscal year.


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After Eight Mint Chocolate Thins
April 3rd, 2013 by Rosa
My friends Emma and Jason recently took a vacation to London and brought me back a box of After Eight Mint Chocolate Thins. If you've been following this blog for a while, you'd recall that I spent the summer of 2008 in the UK, during which I reviewed the regular After Eights.
The Mint Chocolate Thin version of the After Eights were much classier than the boxy cubes I'd had before. My 300 g box of thins had ~35 thins, each encased in their own delicate sleeves. The sleeves themselves were prettily decorated with the After Eight clock logo in gold.
The Thins were 4cm square and about 1/4 cm thick. Their bottoms were flat and lightly imprinted with "After Eight" in script, while the tops were wavy and rippled.
The thin dark chocolate shell broke easily to reveal the grainy squishy fondant within. The chocolate's mild cocoa flavor was barely noticeable and was mostly overwhelmed by the strong mintiness of the fondant.
That mint was refreshing but not mentholated/cooling. It was just a hair too sweet – enough that it felt cloying when I ate two thins in a row.
I thought these were a lovely treat. They look elegant enough to put out for guests, which is pretty good for a mass-market chocolate item. You couldn't say that about York Peppermint Patties, which is the closest thing to these we've got on the American market. An OM.
This entry was posted onWednesday, April 3rd, 2013 at 8:00 am and is filed under chocolate, European, mint, Nestle, OM, received as gift, review. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.