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Overview of Our Vision
We hold the vision that the worldwide development of diverse and explicit leadership cultures and leadership disciplines is one of the key elements for sustainable local and global development.
We view the Deep Democracy Institute as a think-tank and network that facilitates supports and implements leadership development initiatives for this purpose.
Click here for more information on our vision.
Overview of Our Purpose
The Deep Democracy Institute provides worldwide diverse and multidimensional Leadership Training Programs. They are designed to teach skills and attitudes to unfold the potentials of organizations, teams and communities.
In order to achieve this, we teach leadership models which include expertise in deep democracy facilitation, organizational and personal development, coaching, leadership, conflict resolution, and self-management. We use an awareness based approach, which allows us to develop these programs in collaboration with the participants, based on their cultural beliefs, their organizational direction and/or their personal style.
Click here for more information on our purpose.
Overview of Our Strategy
The Deep Democracy Institute teaches leadership models that include expertise in facilitation, organizational and personal development, coaching, conflict resolution, and self-management using awareness based leadership approach. We develop these programs in collaboration with the participants, based on their cultural beliefs, personal and organizational goals, and their personal learning styles.
Deep Democracy Institute's approach is based on the belief that leadership must assist organizations, communities, and individual members in discovering their natural potentials, unique beauty, and power. As a result of this process, individuals, communities, and organizations can access and use inherent strength, develop wholesome community experiences, and gain success on many levels, which results in more sustainable development.
Click here for more information on our strategy.
Our Events Policy
Refunds and Assumption of Risk
Thank you so much for your interest in our events. We appreciate that you take the time to read through this policy which applies for all of our events worldwide, including our sister organizations DDI Russia, DDI Ukraine, DDI Europe, DDI East Africa, DDI Central Asia, DDI USA and DDI South America All seminars and events are subject to change. Although we do our best to minimize it, occasionally dates can change and events may be cancelled. If this occurs, we will fully refund your seminar fees. However, by signing up for any of our events, you agree to assume the risk of all other associated costs you may incur, including travel, lodging, and health expenses.
All of our events are educational experiences. If you have any doubts or concerns whether this event is for you, we encourage you to consult with your physician, therapist, or coach.
Your place in the seminar is guaranteed once the organizers have received your deposit, and the amount varies with each course. The deposit may be non-refundable. However, we will return a percentage of the deposit if your place can be filled. Please check with the course organizers for details.
If you are interested in certification to practice "Process Work" or "process oriented psychology" in any of its forms, please inquire with any of the formal training programs (www.iapop.org) including our own programs (www.deepdemocracyinstitute.org/international-program.html). You will receive a certificate of attendance upon completing our seminar. Please check with your own Process Work training group, whether they would credit it towards their formal Process Work study requirements. We welcome participants of any race, religion, color, national or ethnic origin, gender, age, sexual orientation, or physical ability.
At least 10% of every class and seminar is open for scholarship and work-study options. Check with the specific course organizer for details.


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RV Forum flags - click HERE
If what I read on the RV forum is true (which I have no reason to believe it is not) Blue Ox should take responsibility for these failed parts!
Dutch, I am trying to figure out in my tired mind what you mean. I just don't get it, can you try again. I have the same system so I am interested. Thanks!
I don't know if that situation exists with all tow bar/base plate setups
Must be a Blue Ox thing The tow pins on our Roadmaster can only be inserted from one direction, and the clevis/locking pins go through a small hole (in the receiver extensions) that prevents them moving the way you described.
Thank you Dutch! Now I got it! When I put my pins in I put them in from the outside, with the cotter pin on the inside. The only reason I do it this way is I find it easier to pull them out to the outside, dont smack my fingers as much. Thanks for the explanation. I think I will pick up a couple more of the cotter pins just in case. I guess I could get a couple extra pins from blue ox.Thanks again
Clevis pins are common things you see laying along the side of the freeway, they lose their spring value and fall off.
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Bell: Graham, Saints likely headed to contract fight
- He gets franchise tag from New Orleans Saints
- He spent more time as a wide receiver%2C but team may say he%27s a tight end
- Difference could be more than %245 million in 2014
With another deadline in a deadline-driven league hitting Monday, NFL teams didn't exactly flood the fax lines or jam email in-boxes in placing franchise tags on potential free agents.
Washington's designation on linebacker Brian Orakpo was the only franchise tag issued on D-day, bringing the total to four — third-fewest in a year since this system was established more than two decades ago — after weekend transactions tagged Greg Hardy, Jimmy Graham and Nick Folk.
There were just three tags in 2006, only two in 1994. Now this.
Just don't consider the lack of tags to equate to lack of impact.
The case involving Graham, surely headed to an arbitrator, has the potential to be a game-changer — or at the very least a drawn-out negotiation for a long-term deal.
The New Orleans Saints tagged Graham as a tight end. He was named first-team All-Pro last season at tight end. He's listed as a tight end.
Yet Graham is really, for all practical purposes, a wide receiver.
That's how he is primarily used in Sean Payton's wide-open offense. He's a big receiver who more often than not lines up in the slot or flanked wide, agile enough that the New England Patriots assigned their top cornerback, Aqib Talib, to cover Graham when matching up during a game in October.
According to ESPN Stats and Information, Graham was used as a receiver on 67% of the snaps last season, when he posted a team-high 86 receptions for 1,215 yards, with 16 TDs.
The franchise tag for a receiver would guarantee Graham a salary of $12.132 million in 2014, which is the average of the top five wideouts . The tag for a tight end guarantees $7.053 million.
There's a not-so-slight difference to be settled.
"We have been in touch with Jimmy and his agent," NFL Players Association spokesman George Atallah told USA TODAY Sports on Monday night. "If they believe that the franchise tag was applied unfairly, we are prepared to act."
Hello, arbitration.
The franchise tag is best used as a bridge to a long-term deal. Yet it's an essential starting point and could provide the leverage for Graham's agent, Jimmy Sexton, to aim for a contract that far exceeds the $9 million average that Rob Gronkowski got from the Patriots as the league's highest-paid tight end. It would be unrealistic to expect Graham to approach the $16.207 million average that Detroit Lions star Calvin Johnson collects. But with a receiver tag, he will be better equipped to land a deal somewhere in between.
In any event, it could be a landmark test of a revision that the NFLPA had written into the collective bargaining agreement in 2011. The new language stipulates that the tag should be applied for the position at which the player participated in the most plays during the previous season. In the previous CBA, the tag reflected the position where a player played the most games during the previous season.
That change is why Graham has a chance at winning this fight.
You can't blame Graham for trying to gain leverage in the not-for-long environment of the NFL. He caught 270 passes over the past three years and, after entering the league as a third-round pick, averaged $825,756 per season. He's dealing for his second contract, and it's time to get paid. There is no guarantee that he will negotiate for a third contract under similar conditions.
Of course, Graham isn't the first player to challenge the tag on the grounds of his role. In 2008, Baltimore Ravens linebacker Terrell Suggs contended that his tag should have been based on the more lucrative defensive end position, before striking a compromise on a long-term deal.
It's important when considering not only how the tight end position has evolved in a game with heavy specialization packages and hybrid schemes. Some tight ends are pretty much oversized wideouts, others are undersized tackles valued for their blocking. And some linebackers, as Suggs argued, are really defensive ends moving forward rather than backwards on most snaps.
The tweaked CBA was something of a compromise, too, with the union realizing, Atallah said, that owners were not going to give up the franchise tag. Getting the stipulation for the language, in addition to increased compensation for applying successive tags on a player, made the tag more favorable for players — a victory in a deal that to this point has tilted toward the owners.
Yet the fact that there were just four franchise tags used this year could reflect the changing landscape in another manner. Two years ago, in the first year of the new CBA, 21 players were tagged. That dipped to eight last year, and now that number has been halved.
NFL teams still have the option of using the tag, but it's become more evident with the newest stipulations that the tag may not be what it used to be.
For some players, that's a good thing. For others, the market will provide the final answer.
VIDEO: What will Texans do with No. 1 pick?


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Hello. My name is Jason Douglas. I'm a comedian and operate with my business partners one of the largest comedian booking agencies in the United States. We're here to help you and your company when you need to hire a comedian. Below are some of the things every customer needs to know before they book a comedian.
Tips For Hiring A Comedian For A Private Event1) Let the booking agent know what type of event you are planning. Obviously the right comedian for a church event would be very different than a comedian for a bachelor party. 2) Decide where you want the content rating of your comedian to be at. We generally break the comedians into three categories - 1) Clean comedians 2) Middle of the road comedians (these comedians will have an act similar in content to a PG-13 rated movie) 3) Comedy club rated comedians (these comedians will have an act similar to a mild R rated movie). 3) How long of a performance do you need? A good headliner comedian can easily do a 60 minute show. For a corporate event that generally is what the clients request. Keep in mind you want a great show not a long one! In a comedy club you'll see a line up with two or three comedians that last 90-100 minutes. This is best for a fundraiser or comedy night in a nightclub or bar. 4) What does the company you're working with specialize in? As a national comedian booking agency we cover everything! We have a national database of over 1,500 of the best stand up comedians. We have Christian comedians, corporate comedians, nightclub comedians, comedians for roasts, comedians who specialize in custom writing jokes for events, and more! 5) Where is the agent you're working with located? Most small time agents work within roughly a 50 mile radius of their office. Not us. We cover the entire U.S. and parts of Canada. We have two physical offices (metro Detroit and New York City) and two sales agents in Los Angeles and Chicago. 6) How can I be assured I'm getting the best price? We have you covered. Because we book more shows than anyone we have buying power. If a comedian has 3-4 bookings with us in a week they're going to be more willing to come in a lower price than if they only had 1 show. It's simple economics. The more events we book the more savings we can pass on to the customer! 7) References? Make sure anyone you work with shows you videos of available comedians and references. We've worked with over 50 Fortune 500 companies to supply comedians for their corporate events. We've booked over 10,000 performances in the last decade! Corporate events, private parties, church groups, fundraisers, clubs, and more! 8) Our agents include myself, Bill Green, Jenni Crane, and Roger Paul. Our staff is dedicated to making your event a huge success! We're in the laughter business and love every minute of it!! Let us help you take the worry and stress out of hiring entertainment. We sincerely hope that you find the right comedian for your event. Knowing what you need out of a comedian as far as time slot, the "rating" as far as language and theme, as well as budget all help us find comedians that are available and would fit your needs.
The Ultimate Guide For How To Hire A Comedian For Any Event [Infographic] Find more on: the comedian agency's blog
source http://www.comedianagency.com/ultimate-guide-hire-comedian-event-infographic/


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Vikings Selected to Play in Mineral Water Bowl
SIOUX FALLS – Augustana has been selected to play in the 44th Mineral Water Bowl on Saturday, December 6, in Excelsior Springs, MO.
The Vikings will play Missouri Western State at 1:00 p.m. at Tiger Stadium. Augustana finished regular season play with a 7-4 record, including a 7-3 mark in the Northern Sun Intercollegiate Conference.
The Griffons (6-5, 5-4 Mid-America Intercollegiate Athletic Association) are in the game for the second time in as many seasons, and the sixth time in the program's history. MWSU has a 4-1 record in the Mineral Water Bowl, with appearances in 1975 (W, 44-0 vs. Graceland, 2000 (L, 43-41 in three overtimes vs. Winona State), 2003 (W, 24-14 vs. Concordia-St. Paul, 2005 (W, 35-23 vs. Concordia-St. Paul) and 2007 (W, 20-13 vs. Wayne State).
The Mineral Water Bowl, which is sponsored by the Excelsior Springs Quarterback Club, pits the highest-ranking teams from the NSIC and the MIAA that do not qualify for the NCAA Division II playoffs. The NSIC and MIAA each had three teams selected for the NCAA playoffs. Minnesota Duluth, Minnesota State and Wayne State were chosen from the NSIC, while Northwest Missouri State, Pittsburg State and Nebraska-Omaha were picked from the MIAA.
The Vikings and Griffons had three common opponents this season -- Northern State, Minnesota-Duluth and Emporia State. Both defeated Northern state - Western by a 38-27 score on August 28, and the Vikings by a 43-7 margin Saturday in Aberdeen.
Western lost at UMD, the No. 2 seed in Super Region 3 of the NCAA Division II football playoffs, on September 6 by a score of 47-18. Augustana fell to the Bulldogs, 40-10, at home two weeks later.
The Vikings lost at ESU, 27-14, on September 6, while the Griffons earned a 28-21 home win over the Hornets on October 18.
The Mineral Water Bowl began in 1948 as a high school bowl game. In 1954, the format switched to small college (NAIA) teams. From 1992 until 1999 the game featured junior college teams. The current format of NSIC and MIAA participants began in 2000. The MIAA holds a 7-1 edge, including a seven-game winning streak.
For more information on the Mineral Water Bowl, go to the game's official web site.
Bruce Conley
Director News Information
Phone: 605.274.5526
Fax: 605.274.4903


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Below-zero temps push into Midwest, Northeast
CHICAGO (AP) -- Snow-covered roads, high winds and ice were creating dangerous driving conditions from Missouri to Delaware on Sunday ahead of a "polar vortex" that'll bring below-zero temperatures not seen in years to much of the nation in the coming days, likely setting records.
Several states in the Midwest were being walloped with up to a foot of new snow, and residents shoveled out and stocked up on groceries before bitterly cold temperatures set in overnight.
Five to 7 inches fell overnight in the Chicago area, while 8 to 10 inches was expected to fall in central Illinois, Indiana and Michigan on Sunday, National Weather Service meteorologist Ed Fenelon said. Forecasts also called for several inches in western Tennessee and 1 to 3 inches in Kentucky.
The vortex, a counterclockwise-rotating pool of cold, dense air, will affect more than half of the continental U.S. starting Sunday and into Monday and Tuesday, with wind chill warnings stretching from Montana to Alabama. With it comes a startling forecast: 25 below zero in Fargo, N.D., minus 31 in International Falls, Minn., and 15 below in Indianapolis and Chicago.
In Chicago, temperatures were expected to fall throughout Sunday to about 11 degrees by 5 p.m., "and from there it will be a free fall for the rest of the night," with temperatures bottoming out around minus 15 overnight and likely setting a daily record, Fenelon said.
The biting temperatures already pushed into northern states Sunday morning. The National Weather Service reported temperatures in the 20-below range in northern Minnesota and Grand Forks, N.D. The coldest wind chill in Minnesota was minus 50 in Flag Island.
"It's just a dangerous cold," National Weather Service meteorologist Butch Dye in Missouri said Sunday morning.
In St. Louis, grocery stores sold out of the essentials before Sunday's weather onslaught.
"The problem is the bread is sold out. We're out of milk. We sold out of chips, chicken wings, some meats," Issa Arar of Salama Supermarket said.
Travel problems started early Sunday. In New York City, a plane from Toronto landed at Kennedy International Airport and then slid into snow on a taxiway. No one was hurt, though the airport temporarily suspended operations for domestic and international flights because of icy runways. Flights resumed around 10 a.m. EST.
About 1,200 flights had been cancelled Sunday morning at O'Hare and Midway international airports in Chicago, aviation officials said.
Mike Duell, with flight-tracking website FlightAware.com, said Saturday to expect delays and flight cancellations because of the cold temperatures.
"For some of them, they run into limitations on the aircraft. They're only certified to take off at temperatures so low so if they get into a particular cold front it can prevent them from being able to legally take off," he said.
Roads in Missouri, Indiana, Illinois and elsewhere were dangerous. Officials in Missouri warned that it was too cold for rock salt to be very effective.
"If it gets to the point where it's no longer safe, we will consider suspending operations," said Missouri Department of Transportation spokeswoman Marie Elliott.
It hasn't been this cold for almost two decades in many parts of the country. Because of that, medical experts are reminding people that frostbite and hypothermia can set in quickly at 15 to 30 below zero, and it's key to be dressed for the temperatures.
"They have to wear a hat, they have to have face protection," said Dr. Brian Mahoney, medical director of emergency services at Hennepin County Medical Center in Minneapolis. He said layers of dry clothing are best.
Southern states are bracing for possible record temperatures, too. Meteorologists in central and north Georgia say temperatures could drop into the single digits by Tuesday, accompanied by wind chills as low as 15 below zero. Officials in Alabama said the cold temperatures -- in the single digits -- could negatively impact exposed vegetation and livestock.
Elsewhere, Minnesota has called off school Monday for the entire state -- the first time in 17 years -- as well as the Wisconsin cities of Milwaukee and Madison. Other places are likely to follow.
Sunday's NFL playoff game in Green Bay's Lambeau Field could be among one of the coldest ever played: A frigid minus 2 degrees when the Packers and San Francisco 49ers kick off around 3:30 p.m. Doctors suggest fans wear at least three layers and drink warm fluids -- not alcohol.
Associated Press reporters Jim Salter in St. Louis; Steve Karnowski in Minneapolis; Shelley Adler in Washington; and Brett Barrouquere in Louisville, Ky., contributed to this report.


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Oh, Little Big readers. Ask and you shall receive. A few weeks ago I found a cryptic note I'd written as a reminder to myself that said only, "MONKEY GIVEAWAY." I have no idea what that means but often I'll write notes to myself using only pithy two-word phrases that I'll expect to remember later. News flash: I never do! Which makes me wonder if I have another personality living inside me that likes to write notes for the sole purpose of confusing the hell of my dominant personality.
When I tweeted the discovery of the MONKEY GIVEAWAY note I think half the internet responded by enthusiastically demanding I give them a monkey. Which put me in a tough position. I needed to find some sort of monkey to give away or else I was going to look like an Internet Scrooge who was hoarding all the monkeys for myself while the rest of the internet remained chimpless.
All this happened around the time I was writing my terrarium tutorial and inspiration posts. While writing I figured out a humane and legal way of solving the problem of a MONKEY GIVEAWAY: vending machines.
While buying cat food I stumbled upon tiny plastic monkey figurines in a vending machine near the checkout lanes of the pet store. This is a particularly sweet vending machine spot because before they were offering monkeys they had offered fake mustaches. Awesome.
To sum up, I bought the hell out of these vending machine monkeys and am offering THREE SETS OF MONKEYS FOR MY MONKEY GIVEAWAY. Which means three of you lucky readers will get a chance to win a set of MONKEYS.
Right now you're asking yourself, do you have ADD? Because you mentioned something about terarrariums. Yes I did! You guys! Tiny plastic monkeys are perfect for life inside a terrarium.
Winners, you don't have to put your monkeys in a terrarium, but how awesome would that be if you made a terrarium, put the monkeys in them, and then posted your photos for all to see (and covet)? That would be rad.
To enter this contest all you have to do is:
- Leave a comment. One comment. Your chances are EXTREMELY good because there will be three winners. Multiple comments will be disqualified.
- Technically, you don't have to tweet about my MONKEY GIVEAWAY on twitter, post about it on FB or your blog, but it does make you a better person on the inside and does possibly get you in to Heaven. Just saying.
I'll announce the winners on Saturday morning.
Look at these little duders. How can you not want one?


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From Kay at Balloon Juice, with emphasis in the original except where noted:
Michelle Rhee came to Ohio and lobbied my state legislature on her last national tour. She was treated like a celebrity. No one questioned any of her claims, which is unsurprising if you actually live in this state because all of her reforms involve union busting, pension looting and shifting public money to private operators(emphasis added). She's a Right wing ideologue's dream come true. They bought it because they believed it before she walked onto the floor that day.
The school reform industry response to the Atlanta cheating scandal was to call for better test security. As usual, the reform industry spokespeople are missing the larger point, the bigger picture. The truth is they based their reforms on high profile "turn arounds" in Atlanta and (especially) DC. If the scores in these places where they ran their experiments were bullshit, they "reformed" the US education system based on bullshit. They're supposedly "data-driven" and most of them are billionaires. I shouldn't have to point this out.
Hire an independent prosecutor like they did in Atlanta. Let's find out. In the meantime, get a different opinion on "school reform." Stop relying on the billionaires who backed this, the politicians who swallowed it without question, the hundreds of lobby shops who now exist because of it and the celebrities who promote it to evaluate it. They're biased, they're all in, they believe they are the "best and the brightest" and the top-tier analysts and executives are making a lot of money. It's a recipe for disaster.
Well, disaster for ordinary taxpayers. For the grifters (and, remember, grifters are gonna grift), not so much.


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Item #4561
We believe that as home gardeners, we can help to replenish the monarch habitat by sowing milkweed and other butterfly-friendly varieties in our home, school, and community gardens.
Our Eastern Breeze Butterfly Collection includes two native milkweed varieties (Asclepias tuberosa and Asclepias incarnata) that serve as host plants for monarch caterpillars. Bring Home the Butterflies Flower Mix and Cut & Come Again Zinnia adds bright hues to your garden, attracting butterflies and providing nectar. Sit back and wait for the butterflies to arrive!
(P) Butterfly Flower Milkweed Asclepias tuberosa (150 mg)
(P) Butterfly Flower Irresistible Milkweed Blend Asclepias incarnata (150 mg)
(A) Zinnia Cut & Come Again (1 gram)
Bring Home the Butterflies Flower Mix (3.5 grams)-Mix contains by weight:
30% Mexican Lupine (A); 7% Mexican Sunflower (A), Calendula (A), Cosmos (A); 6% Balsam (A), Sulphur Cosmos (A); and 5 % or less of each Borage(A), Bachelor's Button (A), Blazing Star (P), Purple Coneflower (P), Parsley (B), Pincushion Flower (A), Butterfly Milkweed (P), Sweet Sultan (A), Lance-leaved Coreopsis (P), Crimson Clover (A), Sweet William (B), China Aster (A), Dill (A), Black-Eyed Susan (P), Tall Verbena (A), Rocky Mountain Bee Plant (A), Lemon Mint (A), Sneezeweed (A), Snapdragon (A), Bishop's Flower (A), and Sweet Alyssum (A).
A=Annual B=Biennial, P=Perennial
Eastern Regional Collection is intended for the following states: AL, CT, DE, FL, GA, IL, IN, MA, MD, ME, MI, MN, NH, NJ, NY, NC, OH, PA, RI, SC, TN, VT, VA, WV, WI
Item #4561
32.00 grams


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Hello everyone, it's been a while since I've played the game, I do look forward to playing again after many years of absence.
My problem is I'm trying to figure out how to forward ports on my iPhone hotspot from at&t.
I googled on the internet how to do it, but the info was very vague and was not relevant to my particular phone.
I understand that mobile phones do not actually have a router interface, but surely there is a way to still open ports.
Does anyone have good advice on what I can do?


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Billionaire Wilbur Ross is betting that the slump in shipping which drove oil-tanker returns to a 14-year low is ending.
Ross & Co manages about US$10bn in assets, is part of a group (including China Investment Corp, China's SWF) spending US$900 million on 30 ships hauling gasoline, diesel and other refined products. It is Mr Ross's first shipping investment and deploying 'another few hundred million' in the industry 'is certainly easy to do,' he said in interviews in August.
That outlook contrasts with the pessimism of John Fredriksen, founder of Frontline Ltd, the biggest operator of the largest crude carriers. The 67-year-old billionaire said in May that it would probably be another year or two before ship values collapse and he can start adding to his fleet.
So can we imitate Ross by buying SGX counters? NOL and Samudera have container fleets. So do Pacific Trust and Rickers Maritime. BerlianLaju has the world's 3rd largest chemical tanker fleet, more than 93 of them, but they are not the ships Ross and friends are buying.
But there is FSL. It has a fleet of 16 tankers and seven container vessels. Of the 16, 11 are product tankers (what Ross is buying), two crude tankers and three chemical tankers (presentation August 2011). But this is a tricky company to analyse, so do yr homework. It is also a shipping trust and such trusts are yield plays.


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A woman annoyed with a pair of trucks holding up traffic on a North Carolina highway decided to make a video of their game of "cat and mouse" so she could send it to their respective companies.
While behind the wheel of her Kia Sedona minivan near the town of Shelby, 40-year-old Wendy Cobb pulled out her video camera phone.
But instead of just trucker shenanigans, she came within inches of recording her own death or maiming.
Cobb gave this account to Jalopnik:
"I was actually taping two trucks doing a little 'cat and mouse' game and holding up traffic. (I always say I'll send it to the companies they work for, let them know how they are representing the company, but I never do. Can't help it – I'm in marketing so I always think about things like that)
"The 2×4 was in the road, along with several others, but when the truck in front of me hit it, and then his trailer hit it, it just propelled it into me. I don't know why I didn't scream or cuss or cry, I guess just pure shock, I could barely form words to call 911. But I most definitely know how lucky I was. Damage was mostly the hood and windshield, again, very lucky."
Jalopnik said it verified Cobb's story with local law enforcement.
The scariest car crash ever caught on video was real (Jalopnik)


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Potato Plants
- How to Fertilize a Potato Plant
- How to Plant Potatoes
- How to Plant Sprouted Seed Potatoes
- How to Sprout Seed Potatoes
- How to Cure Garden Potatoes
- Do Potatoes Need Sun to Grow?
- How to Store Red Potatoes for the Winter
- How Much Will 5 Lbs. of Seed Potatoes Yield?
- How to Plant & Grow Red Potatoes
- Do You Plant the Eyes of the Potato Up or Down When Planting Seed Potatoes
- How Many Pounds of Seed Potatoes Per Row?
- How to Feed Potato Plants
- The Best Red Potatoes to Grow in Texas
- How to Save Seed Potatoes
- When to Plant Potatoes in Wisconsin
- How to Plant Seed Potatoes With Sprouts
- Simple Potato Planting Instructions
- How to Fertilize Potatoes
- How to Determine the Yield of Seed Potatoes
- How Many Potatoes Grow From 1 Seed Potato?
- How to Grow Potatoes in a Garbage Can
- How to Make a Row for Planting Potatoes
- How to Store Potatoes in Peat Moss
- Planting Instructions for Potatoes
- What to Dip Cut Seed Potatoes in Before Planting
- How to Store Red Pontiac Potatoes
- What Is the Best Climate for Planting Potatoes?
- Planting Potatoes in Pallets
- How Much Space Is Needed When Planting Potatoes?
How to Fertilize a Potato Plant
Potatoes require well-drained, slightly sandy soil in order to thrive. This type of soil is often low in nitrogen, a nutrient the potatoes also require for healthy growth. Fertilizing the potatoes in your home garden both before planting and once they are established helps ensure your plant produces healthy, well-formed tubers for use in the kitchen. While a soil test tells you the exact fertilization your garden needs, using general fertilizer requirements will still give your potatoes a good chance at healthy growth.
- Potatoes require well-drained, slightly sandy soil in order to thrive.
- This type of soil is often low in nitrogen, a nutrient the potatoes also require for healthy growth.
Loosen the soil to 12-inch depth using a power tiller. Remove any stones or large roots from the bed and dispose of them.
Spread 10 pounds of 10-10-10 analysis fertilizer over every 100 square feet of garden bed in the spring about one week before planting the potatoes. Work the fertilizer into the top 10 inches of loosened soil.
Fertilize potatoes a second time six weeks after planting. Work 1 tablespoon of 10-10-10 analysis fertilizer into the soil by each plant. Work the fertilizer in 6 inches away from the stem of each plant so you don't get fertilizer directly on the roots, which may cause damage.
If you wish to perform a soil test, purchase a test kit from a county or university extension office. They will analyze the results for you and tell you exactly what you need to add to the soil for the crop you are growing.
Soil test kits are also available at garden centers, though the reading from an extension office kit is more detailed.
Do not work manure or compost into the potato bed, as the excess organic matter can lead to potato scab and other diseases.
Apply all fertilizer before the end of July, as fertilizing later can cause the plant to produce smaller, undeveloped potatoes.
How to Plant Potatoes
How to Plant Sprouted Seed Potatoes
Cut large seed potatoes into pieces approximately the size of one large hen egg. Ensure that each piece has at least one sprouted eye. Smaller potatoes can be planted whole.
Dig a trench in the prepared garden space 6 inches deep. If you plan to plant more than one row, space subsequent rows 2 feet apart.
Break off all but one long, stringy potato sprout from the seed potato pieces. If the sprouts are still small, there is no need to break them off.
Space the seed potatoes 10 to 12 inches apart in the trench. With a long stringy sprout, lay the sprout horizontally in the row, to be completely covered.
Cover the seed potatoes with at least 4 inches of soil. Do not water until the sprouts emerge from the soil.
Dig the potatoes when the potato plants turn brown and die back. Expect smaller tubers from old seed potatoes with longer sprouts.
Seed potatoes can be saved from the first harvest to plant in a fall garden. Allow the seed potatoes to dry completely before storing.
How to Sprout Seed Potatoes
Spread the seed potatoes over the work surface. Cover the surface with newspaper to protect the surface if the potatoes are going to be placed on a table or countertop.
Turn the potatoes over once a day to expose them to daylight.
Cut and cure the potatoes for planting when the "eyes" have begun to sprout. The cure is complete when the cut portion of the potatoes feels dry to the touch.
Sprouts should appear on the potatoes within three to four days. Small seed potatoes can be left whole to plant; no cutting and curing needed. Larger seed potatoes should be cut into egg-sized pieces containing two or more eyes each. Lay the cut pieces on newspaper in a well-ventilated area for two to three days to cure.
How to Cure Garden Potatoes
Spread the potatoes in a single later in a tray.
Store for two weeks in a dark location, at 45 to 60 degrees Fahrenheit and 85 to 95 percent humidity.
Discard any potatoes that are shriveled, soft or have blemishes.
Do Potatoes Need Sun to Grow?
Light Requirements
For best results, potato plants need full sun, even though the potatoes themselves develop underground. You should look for a spot in your garden not surrounded by taller plants that could block out some of the natural light.
Soil Requirements
Potato plants also have specific soil needs and do best with a well-draining loose soil that contains a lot of organic matter. Heavy soils or clay soils may cause drainage problems for the plants.
Planting Depth and Spacing
Once you have a nice sunny spot to plant your potatoes, dig a hole 3 inches deep for each seed piece. You should space the plants 10 inches to 12 inches apart, and rows of plants should be about 3 feet apart.
How to Store Red Potatoes for the Winter
Wipe off any dirt from your harvested red potatoes.
Carefully examine the potatoes for signs of greening, cuts, bruises or disease and discard these.
Spread the remaining potatoes in a single layer on top of a newspaper-lined basket.
Drape another piece of newspaper over the potatoes and store them in a dark spot with high humidity and a temperature between 60 degrees and 65 degrees Fahrenheit for 10 days to cure the red potatoes for storage.
Move the box of potatoes to a completely dark spot with 85 percent humidity and temperatures between 40 and 45 degrees Fahrenheit for up to four months.
Do not expose the red potatoes to light during storage as this causes the potatoes to turn green, which renders them toxic.
Avoid storing the potatoes at colder temperatures than 40 degrees Fahrenheit as it converts the starches to sugars, making the potatoes too sweet and stringy.
How Much Will 5 Lbs. of Seed Potatoes Yield?
Five pounds of seed potatoes plants approximately a 40- to 55-foot long row, yielding between 60 and 100 pounds of potatoes in a good harvest. Cut seed potatoes into 1 1/2 to 2 ounce pieces, each containing at least one eye. Plant pieces approximately 12 inches apart.
How to Plant & Grow Red Potatoes
Choose a place in the garden with well-drained soil and full sun. Perform a home soil test. Red potatoes do best in soil with a pH of 6 to 6.5. If the soil is basic, add 5 to 6 inches of compost to the soil and work it in to a depth of 3 feet.
Dig holes about 4 inches deep and 11 inches apart. Place the seed tubers into the holes and cover them with 4 inches of soil. Space the rows of potatoes about 2 feet apart. Plant the potatoes when the soil is 60 degrees Fahrenheit.
Add 1 inch of water to the red potatoes once a week. Allow the water to soak into the roots. Sandy soil will need water two to three times weekly.
Remove weeds from around the red potato plants. Pull them up by hand.
Harvest the red potatoes when the leaves of the plants dry. Till the ground lightly with the spade fork to bring the potatoes to the surface. Pick them out of the dirt.
Do You Plant the Eyes of the Potato Up or Down When Planting Seed Potatoes
Potatoes are one of the easiest vegetables to grow. When planting seed potatoes, plant the potatoes two to three inches deep with the eyes pointing up. This will allow the tubers to grow towards the surface and reach light.
How Many Pounds of Seed Potatoes Per Row?
Approximately 9 to 12 pounds of seed potatoes plants a 100-foot row. Cut pieces into 1 1/2 to 2 ounce pieces and plant approximately 9 to 12 inches apart. A 100-foot planted row yields approximately 150 to 175 pounds of potatoes.
How to Feed Potato Plants
Choose a granular fertilizer. Select any standard vegetable fertilizer with a low amount of nitrogen--the nutrient encourages foliage production, which is undesirable in potato plants--and a higher percentage of phosphorous. Example fertilizer ratios include 6-24-24 and 8-24-24.
Prepare the trench or hill in which you will place the pieces of potatoes that you're using as seed. Apply the fertilizer according to its label's guidelines but an inch below the soil layer where you will lay the potatoes. This places the extra nutrients within direct access of the newly formed potato plant roots.
Plant the seed potatoes in the trench. Cover with soil, and water twice daily.
Apply fertilizer on the soil's surface every four weeks once the potato plants have sprouted and broken the surface. Administer the fertilizer before your regular watering to help dilute the nutrients and prevent plant burns.
Some garden experts, such as Calvin Finch, Ph.D., say that fertilization is only needed when initially planting the potatoes in the trench or hill.
Never apply fertilizer directly onto the pieces of potatoes you're using as seeds as this might burn the potato pieces and kill the sprouting plant.
Don't harvest any green potatoes because these can be potentially toxic if consumed.
The Best Red Potatoes to Grow in Texas
Red La Soda
Red La Soda is a mid-season variety of potato that was developed in Louisiana in the late 1950s. Red La Soda is a thin-skinned potato with very white flesh. The tubers may be irregularly shaped and have deep eyes.
Viking potatoes are heavy producers. They are also a mid-season variety, maturing early and have a dark-red color. Viking potatoes keep well in storage.
This smooth-skinned red potato is an early-season variety. It has a low-moisture content, making it more suitable for baking than other red potatoes. Like Vikings, Norlands store well.
How to Save Seed Potatoes
Harvest your potato crop from healthy plants by digging them up with a pitchfork and lifting the potatoes to the surface. Sort through the potatoes to collect the ones that are egg-sized or smaller.
Look over the smaller ones to make sure they are firm without cuts or any signs of damage or rot. Keep only the best looking potatoes to be your seed potatoes.
Set the seed potatoes out in the sun for a few hours to dry. Use your hands to gently brush away any excess soil from the skin without pressing so hard you rip or damage the skin.
Place the potatoes in a dry window for two to three days to encourage them to go dormant. After a few days have passed, set the potatoes into an empty cardboard egg carton and close the lid.
Store the potatoes in a dry, dark place with good air circulation where they can sit until the following late winter or early spring. Check on the potatoes once a week and pull out and discard any that are rotting.
If you don't have any small potatoes to use, then store regular potatoes and plan to cut them into egg-sized pieces when it is time for planting.
If your potato plants are struggling or look sick, don't collect seed potatoes from them as you may be carrying over disease in your garden.
When to Plant Potatoes in Wisconsin
Time Frame
Planting time for potatoes in Wisconsin depends on the type of potato you want to grow. Early varieties should be planted as soon as you can work the soil, usually late April, according to Wisconsin Master Gardeners. Mid- to late-season potatoes can be planted from mid May to mid June.
The Wisconsin Master Gardeners also recommends you get a head start on the growing season by sprouting your potatoes two to three weeks before you plant. This is especially effective for early season potatoes.
Potato seedlings are delicate. If you try to sprout them ahead of time, handle them with extreme care on planting day.
How to Plant Seed Potatoes With Sprouts
Step 1
Count the "eyes" or sprouts on the potato. Ideally, the seed potato should have two or three eyes. If some of the potatoes are larger and have more eyes, use your fingers to rub off all but two or three of them. Seed potatoes that have started to sprout are desirable.
- Count the "eyes" or sprouts on the potato.
Step 2
Prepare the soil. Potatoes prefer loose, well-drained soil high in organic material with high water retention capability relatively free of rocks and with a pH of 5.5 to 6. Work the soil to loosen it, using a tiller or cultivation tool. Dig holes 4 to 6 inches deep and about 15 inches apart, using a shovel.
- Potatoes prefer loose, well-drained soil high in organic material with high water retention capability relatively free of rocks and with a pH of 5.5 to 6.
- Work the soil to loosen it, using a tiller or cultivation tool.
Step 3
Plant a sprouted seed potato, sprouts pointing up in each hole, and cover with soil. Fill the holes completely, but be careful not to damage the sprouts. Water well to moisten the soil, but do not overwater. If the soil tends to form a crust, break the crust and loosen the soil surface with the shovel until the sprouts break the surface.
- Plant a sprouted seed potato, sprouts pointing up in each hole, and cover with soil.
Simple Potato Planting Instructions
Use a hand tiller to aerate the top eight to nine inches of soil in the garden bed. Remove any debris from the dirt that could make it difficult for the potatoes to expand and grow, such as rocks and roots.
Dig holes that are about twice the size of the whole seed potatoes, spacing them 10 to 12 inches apart. Space the rows 24 to 36 inches apart to give the plants room to spread.
Drop a seed potato into each hole, smoothing the dirt over the top. Cover each row with a ridge of soil that's one to three inches high.
Water the potato plants lightly so that the ground is just damp.
How to Fertilize Potatoes
How to Determine the Yield of Seed Potatoes
Cut the seed potatoes into pieces containing at least one "eye" and the approximate size of a medium hen's egg.
Spread the cut seed potatoes on newspaper, cut-side up, to cure, or "heal over," for 24 to 72 hours.
Weigh the cured seed potatoes.
Multiply the number of pounds of cut seed by 10 to reach an approximate average yield of finished potatoes. In an above average garden space, the yield may be as much as 20 times the weight of the seed. For example, 5 pounds of seed will yield 50 pounds of potatoes in an average garden space, while the same 5 pounds could yield 100 pounds if conditions are perfect.
Small seed potatoes do not have to be cut at all and can be planted as is. Only those seed potatoes larger than a hen's egg need to be cut into pieces. Potatoes are ready to harvest when the plants turn brown and begin dying back.
How Many Potatoes Grow From 1 Seed Potato?
The average yield from one seed potato is typically 6 to 12 new potatoes. Variety, soil conditions, spacing and harvest time all affect the exact amount. Depending on the variety planted, one 100-foot row, with seed pieces planted 36 inches apart, can produce from 150 to 300 pounds of potatoes.
How to Grow Potatoes in a Garbage Can
How to Make a Row for Planting Potatoes
Till your planting area in the early spring, as soon as the ground can be worked, to loosen and break apart the soil.
Use a hoe to dig a trench as long as like. Make it 3 inches deep into the plowed area.
Place pieces of seed potato in the trench, leaving 9 to 12 inches between the pieces.
Cover the seed potatoes with the dirt removed when hoeing the trench.
Cover the row with a 4- to 5-inch layer of straw or hay to act as mulch once the plants have broken the surface of the garden bed. This will allow the row to retain moisture.
If you want a second row, make it 2 to 3 feet from the first row. Plant multiple rows in the same way as the first.
If you are unsure of the acidity of your soil, take several soil samples from the area to your county extension office for testing.
It takes about 5 to 8 pounds of seed potatoes to plant a row 100 feet long.
The best seed potatoes to use are small and require no cutting. With small seed potatoes, you plant the entire potato.
Larger seed potatoes need to be cut into pieces, each containing at least one "eye." Each piece should be about the size of a medium chicken egg, so that the potato can feed the plant as it grows and becomes established. Cut large seed potatoes 24 to 72 hours before planting and allow them to cure on a newspaper or other safe surface.
How to Store Potatoes in Peat Moss
Poke several holes in a plastic garbage bag with a knife.
Line a box or metal garbage can with the prepared garbage bag.
Mix just enough water with the peat moss so that the moss feels damp to the touch without dripping water.
Fill the garbage bags with alternating layers of potatoes and peat moss, starting and ending with peat moss at the bottom and top of the garbage can.
Cover the can with the lid and store the potatoes at 50 degrees F for up to three weeks for early potatoes or 40 degrees F for up to nine months for late potatoes, according to Cornell University.
Planting Instructions for Potatoes
Purchase and store certified seed potatoes in a cool place for two weeks.
Spread seed potatoes two weeks after purchasing, in a single layer in a greenhouse, room or barn that receives light. This is the start of a process known as "green sprouting."
Provide high humidity for seed potatoes by misting the area lightly once daily.
Turn the seed potatoes every four to five days to encourage strong, uniform sprouts.
Work 10-10-10 fertilizer into planting bed soil, using 3 pounds per 100 square feet, before planting seed potatoes. This prevents feeder root burning and decay.
Plant seed potatoes in the spring when soil has warmed to 45 degrees, in a furrow or hill 4 to 6 inches deep, spaced 8 to 10 inches apart in rows, from 32 to 36 inches apart. Cover with about 2 inches of soil.
Mound soil up around plants when they are 5 or 6 inches tall, a technique called "hilling." Continue the process until the plants are 12 to 15 inches high. Cover any weeds while hilling, but do not totally cover potato plants.
What to Dip Cut Seed Potatoes in Before Planting
According to the "American Journal of Potato Research", root hormone dusting powders and ground limestone can be used on cut seed potatoes but there is no verifiable benefit. Instead, simply cut the seed potatoes into egg-size pieces with at least one eye per cut and allow to "heal over" in a cool, dark place for one to two days to prevent root rot.
How to Store Red Pontiac Potatoes
Arrange the potatoes in a single layer on a pallet covered with several sheets of newspaper, or a box with a screened bottom, or open-weaved-bottom vegetable bin, for proper ventilation. Ideally, the potatoes should not be touching.
Store the Red Pontiac potatoes in a cool, dry, dark location at temperatures between 45 and 50 degrees F.
Check the potatoes several times a month and discard any potato that shows signs of spoilage or sprouting. Store the Red Pontiac potatoes for up to five months.
What Is the Best Climate for Planting Potatoes?
Time Frame
Plant potatoes after the last spring frost date in your region, as soon as soil is workable. This can be as early as April or May in most Northern regions. In Southern regions that experience high summer temperatures, potatoes do better as a winter crop.
Potatoes grow best in relatively cool weather with daytime temperatures in the mid-60s and nighttime temperatures above 55 degrees Fahrenheit. Temperatures in the 90s can decrease yield, and temperatures above 95 degrees Fahrenheit may kill plants. Soil temperatures should fall between 60 and 70 degrees Fahrenheit, which can be verified with a meat thermometer probe, and mulch can help to maintain soil moisture and temperature.
Seed potatoes are whole potatoes designated for use in growing new plants. Small seed potatoes may be planted whole, while larger ones can be cut into smaller chunks as long as each chunk contains an eye root.
- Although potatoes grow underground, seed potatoes do not need to be planted deep.
Although potatoes grow underground, seed potatoes do not need to be planted deep. Bury seed potatoes 12 inches apart under about 3 inches of soil, but leave at least 2 feet between rows so the root systems can spread out underground. Pull soil into a hill to ensure roots are adequately covered to avoid sunburned potatoes. Water consistently to keep soil moist and loose.
Fun Fact
Idaho produces more potatoes than any other state in the U.S. -- nearly one-third of all potatoes grown in the country. California, Maine and Washington are also leading producers. The cool, humid climates in these states are ideal for growing and storing the vegetable.
Planting Potatoes in Pallets
Purchase firm and unsprouted certified seed potatoes from a garden center or nursery. Order certified seed potatoes from a reputable catalog or online garden supplier if you are unable to find them in your area.
Choose a full-sun planting location that receives six to eight hours of direct sunlight a day.
Lay a wooden pallet flat on the ground in the planting location and stand four more pallets on their sides, so the pallets form a box with four sides and a bottom. Secure the corners of the pallet together with heavy gardening wire to create a sturdy wooden growing bin for your potatoes.
Blend together equal parts peat moss and coarse builder's sand to create a well-draining growing medium for your potatoes. Cover the bottom pallet with several sheets of newspaper to prevent the growing medium from falling through the wooden slats. Top the newspaper with 12 inches of the growing medium.
Place the seed potatoes on the surface of the growing medium. Space the seed potatoes 10 to 12 inches apart to allow adequate room for growth.
Cover the seed potatoes with a six- to eight-inch layer of straw. Maintain the layer of straw throughout the entire growing season, adding more straw whenever the green potato shoots begin to emerge.
How Much Space Is Needed When Planting Potatoes?
Seed Pieces
Seed pieces may be whole potatoes or pieces of potatoes weighing about 2 ounces each. Each seed piece has to have at least one good eye.
Create rows in the soil about one to three inches deep. Leave space of 24 to 36 inches between rows to allow the plants to shade the soil and prevent high soil temperatures that could inhibit potato growth.
Space Between Seed Pieces
Leave spaces of 10 to 12 inches between seed pieces in the rows. The amount of garden space you need would depend on the number of seed pieces you want to plant.


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Sunday, December 07, 2008
Holiday Wine Selections
The Holiday season is upon us, and with many thirsty guests parading through the house how will you spread Christmas cheer after Scrooge just put a lump of coal in your stocking?
This post is not about saving money on wine per se - there are many writers out there pitching inexpensive wines in these trying times. But beyond the challenge of serving buckets of wine to a hungry crowd without breaking the bank, Holiday gatherings require other important considerations:
Will your inexpensive wine taste good in a plastic wine glass?
Will it work at room temperature?
Will it pair with canapes and egg rolls, dips and cheeses, pizza slices, nuts, etc.?
And - most importantly - will it please the wine neophytes AND your snobby wine friends (especially when they know you have a fine, well-stocked cellar)?
There are no easy answers to these, but here are some thoughts on navigating these shoals:
1) Bubbles: Dry bubblies are food friendly with a variety of cuisines, and do not have to be expensive. Plus, nothing says 'party' like a glass of bubbly. I also expect that your wine snob friends will raise less of a fuss with good, inexpensive bubbles. Spanish cava tops my list for inexpensive "boules", but bubblies from the non-Champagne regions of France also offer some tremendous values (Check out Neil's blog for bubbles at a variety of prices)
2) New world and old world: Fruitier, modern-styled wines are great sipping wines and tend to be appreciated by recreational winos, but your knowledgeable friends may pass and switch to beer. I suggest trying to find a middle ground - try an old world wine maker with a more modern winemaking style, or a new world winemaker with a more traditional style. A good shopkeeper should be able to point you in the right direction, and if they look puzzled just leave (or see my list below...)
3) The "Red": Fruity Aussie Shiraz and Argentinian Malbec are all the rage, but my personal recommendation is for Cabernet Sauvignon as your red choice for the evening - easy to find, a well-chosen cab should be flavourful, reasonably versatile while and withstand the warm environment, and will probably better please both the rookies and the afficianados. A very close second would be a good Portuguese red (typically made from obscure, indigenous grapes) - these can be inexpensive, versatile and well structured, but availability for some readers may be an issue. Inexpensive Spanish wines made from Tempranillo would be a third choice.
4) The "White": Guests may pour the wine chilled, but in the heat of the party these will warm up fast so you need a versatile grape that will work at warmer temperatures. I love the versatility of Chardonnay in this setting, but I find the cheap stuff falls apart when warm. Thus, I have to go with a Sauvignon Blanc - South Africa and Chile have some nice, inexpensive SB, New Zealand will be a bit pricier, but there are some inexpensive French SB as well.
Here are some holiday picks that take into account my guidelines above, price and availability.
Cheap bubbly ideas:
Codorniu Clasico Brut Cava (Spain)
Freixenet Cava Cordon Negro Brut (as suggested by Debs) (Spain)
2004 Sieur d'Arques "La Bulle de Limoux" (a bit pricier) (France)
Cheap white ideas:
Porcupine Ridge Sauvignon Blanc (S. Africa)
Concha y Toro Casillero del Diablo Sauvignon Blanc (Chile)
"Les Jamelles" Sauvignon Blanc (France)
Domaine du Salvard Cheverny (France)
Carmen Chardonnay (Chile) (one cheap Chard that can take the heat)
Cheap red ideas:
Casillero del Diablo Cabernet Sauvignon (Chile)
Carmen Cabernet Sauvignon (Chile)
Alamos Cabernet Sauvignon (Argentina)
Wolf Blass Cabernet Sauvignon Yellow Label (Australia)
Portuguese Reds (1,2)
If you are not hosting a party, note that many of these suggestions would make ideal good gifts to bring the hosts of other parties.
Feel free to post some of your own ideas for wine that works when served in bad glassware, at the wrong temperature, and paired with rather wine unfriendly foods...(or send me an email for more ideas)
And remember - drink in moderation and don't drink and drive.
8 comments:
- Edward said...
The battle in Australia is what red wine to drink when it is 100 degrees F! Pinot is my usual pick. I tend to serve the cheaper more accessihble stuff early on and then open the more expensive bottles latter in the day, when only the hard core are still drinking and eating.
Other local challenge is - what to drink at the beach, which is the traditional Christmas family destination in Australia (especially as many local beaches ban alcohol consumption, because of loutish behaviour).
- December 11, 2008 9:22 PM
- Joe said...
Yes, weather is an important factor - that is why Americans drink 50:50 red:white while Canadians are more like 75:25 - hard to sip a chilled glass of chardonnay on the patio when your feet are knee deep in snow. Funny that you serve the better stuff to the drunkards at the end when their palate is ruined - rather counter-intuitive, but I do the same - my hard core wine buddies stick around to raid the cellar. I've heard about those Christmas beach parties down under...
- December 11, 2008 11:58 PM
- Barry said...
Joe..can you ban Edward posting on this 'Xmas' subject..!!!
100 Degrees..and here I am....my ***** freezing...mind you..my reds do suit more to the cold weather...
He is right about Pinot tho..and I think he's been at the bottles already..his spelling is getting wuurse!
I don't let anyone in who doesn't appreciate the good stuff(smile)
but if it happens..then the above in red..or a Viognier always pleases everyone.
Anyway..it will soon be over..and we can get back to drinking normally..
I need to start planning for Easter..what goes well with a hard boiled egg...don't tell me..it's white and from Burgundy..
- December 12, 2008 6:11 AM
- Shea said...
I agree with your cab comments. Alamos is a good pick. I also go for Santa Rita's Medala Real cab. Cheap and tasted good in plastic :).
Beaches are great and all, but beaches on christmas? I have an Aussie friend here who I constantly mock about that. He has yet to convince me that the opposite side of the world makes any sense.
Oh, and Ed, don't you just drink VB down there when it's hot? ;)
- December 13, 2008 4:10 AM
- David said...
I like the Cava and Tempranillo recommendations. Just picked up a good Cavathe other day for $8--acceptable at least for serving at a party.
- December 13, 2008 7:10 AM
- Joe said...
Barry, I'm with you - he's probably going to post some beach picnic wine on Christmas day. But you don't know freezing... Is there any food or situation where you wouldn't suggest Pinot? ;) I like that Viognier suggestion, but I couldn't think of any $12 Viogniers (VdP Cotes de Gascogne could work here as well).
Shea - never had the Santa Rita Medalla Real cab - will look for it.
David - which Cava did you get?
- December 13, 2008 12:48 PM
- Edward said...
The strangest thing about Christmas in Australia, is trying to eat a traditional lunch (which we will do) of Turkey, Ham etc etc when it is boiling hot outside. Will probably head to the beach on Boxing day. . .
- December 14, 2008 12:23 AM
- Joe said...
I guess the Cranberry sauce gets a bit runny in the heat and the sand in the Turkey makes for a crunchy treat...my sympathies.
- December 16, 2008 11:45 AM


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In Stock
Millennial Masters 2
ABLAZE Records is pleased to announce the winners of it's SECOND Millennial Masters Master tape prize. The winners are all included on ABLAZE Records Millennial Masters Vol. 2 CD. What ABLAZE was looking for were simply two things as we approached this second Millennial Masters volume: great compositions and excellent performances that were well recorded. We were again impressed at the level of the submissions and this second disc features music of wonderful composers from the USA, Hong Kong, Australia and Russia. MICHAEL LEE was awarded a place on the disc for his Capriccio for Violin and Piano 'a voice in the waves,' which impressed us with it's fluid drama and tight, focused intensity. LUCAS LECHOWSKI composed a work for multi-tracked violins, which is evocative, plaintive and atmospheric. 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Among his many accomplishments, Michael is most recently a finalist in the 28th ALEA II International Composition Competition. Michael's Capriccio for violin and piano 'a voice in the waves' received very high praise and personal critique from the faculty at Juilliard, including John Corigliano, Robert Beaser, and Christopher Rouse. Michael is a recipient of the $20,000 Cartwright Scholarship from Juilliard. Michael is also a recipient of a letter of praise from BMI for a 'promising work for the future' for his Metropolis Piano Concerto. He has received a $1,000 professional performance award for his chamber work, which has been performed in the same program with the Van Cliburn Gold medalist, Jon Nakamatsu. His work has also been selected for professional orchestral performances in Europe. Michael has continuously received guidance and high commendations for his young, innovative and ambitious music compositions by a wide array of successful composers of various styles including Milton Babbitt, Christopher Theofanidis, Yehudi Wyner, Sir Nicholas Maw, Samuel Adler and John Corigliano. Michael's developing and maturing interests have revolved around his pride and passion for being an American composer. Capriccio for violin and piano 'a voice in the waves.' 'This piece was written for Jiwon Kwark, a talented violinist and enthusiast of both classical and modern music. Jiwon has helped manage, rehearse, and perform Michael's music, including the piano quintet, which was performed in October 2010. Her enthusiasm and talent helped inspire Michael to compose this piece. The subtitle to this violin and piano duet is 'a voice in the waves.' The voice is the pure and beautiful, the dream and hopeful part of life hidden among the 'waves.' Waves, like sea waves, represents the reality of the world, an unrelenting force which will never cease to prohibit the 'voice' from coming forth. I give much thanks to my teacher, Samuel Adler, whose guidance and wisdom helped shape this piece. I also give thanks to the players who sacrificed much of their time and whose dedication helped put this piece together in such short time.' HaEun Lee holds a BM in piano from the Juilliard School where she is currently pursuing her MM degree. Jiwon Kwark, BM, a former Juilliard violinist is pursuing her graduate degree at the Yale School of Music. JOYCE WAI-CHUNG TANG Joyce Wai-chung Tang was born in Hong Kong. She obtained Master's degrees in both composition and electroacoustic music at the Hong Kong Baptist University. She graduated with a PhD in musicology from the University of Hong Kong. Her compositions have been widely performed and broadcast. Many of her works have also been selected for performance in major contemporary music festivals/conferences, such as the International Society for Contemporary Music (ISCM) World Music Days, International Computer Music Conference (ICMC), International Rostrum of Composers, Journées d'Informatique Musicale (JIM), Percussive Arts Society International Convention, Asian Composers' League Contemporary Music Festivals, Hong Kong Arts Festival, and Musicarama Festivals. Her works have been performed by the Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, City Chamber Orchestra of Hong Kong, Hong Kong New Music Ensemble, Hong Kong Bach Choir, RTHK Quartet, NEW Quartet, Ensemble TIMF, North/South Consonance, and the Sregnis Singers. She has received commissions by the Hong Kong Sinfonietta, Hong Kong Arts Festival, City Chamber Orchestra of Hong Kong, Hong Kong Bach Choir and Orchestra, Contemporary Musiking, and the Hong Kong Composers' Guild. Aurora 'Aurora ('polar light') is a natural phenomenon characterized by the spectacular swirling streamers of reddish or greenish light in the sky near the North or South Pole. In Roman mythology, Aurora is the goddess of the dawn who dances across the sky to announce the arrival of the sun. I had images of moving refracted lights in my mind when I was composing the piece. The refracted lights are symbolized by the timbral variation of the layering of melodic lines. Melodies play an important role in this piece. The two wind instruments, the flute and clarinet, are treated mainly as melodic instruments, playing expansive and expressive lines, which are always colored, layered, thickened, and extended by the sounds played by the string instruments. The piano is treated as a percussion instrument, not in the sense of providing pulse, but rhythmically decorating the melodic lines. Commissioned by the Hong Kong Composers' Guild with sponsorship from CASH Music Fund, this piece is dedicated to the sufferers and victims of the cruel natural disasters that occurred in May, 2008.' The Hong Kong New Music Ensemble (HKNME) was founded in 2008 with an aim of presenting the best new music in Hong Kong by local Hong Kong composers, Asian composers and by important international figures. It intends to foster interesting interdisciplinary collaborations, and to present the highest quality contemporary music to Hong Kong audiences on a regular basis. In October 2008 members of the Hong Kong New Music Ensemble were resident at the Shanghai Conservatory. Since 2009 the HKNME has presented regular concerts in Hong Kong, and has toured to China, Malaysia, and Singapore. The HKNME was featured at the 2010 New Vision Arts Festival in Hong Kong and it's touring schedule in 2011 includes performances in Australia, Taiwan, Singapore, Thailand and Cambodia. John Winzenburg, Conductor is an assistant professor of music at Hong Kong Baptist University, where he conducts the Cantoría Hong Kong and the HKBU Choir. He previously served as director of choral and orchestral activities at Agnes Scott College in Atlanta, Georgia from 2005-08. Winzenburg spent the 2004-05 school year researching Chinese-Western 'fusion concertos' as a Fulbright Doctoral Fellow at the Central Conservatory of Music (CCOM) in Beijing after earning graduate degrees in orchestral and choral conducting from the University of Iowa and University of Minnesota. Winzenburg has conducted the HKBU choral groups since 2008. He established the Cantoría in September 2009, which he led at the Festival of Songs in the Czech Republic in June 2010. VERA IVANOVA Vera Ivanova graduated from the Moscow Conservatory (Honours Diploma), Guildhall School of Music and Drama in London (MM with distinction), and the Eastman School of Music (Ph.D. in Composition). Her works have been performed in Russia, Europe and the USA. After teaching as Assistant Professor of Theory and Composition at the Setnor School of Music of Syracuse University (NY), she was appointed as Assistant Professor of Music at the College of Performing Arts at Chapman University (Orange, CA). Ms. Ivanova is a recipient of the Sproull Fellowship at Eastman, the Gwyn Ellis Bequest Scholarship at Guildhall School, Moscow Culture Committee and American Composers Forum Subito grants, Honourable mention at the 28th Bourges Electroacoustic Competition, 3rd Prize at the 8th International Mozart Competition, 1st Prize in Category 'A' at the International Contest of Acousmatic Compositions Métamorphoses 2004 (Belgium), the ASCAP Morton Gould Young Composers Award, the André Chevillion-Yvonne Bonnaud Composition Prize at the 8th International Piano Competition at Orleans (France), and Special Award from Yvar Mikhashoff Trust for New Music. Her music is available in print from Universal Edition, on CDs from Quartz Music Ltd, Centaur Records (CRC 3056), Musiques & Recherches (Métamorphoses 2004). Quiet Light 'The title Quiet Light refers to one of the oldest Christian songs ('Svete tikhiy' in Russian) which dates back to the 5th century, and which usually follows the psalm in the Russian Orthodox Church. It literally means 'quiet light' (and is usually translated as 'Gladsome Light'). Numerous composers have set 'Svete tikhiy' to music: the most well-known settings are by Pavel Tchesnokov, Alexander Grechaninov, and Sergei Rachmaninoff (as a part of his 'All-Night Vigil'). My Quiet Light is not quoting the song or the text, or any of it's music settings; it rather refers to the special natural lighting, which one can see in an old Russian Orthodox Church. If one were to look up, standing below the dome of the church, the rays of light strikingly cut the darkness of the church, highlighting the frescos on the wall and creating a very special atmosphere.' Luke Fitzpatrick is a Portland-based violinist, collage composer, and experimental improviser. He has premiered works of Helmut Lachenmann, Jeff Holmes, Vera Ivanova, and Qasim Naqvi, among others. He has been a guest artist with ensembleGREEN, The Penderecki String Quartet, and is a founding member of stille trix, an electroacoustic improvisatory and new music group. He holds a Performer/Composer MFA from California Institute of the Arts. ZACHARIAH ZUBOW Zach Zubow's compositions have been featured on numerous new music conferences and festivals throughout the United States and abroad, including the 2010 Society of Composers (SCI) National Conference in Columbia, South Carolina. Zach was also named regional winner in the 2011 SCI/ASCAP Student Composition Commission Award for his string quartet, Sundown, and was also the 2011 recipient of the first prize from the biannual Five College Composition Competition hosted by the University of Massachusetts Five College New Music Festival for his alto saxophone and percussion duo, Rounded Angles. As well as composing, Zach has presented his research regarding beat class transformations in Ligeti's Étude No. 4, Fanfares, from Ligeti's first book of Études that will be published in the online journal, Proceedings, for the New Music Festival at the University of Central Missouri. Zach was also recently accepted as one of six composers worldwide to participate in the Alba New Music Festival in Alba, Italy in May 2011, where Mr. Brian Ganz performed Zach's work for solo piano titled Prevailing Wind. Zach has received degrees from Luther College, Illinois State University and is now pursuing a PhD in music composition at The University of Iowa. Nebulae 'When looking into the starry, winter night sky in the Midwest, one cannot help but notice the three perfectly aligned and spaced stars that make up Orion's belt. On particularly dark nights, the emergence of a small cloud on the hip of this belt can be seen, which is Orion's sword, hanging from his belt. This small cloud is the closest nebula to Earth where stars are formed among a massive cloud of gas. The inspiration for Nebulae comes from this particular nebula, but is a musical imagery of what the composer would hope to hear within any nebula. The beautiful colors, bursts of light, and certainly, an abundance of sound all combine to form new stars. The tape part attempts to surround the audience, creating a sense of physical movement while giving them a feeling of total immersion in this cloud. The flute provides the colors and light from which the star is formed.' Rebecca Ashe is a freelance flutist and appears across the country as a performer, lecturer, and master class clinician. A new music performer and collaborator, she has partnered with several composers and has performed at several festivals. She has been adjunct faculty at the University of Missouri-Kansas City; Georgetown College (Georgetown, TX); Park University (Parkville, MO); and the University of Mary Hardin-Baylor (Belton, TX). DANIEL BLINKHORN Daniel Blinkhorn's works often gravitate around a synchronicity of frequency, texture, gesture, space, location and motion. He is increasingly interested in working at the nexus of environmental sound, electroacoustic music and acousmatic soundart. As an educator he has worked in a variety of academic, research and teaching contexts, and while his creative work as an artist typically gravitates around the electroacoustic, audiovisual and acousmatic genres, his output also includes chamber, symphonic and wind orchestra works, music for film, dance and various hybrid/intermedia environments, sound installations and radiophonics. He is a member of various new music initiatives and is a represented composer at the Australian Music Centre. Between 2007 and 2011 he undertook residencies in composition and digital media at a variety of international institutions including Centre National de Création Musicale, La Muse en Circuit, Paris; Visby International Centre for Composers, Sweden; Atlantic Centre for the Arts, Florida; Centre d'arts Orford, Montreal; EcoSono Institute, West Indies; Mamori Artlab, Amazon Basin Brazil; Australian Broadcasting Corporation (ABC) Australia; and the Arctic Circle 2011-an artist and scientist led expedition throughout the Arctic circle. Daniel's works are increasingly performed, exhibited, presented and broadcast internationally at festivals/concert halls, conferences, galleries and other venues, where he has also received numerous citations at prestigious international composition competitions. He has undertaken studies at a number of universities including University of New South Wales and University of Wollongong, where he received his Doctoral Degree in Composition. Relatively Loud Tones 'Beeps, chimes, electronic chirps ... auditory signifiers of relative shapes and lengths, designed to communicate a vast array of meanings: so vast an array of meanings in fact that these sounds seem to blend into the background, only occasionally reaching through to us. This work attempts to bring to the foreground some of these auditory icons, from summons to prayer to evacuation alarms. In doing so it intimates a certain desensitization to the meanings behind these otherwise relatively loud tones, as we fail to take heed of their message, almost as though the more we hear them, the more peripheral they become-even if the icons sometimes signify danger. This miniature was created using recordings on a 'soundwalk' in a ship as it was forced to evacuate passengers and crew. Additional sounds were captured on a sea port 'soundwalk' in Trinidad.' Place/Space Threnody 'The focus of this work is not on the sounds themselves, but the spaces they inhabit. More specifically, I wanted to convey a short piece that captures some of the sonic spaces that I grew up listening to on the radio. To achieve this, I recorded the sound of a series of spaces ranging from large workshops and kitchen spaces to cars and livings spaces, and then used these recordings to create impulse responses. I then composed a series of simple musical gestures for string instruments, clarinet, piano and a variety of sound objects (objects often found within the spaces themselves) and carefully set about situating the composed material within the captured spaces. The work reflects my interest in capturing the vitality and evocative possibilities associated with spaces themselves to use as expressive devices within composed works.' All instrumental music within the work was performed by Daniel Blinkhorn. LUCAS LECHOWSKI Lucas Lechowski was born in Poland, where he began his professional music training at age seven in classical violin. In 1999 he was admitted to the violin class at the Department of String Instruments and to the Jazz Department of the Karol Szymanowski Academy of Music in Katowice. He holds a BA in Violin Performance, an MA in Jazz Violin Performance and an MA in Jazz Guitar Performance. He started to perform professionally at the age of 12. He has been collaborating with symphony orchestras, chamber orchestras, string quartets, baroque ensembles, big bands, jazz ensembles, pop, rock, and theatrical groups. He collaborated with such artists as: Randy Brecker, Bob Mintzer, Tony Bunn, Carl Grubbs, Bernard Maseli, and Urszula Dudziak, among others. He has performed in many music, film and theatre festivals in Poland and abroad. Along with exploring the artistry of violin he has always been fascinated with the possibilities that new technologies can contribute to the field of music. He has originated two experimental music projects: Hello, and Number 0. Hello, combines music with images and animations while Number 0 brings composed digital music into improvised soundscapes. He has also written music for the project Sketches from Virtual Spaces-the exploration of architecture in cyberspace. He is a member of The Society of Composers and Lyricists and ASCAP. Lucas currently resides in Maryland in the United States. Outer Space 'I have played violin since early childhood and I have always been inspired by it's intriguing sound. The Outer Space is an exploration of violin tone and the game between harmony and disorder: it is an entity, a living space of sounds. The composition consists of twelve violin tracks where each part is a single line but all lines together create the enclosed area: a playground for violin harmonics. Lines meet each other and go beyond each other at the same time. What inspired me in this work was the balance of what we know and what we don't know about the space that surrounds us, the space we create. The violin parts in The Outer Space I performed myself. This piece is the outcome of my personal approach to this instrument.' ARTHUR GOTTSCHALK A man whose music has been described as 'vital and original' (American Record Guide) and with 'undeniable integrity' (The Village Voice), award-winning composer Arthur Gottschalk is a Professor of Music Composition and Theory at Rice University's Shepherd School of Music. With the number of compositions in his catalog now approaching two hundred, his music is regularly performed domestically and overseas, and his works are recorded on New Ariel, Crystal Records, Summit, Capstone, Beauport Classical, ERMMedia, Golden Crest, MSR Classics, Ablaze Records, and AURecordings. His works are published by Subito Music, Shawnee Press, European American Music Distributors, Alea Publishing, Trevco Music, Potenza Music, and The Spectrum Press. Dr. Gottschalk has worked in diverse areas of music, including composing and arranging music for feature films, television scores, numerous industrial films and commercials, music publishing, and artist management. He continues to work as an expert in music copyright cases and as a forensic musicologist. In 2006, his Concerto for Violin and Symphonic Winds won the First Prize of the XXV Concorso Internazionale di Composizione Originale (Corciano, Italy), and in 2011 he was awarded a prestigious Bogliasco Fellowship for further work in Italy. Dr. Gottschalk's many other awards include the Charles Ives Prize of the American Academy of Arts and Letters, and composer residencies at the famed Columbia-Princeton Electronic Music Center and at the Piccolo Spoleto Festival. Since 1980, he has been the recipient of annual awards from the American Society of Composers, Authors, and Publishers. A student of renowned American composers William Bolcom, Ross Lee Finney, and Leslie Bassett, Professor Gottschalk carries on this important lineage by producing students who compose original and innovative music in various forums throughout the world. Heavy Metal Heavy Metal was commissioned by the Choralis Brass Quintet for premiere on a New Music America Festival. It is dedicated to Larry Livingston, recent dean of the Thornton School of Music at the University of Southern California. The accompanying sounds are from recordings of the brass quintet and analog electronics, realized at Sugar Hill Recording Studios and at Rice University's Electronic Music Laboratories (REMLabs). Shepherd Brass Quintet-Rice University Brass Ensemble Rice University's Brass Ensemble consists of the combined efforts of the entirety of the Shepherd School's trumpet, horn, trombone and tuba studios, with the occasional addition of percussion. The group also performs in conjunction with the Shepherd School's Symphony and Chamber Orchestras, as well as in it's Orchestral Brass Repertoire class. The Rice University Brass Ensemble is under the leadership of trumpet professor Marie Speziale, and is featured in concert twice per year. In the recent past, the ensemble's repertoire has included many works of varying size and style for different combinations of brass instruments, running the gamut from the antiphonal works of Giovanni Gabrieli to living composers such as Michael Daugherty and Arthur Gottschalk. STEPHEN YIP Stephen Yip was born in Hong Kong and now lives in the USA. He received his Doctor of Musical Arts (DMA) from Rice University and a Bachelor of Fine Arts (BFA) from the Hong Kong Academy for Performing Arts. His mentors include Wing-fai Law, Clarence Mak, Arthur Gottschalk and Ellsworth Milburn. He has attended major music festivals including: Aspen Music Festival; Asian Composers' League; ISCM World Music Days; Music X; June in Buffalo; IMPULS Ensemble Akademie; California E.A.R. Unit Composer Seminar; the 13th International Summer Program, Czech Republic; International Composers' Workshop, Luxembourg; and the 45th International Summer Course for New Music, Darmstadt, Germany. His residencies include: Atlantic Center for the Arts, Florida; Kimmel Harding Nelson Center for the Arts, Nebraska; Virginia Center for the Creative Arts; Yaddo Colony, NY; and MacDowell Colony, NH. Yip's works have been performed in the United States, Canada, Costa Rica, Israel, Austria, Croatia, Czech Republic, Luxembourg, Germany, Korea, Japan, Indonesia, Hong Kong, China, and the Philippines. He has received several composition prizes, including the Haifa International Composition Prize; First International EPICMUSIC Composition Prize, Italy; International Biennial composition competition; the Debussy Trio Music Foundation; Molinari Quartet's Third International Composition Competition; the St. Paul Chamber Orchestra Emerging Composers Prize; the ALEA III composition competition; the fourth NACUSA Texas Composition Competition; the International Music Prize for Excellence in Composition 2010, by the National Academy of Music, Thessaloniki, Greece; and the 2010 Alvarez Chamber Orchestra Freestyle Composition Competition, London, England. His works are recorded in the ERM-Media, PARMA, Capstone, North South recording, Ablaze Records, ATMA Classique, and Beauport Classical labels. Yip is a member of the SCI, NACUSA, and ASCAP. Currently, he serves on the music faculty at Houston Community College and is a freelance composer. Yûgen III 'Yûgen is a traditional Japanese aesthetic concept concerning the important interpretation of refined elegance and grace-'invisible beauty'-in Noh. Noh is a major form of classic Japanese musical drama dating from the 14th century. It can be traced back to the Tang Dynasty's Nuo, Wu and other various Chinese folk theatres in about the period of 618-907 in China. The meaning of the Chinese characters in the word of 'Yûgen' are divided into two parts: 'Yu' can mean dim, dark, deep or quiet; and 'Gen' can mean subtle or profound. The combination of these two characters express profundity and evanescence detached from reality and indicates a mystical beauty in nature. Structurally, it was influenced by one of the most subtle elements of Noh, 'Jo-ha-kyu' means 'slow evocation (Jo), conflict (Ha), and resolution of the element with haste and suddenness (Kyu). There are three main sections in this piece. The first section shows different musical elements in different musical gestures and tone colors in a slow tempo and flowing pulse; the second section has several 'breaking parts' from the first section. Those 'breaking parts' are the existing elements for the previous section, with more detailed development; the tempo of the third section is rapid. This section reaches a climax by a fast process of transformation and expansion of the existing musical elements from the previous two sections.' Thelema Trio The Thelema Trio promote and perform new music from the 21st century and use their unique instrumentation as a voice for contemporary composers. They offer a wide range of styles, new performance techniques, and a chance for each performer to really shine. The trio's sound comes from a unique combination of piano, clarinet and saxophone. The Thelema Trio has played at notable festivals and in notable concert halls in Belgium, Italy, Japan, the Netherlands, Peru and the United States.


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Although we may not all be able to deck ourselves out in Gucci, we can all ogle this Palm Springs desert hideaway that is owned by Patricia Gucci, the granddaughter of the Gucci fashion house founder Guccio Gucci. Curbed reports that this 12-acre escape has hit the market with a $9 million price tag.
The property features buried utility lines so that there's unobstructed 360-degree views. The estate itself boasts an 11,000-square-foot main house, guest house, tennis court quarters, a large media room, swimming pool, spa and even a kennel for the pooches.
Curbed points out that the home is noticeably less stylish than one would expect of a mansion owned by a Gucci. Take a peek at the photos below and decide for yourself.
Copyright LXTVN - LXTV


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