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Chris Jibero
Be Sober - Poem by Chris Jibero
Be you sober
And never you gather
Wealth to scatter
Because nobody will bother
About your nagging hunger
Or quell your quaking anger
For they shall saunter
Boldly into your bunker
For certainly a bibber
Shall become a blabber
Never play the Father
Doling soothing succour
Like cold water
From your pitiable pitcher
For you will not find a brother
Who will cater
For your worry
As he will be busy
Bearing your story
At every crooked corner
For his fellows to barter
With nothing to offer
And your knowledge-bearing famine
Will they erroneously determine
And energetically spread
As a perpetual lack of bread
And scorn you with loud laughter
Oblivious that the Father
Knows all about the matter
Never usurp the role of the Father
Because you want to dropp the toga
Of a pauper
For He has an overflowing kitchen
In heaven
while yours is but a pauper's bin
For never in winter
Will you see a sister
Ready to winter
With a loser
For the warmth
She dreamed
About in a slumber
Has come to shelter
In her habitual holder
Watch over your treasure
Not given to much leisure
That propels to pleasure
And never date your banker
For she may be a canker
For surely a glutton
Will wax wanton
Pushing to acquire disaster
For friends will not banter
With a consuming cancer
And in your trouble
Your home will crumble
And your frame will wobble
As in a Royal Rumble
Your legs having buckled
Your hands having fumbled
And you will shamble
Looking humble
So be you sober
When you gather
And do not scatter
Your wealth like a bomber
And never fritter
It like a loafer
For you may wither
Like a grizzled fighter.
(c) Chris Jibero.2009.
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World Cement
|Freedonia Group
|үp•¶ 492 Pages
"[Ҡъ: 'Ұ"ъӮ©Ӯз—ӮүcӢЖ"ъ
|ғZғҒғ"ғgӮМҗўҠEҺsҸкҒF2019"NӮЁӮжӮС2024"NӮМ—\'Ә World Cement
|Ҹo"Е"ъ: 2015"N08ҢҺ27"ъ
|ғyҒ[ғWҸо•с: үp•¶ 492 Pages
җўҠEӮЙӮЁӮҜӮйҗ…Қdҗ«ғZғҒғ"ғgӮМҺщ—vӮНҒA2014"NӮЙҸd—КғxҒ[ғXӮЕ42үӯғҒҒ[ғgғӢғgғ"ӮЖӮИӮиӮЬӮөӮҪҒBҚЎҢгӮұӮМҺщ—vӮНҒA4.6%ӮМ"N—ҰӮЕҗ¬'·ӮөҒA2019"NӮЙӮН52үӯғҒҒ[ғgғӢғgғ"ӮЙ'BӮ·ӮйӮұӮЖӮӘ—\'ӘӮіӮкӮДӮўӮЬӮ·ҒBӮұӮМҗ¬'·ӮМҺеӮИ—vҲцӮЖӮөӮДҒAғAғWғA'ҫ•Ҫ—m'nҲжӮЁӮжӮСғAғtғҠғJҒE'Ҷ"Ң'nҲжӮМ"ӯ"W"rҸгҚ'ӮЙӮЁӮҜӮйҢҡҗЭҠҲ"®ӮӘҒAҲшӮ«'ұӮ«ҚD'ІӮЕӮ ӮйӮұӮЖӮӘӢ"Ӯ°ӮзӮкӮЬӮ·ҒB
"–ғҢғ|Ғ[ғgӮЕӮНҒAҗўҠEӮМғZғҒғ"ғgҺsҸкӮЙӮЁӮҜӮйҺщ—vӮЖӢҹӢӢӮМҺАҗСӮЖҚЎҢгӮМ—\'ӘӮр'nҲж•КҒAҚ'•К (33ғJҚ') ӮЙ'сӢҹӮөӮДӮЁӮиҒAҺsҸкҠВӢ«ҲцҺqӮМҢҹ"ўҒAҺYӢЖҚ\'ўӮМ•ӘҗНҒAҺе—vҠйӢЖӮМҺsҸкғVғFғAӮМ•]үҝӮЖғvғҚғtғ@ғCғӢӮИӮЗӮЖӮЖӮаӮЙӮЁ"НӮҜӮөӮЬӮ·ҒB
ҒҰ ӮұӮМғyҒ[ғWӮЙҢfҚЪӮіӮкӮДӮўӮй"а—eӮНҚЕҗV"ЕӮЖҲЩӮИӮйҸкҚҮӮӘӮ ӮиӮЬӮ·ҒBҸЪҚЧӮНӮЁ–вӮўҚҮӮнӮ№ӮӯӮҫӮіӮўҒB
World demand for cement is projected to grow 4.6 percent per year to 5.2 billion metric tons in 2019. Gains will continue to be stimulated by healthy increases in construction activity in developing countries throughout the Asia/Pacific and Africa/Mideast regions. The massive Chinese market will continue to be the largest driver of growth, accounting for over half of the increase in global cement demand through 2019. North America will also register strong gains as the US construction industry continues to recover from recessionary conditions that began in 2008. In value terms, global demand for cement will advance 7.0 percent per year to $420 billion in 2019.
The Africa/Mideast region will post the fastest gains through 2019, growing 5.6 percent per year. The four largest cement consumers in the region -- Turkey, Saudi Arabia, Iran, and Egypt -- will all outperform the global average. Healthy gains in cement demand are also expected in many developing countries throughout the region as population growth and urbanization contribute to greater activity in all sectors of the construction industry. Developing countries in the Asia/Pacific region will see similarly strong growth, but a weak outlook in wealthy countries such as Japan and South Korea will constrain the pace of gains. Demand growth for cement in Central and South America will be in line with the global average, reflecting solid economic advances. Demand for cement in North America will advance at a healthy clip, primarily due to recovery in the leading US market. While US demand for cement already benefited from a rebound over the 2009- 2014 period, it will leave significant room for recovery to 2004 consumption levels. Demand for cement in both Western Europe and Eastern Europe will also benefit from recovery in countries that have experienced economic turmoil.
At the global level, consumption of cement in the residential building, nonresidential building, and nonbuilding construction markets are all expected to grow at similar rates through 2019, but there will be substantial variation across regions. The nonbuilding construction market will be the fastest growing in the Asia/Pacific region, supported by major infrastructure projects in countries such as China and India. The lack of transportation and energy infrastructure in much of the region leaves significant room for increased investment in development. Conversely, in Western Europe and North America the nonbuilding construction market will lag the others. While economic gains will support increased building construction, both regions already have extensive existing transportation infrastructure and will not require the volume of new highway construction projects that fuel nonbuilding cement demand in developing countries.
Blended cement will continue to be the most popular product at the global level, accounting for 75 percent of total demand in 2019. This product is projected to improve its market share, benefiting from its superior environmental profile. In addition to the general benefits of lower energy costs, use of blended cement will aid producers by allowing them to better meet increasingly stringent emissions standards. The market share of Portland cement will decline somewhat, but will remain a major portion of total demand. Limited availability of necessary materials will constrain the shift to blended cement in many nations. Other cements, including specialty and environmentally friendly types, will gain in popularity but remain niche products.
This Freedonia industry study, World Cement, presents historical data (2004, 2009, 2014) plus forecasts (2019, 2024) for supply and demand for six world regions and 33 countries. The study also considers key market environment factors, analyzes the industry structure, evaluates company market share and profiles global industry participants.

subset: commoncrawl


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Although the merger proposals would on the surface give Princess shareholders 50.3% of the company, the big four Royal backers would end up with 26.2% of the shares, which they have pledged to use as a block vote in future ballots. That would give them the power to overturn proposals requiring the standard 75% shareholder approval. The biggest former Princess shareholder would be Henderson Global Investors, with only 2.49%.
One fund manager who contacted the London Evening Standard's Business Day section said: 'It seems like yet another clause put in the deal to satisfy Royal Caribbean.' Of the Royal shareholders, Cruise Associates, controlled by Hyatt Hotels boss Thomas Pritzker and Israeli Eyal Ofer, will own 12.37% of the combined company, Norwegian Arne Wilhelmsen's A Wilhelmsen group will take 11.88% and Greek magnate John Chandris's Archinav Holdings will own 1.95%.
The Princess board on Monday rejected a conditional 500p-a-share takeover offer from Carnival.
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By Jesse Newman
CHICAGO--Grain and soybean futures slid Monday amid a surging U.S. dollar and widespread selling in agricultural markets.
Wheat prices fell to a two-month low, dropping below the psychologically-significant $4 a bushel mark due to strength in the dollar, which can dampen export demand for U.S. crops like wheat by making them more expensive for overseas importers.
The rising dollar, which climbed 1% in midday trade, comes as the world is awash in wheat and U.S. stockpiles are projected to swell to a nearly 30-year high next year. That worries traders who see domestic grain supplies becoming less competitive on the world market as rival producers offer cheaper wheat win export business.
"If the dollar continues to move upward against the euro and emerging currencies, the wheat is going to suffer," said Charlie Sernatinger, head of grain trading for head of grains trading at ED&F Man Capital Markets.
Wheat futures for December dropped 9 cents, or 2.2%, to $3.94 a bushel at the Chicago Board of Trade, the lowest closing price since Sept. 14.
Lower wheat futures pressured the corn market, with concerns growing that inexpensive wheat prices would edge out corn in animal feed rations. Corn prices fell to a one-month low, under further pressure from the U.S. harvest, which is drawing to a close. U.S. farmers are nearly done collecting what is forecast to be the biggest-ever crop, adding to already ample U.S. and global supplies of the grain.
CBOT December corn futures slid 3 cents, or 0.9%, to $3.37 1/4 a bushel, the lowest settlement price since Oct. 12.
Soybean prices also dropped to a one-month low, pressuredin part by lower prices for soybean oil, a vegetable oil made from the crop. Grain traders are on the lookout for signs of crop problems in South America, which could boost prices for the oilseeds, though improving conditions in some regions are allowing growers there to get crops planted, analysts said.
CBOT soybeans declined 7 1/2 cents, or 0.8%, to $9.71 a bushel, the lowest closing price since Oct. 14.
Write to Jesse Newman at firstname.lastname@example.com
(END) Dow Jones Newswires
November 14, 2016 15:50 ET (20:50 GMT)
Copyright (c) 2016 Dow Jones & Company, Inc.


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Chiming with a downbeat statement earlier in the week from Sears, Argos's 4 per cent growth in like-for-like turnover paled in comparison with the 32 per cent rise in new year sales announced yesterday by John Lewis.
A clutch of trading statements from retailers and retail-related stocks such as Hi-Tec Sports and Courtaulds Textiles followed this week's weaker- than-expected retail trades survey.
The Confederation of British Industry, in its December Distributive Trades survey, said that although sales volumes were well up on a year earlier, they fell below retailers' expectations for the period.
The emerging picture has been one of winners and losers, with big-ticket consumer durable items selling better than fashion, footwear, toys and gifts. "Christmas was patchy. Not every retailer enjoyed the benefit of increased sales," said Clive Vaughan at retail analysts Verdict. "People had expected a boom and they've not got a boom."
According to Argos, sales in the 35 days up to and including Christmas Eve were up 4 per cent but the company warned that 1996 profits were unlikely to exceed the lower end of market expectations. Analysts had pencilled in profits of between pounds 140m and pounds 152m for the year to December. Argos's shares tumbled 109.5p to 623.5p.
Other retailers followed suit yesterday as the market fretted that the nascent consumer boom was benefiting some retailers considerably less than others. Marks & Spencer slipped 17p to 465.5p despite a statement from Courtaulds Textiles which said it had experienced strong demand from M&S, one of its biggest customers.
Next slipped 22.5p to 529p, House of Fraser was 5.5p off at 141p and WH Smith closed 16.5p to 443.5p.
Nick Bubb, retail analyst at Mees Pierson Securities, said he had expected like-for-like sales growth for Argos over the Christmas period of at least 7 or 8 per cent. He said Argos's Christmas figures made Dixons' trading figures out earlier this week look more impressive. Dixons said in the eight weeks to 4 January sales grew 8 per cent like-for-like from a year earlier. Despite that, its shares fell 27p to 511p last Wednesday on the day of the announcement and yesterday closed a further 13.5p lower at 494p.
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- John Lewis
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.22 Ammo Prices Dropping
By Dean Weingarten
Arizona -(Ammoland.com)- I have been tracking .22 rimfire ammunition and availability for some time. The .22 Long Rifle bubble has lasted for years.
With the election of President Trump, I expected the bubble to bust. Instead, it has been deflating, like a balloon with a pinhole leak.
The demand for .22 ammunition has been so great that a 20 percent increase in supply, and a Second Amendment friendly administration did not bust the bubble. Instead, they stopped the growth, poked a hole in the bubble, and started a downward spiral of prices.
At Cal Ranch Supply, I expected there to be some .22 ammunition at high prices. The prices were above historical averages, but they had dropped considerably.
There was plenty of ammunition available in several brands. The man behind the counter and I had a discussion about the situation. He showed an excellent practical understanding of basic economics.
Supply of .22 was no longer a problem, he said. The store did not have any limits on purchase. Walmart has dropped their 3 box limit nationally, as well.
Federal Champion 710 bulk ammunition in the popular 525 pack was on the shelf. He said the store had no problem obtaining it and keeping it on the shelf. The price was $25.95. That is less than 4.8 cents per round. I have found it to be excellent ammunition. Right next to it were bricks of Remington Thunderbolt. As I watched the price changed from $32.95 to $29.95, a 10 percent drop in front of my eyes.
CCI High velocity .22 with copper washed bullets was a little under 7.5 cents a round, in 50 round boxes.
The large brown boxes on the floor in the center of the picture are 8 cases of Winchester 17WinMag and at least 3 cases of CCI 22WinMag. I expect those prices to drop. The CCI 22WinMag cases have been there for months. The CCI 22WinMag ammo is priced at 30 cents a round. You can buy .223 brass cased centerfire online, with free shipping, for only a penny more per round.
A local gun store, Sprague's, is only a couple blocks from Cal Ranch Supply in Yuma. They had plenty of .22 in stock, with no limits. The prices had not fallen as much as at Cal Ranch Supply, yet. Their lowest priced .22 Long Rifle was 6 cents per round.
Neither store had Aguila .22 LR on the shelves. Aguila purchased new manufacturing equipment using the Eley priming method. They doubled their manufacturing capacity during the bubble. There are plenty of stores that carry Aguila ammo.
They have lowered their prices to grab market share. On line, it has dropped to 4 cents a round for standard velocity. It is gaining attention.
Very few stores have limits on purchase of .22 ammunition any longer.
In November of 2016, I predicted that .22 Long Rifle bulk ammunition prices would drop to 4 cents a round by October of this year. I stand by that prediction.
What has been happening with .22 ammunition in your area? Reports around the country vary considerably. Some say prices have dropped to 5 cents and you can purchase as much as you want. Other areas are reporting shortages and 10 cent per round prices. Supplies in Wal-Mart remain spotty, but the 3 box limit is gone.
We would like to hear what your experience has been.
©2017 by Dean Weingarten: Permission to share is granted when this notice and link are included.
About Dean Weingarten:
Dean Weingarten has been a peace officer, a military officer, was on the University of Wisconsin Pistol Team for four years, and was first certified to teach firearms safety in 1973. He taught the Arizona concealed carry course for fifteen years until the goal of constitutional carry was attained. He has degrees in meteorology and mining engineering, and recently retired from the Department of Defense after a 30 year career in Army Research, Development, Testing, and Evaluation.
This post Why Has .22 Ammunition Prices Rapidly Dropped? appeared first on AmmoLand.com Shooting Sports News .
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Housekeeper in Elk Grove Village
We are a family operated residential cleaning business that has been servicing some of your neighbors for nine years. Description Allow us to introduce ourselves. We are a family operated residential cleaning business that has been servicing some of your neighbors for nine years. Being mature responsible women, we take great pride in our work, and strive for excellence. Communication, accompanied by mutual respect has been our key to success. To date, our business has expanded solely by our customer referrals. We would like to welcome you into our family of satisfied customers, and provide a free in-home estimate accommodating your needs and budget, bound by NO contract. Weekly, bi-weekly, monthly, one time cleaning and move in/Move Out Cleaning appointments are available. Please inquire about our services we have been privileged to provide for our senior clientele available to all customers. -Cleaning -Cooking -Pet sitting/Dog Walker -Errand Running -House Sitting -Laundry -Organize Closets, Cabinets, ect... We look forward to meeting you and your home, or someone in your social circle who might benefit from our services. Please call Stephanie Buzek 224-231-...
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LG is providing an experimental area at CES where users can check out LG's latest UX improvements including the multitasking users' best friend, QSlide. Other improvements like Live Zooming and Dual Screen Dual Play can also be seen at the zone. The Korean based manufacturer will also make the international debut of its Vu: Talk feature at CES.
source: LG via AndroidCentral +- Press Release
Panorama Note feature was developed from the analog philosophy of scribbling freely on a large canvas and allows users to write, draw or jot notes while navigating the wide 3:1 ratio image. Panorama Note features 5.8 times zooming capability, easy navigation of the screen both vertically and horizontally via cursors and a Mini Map that shows the location of the viewed image in the original image.
"Panorama Note is just one of many user experience features that LG will be introducing this year to differentiate our mobile devices," said Dr. Jong-seok Park, president and CEO of LG Electronics Mobile Communications Company. "Our UX features will be deeply integrated with our devices to take advantage of the smartphones' specific hardware. The battle of smartphone specs will continue but we're going to take the competition to the next level."
At CES LG will provide an experimental zone where visitors can personally experience LG's innovative UX such as QSlide, Live Zooming and Dual Screen Dual Play on LG handsets. The new Vu: Talk feature will also make its international debut at CES on Optimus Vu: II. The Panorama Note will be available on specific target devices in 2013.


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How much will your school get thanks to the Welsh Lib Dems?
Even though we're not part of the Welsh Government, we've managed to secure our flagship Pupil Deprivation Grant to support pupils from deprived backgrounds with reading and numeracy skills.
Lib Dems want "immediate" start on Tidal Lagoon
In Wales today with Swansea West candidate Michael O'Carroll, Liberal Democrat leader Tim Farron announced that the Lib Dems would give the immediate go-ahead to the Swansea Bay Tidal Lagoon project and start plans for a programme of tidal lagoons, including at Cardiff, Colwyn Bay, and Newport, c...Read More
Postgraduate student selected to fight Swansea East for the Liberal Democrats
The Welsh Liberal Democrats have selected postgraduate student Charley Hasted to fight the Swansea East constituency on 8th June.Read More
Local businessman and army reservist selected to fight Swansea West for the Liberal Democrats
The Welsh Liberal Democrats have selected Michael O'Carroll, to fight the Swansea West constituency on 8th JuneRead More
Teacher selected to fight Gower for the Liberal Democrats
The Welsh Liberal Democrats have selected Howard Evans, a local teacher to fight the Gower constituency on 8th June. Howard has fought the constituency before, for the Assembly in 1999.Read More
Voting reform an 'integral part of delivering better public services and a fairer Wales
The Welsh Government have published proposals for Local Government reform, which includes taking steps towards voting reform through the Single Transferable Vote.Read More
Welsh Lib Dems welcome report backing of Swansea Bay Tidal Lagoon
The Welsh Liberal Democrats have welcomed today's backing of the Swansea Bay Tidal Lagoon in Charles Hendry's report.Read More
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Information published this week shows an increase of 14% in fly tipping incidents across Wales in 2015-16 costing local authorities £2.1million, up from £1.8million in 2014-15.Read More
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The Welsh Government will today announce an additional investment of £30 million for 2016/17 to deliver 20,000 affordable new homes. This will bring the total of the Social Housing Grant (SHG) Programme budget to almost £100 million.Read More
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About Peter
Peter was the Welsh Liberal Democrat Assembly Member for South Wales West between 1999 and 2016. He is a leading Swansea Councillor, having represented the Cwmbwrla Ward since 1984. He was a member of the Welsh Assembly's Finance Committee and the Communities, Equality and Local Government Committee and a former member of the Assembly Commission, where he had responsibility for ICT, sustainability and the Assembly estate. Read more


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Back when "social networking" meant drinks in a pub and YouTube was barely a flicker in the minds of its creators, a website offering something new caused ripples that would reach far beyond Silicon Valley.
Friendster, launched in 2002, promised to connect groups of people in a way email could never hope to do. As legend has it, it was conceived by its computer engineer co-founder, Jonathan Abrams, as a way to meet women after a failed romance.
But this week, after nearly a decade in which young upstarts such as Myspace and Facebook have grown to become online behemoths, Friendster told its remaining and loyal users their data would be deleted as the site prepared to justify its continued existence by relaunching in a new guise.
Admitting defeat in the face of fearsome competition marked the end of the line for one of the internet's true pioneers. Friendster's early success saw it become one of the most talked about, and written about, internet start-ups, propelling Abrams into a minor celebrity.
Indeed it was seen as such a hot property that, in 2003, Google offered to buy the company for $30m. Abrams, taking advice from a number of leading investors and venture capitalists, turned down the offer. Three years later The New York Times suggested that in saying no to Google Abrams had missed out on the chance to own Google stock and a new status as a billionaire.
As the site grew so did the technical problems affecting it, with users complaining it had become sluggish.
In the meantime Myspace, which was launched in 2003, offered more technical features and was also far more open, allowing visitors to view the profiles of other users. Friendster quickly started to look tired and, as it failed to meet expectations, in 2004, Abrams was ditched as the company's chief executive.
Before it had a chance to regain momentum up popped Facebook, which had built up an air of exclusivity by initially limiting its users to university students before unleashing its easy-to-use interface on the world, quickly leapfrogging Myspace.
Azeem Azhar was Friendster member number 1,938 when he signed up in 2002. Today he is Chief Executive of Peer Index, a technology company analysing social media.
"First isn't always best," he said. "Friendster got some very early success but before they got a chance to cement themselves, other competition came in. By the time Friendster should have become essential Facebook had already won the race."
Paul Miller, head of digital at Cision, agrees that while the business showed early promise, it was ultimately the advent of Facebook that sounded the death knell for the site.
"I don't think that you can divorce Facebook's rise from the demise of Friendster," he said.
Miller said: "Facebook tapped into the fact that people like to look at pictures of their social circle and for its users made a projection of a full, rounded social life."
Despite losing the popularity contest in the west, Friendster maintained a following (more than 100 million users to Facebook's 600 million) particularly in places such as south-east Asia. In 2009 the company was bought by Malaysian internet firm MOL Global for a reported $40m (£25m). But even that couldn't breathe new life into a fallen giant.
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New Delhi, Jul 3 (UNI) At a time when Bollywood actresses are falling over each other to acquire what her curvaceous sister has already flaunted on the silver screen and what they call size-zero figure, Karishma Kapoor says there is no such thing called ''size zero or super skinny figure'' and all the hue and cry over the issue was ''meaningless and uncalled for''.
Talking to UNI here this afternoon, Karishma, who was in town in connection with a private event, said, ''Kareena slimmed down to 48 kg for Yash Chopra's 'Tashan', but I think there was nothing extraordinary about it. The movie demanded such kinds of looks and she worked hard to acquire that. I don't know why there was so much ho-hum over her figure in the flick.'' ''We both love gorging on food, but somewhere we have to draw the line and keep a check on what we are eating because the demands of our profession are different from those of others,'' she added.
''Kareena is doing very well for herself. I am very happy for her and about the fact that others are emulating what she has already done. It's a very good feeling seeing your little sister growing into a hardcore professional as well as a very versatile actress,'' the actor gushed.
Asked when the two sisters, Lolo and Bebo, would be seen together on the big screen, Karishma said, ''Though we are getting some very good scripts and offers featuring both of us, we have yet to decide on them and as and when something is finalised the whole world would get to know about it. There will be lot at stake and even we would like to do justice to our jobs.'' Karishma, who has long been in hibernation since entering wedlock, said, ''It is not that I have severed my links with Bollywood. Yeah, I do admit that it's been long since I was last seen on the silver screen, but I will certainly stage a comeback whenever I come across some meaningful role.'' Karishma, however, sounded evasive when a query was hurled at her regarding the ''impending'' marriage of Kareena with actor Saif Ali Khan, saying,'' I don't think I should comment on that as it is a private matter between two individuals. So, I think that matter should not be touched upon.'' How does she react to entertainment entering the sports arena? the actress, who stepped into tinselville with a forgettable 'Prem Qaidi', said,'' It is good that entertainment has entered sports, like in IPL and these are the two things which have interested the people of the country like anything. So, the two joining hands will definitely usher in a very good era, which will be fruitful for both.'' UNI RL SKB BD1703


text:
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Man seth1666 your the best this was awsome i like 10/10 you realy wanted and i gived to you man bay !!!
Hello, I am looking forward to the remake of The Attic very much, and have a small suggestion: try to give the later levels stronger monsters, because it was a bit anti-climactic to be about to attack your father and there's only one Grunt walking around. It would have been more interesting if the Grunt, Suitor, and Brute were all in the same level (Or the manpigs, for the remake). Anyway, I really enjoyed the Attic. Thanks!
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Separate names with a comma.
Discussion in 'Software Updates' started by kemical, Mar 17, 2010.
Re: IE 9 Update Hallucinogentic Mode, NICE!!!!!!!!!!!!
Re: IE 9 Update I regret to inform you all the Kemical is currently suffering the hardware blues - he can't run any of the tests in the preview worth ****
Re: IE 9 Update Thanks for that Mitchell, I'll make sure I give you a good kick when your down too.. Seriously though, I'm now trying to find out what the actual problem is..
Re: IE 9 Update Sorted.. I got rid of a trojan the other day and it seems to have done more damage than I originally thought. A simple re-install cured it.
Re: IE 9 Update LOL - glad to hear Ross. (y)
Re: IE 9 Update Internet Explorer 9 (IE9) Beta will launch tomorrow, September 15th, 2010, with downloads scheduled to go live as early as 10:30 AM Pacific time, and there's absolutely every reason to get very very excited. I've received some very juicy details on the first Beta development milestone of IE9, but even though my fingers are absolutely burning, I won't ruin Microsoft's event tomorrow. I will say that the Redmond company has shared the IE9 Beta with a select number of testers for a few weeks now, but just a very small group actually got to see the bits, which is evident from the fact that there was no leak of the release this time around, despite some promises to the contrary. I will also tell you that the software giant has cooked some amazing User Interface (UI) details that are bound to be the delight of end users. But the fact of the matter is that IE9 Beta is now just hours away, and as such users will need to exercise their patience just a tad longer. At the same time, there are a plethora of features to get excited about, details that have already been unveiled to the public via the four Platform Preview releases of IE9. I'm in San Francisco and I've just attended a small event designed as the Welcome Reception for the IE9 Big Bang from tomorrow. (pictures at the bottom of this article) At the SOMArts Cultural Center, the Redmond company unveiled a mind-blowing new application set up to take advantage of all the technology built into Internet Explorer 9, but especially HTM5 support. Endless Mural (www.endlessmural.com) is a project that offers users an interactive and collaborative website in HTML5. Designed and developed by Joshua Davis Studios and Automata Studios, Endless Mural is the result of the collaboration between a few very talented people including, Joshua Davis, Ben Arditti and Mark Oliver Drilon, Branden Hall, Joel Stransky and Eric Fickes. Made possible with the support of Microsoft and Internet Explorer 9, the project is a fully-fledged HTML5 application that is live today, and available to the public. It took approximately five weeks to put together. In addition to bringing Internet Explorer 9 HTM5 support into the spotlight, Endless Mural is an excellent example of the applications that devs can now build, not just for IE9, but for the web. Microsoft did not want Endless Mural to be in any way limited to IE9. As users will be able to see for themselves, the app works seamlessly across all modern browsers that support HTML5. I've talked with a few members of the team, including Joshua and I must tell you that they did not hide in the least the enthusiasm over the kind of user experiences possible in the context of writing code once, and having it run seamlessly across all browsers. They underlined that it's not really a matter over browser plug-ins (Flash, Silverlight) vs. HTML5, but rather about the experiences that will be available right in the browser. Sites built with HTML5 are not limited to the desktop, but span across a wide range of devices, as long as the browsers they include support the technology. The team behind the project even demonstrated Endless Mural to me on such a mobile device, and the results are equally impressive, especially considering the slow speed of 3G. While there is still much to be done until HTML5 will be a finalized standard, Microsoft has made an important contribution to accelerating its adoption with the support offered in Internet Explorer 9. Endless Mural for examples required extremely little tailoring to specific browsers, showing that same markup can indeed become a reality, as soon as browser vendors, standards groups and developers will come to a consensus in relation to the technologies which need to be supported, and a consistent implementation across all browsers. After I spoke with the people behind Endless Mural, I also had a chat with Jason Weber, Lead Program Manager for IE Performance. I mentioned to him that Endless Mural appeared hardware accelerated, but that the developers which put together the project did not mention doing any work in this sense. This is precisely one of the advantages of Internet Explorer 9, Weber revealed. Whether devs create HTML4 or HTML5 projects they will automatically benefit from hardware acceleration in IE9. Microsoft's next generation of IE is the first fully hardware accelerated browser, which means that even existing HTML websites will benefit from the extra horsepower offered by the GPU. Remember, Microsoft launches IE9 Beta tomorrow, an event which you don't want to miss, especially since the company has some surprises in store. Ref: IE9 Beta Up Next - Get Very Excited - Softpedia According to the above, the beta will be released in roughly 9hrs time. Check back for the download links as soon as they are available they'll be posted..
Re: IE 9 Update As promised here is the download: Internet Explorer 9 Beta
Re: IE 9 Update Wow this thing is fast... First look seems favourable...
Re: IE 9 Update Agreed - I love the new UI and continued speed. Also the cross-compatibility with (almost?) all Internet Explorer 8 addons. Will post more as I get into it - just downloaded and restarted (required) a few moments ago. Seems to replace IE 8, as expected.
Re: IE 9 Update Decided I would give it a look see. Overall the interface seems a bit Chrome like. One strange thing that I noticed is that the back button does not always go back with a refresh. Especially on this site, haven't spent much time investigating other sites. But after clicking the back button I seem to often have to F5 it or click the refresh button in order to see the page updated. Have you guys noticed anything similar?
Re: IE 9 Update Only thing on my end is the address bar gets glitched with whatever address was in the last tab.. Though I think that must be caused by some AVG addon that apparently takes over 1.0 second to initialize for each new session/tab. I'm liking the ability to add links to the start menu/taskbar and have the browser open instantly to that specific page.
Re: IE 9 Update Mitchell: 64 bit or 32 bit? Interestingly enough the 64bit download updated both 32 and 64 bit versions of IE8 to IE9 on my machine. The 32 bit version seems to act a little better, or at least more predictably. But the 64 bit version has a few kinks, one as I mentioned before with the back button not doing a full refresh when it goes back and the other is I am noticing some residual menu artifacts from the browser remaining on my screen even after the browser is closed.
Re: IE 9 Update Hmm.. I've been using the 32bit version. No cookies enabled yet? Does seem a little clunky in places but it is a beta after all.. Much improved over IE8 but does it beat my beloved Chrome 7??? Maybe.. Time will tell.
Re: IE 9 Update Yep, they don't call it beta for nothing. I prepared accordingly with a restore point and complete system image with Acronis. I wonder if they will follow with a couple release candidates before a regular release RTM/Windows Update. Anyhow, I'm going to play with it for a while longer but if I can't make it behave itself then, I think I'll just revert back and wait for the next iteration.
Re: IE 9 Update I have downloaded and installed the 64X version of , Internet Explorer 9 Beta . Must say in the short time I have used it I am impressed . Will continue to use it and try to overcome any problems that may ensue .
Re: IE 9 Update Found this article though it might be helpful to someone Internet Explorer 9 - Turn Menu Bar Always On - Windows 7 Forums - Captain
Re: IE 9 Update OK, has anyone logged off this site and attempted to log back on. If so are you able to see the "Remember Me" check box in IE9, either 32 or 64 bit. Just wondering because now I have to log back on everytime I close my IE9 browser.
Re: IE 9 Update I can see the radio box, though not the text "Remember Me"
Re: IE 9 Update Thanks Mitchell I guess I'll play some more, experiment with different screen resolutions, etc. It's probably just me and my machine, I think the rodent on the excercise wheel inside is getting lazy.
Re: IE 9 Update Same here.. Couldn't find the 'Remember me' box until I clicked on a post whilst still logged out it was then it became apparent. Once ticked and logged in, site remembers me as per normal..


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In November I was lucky enough to spend a week at the wonderful Isandlwana Lodge in the company of a small group of enthusiasts who were keen to explore the battlefield in greater detail than most tours – or even independent travels – allow.
I'm delighted to announce that Frontline Publishing have just released two new paperback editions from my back-catalogue.
On the evening of 9 December 1896, at the end of the operations to quell the recent revolt of the amaNdebele and Shona peoples in the British South Africa Company colony of 'Rhodesia', General Sir Fred Carrington and his staff entertained a guest to dinner in their improvised mess outside the settler village of Umtali.


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UK Stocks-Factors to watch on March 6
LONDON, March 6 (Reuters) - Britain's FTSE 100 index is seen opening 9 to 11 points higher, or up as much as 0.2 percent, on Thursday, according to financial bookmakers.
* Futures for the benchmark index are up 0.2 percent at 0730 GMT.
* The UK blue chip index closed down 48.35 points, or 0.7 percent, at 6,775.42 points in the previous session.
* The Bank of England's policy decisions will be announced at 1200 GMT. Analysts expect no change in interest rates or in its quantitative easing programme.
* AVIVA - British insurer Aviva has unveiled a 6 percent increase in operating profit for 2013, one year into a financial spring clean of the company's businesses.
* BHP BILLITON - South African state power utility Eskom declared a new power emergency on Thursday. BHP Billiton is Eskom's single biggest customer.
* IMI - British engineer IMI said adjusted pretax profit for the full year rose 8 percent boosted by a surge in orders in its severe service division, which caters mainly to the energy market.
* AGGREKO - The world's biggest temporary power provider said it would return 200 million pounds ($334 million) of cash to shareholders, as it posted an expected 8 percent fall in full year results. Continuación...


text:
The group, which is due to make an announcement on the pricing of the service this week, is expected to unveil substantial reductions in its charges to Internet service providers.
BT hopes that by lowering the cost to providers, such as Freeserve and AOL, they will in turn reduce the cost to consumers which will boost demand.
New chief executive Ben Verwaayen, who joined the group at the beginning of this month, has made it clear that he wants broadband services to be at the centre of BT's strategy going forward.
A BT spokesman said: 'Broadband is one of our major priorities going forward, and our new chief executive has made that very clear. He will be announcing significant price cuts later on this week, and we hope that will kick-start the take-up of broadband.'
The group would not reveal what the price reductions would be, but it is expected to substantially slash the £30 a month it currently charges Internet service providers.
In turn this would significantly reduce the cost for consumers, who currently pay around £40 a month to providers to use the service.
BT is also looking to reduce the £150 charge for installing broadband lines through the introduction of 'plug-and-play', which simplifies installation and reduces the cost to £50.
- More about:
- Broadband Technology
- Internet


text:
Regularly taking breaks from eating—for hours or days—can trigger changes both expected, such as in metabolic dynamics and inflammation, and surprising, as in immune system function and cancer progression.
The End of Science Sexism?
November 5, 2014|
A study suggests that, at least in US academia, men and women now receive roughly equivalent treatment in the workplace. The scientific community disagrees.


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Question on battery replacement
Hey guys,
Wife's 2008 328i has been having a problem for a few days where the clock gets reset (and displays "--:--" instead of the time) when the car has been turned off for some time. Doesn't happen all the time and sometimes the clock falls behind instead of getting reset.
Took it to my mechanic (not dealer) and he said it's because the battery is dying. That makes sense and I had guessed as much (even though there are no problems starting and the memory settings for seats, radio etc. are fine). But the odd thing is he said I need to take the car to the dealer to replace the battery. Apparently there's some calibration that needs to be done or something of the sort that can only be done at the dealer. He said a generic battery installed by someone other than the dealer will be fine for a short time but I'll start to see electronics issues like this pop up again after that.
Anyone else run into this? What's so special about BMW batteries and electronics systems that can't deal with the battery being replaced by someone other than the dealer?
It's important that the correct battery be fitted AND registered, so that it plays nice with the IBS (Intelligent Battery Sensor). While some independants can handle this, you are probably be safer having it done by a dealer.
Same thing happened to me and my 09 coupe last week. not only was the clock randomly get reset or goes 5 minutes or so slow per day, the things you will also observe happening include no more welcome lights, and no residual heat functionality after you turn off the car. Took it to the dealership and the battery was replaced under warranty.
The indy have good reason to get you to go to the dealers for this one. as the car will treat (use and charge) the battery based on it's condition and deterioration. So right now your car is using and charging the almost dead battery as an almost dead battery. if you just stick in a new battery, even if it's a BMW OEM battery, without having the dealership register it, the car will continue to think and treat the new battery as an "almost dead" battery. basically it's going to kill that new battery you put in pretty quickly. Registering it will let the car know to use and treat the battery as a new one.
the information posted could be correct, as I have had my 07-335 for only a few months, but seems odd to me that as smart as this car is that it cannot tell when the battery is fully charged? Most all new cars the Alternator has a regulator inside and sends a charge to the battery when it needs it and quits sending a charge when its fully charged.
If I had to replace my battery, I was going to hook a spare battery to the terminal under the hood to the plus and the negative to a ground and then replace the batter so I wouldnt loose all the presets in my car
tell me thats wrong?
All about that Here and many other threads.
Thanks everyone. Sounds like I'll just take it to the dealer and get the battery replaced.
As an engineer, this seems like bad system design to me. I don't see why the battery management system can't detect a sudden change in battery characteristics (as would be evident in a battery swap) and put itself into a learning mode that figures out what would be optimal for the new battery (instead of retaining what it "knew" about the old battery). Oh well... it is what it is I guess.
actually it is one of several "brilliant"' design features BMW have that are used to give the dealers more money. Buy and install it yourself and get the system update done at an independant shop, save a few hundred $$. Or better yet get the cable and do it youself, not rocket science, do a search in DIY section on the site for how to it info.
Interesting! How would the ECU know how to charge a battery of unknown construction and capacity?
My contractions are
IBS = Idiot battery system or Infernal Battery System.
It wakes up ever so often and checks itself thereby using more power
and shortening the life of the battery . Also if its so intelligent why isn't there
a simple way of changing the battery and telling it without having to hook
a computer up to it.
German MBAs have infected a great car company with the "razor blade" revenue model.
Like $500 NAV updates to the hard drive, ..... only BMW dealer can align your car, .... must buy ridiculous runflat replacement tires from dealer, ..... oh wait ..... software updates :mad:
Look the Intelligent Battery System takes a lot of variables into account for calculating how to charge the battery. It is not full proof and do you really think an AH difference if it is minor really matters? I think not given individual batteries have variance as well.
Also the registering the battery to let the IBS know you have replaced it is easily done with a labtop and a K+DCAN cable you can acquire on eBay or Amazon for not much cost.
The site above will take you to a member of another forum that has a download allowing you to register your battery for free. I have downloaded this software and tested it out on my 335 and it works just fine registering it.
I am not affilated with that members work at all but there are things you can do yourself.
Coding is also required if you are way off the AH rating of the battery you buy. However if you are close, good enough really.
There are You Tube videos out there that show you how to disconnect the IBS cable so you can remove the assembly without blowing a fuse.
Yes you can screw this up but if you are careful you should have no issues replacing the battery.
BMW uses two batteries vendors (Excide manufactured by Bosch by the way and Douglas). Find an Excide-Bosch/ Douglas battery that fits the AH and dimensions your BMW needs (stamped on the battery) and you should be good to go.
I do admit this is an unnecessary complxity because no one knows except BMW how much this improves battery life.
Locking your car is about the best way to help your battery since the ECU will turn on every 4 hours and ping your system, locked it doesn't turn on...
after market
dealer is a rip off
Still, if a system wants to be intelligent about batteries of "unknown" construction and capacity, a feedback mechanism that monitors how the battery responds to whatever the system does, without requiring manual intervention, would be the right thing to do.
* They aren't really unknown construction and capacity, right -- as long as the manufacturer specifies what kind of battery to use, that narrows down the parameters greatly.
This is what the IBS does from the training publications the techs receive. I am looking for the detailed write up and will post that when I can find it but it is a lot more complicated than it need be.
Intelligent Battery Sensor - The IBS is a mechatronic intelligent battery sensor with its
own microcontroller. The IBS is connected to the negative battery terminal and is used to
measure battery terminal voltage, discharge/charge current and battery (electrolyte) temperature.
The information collected by the IBS is used to determine battery SoC and
SoH. This information is sent to the DME via the Bit Serial Data interface (BSD).
The IBS contains a micro processor that is used to monitor/measure various battery conditions
such as:
Terminal voltage via measurement from B+ to Gnd
Charge/discharge current via integrated shunt resistor
Temperature of battery acid via integrated temp sensor
Index Explanation
1 Battery Ground Lead
2 B+ Connection for IBS
3 Bit Serial Data Interface (BSD)
4 Intelligent Battery Sensor (IBS)
Index Explanation
3 Battery Voltage Measurement
4 Battery Temp Measurement
5 Current Measurement
6 Microprocessor
IBS Measuring /Evaluation Function
The measuring/evaluation function of the IBS electronics, continuously measures the following
values under all vehicle operating conditions:
When the vehicle is stationary, the IBS is programmed to wake up every 14 sec. and
makes the required measurements within approx. 50 ms in order to save power.
The measured values from the IBS are provided to the DME by way of the Binary Serial
Data Interface (BSD) to calculate the State of Charge and State of Health for the battery.
State of Charge (SoC) is a calculated condition showing the current charge of the
battery. SoC is used during key "OFF" periods to insure the battery maintains a sufficient
charge to start the engine at least one more time.
State of Health (SoH) tracks the history of the battery in the vehicle. Charge/discharge
cycles and times are monitored. SoH helps the DME determine the proper
charging rates and anticipated battery life. Internal resistance of the battery is calculated
by the IBS from the current and voltage dip during engine start. The values are
forwarded to the DME to calculate the SoH of the battery.
Software contained in the microprocessor of the IBS utilizes the measured values to calculate
the State of Charge (SoC) of the battery during vehicle sleep mode and compares
this information with that received from the DME/ECM pertaining to the battery SoC/SoH,
during the period of time between engine "OFF" and deactivation of the DME main relay.
The current SoC/battery data is stored in the IBS every 2 hours over a 6 hour time frame,
providing 3 - 2 hour snapshots of battery SoC information. The stored information/snapshot
data is overwritten every 6 hours. Whenever KL15 is activated the IBS updates the
DME with the current closed circuit histogram/battery status information, byway of the
BSD. Upon obtaining updated information the DME evaluates the new data and if a
closed-circuit current draw is identified a fault will be stored in the fault memory of the
Voltage (6 V to 16.5 V) Starting Current (0 A to 1000 A)
Current (200 A to +200 A) Temperature (-40°C to 105°C)
Closed Circuit Current (0 A to 10
Here is the reference that might help on other E90 systems
So, how's that done on an in-service battery? Or not done, of course - BMW supplies specs; we're expected t'adhere. Know how to check when battery's not in service, but how to have the CPU check when battery's installed & buttoned up.....
Pray they be in parallel.
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News, Events & Stories Tagged photography
Understorey: Simon Nevill Framing Nature
This week the environment meets publishing in the form of Simon Nevill, remarkable author, photographer, ornithologist, […]more
Creative Spaces & Not So Far Off Places.
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Iceland Age
A Perth photographer's new exhibition depicts a stunning environment of mountains, glaciers, icy rivers and verdant […]more
Asylum and Country
Seeking Asylum in Country is the title of a photographic exhibition coming to Fremantle next week. […]more
Modern Day Tribe
Edith Cowan University's latest exhibition seeks to provide a new look into Perth's rave culture experience. […]more
The Art Of Saving A Life
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The Storylines Project
The State Library Battye has a new Aboriginal heritage project – an online interactive archive. With […]more
A Little History
Photographer and author Bleddyn Butcher was born in England and scathed in Western Australia. He worked […]more
Spirit of the Maasia
After spending most of 2014 working interstate and overseas, Perth-based photographer Jarrad Seng returns to open […]more
Humans of Western Australia
This week we've been taking a look at different perspectives of Homeless Persons Week – from […]more
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Originating in Hawaii, surfing has always been a popular activity. But now surfboards are being used […]more
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At the Perth Centre for Photography this month there are three different and bold exhibitions on […]more
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Cities have long inspired photography's legends; the hard lines and the smog, the respite offered by […]more


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United Kingdom
When do I cut my PAMPAS GRASS DOWN LOW TO A DOME
- 21 Feb, 2010
Before the new growth at the end of March, though this might start earlier if mild. Not too critical but no later really than April. ps wear thick gloves!
21 Feb, 2010
Previous question
« i am thinking of divideding begonia tuber by cutting do i need to dust cut to protect,...


text:
Affiliations: Chandigarh, India,
Johns Hopkins University
Baltimore, MD
Correspondence to: Ashish Bhalla, MD, House No.: 1032, sector 24-b, Chandigarh, 160023 (UT) India; e-mail: email@example.com
To the Editor:
There is a tendency among academicians to blame private
practitioners for everything that has gone wrong in the treatment of
tuberculosis. There have been studies implicating private practitioners
for wrong prescriptions that are blamed for emergence of
multidrug-resistant tuberculosis, as highlighted in the article by Rao
et al (March 2000).1In this study, the authors concluded
that private practitioners make frequent errors in prescribing
antitubercular therapy (ATT) in low-prevalence areas. There have been
similar studies in India, a high-prevalence area for tuberculosis, with
similar results.2–4 The point to ponder is, Who are these
private practitioners, and whom do they look to for correcting their
deficiencies? The answer is simple: their colleagues in the faculty
positions at medical institutes. Is the knowledge of these teachers and
residents working in the medical colleges and institutes adequate? We
studied knowledge, attitude, and practice in 40 residents and faculty
members from various departments prescribing ATT in one medical
institute in India, and the results were surprising. Less than 50%
knew what directly observed short-course treatment is, < 50% knew
that the World Health Organization (WHO) has classified tuberculosis
patients into four broad categories. Only 57% could answer that
sputum-positive patients belong to category I; 47.5% could correctly
categorize tuberculosis lymphadenitis to category III. Less than 25%
could correctly write the exact drug schedule for category II patients.
Only 50% could give the correct dosage of antituberculosis drugs.
This was introspection, and people were willing to learn from their
mistakes. The observation that the knowledge regarding the treatment
guidelines among the residents and consultants is low points to the
fact that reeducation of faculty members regarding recent trends or
guidelines is essential if we want this knowledge to percolate to the
periphery. This kind of self-evaluation should be encouraged so that
one is aware of one's deficiencies and corrective measures could be
planned. The WHO should also take up the task of going to the
basic level for imparting knowledge regarding recent guidelines and not
just publishing books of the same. Local initiative by faculty members
in educating their colleagues will go a long way in preventing such
Our study of errors in treating tuberculosis in Baltimore did
not compare private doctors with academic doctors, but rather with the
public tuberculosis clinic. In fact, physicians at academic medical
centers who treated tuberculosis patients are considered private
doctors in our analysis. Our main conclusion was that fewer mistakes
occur in a comprehensive tuberculosis treatment clinic with expert
staff than in individual doctors' offices. We reasoned that a lack of
experience with tuberculosis care was associated with incomplete
knowledge of appropriate therapy, but noted that mistakes were
frequently noted in a study in India, a high prevalence
country.1 The correspondence from Chandigarh confirms that
knowledge about appropriate tuberculosis treatment is low in an
academic medical center in a high burden country. While the situations
in Chandigarh and Baltimore are quite distinct, in both cities
physicians require more training about treating (and preventing)
tuberculosis. The survey done by Dr. Bhalla is a useful contribution to
identifying the scope of the problem. We agree that additional
educational efforts by tuberculosis experts are sorely needed by
physicians in a variety of settings, including academic medical
centers, and applaud the authors' initiative addressing this problem.
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Ricco / Maresca Gallery
529 West 20th Street, Third Floor
December 1January 14
Opposite the entrance to this photography-focused exhibition are six portraits from nearly a century ago, each attributed to an "American Unidentified." A kitschy print of two white male baseball players, standing before a painted-green background (Baseball Players, ca. 1920s), neighbors a portrait of an African American soldier posing before a similarly cool-hued, airbrushed backdrop (Soldier, ca. 1920s). Beneath him is a collage of flower-seed packets sandwiched between black-and-white photos of a woman and a man, contributing to the work's enigmatic nature.
This theme of unknown identity takes a break in the center room. A series of five poolside photos of Marilyn Monroe by Weegee—"Untitled (M Monroe)," ca. 1952–53—clearly depicts the star, but some of the images have her legs disproportionately stretched. In another, her head is duplicated eightfold into a sunflower-like shape in place of her torso, juxtaposing the actress's classic beauty with surreal grotesquerie. On the same wall is an unattributed work, this one a woven tapestry based on a popular propaganda image of Mao Zedong playing ping-pong, taken by his personal photographer L Houmin.
The exhibition ends with a portrait by an anonymous American artist, installed within a small black enclave near the middle room, titled Man in Box, ca. 1960s. The obscurity of the bearded subject's identity is doubled by the blurred glass vitrine in which he stands cross-legged with a cane. Is he trapped, or merely protecting himself from the strange, distorted world outside? His nonchalant pose suggests the latter.
Kim Hart
Denny Gallery
261 Broome Street
December 9January 22
For his solo exhibition "Unavoidable Encounter," John Dante Bianchi has made sculptures that initially register as paintings attempting to escape their supports. Concertina-like folds of what seems to be canvas—but is actually immaculately engineered strata of wood and aluminum—wrest from their stretcher bars, rising and jutting forth in sharply angled planes, revealing trusses and screws beneath. Acrylic paint is applied to the surfaces in layers, then sanded back to form warm clouds of pinks, purples, and oranges, with patches of iridescent gray where the metal is exposed. The abstract visual effect in each contused piece is at once cosmologically vast and intimate on a cellular level.
Bianchi's work resuscitates that fatigued threshold between sculpture and painting. The canvas sections are made and colored first, and their stretchers are fitted afterward, reversing a painting's construction. This is most strikingly expressed in the thrusting shards of Untitled (Torqued Panel #15), 2016. The suggestion of corporeal separation between the piece's upper and underlying components, such as a tendon flayed from bone, renders the work strangely emotive rather than dryly academic, despite its architectural precision.
The ten works here are wall-mounted, except for a floor piece resembling the moldering, bleached husk of a redwood's trunk, which plays at sculpture a bit too predictably. Pristine and restrained, yet unexpectedly vulnerable, Bianchi's work arrestingly regards what is, and isn't, a painting, offering crisp analysis on how porous the brink between these two media may be.
Darren Jones
80WSE Gallery, NYU Steinhardt School
80 Washington Square East
December 8February 18
The drywall has been stripped from the side of the gallery's entrance to expose the underlying brick and bright red scaffolding. White powder-coated steel and plywood beams populate the rooms, but instead of holding up the ceiling, they stand isolated, unattached. One beam wears a faux fur shawl draped over the top, while another stands on a crumpled floral-patterned doormat (Untitled Problem 15 and 8 [all works cited, 2016]). Omaskko Cree artist Duane Linklater examines the oft-invisible framing that enables and prevents indigenous artwork from being seen. On one wall, a clear plastic tarp all but covers a framed digital print of an accession sheet (Accession) for a pair of white baby boots crafted from caribou, beads, and rabbit fur—valued at twenty-two Canadian dollars—by Ethel Linklater, the artist's late grandmother. These boots were part of an exhibition in the 1980s, organized by the Ontario Arts Council, from which this show takes its name.
Paying particular attention to the structures that display and house indigenous art, from state museums to private galleries, Linklater constructs stainless-steel armatures and concrete bases to present these art objects and family heirlooms (Speculative apparatus for the work of nohkompan, 1–9; nohkompan is a Cree word that translates to "my grandmother who is passed on"). Detailed caribou, moose, and rabbit-hide mukluks, slippers, and mitts made by Ethel—owned by Ontario's Thunder Bay Art Gallery and on loan to Linklater—are presented atop his pedestals. "From Our Hands" is a collaborative show that traces the cultural and genealogical relations between Linklater, his twelve-year-old son, Tobias (whose stop-motion video, Origin of the Hero, is also featured), and Ethel. A bouquet of flowers and a pyramid of Du Maurier cigarettes among Ethel's belongings rest on Linklater's dark concrete plinths. Interrogating the relationship between the materials that create the "neutral" gallery and the collections that fill it, the artist holds a space for his son while embracing his grandmother.
Katherine Brewer Ball
Cathouse FUNeral | Chelsea
132 10th Ave.
December 15January 21
On November 20 of last year, the original site of this Brooklyn exhibition space in East Williamsburg, located in a former funeral home, closed its doors for the last time. The artist-run venue had an unquiet rest, however—another version of it currently exists as a projects space in Carroll Gardens, while its first body has been exhumed for a second life in Chelsea. "Cathouse FUNeral Harvested" (an extension of which will open on the Lower East Side on January 8) collects residue from twenty shows of murals and installations via fragments of sheetrock and other architectural excerpts, presented as collaborative works that have been three years in the making. Crowded with freestanding wall segments and framed remnants, the Tenth Avenue space is punctuated by dead ends and ersatz corridors. Zips of pink are in evidence from the 2014 group show "Shrink It, Pink It." A mural by Brad Benischek begins with Harvesting: FUNeral Tryptic (w/ Brad Benischek) and ends in FUNeral Gallery-Object 2 (w/ Benischek) (both 2016), though the slabs are anachronistically joined (by David Dixon, Cathouse's wallah, with the artist's permission) to unlike parts. Excavated to stand like clean-cut monoliths, the "harvestings" present a mess of artifacts that refuse to straighten into a tidy narrative; even the three gypsum tablets that chronicle the Cathouse's exhibition history are placed out of sequence. These structures share no design with their former digs and make no attempt at a documentary-like report. Although these assembled remains contain the potential for a whimsical archive, they are shown not as gestures of mourning or memory, but as celebrations of the vitality and opportunity of ending.
Nicole Kaack
Seventeen | New York
214 Bowery
November 23January 22
My punishment for being a voluble child, overflowing with words and song that grew louder and angrier as I reached adolescence, is a voice slightly down-pitched by small vocal nodules. They were discovered at fourteen, when I—a natural soprano—had trouble hitting my highest notes. "It's like a boy's voice cracking," a vocal teacher joked, to my great embarrassment. I was diagnosed through an uncomfortable laryngoscopy. Once inserted up the nose and down the throat, the scope makes it impossible to breathe normally, let alone vocalize.
Marianna Simnett's exhibition "Lies," exploring the gendered implications of voice and masochism, vividly evoked this memory of asphyxiation. In Faint with Light (all works cited, 2016), a stack of ultrabright LEDs is synced with an audio recording of Simnett trying to faint by hyperventilating. The intensity of her breath is registered by the lights, which illuminate fully with her deepest inhalations—taken before losing consciousness—and then go dark. Although the strobe-like installation made me queasy, it's hard to ignore its erotic implications—with la petite mort being a euphemism for orgasm. Simnett's video The Needle and the Larynx shows the artist undergoing a temporary lowering of her voice through a Botox injection to her cricothyroid muscle. Slowed to one-quarter speed, the procedure is hypnotic, excruciating. With her large blue eyes directed skyward during the examination, Simnett is much like Rene Jeanne Falconetti as Joan of Arc in Carl Theodor Dreyer's 1928 silent film about the young saint.
The Needle and the Larynx begins with an empowering parable of a little girl forcing a doctor to lower her voice by summoning the natural forces of heat. At the end, Simnett speaks in a startlingly feeble voice two days after her injection. Rather than masculine strength, the procedure relaxed her throat so much that she couldn't breathe. "You suddenly become conscious of all the parts of your throat," she says, gasping for air. "They didn't tell me that I was gonna be so we . . . weakened by it."
Wendy Vogel
Marlborough Chelsea | New York
545 West 25th Street
December 8January 14
"ROACH FARTS OF SHARK STAMPEDE" reads a collage in this modest exhibition of Jack Smith's drawings, photographs, and assorted ephemera. The phrase is mysterious, funny, Instagrammable—and it nicely summarizes the late artist/filmmaker's mischievous imagination, which was always more fabulous than real life. Smith is best known for his 1963 film Flaming Creatures, an erotic romp filled with all manner of homosexy lasciviousness. Fliers for screenings appear alongside notes, printed materials, and correspondences—an unexpected letter from Playboy discloses the magazine's endorsement of the artist. A trio of untitled photographs from circa 1958–62, which were reprinted in 2011, highlights Smith's blend of camp and ritual. They feature a creepy couple—in tatty, flamboyant costumes and Day of the Dead makeup—on a butterfly-catching expedition.
Smith's drawings on napkins and craft paper just hint at the breadth of his experimentation. Though he made things from junk, he turned it all into gold—or beautiful fool's gold, anyway. The undated Mirage Publications gives us covers for made-up erotic novels, with titles such as Pasty Glamour, Tales of Uranus, and Slavery Stories; while an untitled and undated bit of roundabout doodling calls to mind ancient Egyptian devotionals. But . . . Who Would Punish Us? (From "The White Pig of the Medina"), ca. 1967, is an endearing portrait of a fat prostitute reclining, smoking and smiling. L.B. was really loving Shirley . . . (undated), shows a doctor clutching a needle, his lovely patient strung out on "munchkin glands." It makes your skin crawl. Most of the exhibition's framed materials are "date unknown," an ambiguity which enhances the show's intimate scope. Smith's jouissance—or explosive mental orgasm—does wonders for our dreadful postelection malaise.
Sam Korman
Team Gallery | Grand Street
83 Grand Street
November 17, 2016January 7, 2017
Canvas masks with square polycarbonate welding lens eyes and two tubes, each dangling like strange appendages, line one wall of the gallery. The masks, together titled the Garrett Morgan safety hood allowing the wearer to breathe in a hostile environment (all works 2015), are replicas of air-filtration hoods––originally conceived to protect firefighters from smoke––created by African American inventor Garrett Morgan. Here, James Crosby reinterprets them as defenses against both atmospheric and social threats. A large black-and-white photograph of a figure donning the hood highlights its capacity for disguise (Take care of your mask and your mask will take care of you). Although the gallery text affirms the wearer is Crosby himself, his face is completely obscured, making this claim impossible to verify.
Crosby's decision to frame Morgan's legacy around this particular invention—rather than another of his innovations, such as the electric stoplight—allows the artist to engage the subject of blackness. Though Morgan symbolizes African American achievement, Crosby's emphasis on the hoods as Morgan's defining civic achievement seems to imply that becoming part of the Black American historical canon requires deemphasizing, or even effacing, race. A pair of hoodies cut open––one resembling a soft exoskeleton, the other concrete-dipped and hardened, like armor—emphasizes this tension between visibility and concealment. Clothing and camouflage can protect the vulnerable, though not always, as the hoodie, now a haunting symbol of police brutality, reminds us.
Crosby offers no finite answers for how blackness should present itself in society or, for that matter, in art (notably, none of the pieces on view directly represents the black body). His refusal to try to neatly resolve such vast and difficult questions only makes his debut exhibition more compelling.
Hannah Stamler
American Folk Art Museum
2 Lincoln Square, Columbus Avenue at 66th Street
October 6February 26
"Secure the shadow, ere the substance fades." The carving of character by light, as the early camera was thought to do, and as this advertising slogan for photographers of the 1800s suggests, was especially trenchant for those who wanted to remember their dead at eternal slumber's start, with astonishing veracity, via the daguerreotype's unearthly powers. Memorial portrait painting is another kind of alchemy—venerable, yet stranger, as it tasks the artist with reviving a kind of familiar glow or personality from the deceased––sometimes using the corpse as a model––for the commissioning bereaved.
This exhibition, curated by the museum's Stacy C. Hollander, is an extraordinary survey of memorial works—mostly painted and photographic—that were made by artists, both formally trained and self-taught, during the eighteenth and nineteenth centuries in America, a time when we were more intimately acquainted with mortality and the rituals surrounding death. Many of the works' subjects are quite young—children and babies who died from illness, accidents. One of the most affecting is Thomas Wilder's oil-on-canvas portrait of Anna Baylies Bushee, 1848, which depicts the girl, just barely five, sitting in a dour parlor near a window that looks onto two small angels—ugly, sickening things—awaiting her arrival in heaven. There's Charles Willson Peale's Rachel Weeping, 1772–1818, a painting of the artist's wife crying over the body of their infant daughter, Margaret, who was taken by smallpox: Margaret's yellowed lips are held shut by a silken chinstrap, her arms securely fastened to her sides by a swath of white ribbon, tied with a dainty bow. There's even a plaster death mask by Hiram Powers made from his little boy's face, James Gibson Powers, ca. 1838, who succumbed to "water on the brain."
Pictures of headstones appear in the exhibition as well—some so crudely fashioned that they look considerably older than just two or three hundred years. Also on view: an ivory medallion featuring a watercolor and graphite rendering of a virginal teenage bride. A photo encased in a velvety, locket-like frame shows a young lady in her casket, lavished with flowers, with an aged paper fragment that reads "Death's seal is on that cherub brow, and closed that sparkling eye." Genteel language often poorly conceals such devastating loss.
Alex Jovanovich
191 Chrystie St
November 13January 15
Diane Simpson's sculptures are part translation, part fantasy, and pure pleasure. The octogenarian artist begins each work by creating isometric drawings on graph paper. She uses the drawings, with handwritten instructions for assembly, as blueprints for artworks with interlocking components. While they reference articles of clothing, the sculptures are constructed from hard angles, often in materials with an architectural heft. Simpson's efforts result in a sophisticated, homespun modernism that channels the Midwestern cosmopolitanism of her hometown, Chicago.
Her second show with this gallery showcases seven sculptures and two drawings from her "Samurai" series, 1981–83. This was only her second body of work after finishing her MFA in 1978, at age forty-three. Simpson took inspiration from a scene in Akira Kurosawa's film Kagemusha (1980), in which she observed the intricate folds of seated samurais' skirts. In her works, the skirt's function switches from modesty to protection; feminine concealment of the body becomes masculine containment. Her highly photogenic and life-size warriors, made from MDF and wood, project a squat, robotic, almost flat image of power. And yet the objects beg to be encountered in their rich dimensionality. Here, surprising details of their hardware-less construction emerge. Samurai 9, 1983, references Art Deco architecture in its stepped peaks and frontal solidity, while its sides reveal elegant, sloping planes. Simpson also indulges her painterly sense of color. Samurai 10, 1983, and Samurai 5, 1982, nod to Agnes Martin with their delicate grids, both incised and drawn, in pale red, salmon, and white. Samurai 6, 1982, features a dramatic enamel gradient that goes from white to gray. Conceived more than thirty years ago, Simpson's work feels newly conversant with recent sculpture that refuses to pit structural concerns against beauty.
Wendy Vogel
Higher Pictures
980 Madison Avenue
November 22January 21
These photographs, shot between 1988 and 1992 in Grapevine Branch (a small community in West Virginia) were made collaboratively. Not wanting to rehearse the old narrative of "poor isolated rednecks," Susan Lipper involved her subjects in the storytelling process, visualizing their personal myths. It's surprising, then, that her work features those familiar tokens—guns, Klan hoods, bibles, booze—that decorate the liberal's imaginary tableaux of the rural South. How did these props end up there? And, more to the point, what is it that is so unsettling about the results?
For a start, we might observe that Lipper's characters never directly confront the camera. They look at us through masks, or look past us, or blankly stare at the ground. These are postures, and yet their effect is menacing. And it's precisely that tension—between real and imagined fear—that forces us to engage, not retract. Untitled (Grapevine), 1992, for example, shows an old man looking at us through the broken window of a ramshackle pickup truck. His face and particularly his eyes are hidden by shard patterns. This framing is too perfect to feel circumstantial; it's practically iconic. Yet the scene's physical realities—unrepaired window, worn-out clothing—ineluctably evince a lifestyle in decay.
Lipper and her subjects are staging the relations between lived reality and its representation. We are invited not so much to look at these photographs as through them, at the social significance of the forlorn rituals they recount. Though Lipper's scenes are evenly distributed between nighttime and day, they all unfold at a mysterious, timeless twilight hour. Revelation is within reach, but it remains one frame away.
Ratik Asokan
MoMA – The Museum of Modern Art
11 West 53rd Street
October 1January 22
This necessary exhibition presents architectural and design responses to an increasingly precarious but basic human right—shelter—in our era of mass crisis, emergency, urgency, and hopelessness. The show begins with the immense issue of housing the sixty-five million displaced people and refugees across the globe, and it ends with more ethical questions than it can ever answer. Yet one thing is clear: Nothing on view can ever be a lasting solution to the anxieties faced by the stateless families and individuals who are having doors slammed in their faces at every turn.
The risk of aestheticizing crisis runs high here, but the most interesting works avoid this through representation and not mere documentation. Consider Woven Panel, 2016, a woolen rug made in collaboration with Manuel Herz Architects and the National Union of Sahrawi Women, an organization spread across refugee settlements in southwestern Algeria. The piece depicts the Rabouni camp's long-standing ministries of defense, interior, and education, as well as a museum. A portrayal of a government that's been in exile for nearly forty years, the work moreover underscores the tradition of weaving among the Sahrawis.
A disquieting grid in the show presents pictures of historical settlements: from a black-and-white image of Dheisheh, the largest of the Palestine refugee camps in the West Bank after the 1948 Arab-Israeli war, to Gordon Welters's 2016 photograph of cubical-like living spaces in Berlin's Tempelhof Airport. Across the gallery, another grid is offered: found news images of migrants on overcrowded boats in Xaviera Simmons's Superunknown (Alive in The), 2010. Among the moral dilemmas echoed forcefully around the exhibition there are these: what it means to be in-between, without rights, and, most critically, to be positioned as superfluous.
Lauren O'Neill-Butler
Brooklyn Museum
200 Eastern Parkway
October 21March 5
"I think that artists in the South must at some point confront the work of folk artists," the late artist Beverly Buchanan said. But Buchanan, who is known for her colorful shack sculptures emulating Southern vernacular architecture, was anything but an outsider artist. In the early 1970s, she studied with Norman Lewis and Romare Bearden while working as a New Jersey health educator. She also gained the support of such curators as Lucy Lippard and Lowery Stokes Sims. Yet as a black woman artist who spent the height of her artistic career in Georgia, her work has not been given its historical due.
This exhibition, organized by curator Jennifer Burris and artist Park McArthur, surveys Buchanan's practice, which commemorated the resilience of black communities while interrogating American racism. Separated into three galleries of the Elizabeth A. Sackler Center for Feminist Art (triangulated around Judy Chicago's The Dinner Party, 1974–79), the layout flips the script on Buchanan's work. The show opens with her least known pieces—the series "Frustula," 1978–81, made up of squat, cast-concrete sculptures—artworks in pointed dialogue with post-Minimalism's industrial-ruin aesthetics. Buchanan pursued site-specificity when she moved to Macon, Georgia, in 1977. From 1979 to 1986, she created a number of humble concrete sculptures, mixed with local materials such as tabby (a cement made with oyster shells, water, lime, ash, and sand, once used for building slave quarters), which memorialized sites of racial violence. Three videos, created by McArthur, Burris, and Jason Hirata, June 10–19, 2016, 2016, document four of her Southeastern projects in situ.
This is an artist-curated show, and the second and largest section—containing more than one hundred archival objects—reveals an artist's eye. Burris and McArthur include pieces such as the plaid shirt Buchanan painted in, adorned with white crosses and blue and red stars (Untitled, Church on Fire, 1995–96), and photo reproductions of her Guggenheim grant report for the public artwork Marsh Ruins, 1981. The final section, devoted to her miniaturized shacks from 1987 to 2010, is enriched by photos of the 1991 performance Out of Control. Buchanan enacts a conceptual score of symbolic brutality, setting a shack sculpture on fire, only allowing a friend to extinguish it.
Wendy Vogel
60 N. 6th Street
October 21January 15
Between 1969 and 1973, Rosemary Mayer's art underwent a dramatic transition. Abetted by the arrival of feminism, its investment in the body and the recuperation of craft, the laconic beauty of her early text-based works effloresced into the voluptuous fabric sculptures for which she is best remembered. Curated by art historian Maika Pollack, the gallery's founder, with Marie and Max Warsh—Mayer's niece and nephew—this exhibition tells the story of this sea change while also shining a light on a significant yet under-recognized figure in feminist and post-Minimalist art.
During the late sixties, Mayer (who passed away in 2014) contributed to 0 TO 9, a mimeographed journal of Conceptual art and poetry, with her sister, the poet Bernadette Mayer, and her then husband, Vito Acconci. Several works on paper from this period traffic between image and text. In Untitled [12 columns], ca. 1969, compositions of colored squares drawn on graph paper are paired with black-and-white typewritten pages detailing those same patterns in words.
Semiotic games give way to atmospheric affect in The Catherines, 1972–73, a gauzy matrix of peach and purple veils draped on a teardrop-shaped wooden support. Created the year Mayer cofounded the all-female cooperative gallery A.I.R., the work is titled in honor of notable women from European history: the warrior countess Caterina Sforza, the empress Catherine the Great, the mystic Catherine of Siena. Openly feminist and unapologetically ornamental, its flesh-colored swags of various transparent fabrics make sartorial and genital insinuations. More subtly, The Catherines also suggests the ethereal forms of Mannerist painting, to which—as Marie Warsh and Gillian Sneed have noted—Mayer likened the art of the 1970s after the dissolution of Minimalism's spatial certainties. "Once surfaces were clear, ordered and opaque, surfaces that quickly answer questions," she wrote in the introduction to her 1975 translation of Jacopo da Pontormo's diary, "then forms dissolved, colors paled, began to float in uncertain atmospheres."
Chloe Wyma
Burning in Water
317 10th Ave.
October 6January 21
Rotting, wounded, smiling—watermelons, in Valerie Hegarty's latest exhibition of paintings and sculptures, are depicted as sentient objects: carnal, threatening. Several wedges of the fruit, done in ceramics, rest on a plinth, their pink flesh resembling gums and growing teeth, tongues, ribs, stalagmites, barnacles. They make one think of the chemically modified watermelons that spontaneously exploded across fields in China in 2011—a warning about the perils of mutant capitalism.
The title of Hegarty's exhibition, "American Berserk," comes from Philip Roth's 1997 novel American Pastoral, where the writer describes the darker aspects of this idyllic genre. Hegarty intelligently references Raphaelle Peale, considered the first painter of still lifes in America, in a number of her grim watercolor works, such as Watermelon Gothic 1, Fruit Face, and Picnic Body (works cited, 2015). In the latter pair of edibles-as-people pictures, one can't help but see homages to Giuseppe Arcimboldo, the sixteenth-century Italian painter whose portraits of notable Renaissance figures, rendered as agglomerations of vegetables, fish, and books, among other items, are more horrifying than charming.
Like Roth, Hegarty is drawn to this country's damaged history, its warped psyche. Her watermelons are the stuff of colonialism, racist stereotyping, US avarice, and gluttony. Her fruits aren't juicy, they're bleeding—a lacerated bounty. The show, divided into four sections, feels a bit fragmented, as each area could be its own exhibition. But these separations only aid in reinforcing our sense of distance between the idealism of the American past and its sad, corrosive present.
Heidi Harrington-Johnson
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Rating: 2.6/5 (Total votes: 19)
nookLauncher is a simple application that works to allow users to run non-stock programs on the nook without having to get into any sort of complicated command line or VNC. It looks and feels a lot like the launcher from 1.1.1, which was full square icons. The stock 1.2 launcher has rounded icons and a shiny look to it.
What's New in This Release
· Version 0.1.0 has option to create sub menu. You can create menu items like games, tools etc and move some of the apps inside it to clean up the main screen.
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FreewareAndroid - Free Downloads Android Market Apps, Applications, Games, APK, WiFi, Sync, GPS for Google Android OS


text: WUHAN, China, Jan. 14, 2011 /PRNewswire-Asia/ -- Kingold Jewelry, Inc. (Nasdaq: KGJI) ("Kingold"), a leading professional designer and manufacturer of 24 Karat gold jewelry and ornaments in the People's Republic of China (" China"), today announced the upsizing and pricing of its underwritten public offering of common stock. The size of the offering has been increased from the 6,000,000 shares of common stock previously disclosed in Kingold's registration statement filed with the U.S. Securities and Exchange Commission to 7,200,000 shares at a public offering price of $3.19 per share. The closing of the sale of the common stock is expected to occur on January 20, 2011, subject to the satisfaction of customary closing conditions. Kingold has granted the underwriters a 45-day option to purchase up to an additional 1,080,000 shares of common stock at the public offering price to cover any over-allotments. Kingold currently expects to use the net proceeds of this offering to expand its production capacity at its facilities in China by purchasing additional 24 Karat gold bars, recruiting and training new employees, purchasing additional jewelry design tools and for other working capital and general corporate purposes. Rodman & Renshaw, LLC, a subsidiary of Rodman & Renshaw Capital Group, Inc. (Nasdaq: RODM), acted as sole book-running manager for the offering. JMP Securities LLC, Chardan Capital Markets, LLC, and Maxim Group LLC acted as co-managers for the offering. The offering of these securities will be made only by means of a prospectus. A registration statement relating to these securities has been declared effective by the U.S. Securities and Exchange Commission. This press release shall not constitute an offer to sell or the solicitation of an offer to buy, nor shall there be any sale of these securities in any state in which such offer, solicitation, or sale would be unlawful prior to registration or qualification under the securities laws of any such state. Copies of the final prospectus relating to the offering, when available, may be obtained for free by visiting the U.S. Securities and Exchange Commission website at http://www.sec.gov. Alternatively, a copy of the prospectus related to this offering may be obtained from Rodman & Renshaw, LLC, Prospectus Department, 1251 Avenue of the Americas, New York, NY, 10020, telephone: 212-430-1710 or email: firstname.lastname@example.com. This press release shall not constitute an offer to sell or the solicitation of an offer to buy any of the offered shares, nor shall there be any sale of such shares in any state or other jurisdiction in which such offer, solicitation, or sale would be unlawful prior to registration or qualification under the securities laws of such state or other jurisdiction.


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Slow cooker lamb curry recipe
Lamb curry is an easy dinner recipe to cook for the family. This slow cooked curry is great for kids because the spices are mellow and the lamb is soft. Find more on Kidspot New Zealand's recipe finder.
Dinner, Indian, Lamb, Slow cooker, Curry
- 1½ tsp coriander seeds
- 1½ tsp cumin
- ½ tsp mustard seeds
- ¼ tsp black peppercorns
- ½ tsp cayenne powder
- ½ tsp turmeric
- 2 cloves garlic, minced
- 2 tsp fresh ginger, grated
- 2 tbsp white vinegar
- 1 tsp chilli flakes, optional
- 1/4 cup plain flour
- 1kg diced lamb
- 2 tbsp olive oil
- 1 large brown onion, chopped
- 1 tin Carnation light evaporated coconut milk
Mix all spices and the white vinegar in a mortar and pestle and bash all seeds until the mix resembles a paste.
Place lamb in a zip lock bag. Add the flour, seal the bag and shake until lamb is well-covered with flour.
Heat 1tbsp olive oil in a frying pan and then add lamb, brown in batches and transfer into slow cooker.
Keep the frying pan hot, add the other tablespoon of oil and soften the onions. Add the spice mixture and cook off all spices. Add evaporated coconut milk and simmer.
Transfer to slow cooker and cook on low for 4+ hours.
- If you don't have the time or inclination to make your own curry paste, you could use a Madras curry paste plus 1 tsp freshly grated ginger and 1 extra garlic clove.
- My kids loved this curry – all the spices become very mellow with the slow cooking so it's not too spicy for little mouths. The lamb also becomes super-soft and melt-in-the-mouth with the slow cooking. Bliss!
- This served our family plus a generous leftover lunch for hubby.
- Try not to be tempted to turn up the heat on your slow cooker to get it cooked quicker as the evaporated milk will separate - it will taste fine, just won't look attractive!
- This recipe was created by Melissa Klemke for Kidspot, New Zealand's best recipe finder.


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Tom Clancy. INSCRIBED -- The Hunt for Red October
- Sold for: Start Free Trial or Sign In to see what it's worth.
- Item Category: -
- Source: Heritage Auction Galleries
- Sold Date: May 28, 2015
- Channel: Auction House
Tom Clancy. INSCRIBED. The Hunt for Red October. Annapolis, MD: Naval Institute Press, [1984]. First edition. Inscribed by the author on the half-title. Publisher's maroon cloth, spine lettered in white, with original dust jacket. Some rubbing, creasing, chipping and dampstaining to jacket, with some small closed tears along edges. Tape repair on rear jacket panel. Spine leaning. Some rubbing, bumping and edgewear to extremities. Good or better.
Grade: 0, Service: Uncertified, Service No.: 0
Grade: 0, Service: Uncertified, Service No.: 0


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Golf Game Recall
By Kickntrue on 2/12/09
A golf billiards game sold at Golf Galaxy and Dick's Sporting Goods has been recalled due to excess levels of lead. I suppose the purpose of this post is twofold, 1) I'm your humble public servant, and 2) there has to be a joke here somewhere.
The good news for both Dick's and Golf Galaxy is that I've seen the billiards game, and I don't think very many people have to worry. The game was on sale for a year and sold a total of 2300 units. Nice choice by the buyers for Dick's!
Full Story
[ comments ]
kidputter says:
Glad I saw this post. I actually OWN this. It's golf AND it's pool. If it had boobs and beer, it would be the PERFECT game.
[ post comment ]
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George Clooney is set to hit the red carpet at this Sunday's Emmys, where he'll be honored with this year's Bob Hope Humanitarian Award. George's charitable heart is one of the reasons we love him, but he always brings his trademark sense of humor to his acceptance speeches. To celebrate George's big night, we're taking a look back at one of our favorite interviews from when he and Brad Pitt were promoting Ocean's 12 in 2004. The two have amazing banter back and forth, testing out their Italian skills, teasing each other, and making a few jokes at the expense of costar Matt Damon. Check it out on today's Flashback Friday!
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...like many people, I will tag them as being sooooo 2000 (whenever the hell Ocean's Eleven came out) which was the last time I enjoyed either one of these mediocre mofo's....and George, if I can see the crack of your b*lls, adjust your fcuking pants - grandpa
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