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May. 10, 2005 | 5:37 AM
Blog Post
Tonight I went to the Egyptian Theatre to see LOS ANGELES PLAYS ITSELF which is an amazing documentary about how Los Angeles is portrayed in films. It covers many aspects of the city and how it has been used and misused as a cinematic backdrop. The span of the film covers the 1930s through 2001. There is so much amazing footage in this film and it gives you a real sense of how Los Angeles has evolved as a city over the years. The theatre was completely packed. That's pretty impressive considering the film is a 3 hour documentary playing on a Tuesday night. There are a ton of inside jokes that everyone was laughing at. Seeing the film in such a crowded theatre really made it a great community experience.
There was one section of the film that just covered LA architecture and showed the homes designed by Frank Lloyd Wright and Richard Neutra and how they've been used in films. What interested me about the film was how it addressed the disparity between "Hollywood" and Los Angeles and how they exist in the public perception. The film even covered racial issues and how racism and stereotyping has been often a staple of movies and of the culture of Los Angeles itself. The ending of the film discussed the Neorealist movement of the late 60s and early 70s brought about by the efforts of many great African American filmmakers. The film also delved into issues of class and how the lower class in particular has been falsley portrayed in films. There were so many little points that were made and things that were addressed that I never really noticed before. The director of the documentary narrated it as well and his delivery is dry, flat and lifeless. At first this really annoyed me, but as the film progressed its tone became much more sarcastic and the narration seemed much more in tune with the film.
Another chapter of the film covers various directors and their relationship to Los Angeles. That was also an incredibly interesting approach. It was a documentary about a city reflecting on directors and how THEY see the city.
LOS ANGELES PLAYS ITSELF is really fascinating in its portrait of the city as a symbol, a location, an urban battle ground, a myth, and ultimately a complicated and misunderstood city where real people live, work and struggle to survive.
I find myself wanting to watch it again… and again. This is one of those films that you can get something new and fresh out of with each viewing.
Due to the sheer number of movie clips used in the film, I highly doubt it will ever get a VHS or DVD release so please make sure to see this film. It is an important piece of work and well worth 3 hours of your time.
May. 7, 2005 | 1:30 AM
Blog Post
Given my newfound fascination with silent star John Gilbert, I found a friend who gave me his rare pre-code film DOWNSTAIRS on VHS. The film is about a chauffeur who arrives to work in a new home and in the process seduces the wife of the head butler, blackmails the lady of the house, and embezzles money from the elderly cook. He is an evil cad through and through. The film is a brisk and entertaining piece of Pre-Code filmmaking. John Gilbert is great in the lead role and his voice is great too! I think the problem he had with this film is that audiences didn't want to see him playing such an evil unrepentant character. Many film stars (of silents and talkies) became trapped in many ways by their images and in the process weren't allowed to stretch artistically. When some of them did, their films failed and then it subsequently hurt their careers. Their fame and success became quite a double edge sword. In any case, John Gilbert actually wrote the story that DOWNSTAIRS is based on. I'm currently reading the biography about him entitled DARK STAR. I highly endorse the book. It is a really excellent account of not only his career, but of the struggles of establishing and maintaining a career in 20s and 30s Hollywood.
May. 4, 2005 | 1:22 AM
Blog Post
Let me first being by saying if you haven't been to the UCLA film series entitled "Out of the Past: Film Preservation Today" on Wednesday nights….PLEASE go to this in the future. The series is FREE and it is a great way to learn about the decisions and the process that goes into restoring a film and making it live again.
The feature shown tonight was KILLER OF SHEEP. I knew nothing about this film going in except that I really liked the title. I've actually purchased many books simply because I liked the title or cover art and so far doing that has never steered me wrong.
KILLER OF SHEEP was made in the early 70s by UCLA grad student Charles Burnett. The film was shot on location on the streets of south central Los Angeles, but if you are expecting something like BOYZ IN THE HOOD, you won't find it here. Burnett's film is a thoughtful meditation on an impoverished family whose members are doing the best they can to survive. The UCLA program notes referred to this film as "a stunning example of American urban neo-realism at its best."
I would call it a non fiction version of A RAISIN IN THE SUN. The film is not a plot driven piece but is one that is guided by quiet moments that speak louder than pages of dialogue ever could. There is one scene where a husband and wife try to have a romantic evening. Judging by the look in their eyes, it is clear that the woman is far more interested than the man is. He is hesitant even reluctant to be there with her. It is obvious his mind and possibly heart are elsewhere. He finally walks away from the dance leaving the woman to look after him with an expression of heartbreak and disappointment in her eyes. Words aren't necessary, in fact it would spoil the moment if anything was said in the first place. A later scene re-affirms the man's lack of interest when he lights up and becomes animated in the presence of their daughter. He comes alive briefly for her in a way he never does for his wife. Again, no words are exchanged here but she knows…..the pained look in her eyes says so.
Another scene that works really well in the film is when two men try to purchase a motor and put it in a truck. Their struggle is reminicent of a Laurel & Hardy short as they haul it into the truck only to have it fall off and break in the street. It seems that motor is a symbol of something larger (like their dreams) failing to sustain any momentum.
The score for the film consisted of a bunch of terrific jazz tunes. They fit the emotional beats of the film perfectly.
Overall KILLER OF SHEEP is a haunting and beautiful portrait of people struggling against not only poverty but each other. This film captures a place, a group of people and a time in history that is every bit as potent now as it was 3 decades ago when the film was made.
Apr. 30, 2005 | 2:07 AM
Blog Post
This weekend I wound up house sitting and dog sitting for my friend Jeff who was out of town on vacation. Jeff has an AMAZING collection of DVDs, cable and TiVo, so sufficed to say I didn't leave the couch the entire weekend. Hell, I didn't even inconvenience myself to leave the house for food. I just got the phone book and ordered everything in. Fortunately Turner Classic Movies was running a series of musicals and I finally saw GUYS AND DOLLS, which amazingly I had never seen before. I loved it! Before the film Robert Osbourne said that Frank Sinatra was unhappy with the film and felt that HE should have played the role of "Sky Masterson" instead of Marlon Brando. With all due respect to Mr. Sinatra (and believe me there's plenty) I think he was far better suited for his role as "Nathan Detroit." The casting was exactly as it should have been.
Since "Sky Masterson" has to seduce a prim uptight missionary into running off with him to Havana, the role calls for every bit of sex appeal that one actor can muster. That's why Brando fits the bill. The woman is such a cold and harsh person that it must take a man of supreme charms to melt her heart and win her favor. It is a tough task and "Sky" proves he is more than up to the challenge. Meanwhile, "Nathan Detroit" is caught in the middle of trying to set up the city's largest floating crap game AND to keep his neglected fiance "Miss Adelaide" from finding out about it. We find out that "Nathan" has been engaged to her for about 13 years or so! Naturally she is frustrated and eager for him to finally marry her.
The film features excellent musical numbers such as "Luck Be A Lady," "Sit Down You're Rockin' The Boat" and "Take Back Your Mink."
Plot complications ensue and the characters finally get their happy ending in the form of a double wedding. The film is colorful, fun and entertaining. It was directed by the great Joseph L. Mankiewicz and it wound up being the only musical he ever made. If you are looking for a classic grand scale Hollywood musical, this is it hands down!
Apr. 25, 2005 | 1:26 AM
Blog Post
The Film Noir continues with LARCENY & JOHNNY STOOL PIGEON
Yes I fed my noir addiction yet again!
This low budget noir directed by William Castle features Dan Duryea as a criminal who gets sprung from the big house in order to help crack a heroin smuggling ring that is taking over a western restort town. Naturally there are complications…many of them as it turns out. The films co-stars Howard Duff and Shelly Winters who was still in her sexy bombshell phase. This film was fun and entertaining but it wasn't one of the more memorable noirs.
Dan Duryea once again plays a shady character, this time he's a hustler out to bilk a grieving war widow (Joan Caufield) out of her money. This is film was everything a noir should be! It had an evil femme fatale (a lusty Shelly Winters packing a pistol), snappy dialogue, and a rotten to the core scheme. The plan becomes complicated when Duryea starts to make the war widow believe he's in love with her. Seeing her character with such trust and vulnerability set against such bad intentions makes for a great story and an excellent noir.
Dan Duryea was never a giant star like Cary Grant or Clark Gable, but he could always be counted on to give a rock solid performance. Many low budget noirs were made far greater by his acting. He always delivered and brought a great deal of talent to the table. He was like the John C. Reilly of the 1940s and 50s.
Apr. 20, 2005 | 1:57 AM
Blog Post
MAJOR DUNDEE-The Extended Version
Whenever there is a restoration, director's cut or extended version of ANYTHING, you can pretty much bet I'm going to be front row center. I've always greatly admired the work of Sam Peckinpah. Whenever people ask me to list my most favorite films I almost always mention THE WILD BUNCH. I'm also a fan of RIDE THE HIGH COUNTRY. There is just something about Peckinpah that I respond to. His work has this sort of electric raw energy pulsating through every frame. Since I had never seen MAJOR DUNDEE before, I was very excited to discover the film and to see it on the big screen.
The film chronicles the exploits of MAJOR DUNDEE (Charlton Heston) an iron willed Army officer who rounds up a rag tag group of prisoners and Confederate soliders (including Richard Harris) to chase a group of Apaches.
While there are moments in the film that are pure Peckinpah touches, overall MAJOR DUNDEE is really lacking in focus. The film was taken out of Peckinpah's control in the editing room and recut so that much of the character development was deleted from the most important section of the film.
The problem that I had with the film is that it drags and fails to keep your interest. Manohla Dargis of the NY Times said, "It's amid the dust and desperate festivities that ''Major Dundee'' wanders beautifully off point, and the lack of narrative focus matters not a whit." With all due respect to Miss Dargis, I disagree. It DOES matter….at least it mattered to me.
I was disappointed by MAJOR DUNDEE and I was expecting it to be much more, HOWEVER I'm still glad I saw it. The film is important to anyone studying Peckinpah's work and how this film fits into the larger puzzle of his cinematic universe.
To read more about this film in the NY Times, click here.
Apr. 16, 2005 | 1:14 AM
Blog Post
Garbo Talkies—and thoughts on John Gilbert
Directed by Rouben Mamoulian
By this point in her career Garbo had a considerable amount of power. She personally chose Rouben Mamoulian as her director and insisted that her ex-lover John Gilbert be cast in the male lead over Laurence Olivier no less.
The result is a lavish and entertaining historical drama that showcases the MGM artisans at their peak. From spectacular costumes, ornate sets to perfect lighting, this was a first class production all the way.
I'd like to go off topic for a moment and discuss John Gilbert instead of Garbo. I've fallen madly in love with him in the past few months and so has one of my close friends. We've seen him in THE MERRY WIDOW a few months back at LACMA and in THE BIG PARADE which had a recent showing at the Academy. This man has an amazing presence and is a flat out excellent actor. He is so handsome and charming and likeable. I've started reading up on him and it is so tragic that his career fell apart with the dawn of sound. There have been many reasons and theories as to why this is. This has been blamed on a variety of things from his bad relationship with Louis B. Mayer, his voice, his drinking and the changing audience tastes. I agree with historian Jeanine Basinger who said that sound simply diminished him. His romantic image when put with words….all of the sudden seemed silly and was ultimately rendered powerless. He certainly wasn't the only one. Mary Pickford, Douglas Fairbanks, Buster Keaton and Clara Bow all suffered greatly and were ultimately undone by sound. Gilbert wasn't alone by any means. What saddens me is that he has become such an underappreciated and underrated actor and often times is regarded as a mere footnote in Hollywood history, particularly when one is discussing Garbo. In truth he starred in many silent masterpieces, worked with the top directors and actresses of his day and deserves to be much more highly regarded than he is.
He was by far the BEST leading man Garbo ever had. That was driven home very clearly watching Frederic March star opposite her in ANNA KARENINA. Don't get me wrong, March is a fine actor, but he didn't have the chemistry with Garbo that was really needed to make the story take flight.
Watching QUEEN CHRISTINA made me realize that there was nothing wrong with Gilbert's voice. It was a fine voice and he is great in the film. His final death scene seemed almost like a foreshadowing since this was to be his second to last film….and his last as a romantic lead. When he closes his eyes and dies in Garbo's arms….it seemed like more than just his character died. His inner fire, his passion and his romantic screen presence died too.
Directed by Clarence Brown
This was Garbo's second time to play ANNA KARENINA (her first time was in the silent film LOVE in 1927). This retelling of Tolstoy's classic 19th-century Russian novel once again gets the full MGM treatment. From amazing costumes, decor and technical elements, the film is lovely to look at, but for me something was missing.
The story tells of Anna's loveless confining marriage to Karenin (Basil Rathbone) and her doomed affair with Count Vronsky (Fredric March). The problem for me with this film was the chemistry between Garbo and March. I didn't buy it. As I said earlier, I love Frederic March as an actor…but I felt he was miscast in this. I may sound petty here but he really didn't look good in his uniform. You just can't have a romantic lead who is in the military who DOESN'T look good in his uniform. March just looks shapeless and out of his element. In order for a romantic film to work, it is CRUCIAL that you believe the chemistry between the two leads. Otherwise, you have nothing. Think of all the romantic films past and present and why they do (or in many cases don't) work. It is all about chemistry. Of course that chemistry is hard to create and even more impossible to clearly define. It is either there or it isn't. When it's there….my gosh…how it works. When Garbo and Gilbert first meet in FLESH AND THE DEVIL, you know there is chemistry. It is palpable. It is undeniable. That can't be forced or manufactured.
In spite of the problem I had with the film, it was still great to look at on the big screen.
Apr. 10, 2005 | 4:39 PM
Blog Post
A brief rant about audience etiquette
I forgot to say this in my last post…..
I was shocked at how rude the audience was at the Garbo films last night. During THE TORRENT this one man's cell phone rang. He not only let it ring many times, but he ANSWERED IT and took the call right there in the theatre! I lost my temper and took off after him, but my friend stopped me. I seriously wanted to hurt him….although given my small stature I doubt I could have done too much damage. I did scream, "No cell phones!" at him.
Then the couple sitting next to me kept laughing the entire time. They thought every single thing was funny. Garbo would just walk into a room and they would errupt in laughter. It made me so mad! They had no respect for the film or the other audience members around them. Maybe this is just my inner film geek speaking here, but when I go see a movie that was made in the 1920s, I look at it through 1920s eyes. I don't even attempt to compare it to things being made now in 2005. It's not fair to do that. For example there is a flood scene in THE TORRENT and for 1926 this was a really groundbreaking special effect! It is not fair to compare it to THE DAY AFTER TOMORROW for example and laugh at what an antique it is compared to that! Their laughter really distracted me and was extremely uncalled for. Then this man in front of my started belching….loudly I might add. These old ladies started talking in the row behind me.
I wonder why audience behavior has gotten so bad. I suspect maybe it is because of the home video DVD revolution. People watch stuff in the privacy of their homes and I'm sure they think nothing of talking loudly, chatting on the cell phone or whatever. I guess they just think this is acceptable in the public as well.
I've got news for them…..IT IS NOT! I wish I could get some brass knuckles that say "SHUT THE" on one hand and "HELL UP" on the other. Then I could walk up to rude audience members and explain to them the story of SHUT THE and HELL UP and how they are going to make quite an impression on their face….sort of like what Robert Mitchum did in NIGHT OF THE HUNTER.
I did call UCLA and personally ask the Archive to make a no talking and no cell phone announcement before the films in the future, which they did. It's a good thing too. I'd hate to get kicked out of there for beating someone up….although you never know. It still might happen.
Apr. 10, 2005 | 2:56 AM
Blog Post
Joan Crawford and Ida Lupino-The Queens of Noir
POSSESSED (1947) Warner Bros.
Joan Crawford racked up another Oscar nomination (she won for MILDRED PIERCE in 1945) for playing a woman driven to insanity by her obsessive unrequited love. Van Heflin is the lover who rejects her and tries to move on with his life. This is really a great performance from Joan Crawford and this particular film is rarely screened.
The sad truth is that due to "Mommie Dearest" Joan Crawford is only remembered as an alcoholic abusive mother. While I certainly don't claim to know about her home life, I know that there was much more to the woman than the charicature she has become. She was hard working and talented. One film critic said, "You will NEVER find a single piece of film with Joan Crawford slumming." He's right. You won't. She always gave 100%. She also managed to have a career that spanned from the silent era starting in 1925 until her final role in 1975. That's a 50 year career! She managed to evolve and change with the times. She outlasted almost all of her contemporaries. She worked with some of the greatest actors and directors in Hollywood history. Joan Crawford deserves to be remembered for her professional accomplishments and not her personal problems. Just my opinion though.
THE MAN I LOVE (1946) Warner Bros.
Directed by Raoul Walsh
As a lonely torch singer, Ida Lupino sizzles amidst the smoky nightclubs and romantic backdrop of post WWII Los Angeles. This film is part noir, part melodrama, part romance and pure Classic Hollywood at it's best.
Ida Lupino's character comes to town from New York to visit her family and manages to solve all of their problems but creates her own in the process. She falls in love with a fellow musician and their doomed affair sends her back on the road. According to the program notes, this film inspired Martin Scorsese to make NEW YORK, NEW YORK.
I love both Ida Lupino and Joan Crawford. They were tough smart women who can still light up the screen. They were made for noir. Fortunately due to the efforts of film preservation, their faces will continue to brighten up the back streets, dark alleys and smoky nightclubs forever frozen in time as the ultimate dark city dames.
Apr. 9, 2005 | 2:06 AM
Blog Post
Greta Garbo silent films
I love many different types of films from tons of different genres, eras, countries, etc… but silent films are one of my greatest passions. I love them so much. There is just something so poetic and dreamlike about them. Seeing them relaxes me and sweeps me off into a whole other world….a world I wish I could step into and never leave.
I've always loved Greta Garbo and while many people may argue with me, I prefer her in silence to sound. Yes it's true. There is something about her in the silent films that is just so much MORE mysterious and glamourous and divine. I was thrilled that UCLA included many of these silent films as part of the series.
Directed by Monta Bell
This was Garbo's first film in the US. At this point, MGM was just experimenting and trying to figure out what to do with her. THE TORRENT is a story of forbidden love between two young Spanish lovers whose parents prevent them from being together. Garbo is taken to Paris where she becomes a world famous opera singer and then man (Richard Cortez) marries and leads a conventional life which is clearly one of quiet desperation. Years later, the lovers meet again and it is clear that the feelings of romantic anguish and regret still haunt them.
Here's part of what the UCLA program said, "An early instance of the thwarted-love theme so integral to Garbo's self-sacrificing persona, THE TORRENT was greeted rapturously, as in this Variety review: "Greta Garbo, making her American debut as a screen star, might just as well be hailed right here as the find of the year."
What I liked about Garbo in this film is her character's complete lack of regard for snobbery. When she is in a nightclub and is very deeply touched by the song of an African American singer, she just walks up on to the stage and gently hands him her diamond braclet and tells him "You are a great artist, perhaps this will make you an even greater one." Everyone around her is stunned and horrifed by her gesture, but she could care less. She responded to him emotionally and that was ALL that mattered. I was also touched by the look on her face at the end of the film when she is sitting alone in the limo. Someone walks by and says, "She must have everything!"
The look in her eyes clearly tells us otherwise.
Directed by Clarence Brown
This marked Garbo's first collaboration with director Clarence Brown who was to have a very important role in her career. This also marked something even more significant…at least to movie audiences…..the meeting of Greta Garbo and John Gilbert! Even to this day, I've never seen a more torrid and passionate screen couple. They just ignited together both on screen and off! The plot of the film features John Gilbert and Lars Hanson as childhood best friends who have been romantically involved with Garbo. Gilbert is her past lover and Hanson is her husband. This is a melodrama that is very much of it's time. It is a bit over the top in places, but I'm sure it didn't seem that way in 1926. It was and in my opinion remains very hot stuff! It also features a very rare thing—horizontal love scenes! You never see this happen in silent cinema—but you see it here. I've heard this is going to come out on DVD later this year. I really hope that rumor is true.
Apr. 8, 2005 | 3:45 AM
Blog Post
Film Noir Double Feature
So tonight I once again put on my clingy black 1940s dress, my cat eye sunglasses and crimson red headscarf and went to the Egyptian for some Film Noir bliss!
THE WEB (1947) Universal
This was a fun little movie that felt more like a murder mystery than an actual noir, but regardless it was fun! It had great dialogue and excellent actors including Edmond O' Brien, Ella Raines and my beloved Vincent Price.
The print was a new 35mm and looked lovely! It is such a luxury to get to see so many films like this on the big screen.
This film was directed by Anthony Mann who is widely regarded as one of the greatest noir directors. The plot for this film was about a Mexican cop (Ricardo Montalban) who teams up with American agent (George Murphy) to stop a gang who are killing illegal immigrants on the U.S./Mexico border. The cinematography was by the great John Alton. His work is amazing. I could just stare at his films for hours and get lost in their brutal, stark, haunting images. This film was intense and well made and was a more unusual setting for a noir. I tend to think of noirs as happening in the big city, most notably Los Angeles, San Francisco or New York. Then again, crooked cops and dirty villans can crop up in any corner of the world—including a remote farm town across the border. Ricardo Montalban was very impressive as the lead character. The scene were the man gets run over by the tractor was particularly brutal and has to be one of the most disturbing death scenes I've seen in ages.
I really wanted to stay for the third film, but I couldn't bring myself to do it. As much as I love noir (and believe me I really do) if I see more than 2 in one day they all start to run together in my mind and I can't keep it all straight. I get disoriented and confused as to what exactly I've just seen. I don't want to overdose. I prefer to keep my noir addition in small but very steady quantities.
Apr. 7, 2005 | 2:45 AM
Blog Post
A Tribute to Greta Garbo
Tonight I went to the Academy for the Tribute to Greta Garbo on the 100th anniversary year of her birth. Lena Olin (also Sweedish) hosted the event and they had 17 film clips from her career. It was a lovely evening! They also had special guests on stage to discuss her life away from the cameras. Gore Vidal was among them. They all had a few interesting stories, but they were all such minor ones. That's what is so fascinating about Garbo-NO ONE really ever knew her. She built up walls around herself and never allowed anyone inside. I think perhaps this quality is what made her such an amazing actress. She has one of the most beautiful faces that has ever been put on a camera. There is something hypnotic about her….intoxicating if you will. Bette Davis once referred to Garbo's work as, "witchcraft" and said that "on one else ever worked so effectively in front of the camera."
After viewing all of her clips, I thought "WOW-I can't believe she didn't make more films….then again maybe it's best that she didn't." There are some stars who belong suspended in time. As much as I love Bette Davis, I wish she had retired decades before she died. Something about the site of her holding on to a career long grown cold and making really bad movies just saddens me. Her later work is hard to watch at best.
Retiring early just kept Garbo from growing stale and making bad films. It also added greatly to the sense of mystery. Given that she retired right as WWII was happening, she left at the right time. One critic said, "At that time people wanted to see Betty Grable's legs….not Garbo's art."
It is so odd how public taste can shift so radically in a matter of a few short years. Regardless, it is good to know that ALL of Garbo's films (except one silent) still exist and have been preserved and will continue to live on.


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Welcome to the magical waters of Pink Water Bay.
Giving a little sparkle to play can be as easy as pink food colouring, glitter and water. It's all about the little sparkle that lights up the imagination.
Large under-bed storage container
Pink (or other colour) food colouring
Glitter (optional)
Barbies or other toys
It's warm here in Brisbane now and the kids are playing with water more often. I'm still trying get organised after my trip to India, (oh the piles washing!) so after school one afternoon, I set up water play for the children outside. It took me less than 5 minutes, and the children were outside playing for hours.
Note: because the food colouring is so diluted, it doesn't stain hands or toys.
I added a little glitter for that extra sparkle.
Kelly - Be A Fun Mum
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- The History of Fairy Bread - February 14, 2017
- uberkate Everyday Cocktail Range - February 13, 2017
- FinFun Mermaid Tail Review - February 9, 2017

subset: commoncrawl


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1878 – Woburn Park, Weybridge, Surrey
Birds eye perspective including plans published in The Building News, January 4th 1878.
Birds eye perspective including plans published in The Building News, January 4th 1878.
Although Harrow School was founded in 1571, the majority of its buidings date from 1845-84. During this period,
The Tower House was built between 1876 and 1878 in the 13th century French gothic style,
The Citadel and walls, built to protect the city, are the largest standing fortifications in North America,
Undoubtedly influenced by the French clergy in Santa Fe, the Gothic Revival-style chapel was patterned after King Louis IX's Sainte-Chapelle in Paris;
Unplaced design for the market buildings on Sth Great George's Street.
Described in The Building News: "the exterior,
Built for the Scottish Co-operative Wholesale Society over several years. After the initial construction of 1878,
Built in 1878 as a rail terminus for the Midland and Great Western Railway Company, its has been redeveloped as an exhibition and concert venue.
Horribly clad on the exterior, this station on the S-Bahn still has its original 19th century heart.
The original station which opened in 1878 was designed by Johannes Vollmer. However due to the need for expansion over the years,


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Get close to the action and make an impact on the game by becoming a USTA official. To do so, follow the steps below and you'll be on your way.
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Why not show our Low Price?Rotmans sets our own prices on our TV & Electronics items, however some manufacturers have restrictions on how we may display the prices of their products. Since our price is frequently lower than their suggested retail price, they may not allow us to show you our Low Price until you place the item in your shopping cart. Adding this item to your cart does not require you to purchase it & you can easily remove it from your cart should you decide not to purchase.
Plated, oxidized, golden bronze frames with heavy antiquing stain accent this artwork. Frame's inner lips are a darker bronze color. Prints are under glass.
The Art Bronze Figures Art Set of 2 from Rotmans. We proudly serve the Worcester, Boston, MA, Providence, RI, and New England area. Product availability may vary. Contact us for the most current availability on this product.
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text:
Summary: Learn how to deploy a Microsoft Visual Studio Tools for the Office system 2010 add-in or document-
level solution using a Visual Studio 2010 setup project to create a Windows Installer package that targets the 2007
Microsoft Office system or Microsoft Office 2010.
Wouter van Vugt, Code Counsel
Ted Pattison, Ted Pattison Group
This article was updated by Microsoft with permission from the original authors.
Applies to: Visual Studio 2010 Tools for Office, 2007 Microsoft Office system,
Microsoft Office 2010, Visual Studio 2010.
Download: http://code.msdn.microsoft.com/VSTO2010MSI
You can develop a Visual Studio 2010 Tools for Office solution for the 2007 Microsoft Office system or Microsoft
Office 2010, and deploy the solution by using a Visual Studio 2010 Setup project to create a Windows Installer
package. The discussion includes steps for deploying a simple Office add-in.
For a discussion about how to deploy a solution built with Visual Studio Tools for Office 3.0, see
Deploying a Visual
Studio Tools for the Office System 3.0 Solution for the 2007 Microsoft Office System Using Windows Installer (Part
1 of 2) and Deploying a Visual Studio Tools for the Office System 3.0 Solution for the 2007 Microsoft Office System
Using Windows Installer (Part 2 of 2).
You can use ClickOnce to create and install self-updating applications with minimal user interaction. This has an
automated mechanism for easily distributing updates to your application. However, ClickOnce is not capable of
deploying components that require administrative privilege such as machine level add-ins.
For solutions that require administrative privilege you can use Windows Installer to deploy a Visual Studio Tools for
Office customization. Windows Installer allows you to configure the deployment in great detail, but this does
require more effort to configure correctly. You lose the simple ease of deploying using ClickOnce technology and
advantages such as automated updates, but you receive benefits of configurability.
For an overview of how to deploy a Visual Studio Tools for the Office 2010 solution using ClickOnce, see
Solutions for the 2007 Office System with ClickOnce Using Visual Studio 2008 Professional.
Both ClickOnce and Windows Installer packages need to perform the same rudimentary tasks when installing an
Office solution.
Required Prerequisite Components on the Target Computer
To run Visual Studio 2010 Tools for Office solutions, the following software must be available on the user computer.
Solution Specific Components
The installer package must install the following components to the user computer.
Registry Entries for Add-ins
Add-ins require a set of registry entries for the Microsoft Office application to locate the add-in. You should create
the registry entries as part of the deployment process. For more information about registry entries pertaining to a
Visual Studio Tools for Office add-in, see Registry Entries for Application-Level Add-Ins. When developing an
Outlook add-in that displays custom form regions you should create additional registry keys as part of the
installation procedure to allow the form regions to be identified. For more information about registry entries
pertaining to Outlook form regions, see Specifying Form Regions in the Windows Registry.
Document-level solutions do not require these registry entries because the customization is located by using
information inside the Microsoft Office document. For more information about the document properties used for
locating document-level customizations, see Custom Document Properties Overview.
Trusting the Visual Studio Tools for Office Solution
Before you allow the customization to execute, a solution must be trusted. This trust relationship is based on the
signed application and deployment manifests. You can either sign the manifests with a certificate that identifies a
known and trusted publisher, or create a trust-relationship at installation time with an inclusion list entry or
installing to a trusted location. For more information about how to obtain a certificate for signing, see ClickOnce
Deployment and Authenticode. For more information about using the user inclusion list, see Trusting Office
Solutions by Using Inclusion Lists.
If neither option is used, a trust prompt is displayed to the users to let them decide whether to trust the solution.
You can add an inclusion list entry with a custom action in your Windows Installer file. For more information about
enabling the inclusion list, see How to: Configure Inclusion List Security.
Document-level solutions have an extra requirement where the document location must also be trusted before the
Office application allows the customization to load. For more information about security related to document-level
solutions, see Granting Trust to Documents.
The walkthroughs provided in this article use various sample files contained in the download. The download
contains the source code for all sample projects created in this article.
By default, these files are installed into the following folder:
%ProgramFiles%\Microsoft Visual Studio Tools for the Office system 2010
Resources\Windows Installer Sample\
This article refers to this installation folder as {SamplesDir}.
Download: http://code.msdn.microsoft.com/VSTO2010MSI
The Setup and Deployment project template in Visual Studio 2010 can be configured to create a Windows Installer
package that deploys a Visual Studio Tools for Office solution.
To create an installer for a Office solution, the following high level tasks must be accomplished.
Configure prerequisite components so that any missing pre-requisites can be installed on the end users
computers.Configure launch conditions to verify that the required prerequisite components are available. These
would be used to block the install in case all required pre-requisites are not installed. Start by creating the setup
project. This project contains the configuration for the Windows Installer package. Part of the configuration is
performed using built-in features. Additional tasks are performed using custom actions.
To create the AddInSetup project
Figure 1: Solution Explorer for the setup project
The setup project needs to deploy the ExcelAddIn DLL. You can configure the setup project for this task by adding
the ExcelAddIn project output to the setup project.
To add the ExcelAddIn project output
Figure 2: Dependencies for the setup project
The setup project needs to deploy the deployment manifest and application manifest. You can add these two files
to the setup project as stand-alone files from the output folder of the ExcelAddIn project.
To add the deployment and application manifests
Figure 3: Application and deployment manifests for the add-in
The downside of adding loose files to a setup project is that you reference the default output folder of the Release
build configuration explicitly. When you change the build configuration back to Debug, the setup project still
references the files from this folder. Because you should only distribute release builds, this is acceptable.
Alternatively, you can configure the Debug and Release build configuration to output their files to the same
Referencing the ExcelAddIn includes all the components that ExcelAddIn requires. These components must be
excluded and deployed using prerequisite packages to allow them to be registered correctly. Also, the Software
License Terms must be displayed and accepted before the installation begins.
To exclude the ExcelAddIn project dependencies
Figure 4: Excluding dependencies
You can configure your Windows Installer package to install the prerequisite components by adding a Setup
program, also known as a bootstrapper. The Setup program can include and install the redistributables provided by
the component vendors, a process called bootstrapping. For the ExcelAddIn, the following prerequisites must be
installed before the add-in can run correctly.
To configure dependent components as prerequisites
a. Select Create setup program to install prerequisite components. This creates the setup.exe
bootstrapper together with the MSI file.
b. In the Choose prerequisites to install list, select the appropriate packages depending on what
your solution targets.
c. For Specify the install location for prerequisites, select Download prerequisites from the
component vendor's web site.
d. Click OK to close the Prerequisites dialog box.
e. Click OK to close the property pages of OfficeAddInSetup.
Figure 5: Prerequisites Dialog Box
|The configured prerequisite packages in your Visual Studio 2010 Setup Project are dependent on the selected build configuration. You must select the right prerequisite components for each build configuration that you use. The samples and procedures only use the default Release build configuration.
Microsoft Office locates the application-level add-in by using registry keys specific to each Office Application. Keys
in the HKEY_CURRENT_USER hive will register the add-in for each individual user of the machine whereas keys
under the HKEY_LOCAL_MACHINE hive will register the add-in for all users of the machine.
For more information about registry keys, see Registry Entries for Application-Level Add-Ins.
To configure the registry
|The name of your company is used as a prefix for the name of the add-in. This provide uniqueness for this part of the registry key and allows add-ins with similar names originating from different suppliers to work without accidentally overwriting each other's registration keys. This does not provide full uniqueness but should suffice to prevent collisions.
|Right-click the SampleCompany.ExcelAddIn key, select New and click String value. Use the text
Description for the new value.
|Use this step to add three more values. Use the following names and data type.
|FriendlyName of type String
|LoadBehavior of type DWORD
|Manifest of type String
|Right-click the Description value in the registry editor and click Properties Window. In the Properties
Window enter Excel Demo AddIn for the Value property.
|Select the FriendlyName key in the registry editor. In the Properties Window, change the Value
property to Excel Demo AddIn.
|Select the LoadBehavior key in the registry editor. In the Properties Window, change the Value property
to 3.
|The value 3 for the LoadBehavior value indicates that the add-in should be loaded at startup of the host
application. For more information about load behavior, see Registry Entries for Application-Level Add-Ins.
|Select the Manifest key in the registry editor. In the Properties Window, change the Value property to
Figure 6: Setting up registry keys
|There are a few interesting notes on how the Visual Studio Tools for Office runtime locates the add-in. Visual
Studio Tools for Office runtime searches for the deployment manifest indicated by the Manifest value. The
[TARGETDIR] part is a macro that the Windows Installer expands to the actual folder where the add-in is
installed. This macro expands to include the trailing \ character, so the filename of the deployment manifest is
appended as ExcelAddIn.vsto without the \ character. Finally there is the use of the vstolocal postfix. This tells
the Visual Studio Tools for Office runtime that the add-in should load from the location indicated by the
Manifest value, and not loaded into the ClickOnce cache. Removing this postfix will cause the runtime to copy
the customization into the ClickOnce cache.
|You should be very careful with the Registry Editor in Visual Studio. For example, if you accidentally set
DeleteAtUninstall for the wrong key, you might delete an active part of the registry, leaving the user computer
in an inconsistent, or even worse, broken state.
Special considerations for Registering All User Add-ins for Office 2010 64-bit: Office 2010 64 bit looks for the add-
in registry keys under the 64-bit hive. In order to register add-ins under the native 64-bit registry hive, the setup
project's target platform must be set to 64-bit only.
You cannot have a single MSI that will install for 32-bit as well as 64-bit Office versions. You must create two
separate MSI packages that target the 32-bit and 64-bit versions of Office separately.
Figure 7: Target Platform for registering add-ins with 64-bit Office 2010
When the user does not execute the setup bootstrapper (setup.exe), it is possible that the MSI package will install
on a computer without the required prerequisites. Launch conditions are used to prevent the ExcelAddIn
from installing on computers without installed prerequisites.
To see if the Visual Studio 2010 Tools for Office runtime is installed, check the following registry keys on the user
To configure launch conditions for Visual Studio 2010 Tools for Office Runtime
a. Set the value of (Name) to Search for VSTO 2010 Runtime.
b. Change the value of Property to VSTORuntimeRedist.
c. Set the value of RegKey to SOFTWARE\Microsoft\VSTO Runtime Setup\v4R
d. Leave the Root property set to vsdrrHKLM.
e. Change the Value property to Version.
Figure 8: Properties Window for the Search for Runtime Launch Condition
Figure 9: Properties Window for the Verify Runtime Availability launch condition
The Visual Studio 2010 Tools for Office runtime also ships with Microsoft Office 2010. However at the time of Office
2010 RTM, the runtime with Office only supports Office solutions that target the .NET Framework 3.5. If your
solution targets the .NET Framework 3.5, it can run either if Office 2010 is installed or if the Visual Studio 2010
Tools for Office Runtime redistributable is installed. If your Office solutions target the .NET Framework 4, you must
redistribute the Visual Studio 2010 Tools for Office runtime. The launch condition above explicitly checks for the
presence of the redistributable runtime. The following procedure demonstrates how you can modify the launch
condition so that it will also check for the presence for Microsoft Office 2010.
To configure launch conditions for Visual Studio 2010 Tools for Office Runtime
Select the Search for RegistryEntry1 search condition, right-click the condition and select Properties
In the Properties window, perform the following tasks.
a. Set the value of (Name) to Search for Office 2010 VSTO Runtime.
b. Change the value of Property to OfficeRuntime.
c. Set the value of RegKey to SOFTWARE\Microsoft\VSTO Runtime Setup\v4
d. Leave the Root property set to vsdrrHKLM.
e. Change the Value property to Version.
Figure 10: Properties Window for the Search for Runtime launch condition
In the Launch Conditions(OfficeAddInSetup) editor, select the Verify VSTO 2010 Runtime
availability launch condition defined earlier, right-click the condition and select Properties Window.
Figure 11: Properties Windows for the Verify Runtime Availability through Redist or Office 2010 launch condition
To configure launch conditions for Office 2010 Shared PIA
a. Set the value of the (Name) property to Search for Office 2010 Shared PIA
b. Set the value of the ComponentID property to {64E2917E-AA13-4CA4-BFFE-
c. Set the value of the Property property to HASSHAREDPIA.
Figure 12: Properties Window for the Search for Office Shared PIA launch condition
In the Launch Conditions(ExcelAddInSetup) editor, right-click Condition1 and click Properties
Window to show the properties of the launch condition.
a. Set (Name) to Verify Office 2010 Shared PIA availability.
b. Set Condition to HASSHAREDPIA.
c. Leave InstallUrl blank.
d. Set Message to A required component for interacting with Excel is not available. Please
run setup.exe.
Figure 13: Properties Window for the Verify Office Shared PIA launch condition
You can further refine the launch conditions for the ExcelAddIn installation. For instance, it is useful to
verify if the actual target Office application is installed because each individual component can be
disabled by the user.
Component IDs of the Redistributable Primary Interop Assemblies for Microsoft Office 2010
|Primary interop assembly
|Office 2010 component ID
|Microsoft Forms 2.0
|Microsoft Graph
|Smart Tag
|Office Shared
For information about the Microsoft Office 2007 component IDs, see
Deploying a Visual Studio Tools for the Office
System 3.0 Solution for the 2007 Microsoft Office System Using Windows Installer (Part 1 of 2).
The final set of launch conditions should resemble the following image.
Figure 14: Final launch conditions
The setup project is not compiled as part of a general solution compilation because the build can take a long time
on larger projects. You need to manually compile the setup project and copy the resulting files to an accessible
To build the setup project
It is a good idea to test the basic setup before you add more advanced features to the setup project. You should
perform the following steps on a test computer where the add-in is not installed.
To test the ExcelAddIn setup
The Excel Office solution should install and run from the location specified during setup.
Additional Requirements for Document-level Solutions
Deploying document-level solutions require a few different configuration steps in the Windows Installer setup
Document-level solutions do not make use of the registry. Instead, the location of the deployment manifest is
defined using custom document properties in the Microsoft Office file. By default, the location uses a relative path
to the deployment manifest, meaning that if the document is installed into the same folder as the customization
assembly you do not need to alter the manifest location contained within the document. However, if you intend to
deploy the document to a different folder as the customization assembly, you need to update the document
properties to a fully qualified path.
For more information about document properties used by Visual Studio Tools for Office, see
Custom Properties
The following list outlines the basic steps required for a document-level solution.
Changing the Location of the Deployed Document
The download accompanying this article contains a sample custom action you use to move the document to the My
Documents folder and re-attach the customization. The custom action uses the ServerDocument class to re-
attach the customization.
The following steps assume you have created a similar setup project for a document-level solution called
ExcelWorkbookProject with a setup project called ExcelWorkbookSetup. The document-level solution sample
provided in the download accompanying this article is based on the Excel 2010 Workbook. The setup project has
been configured according to the steps outlined for creating an add-in installer, except for the registry keys that
are not used by document-level solutions.
To add the custom action project to your Visual Studio solution
Figure 15: Solution Explorer - AddCustomizationCustomAction
The custom action requires the solution ID of your Visual Studio Tools for Office document-level solution. This value
is retrieved from the Visual Studio project file. To begin, compile the document-level solution to add the solution ID
to this project file.
To retrieve the solution ID
Figure 16: Unloading Excel Document Solution
Figure 17: Retrieving the SolutionID
To configure the custom action with the solution ID
Visual Basic
<RunInstaller(True)> _
Public Class AddCustomization
Inherits Installer
Shared ReadOnly SolutionID As New Guid("2c49b8b0-1ddd-4fe2-8474-e4d80ed535ea")
End Class
public class AddCustomization
: Installer
static readonly Guid SolutionID =
new Guid("2c49b8b0-1ddd-4fe2-8474-e4d80ed535ea");
|On the File menu, click Save AddCustomization.vb or SaveAddCustomization.cs to save your
changes to the custom action class
The last step is to configure the custom action for the Install and Uninstall steps of the Windows Installer
package. The Install step copies the document to the My Documents folder and re-attaches the customization. To
perform this task, you need to configure the custom action with additional data. The Uninstall step removes the
document from the My Documents folder. This task does not require additional configuration data.
To configure the setup project
Figure 18: Document Manifest Custom Action - Add Project Output Group
|In the Solution Explorer, right-click ExcelWorkbookSetup.
|Expand View and click Custom Actions.
|In the Custom Actions(ExcelWorkbookSetup) editor, right-click Custom Actions and click Add
Custom Action.
|In the Select Item in Project dialog box, in the Look In list, click Application Folder. Select Primary
Output from AddCustomizationCustomAction(active) and click OK to add the custom action to the
Install step.
|Under the Installnode, right-click Primary output from AddCustomizationCustomAction(Active)
and click Rename. Name the custom action Copy document to My Documents and attach
|Under the Uninstall node, right-click Primary output from AddCustomizationCustomAction(Active)
and click Rename. Name the custom action Remove document from My Documents folder.
Figure 19: Document Manifest Custom Actions
Figure 20: Custom Action to Copy Document to My Documents
This article provides an overview of deploying a Visual Studio Tools for Office solution using a Visual Studio 2010
Windows Installer package. This article provides a walkthrough to show how you can install the prerequisites (the
.NET Framework, the VSTO 2010 runtime), add the project output and manifests, create registry keys to load an
application-level add-in, and use a custom action to copy document-level solutions to the My Documents folder.
Additional Resources
Deploying Solutions for the 2007 Office System with ClickOnce Using Visual Studio 2008 Professional
How to: Install the Visual Studio Tools for Office Runtime
Office Primary Interop Assemblies
Registry Entries for Application-Level Add-Ins
Custom Document Properties Overview
Specifying Form Regions in the Windows Registry
About the Authors
Wouter van Vugt is a Microsoft MVP with Office Open XML technologies and an independent consultant focusing on
creating Office Business Applications (OBAs) with SharePoint, Microsoft Office, and related .NET technologies.
Wouter is a frequent contributor to developer community sites such as OpenXmlDeveloper.org and MSDN. He has
published several white papers and articles as well a book available on line titled Open XML: Explained e-book.
Wouter is the founder of Code-Counsel, a Dutch company focusing on delivering cutting-edge technical content
through a variety of channels. You can find out more about Wouter by reading his blog and visiting the Code-
Counsel Web site.
Ted Pattison is a SharePoint MVP, author, trainer and the founder of Ted Pattison Group. In the fall of 2005, Ted
was hired by Microsoft's Developer Platform Evangelism group to author the Ascend developer training curriculum
for Windows SharePoint Services 3.0 and Microsoft Office SharePoint Server 2007. Since that time, Ted has been
entirely focused on educating professional developers on SharePoint 2007 technologies. Ted has just finished
writing a book for Microsoft Press titled Inside Windows SharePoint Services 3.0 that focuses on how to use
SharePoint as a development platform for building business solutions. Ted also writes a developer-focused column
for MSDN Magazine titled Office Space.


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text: by Jim Wallace | Friday, July 01, 2011 | 0 comment(s) Cream Cheese Recipe This is a simple cheese to make and it tastes so much better than store bought. When I began creating this recipe I was pleasantly surprised to learn even more details about cream cheese that I hadn't known before. More Recipes Belper Knolle Category: Beginner, 4-6 Week Aging Colby Category: Semihard/Hard Cheese, Beginner, 4-6 Week Aging Cream Cheese Category: Fresh Cheese, Beginner, No Aging Make Time 45 min Set & Drain 11-22 hrs Aging None Yield 2 pints Ingredients 1 Gallon Whole Milk (Not UltraPasteurized) 1 Pint Heavy Cream (UltraPasteurized is Fine) 1/8-1/4 Tsp Calcium Chloride 1 Packet C21 Buttermilk Culture 4-8 Drops Single Strenght Liquid Rennet 1 Tsp Cheese Salt Herbs/Spices (Optional) Equipment Everything needs to be clean and sanitized. 6+ Quart Stainless Steel Pot Good Quality Thermometer Slotted Spoon/Ladle Large Colander Butter Muslin C21 1 Buttermilk Culture C14 1 155 Calcium Chloride - 1oz R7 1 152 Liquid Animal Rennet - 1oz S1 1 168 Cheese Salt - 8oz E18 1 Thermometer - 6" E19 1 Thermometer - 12" E15 1 Slotted Spoon/Ladle U2 1 121 Butter Muslin - 2yd Buy Supplies Everything you need except the milk History & Info Similar to Neufchatel Cream cheese is similar to Neufchatel from France except that cream cheese has more butterfat - starting with a fat enriched milk of about 7-10%. When this has ripened and the whey drained, the final cheese will have a much higher butterfat content, depending on its final moisture. Cream cheese also has a fresh acidity, due to the dairy bacteria converting lactose to lactic acid. This helps to balance the rich flavors from the cream. However, if you are looking for a lighter cheese then you can easily make a leaner cheese by using less cream or a lower butterfat % cream. Lowering the fat content of the cream too much tends to cause grainy texture and a crumbly body, while increasing the fat content excessively tends to cause excessive smoothness and stickiness. Not Really From Phillie!?!? Cream cheese was originally produced in the US in New York State during the late 1800's. It originally acquired its association with "Philadelphia," not because it was made there but because at that time "Phillie" was known as the home of top quality food. Comercial Vs. Homemade In the commercial process, because cream cheese has a higher fat content than other cheeses, and fat repels water, which tends to separate from the cheese, stabilizers such as guar, xanthan gum, and carob gums are added to prolong its shelf life. The commercial version tends to be essentially an industrial concoction of milk, enough cream to claim it's there and all sorts of gums and stabilizers to make it appear like what it isn't. Here is an ingredient list from the industry standard Philadelphia Brand Cream Cheese: Pasteurized Nonfat Milk, and Milkfat, Cheese Culture, Salt, Stabilizers (Xanthan Gum, and/or Carob Bean Gum, and/or Guar Gum). It is also cooked to much higher temperatures commercially to speed the process up. This is good for the producer's cash flow but not so good for the final product. Because we try to keep these additions from our food sources here, our process will not include anything but great milk and cream, a traditional dairy culture and a few drops of rennet. Recipe You will also find the process and instructions are a rough guide for ripening and draining time, but more importantly, I have provided descriptions and visual cues to: Accommodate the differences in milk quality as well as milk/cream content Allow you to produce exactly the style of cream cheese you want 1. About the Milk: The milk I have chosen to use here is a local milk, but it is also one of the milks that has been pasteurized at higher than normal temperatures (172F as opposed to 161F). I have selected this to use here because this is a milk that is becoming more and more common on store shelves. As you will see in the following photos this does form a very wonderful cream cheese with super flavor and texture. The cream is ultra-pasteurized, as you can see by the label here. This is not a problem, though, because the cream portion is just for the butterfat. The milk portion will provide the proteins for curd formation and should not be ultra-pasteurized. Some of our customers have tried using just half and half for their cream cheese but this often tends to be ultra-pasteurized and will not form a good solid curd since all of the proteins have been damaged in the process. If you do find half and half that is not ultra-pasteurized, that will work for a very rich cheese since it has a higher fat content than the recipe I provide. This may also be more difficult to drain since the butterfat holds the moisture. NOTES: If you do have access to raw milk, you will find that you may need to use less culture and that your ripening times are less. Your curd may also be firmer and you may find that the cheese drains faster. If you pay attention to the ripening and draining cues in the following process, you should be well on track to making a great cheese from your raw milk. If you care to make up a different milk/fat ratio, this table may help: Cream % Content in Dairy Products Heavy Whipping Cream - 36-40% Light Whipping Cream - 30-36% Light or Coffee Cream - 18-30% Single Cream - 20% Half and Half - 10.5% (10-18%) Sour Cream - 18-20% Whole Pasteurized milk - 3.25% 2. Heating and Acidifying the Milk: Pour the milk into your pot and slowly heat to 86F. Many recipes for this cheese suggest starting at room temperature, but the culture works best at 86F and I prefer to start it there. Happy culture always makes a better cheese. It is OK to allow the temperature to drop to room temperature over time. Add 1/4 tsp calcium chloride solution and stir into the milk. Add 1 packet of buttermilk culture (or 1/8 tsp of our MM100 culture). Allow this to rehydrate on the surface before stirring into the milk (keeps it from clumping). Note: Our C101 or MA011 cultures will not provide the added flavor from their ripening strains nor the lighter texture. Add 4 drops of single strength rennet (animal or vegetable). 3. Initial Ripening: Cover the pot and set aside for ripening. The milk now needs to sit quiet for 12-24 hours while the culture works and the rennet coagulates the curd. It is OK if the temperature drops to a temperature of 68-72F. The thermal mass of this milk should keep it warm for a while though. This is where your natural flavor is developed from the complex strains of lactic bacteria as they convert the milk sugars (lactose) to lactic acid. These cultures will produce a buttery flavored compound (Diacetyl) which is a natural byproduct of fermentation. Also a small amount of tiny gas holes (CO2) will be formed causing a lighter texture in the final cheese. Note - Our C101 or MA011 cultures will not provide the added flavor from their ripening strains nor the lighter texture. The higher process temperatures and thickener additions of commercial producers are needed for their shorter process and do not allow the use of this longer beneficial ripening time (this is the flavor development time). Ripening may take 12-24 hours depending on the milk quality and room temperature. My conditions here show this ripening phase in about 14-16 hours but you should watch for the proper ripening of your own milk. I encourage you to watch for this final ripening phase as described below. The final ripening can be determined visually because when the proper amount of acid has been produced, you will notice first small droplets of whey forming on the surface, then these will collect as small pools and then finally a thin layer of whey will cover the entire surface. I usually determine the readiness by watching for small pools about 2-3" in size. You may also see the curd mass pull slightly away from the sides of the pot. If you have a pH meter, the proper ripe state will measure about 5.1-4.9 pH or a titrateable acidity of .5% but there is no need to get that technical here. Too long a ripening may result in an over acid cheese. Some acid production will continue during the draining stage so expect a bit more acid flavor while the whey drains off. Too short a time may result in a weak curd that may be hard to drain and may even run off through the cloth. Make sure the curd holds a good clean break when cut before transferring to the cloth for draining. 4. Draining The Curd: Once the final ripening of the milk has been reached, the curd mass should now be firm enough to be transferred with a slotted spoon to the draining cloth. Prepare a sanitized colander. You need either 1 large or 2 medium sized since this will be a lot of curd to be drained. Line this with a double layer of the butter muslin. Make sure you have a container to collect the whey in. This can be used for cooking, drinking, etc. but not for making ricotta due to high acid. Transfer the curd to the cloth for draining (be careful since this is quite fragile at this point and may break) Allow this to drain for 1-2 hours to release much of the whey. Then pull all 4 corners of the cloth up and tie off with a string. Hang this in an area 68-74F to drain into a pot or sink for another 10-20 hours. During the draining time you should open the cloth every 3-4 hours and scrape the curd from the cloth- mixing the curds to encourage better whey drainage. If your schedule does not permit this it may just take longer to drain. Also, at the last mixing of the curds 1 tsp. salt can be added for flavor and to encourage the final whey release. The final draining time will depend on your preference for texture. The longer it drains, the drier and stiffer (less spreadable) the final cheese. I drain mine here about 16-20 hours for a nice firm cream cheese but still quite spreadable. If you find your cream cheese with too much moisture, then simply drain it a bit longer next time. Remember that warmer draining temperatures will drain moisture more quickly. Also, the rate of draining will depend on different milk qualities and higher fat milks will drain more slowly. 5. Finishing The Cream Cheese: When the cheese has reached its final consistency, you can then use a spoon to blend it well in a bowl for a more homogenous cheese. This would be the time to add any herbs, spices, etc. and to adjust the salt to your taste. You may even use fresh herbs in this because it should all be eaten fresh within a few days. I transfer mine to small clean and sanitized plastic tubs with lids and store at fridge temps. Freshness is never a problem here because it's gone in just a few days. You should easily get 8-10 days or even more of storage for this cheese. My yield is normally about 1.5-2 pints of cream cheese from the original 9 pints of milk/cream. Tips: If your curd is too soft at the end of the initial ripening time, wait a few more hours (up to another 4-6 hrs). If this does not help, try keeping the milk 3-5F warmer on the next try. Also, you can increase the rennet up to double the recommendation. If your final cheese is too acid, then use less time in the initial ripening phase OR use a bit less culture. If your final cheese is too dry, use less draining time in the cloth. If too moist use more. That's it for this recipe, now it's time to enjoy some amazing cream cheese! Category: Fresh Cheese, Beginner, No Aging Main Ingredients: C21 Buttermilk CultureRennet Share With Friends You May Also Like Comments You must be logged in to post comments.


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1996 Ford Mustang GT Repair and Maintenance Costs
A guide to repairs, service, and maintenance costs for your 1996 Ford Mustang GT
Never overpay. Check prices with our estimator
Ask a mechanic in our community
1996 Ford Mustang GT ProblemsSqueaking noise while turning due to worn outer tie rod ends
If a squeaking noise is heard while turning the steering wheel, the outer tie rod ends may be worn and should be replaced.
Internal heater blower motor issues can cause a ticking noise from the heater blower when the fan is on. To correct this concern, replace the heater blower motor with a revised unit.
An internal transmission issue can cause a longer than normal shift from first to second gear, and it can feel harsh. Premature wear of the accumulator seal from scuffing of the accumulator case bore is the cause, and replacing the 1-2 accumulator spring, seal, and piston will correct this concern.
1996 Ford Mustang GT QuestionsWhy wont button push to get out of park (1 answer)
When car is on, noise coming from under the trunk and it sounds like a electrical motor. I don't have a power antenna


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If You Believe You Can, You Can
Over the years, I have often wondered why one person can heal almost instantly and miraculously while another one gets an instant benefit and then lapses back into dis-ease. My questions have yielded various answers from not maintaining the 'vibration' of wholeness to 'reaching back into dis-ease' with one's thoughts. They are essentially the same thing, but I realize that some people seem to have a mindset that naturally looks for what is wrong while others naturally have a set point toward what is possible.
In my quest to unravel the riddle of all humanity, I have wondered if people can change. And, if they truly can, then is this most beneficial? I wonder if we are meant to just ride the rail of whatever we are or are we supposed to move and evolve.
What I've observed over a lifetime is that we can never get away from what we are. What we are, though, is constantly changing, flexing with our reactions to our experience. But, in this, there is a constant…the soul is always what it is and never deviates from what it is and how it expresses. This is the highest and best inside of us, and it is always guiding us like a light within.
I see soul gifts that reflect the being's soul wisdom, and this wisdom is always seeking to serve. No matter how closed off the person is, this energy is seeking its expression.
The rest, I believe, is up for change. We, as humans, are some of the most unevolved creatures with the most amazing ability to adapt. We could evolve quickly and yet if we remain trapped in our humanness, we seemingly evolve at a snail's pace.
As humans, we have one function that allows us to rise above. It is our ability to consciously connect to divine…higher consciousness. We can literally bypass the smallest part of us and choose to go beyond; we may choose to expand into all that is and all that we already are.
This is such a comforting thought…to realize that if you believe you can, you can. With a simple shift in focus, a change in thought, we can literally make giant leaps in consciousness.
Dare to believe and think you can!


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Hi Kathy
I was told that it is a California Ginger. Which I purchased at Home
Depot. It did bear some white flowers while I was away.
I wish I had seen them..
I did find a Variegated Shell Ginger, which is similar to what I have.
Hope this helps
In a message dated 9/11/2005 9:46:30 P.M. Eastern Standard Time,
firstname.lastname@example.com writes:
In a message dated 9/9/2005 11:38:03 PM Central Standard Time,
firstname.lastname@example.com writes:
Holli, Am intrigued by your tropicals. Beautiful! What is the lush plant in
photo #269? Kathyz5
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Party World Bouncers, party store, listed under "Party Stores" category, is located at 5114 Service Center Dr San Antonio TX, 78218 and can be reached by 2103102250 phone number. Party World Bouncers has currently 0 reviews.This business profile is not yet claimed, and if you are the owner, claim your business profile for free. If you are not the owner you can invite this business to join by email or by phone.Browse all Party Stores in San Antonio TX. Discover census data for San Antonio, TX.
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The Horse Forum (http://www.horseforum.com/forumindex.php)
- Horse Training (/horse-training/)
- - Ottbs (http://www.horseforum.com/horse-training/ottbs-151743/)
Ok bear with me I'm only 16. I have been riding for 8 years (only seriously riding for 2) own an ex stallion (gelded at six, now he's 12), jumped, did western, and tons of trails + bareback. I'm a full time working student at a barn. (I'm not saying im super advanced, just showing you that I do know what I'm talking about)
I've ridden a very well trained ottb before.
I really want to pursue a career with horses, however I don't just want show horses because I want to "rescue" horses, however I also want to turn my rescued horses into sport horses (if sound, and Im well aware they probably won't be)
My question is have you ever worked with ottbs? What was the experience like, how was it training them, do they make good sport horses, and anything else!
I mostly want to focus on jumping, however I can do first level dressage. (all you dressage riders get the joke)
There is lots of variety in OTTBs. Some sound. Some not.
I hope you can find a trainer to work with. At this stage it doesn't really matter what discipline trainer you work with. Any experience will be beneficial. Have fun on your career path.
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BMW M5 vs Nissan GT-R - www.autocar.co.uk
The BMW M5 and Nissan GT-R are not conventional rivals, but both have around 550bhp, cost nearly £75k and promise brutal performance. So which one wins our series of tests?
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This our new BMW M5 F10 valve controlled Exhaust system you'll be able to open and close when ever you want. 110dB when opened stock when closed


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I'm speaking in downtown Baltimore this Thursday at 12 noon about my most recent book, Schools for Misrule. I've given versions of this talk many times around the country but I think this marks the first time I've done so in my own state of Maryland. It's free and lunch is served, but you'll need to RSVP to the Federalist Society Baltimore Lawyers' Chapter. Details here.
Posts Tagged 'Schools for Misrule'
Speaking on the nanny state and food policy
I'm back from a speaking swing through Nebraska. At the University of Nebraska College of Law in Lincoln, I spoke about food and drink paternalism as exemplified by Mayor Michael Bloomberg's initiatives in New York, with Prof. Steven Willborn providing a counterpoint from a more liberal perspective. At Creighton University Law School in Omaha, I spoke (as I often do) on the ideological state of the law schools, drawing on my 2011 book Schools for Misrule, with commentary from Profs. Ralph Whitten and Sara Stadler.
Both events were well attended but I was especially pleased at the strong turnout for the talk in Lincoln on food and the nanny state, a new speech I hadn't tried out before on a general audience. Here's a description:
The public is increasingly in revolt against "nanny state" interventions, from Mayor Bloomberg's attempt to limit soda sizes in New York, to efforts to ban Happy Meals in San Francisco. Some thinkers dismiss concern about paternalism as merely trivial and personal, not on a par with issues acknowledged as "serious" such as police abuse, free speech, surveillance, and the proper functioning of the legal system. Left unchecked, however, the project of paternalism quickly generates very serious problems in each of those other areas: it gives police and enforcers great arbitrary power, hands a special government megaphone to some speakers while stifling others, funnels uncomfortably personal information into government hands, and fuels abusive litigation. No matter what you think of potato chips, if your interests are in liberty and good government, you should be paying attention.
I'm next scheduled to speak on the food police Sept. 23 at a Heritage Foundation panel discussion with Baylen Linnekin, Nita Ghei, and J. Justin Wilson, hosted by Daren Bakst. Details here. More on my fall speaking schedule here.
Schools for Misrule excerpt: how the Ford Foundation reshaped law schools
As much as any other institution, the Ford Foundation has shaped the modern American law school, having provided key backing for developments such as clinical legal education, public interest law, identity-based legal studies, and transnational law. Whether you agree or disagree with Ford's ideological thrust — and as a libertarian, I regularly disagree — it's a pretty remarkable set of accomplishments. I give an overview and brief history in this new article for the Capital Research Center's Foundation Watch, adapted from my book Schools for Misrule. (cross-posted from Cato at Liberty; welcome readers from George Leef, NRO)
More: some essays on Ford's crucial support during the formative period of public interest litigation [Steven Schindler, more, Scott Kohler]
May 26 roundup
- "New Study: U.S. Legal System Is World's Most Costly" [Daniel Fisher, Ted Frank on Chamber/NERA study]
- "Madoff lawyers collect $700 million in fees" [CNN Money]
- "How insurance substitutes for regulation" [Omri Ben-Shahar and Kyle Logue, Regulation, PDF]
- On the Founders' concept of rights as embodied in Declaration of Independence [Ray Hartwell, American Spectator; and thanks for reference to my book Schools for Misrule]
- "A Glass Half Full Look at the Changes in the American Legal Market" [Benjamin Barton, SSRN]
- Oooh, a whole WordPress site devoted to ripe-for-rediscovery social scientist Edward Banfield [Kevin Kosar: Edward C. Banfield, An Online Resource]
- "Q. How does one go from editing an adult magazine to practicing law?" [Susannah Breslin interviews Dan Kapelovitz]
Law schools roundup
- "If a law school held a conference on intellectual diversity and the panels really were intellectually diverse …You can bet your last nickel it was sponsored by the Federalist Society." [Bainbridge, Nick Rosenkranz and more, Harvard Gazette; my 2011 book Schools for Misrule]
- Washington Law Review takes one step to counter another problem addressed in Schools for Misrule, lawprofs' conflicts of interest [Bainbridge]
- BC dean: law schools should adopt residency model from medical education [Vincent Rougeau, ABA Legal Rebels via Paul Caron/TaxProf]
- Missouri police union head, under fire for Facebook comments, is also constitutional law prof [Mike Riggs]
- Some say drive for slave reparations is defunct, but U.Va. conference confirms many legal academics still haven't given up on it [Alfred Brophy via Bainbridge]
- "Academy's Heavyweights Opine on Law Schools' Problems" [WSJ via Legal Ethics Forum]
- "Board of Regents to Investigate $5.5 Million in Forgivable Loans to University of Texas Law Profs" [Caron]
67 leading law profs: time to reform legal education
A letter to the ABA signed by 67 big names in legal education [Caron/TaxProf] comes to conclusions about the economic organization of law schools very similar to those I reached two years ago in the relevant section of Schools for Misrule (not claiming any particular prescience on my part, others had made a similar case before and the signs were clear enough to anyone who would look). Their recommendations:
Legal education cannot continue on the current trajectory. As members of a profession committed to serving the public good, we must find ways to alter the economics of legal education. Possible changes include reducing the undergraduate education required for admission to three years; awarding the basic professional degree after two years, while leaving the third year as a elective or an internship; providing some training through apprenticeship; reducing expensive accreditation requirements to allow greater diversity among law schools; building on the burgeoning promises of internet-distance education; changing the economic relationship between law schools and universities; altering the influence of current ranking formulas; and modifying the federal student loan program. As legal educators, it is our responsibility to grapple with these issues before our institutions are reshaped in ways beyond our control.
Bainbridge on clinical legal education
Stephen Bainbridge has some speculations about whether university law clinics can be successfully divorced from politicized cause-mongering, and along the way, kind comments for my book Schools for Misrule. More: Ann Althouse.
Law schools roundup
- U. Miami: "Law School Email Draws Fire Amid Hotly Contested Retention Election for 3 Top Florida Judges" [ABA Journal, earlier on election]
- Janet Jenkins sues Liberty U. School of Law, charging assistance to custody-nappers; school describes suit as baseless [ABA Journal, earlier on Miller-Jenkins custody case]
- "Maybe a lawprof is not what you want in a politician. And yet, Bill Clinton was a lawprof. So was Hillary Clinton. And there are different types of lawprofs. They don't all listen, give ground, and offer complex caveats!" [Ann Althouse]
- "Former law student became a chronic litigant" [Boston Globe]
- Andrew Morriss on Tamanaha's Failing Law Schools [Liberty Law]
- "Institute for Humane Studies Webcast on the Pros and Cons of Law School" [Ilya Somin]
- Fred Rodell knew: reasons not to write law review articles [Matthew Salzwedel, Lawyerist] What a rising law professor should put in a book review [Pierre Schlag via Prof. Bainbridge]
- Bradley C.S. Watson on law school progressivism [National Review, pay site, mentions Schools for Misrule]
Bias against conservative lawprofs: Wagner case heads toward trial
The Associated Press covers the pending lawsuit against the University of Iowa by Teresa Wagner, who believes she was shot down for a job teaching legal writing because of her outspokenly conservative views (earlier here, here, and here). A federal trial starts Monday in Davenport, Iowa.
One sentence misses the mark slightly in conveying my views. As I should have taken pains to make clear, the Supreme Court's Roe v. Wade decision, as a decision, is by no means sacrosanct in legal academia; law professors both right and left, young and old, criticize it often for its reasoning, as a political blunder, and on other grounds. What is a good bit less common — and especially rare among younger academics aiming for tenure offers at law schools with no religious affiliation — is a passionate stand against abortion in itself, like Ms. Wagner's.
The university, for its part, disclaims political bias and apparently intends to argue that Ms. Wagner did not perform as well at the interview stage as her lawyers contend. As I told the AP, while I have no doubt that political bias is rife — in 2007, Iowa's law faculty is recorded as having had 46 registered Democrats and only one registered Republican — I have severe doubts that the courts will improve matters by peering over the hiring committees' shoulders. (& TaxProf with links; Des Moines Register "Juice"; Prof. Bainbridge)
AALS letting its biases show
You mean there might be than one legitimate point of view on vote-integrity legislation? Hans von Spakovsky spots some ideological assumptions going unquestioned at the Association of American Law Schools, and mentions the larger pattern as sketched out in Schools for Misrule [National Review]


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What enables a baby's brain to learn so rapidly during early developmental critical periods? What cell and molecular mechanisms cause the decline in extensive plasticity by adulthood? The goal here is to enhance synaptic plasticity by discovering and then blocking endogenous mechanisms that function to suppress plasticity and circuit change. Specifically, can manipulations of the neuronal receptor PirB (Paired Immunoglobulin-like receptor B;Lilrb3 in humans) "release the brake" on ocular dominance (OD) plasticity, a form of experience-dependent synaptic plasticity in visual cortex? In the immune system PirB is a receptor for Major Histocompatibility Class I molecules, famous ligands for T-cell receptors. This Lab made the unexpected discovery that neurons express PirB and MHCI molecules at synapses. OD plasticity is enhanced in visual cortex of mice with germline deletion of PirB, consistent with PirB acting to brake synaptic plasticity.
Three specific aims are proposed: 1) Determine if acute deletion of PirB postnatally enhances OD plasticity: A conditional allele of PirB (PirB flox/flox) has been made, allowing acute temporal and cell-type disruption of PirB by crossing mice with tamoxifen-inducible Cre transgenic lines. Direct blockade of PirB with recombinant soluble truncated PirB protein or function-blocking antibodies will also be used. These experiments should reveal when and in what cell types PirB acts. 2) Link enhanced OD plasticity in PirB-/- mice to cellular mechanisms of synaptic plasticity. Long-term potentiation (LTP) and long-term depression (LTD) will be studied in vitro in visual cortex slices using physiological methods. Dendritic spine density of YFP-labeled layer 5 pyramidal neurons will be measured in PirB-/- vs WT mice reared with normal visual experience or with monocular eye closure;spine stability will be examined using two-photon microscopy. These experiments should broaden understanding of how PirB acts at synaptic and structural levels to suppress plasticity. 3) Identify PirB signal transduction pathways in mouse visual cortex: Candidate signaling pathways downstream of PirB will be identified and evaluated by comparing visually-driven signaling in WT vs germline PirB-/- mouse visual cortex during and after the critical period. Changes in expression and phosphorylation levels will be assessed in candidate pathways including MAP Kinase, AKT and mTOR signaling. Studies here will employ genetic, biochemical, electrophysiological, imaging and anatomical methods in mice to assess OD plasticity at the systems level and to understand cellular and molecular mechanisms of PirB function. Together, experiments should elucidate how PirB normally acts in neurons to suppress synaptic-plasticity signaling pathways during and beyond the critical period, as well as test feasibility of restoring OD plasticity by acute PirB blockade. They represent key steps in understanding mechanisms of developmental critical periods, as well as for designing new ways to enhance CNS function and repair by engaging the brain's inherent capacity for neural plasticity.
The idea that extensive synaptic plasticity might be restored to the brain by releasing the brake on mechanisms that act endogenously to suppress plasticity and circuit change has important clinical implications. If brain circuits can be restore to a more immature state in which synaptic plasticity can be easily engaged, it might be possible to facilitate recovery following damage or memory loss associated with Stroke, Alzheimer's or other neurodegenerative disorders of aging. Retraining the brain might also be applied post hoc for childhood learning disabilities including Dyslexia or Amblyopia in the developing visual system, and possibly even for treatment of Autism.
|Bochner, David N; Sapp, Richard W; Adelson, Jaimie D et al. (2014) Blocking PirB up-regulates spines and functional synapses to unlock visual cortical plasticity and facilitate recovery from amblyopia. Sci Transl Med 6:258ra140
|Lee, Hanmi; Brott, Barbara K; Kirkby, Lowry A et al. (2014) Synapse elimination and learning rules co-regulated by MHC class I H2-Db. Nature 509:195-200
|Kim, Taeho; Vidal, George S; Djurisic, Maja et al. (2013) Human LilrB2 is a *-amyloid receptor and its murine homolog PirB regulates synaptic plasticity in an Alzheimer's model. Science 341:1399-404
|Kanold, Patrick O; Kim, Yoon A; GrandPre, Tadzia et al. (2009) Co-regulation of ocular dominance plasticity and NMDA receptor subunit expression in glutamic acid decarboxylase-65 knock-out mice. J Physiol 587:2857-67
|Datwani, Akash; McConnell, Michael J; Kanold, Patrick O et al. (2009) Classical MHCI molecules regulate retinogeniculate refinement and limit ocular dominance plasticity. Neuron 64:463-70
|McKellar, Claire E; Shatz, Carla J (2009) Synaptogenesis in purified cortical subplate neurons. Cereb Cortex 19:1723-37
|Shatz, Carla J (2009) MHC class I: an unexpected role in neuronal plasticity. Neuron 64:40-5
|Butts, Daniel A; Kanold, Patrick O; Shatz, Carla J (2007) A burst-based "Hebbian" learning rule at retinogeniculate synapses links retinal waves to activity-dependent refinement. PLoS Biol 5:e61
|Majdan, Marta; Shatz, Carla J (2006) Effects of visual experience on activity-dependent gene regulation in cortex. Nat Neurosci 9:650-9
|Kanold, Patrick O; Shatz, Carla J (2006) Subplate neurons regulate maturation of cortical inhibition and outcome of ocular dominance plasticity. Neuron 51:627-38
Showing the most recent 10 out of 67 publications