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The Preservation of Glazed Terra Cotta
NPS Preservation Brief 7
By de Teel Patterson Tiller
Architectural Historian, Technical Preservation Services
What is terra-cotta? Types of terra-cotta Characteristics of glazed architectural terra-cotta Common deterioration problems Deterioration inspection and analysis Maintenance, repair and replacement Summary Taking it further
Terra-cotta detail on the Adams Hotel, Tulsa, Oklahoma. Photo: NPS files.
Glazed architectural terra-cotta was significant in the development of important architectural idioms in this country--specifically, the "Chicago School," the High Rise and the Historic or Beaux Arts styles. In fact, glazed architectural terra-cotta is one of the most prevalent masonry building materials found in the urban environment today. Popular between the late 19th century and the 1930s, glazed architectural terra-cotta offered a modular, varied and relatively inexpensive approach to wall and floor construction. It was particularly adaptable to vigorous and rich ornamental detailing. However, with changing vogues in materials and architectural styles and rising production costs, glazed architectural terra-cotta fell into disfavor and disuse by the mid 20th century.
Today, information on the maintenance, rehabilitation and replacement of glazed architectural terra-cotta is limited, as are sources of new glazed architectural terra-cotta. This report, then, will discuss some of the major deterioration problems that commonly occur in historic glazed architectural terra-cotta, methods of determining the extent of that deterioration and recommendations for the maintenance, repair and replacement of the deteriorated historic material.
Generically, the broadest definition of terra-cotta refers to a high grade of weathered or aged clay which, when mixed with sand or with pulverized fired clay, can be molded and fired at high temperatures to a hardness and compactness not obtainable with brick. Simply put, terra-cotta is an enriched molded clay brick or block. The word terra-cotta is derived from the Latin word terra-cotta--literally, "cooked earth." terra-cotta clays vary widely in color according to geography and types, ranging from red and brown to white.
Terra-cotta was usually hollow cast in blocks which were open to the back, like boxes, with internal compartment-like stiffeners called webbing. Webbing substantially strengthened the load-bearing capacity of the hollow terra-cotta block without greatly increasing its weight.
Terra-cotta blocks were often finished with a glaze; that is, a slip glaze (clay wash) or an aqueous solution of metal salts was brushed or sprayed on the air-dried block before firing. Glazing changed the color, imitated different finishes, and produced a relatively impervious surface on the weather face of the final product. The glaze on the terra-cotta unit possessed excellent weathering properties when properly maintained. It had rich color and provided a hard surface that was not easily chipped off. Glazing offered unlimited and fade-resistant colors to the designer. Even today, few building materials can match the glazes on terra-cotta for the range and, most importantly, the durability of colors.
Historically there are four types or categories of terra-cotta which have enjoyed wide use in the history of the American building arts: 1) brownstone, 2) fireproof construction, 3) ceramic veneer, and 4) glazed architectural.
Brownstone terra-cotta is the variety of this masonry material used earliest in American buildings (mid to late 19th century). The brownstone type is a dark red or brown block either glazed (usually a slip glaze) or unglazed. It was hollow cast and was generally used in conjunction with other masonry in imitation of sandstone, brick or real brownstone. It is often found in the architecture of Richard Upjohn, James Renwick, H. H. Richardson and is associated with the Gothic and Romanesque Revival movements through such ornamental detailing as moldings, finials and capitals.
Fireproof construction terra-cotta was extensively developed as a direct result of the growth of the High Rise building in America. Inexpensive, lightweight and fireproof, these rough-finished hollow building blocks were ideally suited to span the I-beam members in floor, wall and ceiling construction. Certain varieties are still in production today, although fireproof construction terra-cotta is no longer widely employed in the building industry.
Ceramic veneer was developed during the 1930s and is still used extensively in building construction today. Unlike traditional architectural terra-cotta, ceramic veneer is not hollow cast, but is as its name implies: a veneer of glazed ceramic tile which is ribbed on the back in much the same fashion as bathroom tile. Ceramic veneer is frequently attached to a grid of metal ties which has been anchored to the building.
Glazed architectural terra-cotta was a practical and highly decorative building material. Photo: NPS files.
Glazed architectural terra-cotta was the most complex development of terra-cotta as a masonry building material in this country. The hollow units were hand cast in molds or carved in clay and heavily glazed (often in imitation of stone) and fired. Sometimes called "architectural ceramics," glazed architectural terra-cotta was developed and refined throughout the first third of the 20th century and has been closely associated with the architecture of Cass Gilbert, Louis Sullivan, and Daniel H. Burnham, among others. Significant examples in this counztry include the Woolworth Building (1913) in New York City and the Wrigley Building (1921) in Chicago.
Late 19th and early 20th century advertising promoted the durable, impervious and adaptable nature of glazed architectural terra-cotta. It provided for crisp, vigorous modeling of architectural details as the molds were cast directly from clay prototypes without loss of refinement. Glazed architectural terra-cotta could accommodate subtle nuances of modeling, texture and color. Compared to stone, it was easier to handle, quickly set and more affordable to use. Thought to be fireproof and waterproof, it was readily adaptable to structures of almost any height. The cost of molding the clay, glazing and firing the blocks, when compared to carving stone, represented a considerable savings, especially when casts were used in a modular fashion--that is, repeated over and over again. Maintenance of the fired and glazed surface was easy; it never needed paint and periodic washings restored its original appearance.
With the passage of time, many of the phenomenal claims of the early proponents of glazed architectural terra-cotta have proven true. There are many examples throughout this country that attest to the durability and permanence of this material. Yet present-day deterioration of other significant glazed architectural terra-cotta resources ultimately belie those claims. Why? Historically, the lack of foresight or understanding about the nature and limitations of the material has, in many instances, allowed serious deterioration problems to occur that are only now becoming apparent.
Characteristics of glazed architectural terra-cotta as a building material
Glazed architectural terra-cotta has many material properties similar to brick or stone. It also has many material properties radically different from those traditional masonry materials. It is those differences which must be considered for a better understanding of some of the material characteristics of glazed architectural terra-cotta when it is used as a building material.
Difficult to identify: Glazed architectural terra-cotta probably comprises one of the largest if not the largest constituent material in some of our urban environments today. However, the infinite varieties of glazing have hidden this fact from the casual observer. One of the attractive features of glazed architectural terra-cotta in its time was that it could be finished (glazed) in exact imitation of stone. In fact, many building owners and architects alike are often surprised to discover that what they presumed to be a granite or limestone building is glazed architectural terra-cotta instead.
Two separate systems: Historically, glazed architectural terra-cotta has been used in association with two specific and very different types of building systems: as part of a traditional load-bearing masonry wall in buildings of modest height, and as a cladding material in High Rise construction. As cladding, glazed architectural terra-cotta often utilized an extensive metal anchoring system to attach it or to "hang it" onto a wall framing system or superstructure. In the first instance the anchoring was limited; in the second, the anchoring was often extensive and complex. Likewise, in the first instance, deterioration has generally been limited. However, where glazed architectural terra-cotta was used as cladding, particularly in High Rise construction, present-day deterioration and failure are often severe.
Complexity of deterioration: Deterioration is, by nature of the design, infinitely complex--particularly when glazed architectural terra-cotta has been used as a cladding material. Deterioration creates a "domino"like breakdown of the whole system: glazed units, mortar, metal anchors, and masonry backfill. In no other masonry system is material failure potentially so complicated.
Poor original design: The root of deterioration in glazed architectural terra-cotta systems often lies in a misapplication of the material. Historically, glazed architectural terra-cotta was viewed as a highly waterproof system needing neither flashing, weep holes nor drips. This supposition, however, has proved to be untrue, as serious water-related failure was evident early in the life of many glazed architectural terra-cotta clad or detailed buildings.
No one case of deterioration in glazed architectural terra-cotta is ever identical to another owing to the infinite number of variations with the material: original manufacture, original installation inconsistencies, number of component parts, ongoing repairs or the various types and sources of deterioration. However, certain general statements may be made on the nature of glazed architectural terra-cotta deterioration.
Material failure can most commonly be attributed to water-related problems. However, less frequent though no less severe causes may include: faulty original craftsmanship, which is often cited but hard to determine; stress-related deterioration; damage caused by later alterations and additions; or inappropriate repairs.
Water-related deterioration: As with most building conservation and rehabilitation problems, water is a principal source of deterioration in glazed architectural terra-cotta. Terra-cotta systems are highly susceptible to such complex water-related deterioration problems as glaze crazing, glaze spalling and material loss, missing masonry units and deteriorated metal anchoring, among others.
Water and air-borne moisture entering glazed architectural terra-cotta causes expansion of the porous clay body, increasing its volume. This upsets the "fit" of the glaze and makes its surface shatter, which is commonly called "crazing." Photo: NPS files.
Crazing, or the formation of small random cracks in the glaze, is a common form of water-related deterioration in glazed architectural terra-cotta. When the new terra-cotta unit first comes from the kiln after firing, it has shrunken (dried) to its smallest possible size. With the passage of time, however, it expands as it absorbs moisture from the air, a process which may continue for many years. The glaze then goes into tension because it has a lesser capacity for expansion than the porous tile body; it no longer "fits" the expanding unit onto which it was originally fired. If the strength of the glaze is exceeded, it will crack (craze).
Crazing is a process not unlike the random hairline cracking on the surface of an old oil painting. Both may occur as a normal process in the aging of the material. Unless the cracks visibly extend into the porous tile body beneath the glaze, crazing should not be regarded as highly serious material failure. It does, however, tend to increase the water absorption capability of the glazed architectural terra-cotta unit.
Spalling, the partial loss of the masonry material itself, is, like crazing, caused by water and is usually a result not only of airborne water but more commonly of water trapped within the masonry system itself. Trapped water is often caused by poor water detailing in the original design, insufficient maintenance, rising damp or a leaking roof. In most cases, trapped water tends to migrate outward through masonry walls where it eventually evaporates.
In glazed architectural terra-cotta, the water is impeded in its journey by the relatively impervious glaze on the surface of the unit which acts as a water barrier. The water is stopped at the glaze until it builds up sufficient pressure (particularly in the presence of widely fluctuating temperatures) to pop off sections of the glaze (glaze spalling) or to cause the wholesale destruction of portions of the glazed architectural terra-cotta unit itself (material spalling).
Blistering of the glaze, like crazing, is the result of the increase in water in the porous clay body and the subsequent destruction of the glaze as a result of water migration and pressure. Glaze spalling may also be caused by deterioration of metal anchors behind the terra-cotta unit. Photo: NPS files.
Glaze spalling may appear as coin-size blisters where the glaze has ruptured and exposed the porous tile body beneath. Photo: NPS files.
Glaze spalling may appear as small coin-size blisters where the glaze has ruptured and exposed the porous tile body beneath. This may occur as several spots on the surface or, in more advanced cases of deterioration, it may result in the wholesale disappearance of the glaze. Spalling of the glaze may also be symptomatic of deterioration (rusting) of the internal metal anchoring system which holds the terra-cotta units together and to the larger building structure. The increase in volume of the metal created by rusting creates increased internal pressures in the terra-cotta unit which, in turn, may spall the glaze, or in more extreme cases, cause material spalling.
Material spalling is a particularly severe situation. Not only is the visual integrity of the detailing impaired, but a large area of the porous underbody, webbing and metal anchoring is exposed to the destructive effects of further water entry and deterioration. Both glaze and material spalling must be dealt with as soon as possible. Missing units is a serious situation which particularly plagues architectural terra-cotta systems.
Unlike brick or stone, damaged glazed architectural terra-cotta is exceedingly difficult to replace. New production is extremely limited. Missing units create gaps which increase the structural load on the remaining pieces and also permit water to enter the system. Exposed or freestanding glazed architectural terra-cotta detailing (balusters, urns, parapet walls, etc.) are particularly susceptible to extensive loss of material.
These elements face the most severe vicissitudes of water and temperature-related deterioration in direct proportion to the extent of their exposure. The replacement of missing units should be a high priority work item in the rehabilitation of glazed architectural terra-cotta.
Deterioration of metal anchoring: Deteriorated anchoring systems are perhaps the most difficult form of glazed architectural terra-cotta deterioration to locate or diagnose. Often, the damage must be severe and irreparable before it is noticed on even the most intense "prima facie" examination. Water which enters the glazed architectural terra-cotta system can rust the anchoring system and substantially weaken or completely disintegrate those elements.
Where water has been permitted to enter the system, some deterioration has more than likely taken place. Partial deterioration results in staining and material spalling. Total deterioration and the lack of any anchoring system may result in the loosening of the units themselves, threatening the architectural or structural integrity of the building. Recently, falling glazed architectural terra-cotta units have become a serious safety concern to many building owners and municipal governments. Early detection of failing anchoring systems is exceedingly difficult.
Deterioration of mortar and other adjacent materials: Deteriorated mortar has always been a key to the survival or failure of any masonry system. This is particularly true with glazed architectural terra-cotta. In recognition of the fragile nature of the system, the need for insuring a relatively dry internal system is important.
Sound mortar is the "first line" of defense in terra-cotta systems. It is a maintenance "must." Deteriorated mortar joints are a singularly culpable source of water and, therefore, of deterioration. Mortar deterioration may result from improper original craftsmanship or air--and waterborne--pollution. More often, however, lack of ongoing maintenance is mainly responsible. Deteriorated mortar should not be overlooked as a major source of glazed architectural terra-cotta failure.
The damage shown here is the result of direct live load on a mid-rise building. The steel frame has settled and shifted the weight onto the exterior terra-cotta cladding, resulting in rupturing of the material. Photo: NPS files.
The deterioration of materials adjoining the glazed architectural terra-cotta (flashing, capping, roofing, caulking around windows and doors) bears significant responsibility in its deterioration. When these adjoining materials fail, largely as a result of lack of maintenance, water-related deterioration results. For instance, it is not uncommon to find wholesale terra-cotta spalling in close proximity to a window or doorway where the caulking has deteriorated.
Stress-related deterioration: Stress-related deterioration of glazed architectural terra-cotta frequently occurs in High Rise buildings. The evolution of stress relieving details (flexible joints, shelf angles, etc.) occurred late in the development of American building construction. Consequently, most early continuously clad High Rise buildings (c.1900-1920s) had little or no provisions for normal material and building movement in their original design.
The development of large stress-related cracks or wholesale material deterioration is often caused by unaccommodated building-frame shortening under load, thermal expansion and contraction of the facade and moisture expansion of the glazed architectural terra-cotta units themselves. Cracks running through many units or stories or large areas of material deterioration often indicate stress-related problems. This sort of deterioration, in turn, permits significant water entry into the terra-cotta system.
Inappropriate repairs: Inappropriate repairs result because using new terra-cotta for replacement of deteriorated or missing glazed architectural terra-cotta has generally been impractical. Repairs, therefore, have traditionally been made in brick or cementitious build ups of numerous materials such as stucco or fiberglass. Some materials are appropriate temporary or permanent replacements, while others are not. (These issues are discussed at a later point in this report.) However, improper anchoring or bonding of the repair work or visual incompatibility of repairs have themselves, with the passage of time, become rehabilitation problems: replacement brick that is pulling free, cement stucco that is cracking and spalling, or a cement or bituminous repairs that are not visually compatible with the original material.
Alteration damage: Alteration damage has occurred as a result of the installation of such building additions as signs, screens, marquees or bird proofing. These installations often necessitated the boring of holes or cutting of the glazed architectural terra-cotta to anchor these additions to the building frame beneath. As the anchoring or caulking deteriorated, or as these elements were removed in subsequent renovation work, these holes have become significant sources of water-related damage to the glazed architectural terra-cotta system.
Deterioration inspection and analysis
Certain deterioration in glazed architectural terra-cotta may be on the building surface and patently obvious to the casual observer--crazing, spalling, deterioration of mortar joints. Other deterioration may be internal or within the masonry system and hard to determine -- deterioration of anchoring, deterioration behind the glaze, crumbling of internal webbing. Prima facie, "first inspection," examination may indicate surface deterioration problems while not revealing others. This demonstrates one of the most frustrating aspects of dealing with deteriorated glazed architectural terra-cotta: that there are two systems or levels of deterioration, one which is visible and the other which is not.
Material spalling is the result of excessive expansion of the porous tile body caused by water and freezing temperatures. This is a serious condition, often difficult to repair. Photo: NPS files.
Material failure in glazed architectural terra-cotta is necessarily complex. For this reason, it is generally advised that the examination and repair of this material should be the responsibility of an experienced professional. Few restorationists have experience in the inspection, repair and replacement of glazed architectural terra-cotta. This is certainly never the province of the amateur or the most well-intentioned but inexperienced architect or engineer.
There are some methods of internal and external inspection and analysis which are relatively simple to the trained professional. Other methods, however, are expensive, time consuming, and only in the experimental stage at this writing. These all generally preclude the use of anyone but an experienced professional.
Preliminary cleaning: Before a terra-cotta building is analyzed for deterioration, it is often advisable, but not always necessary, to clean the surface of the material. This is particularly true when the material has been exposed to the vicissitudes of heavy urban pollution. While most building materials are cleaned for cosmetic purposes, the cleaning of glazed architectural terra-cotta for the purpose of inspection and analysis may be advised. Dirt on glazed architectural terra-cotta often hides a multitude of problems. It is only with cleaning that these problems become obvious. Recommended cleaning procedures are covered later in the report.
Methods of inspection: Prima facie analysis is the unit by unit, firsthand, external inspection of the glazed architectural terra-cotta building surface. Special note of all visible surface deterioration (staining, crazing, spalling, cracking, etc.) should be made on elevation drawings. Binoculars are often used where cost, height, or inaccessibility prevent easy inspection. However, much deterioration may go unnoticed unless scaffolding or window-washing apparatus is used in a true "hands on" inspection of each unit of the facade.
Tapping, a somewhat inexact method of detection of internal deterioration is, nevertheless, the most reliable inspection procedure presently available. Quite simply, tapping is the striking of each unit with a wooden mallet. When struck, an undamaged glazed architectural terra-cotta unit gives a pronounced ring, indicating its sound internal condition. Conversely, deteriorated units (i.e., units which are failing internally) produce a flat, hollow sound. Metal hammers are never to be used, as they may damage the glazed surface of the unit. Extensive experience is the best teacher with this inspection method.
Infrared scanning is only in the experimental stage at this time, but its use seems to hold great promise in locating deteriorated internal material in terra-cotta. All materials emit heat--heat which can be measured in terms of infrared light. While infrared light cannot be seen by the human eye, it can be measured by infrared scanning. Infrared photography, a kind of infrared scanning, has been of particular use in detecting sources of heat loss in buildings in recent years. Broken or loose internal terra-cotta pieces have a less firm attachment to the surrounding firm or attached pieces and, therefore, have different thermal properties, i.e., temperatures. These temperature differences become evident on the infrared scan and may serve as a fair indication of internal material deterioration in terra-cotta.
Sonic testing has been successfully used for some time to detect internal cracking of concrete members. In the hands of an experienced operator, there are conditions where it can detect internal failure in glazed architectural terra-cotta. Sonic testing registers the internal configuration of materials by penetrating the material with sound waves and reading the patterns that "bounce back" from the originating source of the sound. Readings at variance with those from undeteriorated material might indicate collapsed webbing or pools of water in the interior of the terra-cotta unit.
Metal detection is a non-destructive and generally useful way of locating the position of internal metal anchoring. Metal detectors indicate the presence of metals by electromagnetic impulses. These impulses are transmitted onto an oscilloscope where they may he seen or they are converted to sound patterns which may be heard by the operator. Original drawings are eminently useful in predicting where internal metal anchoring should be. Metal detectors can confirm that indeed they are still there. Without original drawings, the contractor or architect can still locate the metal anchoring, however. No reading where an anchor would be expected could indicate a missing anchor or one that has seriously deteriorated. The information produced by metal detection is, at best, only rough. However, it is the most viable way of locating the internal metal anchoring without physically removing, thus irreparably damaging, the glazed architectural terra-cotta units themselves.
Laboratory analysis may be carried out on samples of removed original material to find glaze absorption, permeability or glaze adhesion, or to evaluate material for porosity. These tests are useful in determining the present material characteristics of the historic glazed architectural terra-cotta and how they may be expected to perform in the future.
Maintenance, repair and replacement
Exposed or freestanding terra-cotta detailing (urns, parapets, balusters, etc.) has traditionally been subjected to the most severe vicissitudes of deterioration as a result of freezing temperatures and water. Photo: NPS files.
Deterioration in glazed architectural terra-cotta is, by definition, insidious in that the outward signs of decay do not always indicate the more serious problems within. It is, therefore, of paramount importance that the repair and replacement of deteriorated glazed architectural terra-cotta not be undertaken unless the causes of that deterioration have been determined and repaired.
As mentioned before, one of the primary agents of deterioration in glazed architectural terra-cotta is water. Therefore, water-related damage can be repaired only when the sources of that water have been eliminated. Repointing, caulking and replacement of missing masonry pieces are also of primary concern. Where detailing to conduct water in the original design has been insufficient, the installation of new flashing or weep holes might be considered.
Where stress-related or structural problems have caused the deterioration of glazed architectural terra-cotta, the services of a structural engineer should be sought to mitigate these problems. This may include the installation of relieving joints, shelf angles or flexible joints. In any case, stress-related and structural deterioration, like water-related deterioration, must be stopped before effective consolidation or replacement efforts may begin.
Cleaning: The successful cleaning of glazed architectural terra-cotta removes excessive soil from the glazed surface without damaging the masonry unit itself. Of the many cleaning materials available, the most widely recommended are water, detergent, and a natural or nylon bristle brush. More stubborn pollution or fire-related dirt or bird droppings can be cleaned with steam or weak solutions of muriatic or oxalic acid.
|A note of caution: Any acids, when used in strong enough solutions, may themselves deteriorate mortar and "liberate" salts within the masonry system, producing a situation called efflorescence.
Commercial cleaning solutions may be appropriate but probably are not necessary when water and detergent will suffice. There are, however, certain cleaning techniques for glazed terra-cotta which are definitely not recommended and which would damage the surface of the material. These include: all abrasive cleaning measures (especially sandblasting), the use of strong acids, (particularly fluoride-based acids), high-pressure water cleaning and the use of metal bristle brushes. All of these techniques will irreparably harm the glaze in one fashion or another and subsequently expose the porous tile body to the damaging effects of water.
It is important to remember that glazed architectural terra-cotta was designed to be cleaned cheaply and easily. This, in fact, was one of its major assets and was much advertised in the selling of the material early in this century.
Waterproofing: The covering of crazed glazing with waterproof coatings is the subject of an ongoing controversy today. The question involves whether or not the micro-cracks conduct substantial amounts of water into the porous tile body. Tests indicate that the glaze on new unexposed terra-cotta is itself not completely waterproof. Some testing also indicates that most crazing on historic glazed terra-cotta does not substantially increase the flow of moisture into the porous tile body when compared to new material. Excessive and serious crazing is, however, an exception and the coating of those areas on a limited scale may be wholly appropriate.
A worker cleans out mortar joints in preparation for repointing the architectural terra-cotta. Photo: NPS files.
In an effort to stem water-related deterioration, architects and building owners often erroneously attribute water-related damage to glaze crazing when the source of the deterioration is, in fact, elsewhere: deteriorated caulking, flashing, etc. The waterproof coating of glazed architectural terra-cotta walls may cause problems on its own. Outward migration of water vapor normally occurs through the mortar joints in these systems. The inadvertent sealing of these joints in the wholesale coating of the wall may exacerbate an already serious situation. Spalling of the glaze, mortar, or porous body will, more than likely, result.
Repointing: Repointing of mortar which is severely deteriorated or improperly or infrequently maintained is one of the most useful preservation activities that can be performed on historic glazed architectural terra-cotta buildings. Ongoing and cyclical repointing guarantees the long life of this material. Repointing should always be carried out with a mortar which has a compressive strength (measured in pounds per square inch -- psi) lower than the adjacent masonry unit. Hard (Portland cement) or coarsely screened mortars may cause point loading and/or prevent the outward migration of the water through the mortar joints, both of which ultimately damage the terra-cotta unit. Repointing with waterproof caulking compounds or similar waterproof materials should never be undertaken because, like waterproof coatings, they impede the normal outward migration of moisture through the masonry joints. Moisture then may build sufficient pressure behind the waterproof caulk and the glaze on the terra-cotta to cause damage to the unit itself.
Repair of glaze spalling: Glaze spalling is also a highly culpable source of water-related deterioration in glazed architectural terra-cotta. It is important to coat or seal these blistered areas and to prevent further entry of water into the system by this route. All loose or friable material should be removed. This may be done easily by hand; chisels or similar small tools are most effective. The exposed material is then painted over. At this time, no permanently effective reglazing materials are available. However, there are several acrylic-based proprietary products and masonry paints which can be used effectively to protect these exposed areas, thus preventing the entry of water. These materials are effective for 5 to 7 years and can be reapplied. They also can be tinted to approximate closely the original glaze color.
Repair of minor material spalling: Minor material spalling, where visual or cosmetic considerations are negligible, should be treated in a manner similar to glaze spalling damage. That is, areas where small portions of the body and glaze have spalled and which are far removed from close scrutiny (i.e., detailing on entablatures, upper story windows, etc.) are best remedied by painting with a masonry paint or an acrylic-based proprietary product. Units on which material spalling is easily observed (on the street level, door surrounds, etc.), and on which visual integrity is a consideration, may be better replaced. Patching is not appropriate. Stucco-like or cementitious buildups are difficult to form satisfactorily, safely and compatibly in situ to replace missing pieces of glazed architectural terra-cotta. Cementitious repairs never satisfactorily bond to the original material. The differential expansion coefficients of the two materials (the repair and the original) preclude a safe, effective and long-term attachment.
Repair of major spalling: Glazed architectural terra-cotta units, which have spalled severely thereby losing much of their material and structural integrity in the wall, should be replaced. Partial in situ repair will not be long lasting and may, in fact, cause complicated restoration problems at a later date. Appropriate methods of replacement are discussed at a later point in this report.
This crack is being measured. Structural cracking, whether static (nonmoving) or dynamic (moving) should be caulked to prevent water entry into the glazed architectural terra-cotta. Photo: NPS files.
Temporary stabilization: Stabilization measures are necessary when deterioration is so severe as to create a situation where pieces of glazed architectural terra-cotta may fall from the building. This is a particular concern with greatly exposed detailing: cornices, balconies, balustrades, urns, columns, buttresses, etc. Restoration work on these pieces is expensive and often must be carried on over a period of time. Unstable terra-cotta pieces are often removed or destroyed in lieu of such measures. This is particularly true in areas of heavy traffic-related vibrations or in earthquake zones. There are, however, less severe measures which may be employed on a temporary basis. Substantial success has been achieved in securing unstable glazed architectural terra-cotta pieces with metal strapping and nylon net. While these measures should not be seen as permanent preservation solutions, they do offer temporary alternatives to the wanton destruction of significant glazed architectural terra-cotta detailing in the name of public safety and local code compliance.
Repair of addition and structural damage: Holes, sign anchors, slots for channel steel, or structural cracking in the surface of glazed architectural terra-cotta cladding should be permanently sealed with a material that will expand with the normal dynamics of the surrounding material, yet effectively keep water out of the system. Any one of a number of commercially available waterproof caulking compounds would be appropriate for this work. Holes and static (non-moving) cracks may be caulked with butyl sealants or acrylic latex caulks. For dynamic (moving or active) cracks, the polysulfide caulks are most often used, although others may be safely employed. It is, however, important to remember that these waterproof caulking compounds are not viable repointing materials and should not be used as such.
Temporary replacement: Temporary replacement measures should be implemented when missing units are scheduled to be replaced but work cannot be undertaken immediately. Lengthy delivery time, prorating of work or seasonal considerations may postpone replacement work. Severe deterioration should at least be ameliorated until work can begin. Temporary repointing, removal and saving of undamaged units to be reset later, or the temporary installation of brick infill to retard further deterioration might be considered.
Removing earlier repairs: Removing earlier repairs may be necessary when the work has either deteriorated or has become visually incompatible. Cementitious stucco, caulkings with black bituminous compounds or brick repair work may become structurally or visually unstable or incompatible and should be removed and properly rehabilitated.
Replacement of glazed architectural terra-cotta: Replacement of severely spalled, damaged, or missing glazed architectural terra-cotta elements is always difficult. Certainly, in-kind replacement is advisable, but it has a number of drawbacks. Stone, fiberglass, and pre-cast concrete are also viable choices, but like in-kind replacement, also have their inherent problems.
Several notes on replacement: When replacing glazed architectural terra-cotta, all of the original deteriorated material should be completely removed. Half bricks or similar cosmetic replacement techniques are not advised.
- When possible and where applicable, replacement units should be anchored in a manner similar to the original. Both structural and visual compatibility are major considerations when choosing replacement materials.
- Removing and re-anchoring damaged glazed architectural terra-cotta is an extremely difficult if not impossible task. The complexity of the interlocking system of masonry units, backfill, and metal anchoring system precludes the removal of the glazed architectural terra-cotta unit without destroying it.
- Re-anchoring deteriorated units is likewise impossible. Therefore, if the terra-cotta in question is loose, severely deteriorated, or its structural integrity in serious question, it is best removed and replaced.
In-kind replacement is possible today, but only on a limited basis. Most new glazed architectural terra-cotta is machine made, not hand made as the original. Thus, the porous tile body of the new material tends to be more uniform but less dense and often not as durable. The glaze on the new glazed architectural terra-cotta tends to be thinner than that on the older material and subsequently more brittle. Machine processing has also produced a glaze that is uniform in color as opposed to historic glazes which were slightly mottled and, therefore, richer. Visual compatibility is an important consideration when replacing in-kind.
Only a fairly limited inventory of in-kind pieces is presently available for replacement such as plain ashlar blocks and the simpler details such as cappings and sills. When deterioration severely damages the more ornate pieces (urns, cartouche work, balusters, etc.) either expensive hand casting or alternative materials must be sought. There is a tendency today to replace damaged ornamental work with simpler, cheaper and more readily available units. This decision cannot, however, be supported, as the removal of this work inevitably diminishes the character and integrity of the building. Another major consideration in choosing in-kind replacement is the question of delivery time, which is often quite lengthy. If new glazed architectural terra-cotta is chosen as a replacement material, the architect or building owner should plan far in advance.
Stone may be a suitable replacement material for damaged glazed architectural terra-cotta. Its durability makes it highly appropriate, although the increase in weight over the original hollow units may be of some concern. The fact that historic glazed architectural terra-cotta was glazed in imitation of stone, however, may make the choice of stone as a replacement material a fortuitous one. Metal anchoring may be accommodated easily in the carving. Cost, however, is the major drawback in stone replacement, particularly where rich detailing must be carved to match the original.
Fiberglass replacement is a viable alternative, particularly when rich and elaborate ornamentation has to be duplicated. Casting from original intact pieces can produce numerous sharp copies of entablatures, moldings, balusters, voussoirs, etc. Anchoring is easily included in casting.
Significant drawbacks in using fiberglass replacement are color compatibility, fire code violations, and poor weathering and aging processes. The appropriate coloring of fiberglass is exceedingly difficult in many instances. Painting is often unsatisfactory, as it discolors at a rate different than that of the historic glazed original. While fiberglass casting is lighter than the original units and, therefore, of great interest in the rehabilitation of buildings in areas of high seismic activity, many fire code requirements cannot be met with the use of this material.
Pre-cast concrete units show great promise in replacing glazed architectural terra-cotta at this writing. Precast concrete units can, like fiberglass, replicate nuances of detail in a modular fashion: they can also be cast hollow, use lightweight aggregate and be made to accommodate metal anchoring when necessary. Concrete can he colored or tinted to match the original material with excellent results. It is cost effective and once production is in process, pre-cast concrete call be produced quickly and easily.
Experience shows that it is advisable to use a clear masonry coating on the weather face of the pre-cast concrete units to guarantee the visual compatibility of the new unit, to prevent moisture absorption, to obtain the proper reflectivity in imitation of the original glaze and to prevent weathering of the unit itself. Pre-cast concrete replacement units are presently enjoying great use in replicating historic glazed architectural terra-cotta and show promise for future rehabilitation programs.
Once the replacement material is selected (new glazed architectural terra-cotta. stone, pre-cast concrete, or fiberglass), it must be re-anchored into the masonry system. Original metal anchoring came in numerous designs, materials and coatings ranging from bituminous-coated iron to bronze. While most of these anchors are no longer available, they may be easily replicated in large quantities either in the original material when appropriate or out of more durable and available metals such as stainless steel.
Since the masonry backfill is already in place in the historic building, the new replacement unit with anchoring may simply be fitted into the existing backfill by boring a hole or slot for anchor and bedding the anchor and the unit itself in mortar. When replacing historic glazed architectural terra-cotta which originally employed metal anchoring, it is important to replace that anchoring when replacing the unit. Serious problems may result if anchoring is omitted in restoration, when it was used originally. It is erroneous to assume that mortar alone will be sufficient to hold these replacement pieces in place.
Today, many of this country's buildings are constructed of glazed architectural terra-cotta. However, many of these are in a state of serious deterioration and decay. Glazed architectural terra-cotta was, in many ways, the "wonder" material of the American building industry in the late 19th century and during the first decades of the 20th century. New technology and methods of rehabilitation now hold promise for the restoration and rehabilitation of these invaluable and significant resources. Restoration/rehabilitation work on glazed architectural terra-cotta is demanding and will not tolerate halfway measures. Today's preservation work should equal the spirit, attention to detail, pride in workmanship and care which characterized the craftsmanship associated with this widely used, historic masonry material.
"Recipes for Baked Earth." Progressive Architecture (November, 1977).
McIntyre, W.A. Investigations into the Durability of Architectural Terra Cotta. Special Report 12. London: Department of Scientific and Industrial Research, Building Research Station, 1929.
Prudon, Theodore H.M. "Architectural Terra-cotta: Analyzing the Deterioration Problems and Restoration Approaches." Technology and Conservation, Vol. 3 (Fall, 1978), pp. 30-38.
Prudon, Theodore H.M. Terra Cotta as a Building Material. A Bibliography. Ottawa, Ontario: Association for Preservation Technology, 1976.
This publication has been prepared pursuant to the National Historic Preservation Act of 1966, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Technical Preservation Services (TPS), Heritage Preservation Services Division, National Park Service prepares standards, guidelines, and other educational materials on responsible historic preservation treatments for a broad public.
The Old House Web has the entire collection of 42 Preservation Briefs online.For an index to the Preservation Briefs, click here.
This Preservation Brief was written by de Teel Patterson Tiller, Architectural Historian, Technical Preservation Services Division. Information for this publication was based in part upon interviews and consultation with Theodore H.M. Prudon, The Ehrenkrantz Group, P.C., New York, New York. Additional comments and information were provided by Si A. Bortz, Illinois Institute of Technology Research Institute, Chicago, Illinois, and Jerry G. Stockbridge, Wiss, Janney, Elstner, and Associates, Northbrook, Illinois. -- Washington, D.C. June, 1979
The Old House Web


text: San Francisco, CA - 2013 Gastrointestinal Cancers Symposium - San Francisco, CA: William M. Grady, MD discusses session during the General Session I: Cancers of the Pancreas, Small Bowel, and Hepatobiliary Tract: Prevention, Screening, and Diagnosis at the Gastrointestinal Cancers Symposium 2013 here today, Friday January 25, 2013. The Symposium is supported by ASCO, the American Society of Clinical Oncology, ASTRO, The American Society of Radiation Oncology, SSO, Society of Surgical Oncology and the AGA Institute. Over 3,000 physicians, researchers and allied healthcare professionals are attending the meeting which is being held at the Moscone West center in San Francisco and features the latest Gastrointestinal Cancers research in the areas of basic and clinical science. Date: Friday January 25, 2013. Photo by © ASCO/Todd Buchanan 2013 Technical Questions: firstname.lastname@example.com; Phone: 612-226-5154.

subset: commoncrawl


text:
Sarah Gromko with Tom Hook & Wendell Brunious Jazz Band
- Price: No Cover
- Date: Thu, Feb 13, 2014 - Fri, Feb 14, 2014
- Time: 8:30 pm - 12:30 am
- Venue: Hotel Monteleone, 214 Royal Street, New Orleans, Louisiana 70130-2201
- Location: Carousel Bar
Sarah Gromko joins the Tom Hook and Wendell Brunious Jazz Band at the Carousel Bar in the historic Hotel Monteleone.
More About The Carousel Bar at Hotel Monteleone
The famous Carousel Bar & Lounge in the Hotel Monteleone is a long-time favorite New Orleans hotspot. The classic New Orleans hotel bar is the city's only revolving bar. For decades, it has lured guests in to take a spin on the 25-seat, bright circus-clad Merry-Go-Round. The Carousel Bar overlooks famed Royal Street in the heart of the French Quarter. Guests can enjoy the view through large fan windows. This New Orleans hotel bar has long been a favorite of both locals and tourists.
Today, the famous Carousel Bar & Lounge is frequented by New Orleans locals and visitors alike. With its regular entertainment schedule of live New Orleans music and craft cocktail selection, this New Orleans hotel bar has become one of the most popular bars in the French Quarter.
A New Orleans Bar with a History
Installed in 1949, the Carousel Bar's 25-seat bar turns on 2,000 large steel rollers, pulled by a chain powered by a one-quarter horsepower motor. Patrons circumnavigate at one revolution every 15 minutes, but the ride doesn't end there.
In the early days of the Carousel Bar, the Hotel Monteleone was also the home to the famous Swan Room, a nightclub where celebrities such as Liberace performed. It wasn't unusual for the performers to join their friends for a nightcap after their shows. Since 1949, some of its riders' most creative ideas, inspirations and business deals have been shaken and stirred to fruition here, not to mention some of the best spirits. The Goody and The Vieux Carre Cocktail were first concocted at the Carousel Bar. This Carousel is the only one in New Orleans that you have to be 21 to ride!
Recent Additions
This New Orleans hotel bar was renovated in 1992 when the current carousel top was added. In 2011, the Hotel Monteleone started an extensive renovation and expansion of the famous Carousel Bar & Lounge. The Carousel Bar area now has a soothing slate color on the walls adorned with antiqued mirrors as well as new furniture and wooden floors. The authentic Carousel top and the hand-painted chairs around the revolving bar remain the same. The bar now has more lighting underneath the Carousel top and a new pewter bar surface.
The Hotel Monteleone also expanded the lounge area, opening up the room with coffered ceiling designs and customized crown molding. This New Orleans hotel bar also features circular glass chandeliers and expansive windows along Royal Street. Soft white walls complement the French limestone floors. The new furniture adds a pop of color with golden yellows, soft pinks and powder blues.
The Carousel Bar also has an additional crescent-shaped stationary bar with more seating, to provide ample room for thirsty patrons to mix, mingle and enjoy the free live musical entertainment.


text:
I wanted to create a pretty little bed, reminiscent of the ones my Nan used to make, so I chose papers with tiny patterns and prints in soft colours to decorate each tin.
The pillows are embroidered with tiny lazy daisy flowers and the quilts are reversible - cute, tiny patches on one side and a solid colour on the other.
The pattern for the little fairies will include instructions and pattern pieces to make the doll, her little dress and wings, the bedding and the templates needed for decorating the tin. And it should be available soon!!
Wishing you a wonderful week :)
~Shelly xo


text:
1-Mattis Justo Quam
1-consectetur. Curabitur blandit tempus porttitor. Praesent commodo cursus magna, vel scelerisque nisl consectetur et. Duis mollis, est non commodo luctus, nisi erat porttitor ligula, eget lacinia odio sem nec elit.
Coffee for a Cause
Location: Hynson Lounge
CHESTERTOWN, MD—On Friday, April 25, Washington College welcomes Tebabu Assefa, founder and 'chief storyteller' of the Takoma Park-based benefit corporation Blessed Coffee. His program, "Blessed Coffee: Cultural and Economic Convergence for Sustainable Development," will take place in Hynson Lounge, Hodson Hall. It will begin at 4 p.m. with a "coffee signing," followed by a talk at 4:30 p.m. and a coffee tasting reception afterward. The event is sponsored by the departments of Black Studies, Sociology, Business, International Studies, and Economics, along with the Office of Multicultural Affairs. It is free and open to the public.
Assefa is a community leader and social entrepreneur who received the Obama Administration's Champions of Change award for his work with the Virtuous Exchange model. The model encourages direct connections between small farms and producers and the consumer, with the aim of promoting social justice, community resilience, and economic prosperity. Blessed Coffee, which supports 205,000 coffee farmers in Ethiopia, was the second company in the United States to register as a Benefit Corporation—a hybrid of the profit and non-profit models. In the coffee-growing regions of Ethiopia, for example, Blessed Coffee has shared its profits to help fund schools, health clinics, safe water wells, and other community programming there.
"In Ethiopia, coffee is like wine is to the French," Assefa once explained to the Gazette newspaper. "It's a ritual."
Assefa lives in Takoma Park, Md., with his wife and business partner, Sara Mussie, and their children.


text:
Defining quality
Given how much we talk about it, it's surprising that there's a lot of confusion about what quality is.
What's a higher quality car: a one-year old Honda Civic or a brand new top of the line Bentley?
It turns out that there are at least two useful ways to describe quality, and the conflict between them leads to the confusion…
Quality of design: Thoughtfulness and processes that lead to user delight, that make it likely that someone will seek out a product, pay extra for it or tell a friend.
Quality of manufacture: Removing any variation in tolerances that a user will notice or care about.
In the case of the Civic, the quality of manufacture is clearly higher by any measure. The manufacturing is more exact, the likelihood that the car will perform (or not perform) in a way you don't expect is tiny.
On the other hand, we can probably agree that the design of the Bentley is more bespoke, luxurious and worthy of comment.
Let's think about manufacturing variation for a second: Fedex promises overnight delivery. 10:20 vs 10:15 is not something the recipient cares about. Tomorrow vs. Thursday, they care about a lot. The goal of the manufacturing process isn't to reach the perfection of infinity. It's to drive tolerances so hard that the consumer doesn't care about the variation. Spending an extra million dollars to get five minutes faster isn't as important to the Fedex brand as spending a million dollars to make the website delightful.
Dropbox is a company that got both right. The design of the service is so useful it now seems obvious. At the same time, though, and most critically, the manufacture of the service is to a very high tolerance. Great design in a backup service would be useless if one in a thousand files were corrupted.
Microsoft struggles (when they struggle) because sometimes they get both wrong. Software that has a user interface that's a pain to use rarely leads to delight, and bugs represent significant manufacturing defects, because sometimes (usually just before a presentation), the software doesn't work as expected–a noticed variation.
The Shake Shack, many New York burger fans would argue, is a higher quality fast food experience than McDonald's, as evidenced by lines out the door and higher prices. Except from a production point of view. The factory that is McDonald's far outperforms the small chain in terms of efficient production of the designed goods within certain tolerances. It's faster and more reliable. And yet, many people choose to pay extra to eat at Shake Shack. Because it's "better." Faster doesn't matter as much to the Shake Shack customer.
The balance, then, is to understand that marketers want both. A short-sighted CFO might want neither.
Deming defined quality as: (result of work effort)/(total costs). Unless you understand both parts of that fraction, you'll have a hard time allocating your resources.
Consider what Philip Crosby realized a generation ago: Quality is free. (free essays are here).
It's cheaper to design marketing quality into the product than it is to advertise the product.
It's cheaper to design manufacturing quality into a factory than it is to inspect it in after the product has already been built.
These go hand in hand. Don't tell me about server uptime if your interface is lame or the attitude of the people answering the phone is obnoxious. Don't promise me a brilliant new service if you're unable to show up for the meeting. Don't show me a boring manuscript with no typos in it, and don't try to sell me a brilliant book so filled with errors that I'm too distracted to finish it.
There are two reasons that quality of manufacture is diminishing in importance as a competitive tool:
a. incremental advances in this sort of quality get increasingly more expensive. Going from one defect in a thousand to one in a million is relatively cheap. Going from one in a million to one in a billion, though, costs a fortune.
b. As manufacturing skills increase (and information about them is exchanged) it means that your competition has as much ability to manufacture with quality as you do.
On the other hand, quality of design remains a fast-moving, judgment-based process where supremacy is hard to reach and harder to maintain.
And yet organizations often focus obsessively on manufacturing quality. Easier to describe, easier to measure, easier to take on as a group. It's essential, it's just not as important as it used to be.


text:
Welcome to today's installment of The Casino Chronicles, fly-and-sledgehammer edition.
The fly: Gambling critic and Plainville resident Thomas Keen, who is fighting a proposed racino at the Plainridge Racecourse.
The sledgehammer: An outrageous defamation suit brought against Keen by the aptly-named Ourway Realty LLC, which owns the track.
The offense: A Facebook post for which Keen is not responsible.
The background: In March, Keen and others set up a website named "No Plainville Racino." Keen registered the site, which hosts your standard anti-gaming fare: Skepticism about the benefits of gambling, worries about traffic and property values, and fears that slots will increase crime in the area. About the same time, fellow opponents created a Facebook page dedicated to their cause. Keen said that while he controls the content of the anti-racino website, he does not control the Facebook page. He said he has never posted anything to Facebook, period.
On March 28, Keen's house was broken into. The marketing manager had a webcam, and gave a picture of the intruder to Plainville police, who posted it on their Facebook page. Somebody shared that post on racino opponents' Facebook page, without comment. Then, some wag posted a joke: "I wonder if they checked over at the racetrack, lol."
A few weeks later, an Ourway attorney threatened to sue Keen for the Facebook post. Citing the "LOL" comment written by somebody else, the attorney accused Keen of defamation for trying to associate the burglary with the racecourse. The attorney demanded that Keen remove the comment and the picture, apologize publicly, and "refrain from posting any similar damaging material . . . in the future."
If Keen believes the track had something to do with the break-in, he has never said so publicly. But the racetrack believes the mere presence of that picture on the Facebook page means Keen holds them responsible for the crime. Equally plausible explanations: It was posted to elicit tips for investigators. Or to make a general — hardly earth-shattering — connection between crime and gambling. Keen can't enlighten us, because he didn't post it.
The American Civil Liberties Union of Massachusetts took up his cause. While noting that the offending joke was deleted, Keen's attorneys warned Ourway that their threats looked like an attempt to shut down public opposition to the racino, which would violate state law and the First Amendment.
Ourway's response? They doubled down, suing Keen, saying the post had held the racecourse up to "ridicule and scorn" in the community, even though the Facebook page had an anemic 84 Likes as of Wednesday evening. Ourway also asserted that the company "suffered and continues to suffer severe economic harm," but cited no examples of that harm.
Still, the lawsuit has shut Keen down. "It has pretty much stopped my advocacy in its tracks," he said. "I'm afraid to do anything now. . . . I lie awake at night thinking, 'What does this mean to me and my family?' "
Plainridge Racecourse president Gary Piontkowski vehemently denies trying to stifle dissent.
"We continue to encourage debate," he said. "We have no problem with it. We never have and never will." While the lawsuit seeks triple damages and fees, Piontkowski said yesterday he'd be satisfied if whoever controls the Facebook page just removed the picture.
"Everybody knows the intention was to smear," he said. "Take it down, and I'll go away, and you can have parades and do whatever you want to express your opposition."
This chilling lawsuit is certainly at odds with Piontkowski's professed tolerance. If he persists in pummeling Keen, I think it reasonable to wonder if this is someone who should be granted the huge public trust that comes with a racino license.
He can easily prove me wrong — by putting down the sledgehammer.
Yvonne Abraham is a Globe columnist. She can be reached at firstname.lastname@example.com


text:
Oklahoma Prairie Dogs
Young Prairie Dogs peer out of their hole. At the Wichita Mountains Wildlife Refuge.
BRP Deer
Deer crosses Blue Ridge Parkway
Wild Stallion
A wild stallion pauses from his meal, showing a burst of energy and neighing at a couple of nearby female horses. Captured June 2017, during sunset at Corolla, NC.
A wild pony, known as Fabio, stands in front of a scenic view at Grayson Highlands, Virginia.
Wild Horses of Corolla
Wild horses soaked in afternoon light, trotting in front of the waves of the Outer Banks. Captured in Corolla, NC.
These Colonial Spanish Mustangs roam over 7,500 acres of land, and seem to enjoy long walks on the beach. The horses and other wildlife can also be spotted along the Currituck Banks Maritime Forest Trail at the beginning of the beach (no off-roading required).
Blue Heron Flight
A Blue Heron takes flight over Lake Brandt in Greensboro NC on 10/19/14. During peak fall colors!
Blue Ridge Mountain Red Fox
Wild Pony
A wild pony of Grayson Highlands enjoys a grassy meal, at Grayson Highlands State Park, April 2017
Wild Oklahoma Bison
Wild New Orleans Alligator
Wild Black Bear Eastern NC
A wild Black Bear captured at the Alligator River National Wildlife Refuge in North Carolina
Lake Brandt Egret
Lake Brandt Blue Heron
Coastal NC Seagulls
Wilmington Sunrise
Blue Ridge Parkway Red Fox's
Stone Mountain Deer
Belews Lake Seagulls
Pregnant Wild Pony
A pregnant pony at an overlook off of Rhododendron Trail at Grayson Highlands State Park, April 2017
Rhododendron and Bumblebee
New Orleans Wild Alligator
New Orleans Alligator
New Orleans River Life
Wild Ponies Enjoy Dinner
Wild ponies enjoy dinner along a grassy bald, at Grayson Highlands State Park, 1/16/17
Wild Oklahoma Bison and Friend
Grayson Highlands Pony
A wild pony stands in a grassy bald, at Grayson Highlands State Park, 1/16/17
Wild Oklahoma Bison Hair Day
Young Prairie Dog
Egret in Flight
Blue Heron and Moon
A sunset lit Blue Heron flies over a pair of nests, from March 5, 2017 in Summerfield, NC. The fast moving thin clouds and half moon added a nice touch as herons perched on the tree tops and collected sticks for their nests.
Geese in Flight
Oklahoma Bison
Blue Heron at Sunset
A Blue Heron flies across Lake Brandt in Greensboro, NC, on May 24, 2014. (photo by Dan Whittaker)
Grayson Highland Ponies
The wild ponies of Grayson Highlands graze on a grassy bald as a storm approaches, at Grayson Highlands State Park, April 2017
A wild pony stands in front of the final colors of twilight, at Grayson Highlands State Park, 1/16/17
Black Bear Reflection
A wild black bear and his reflection. Captured at the Alligator River National Wildlife Refuge. Black bears are one of my favorite native NC species, and these coastal bears are generally larger and plumper than those in our mountains. The bear population at the NC coast is also much larger than at the mountains. I saw 7 bears on this morning, and they all seemed rather preoccupied looking through the soy bean fields.
Grayson Highlands Fog
A wild pony during a foggy evening at Grayson Highlands State Park, captured July, 2017. This park usually has a mystical feeling but the dense fog really helped set the mood.
Swan at Sunset
Autumn Blue Heron
Fall colors and a blue heron in Greensboro North Carolina
Afternoon snack
A group of Grayson Highland wild ponies enjoy a late afternoon snack, at Grayson Highlands Virginia


text: On Mon, 25 Jun 2012, Art Manion wrote: : On 6/25/12 11:38 AM, Mann, Dave wrote: : > We haven't talked about increasing the number of CNAs yet, but that is definitely coming. : > : > Increasing CNAs is a part of the "how" we cover what we cover discussion, as is quality of descriptions and minimum requirements. : > : > First we need to get through the "what" we're going to cover part. : : OK, I'm trying to reconcile the products and sources approaches, and I : don't think it matters much, unless we're already at the point of trying : to distribute CNA coverage. : : What should CVE cover? CVE should cover vulnerabilities. I'd like CVE : to cover, if not all, then the most important vulnerabilities. "Most : important" gets a bit tricky, but one aspect should be the scope of the : vulnerability -- the number of people affected, possibly within a : constituency. A vulnerability affects one or more products, and we care : about products because they are used by or affect (service) many (or : few) people. You are entirely right. And, you are using sketchy wording =) : phpGolf? Affects few, don't include. (*) : : Microsoft XML Core Services? Affects many, include. Siemens SIMATIC? Affects very few customers, don't include. Siemens SIMATIC? Affects hundreds of millions of THEIR customers, include. There are dozens of software packages that many haven't heard of, even in the VDB world. Yet, they are embedded in hundreds or thousands of other packages. Jetty, SPAW, and FckEditor just to name a few. There are more that I can't think of right off, but I routinely see in changelogs of bigger / more visible products. : Other "importance" factors are the usual things like impact, ease of : exploitation, related incident activity, ease of access, etc. : CVSS-like stuff. I don't necessarily recommend this, but CVE should : include all vulnerabilities with a CVSS environmental score of X or : higher (with environment == the internet). I don't think that is a valid criteria really, as XSS / LFI / RFI / SQLi are all 5+. I use 5 as the example because of PCI; any of those will fail a PCI certification test. I'd love to see someone do some quick stats on the number of vulns broken out by CVSS score, but I'd wager 75%+ are CVSS 4+ (I think the actual PCI certification cutoff now?).


text:
BEIJING (REUTERS) - Chinese authorities are looking for a former drinks tycoon who bribed his way out of jail and fled the country after being sentenced to 15 years in prison for embezzling millions of dollars in public funds, state media said on Monday.
Zhang Hai, former president and chief executive of the sports drink maker Jianlibao Group, was found guilty of misappropriating 206 million yuan (S$43 million) in 2007.
But through bribery and the fabrication of documents to prove his good behaviour, Zhang was released in 2011 and promptly went overseas with his girlfriend Huang Lu, the official Xinhua news agency reported.
"Related departments are now trying to arrest and extradite Zhang and Huang," Xinhua said, citing a statement from the state prosecutor's office, without saying which country they are suspected of having gone to.
A total of 24 others were being or have been investigated in connection with Zhang's release, including 11 in the judiciary and prison service, a court official and two lawyers, Xinhua added.
Four of them had already been jailed for up to six years, while Zhang's reduced sentence has been revoked, the news agency said.
The Jianlibao Group, based in the southern province of Guangdong, was one of the nation's most prominent sports drink manufacturers and once ran a top-flight soccer club in the boomtown of Shenzhen, bordering Hong Kong.
Prosecutors said Zhang used the company's money under his name to cover for loans from several other companies before he moved to Jianlibao.
Zhang was ranked as the 137th richest person in China on the Forbes' 2004 Rich List, though dropped off it after he was detained.
President Xi Jinping has stepped up the battle against deep-rooted graft since assuming power last year, and has begun to target corruption in the business community as well as the government and state-owned industries.
Last week, prosecutors charged Liu Han, the former chairman of Hanlong Mining, which attempted to take over Australia's Sundance Resources Ltd, with crimes including murder, gun-running and fraud.


text:
I can recall the warm youth of a summer day, yeah:
The sweetest lemonade, the darkest game arcade,
And Billy had a yearning in the corner of his mind.
It moved him secretly. It moved him powerfully.
But prescience was lacking and the present was not all
And his aptitudes were carelessly wasted.
And challenging life with the abandon of a fool,
He squandered the hours of his day.
Then darkness and disorder slapped him sharply in the face, yeah.
It hit him like a friend, struck something deep within.
He couldn't break the chain of slow decay that seemed to drag him
Just like a fatal tie toward the other side.
And Billy was a lunatic, just barking at the moon,
And his brain was totally wasted.
He then exchanged his friends for a needle and a spoon
And he threw his future away.
Bolt the door and throw away the key.
Your dim reflection is all that you can see.
So where is the justice when no one is at fault
And a human life is tragically wasted?
How fragile is the flame that burns within us all
To light each passing day?


text:
DATE: 1990s
ORIGINAL or DUPLICATE: Original
SUBJECT: Veronica Hamel
APPROXIMATE SIZE: 35mm in standard slide mount
COMMENTS / CONDITION: This is positive film that can be viewed with a backlight source without having to invert the image. As with original negatives, it can be used to produce high-quality photographic prints (no print is included with this item though). This is one of a large number of candid, red carpet and live performance celebrity photos, slides and negatives from the archive of long-time celebrity photographer Nancy Barr-Brandon that we will be listing over the coming months. Wear on these, if any, is mostly confined to minor corner and edge wear, but see scans for further details including condition. We do not deal in stock images or modern reprints, and all scans shown are of the actual vintage photograph, slide or negative being sold. If you have any questions about a particular piece, please ask before the auction ends.
SKU: NBS06311Item: NBS06311
© Software Copyright 2004-


text:
Wednesday, July 28, 2010
A few more CHA photos
It was another busy day here at CHA. There are so many exhibitors that it can be exhausting to try to cover the entire show. I wanted to catch up with the videos from the Gala yesterday but I had technical difficulties... There are so many bloggers here I am sure if you search YouTube for CHA videos you will find a lot to watch.
In the Provo Craft booth there are a number of products being demonstrated. First and foremost of course is the new Imagine machine, There have been demonstrations from the stage throughout the day.
There is a new Cuttlebug machine. Here is a picture of it closed. One really nice feature is that the handle folds down so it will be easier to pack if you go to crops.
The sides fold down just like the original Cuttlebug. The Cricut Companion Cuttlebug folders were on display along with a few others. I will try to get photos to share tomorrow.
There are also new inks for the Yudu including beautiful glitter, foil and flocking. I don't have a Yudu and some of the projects I saw are tempting me to add another machine to my fleet of machines!
In one area there are demonstrations of the Cricut Cake. These cakes are really beautiful when you see them "up close and personal".
There was a special room set up for members of the Cricut Circle to visit. Inside you could look through large binders of cartridge cuts. Some were for recently released cartridges and there were even some with images from cartridges that will be coming soon.
There were lots of samples of projects done with the new Imagine.
The Imagine gives you the option of printing, cutting or both. You can also choose to cut the image in a single layer or print multiple layers and build a dimensional design.
It is possible to add inking to the edges of the printed and cut pieces. The inks are not waterproof but they were described as waterfast by the demonstrator. The machine also gives you the option to add an outline to any cut.
Here is another project that caught my eye. I really like the way the pattern works on the giraffe. Once again there is a lot of layering.
Here are a couple of projects where the design was printed on fabric and cut out. You can print on anything that can be put through an inkjet printer. This opens up a lot of possibilities. There will also be printable Cricut vinyl which will be fantastic for home decor projects.
Here is a design that was printed and then cut in a scalloped circle. There are many colors built in on the machine and you can match any color of your existing cardstock and paper by using RGB values (Red-Green Blue).
Here is one more example of a cut that is done in layers, cut and assembled...
and the same cut done as a single layer.
This is Brandon who showed my how to use the machine on a make and take project. Unfortunately it was late in the day and the machine needed some recalibration so I will wait to show you new sample cuts tomorrow.
Here are a few notes about the machine.
You can use all of your original Cricut cartridges and there are also new content and color and pattern cartridges for the Imagine.
The machine has a touch screen for the controls. You place both cartridges in the machine in the areas to the right and left of the screen.
You can cut just like you do with a regular expression, you can print on cardstock with the printer function or you can print and cut.
The maximum page size is 12 x 12.
There are two ink cartridges a black and a tri-color. You should be able to print 120 to 150 full sheets for an average cost of 23 cents a sheet. (I heard different page counts from different people so I am not sure if this is accurate).
The mat is new and you must use the Imagine mat in the Imagine. It has dark black lines used for registration. You can use these mats in the regular machines as well. The mats have a new adhesive and are expected to last longer. The new adhesive is great - it will not come off the mat onto the back of the paper.
There is currently no ability to add photos to print on the page but this may be coming in the future.
The machine is compatible with the Gypsy and the Jukebox but not with Design Studio.
Near the end of the day there was a giant giveaway for those who had done the make and take or a watched a demo. There was a huge pile of products given away (machines, cartridges, Cuttlebug folders, books). It was an excited group that waited to see if they had a winning ticket.
This evening a group of Cricut Message Board members met up for dinner and conversation and we were joined by some special guests from ProvoCraft. It was very nice to have a chance to give some feedback on products and services and I hope that there will be more opportunities like this.
That's all for now - I have to get some sleep before it all starts again!
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22 comments:
- DreamaJuly 29, 2010 at 8:19 AM
Thanks for this update. Sounds pretty overwhelming but SO MUCH FUN too.ReplyDelete
Oh I'm loving it! Thank you for sharing your exciting trip. Give us more!ReplyDelete
Mary Ann
Thanks so much Diane for all the information from CHA!!! Continue having a great time!!!ReplyDelete
Looks like you are having a great time... oh how I wish I had gone!!!ReplyDelete
I was there but didn't know about the Circle room...bummer :( Had a great time though!ReplyDelete
- AnonymousJuly 29, 2010 at 12:11 PM
I wish I would have had the nerve to drive in Chicago (or take the train)! However, looking at the above pic., I might have been the oldest one there.ReplyDelete
Sharon (scrappyone)
Diane,that looks like so much fun.. I didn't know that you gals have dinner last night.. I definately would have come. Anyhow, I will see you on Friday!ReplyDelete
- AnonymousJuly 29, 2010 at 12:54 PM
Thanks Diane for all the info.
I was curious to know if you could cut an image without using the ink.
You did bring that up so it also cuts like the Expression.
I can't wait to see this on HSN.
Thanks again
Those are some really nice projects they have made. Looks like lots of fun. tfsReplyDelete
This is so awesome. thanks for sharing. I hope I can take part in the CHA festivities one year.ReplyDelete
Such an excellent training event. I too wish I were there!ReplyDelete
Thanks, Diane, for sharing it with us!
Wow, how fun!! Thanks for sharing your experience with us. Looks like PC really put on a good show at their booth! How do you get to go to CHA? I'd love to go some time. :)ReplyDelete
~Rachel in Sacramento
Thanks for the pictures and update. I am so glad you are having a great time. Maybe someday I will get to go..
Have fun..........
Diane: Your update is amazing. I am so disappointed to hear that the Imagine will not work with DS. Do you know if Provocraft ever plans to make DS work with the new Imagine? Thanks again for all the great info!! I look forward to hearing more from you.ReplyDelete
Linda K
- AnonymousJuly 29, 2010 at 4:23 PM
Thanks for sharing the very interesting information! I can't wait to go to the Super Show tomorrow. You have enticed me!ReplyDelete
Thanks for sharing all the excitement! Looking forward to more pics!ReplyDelete
Have fun!
Carmen L
cal8007 at aol dot com
Oh Lady Di,ReplyDelete
I envie you. Thank you for sharing in all the fun and keeping us updated.
- AnonymousJuly 29, 2010 at 7:05 PM
Thanks for all the updates - getting very excited to see the new releases.ReplyDelete
Thank you so much for your "reporting", you're doing a great job! TFS, Mary MReplyDelete
hanks for the photos. I appreciate you taking the time.ReplyDelete
Thanks, Diane, for such excellent reporting from the CGA convention. Your narratives are excellent and it's the next best thing to being there. Photos are excellent!ReplyDelete
- Mary - Biker GrannyJuly 31, 2010 at 12:37 PM
Thanks for the updates and pictures. What a great show this year...lots of exciting new products! Glad to see you're having a good time and I'm looking forward to seeing what you create with all the new goodies you're probably coming home with, LOL!ReplyDelete
Thanks for taking the time to leave a comment. I love to hear from the people who read my blog. I moderate all comments to keep spam off the blog without making you decode the squiggly letters so your comment may not appear immediately.


text: Researchers at a university in Bochum, Germany claim to have cracked encryption algorithms of the European Telecommunications Standards Institute (ETSI) that are used to secure certain civilian satellite phone communications.More news: Hacking stunt: stealing smartphone crypto keys using plain old radioThe Ruhr University Bochum's (RUB) Horst GAPrtz Institute for IT-security today issued an announcement detailing how researchers there have broken encryption algorithms known as A5-GMR-1 and A5-GMR-2 that are used to secure civilian communications between mobile phones and satellites based on the GMR-1 and GMR-2 satphone standards. The researchers explained that in some regions of the world standard cell phone communication is still not available, so "in war zones, developing countries and on the high seas, satellite phones are used instead."The group of RUB scientists there said they simply used generally-available phone equipment and found the crypto key and managed to break it fairly easily by analyzing the software running on the satphones, in this case the Thuraya SO-2510 and inmarsat IsatPhone PRO."We have performed mathematical analysis and discovered serious weaknesses, which is documented here," the researchers note in their announcement. The RUB researchers include Benedikt Driessen, Ralf Hund, Carsten Willems, Christof Paar, and Thorsten Holz.According to the university's announcement about their research, they used open-source software, a special antenna and a PC as part of the research to capture and demodulate speech data, and then processed the captured data through an implementation of an attack they'd conceived to break the crypto.They did point out that in terms of real-world attacks, there were limits to their experiments. Although they say they can decrypt communications secured according to the GMR-1 standard, there were still some barriers that prevented a full disclosure of a voice conversation. Based on an experiment with the Thuraya network, which makes use of GMR-1, the researcher say they weren't able to reproduce the voice conversation in their own downlink because the speech-codec for GMR-1 is "currently unknown, we were not able to actually reproduce the conversation that took place."The researchers said they had informed authorities well in advance of their announcement today. "Our results show that the use of satellite phones harbors dangers and the current encryption algorithms are not sufficient," said Ralf Hund, chair of system security at RUB. The researchers indicated, "There is, as yet, no alternative to the current standards."Ellen Messmer is senior editor at Network World, an IDG publication and website, where she covers news and technology trends related to information security.Read more about wide area network in Network World's Wide Area Network section.


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Single Sessions is a place where we encourage you to put on your headphones, crank up the volume and block out the rest of the world for a little bit of "me-time", while you indulge in some fine aural stimulation.
These tracks have been hand-selected as some of our favourite stand-alone singles for this week, and while most of them sit well within the style & genre of music we usually feature on the site, sometimes there a few that don't, but there's something particularly awesome about them that is pushing our buttons.
Get your headphones on, hit play and enjoy ??
Paycheck $tacks – 'Day By Day'
Korky Buchek – 'Higher' (ft. Kymie)
Swick – 'Hydration' (ft. Nina Las Vegas)
Justice Skolnik – 'Seventeen' (ft. Nevve)


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Books About Automobiles - Page Turner
Getting Between The Covers
Related Video
These next three books I picked up in France. Although they're text-challenged, that doesn't take anything away from the pure visuals. Check out www.motor-mania.com and ask for Christophe Lavielle. He speaks good English.
Norman Dewis of Jaguar: Developing the Legend
Hardcover, 575 pages, black-and-white and color photos~$148
The seat of Norman Dewis's pants must have been stitched with golden thread. Dewis was Jaguar's test development engineer back in the days when life was lived in black and white, when engineers had rolled-up shirt sleeves instead of black polo-necks, when everybody smoked because they thought it was good for them, and the only thing that went on top of your lap was a child or a secretary. This book opens a wonderful window into Jaguar's storied past. The title has a double meaning: it's not just the legend of Jaguar that was developed, but also Dewis's standing as an extraordinarily gifted automotive engineer. He was involved in bringing disc brakes to production cars. He worked on XK models, C- , D- and E-Types, Le Mans-winning race cars, and the original XJ sedan. The tale of Dewis's tenure at Jaguar is a history of the company itself. How even in its early heyday, resources were limited. But as part of a dedicated team that included E-Type designer Malcolm Sayer, Dewis overcame such obstacles to help make Jaguar one of the truly exciting marques, one that has managed to weather economic storms when other British badges have gone under. The book has a comprehensive index and many never-before-seen photos. Particularly enjoyable is the chapter on the unfortunately-named (for triskaidekaphobics, at least) XJ13. It was a prototype Le Mans racer and one of the most beautiful cars ever made. At 140 mph, without warning, the offside rear wheel disintegrated, throwing the car off the track and onto the dirt, where it did two end-over-end rolls, barrel-rolled a few times and landed right side up. Luckily, Dewis lived to tell the tale. And several others in this wonderful book.
-Colin Ryan
Porsche 917: The Heroes, the Victories, the Myth
Hardcover, 240 pages, English and German text, 300 color and black-and-white photos. $79.95
A co-op among four Porsche enthusiasts and, while not published by David Bull, a deal was struck to distribute this in the States. It's an important book for enthusiasts and modelers especially. The recollections of drivers who had first-hand experiences of the 917 in all stages of development make for a fascinating read. There is a table of results listing events, which chassis was used, etc. And the photos, many never published before, will hold your attention.
Racing in the Rain: My Years with Brilliant Drivers, Legendary Sports Cars, and a Dedicated Team
Hardcover, 400 pages, 32-page color section, over 250 black-and-white and 50 color photos. $49.95
For those who followed the prime of sports prototype and GT cars, think of this as a companion to That Certain Sound by the late John Wyer. Horsman was Wyer's number two through Aston Martin in the early '60s, the Ford GT40 program and, ultimately, the great Gulf Porsche 917 effort. I could wax on about this, but won't. Just buy it and see for yourself.
Circuit de Reims
Hardcover, 144 pages, color and black-and-white photos. $49.95
Published by ETAI
The old race circuits of Europe are a lot like our lost and forgotten ball parks. In the case of Reims, the stands and towers still loom like ghosts along the public roads that made up one of the fastest circuits in the world at one time. "Un weekend en Champagne" played host to the very best drivers. Of special note is the reproduction of posters issued for the Grand Prix of France.
Mes Pop Cars
Hardcover, 268 pages, lots of large-format color photos. $99
Published by Apach
This is my favorite book of the year and whose publication I have been waiting for a long time. Herve Poulain was the main man behind the BMW 'art car' projects involving the big four artists of pop culture. Beginning with Calder and through to Frank Stella, Roy Lichtenstein and Andy Warhol. This is a timeline of these BMW racecars as done by the artists and the photos make a statement of their own. In addition, there are other art cars commissioned by Poulain, such as the Porsche GT2, as done by pop master Wolinski. But it is the CSL, 320 turbo and M1 BMWs that make this book essential for those who found the art cars a landmark blend of art and sport.
Emotion Ferrari (Europe 1947-1972)
Hardcover, 504 pages, hundreds of color and black-and-white photos. $179
Published by Editions Maurice Louche
Essential Ferrari book by one of the great historians of automotive culture and motorsport in France. Louche is the author of books on the Tour De France, Tour De Corse, and the Rallye Monte Carlo, among others, and has one of the best archives of racing photos in Europe. With text in English and French.
Steve McQueen: The Last Mile
Hardcover, 235 pages, color and black-and white-photos. $49
This book is included because, dude, it's Steve McQueen. No shots from Le Mans or Bullitt, just a collection of family album photos of Barbara's life with the man, shot during the final reel. Cool bikes, biplanes and his Jaguar XKSS.
Lamborghini: A Tempo Furioso
Hardcover, 178 pages, color and black-and-white photos. $99.95
This reads like a better-than-average coffee table book and the layout is corporate boardroom, but it's Peter Vann's photography that does justice to the Lamborghini legend. A National Geographic of the road from Sant'Agata to the Muira Brothers in Andalusia. Like a line in a recent road movie: "Transportation is a precise business."
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Welcome to this week's Frugal Family linky! Thank you to everyone that shared a money or time saving idea with us - I love to read them. I've picked two of my favorites to feature this week.
Dabbling Momma shared a fun, inexpensive craft & activity to go with The Secret Life of Squirrels Book.
I love making freezer meals and Super Mommy Club gives us One Whole Month of Freezer Meals with No Repeats! This is such a time and money saving way to take care of dinner.
Be sure to share with us next week and you may be featured! Don't have a blog? Feel free to leave a comment with your frugal idea. We'd love to hear from you!
The Frugal Family Linky is a great place to share and find ideas that help families to save money, time, and energy. If it's free, low cost, saves money, or reuses something in a new exciting way you can find it on our link up!
The Frugal Family Linky Co-Hosts Are:
Witty Hoots - Celebrating Family Home Life with a Smile - Family orientated lifestyle website with a focus on activities for families with children of all ages.
Peakle Pie - Creative Ideas for Inspiring Minds - Sharing creative activities for the under 7's.
Raising Wild Ones - A Family Lifestyle Blog - Kids crafts and activities, travelling and exploring new places and photography are the focus of Raising Wild Ones.
Nemcsok Farms - A Family Run Farm - Full of hints and tips, recipes and ideas on how to use the things around you to create a better, more natural lifestyle.
Our Daily Craft - Crafting with and for kids, creativity for moms and other busy people and helping you create the life you always wanted.
Sunny Day Family - Creating, playing, and making every day shine.
Multi Crafting Mummy - Arts, crafts and messy play acitivites for kids under 7 to do altogether.
Now on to the link up. Please link directly to your blog post. Family friendly posts only, please! Anything that saves time, money, or resources, is free or low-cost, is welcome.
Linking up? Grab a button!
By linking up you give my co-hosts and me permission to use a picture from your post to feature you on our sites or through social media sites such as Twitter or Facebook. Pictures will only be used to feature the post that you shared and may be incorporated into a 'featured post' collage. We will always contain a link directly to your blog if you are featured on the Frugal Family Linky.
Thanks for sharing your frugal blog posts with all of us!


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Hearts and roses and kisses galore…
What the hell is that schtuff for
People get mushy and start acting queer
It's definitely the most annoying day of the year.
Today marks two weeks since Valentine's Day...that loveliest of holidays where twidderpated hearts and much sex ensue. My friend James recently told me about his gift to his sweetie. He called it "Fourteen Days of Valentines" and it started on February 1st. In mid-January, he bought fourteen gifts for his girlfriend and packaged them up with bright bows and coupled all of them with a calendar. He then mailed these in a big box with the instructions that she was to open up each gift indicated by the day on the calendar. I thought it was one of the most romantic things that I'd ever heard of anyone doing for anyone. Since a well-known author used the word "perfect" a ton in describing her protagonist, I'm offering up these "sample" men for you ladies out there to see if they could distract you from your work-in-progress.
|You can find this model at any Home Depot or Lowes, but, they're really expensivo.
|Officially, an endangered species :/ Best of luck.
|You have to cross the border into Mexico to find this one.
|This is the guy you find at the bookstore. But with all the writers out there hanging out next to bookshelves, it's a real fight to find one that isn't spoken for.
|This guy won't last because he doesn't know he's gay yet. However, that gives
you at least a few years of happiness before you have to trade him in.
Look for him amongst Republicans and Literary Agents.
|This guy can only be found in big cities. The downside is that he may be a clean freak, insisting that all of your towels be at the same level on the rack.
|This charmer generally haunts cooking venues like Sur Le Table. However, he really could be just about anyone. To find him, use the question, "What wine goes with a filet mignon?" If he answers correctly, bam... you've got one on the line.


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Review: All-you-can-read services Oyster and Scribd offer plenty if you're not choosy
Two startups are trying to do for e-books what Netflix does for movies.
Oyster and Scribd let you read as many books as you want for a monthly price — $10 for Oyster and $9 for Scribd.
I was skeptical at first. I can never find enough time to read, and I'm picky about what I do read. I was worried about their limited book selections.
But I found plenty to read in no time, and I found myself reading more than I normally would. These services are great if you have a long weekend or a vacation coming up, or in my case three weeks of travels from California to New York.
Just don't think it'll be the same as walking into a library and finding just about any book you want.
I checked several titles from my wish list and asked colleagues for other suggestions, including a few for kids or in foreign languages. Of the 75 I checked, Oyster had 17 and Scribd had 16. For some popular novels, such as "The Hunger Games" series and "A Fault in Our Stars," I got readers' guides and other companions, but not the actual books.
Both services have selected titles from Simon & Schuster, HarperCollins and lots of smaller publishers, but other major U.S. publishers — Hachette, Macmillan and Penguin Random House — remain holdouts. And even when there's a deal with a publisher, newer books tend to be excluded.
Avid readers won't be bored, though. When I signed up, Scribd asked about the types of books I like. Oyster didn't but still made good recommendations based on what other subscribers are reading.
I quickly found about two dozen books between the two services. Each time I added a title, I got recommendations for more. I just finished books on lobster populations and the Ben & Jerry's ice cream company. I'm now reading about Lance Armstrong and the doping scandal — another book I wouldn't have known about if it hadn't popped up on Scribd.
In that sense, both services are much like Netflix. Netflix's streaming selection looks poor when you are searching for a specific title, but Netflix is smart enough to recommend enough movies to keep you paying $8 or $9 a month.
There are enough books to keep you busy for months or years. Oyster has more than 500,000 titles, while Scribd has more than 400,000.
Neither Oyster nor Scribd works on dedicated e-readers such as Amazon's Kindle Paperwhite. Rather, you need a device that lets you install apps.
Both work on iPhones, iPads and Android devices, including Kindle Fire tablets. Oyster also works on Nook tablets, while Scribd has apps for Windows devices. Only Scribd lets you read on Web browsers on personal computers, though Oyster plans to add that soon.
Apps for both services offer features typical for e-books. You can start a book on one device and pick up where you left off on another, though I've often run into syncing problems with both. You can see where you are in a book, change text size and add notes. The options aren't as extensive as what I'm used to with Kindle devices and apps, though.
Oyster lets you store up to 10 books per device to take with you on the road, while Scribd lets you save up to 20 books. Both services permit reading on up to six devices.
Of the two, I like Oyster's apps and e-book selection better, and it's been adding features and device support quickly to catch up with Scribd. But it's also $1 a month more.
I tend to prefer distraction-free reading on a dedicated e-reader, but phones and tablets work when I'm able to exercise some discipline from checking email and Facebook. Plus, I'm more likely to be carrying a phone, so I'm able to get reading done while waiting for a bus or tardy friends.
There are plenty of other ways to get e-books for free or for a set price. Check your local library for starters. If you have Amazon's $99-a-year Prime membership, you can read an e-book for free each month if you also have a Kindle device or the upcoming Fire phone, though you're not offered everything that Amazon makes available for purchase.
If you read just one book a month, you're probably better off buying it — typically for less than the monthly subscription price. You own the book outright that way, and the selection is better. With Oyster and Scribd, access to the books ends once you cancel your subscription, which you can do anytime.
If you read two or three books a month, consider a discount e-book service. With Entitle, for instance, you get two e-books a month for $10, and you own them forever.
Oyster and Scribd are good if you read three or more books, or if you like to sample — start several books before deciding which ones interest you enough to finish.
In a sense, these services aren't like Netflix because it takes longer to finish a book. You can get your money's worth watching 10 hours of Netflix on a single weekend. Those 10 hours might be enough time for just one or two books.
Both services offer the first month free so you can see for yourself how much you can read. A good time to try is when you're heading to the beach for the week.


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