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iControl, Time Warner Cable Join Forces to Offer Home Automation
REDWOOD CITY, Calif. — Through a new partnership, broadband home management software provider iControl Networks will power Time Warner Cable's IntelligentHome solution using iControl's OpenHome software platform.
With IntelligentHome, users can view video and monitor their homes remotely via smartphone or tablet computers. Additionally, they can control, schedule and automate thermostats and lighting controls to save energy. Time Warner also provides 24/7 monitoring, as it operates its own Five-Diamond rated emergency response center.
The partnership between iControl and Time Warner has been in the works for quite some time, iControl Networks Vice President of Marketing Greg Roberts tells SSI.
"We've been working with Time Warner, as well as Comcast and Rogers Communications, collectively on a broadband management solution specifically catered to their businesses," he says. "Those businesses are dramatically different than the traditional home security market, which has an ecosystem of hardware and devices that the entire industry uses."
Roberts stressed that iControl continues to work with home security companies. For example, iControl developed a solution that connects its software platform to existing home security equipment to create a more streamlined installation for the installer. Currently, the company powers ADT's Pulse product, as well as DSC's Connect24 Interactive service.
"Our approach to the home security industry has been less about trying to do business deals with a bunch of home security companies," Roberts says. "It's about going to companies that can resell our solution. With our DSC partnership, they already have relationships with home security companies and central station monitoring stations. That way, DSC can provide all the tools to those regional and local companies and offer a more interactive home energy/home management solution."
Roberts says that the deployment solutions they offer are customizable by customer, and user interfaces for the solutions provided for cable companies are different from the solutions provided to home security businesses.
"The features and functionalities for broadband home management are somewhat similar between all our customers, but the user experience is dramatically different," he says. "It's based on the consumer research we've done, specific for each one of our deployment partners to best meet their customers' needs."
However, for security companies to remain in business, Roberts notes that they must embrace offering interactive security services before telcos and cable companies take all the customers.
"The connected home market is now evolving, and it's evolving through home security," he says. "You've got the top two cable companies in the country offering a robust interactive home security solution. It's dire that security companies adapt this technology, whether it's with iControl or another company. That's what it's going to take to survive, and now is the time to do it."
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The Court's grant of certiorari is limited to a single question presented in the plaintiffs' petition:
"1. Are human genes patentable?"
The PatLit weblog covers patent litigation law, practice and strategy, as well as other forms of patent dispute resolution. If you love -- or hate -- patent litigation, this is your blog. You can contact PatLit by emailing Michael here
"1. Are human genes patentable?"
[W]alker Process claims "deal only with a special class of patents, i.e., those procured by intentional fraud," and "cannot well be thought to impinge upon the policy of the patent laws to encourage inventions and their disclosure," 382 U.S. at 180 (Harlan, J., concurring). Particularly in light of the demanding proof requirements of a Walker Process claim, we are not persuaded by SanDisk's "flood of litigation" argument.
"As such, most attorneys on either register will have rights of audience for all IP matters in the Patents County Court, rather than patent attorneys only having rights for patents and designs (but not copyright), and trade mark attorneys not having any rights by default, as at present. We also get a handful of mildly interesting ancillary rights".But what we all want to know is whether when these new rules might be brought into force. If any reader of this weblog has a clue, will he or she please post the answer below.
Designation of Claim Forms in the Patents Court from 1 January 2013.
With effect from January 2013, all Patents claims will be given a new designation HP. So instead of e.g. the current HC 12 C01111 for Chancery claims, the claim number will be HP 13 C01111.
This will apply to all claims in the Patents Court (and so will include SPCs and sweep in a few registered designs etc). Those who issue proceedings in the Patents Court from 1 January are asked to make it clear to the counter staff on issue that it is a Patents Claim and therefore requires the new HP designation or, if issuing by post, then to emphasise the point in a covering note.
In general the staff are very good about this and there should not be a problem as, of course, the claim will be headed Patents Court as at present, but it can only help if the point is drawn to the attention of the counter staff at the time of issue. Under s. 96 of the Patents Act 1977, CPR Part 63 and Practice Direction 63 High Court claims relating to patents and certain other Intellectual Property rights are commenced in the Patents Court and the claim form is required to be marked "Chancery Division Patents Court'" If and when the draft agreement on a Unified Patent Court (UPC) becomes effective, it will be necessary to establish how many patent cases are started in the UK in successive years.
This change will enable the relevant claims for the purposes of UPC counting to be extracted electronically. This will make the collection of accurate data about the number of "patent cases" significantly easier than at present, although it is expected that it will still be necessary (given that in some European jurisdictions cases may be counted on a different basis) to review the HP cases to establish
· how many patents were in issue,
· whether there is a revocation counterclaim or anything else that might be characterised as a "patent action" in other parts of Europe,
· whether other patents are added into the claim later, and
· whether any application for interim relief was made.
Philip Westmacott
Secretary IPCUCNovember 2012
|The Italian Supreme Court: we hope that it will
not be troubled by too many patent appeals ...
* matters pertaining to industrial property;
* antitrust matters;
* matters pertaining to contracts of EU relevance;
* disputes between business corporations, co-operatives, groups.In order to maintain the specialisation gained over the past years, the Courts of Milan and Rome have already created two subsections, one for IP matters and the other for company matters, which should ensure better quality judgments. This same arrangement may also be adopted by other Italian courts.
(a) who won?Having established this, Judge Birss QC proceeded as follows:
(b) did the winner lose on an issue which was suitably circumscribed to deprive that party of the costs of that issue?
(c) was the case was a suitably exceptional one to justify making a costs order on that issue against the party which had won overall?.
* In determining the successful party, a judge has to look at the facts and decide who, as a matter of substance and reality, had won. True, EPP's freedom to sell its version three was of significant commercial importance to it -- but that did not mean that it could be regarded as the winner for the purposes of assessing the action's costs. Looking at the dispute from where the judge sat, EPP had firmly pressed its claim that the patent was wholly invalid and that version two did not infringe, even if the patent was valid. So far as validity was concerned, EPP relied on (i) three cited items of prior art, (ii) an attack of obviousness over the common general knowledge and (ii) added matter. However, when it came to the trial, EPP ceased to relyon one of the prior art citations and its other validity challenges failed. It was indeed Vernacare which emerged as the winner of the legal proceedings, although EPP's victory in relation to version three would be taken into account on an issue-based approach to costs.
* When deciding what order, if any, to make about costs, the court has to consider all the circumstances -- including the parties' conduct, their success in part if not in whole, and any admissible offers to settle. Here it would be fair to deduct 25% from Vernacare's costs to reflect EPP's success on the version 3 issue. A further 5% would be knocked off in relation to the issue of obviousness over common general knowledge. So far as conduct was concerned, while Vernacare's success on validity meant that it had achieved more than EPP had offered, Vernacare could and should have engaged more constructively with EPP's attempts to negotiate. This being so, a further 5% would be subtracted, leaving Vernacare with 65% of its costs.
* In a summary assessment of costs in the Patents County Court, a judge should start with the actual costs for a given stage, then assess them on the normal Patents County Court basis; the resulting figure was the one to which any issue-based discount should be applied. Once this discount has been applied, the figure should be compared to the appropriate scale in the Civil Procedure Rules (CPR PD 43-48) and the lower of the two sums will then be taken.
HLP Integration launches the 'HLP3' patent litigation funding solution
The first integrated solution for monetizing patents offered in Europe
Leading US litigation support consulting and services company HLP Integration has come together with commercial litigation funder Caprica; ATE [that's "after the event"] risk assessors Thomas Miller; and Olswang LLP to create the first ever turnkey solution for IP owners seeking to generate revenues from their patents.
Suitable patents admitted to HLP3 will undergo a robust and thorough process of analysis, expert review and risk assessment involving exhaustive research carried out by HLP; evaluation by Olswang LLP; and a further risk evaluation by ATE risk assessors. Subscribing patent owners will have the benefit of an option, for qualifying patents, to obtain funding from Caprica to take a patent case to court.
Funding commercial cases in the UK has grown significantly in recent years. Potential litigants seeking funding are normally required to undertake considerable preparatory work in order for their case to be reviewed by funders. This can be very time consuming and costly. Patent cases are also technically complex and therefore require access to specialist expertise at every stage leading to evaluation by a funder.
HLP3 is a process designed to allow a patent owner or licensee access to a detailed due diligence report provided by industry leaders at the least possible outlay and risk. The fact that the HLP3 process is integrated ensures the time involved from commencement of the patent review to clarity as to whether a patent can be successfully litigated is as short as practicably possible ..."
"The HLP3 solution ... has aligned the interests of all involved enabling those with patent rights access to the courts to release the value from their innovations. HLP3 has been designed to fund not only High Court cases but also smaller Patents County Court claims".Reference to the British courts will set readers thinking whether, and to what extent, this solution can be applied mutatis mutandis to litigation elsewhere in Europe, particularly if and when the Unified Patent Court is to be the likely forum.

subset: commoncrawl


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"Real" Beverly Hills Housewife KYLE RICHARDS reacted like a rattlesnake was about to bite when the maitre d' at trendy, always packed Il Pastaio restaurant seated her and a galpal at a choice table – just inches from KELSEY GRAMMER and new-ish, pregnant wife KAYTE!
"The instant Kyle and Kelsey made eye contact, the tension was so thick you could've cut the air with a knife," said My SpyWitness.
"Kyle – who famously supported her 'Housewives' co-star CAMILLE GRAMMER when hubby Kelsey brutally dumped her during the show's first season – immediately leaped up and demanded another table…as far away from him as possible!"
Kyle got her wish – but was forced to endure a half-hour wait


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Art In Conversation
JEFFREY DEITCH with David Carrier and Joachim Pissarro
Recently Jeffrey Deitch has been much in the news. He has just returned from L.A. where he held the directorship of MOCA for three years. Within this relatively short span of time, Deitch managed to transform radically the ways we approach museums, whether as insiders or outsiders, and, further even, he may have introduced a seismic change within the Art World proper.
The Brooklyn Rail's two interviewers, David Carrier and Joachim Pissarro, have co-written a forthcoming book: Wild Art, which deals with parallel concerns Deitch chose to confront from the perspective of a museum institution. Deitch had barely touched land back East when he agreed to participate in this very timely interview—timely in more ways than one.
Jeffrey Deitch: Let me congratulate you both on this wonderful book Wild Art. It was introduced to me in the best way. Do you have any idea who brought it to my attention? [Silence.] Jeff Koons. Jeff Koons showed it to me and with his special Jeff Koons enthusiasm we looked through it together. As you know, it's the artists who are always the aesthetic leaders, who open things up in art and it's artists like Jeff who opened up the vision of the art world toward what you presented in the book.
Every decade or so, the art world needs to go through a kind of correction and be brought back into a more open, more tolerant view. Your book is very timely because, ironically, an academicism has set into the art community, and it comes not from the right wing, but from the left wing—from those who once counted among the most radical and most anti-establishment: it is the conceptual, post-studio artists, who, ironically have generated a very stiff new kind of academy. And this has become—not in all cases, but in many cases—intolerant.
Joachim Pissarro: Koons is constantly referring to this idea of being accepting of others, whether it be accepting of other forms of art, or accepting of what people look at—which induces us to open our eyes to art forms we would not necessarily pay attention to. And you, of course, hit the nail on its head immediately by referring to this kind of neo-liberalism, the new conceptual academy, which has become so much of a dogma, or a dogmatic way. It is accepted without thinking twice about it. Now, you go outside in the street and conceptual art doesn't mean anything, people don't know who the major players are. It's not to say that conceptual art was, or is not important, but it's very much an art world phenomenon.
Deitch: But I wouldn't exclude a consciousness of conceptual art on the part of street artists. A lot of these artists looked at conceptual art—and in fact a number of the artists we think of as street artists, or graffiti artists, are very well-versed in the history of conceptual art. And so someone like Shepard Fairey, for instance, points particularly to Barbara Kruger as one of his biggest influences.
David Carrier: So, who are the most important artists they looked at?
Deitch: They draw from a wide range of influences. For instance, Keith Haring was a student of Joseph Kosuth so he was very aware of the discussion about semiotics that was common in the art community in the late '70s and early '80s, and drew on it and referred to it. But also, conceptual art comes from multiple origins. It's not one-dimensional. If you can think of William Burroughs as having conceptual roots in his approach to writing, with his cut-up technique; Basquiat was very influenced by Burroughs. And in the early SAMO work, his concrete poetry goes back to very early origins of conceptual art: Dada and Futurism.
Carrier: Can you tell us how your interest in street art developed—before even there was a term to describe it?
Deitch: I've spent so many years in friendship and conversations with Basquiat, Rammellzee, Keith Haring, and more recently Barry McGee, Shepard Fairey, and Swoon. These are people who have every bit as much intellectual interest and cultural sophistication as artists who are academically pretentious. In fact, part of the reason to organize and curate Art in the Streets at MOCA in L.A. was to focus on a more serious context and demonstrate that these are artists, not uneducated outsiders. Swoon went to Pratt, Shepard Fairey went to RISD, Barry McGee went to the San Francisco Art Institute. They are very aware of the current dialogue and they chose this direction as something they thought was the most artistically viable, and they chose this medium because it was a way to communicate very directly with a much wider audience. I have always been very inspired by artists who address an audience beyond a small sphere of a few prestigious galleries, and museums, and one or two art publications.
The artist Robert Williams is a great inspiration with an amazing history, being part of the invention of underground comics, and one of the founders of Juxtapoz magazine, which I believe is the most widely-read art magazine in the English language. You can have the most stimulating conversations about art and culture with Robert. Many of these artists who might be considered outsiders or anti-intellectual artists are in fact as sophisticated and self-aware of what they're doing in the context of art history as artists who are doing altered photographs with text.
Academic conceptual art, much of it, in its sort of gallery-ready form, has difficulty connecting with a broad range of cultured people who are interested in visual culture. Banksy, who is very much a conceptual artist, works in a way that is very direct; he plays with media and with culture and gets it on so many levels and really is able to connect with people. So, some of the more academic conceptualists are worried about protecting their position: they see a Banksy coming out of nowhere, drawing 75,000 people to a pop-up show over three days and getting nominated for an Oscar for his film. How do you think the academic conceptualists feel when all their lives they have relied on the same old system of validation by certain respected critics, magazines, museums, and galleries? Banksy doesn't need this validation system because his audience is reacting directly: there is no need for a critic's validation anymore. Academic conceptualism, however, can only thrive with this kind of validation.
Pissarro: How did your interest in this field develop?
Deitch: When I came into the art world the late Greenbergian academy, color field painting, and its counterpart in sculpture, were endowed with glowing praise by that particular critical group, which formed the art establishment. So when I came in, the conceptualists had to battle against this. And for me it was very exciting because I worked at a gallery that represented many of the great conceptual artists: the John Weber Gallery. It represented Carl Andre and Sol LeWitt, Hans Haacke, and artists at the farthest edge of conceptualism, like Ian Wilson. I knew these people very well, and I was very much involved in this struggle to get this kind of art taken seriously by the museums, by the art establishment. What happened is that these radical conceptualists won and they toppled the control of the Greenbergians.
The influence of Clement Greenberg remained, of course, very, very strong and I have great respect for his insights. They've been crucial in my understanding of art. But, as we know, it went from stimulating, intellectual, and aesthetic dialogue to something that became a doctrine. Now, it's such an irony to see that the former radicals—conceptual artists—created something that, in turn, has become a dogma, a doctrine, something that has to be fought back. It's an ongoing cycle: one group will generate another counter-group, just to puncture the current establishment and their power, and, in turn, this group will become intolerant, and create the necessary situation for its nemesis. This is what happens again and again, whether it's the Impressionists against the Academicians in the 1870s, or today's new conceptual academicism struggling to defend its positions against this new radical force coming out from all directions. We're in a field that has a built-in concept of perpetual revolution. It's very exciting.
Pissarro: I would go further and I would say this is hypocrisy, which is that there is a rampant demo-phobia going on in our academic circles: a hatred (or phobia) of the people, (demos)—or the masses—which ironically comes directly from neo-Marxists, who are afraid of the masses and so, they live happily in the most conservative circles with others who share the same demo-phobia. Philosophically speaking, this kind of distrust of what the crowd is thinking originally stemmed from a kind of liberal West German Marxist trope that functioned during the growth of the two totalitarian systems. Simply put, the idea is that if you let any crowd be to itself, you end up with fascism. Crowds—the masses—inherently carry bad taste, and this bad taste will lead you to, or to support, any form of dictatorship. Of course, this is completely ridiculous, and historically wrong. This belief that the crowd has innate bad taste, and needs to be taught properly is embarrassing.
Deitch: I think there was a lot of validity in the way the Frankfurt school viewed the world at that time. But the world has changed immensely. The fascinating new audience we see today did not exist the same way 20 years ago. Very few of the great artists come out of the social elite. Occasionally they do, but that's very rare.
Pissarro: So what was the clinching point that led you to become aware of this new situation?
Deitch: When I began Deitch Projects in 1996, the visitors were 90 percent, 95 percent the conventional downtown art world. They were art professionals, art writers, artists, and a small number of collectors for whom contemporary art was their primary avocation. People who were interested in new music, new theater, film—that wider audience wasn't really coming. It was very directed toward this conventional world of contemporary art. And then, five years or so into this, a new audience started appearing when we showed Barry McGee for the first time. It was completely unexpected. I opened the door before the opening and there were all these kids sitting on the sidewalk with skateboards: people took the Greyhound bus from the Midwest, from Canada, and it was absolutely amazing. At the opening itself there were thousands of people, many more than could fit into the actual gallery. When we closed the door after the official opening was over, thousands of people were still in the street and Barry was hanging out there with them. He never came to the celebratory dinner; he stayed outside, signing books. And then, during the course of the show, these people would come in on skateboards and ask the prices: "Okay, I'll take that."
This new audience predicted what was going to happen in contemporary art, where the borders between the different media are dissolving. It doesn't mean that there aren't people who are deeply into the tradition of abstract painting—that doesn't go away. But, it's more and more that it doesn't matter so much to an artist whether they're a pure painter or working in film or photography. It's not only that borders between media are dissolving for the younger artists and the younger audience, it's that the borders between the commercial and the fine art are dissolving. When I showed the work of Kerstin Brätsch and Adele Roeder in The Painting Factory at MOCA, we showed them as DAS INSTITUT: their collaborative project that plays with branding with industrial products, and fabric design. They are mixing that up with the tradition of Modernist abstract painting. And yet, at the same time, it's not something completely new. This goes back to the Bauhaus.
Carrier: How would you characterize this new audience?
Deitch: This is a new audience that is watching films by independent directors, or listening to bands like LCD Soundsystem, the Yeah Yeah Yeahs, and No Age. Musicians like these are involved in a dialogue with art and literature. This new audience is not academic. They're open to all kinds of influences—in a deep, immediate, and very direct kind of way—and what I saw in my gallery, one of the reasons that led me to want to work in a public museum was that I wanted a platform to connect with this expanded audience. Art in the Streets at MOCA was thrilling. A misperception was that the audience was all skateboard kids, but it was, in fact, very broad. It was the heads of Hollywood studios; it was families, three generations with the grandparents, kids, and the babies in the stroller. The show also embraced the Mexican-American community, celebrating the Cholo graffiti heroes. This enthusiastic new audience sees visual culture in a broader way and not in a narrow, academic way.
Pissarro: What about the fact that you apparently alienated the regular public of MOCA?
Deitch: Our membership went up 18 percent as a result of Art in the Streets and we attracted important new patrons. The museum and donor profiles have changed. When you go around and visit the potential corporate contributors, they don't look like they did 40 years ago. They're not 60-year-old white guys in blue suits and white shirts. The people making decisions in these companies are in their 20s or 30s, highly aware of the latest fashions and trends. There are posters of Banksy, Shepard Fairey, and company on their walls. In many ways, here, the audience is ahead of the art establishment. This new audience gets it.
Carrier: Where did it all start for you?
Deitch: When I came into the art world, you'd be going into Micky Ruskin's bar and you'd see John Chamberlain, drunk and hilarious, and artists arguing and fighting it out. Now, if an artist is drunk at a public opening, he or she is immediately ostracized. I have heard people say, "Did you see so-and so drunk at the party? I think I should sell his work!" So, artists are so conscious of dressing perfectly, behaving perfectly. This is part of the American character, this fanatical Puritanism—and it obviously goes back to the Salem witch-hunts! But, there's also a wonderful strain of American radicalism that people trace through the beats and onward up. This puritanical strain asserts its influence in the art world, and is opposed by the renegade strain.
One of the reasons I'm interested in this broader expanse of what is art is that it's a counterweight to this puritanical professionalism. I went to Harvard Business School, and I remember very well that a lot of the whole recruiting process was oriented toward recruiters from McKinsey and Goldman Sachs and Morgan Stanley. When I started going to the M.F.A. exhibitions at Hunter, Yale, Columbia, and I said to myself, "My god, what am I doing here? I'm like the recruiters from Goldman Sachs coming to Harvard, trying to recruit the M.B.A.'s."
I come from this exceptionally lucky age cohort. I am part of the prime time of youth culture. I was in high school from 1967 to 1970 and I was an exchange student in Paris in 1968. I arrived in Paris in June 1968, two weeks after the riots.
Pissarro: You might've had my father as a professor! Coming out of clouds of smoke!
Deitch: Then, I was an exchange student in Japan in 1969, when students had taken over all the universities and the different factions controlled different buildings. I went to a public high school in West Hartford, Connecticut, but because I had absorbed almost all of the stimulation I possibly could out of Hartford I wanted to see the wider world. I was very lucky because the exchange student organization that took me to France was establishing a new program in Japan the following year and they wanted a known quantity among the students and I was one of the students who thrived in the French program. They asked if I would consider going to Japan the next year with a full scholarship. So I said yes! I'm part of this radical generation—I didn't go to Woodstock because I was in Japan at that time, but instead of Woodstock, I was in the middle of Shinjuku Station where there were a hundred thousand students who poured in and occupied the rail station, bringing Japan to a standstill.
When I returned to high school, I would get inside meetings of the Students for a Democratic Society cells at Trinity College in Hartford. And then when I came to New York City I was very lucky to end up as an assistant in the gallery to tougher, more radical artists. I would spend hours talking to them and anything they needed—if they needed a ride, they needed something picked up—I said I'd do it, because I just wanted to be there, to hear them talk, interact with them. And then I began going to CBGB and Max's every night, becoming deeply immersed in the beginning of punk rock.
I'm very lucky to have been part of this extraordinary time. I also did what my parents expected and got a prestigious education, but I was always very engaged with the radical side. One of my approaches to life has remained the same: rather than being on the outside trying to get in and push down the doors, why not get inside—go to Harvard Business School, a ticket to get anywhere—and do radical things from the inside? My credential from Harvard gave me the opportunity to develop and co-manage the art market department for Citibank. While I was there I built the most radical art collections of the time and loaned money to artists. That's always been part of my approach: to be in the establishment, but to use the advantages of that position to do progressive things.
Pissarro: Is this something that can be replicated now? Can there be young gallerists and curators who can do something like that, or is your role tied to a certain period of American history? Are you optimistic?
Deitch: I think American culture is remarkably dynamic now. We are becoming the model multicultural country, and I am very optimistic about American culture. This is such an exciting period. When I began 40 years ago, contemporary art was basically East Coast America, Western Europe, and a little bit of L.A. It was a white male culture. Art is more and more global, multiethnic, and diverse. When you look at this change, particularly during the last 20 years, this is a phenomenal period—a transformative period. But new trends in art are tied in with commercial speculation and manipulation and political agendas and it's hard to sort out. Perceptions of what's important now are going to be different from perceptions of what's important after all this sinks in, but it's a tremendous period, and a great opportunity for artists, and also a great opportunity for curators, art dealers, and museums to help sort all this out and understand it. For me, it's thrilling to be part of it.
Pissarro: What do you think is your next step, and how do you see yourself prolonging this major role you've had in the last 20 years?
Deitch: I'm trying to develop some structures that will use the commercial system in a new way to present art in a public way. I think the audience is so hungry for art that speaks to them, and that is framed in a way that is relevant to real life. People want to explore something in the arts that enlightens them in a more profound way about the culture they live everyday.
I am very interested in broad, cultural platforms like punk that encompass music, fashion, art, and writing. I am also very interested in disco, the most disparaged musical form of the past 60 years. Derided by most music critics, it was viewed as an unfortunate counterpoint to the tradition of the rock singer-songwriter, with their own individual expression. Here was this plastic, mindless music produced in a studio with many faceless performers. But, with the perspective of 40 years, we see that a lot of the best, most popular music now, finds its roots in disco. Like Daft Punk—they made one of the most exciting albums of the summer, remixing the disco foundation. My local heroes, LCD Soundsystem, also build on the heritage of disco. If you look back at disco, there were tremendous formal innovations: the musical collage, simultaneous playing and splicing of records. Disco DJs and producers like Walter Gibbons were among the inventors of this musical collage.
Pissarro: Which picked up in rap and New Wave rock—
Deitch: Well, it has parallels to the beginning of hip-hop. There's a double emergence. These innovations were, at a certain point, considered opposed, but there is a lot of fascinating interchange between the beginning of disco and the beginning of hip-hop.
Carrier: Could you name a few examples of musical innovation in disco?
Deitch: Giorgio Moroder, he's one of the inventors of this new, electronic sound. He was one of the first to use the synthesizer for pop music—whereas, before, it was primarily used by avant-garde musicians. And he used the synthesizer to make pop music by embracing one of the structural approaches of the vanguard electronic musicians. So when I see the heritage of disco—when you look at LCD Soundsystem, there's this fascinating fusion of the foundation of disco, the foundation of contemporaneous avant-garde music; Philip Glass and Steve Reich. They are also important in the heritage of punk and New Wave music. LCD Soundsystem mixes that heritage to come up with something totally contemporary.
The other important formal innovation of disco is the dissolving of the barrier between the performers and the audience. You go to a music festival now and it's always exciting to see the big rock band, but the most enthusiastic crowd, the real action, is in the tents, where you have the great DJs, and electronic dance music stars. At Coachella this year the most exciting event was the Major Lazer performance with Diplo. To see the total engagement of the crowd, the audience and the performers really fused together to create the spectacle. In art today there's such hunger for direct engagement. A lot of this starts on the dance floor in disco where the DJ is riffing off of what the crowd is doing. Then there's great sociological innovation in disco—it is the soundtrack of gay liberation. There is so much to learn from disco, to understand the foundations of the most popular new sound today, electronic dance music. I am developing a disco exhibition that will be a combination of an educational experience and a completely immersive club or festival experience. I hope to combine the two, in a way that museums have been heading toward, but that has never been quite realized to this extent, where people will dance in the middle of the exhibition. I'm looking forward to being able to realize that.
Carrier: Where is this new audience coming from? How is it expanding so fast?
Deitch: I call this new sector progressive culture: It is the same as the audience for the new designers. With fashion week here now, I am fascinated to see what's going on around Lincoln Center—there is the entire structure around fashion week and the act of the audience engaging with advanced fashion. And it's amazing how many people follow this over the Internet. If you look at sites like Nasty Gal, there is a high level of engagement, talking about and commenting on advanced fashion that has really become big—and this spills into art, music, and film. That's the textbook case for how progressive culture presents itself. This message of openness, engagement, and empowerment: it's what you hope can come out of the art world. This is interesting with a pop performer like Lady Gaga, who is expanding upon these many disciplines and engaging with all of them fluidly and simultaneously and bringing this progressive culture into the mainstream. So here she is, with her "little monsters," articulating this message of openness and acceptance that contrasts with the intolerance of vanguard art critics—certain vanguard art critics, not you.
Pissarro: [Laughs.] This is a great way to close the circle. I'm so glad you mention this because it may give us a title for this interview, "Openness and Tolerance"—
Deitch: I think that's perfect.
Pissarro: You bring up another term that I wanted to bring in: "generous." Generosity, it seems to me, if I can reflect on what you've been doing for the past 20 years, defines your programs. You talked about taking on adventures and finding a part of this—and sharing it with everyone—this overall lack of fear that you have, is very interesting. In contrast, the art world, East or West, by and large, is very fearful, very timid. The artists, on the one hand, are super professional, very effective, more so than perhaps their ancestors or predecessors, but at the same time, they're much more afraid of going outside of the perimeters established by the establishment. You do not pay attention to all this.
As we know Deitch Projects included many people. We spoke with Nicola Vassell, a close associate of Deitch Projects, and she gave us a few great quotes, which we wanted to share with you: "After having worked for Deitch Projects, I felt like an outsider in the art world. I couldn't find, and was still looking for a position of where I fit in." This is actually extremely moving. What you have done is to introduce a zone within the art world that is outside the art world itself. After you left for L.A. several of your colleagues had the unfortunate experience of finding themselves almost alienated within the current art world. I think we are witnessing a change—a big change—and I share your optimism. I'm 100 percent with you regarding your analysis of where the world is going, and your perception of American culture and its current state. But it's going to take a while, and meanwhile, what we're experiencing are these waves of resistance. The art world is kind of fossilized around certain, key positions—thought to be inalterable.
Deitch: Generosity matters so much.
Pissarro: Oh, and another great quote from Vassell: "He gave his life for art."
All: [Laughter.]


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Displaying items by tag: spurtle
Tuesday, 27 July 2010 16:02
As I'll soon be heading to Scotland (but unfortunately missing the World Porridge Championships) I thought I'd try making a spurtle. Never having used or even seen one before I basically just made a spindle with a handle at one end and not much decoration at the other (to avoid stuck food).
Published in Blog


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Sale price
Regular price
This 1/1 custom Kyle Lewis was hand crafted in oak wood by Matthew Burke and is signed by the artist on the back. The back of the card says "Jan 2021" and "1/1."
The card is sealed in a 100 pt Ultra Pro One-Touch magnetic case, and sealed with the official CardArt sticker.
Product Details:
(1) 2.5"x3.5" trading card encased in one-touch magnetic case
Autographed by Matthew Burke- Hand Numbered 1/1
Includes Sealed Authentic Label & Letter of Authenticity from CardArt
Product Type: CardArt: Matthew Burke
Year: 2021
Player: Kyle Lewis
Team: Seattle Mariners
Artist Name: Matthew Burke
Limited #: 1/1


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Idaho Civil War Map of Battles
January 29, 1863 Bear River / Massacre at Boa Ogoi
Kindle Available
The Confederate War Bonnet: A Novel of the Civil War in Indian Territory
An evocative historical novel that helps to answer how Indians became involved in the Civil War, why they joined Confederate forces, and how the experience shaped their future in America.
Civil War in the American West
An accurate and detailed history of the Western Theater of the Civil War, which was largely forgotten by history. He was one of the first historians to fully understand the impact that California had on the war as he gives an accounting of the Federal raid on the Dan Showalter Ranch in San Bernadino on October 5, 1861.
Confederate Armies: Kentucky, Maryland, Missouri, the Confederate Units and the Indian Units
This volume is arranged by state; units organized directly by the Confederate authorities from various state companies; and those units from the Indian nations allied with the Confederacy. Chapters are included for artillery, cavalry and infantry units that are broken down by size: battalions, batteries, companies and regiments
The Cherokee Nation in the Civil War
The Cherokee people, who had only just begun to recover from the ordeal of removal, faced an equally devastating upheaval in the Civil War. The Cherokee Nation, with its sovereign status and distinct culture, had a wartime experience unlike that of any other group of people
The American Indian and the End of the Confederacy, 1863-1866
The vulnerability of the Indians caught between two warring sides. The failure of the US government to afford to the southern Indians the protection solemnly guaranteed by treaty stipulations was the great cause of their entering into an alliance with The Confederacy
The American Civil War in Indian Territory
Native Americans fought in both Union and Confederate units. The Indian Territory saw its share of battles and campaigns. If you are a reenactor or modeler this is the kind of detail that you need. The photos and artwork make this a must-have.
General Stand Watie's Confederate Indians
The Confederacy pioneered the idea of giving blacks and women positions of authority [the Matron Law], placed Jews in positions of power, put General's stars on a Mexican and the first American Indian General. This book is his story
Sam Bell Maxey and the Confederate Indians
Accompanying photos, clear maps. This book will leave you wanting to learn more about this rather neglected region of the war. No less important in many regards for the defining of the nation's future than the more well-known battlefields of Virginia, Maryland, and Pennsylvania. Highly recommended
U.S. National Park Service
U.S. Library of Congress.
U.S. National Park Service
U.S. Library of Congress.


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By YOKO ONO LENNON
My husband, John Lennon, and I bought a beautiful farm in rural New York more than 30 years ago. We loved the tranquility and beauty of the area. Our son, Sean, spent many precious days there growing up. Our family still enjoys it now.
Like the rest of our state, this peaceful farming community is threatened by fracking for gas. Giant pipelines, thousands of tractor-trailer trucks ripping up roads, loud air compressors, air pollution — and most of all, the certainty of poisoned drinking water.
Certainty is the right word, according to the engineers, as the wells drilled for fracking will leak. According to industry documents from the gas drilling giant Schlumberger and other studies, 6 percent of the wells leak immediately, and over 60 percent of them leak over time. And no wonder they leak — the pressures of the earth thousands of feet under the ground cracks the cement well casings. The big variations in temperature along the well at various depths expand and contract the cement until it cracks and leaks.
And what leaks from the wells?
Toxic hydrocarbons like benzene and methane that are under the ground. And the toxic chemicals injected with millions of gallons of water at high pressure to fracture the bedrock to get at the gas.
This is why you can see families literally light their tap water on fire in the movie "Gasland" from the leaking methane. And why homeowners across the country have had their drinking water ruined with the chemicals used in fracking.
Meanwhile, there is no place to put the toxic wastewater that comes back up from under the ground. About half of it stays underground forever. In Pennsylvania, it is often dumped into open pits where the toxic chemicals volatilize into the air. Sewage systems cannot handle it safely.
Gov. Andrew Cuomo has made some very important and strong statements about combating climate change, especially in the wake of Hurricane Sandy, which I applaud. But he must not believe the hype that fracking for gas is good for the climate. It isn't.
The methane that leaks from the wells, and even from the pipelines and compressors, is a very powerful greenhouse gas — 100 times more than carbon dioxide. When the bedrock is shattered, the methane also migrates away from the wells. More than a tiny bit of this leakage makes fracked gas as great a problem for our climate as coal. And the leaks are not tiny.
I understand the pressure on the governor to create jobs and help the economies of rural areas. But fracking creates very few jobs, and most of them will not go to New Yorkers. We could create far more jobs by insulating every building in the state to save energy and changing all the windows to more insulating models. Doing this would save far more energy than fracking will ever produce, plus lower consumer heating and electric bills forever. In contrast, fracking and climate change will cause economic damage and decline.
Former Vice President Dick Cheney succeeded in removing fracking from all federal regulations. It is no longer covered by the Safe Drinking Water Act, or the Clean Air Act, or even the National Environmental Policy Act.
If fracking isn't safe enough for the Clean Air and Water Acts, it isn't safe enough for New York. And the energy won't even go to New York. There is a glut of gas on the market, and the companies plan to export what they produce here to other countries.
Gov. Cuomo, please don't frack New York. Don't allow our beautiful landscapes to be ruined, or our precious and famous clean water to be dirtied.
Your draft plan won't allow fracking near New York City's water supplies. But if it isn't safe enough to be near New York City's water, how can it be safe enough for rural communities, or the New York side of the Delaware Basin that feeds drinking water to Philadelphia?
No amount of regulation can keep these wells from leaking. Please stand up to the fossil fuel industry and save our water, our climate and our state. Let's make New York the Clean Energy Empire State, not the state of dirty fracking.
This statement was issued on Jan. 10, the day before Yoko Ono and her son, Sean Lennon, helped deliver over 200,000 anti-fracking letters to the Department of Environmental Conservation in Albany, N.Y. Ono and Lennon are the co-founders of Artists Against Fracking, www.artistsagainstfracking.com.


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Skilled Nursing
At Ayden Court, we believe that a meaningful stay at our facility begins and ends with our skilled nursing staff. Their training and years of experience are often what makes our rehabilitation programs and long-term care stays so successful. Upon admission, our staff works with patients to determine any special dietary requirements and our skilled nursing staff is accessible and available. Compassionate care and detailed training and experience are two of the hallmarks of our skilled nursing team and they are what help set Ayden Court apart from other rehabilitative and long-term care facilities.
Learn more about our skilled nursing staff below, and contact us today to schedule a tour, request more information or begin the admissions process.
Accessible and Available
Nursing stations are on every hall so that our skilled nursing team can respond to each patient's needs, and call bells are available for residents to make requests to our nursing staff. Each nurse has undergone training to respond to patient requests and needs in order to meet the Ayden Court standard of personalized care.
Specialized Training
Our nursing staff has received specialized training to respond to, assess, monitor and treat a wide variety of conditions. Some of the most common conditions include the following:
- Hip Fractures
- Knee Replacements
- Stroke
- Wound Care
- IV Antibiotics
- Joint Replacement Therapy
Additionally, we provide care for other chronic conditions that require special attention:
- Kidney Dialysis
- Dialysis Education and Care
- Diabetic Management and Care
- Short-Term Diabetic Education for Newly Diagnosed Patients
- Rehabilitation for Patients with Pacemakers
- Respiratory Care
- Pain Management
- Memory Care for Patients with Dementia/Alzheimer's
Nursing & Care Services Provided
In order to offer the care necessary to treat such a wide variety of conditions, our skilled nursing staff are trained to provide the following services:
- IV Antibiotics, Medications and Fluids
- Parenteral Nutrition
- Oxygen Therapy such as Nebulizers, CPAP, BIPAP, Chest Physical Therapy and Sporometers
- Post-operation Care
- Respite Care
- Restorative Rehabilitation
- Heat Therapy
- Tracheostomy Therapy
Electronic Health Records (EHR)
Our facility uses Electronic Health Care Records and places secure kiosks on the wall in hallways so nurses and physicians have easy access to records. Our EHR system allows qualified members of our staff to review a patient's personal health care information and quickly and effectively make determinations about a patient's care. This also allows our nursing staff to quickly and accurately update each patient's medical records. Because our EHR system manages every aspect of a patient's stay at our facility – from pre-admission to discharge – our patients receive individualized care and services with recognized quality outcomes.


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A service of the U.S. National Library of Medicine
National Institutes of Health
National Institutes of Health
Could Adaptable Bacteria Cause Repeat Urinary Tract Infections?
Study of 4 women found E. coli that 'migrated' and thrived
Wednesday, May 8, 2013
Doctors believe that urinary tract infections are often caused by E. coli migrating from the gut to the urinary tract, according to study background information. But they have assumed that when the bacteria moves to the bladder, it loses its ability to flourish in the gastrointestinal tract.
Now the research published May 8 in the journal Science Translational Medicine suggests some strains of E. coli may be more adaptable than previously thought.
While studying a group of women who suffered from repeated episodes of urinary tract infection, the multinational team of researchers discovered strains of E. coli that can live and flourish in both the gut and the bladder.
"The idea was the ability to effectively colonize the urinary tract was inversely correlated to the ability to effectively colonize the [gastrointestinal] tract," said Michael Hibbing, a microbiologist with Washington University in St. Louis and study co-author. "We found that dichotomy wasn't necessarily true. We found one strain of E. coli that is very good at colonizing both the GI tract and the urinary tract."
More than half of all women develop at least one urinary tract infection during their lifetimes, according to the study. Up to a quarter of all women have experienced recurrent urinary tract infections -- two or more episodes within a six-month period.
The team uncovered the adaptable E. coli strains while studying 45 strains of the bacteria taken from the feces and urine of four otherwise healthy women who were experiencing successive urinary tract infection episodes.
The investigators found that two of the women were playing host to a dominant strain of E. coli that thrived in both the gut and the urinary tract during three urinary tract infections that occurred over the course of several months.
In the other two women, researchers found that the E. coli strain present in their gut and bladder changed as the patients suffered recurring urinary tract infection. The strain that caused the initial infection ended up replaced by a stronger strain that fared even better in both the urinary tract and gastrointestinal tract.
This opens the possibility that treating recurrent urinary tract infections may be more complex than previously thought, because bacteria causing the infections can move freely between the bladder and the gut, the study authors concluded.
"This is a nice high-quality piece of research that is really going to help us broaden the ideas we have about how women get and carry urinary tract infections," said Dr. Linda Brubaker, a urogynecologist and dean of the Loyola University Chicago Stritch School of Medicine. She was not involved with the new study.
"It opens the possibility that bacteria interact with each other, and depending on how the bacteria interact may determine whether a woman gets a single or recurring urinary tract infection," she said. "The solution is probably not going to be more antibiotics, but a deeper understanding of a specific woman's risk based on the bacteria that live in her bladder or her bowel."
Another expert discussed implications of the new findings.
By better understanding the bacterial environments of the gut and bladder, doctors will be able to craft cunning treatments for suffering women, said Dr. Dee Fenner, a professor of obstetrics, gynecology and urology at the University of Michigan School of Medicine.
"I think this will open up new treatment analysis. We'll start looking at [urinary tract infections] in a much different way," Fenner said, suggesting researchers may be able to clear up recurring urinary tract infections through the use of more targeted antibiotics or by even transplanting bacteria into the gut to try and crowd out the bad E. coli with a healthier strain.
Health News Copyright (c) 2013 HealthDay. All rights reserved.
- More Health News on:
- E. Coli Infections


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Arlington School District uses Family Access, a Web based module, for
grades K-12. Student information is readily accessible to
parent/guardians and students. Within Family Access meal accounts,
attendance, schedules and current grades are available.
parent/guardians may go online at www.asd.wednet.edu and click on the
Family Access icon to view student information and your student's Food
Service account. If you do not have parent log in information, please
contact your child's school.
Once in
Family Access, parents can view Food Service account balances, purchase
and payment history, submit a free/reduced application and make an
online payment. There is a $2.00 convenience fee per completed
transaction for online deposits. Cash or checks may also be sent with
your student and taken to the front office to be deposited into your
student's Food Service account.
Non-Discrimination Statement


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Two residents showed up for the April 17 public hearing on the $129 million 2013 municipal budget which—if passed next month—will result in an annual $105 increase on homes assessed at $133,000. The increase is only in the city portion of residents' tax bills. Residents pay taxes that go to three entities—the city, the schools, and the county.
Local taxpayers will have to pay $78.4 million of this year's budget, up about $1.4 million from last year.
While this budget does include raises for the police and fire departments that were deferred from the last several years, the biggest impact of the tax increase will be from increases in insurance costs, debt service payments, retirement costs, and significant tax appeals. But there will be a net loss of potential taxes collected as the value of homes declines, said Business Administrator Steve Gallo.
Insurance costs rose from $16.4 million in 2012 to $18.4 million this year.
"The biggest part of this was health insurance which rose from $13,800,000 to $15, 375, 000," Gallo said.
Although the city has been very active in reducing debt with a vow not to add debt, the cost of paying for existing debt has risen from $10.7 million last year to $11.3 million this year.
Retirement costs—which are set by the state in a pre-determined formula—rose from $9.37 million to $9.6 million for police and fire retirement and from $1.7 million to $1.8 million for civilians.
Some grants and other revenues that the city had in 2012 were eliminated or reduced in 2013. The Bayonne Housing Authority Police Grant fell from 453,846 to $179.627. Police reimbursement from the Department of Justice fell by nearly $150,000. A number of other grants saw similar reductions. The city also did not receive an $815,000 Port Security Grant that it received last year.
Also, in 2012, the city received $300,000 as a result of a bankruptcy settlement with the former management of the Bayonne Medical Center.
"This was a one-time income source that does not repeat in 2013," Gallo said.
Tax appeals and the subsequent reduction in assessed values gave a double hit to this year's budget. The city had to pay back more this year to property owners who appealed their assessments than it did last year. Last year the city paid $1.57 million to property owners who appealed, compared to $2.75 million this year. The reduced assessments mean that the city collected less in overall taxes.
"Tax appeals have the effect of raising taxes on other taxpayers," Gallo said.
In years passed, the budget has relied on revenue from the sale of a portion of the former Military Ocean Terminal at Bayonne (MOTBY) to the Port Authority of New York and New Jersey for a total of about $185 million spread out over a number of years. This year's budget will see the last large payment of $30 million, raising questions from resident Leonard Kantor, who wanted to know where all the money went.
The city has had a structural budget gap ranging from $15 million to $25 million for more than a decade. Early efforts to fill this included deals with the Hudson County Improvement Authority for the sale and lease back of the Central Garage and later, a series of agreements from the Bayonne Local Redevelopment Authority based on the sale of other portions of the MOTBY for potential residential development. Some of those agreements are currently in litigation.
City officials have sought to reduce the overall structural deficit through a restructuring of municipal government, combining departments and operations. But Kantor and other critics claim the city has continued to hire people for municipal jobs, although city officials claim the number of city employees had dropped significantly since its high point more than a decade ago.
Amendments to the municipal budget are still possible before the council adopts it next month, at which point residents will still have a chance to comment.
Al Sullivan may be reached at email@example.com.


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Wednesday, September 14, 2005
Requested Recipe - Decadent peanut butter cups
Decadent peanut butter cups
440g Smooth Peanut Butter
225g Confectioners' Sugar
50g Brown Sugar
500g Good Quality Dark Chocolate
90g softened butter, divided (60g and 30g)
In a mixer place the peanut butter, both sugars and 60g of softened butter into the bowl. Mix on medium until well combined. This will be fairly soft and a little tacky.
Place between 1/2 to 1 tablespoon of the peanut butter mixture into shallow candy cups (you can use muffin papers if you couldnt find them). How much you place depends on how big your cups are. Try to fill them about 1/2 full and smooth the top with your finger.
After all papers are filled, melt the chocolate over a double boiler or in a microwave. If doing in the microwave try and use half power for 2-3 minutes - mixing every 30 seconds. When melted stir in the remaining butter (30g) and place in the microwave for 30 seconds or back over the double boiler until the butter starts to melt. Mix the two together well.
Spoon the chocolate evenly over each cup. If needed, very carefully smooth the chocolate with a knife or place a thin spatula underneath the paper and gently shake back and forth. Place the filled cups into the refrigerator until the chocolate is set. If you want a firmer peanut butter layer go ahead and place in the freezer.
11 comments:
Those look great! Do you think they would go well with a crunchy biscuit layer on the bottom as well or is the firm pb all you need?ReplyDelete
- Anonymous9/15/2005 02:45:00 AM
Thanks Joe for sharing the recipe!!! :)ReplyDelete
i make these all the time, except in bar form. your presentation is a lot nicer though.ReplyDelete
is the confectionars sugar like powder or the regular fine grain table sugar? just checking before giving them a go :)ReplyDelete
- Anonymous9/15/2005 07:41:00 AM
Catesa, confectioners' sugar is just another name for powdered sugar, according to epicurious. :) And thanks so much, Joe for typing this up for us!ReplyDelete
This comment has been removed by a blog administrator.ReplyDelete
thank you Crystal, i just had to be sure because theres no real Dutch translation for confectioner's sugar but powder sugar i definitley know ;)ReplyDelete
- Anonymous9/15/2005 03:41:00 PM
Great idea to use the muffin cups--or even in bar form as another commenter helpfully mentioned above!ReplyDelete
Thanks Joe I am printing this out!
Thanks crystal for answering Catesa's question!ReplyDelete
Let me know if anyone has any questions! I hope they turn out well if you make them!
stuffs mouth full of treats and runs away shoving one in pocketReplyDelete
- Anonymous9/19/2005 03:56:00 PM
You could make them more like real Reece's by rolling out the peanut butter about an inch thick then cutting out small circles with a buscuit cutter (or whatever is on hand, an empty spice jar would work). Place the circles in the paper cups then spoon the chcolate over the peanut butter circles!ReplyDelete


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Everything You Need to Build Your Stunning Website
Powerful Framework that Makes Building Websites Easier
We use the responsive layout based on Twitter's Bootstrap Framework, with its collection of utility classes, to provide a flexible responsive design.Read Blog
The RokSprocket and RokGallery extensions are built to work with a responsive layout and support mobile touch events, such as 'swipe'.Read Blog
We have created a new helper class, RokMediaQueries.js, which provides a unified system that enables extensions to add media query listeners.Read Blog
In terms of media queries, the breakdown is:
/* Smartphones */ @media (max-width: 480px) { ... } /* Smartphones to Tablets */ @media (min-width: 481px) and (max-width: 767px) { ... } /* Tablets */ @media (min-width: 768px) and (max-width: 959px) { ... } /* Desktop */ @media (min-width: 960px) and (max-width: 1199px) { ... } /* Large Display */ @media (min-width: 1200px) { ... }
For mobile devices, there are two options, a dropdown panel menu with items in a tree format or a select box using the browsers own UI elements. Chose a format in the template's menu settings.
The Dropdown Menu is a CSS driven dropdown menu, offering such features as multiple columnsand menu offsets.
SplitMenu displays 1st level items in the navigation bar and children in the Sidebar.


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Mikulski on budget: Getting close
Senate Appropriations Chairwoman Barbara Mikulski said Monday she is "very encouraged" by the progress made in talks with the House and believes the two sides are within "striking distance" of reaching agreement this week on a long-sought omnibus bill to keep the government funded through September.
The Maryland Democrat conceded that "sticking points" remain over President Barack Obama's health care program and financial reforms, as well as new education initiatives for preschool-age children. But her tone was consistently positive in a short hallway interview, and she seemed confident that there is a path to resolve the final issues.
"I'm very encouraged. I think we've made a lot of progress," Mikulski said. "We're within striking distance. I think we're going to get it."
( Also on POLITICO: Budget battle nears finish line)
Hundreds of pages long, the $1 trillion-plus measure will literally touch every corner of government and is a crucial second step following on the bipartisan budget agreement reached in December.
Much as the December deal set new caps for spending by Congress, the bill now spells out where those dollars go. Its very scope and detail invite conflict, which makes the House-Senate talks such a challenge. But the whole endeavor has huge implications for the Appropriations leadership and Congress more broadly after the turmoil of recent years.
Speed is essential given the deadlines ahead.
The government remains under a stopgap continuing resolution or CR due to expire on Jan. 15 and Congress leaves soon after for its mid-January recess. As a practical matter, some extension of the CR will be needed — and should not be controversial if the omnibus is proceeding on course. But the Appropriations leadership wants to keep any extension short so that the pressure is on to complete passage before lawmakers leave Jan. 17.
( Also on POLITICO: Hillary Clinton's shadow campaign)
Weather delayed a meeting planned Monday between Mikulski and her House counterpart, Rep. Hal Rogers (R-Ky.) — "snowbound in Louisville," she said. But the two were expected to talk, and Alabama Sen. Richard Shelby, the ranking Republican on the Senate panel, was described as also supportive of getting a bill.
Shelby is an important player as the former Banking, Housing and Urban Affairs Committee chairman and an opponent of Obama's financial reforms. He also stood out last month for his opposition to the December deal, which was strongly backed by Rogers.
But the senator's spokesman, Jonathan Graffeo, said Shelby has been working "side by side" with Mikulski "to reach an agreement that they can both support."
The stakes are big for the White House and Obama's Cabinet as well. Sylvia Mathews Burwell, the new director of the Office of Management and Budget, has brought a greater energy to the task, and Treasury Secretary Jack Lew has worked the phones with Republicans as well as Democrats in an uphill fight to move ahead with reforms at the International Monetary Fund.
( Also on POLITICO: Senate seems poised to reject jobless benefits)
But Lew stands out for his willingness to work both sides of the aisle — something many in Obama's Cabinet fail to do. And Obama is paying a price for hasty concessions in the past and his often feckless approach to appropriations generally.
For example, the administration had requested $4.8 billion in fiscal 2013 for the program management account within the Centers for Medicare & Medicaid Services — the chief source of discretionary funds to implement the president's health care reforms.
But the White House then settled for just $3.8 billion last spring — a number that only got worse with sequestration.
Through the summer, the administration was able to buy time by tapping into mandatory funds, authorized by the Affordable Care Act and separate from appropriations. But these wells are beginning to run dry.
( PHOTOS: Stars who might jump into politics)
A $1 billion implementation fund created by ACA is largely depleted, for example. And the White House's own allies were upset when it took more than $450 million out of the Prevention and Public Health Fund, a priority for Sen. Tom Harkin (D-Iowa), a senior member of the Senate Appropriations Committee.
Attention is now focused more on a third, separate innovation fund, which received a lump sum $10 billion appropriation over 10 years under ACA. The money is intended to explore new ways to reduce costs and improve services for Medicare and Medicaid, not to implement health reform per se. But it could be a way to meet CMS needs here, thereby freeing up more discretionary money in the program management account.
In the case of Obama's financial reforms, the dollars for regulatory agencies are far less — even as they affect the conduct of far greater markets.
A case in point is the Commodity Futures Trading Commission, which was assigned a greater role over derivative markets under the Dodd-Frank law in 2010 but has met strong resistance from conservatives like Shelby who hold the purse strings.
In the wake of sequestration, the current appropriation for the CFTC is $194.6 million — more than one-third less than Obama requested. Indeed, it is also less than the agency received in 2011 and 2012, and in terms of personnel, the staff of 652 at the CFTC today is about 50 fewer than what the agency had 15 months ago at the end of fiscal 2012.
Mikulski's reference to Obama's preschool education initiatives is a measure too of how tight the overall caps remain even with the adjustments allowed in the December budget.
Nondefense spending will be restored to $491.8 billion — roughly the same levels as before the March sequestration cuts. But that's far less than President George W. Bush enjoyed at the end of his administration in 2008 and it will require Mikulski to cut $14 billion from the domestic spending bills that her committee approved over the summer.
Back then, adding $750 million for preschool development grants in the Education Department was doable. Now it is harder, and even powerhouses like the National Institutes of Health may find it hard to get back to just the level promised last spring.
Rogers must worry too about selling a package that will have far less for the Pentagon than the defense appropriations bill that he helped pass in the House in July. But negotiators have helped themselves here by using a higher number for overseas contingency or OCO funds than the administration asked for in its final budget request.
This is not out of line with the House budget resolution, which also used the higher number. But it does buy some precious leeway for security accounts, since OCO dollars are counted outside the caps. And the December budget agreement was silent on the subject of what number to use.


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- By CTW Features
- Category: Transportation & Parking
The last thing any bride or groom wants is to show up late to the altar. Arranging a chauffeur to get you and your closest pals to and from the ceremony won't just make your day run a lot smoother – it will make it more fun for all.
Start It Up
Limousine companies tend to get booked quickly during the summer – peak wedding season – and late spring – prom season. Begin looking for a limo as much as six months before these prime periods. If your wedding takes place in the off-season (fall or winter), look to book three or four months out.
Size It Up
The biggest factor in limo choice will be the size of the wedding party and any extra people who will be traveling in the limo. A smaller group may get by in, say, a stretched-out Lincoln limousine, while a group of a dozen may need a converted-SUV limo. Large groups – 20-some people – could even opt for a party bus.
With the type of ride that would best accommodate you in mind, compare prices among like vehicles at different vendors in your area.
Like every driver on the road, the company you go with should be licensed and insured. Look for companies with a fleet of recent model-year vehicles, and seek references from recent customers.
When getting a quote, be sure to get the whole picture. The bulk of companies charge by the hour and probably will have a three- or four-hour minimum for a wedding, depending on the day. Prices can range anywhere from $250 to $500 for a stretch limo up to $1,000 for a converted SUV. Don't forget to ask if the driver's gratuity – typically 20 percent – is included. Depending on the time of year, it may be possible to negotiate the hourly rate.
Drive Details
Be sure to read the rental contract thoroughly before signing. It should denote:
• Make, model and year of the vehicle
• Date of service
• Pick-up times and locations
• All costs involved, including deposit and cancellation policies
• If you don't have a physical contract, be sure to keep a copy of the itinerary in your email
©CTW Features


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TRENTON – Governor Chris Christie announced on Nov 3 that he has formally requested federal approval of 100% reimbursement for state and local government costs associated with debris removal and emergency protective measures that continue in the aftermath of Hurricane Sandy. In a letter to Federal Emergency Management Agency (FEMA) Administrator Craig Fugate, Governor Christie stated that the financial and economic hardships brought by the storm and its associated clean up burden have become untenable for the state and communities alike. To offer relief and ensure that these priority operations continue in hard-hit communities across New Jersey, the Governor requested that FEMA exercise its broad authority to implement 100% federal assistance for these costs for a period of at least 90 days.
"I have been highly supportive of the federal government's immediate efforts in response to Hurricane Sandy, but it has become clear that the financial burden and economic hardship still confronted by our state and communities threatens the ability to continue debris removal operations at the existing cost-share ratio," said Governor Christie. "Any slowing of progress in continuing these essential operations in our communities puts in jeopardy a timely rehabilitation of our shore areas, relief from economic distress, and the removal of threats to the public health and safety. For these reasons, I am requesting that the federal government exercise its discretion to grant relief to New Jersey state and local governments with 100 percent federal reimbursement for categories A & B assistance for a period of no fewer than 90 days."
There exists ample precedent for New Jersey's request, including prior instances where FEMA has similarly granted extraordinary cost-share in Categories A, emergency protective measures, and B, debris removal, for periods extending up to 319 days. These instances include but are not limited to:
• The State of Texas received 100 percent federal cost-share for debris removal for six months after Hurricane Ike in 2008, and 100 percent cost-share for emergency protective measures for thirty days;
• In the wake of Hurricane Rita, Texas received Category A & B assistance at 100 percent federal reimbursement for 244 days; and
• Louisiana received Category A & B federal cost-share after Hurricane Ike for 44 days.
• For the state impacted by Hurricane Katrina – the most comparable disaster to that which occurred in New Jersey when Sandy impacted our state – 100 percent federal funding was approved for Louisiana, Mississippi, and Alabama for as long as 319 days.
"Because of the central importance of tourism to our Shore economies, it is critical that communities be as ready as possible to accept visitors in the upcoming tourism season," continued Governor Christie. "A waiver of the non-federal cost-share for Category A & B assistance – which accounts for the bulk of locally accrued financial commitments related to this disaster – is necessary at this moment to successfully reopen the Jersey Shore in time for Memorial Day in 2013."


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Vizion Solutions - Sales Manager Scorecard
The Sales Manager Scorecard is one way we help our clients monitor the pulse of their business. This design gives a Sales Manager a high level look at what happened with the business the previous day and where things are tracking for the year. We start by asking "what are the 5 things you want to know at the start of each day," and customize the solution from there.파트너에 문의 동영상 시청하기
- Silver Data Analytics
Sales Manager Scorecard
At Vizion Solutions, our goal is to connect information to decision makers and ultimately help them make sense of their data. Our Vizion360 Impact Analytics Sales Manager Scorecard is one way we help our clients monitor the pulse of their business. This design is for an individual or individuals responsible for organizational sales and gives the sales executive a high level look at what happened with the business the previous day. In addition, we deliver week-to-date and year-to-date metrics to give a 360-degree view of the business and where things are tracking.
As part of Vizion Solution's proven process and to deliver the sales executive the KPI's and metrics they need to run their business, we start by asking them, "what are the 5 things you want to know at the start of each day"? "What are the 5 things you want to know at the beginning or end of each week"? "Month"? "Quarter"? This allows us to get to know our client and help them determine or perhaps discover what he or she really needs and wants from our Vizion360 Impact Analytics BI solution. With those answers, we can customize the dashboard and reports based on the individual.
The result, is that our Vizion360 Impact Analytics Sales Manager Scorecard approach provides the sales executive with all the answers to their business questions as soon as they power up their computer every morning in just a few clicks.
Why Choose Vizion Solutions and Vizion360 Impact Analytics?
Vizion Solutions has extensive experience implementing BI solutions. We integrate BI strategies, leveraging our expertise to customize a data solution that helps you maximize efficiency and profitability. Using our Vizion360 Impact Analytics and Power BI, our team of BI Analysts and Success Managers work with your organization's decision-makers and project teams to identify, recommend, design, develop, implement and support cost-effective solutions for external and internal development projects. Vizion Solutions believes that you should maximize the allocation of your resources towards your core competencies. We partner with you and allow you to leverage our experience. Our platform makes managing your data and information easier and faster. We design the BI solution around you, the business user, highlighted by point and click access to reports, effective data visualizations/interactive dashboards via Power BI and drag-and-drop ad hoc analytics - NO queries, NO code!
Vizion Solutions is not just a vendor, we are your full service BI solutions partner, assisting through all stages of the BI process from exploration to development, deployment, training, ongoing support and ultimately your continued success.


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From The Denver Post: The disregard that Interior Secretary Sally Jewell showed for Colorado's open meetings laws this week in barring reporters from an event in Craig is astonishing.
Jewell was in Colorado to encourage collaboration between conservationists, landowners and government in protecting the greater sage grouse.
She toured a ranch with Gov. John Hickenlooper and others, an event reporters could attend.
When the entourage moved to an American Legion hall for a meeting — which had been advertised as an open-to-the-public workshop of the Moffatt County Commission — reporters were kept out.
Jewell's spokesman said the meeting "was closed (to) press to allow for an open and frank discussion," according to The Daily Sentinel.
Such actions are indefensible and have the side effect of raising suspicions about the feds' intent. Colorado law was simply ignored.


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another indian summer day, a photo by wood & wool stool on Flickr.
yes, yes
another indian summer day
'working' outside in the garden
doing a 'pink' order
no whining about the fall
autumn is awesome!
yes, yes
another indian summer day
'working' outside in the garden
doing a 'pink' order
no whining about the fall
autumn is awesome!
not only bright and neon 'jackets'
there are also pastel requests
and you're never too young for a wood & wool stool
some babies have one already before they are born
bright pink
neon color covers
i love them
these two stools are living in New York now!
Yesterday we were invited by Lammie.
Lammie of Lammie verkoopt.
She also makes all the bright bouquets that we sell at the Villa Augustus market.
She's living in a house, só charming. (there's so much to see, I could spend hours overthere...)
After a cup of coffee in her beautiful flower garden,
we had a walk through the woods of Dordwijk.
It's an incredibly place in the middle of Dordrecht,
but it feels like you are in the middle of nowhere.
Walking through the small forest,
we gathered chestnuts to feed the deer.
What a place!
It still exists, it's a kind of an enchanted forest!
Last year I sold my old grey 2cv.
Whenever I see a 2CV on the road, I still miss my car and I'm planning to buy another oldtimer.
Especially on summer days (like today, yay!) I miss the open canvas roof, which you can roll up and change the car within a minute into a real convertible.
Yesterday Henk brought me this paper version of a 2cv van.
yes it's true
september 21
no escape
after a non-summer
autumn really started
cozy inside
on the couch
with a warm blanket
and all that sort of stuff.
well it has never been my favorite season,
but fortunately the fall fashion, on the other hand, is an exception.
i love boots and cardigans and colorful tights and wrist worms.
okay, let's make the best of this time of year...
wood & wool
together so simple
and therefore so beautiful
Never get bored,
the beauty of some colors together.
Look at that
red, white, brown and gray,
it pops!
Whenever I visited Sandra Juto's shop last year,
I could never decide which pair to pick.
If there are more colors available,
it always gets difficult for me.
Which color?
Tweed or wool?
Maybe I could make them myself?
No, I wanted the original ones so badly.
The Wrist Worms, handmade by Sandra Juto.
My hands freeze quite quickly.
So last week I went to Wrist Worms Wonderland again and this time I've put a pair in my basket and went to the checkout.
No doubt.
Today I found the lovely package from Berlin on my desk when I got home.
I'm ready for autumn!
Today the postman
brought something special,
thé Dottie Angel book!
My heart was beating faster,
when opening the envelope
reading the super sweet note from Tif...
Long awaited,
and at last I can hold it myself
and browse
and view
and read.
Within a glance, I recognize Tif in every tiny detail;
it's beyond 'perfectly peachy'
Today is officially
and I'm gonna settle on the couch
to enjoy every single page!
New [wood & wool stool] cards,
business cards to be precise,
similar to the postcards.
They sure look cute, hanging on a stool leg.
Today the first stools 'tagged new style' are off to New York City and Downunder Queensland.
Sometimes I wish I could bring them myself...
Just picked one of the last mini bouquets from the garden.
Really smells divine!
Piles of wool
in all colors
I have a wool addiction
I think ...
there aren't many yarn shops around
and often dull
it doesn't matter
when I see one,
I go inside
and always come out with new stock.
A while ago, this was inside my ever changing color wool unit and lots of people took a glimpse inside.
Last May the two of us celebrated Henk's birthday together in Barcelona and that's why we've planned weeks ago, to have another birthday party at home with friends.
Henk's favorite way to celebrate; in the garden, having dinner together with loved ones at one big table and good summer food and drinks.
This year the long hot summer evenings, were very rare and we've only had a handful of them.
Last night was apparently the most summery evening of the season and we've celebrated it until midnight. (you will have earned it).
Thanks, dear friends for an unforgettable evening!


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Baghdad Traffic Accident
Crikey, it seems there's been some sort of serious traffic accident here in Baghdad. I wonder what happened? Whatever happened, given the state of the traffic, I can't say I'm that surprised… :-/ That isn't an isolated example eiter – the traffic's like that all over the place! Scary stuff.


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SAN FRANCISCO—Just days before the fifth anniversary of the 2004 Indian Ocean tsunami, California officials on Thursday released a new map of the state's tsunami hazard, which details how an event could affect 350,000 people who live along the coast and cause tens of billions of dollars of damage.
A red line separates possible disaster from safety—the line past which you would have to run to be safe from an inundation. The map will help authorities plan emergency response plans, showing which areas may need to be evacuated. It covers the 50 percent of the California coastline that is significantly populated, and is "based on the largest anticipated tsunami event, plus a high tide," said State Geologist John Parrish of the California Geological Survey in a press conference at a meeting here of the American Geophysical Union.
Scientists preparing the map used computer simulations to model the tsunamis that happen once every 500 to 1,000 years—including those caused by remote earthquakes or underwater slides that could affect the California coast. The scientists heeded the lessons of the 2004 event, which showed how waves can still have deadly impacts after traveling thousands of miles. "Post-Sumatra, we started considering events that are all along the Pacific Ocean," said Costas Synolakis, director of the University of Southern California's Tsunami Research Center.
Although San Francisco is often seen as the earthquake capital of the U.S., the most destructive tsunamis would probably not originate here nor anywhere in the state. Large tsunamis are typically produced by tectonic plates moving vertically, whereas California mostly has plates moving sideways past other, as happens along the San Andreas Fault. Instead, scientists are especially concerned by waves that could originate in the Cascadia subduction zone, which extends from British Columbia to Oregon, or even farther north in the Aleutian Islands.
Waves from a large event, such as a high-magnitude Cascadian earthquake, could affect up to 350,000 people along the California coast—not including the people who may be visiting the state's beaches on a warm summer day, explains Rick Wilson of the California Geological Survey. Waves could typically reach 45 feet at Crescent City, in the northernmost part of the state, and 10 to 12 feet in Southern California, Wilson says.
But because tsunami waves can be greatly amplified or dampened by the local profile of the seafloor and by the shape of the coastline, the effects could vary greatly. In particular, a counterintuitive conclusion of the study is that in crescent-shaped bays, the south-facing northern coast could be hit by worse waves than the north-facing south coast, even though the waves would come from the north. For example, in Monterey Bay, Santa Cruz may be more affected than Monterey, Wilson says.
And of course, low-lying coastal areas will take the worst hits even from relatively low waves, points out Aggeliki Barberopoulou of the University of Southern California, who carried out the computer simulations. For instance, whereas in hilly San Francisco waves might move inland by just a couple of city blocks, in places such as Newport Beach (in Orange County) the inundation may reach a mile or more farther, making evacuation more difficult.
New Map Reveals Tsunami Risks in California
The map, released close to the fifth anniversary of the 2004 Indian Ocean tsunami, will be helpful in emergency response planning
SAN FRANCISCO—Just days before the fifth anniversary of the 2004 Indian Ocean tsunami, California officials on Thursday released a new map of the state's tsunami hazard, which details how an event could affect 350,000 people who live along the coast and cause tens of billions of dollars of damage.


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Thursday, 28 May 2009
Preserved Lemon Stews and Intuition
In the same way, using preserved lemon seems counter-intuitive. When I first started using it, quite recently, I was surprised to find I had to rinse it first and to discard the flesh. The idea of throwing out the flesh and eating the peel just seems wrong. Then once you have done this, the taste is so weird – quite salty and bitter. But a little of this in a stew or salad adds a distinctive and interesting flavour.
My first attempt recently at using preserved lemon was a stew that seemed a combination of a chickpea salad and a silverbeet sauté that I made last year. I also added lots of cauliflower, which I love. The stew was nice but a bit overwhelmed by the lemon. It was rescued the second night unexpectedly by adding a good handful of grated cheese. The notes of what I did are below.
After this stew, I saw Jules recipe for Red Lentil and Preserved Lemon Soup on Stone Soup. It seemed similar to my recent tomato lentil soup but the flavours were so different that I had to try it. One appealing aspect of the soup was the addition of fennel seeds which I was sure lingered somewhere in the pantry unused. I spent much time searching and discovering all sorts of treasures at the back of my spice shelf but no fennel seeds. In the end I decided to substitute mustard seeds.
By the time E came home from work, I was far behind in making dinner, thanks to my turning the spice shelf upside down. By then Sylvia was cranky, Zinc wanted me to come outside to play and I was feeling a bit ragged. As E walked in the door I thrust Sylvia at him and asked him to hold her while I chopped the last few vegies. These vegetables were chopped larger than usual in my hurry. Once that was done I could let it stew while I attended to our wee girl.
One of the reasons I made the soup was that I had some leftover feta from making the Red Onion, Feta and Olive Tart. The soup seemed to have a middle eastern flavour which would welcome feta. I forgot to put cayenne pepper in it so I sprinkled a bit on top of the feta.
I made a few other changes to the seasoning and vegetables. But mostly I was concerned that the mustard would not complement the other flavours. I need not have worried. The soup was hearty, spicy and delicious. E was very impressed and we both had a second helping because it tasted so good.
I am sending this red lentil and preserved lemon soup (the more successful of the two stews) to Lori Lynn of Taste with the Eyes who is hosting this month's My Legume Love Affair: the eleventh helping of the event, which Susan of The Well Seasoned Cook founded.
Red Lentil and Preserved Lemon Soup
(adapted from Stone Soup)
serves 4
1 tbsp olive oil
2 brown onions, chopped
5 cloves garlic, finely chopped
1 tbsp grated ginger
2 tsp ground cumin
1 tsp fennel seeds (I used brown mustard seeds)
3 cloves, lightly ground
1 cinnamon stick
cayenne pepper to taste
2 carrots, finely diced
2 sticks celery, finely diced
3 medium potatoes, scrubbed & finely diced
⅛ cabbage, shredded
1 x 700g jar of passata (tomato puree)
2 passata jars of water
1½ cups dried red lentils
2 quarters preserved lemon, rinsed, rind only, finely chopped
1-2 tbsp pomegranate molasses
2 bay leaves
1 tsp stock powder
fetta or natural yoghurt, to serve (optional)
Heat oil in a stockpot over a medium heat. Add onion and cook 5 min stirring occasionally until the onion is soft. Add garlic, ginger and spices and cook for a couple of minutes. Then add the remaining ingredients, bring to the boil, cover and simmer about an hour. Stir occasionally to stop it sticking to the bottom. Add more water if it is starting to dry out. Remove bay leaves. Taste and season. You can blend this soup but it was quite thick so I didn't bother (and neither did Jules). Serve with feta cheese or yoghurt.
Silverbeet, Cauli, Chickpea and Preserved Lemon Stew
Serves 4
2 tbsp olive oil
1 onion, sliced
½ cauliflower, chopped
pinch of salt
½ a bunch of silverbeet (chard) – or about 12 large stalks, chopped
400g tin of chickpeas, drained and rinsed
2 tbsp tahini
½ tsp chilli paste
juice of 1 small lemon*
1 tbsp preserved lemon rind, rinsed and chopped*
1 tsp soy sauce
½ tsp agave
1 cup water
grated cheese to serve
* We found the stew very lemony on the first night when I served it without cheese – so in future I might use less lemon juice and/or preserved lemon.
Fry onion in oil for about 5 minutes in a large frypan. Add garlic and fry another minute. Add cauliflower, silverbeet stalks, chickpeas, tahini and chilli paste. Cook about 20 minutes on a low to medium heat (I cooked the cauliflower for 20 minutes and another 10 once I put the stalks in but I think this was too long). Add silverbeet leaves, lemon juice, preserved lemon, soy sauce, agave and water. Simmer for about 10 minutes. Serve hot and sprinkled with cheese. It goes well with rice.
On stereo:
Lennon Legend: the Very Best of John Lennon
11 comments:
Mmm they both look good! I've never tried preserved lemons before. I'm thinking I should now!ReplyDelete
Thanks Vegetation - preserved lemons are interesting and mine have been in the fridge over a year now and still seem good to use - which shows that I don't use them as often as I shouldReplyDelete
I had no idea you were supposed to rock and pat a baby hard. Why is that?ReplyDelete
I've always wanted to preserve some lemons, maybe I should!
I've never had preserved lemons! I'll try them when I'm brave enough. =) Great idea to replace the fennel seeds with mustard seeds. I love mustard seeds.ReplyDelete
Thanks Lorraine - I don't really know but possibly some of the cliches make us think babies are more fragile than they are - although it is easier to be firm with your own than someone else'sReplyDelete
Thanks Ashley - if you like capers then I think you might like preserved lemons! And yes I love mustard seeds but was worried they wouldn't be in line with the middle eastern feel of the dish
I always have a jar of preserved lemons on hand in my fridge, probably because I *do* use the pulp as well as the peel, and don't rinse them. With them, though, a little does go long. This duo of recipes sound just grand, Johanna.ReplyDelete
I expect your babe is going to love being pushed on swing when she is old enough to enjoy the it.
Preserved lemon does have an unusual flavor that takes just a little getting used to but then it becomes an obsession, at least it has with me.ReplyDelete
That stew looks excellent and so does the soup. I did a lentil and beet salad I have yet to post. Very good.
I've yet to try preserved lemons--maybe a good thing, as I had no idea you were supposed to discard the flesh! Clearly, my intuition can't be trusted (better not let me rock Sylvia--I'll just watch in awe as you do it!) ;)ReplyDelete
Thanks susan - interesting that you don't rise and don't discard the flesh - I am quite confused now about if I should or shouldn't - maybe it is more intense and salty the way you use it???ReplyDelete
Thanks Tanna - a lentil and beet salad with preserved lemon sounds great - will look forward to it - I think taste of preserved lemon is growing on me
thanks Ricki - intuition can be overrated - I actually think it might be sometimes the unconscious learning we do - and I wish I could claim the way I rocked sylvia always got her to sleep
That soup sounds mighty tasty. Like the feta garnish a lot.ReplyDelete
I made a soup for MLLA too; green curry soup with tofu and peas.
You have inspired me to cook with preserved lemon.
Lori Lynn
Thank you for the preserved lemon ideas. I made a huge jar of them, and now am looking for good ways to use them up. You've given me quite a few!ReplyDelete
Thanks for dropping by. I love hearing from you. Please share your thoughts and questions. Annoyingly the spammers are bombarding me so I have turned on the pesky captcha code (refresh to find an easy one if you don't like the first one)