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Blueberry Sorbet Macarons
I really did not mean for it to be this long in between posts but this week really got the best of my time. Deadlines and meetings crept up all of a sudden when clients realized I may not be online as much in the next couple of weeks. But work is good. Vacation? Finally! Yes. I am taking a vacation. The first in 4 years! I am going home to France tomorrow and as much as I hate that B. can't join me, I just can't wait to put my bags down in my old room and chill on the patio with my family.
Hugs from my nieces. Chats with my mom. Mapping outings with my dad. Listening, in awe – always – to my grandfather's stories. Planning his 100th birthday party. Taking pictures. Aperitifs on the back porch. My brother's never ending supply of energy being wasted on my vacation brain. I intend to soak it all in. Smile, cry, get riled up (because that's what we do in our larger than life family). All of it.
My parents now reside outside of Paris and we will be spending some time there before heading out on a mini road trip, heading down South. Toulouse first where my brother can't wait to show me the house he built. Then it's a trip down memory lane stomping my old grounds in Provence and the Alps where I grew up. That's the beauty of France being on the small size, one can cover a lot of territory in a relatively short period of time. And it helps that someone else is driving, ahah!
Of course, I have already been volunteered to be the photographer at my grandpa's birthday party/family reunion but I am really looking into capturing the places of my childhood. Unlike Beatrice from La Tartine Gourmande who grew up in Lorraine, I can't promise you pictures of cows, apple trees or fields and crops. Nope. I grew up among endless seas of lavender fields, olive tree groves and red clay canyons. Valleys, mountains, rocks and wildflowers. That's my France. Just thinking about it makes my soul and heart at peace. But that's what I love about France. The diversity of people and places within human (driving) reach.
As I was jotting down places and things I wanted to see and visits, foods and desserts and I wanted to eat again, I was also working on leaving a "happy fridge" for Bill while I'd be gone. The phrase is pretty self explanatory: the man does not cook or bake so I tend to leave homemade meals for him to reheat after work. I also know he'll be invited at the neighbors and his parents so I am not worried. And he can boil water!
One thing that is really easy to leave also is a bunch of frozen treats so I did make lots of ice creams and sorbets this week as well as his favorite cookies, macarons. He like to eat them like Oreos. Separate the layers, eat the filling. Or dunked in his coffee. I don't question. I am just happy he is willing to try my ideas.
One thing we've been eating just about everyday is the blueberry sorbet I last made with the loads of blueberries we keep getting at the farmers' market. I pretty much made 3 batches in a row we could not get enough! One night, instead of giving him a bowl of sorbet and a couple of macarons shells, I just filled said shell with said sorbet and that's how these came about. There are a dozen at the ready in the freezer. And I know I am a tad envious because dang! that sorbet was awesome.
Oh wait… what am I talking about? I am going home to my mom's cooking. Forget what I have said in the previous paragraph. Well, no. Make that sorbet first. Then some macarons and eat them together. You won't be disappointed. I promise!
One more thing: Caitlin and J's engagement set is finally up for your viewing pleasure, here. I had such a great time, I can't wait to photograph their wedding!
Blueberry Sorbet Macarons:
Makes about 30-35 filled macarons and about 4 cups sorbet
Blueberry Sorbet, adapted from Richard Leach in Sweet Seasons:
3 cups fresh or frozen blueberries
1 cup sugar
2 cups water
zest and juice of one lemon
In a medium saucepan set over medium high heat, place the blueberries and the rest of the ingredients and bring to a quick boil. Reduce the heat to low and simmer 10 minutes. Remove from the heat and let cool completely. Puree until smooth in a blender or food processor and then strain through a fine mesh chinois (strainer). Process in your ice cream machine according to the manufacturer's instructions.
For the shells:
90 gr egg whites (use egg whites that have been preferably left 3-4 days in the fridge)
25 gr granulated sugar
200 gr powdered sugar
110 gr almonds (slivered, blanched, sliced, whatever you like)
1 tablespoon cherry pink powdered food coloring
Prepare the macarons:
In a stand mixer fitted with the whisk attachment, whip the egg whites to a foam, (think bubble bath foam) gradually add the sugar until you obtain a glossy meringue (think shaving cream). Do not overbeat your meringue or it will be too dry. Place the powdered sugar and almonds and powdered color in a food processor and give them a good pulse until the nuts are finely ground. Add them to the meringue, give it a quick fold to break some of the air and then fold the mass carefully until you obtain a batter that falls back on itself after counting to 10. Give quick strokes at first to break the mass and slow down. The whole process should not take more than 50 strokes. Test a small amount on a plate: if the tops flattens on its own you are good to go. If there is a small beak, give the batter a couple of turns.
Fill a pastry bag fitted with a plain tip (Ateco #807 or #809) with the batter and pipe small rounds (1.5 inches in diameter) onto parchment paper or silicone mats lined baking sheets. Let the macarons sit out for 30 minutes to an hour to harden their shells a bit. In the meantime, preheat the oven to 280F. When ready, bake for 15 to 20 minutes, depending on their size. Let cool. Once baked and if you are not using them right away, store the shells in an airtight container out of the fridge for a couple of days or in the freezer for up to 2 weeks (longer and the sugar starts to seep out which makes them sticky).
Fill the macarons with the sorbet and store in the freezer in an airtight container. Eat them within the week if you can.


text:
A French diamond collar necklace, by Lacloche, the flexible necklace composed of a series of candy
Please refer to department for condition report
Please refer to department for condition report
Jewellery & Watches
Sale Date(s)
Venue Address
General delivery information available from the auctioneer
Roseberys is unable to pack and ship items in-house, but we can suggest the following companies:
London and the South East
Middletons Fine Art Logistics
Andrew Middleton : +44 (0) 20 7459 4382
(Late night and Weekend delivery service available)
Capital Fine Art Carriers
Charles Bishop
+44 (0) 7957 209 523
Bernard Thornton
Bernard Thornton
+44 (0) 7970 118 762
Middletons Fine Art Logistics
Andrew Middleton : +44 (0) 20 7459 4382
(Late night and Weekend delivery service available)
Mail Boxes Etc Croydon
+44 (0)20 8649 9777
Mail Boxes Etc Croydon
+44 (0)20 8649 9777
Specialist Packing
Pack and Send
+44 (0) 20 3818 1980
In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email firstname.lastname@example.com
If you require any assistance selecting a suitable carrier our front of house team will be happy to help you. Please contact them on +44 (0)20 8761 2522, or at firstname.lastname@example.com
If you intend to collect your items from Roseberys, our opening hours for collections are 9.30am to 5pm, Monday to Friday and selected weekend days by appointment only. We are not able to provide clients with packing materials, and all successful purchasers are asked to bring materials with them to ensure items are protected whilst in transit.
Important Information
The following is intended to serve as a useful quick reference to buying at Roseberys.
Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.
Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk
Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.
New Bidders
New buyers are required to register before bidding. This can be done in person at reception, via email to email@example.com. Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.
New International Bidders
In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding. Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.
Methods of bidding
• In person: at the auction room.
• Commission bid: If you are unable to attend the auction commission bids may be left indicating the maximum amount to be bid excluding the buyer's premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.
• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in house live bidding platform. RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk. There is no charge to use this service. Alternatively, online bidding is available through www.thesaleroom.com successful online bidders are charged an additional premium of 5% and www.invaluable.com, successful online bidders are charged an additional premium of 3%. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.
• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone your during the auction and bid live on your behalf. Please contact reception if you would like to enquiry about booking a phone line. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.
Buyer's Premium
The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.
VAT is not charged on the hammer price unless it isstated that there is 'VAT applicable on the hammerprice' at the end of the description. Buyer's premiumis subject to VAT.
Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.
It applies to lots with hammer value over €1,000 as follows:
0 to €50,000 - 4%, €50,000.01 to €200,000 - 3%
€200,000.01 to €350,000 - 1%,
€350,000.01 to €500,000 - 0.5%
Exceeding €500,000 - 0.25%
ARR is capped at €12,500
Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.
Payment is required immediately after the auction and can be made in the following ways:
• Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction
• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make 'card not present' transactions online or over the phone for amounts over £1000. To make a payment of over £1000 please make a bank transfer or visit the auction house in person.
• Bank transfer: payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)
Natwest Bank plc, Bloomsbury Parr's branch,
Sort Code 60-30-06, Account number 36952613,
Swift code NWBKGB2L,
Iban GB80NWBK60300636952613.
• Online via www.roseberys.co.uk (up to £1,000)
Clearance of Goods
Roseberys requests all lots are collected within five working days following the auction. After this storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.
Roseberys is unable to pack and ship items but can suggest the following companies:
• Capital Fine Art Move: +44 (0) 7957 209523
• Bernard Thornton: +44 (0) 7970 118762
• Mail Boxes Etc: +44 (0) 20 8649 9777
Specialist Packing
• Pack and Send: +44 20 8392 6990
In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email firstname.lastname@example.com
Export of goods
Buyers intending to export goods should ascertain whether an export licence is required before bidding. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need
for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.
Terms & Conditions
Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
(a) "auctioneer" means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate;
(b) "deliberate forgery" means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;
(c) "hammer price" means the level of bidding reached (at or above any reserve) when the
auctioneer brings down the hammer;
(d) "terms of consignment" means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents;
(e) "total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(f) "sale proceeds" means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(g) "You", "Your", etc. refer to the buyer as identified in Condition 2.
(h) The singular includes the plural and vice versa as appropriate.
2. Bidding Procedures and Conduct of the Auction
(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid.
(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believes there may be error or dispute, and take such action as they reasonably thinks fit.
(c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneers hammer whereupon the buyer becomes liable to pay the purchase price.
(d) Any post auction sales of lots offered at auction shall incorporate these conditions as if sold in the auction.
(e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments. Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.
5. Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items
affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate
rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to "Information for Buyers" for a brief explanation of the VAT position).
6. Payment
(1) Immediately a Lot is sold you will:
(a) give to us, if requested, proof of identity, and
(b) pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.
7. Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.
(a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction.
(ii) Roseberys are unable to pack, post or delivery any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website/s. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.
(b) No purchase can be claimed or removed until it has been paid for and payment has cleared.
(c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed.
(d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer's risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction. Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.
8. Remedies for Non-Payment or Failure to Collect Purchases
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) to proceed against you for damages for breach of contract;
(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs).
(d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere;
(e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;
(f) to retain that or any other Lot sold to you until you pay the total amount due;
(g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions
9. Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are stronglyadvised to attend the auction and are alwaysresponsible for any decision to bid for a particularLot and shall be assumed to have carefullyinspected and satisfied themselves as to itscondition we will if so instructed clearly and inwriting execute bids on their behalf.
(a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms.
(b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made.
(c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids.
(d) Live Online bidding.
(i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing
to Roseberys conditions of sale.
(ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms.
(iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com successful online bidders are charged an additional premium of 5% or invaluable.com will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price.
(iv) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by:
(aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.
(v) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.
11. Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer
acquires copyright in any lot.
12. Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.
14. Description and Conditions
(a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following
Condition concerning deliberate forgeries and applies save as provided for in paragraph 6
"information to buyers".
(b) Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.
(c) Where the term (a/f) is used this refers to a lot being 'as found', it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.
(d) Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.
15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer's cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and
the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer's premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.
16. Online Only Timed Auctions
These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale.
(a) Right to Cancel
(i) If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason.
(ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot.
(iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendars days from the day on
which you acquire the lot.
(iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial
delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you.
(v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your
possession. We will make the reimbursement without undue delay, and not later than
(aa) 14 calendar days after the day we receive back from you any goods supplied, or
(bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.
(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement. We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest.
(b) Liability
Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by:
(i) any loss of connection to the auction being conducted online;
(ii) a breakdown or problems with the online bidding software or the website
service provider; and/or
(iii) a breakdown or problems with any internet connection, computer, mobile device or system.
17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to:
(a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate;
(b) hold that specific individual liable for the cost of restoration where appropriate;
(c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.
19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.
(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.
20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.
21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.
22. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.
23. English law applies to the interpretation of these Conditions.
These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)


text:
Beer snobs and craft brewers alike have rediscovered beer cans in recent years, defying the old stereotype that quality beer comes only in bottles, or that cans are just for mass market stuff. But for the smallest microbreweries, the question wasn't "can or bottle," it was whether they could afford the equipment and storage space to package their beer at all. Many could not.
That began to change last winter, when new companies sprang up in three of the U.S.'s craft beer capitals - Colorado, northern California, and the Pacific Northwest - with a can-do proposition: Put a fully automated canning line on a truck, and package beer wherever and whenever a brewer requests.
Mobile Canning, based in Longmont, Colo., was the first to get up and running back in November. Co-owners Pat Hartman and Ron Popma were inspired by the mobile bottling companies that service California wineries and other areas. "I got to thinking, why not cans? Cans are the way to go these days," Hartman says.
Small brewers say canning services save them the cost of having to order cans by the thousands or find a place to store them all, plus the cost of equipment. And while bottles can be bought in smaller quantities, filling them by hand is time-consuming.
Mobile Canning is just one of a handful of cans-on-wheels services found around the country. Others include The Can Van in San Francisco and Northwest Canning in Washington state.
All three use automated canning lines from Wild Goose Engineering, which include machines that clean, fill, seal and label the cans. They're designed to be modular and easy to set up and break down. "Everything's on wheels," Hartman says, so the equipment can be unloaded and assembled in about 45 minutes. Canners also make the investment in bulk orders of blank cans to which breweries can affix their own labels.
Tom Horst, owner of Crystal Springs Brewing Company in Boulder is Mobile Canning's smallest customer. He brews on a two-barrel system, the equivalent of just four kegs of beer per batch. That's about 50 times less than most other craft brewers. "I think what Mobile Canning is doing is really cool," Horst says, especially for "nano breweries" like Crystal Springs that can't make canning work on their own.
Horst was already filling 22-ounce bottles by hand and distributing kegs to Boulder restaurants, but jumped at the opportunity to can his summer seasonal brew, a light German-style ale. "It's a pretty delicate beer," he says. "The bottle is not a good package for it."
That's because bottles - even the dark brown ones - can let in small amounts of light and oxygen, two of beer's worst enemies. Cans not only keep out light and air, they also weigh less and are more easily recyclable than glass.
"I was aiming for cans," says Brian O'Connell, the chief beer officer at Denver's Renegade Brewing, another Mobile Canning customer. Renegade now cans about 600 cases a month, which puts their beer on store shelves throughout the Denver area. O'Connell says the cans are popular with outdoorsy types, because they can take them to national parks and other places where glass is banned. "Especially in Colorado, I think people seek them out," he says.
O'Connell says Mobile Canning frees microbreweries to "grow in other ways. Instead of spending my money on a canning line and space for it, I'm spending my money on buying more tanks and hiring more staff."
And, of course, brewing more beer.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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When people ask why my husband and I live in San Diego instead of moving back to Rhode Island, I usually say, "the farmers' markets." I'm joking. Sort of. Really, how many other places have over 40 farmers' markets that are open year-round? We're lucky, and we know it.
Fortunately, farmers' markets are located across the country. So no matter where you live, here are nine ways to make the most out of your trips to the farmers' market.
1. Be prepared. Before you leave the house, make sure you have some sturdy, eco-friendly reusable bags and plenty of small bills (ones and fives) and quarters. Consider bringing an insulated bag for items such as farm fresh eggs or cheese.
2. Be patient. Resist the urge to purchase the first plump tomato or crisp red bell pepper you see. Always stroll through the entire market once to assess the produce and prices.
3. Engage in farm talk. Unlike a trip to the grocery store, you have the unique opportunity to ask the farmers all types of questions, so don't be shy. They're usually excited to talk about their work (provided there isn't a line of 10 people waiting to pay). If the farmer's produce isn't "certified organic," be sure to ask about his or her farming practices. Many small farmers practice organic farming but can't afford to have the "certified organic" designation.
4. Plan ahead. Find out how long the season will last for different crops, especially maddeningly short seasonal crops such as fava beans, English peas, or cherries. That way you won't miss out on your favorites (which has happened to me) and perhaps preserve them for the off-season.
5. Be adventurous. Try something new or strange. If it weren't for farmers' market samples, I would never have discovered some of my favorite fruits, including cherimoyas, kumquats, and jujubes.
6. Save money the right way. If you're looking to save money, then buy in bulk. Most farmers are more than happy to sell you a bushel of peppers or a half a dozen flats of strawberries at a discounted price. It's considered impolite, however, to ask for a discount on single items or small purchases. Keep in mind that farmers usually set fair prices from the outset; paying full price supports them and the local economy. Another way to save money is to shop just before closing time when farmers often discount their goods to sell before hitting the road.
7. Spread the wealth. We are creatures of habits, so many of us tend to buy from the same vendors each week. Try someone new next time you're at the market. You might discover a new vegetable, a new recipe, or a new friend.
8. Create good karma. Compliment farmers on their produce. Give them feedback about the quality of their goods as well. Tell them about a recipe you made featuring their goods. If something was disappointing, then let them know in a polite manner. Exchange recipes with them. Or surprise them with a dish made from their goods.
9. Promote your market. Tell your friends, family, and local schools about the farmers' markets. Host a dinner featuring only locally produced foods, and tell your guests about the farmers who provided it. Blog and tweet about your farmers' markets. Mention them on Facebook, and post pictures on Flickr. Do anything you can to spread the word.
Lemony Pasta with Fresh Peas, Ricotta, and Mint
Makes 2 servings
6 ounces pasta shells
4 ounces part-skim ricotta cheese
The zest and juice of 1/2 medium lemon (about 1 tablespoon juice)
1/8 teaspoon salt
1/8 teaspoon freshly ground black pepper
1 cup fresh shelled English peas
2 tablespoons thinly sliced fresh mint
2 tablespoons freshly grated Reggiano-Parmigiano cheese
1 tablespoon extra virgin olive oil
Lemon zest curls, optional garnish
1. Cook the pasta in salted water according to direction, until al dente. Reserve a cup of hot pasta water.
2. In a small bowl, stir ricotta cheese, lemon zest and juice, and salt and pepper. Thin it with a little bit of hot pasta water. Stir until creamy but not watery.
3. Drain cooked pasta and transfer to a large bowl. Add peas and ricotta mixture and toss well. Stir in mint and grated cheese. Drizzle each serving with extra virgin olive oil and garnish with lemon zest curls, if desired.
Variation: For a meat version, add 2-3 ounces crispy prosciutto or pancetta. If you're gluten-intolerant, then substitute gluten-free pasta.
Susan Russo is a free lance food writer in San Diego, California. She publishes stories, recipes, and photos on her cooking blog, <Food Blogga and is a regular contributor to NPR's <Kitchen Window. She is also the author of Recipes Every Man Should Know and The Encyclopedia of Sandwiches.


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Monday, September 6, 2010
From the Adventures of Luke Skywalker
Looking back on my youth now, I think the time when I enjoyed Star Wars the most was between the release of the original film and The Empire Strikes Back. This was the era before one could really talk about a Star Wars "universe" in any meaningful way, let alone a Star Wars "saga." Beyond what we saw in the film, we mostly had Splinter of the Mind's Eye, the Han Solo novels by Brian Daley, and the Marvel Comics series. These were the days when Star Wars was subtitled "From the Adventures of Luke Skywalker," the implication being that the movie was just the beginning of Luke's adventures as a Jedi in training in big, space operatic universe.
Now, I won't make any claim that, for example, everything in the Marvel comics from that era was pure gold. Like most such things, a lot of it was terrible hackwork of the lowest sort. Even as a kid, I could recognize that a green anthropomorphic rabbit man was pretty stupid. But, even so, there was a sense of reckless abandon, an openness to possibility that was nevertheless quite enthralling. Star Wars, the movie, was just a launching point for all manner of wild and woolly space fantasies, rather than the start of an epic storyline that would, ironically, turn its villain into its protagonist, with Luke, the farm boy turned galactic hero, reduced almost to a footnote in an overwrought tale of a petulant brat's unearned redemption.
Maybe I'm too harsh. There is a lot to recommend about the overall "saga" of Star Wars, but, looking back on it, I won't deny feeling a lot of nostalgia about those heady days between 1977 and 1980 when, literally, anything could have happened to Luke Skywalker and his friends. I suspect it was then that I developed my lifelong love for over-the-top sci-fi, with gigantic spaceships, interplanetary wars, and larger-than-life heroes and villains. Reading those Marvel comics back then, I found myself imagining all sorts of adventures in that galaxy far, far away, adventures that subsequent development of the setting and characters has rendered impossible, in the singular drive to make it all about Anakin Skywalker and his mommy issues.
One of these days someone needs to tap into the same well of great ideas as George Lucas and give us a new space fantasy that doesn't eventually succumb to its own success. A guy can dream, can't he?
37 comments:
I wish I had experienced that time between the first film and the others. I've always liked the first one best, although I saw it much later on video like a lot of people.
At first, circumstances more-or-less forced the filmmakers to focus on making a "complete" swashbucking adventure movie that could stand on its own.
The huge success meant an assurance of sequels and it allowed for too much consideration for toy sales and attempts at a Joseph Campbell-esque "saga."
Lots of people practically worship Empire Strikes Back, but even there these tendencies were manifest enough that my enjoyment of it was always quite limited.James Maliszewski said...
"Star Wars, the movie, was just a launching point for all manner of wild and woolly space fantasies, rather than the start of an epic storyline that would, ironically, turn its villain into its protagonist, with Luke, the farm boy turned galactic hero, reduced almost to a footnote in an overwrought tale of a petulant brat's unearned redemption.
Maybe I'm too harsh."
Nope. That sums it up nicely."a new space fantasy that doesn't eventually succumb to its own success."
This is the sad part: I don't really think this is possible. This is the age of the entertainment franchise. Nothing successful, especially in the realm of science fiction and fantasy, is ever allowed to just simply end. It can't. There are whole careers and fortunes at stake. Captain Kirk and company will always be boldly going somewhere, even if they need to be re-cast periodically. Spiderman and Wolverine will always be coping with relationship problems and saying "bub", respectively. Mickey Mouse's copyright will always, always be extended.
And somewhere along the line, every once brilliant story is going to go stale, output is going to be more and more obviously cynically (even contemptuously) phoned-in, etc. Still, brand loyalty is second nature to entertainment consumers, and the franchise's Next Thing will still be bought on command, even if there's grumbling and griping about it at the same time.
The only real way a prospective franchise can stay unspoiled by this process these days is to "fail" right out the gate.
That's why I feel bad for all those "Firefly" fans agitating for a revival. Poor saps don't even know how good they have it. :)I always had a soft spot for the tall green Lepus Carnivorus, myself.
And a friend of mine has been slowly retelling "Ocean's 11" in the Star Wars Universe as a fond remembrance:
Just had to share. And I agree with you, Mr. Mal; those days between Star Wars and Empire were the best of times. Thanks.I'm a bit younger than you James, but this mirrors my own feelings. The original Star Wars is a great jumping off point for one's own imagination, with countless intriguing throw-away lines that can be - could have been - taken in any number of directions, before the dead hand of canon closed in.
This is why I want a space opera game where I can make my own universe, with the tropes *I* like, just as Lucas did.S'mon said...
"This is why I want a space opera game where I can make my own universe, with the tropes *I* like, just as Lucas did".
Easy enough, pick the rules system that works for you, ignore all the universe and pre-existing tropes, throw in your own and just add dice.
I've done it several times. My engine of choice for sci-fi is Fudge, but any engine you like will work just fine, not to mention there are some great retro-clones of game systems of days past that are pretty spiffy.- AnonymousSeptember 6, 2010 at 4:23 PM
When I first saw Star Wars in the summer of 1977, I was 7 years old. Thereafter I imagined countless further adventures of Luke and his friends.
I didn't read novels in the years between SW and ESB, and while I wanted to like the Star Wars comics, I just didn't care for them. Thus, for me, Star Wars was only the movie and my own imagination.
I like to keep it that way. As far as I'm concerned, only the 1977 Star Wars film is canonical. Everything else with the "Star Wars" label is apocryphal. ("Wretched apocrypha," said John Lightfoot in 1643.) The Marvel Comics Star Wars were great. I sort of liked the ones that were set after Empire better though as they made the characters look more like in the movies. Especially Chewbacca looked weird in the early ones.
To me the Timothy Zahn Star Wars novels sort of opened up the Star Wars universe again. Of course that was before 200 more novels followed in his path.Will Mistretta said...
"I love Fudge. I use it for literally everything that isn't D&D, to include things covered by other RPGs (for Lovecraftian gaming instead of CoC, for example, and Third Imperium games instead of any edition of Traveler)".
Same case for me Will. I started as a GURPS man, but got fed up with how complicated GURPS can be, discovered Fudge and have stayed with it. It works great with all those numerous GURPS books that I have.
I've been thinking much lately of a Fudge Fantasy that combines everything I like about D&D and Tunnels and Trolls.@ James: I remember the Marvel comics well. When Splinter of the Minds Eye was published (and my parents bought it) I was not even close to the voracious reader of Allen Dean Foster novels I would become...but I devoured Marvel comics (remember the short-lived Star Trek one? I had an issue where the Trek crew battles evil, magical, bat-riding gnomes on an alien planet!).
The Star Wars comics, both before and after the Empire film, were great, trying to pick threads of stories from hints and ideas in the first two films. I actually think this post has hit on a vast, untapped potential for space opera RPG. It inspires me anyway...and reminds me of why I love Star Wars and why I found even WEG's vastly detailed and defined "universe" to be a little disappointing.
Thanks.As a huge fan of Star Wars, I lept at the chance to to actually PLAY in the universe when WEG's D6 game first came out in 1987. I didn't really get a campaign going until about 1991, however- but that campaign is still going to this day ;). So.. yeah. Star Wars has been a great part of my life- even if I have the same beefs with the plot of the prequels as everyone else here seems to have.
As far as what JB said above (the "vastly detailed and defined universe" of WEG), I have to disagree. Yes, all the sourcebooks and adventures that came out for Star Wars WERE detailed and grew to be vast, but as far as I was concerned, that was really just the tip of the iceberg. I had PLENTY of room to insert my own adventures, entire planets, races, plotlines completely unrelated to the movies, all of that. West End games never once made a 'map' of the Star Wars galaxy, or tried to define the exact numbers of planets, armies, fleets, any of that. It was all left to the GM.
It wasn't until the slew of novels that followed Timothy Zahn's books that things really started to get 'overdefined'. In the RPG sourcebooks, for example, there were a lot of adventure hooks and examples of what you could do. In the novels, however, writers started setting things down 'in stone' as it were. It was in the Vector Prime novel, for example, that the first detailed maps of the Star Wars Galaxy appeared. And ugh. They totally didn't fit my concept of the Galaxy we saw in the movies. WEG went out of the Star Wars business just as this boom of 'expanded universe' was really getting underway. Which... may be a blessing in disguise.
I'm rambling now. Suffice it to say I love SW, I liked WEG's take on it, and In my own game, I've tossed out about 90-percent of the expanded universe. Otherwise you get into the same unwinnable race as you could with Forgotten Realms, trying to keep up with the 'metaplot' of the latest novels.
Even as a kid, I could recognize that a green anthropomorphic rabbit man was pretty stupid
What ? Jax rules, dude. Him and Amaiza - his Las Vegas showgirl bandit queen buddy.
Is a seven foot tall green carnivorous rabbit any stupider than a six foot tall trout man ? The big devil dude in the cantina ?
Well, maybe he wasn't the bestest character to introduce, but in all honesty, it was the hallmark of a more fun version of the SW universe; much closer to what we were doing in D&D and traveller at the time. Pretty much the opinion at marvel was that they needed to just get comics out before the fad died -and there wasn;t much need to canonize them, or really supply much editorial oversite like in the mainline comic series ie, less boundries for the sake of definition, rather than story or creativity. Sound familiar ?
Thing is, lack of boundries means having to see some pretty weird things. I present encounter critical, carcosa and LoTFP as but three recent examples and arduin from olden times. This isn't intended as a snipe at what was probably just a throwaway comment in the middle of a loving retrospective otherwise, but "stupid" is in a lot of ways the first step on the road to being a canon maven: Its the step from, "I don't like this", to "this isn't worthy".
My 2 cents, but regardless, thanks for the fieldtrip to the pre franchise universe -my son (10) loves them to death in the reprints. And me too, again.- AnonymousSeptember 6, 2010 at 6:50 PM
For sure, we are all in the dream trade...I agree with your assessment of Star Wars and its impact. Which I why speculated that Traveller was very successful, in that it did not ape these comics/movies but remained in their shadow...following them at a respectful distance.
Had Traveller gone directly, it would have been sued just as TSR had but I wonder still what would have happened if they did consciously follow these memes (is that what these archetypal stories have become...)...
After all, Alien is merely a good Lovecraftian/MR James Ghost Story, where the Alien does preform the same function as the Ghost. I love the old Star Wars comics. Yeah, the art was hideous for the first few issues (Chewie looked like some kind of mutant teddy-bear hamster), but these were the stories that kept me interested in Star Wars. Later on, when the art improved, the stories also started to pick it up (case in point: "The Last Jedi - issue #49. Probably my favorite Star Wars story ever... alhough the later "Luke Skywalker: Pariah" arc was a close second).
Actually, you could do worse than looking at Marvel for sci-fi inspiration in this period. They also had the Battlestar Galactica comic (which, while not great, was nowhere near as bad as Galactica 80), Star Trek, and I *think* they had a short-lived Logan's Run comic as well.A little off topic, but I'm going to mention this because others have mentioned the expanded universe and how SW become "over-defined".
I agree. Too many novels, books, TV shows, comic books, etc... removed a lot of the simplicity and mystery from Star Wars.
Any how come between the Old Republic and Episode-I (thousands of years) there seems to have been almost nil in terms of technological development. I'm sure there is a novel to explain it. :-/Oh, and I would also like to add that Marvel's Micronaut comics (well, the ones AFTER they went back to the Microverse... late first series, and the subsequent second and third series) were pretty good sci-f comics as well... especially when they started putting the Tales of the Microverse backup stories in. Bug is one of my favorite sci-fi characters, behind Han Solo and Boba Fett.
ReplyDeleteScience Fiction and Superhero Comics will always be my first loves and in many ways my second and third loves as well. On my top ten list of fandom stuff I think is awesome, Star Trek is #1, DC Comics is #2 and traditional medieval fantasy ranks around 11. Space Fantasy in general and Star Wars in particular are firmly in the #4 slot, right behind Giant Robots.
I was first introduced to Star Wars via the Marvel comic the day before I went to go see it at the movie theatre my Grandfather managed. I saw it five times on opening day.
While I do love Star Trek more (as I saw it first and there was more of it at the time), I will always love Star Wars. To me the 'Space Fantasy' of the Star Wars universe eclipses most other forms of fantasy by far.I think my favourite Marvel Star Wars comic was Riders in the Void (#38). Excellent pencilwork, and a great story. Which was the very last issue before they started The Empire Strikes Back storyline.
[When I first played in a Star Wars themed RPG we hadn't even seen the film yet (it was when films opened in OZ about 6 to 12 months after the US premiere), just read the screenplay adaption, which inspired us to modify D&D to cope with Jedi Knights and the like.]One thing is that Marvel lucked into getting enormous talent on the Star Wars comic somewhat early in their careers -- Howard Chaykin did the wonderful and idiosyncratic art in the first issues (later collaborated with Michael Moorcock, etc.), with writing by Roy Thomas (who also wrote the Conan comic) and the legendary Archie Goodwin (most reknowned for the Manhunter comic with Chaykin colleague Walt Simonson -- who himself also later worked with Michael Moorcock).
Kind of a very small world of top pulp comics talent, there.James, I'm guessing I'm of the same generation as you, and I remember those days between Star Wars and Empire. I feel a deep sense of nostalgia, and often find myself trying to relay that to my kids who now love the saga with all of its prequels and such.
One of the things that I remember so well is the lack of instant access to information about the movies and what was coming next. There was no internet, and the best source for info was the fan club news letter or Starlog magazine. You had to wait a month for both of these!
I think that anticipation generated by the lack of constant updates generated a type of love for the films that can't be experienced by generations of fans who grew up in the digital age. Not a better love, but a different one.
Great piece...thanks!UGH! Lost my post! Here's a lame attempt to re-create it.
"Even as a kid, I could recognize that a green anthropomorphic rabbit man was pretty stupid."
That's VERY well said. I hated that rabbit guy as a kid. That one character alone almost made me stop reading those comics, despite what a huge Star Wars fan I was, trying to devour anything "Star Wars" after the movie came out. I just felt like Marvel somehow didn't "get it" by including a character like that. And, yeah, I get the point about the "fish guys" or whatever in the cantina, but for some reason, those guys didn't bother me because they looked so alien. The rabbit guy looked like a cartoon to me. Fortunately, the comics did get better over time, and I still enjoy digging them out and reading them every 10 years or so.
On the bigger point of that feeling of "anything goes" that happened after the first movie in 1977 and the release of "Empire" in 1980, I totally agree with you. "Star Wars" was the first movie that I ever saw TWICE in the theater (I was six when it came out in May, and then they re-released it in my town around Christmas time, after I'd turned 7). I was totally hooked from the moment I saw it, and tried to get my hands on anything Star Wars related that I could find: the comics, action figures, collectible cards, magazine and newspaper articles, and so on. I felt like Lucas had somehow developed this movie and these characters just for me. My parents and older sister just didn't get it and didn't seem to like it as much, which only further made me feel like I was somehow "special" - part of a secret club of people who "got" Star Wars.
That time between "Star Wars" and "Empire" was really magical because, like you said, anything could have happened, and there was this whole universe to play around with. I made up my own stories with my action figures, rather than recreating scenes from the movie (I just never understood why somebody would do that). I made up backgrounds for figures that didn't really have much of a role in the movie (like the guys in the cantina, who I assumed were all evil) and I had figures "team up" with other figures on adventures that never happened in the film.
Then "Empire" came out, and while I love that movie, something was lost. Even as a kid who didn't even know the meaning of the word "canon", I understood that Empire changed everything. All of those Marvel Comics stories "didn't happen" and weren't "official." My stories I had made up with my action figures didn't make sense because the Star Wars Universe was becoming more defined, and the way I had created things didn't fit. Looking back on it, I think that "Empire" was a real turning point in my life, marking the end of my innocent childhood. I know that sounds kind of corny, but that's how it feels.
And I say all this as someone who LOVES "Empire" as a film. Part of me just wishes, though, that it had been a separate, stand-alone movie instead of something trying to build upon what is now known as "Episode IV.""I think my favourite Marvel Star Wars comic was Riders in the Void (#38). Excellent pencilwork, and a great story. Which was the very last issue before they started The Empire Strikes Back storyline."
Nice pull! That was hands-down my favorite single-issue of the Marvel Comics Star Wars line as well. I actually stopped reading Star Wars comics after that issue and didn't pick up another one until years later when the Dark Horse "Dark Empire" series came out (sort of a sequel to the Timothy Zahn novels from the early 90's).James: The Secret History of Star Wars is well-worth your time to buy and read, if you're interested in the early days of pre-IP dyansty SW (Geoffrey turned me on to this book some time ago, and it's excellent!).
Allan.- AnonymousSeptember 7, 2010 at 1:43 AM
I have to applaud The Badger King for the reminder about #49, The Last Jedi. What a great story. Really readable and even touching, and a fantastic example of the kind of RPG adventures possible in the universe at that time.
This is a great post, overall. Come to think of it, the one time I played in a SW RPG it was with a character ripped off from the comic. Kilsern:
"Easy enough, pick the rules system that works for you, ignore all the universe and pre-existing tropes, throw in your own and just add dice.
I've done it several times. My engine of choice for sci-fi is Fudge, but any engine you like will work just fine, not to mention there are some great retro-clones of game systems of days past that are pretty spiffy. "
For me I find I need something to riff off, though, that supports the flavour I want. I'm not good at going in cold. I find generic systems too flat, and non-generic systems designed for other genres always fight back - Mutant Future is great for gonzo-mutant-animals, but not for Planetary Romance.
I think the closest I've seen for what I want is d20 Fading Suns, with its medieval fantasy in space mood. Thinking about getting Starships & Spacemen but I'd like to wait for the D&D-ified version.I love the Marvel SW comics, just pure fun! I'm immensely enjoying the most recent omnibus of the classic tales. Great stuff!
There was even a Star Wars Marvel blog a while back, but it's had some tech issues and I think the guy is having problems getting it back online.The green rabbit dude totally killed the SW comic for me as well. Say what you will about some of the bad masks in the cantina, but they did not look like Bugs Bunny.
I was always one of those kids who only considered what was in the movie as "canon" (though that wasn't the term I used when I was 8). I still live by that philosophy, except I discount everything after the original release of Jedi. ; )
The era between '77 and '80 was indeed very special. I count myself lucky to have been the age I was then. Its impossible to describe the impact of Star Wars to those who didn't live in that era."I think my favourite Marvel Star Wars comic was Riders in the Void (#38). Excellent pencilwork, and a great story. Which was the very last issue before they started The Empire Strikes Back storyline."
My favorite too. At by Micronaut artist Mike Gold IIRC. I'm pretty sure it started as Micronauts story and was re-fitted for Star Wars. There was a Gil Kane draw story that happened to too - it was obviously a John Carter story that got rejiggered as Star Wars.The whole idea that Star Wars isn't "really" science fiction is stupid beyond belief. It features technology that doesn't exist (or can't), as well as aliens, space travel, robots, etc therefore it's sci-fi.
Think of how absurd it would be if someone said that Rio Bravo wasn't really a western, even though it had cowboys, horses, six-shooters, saloon fights and everything else you'd expect to see in a western -including Walter Brennan.
Only sci-fi nerds are so anal retentive.E.G.Palmer said...
Brian Daley's Han Solo stories are still the best star wars fiction. By setting them in the Corporate Sector Authority instead of the Empire proper, he expanded the star wars universe rather than shrinking it by adding defining canon.
September 6, 2010 11:46 PM
More importantly, Daley's version of Han Solo is just like the one in the movies. The same cannot be said for the other novels and comic books.


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Book traversal links for Nahum
If we were to examine closely the different characters of the nations who have been connected with the people of God, we should perhaps find in each a specific form of evil pretty clearly delineated. At all events it is so in the principal enemies of that people. Egypt, Babylon, Nineveh, are prominently marked by that which they morally represent. Egypt is the world in its natural condition, whence the people have come forth. Babylon is corruption in the activity of power, by which the people are enslaved. Nineveh is the naughty glory of the world, which recognises nothing but its own importance—the world, the open enemy of God's people, simply by its pride. She shall be judged like all the rest, and disappear for ever under the judgment of the Almighty. Jehovah has given a commandment against her, that no more of her name be sown. This judgment is so simple, that the prophecy which declares it requires very little explanation.
It commences with an exhibition of the character of God, in view of that which He has to bear from the pride of man. God is jealous, and Jehovah revengeth. It is a solemn thought that, however great His patience, a day is coming which will prove that He does not bear with evil. Yet it is a comforting thought; for the vengeance of God is the deliverance of the world from the oppression and misery of the yoke of the enemy and of lust, that it may flourish under the peaceful eye of its Deliverer.
No doubt, He has long allowed evil to go on. He is not impatient, as our poor hearts are. He is slow to wrath— a wrath so much the more terrible that it is the justice of One who is never impatient. He is great in power, and will not at all acquit the guilty.161 Who can stand before His indignation, or abide the fierceness of His anger?
But this is not all: His indignation is not vague and devastating without distinction when He gives it free course. He is good; He is a stronghold in the day of trouble. When the evil and the judgment overflow—the evil which is a judgment, and the judgment before which nothing that it reaches can stand—He is Himself the sure refuge of all that trust in Him: He Himself knows all that do so. As for the glory of the enemy, it shall be destroyed, blotted out, brought to nothing. Reckless in the midst of their pleasures, drunken and suspecting nothing, they shall be devoured as stubble fully dry. {Na 1:11}
In chapter 1:11 we find the one so often mentioned by the prophets—the Assyrian, who imagines evil against Jehovah, verse 12, although obscure, applies, I think, to Israel. Israel, too, alas! boasting of their security and strength according to the spirit of the world, will undergo the invasion, the overflowing of the great waters, the scourge of God. But when this passes through the land (that is, of Israel), they shall be cut down162 (compare Isaiah 28:18, 19; 14:25). But this scourge completes the judgment of God; and the deliverance of Israel, the prophet says, should now be complete and final (compare Isaiah 10:5, 24, 25). The yoke of the Assyrian should be broken for ever, and the proud and hostile power of the world destroyed, as the anti-christian corruption and rebellion had already been judged. The good tidings of full deliverance should be spread abroad, and Judah should keep her solemn feasts in peace.
I doubt not that the invasion of Sennacherib was the occasion of this prophecy; but most evidently it goes much beyond that event, and the judgment is final. This is another instance of that which we have so frequently observed in the prophets— a partial judgment, serving as a warning or an encouragement to the people of God, while it was only a forerunner of a future judgment, in which all the dealings of God would be summed up and manifested.
The wicked should no more pass through Judah; he should be utterly cut off.
If God permitted the total devastation and ruin of Jacob, it was because the time of judgment was come—a judgment that should not stop there. He began, no doubt, at His own house, but would He stop there? No. What, then, should be the end of the enemies of God's people, if He no longer endured evil in His own people? Let Nineveh, then, now defend herself if she could. But no, that den of lions should be invaded, and the young lions destroyed and unable to defend themselves. See the same argument at the end of Isaiah 2 and the commencement of chapter 3. Jacob was judged; the whole family, as well as Israel, emptied and ruined; and now it was the turn of the world. However great the pride of Nineveh, she was no better than others of whose ruin she was probably herself the instrument (Assyria and Egypt had long been rivals). The strongholds of the Assyrians should be like figs that fall with the first shaking, and their people without strength should be but as women. The ruin should be entire. Fire should devour them. No doubt, this had an historical fulfilment in the fall of Nineveh; but its complete accomplishment will take place when the Assyrian shall return—I do not say with respect to this city itself, which has been destroyed, but the power that will possess the territory and inherit the pride of the land of Nimrod.
161 This is ever true, and of immense importance. God never holds the guilty for innocent. It is contrary to His nature. It would not be the truth. He may put away sin, and receive the cleansed sinner; but He cannot act as if it did not exist when it does, nor be indifferent to it while He remains Himself. He may for good chastise, and to shew His government (that is, deal with sin in this respect); or He may have it entirely put away and blotted out, according to the exigencies of His own nature and glory, which is salvation for us; and both are true. But He cannot leave it anywhere as not existing or indifferent.
162 If not, the thought is, though the Assyrians be prosperous and safe in full prosperity, yet (as Sennacherib) when they come into Judah they shall be cut down, and then (as in Isaiah 10) Israel's deliverance should be final.


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- Online Interactions Not Rated by the ESRB
The Games on Demand version supports English, French, Spanish. Download the manual for this game by locating the game on http://marketplace.xbox.com and selecting "See Game Manual". Fly at supersonic speeds and experience intense shooting gameplay with mass destruction! Engage the enemy in intense close range dogfights with a fighter plane! Wipe out enemy ground forces in one full sweep as you evade explosions in an attacker plane! Use an attack helicopter, a bomber, and a gunship to destroy enemy forces with massive firepower! Experience an exciting story set in the real-world in the single player campaign and participate in a variety of 2-16 player online game modes! The story and events depicted in this work are fiction. Any resemblance to actual political states, geographic locations, persons, living or dead, corporations and organizations is purely coincidental. The work contains actual architectural structures, locations, governments and militaries, but is not affiliated with and does not endorse, nor is a benefactor of, any associated corporations, organizations, political states or persons. All trademarks and trade names are the property of their respective owners. All trademarks and copyrights associated with the manufacturers, aircraft, models, trade names, brands and visual images depicted in this game are the property of their respective owners, and used with such permissions. ©GeoEye/JAPAN SPACE IMAGING CORPORATION ©DigitalGlobe,Inc.,All Rights Reserved. ACE COMBAT ® ASSAULT HORIZON & ©2011 NAMCO BANDAI Games Inc.
- 10/11/2011
- BANDAI NAMCO Entertainment Inc.
- NAMCO BANDAI Games America
- Action & Adventure, Racing & Flying, Shooter
- Dolby Digital
- Online multiplayer 2 - 16
- Online co-op 2 - 3
- Content downloads
- Leaderboards
- Voice chat


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Ingredients for meatballs
1 pound of ground meat (can be pork, chicken or beef)
1 carrot – finely grated
6 water chestnuts - finely cubes
2 spring onions – finely chopped
2 tbsp of oyster sauce
1 tbsp of soy sauce
2 tbsp of cornstarch
1 egg
Salt and pepper to taste
1. Put all the above ingredients in a mixing bowl. Mix well and let it marinate for an hour.
2. Form it into little balls . At this stage you can either deep fried the meatballs or bake it in a 400 degree F oven until golden brown.
Ingredients for the sweet and sour meatballs:
15 cooked meatballs
1 cup of pineapple - cubes
Half cucumber - cubes
1 small onions – quartered
1 large tomato – cut small
1/2 carrot - sliced thinly
1 clove of garlic - finely chopped
4 tbsp of tomato ketchup
2 tbsp of sweet chili sauce
Juice of 2 lemon
2 tbsp of sugar
1 tsp of cornstarch
1 cup of chicken stock
Salt and pepper to taste
1. Mix all the sauce ingredients together in a bowl and set it aside.
2. Heat some oil in a pan, stiry fry garlic, carrot and onions until fragrant.
3. Add in the sauce, bring it up to a boil, add in meatballs, cucumber, pineapple and tomato. Stir well until sauce reduce and thicken. Dish out and serve with rice.


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The Capri is our original hat design, featuring a mid-length brim and is carefully handcrafted from 100% Natural Organic Grass Fibres.
The Capri is specifically designed to collapse and fold like origami, due to the sunray pleats, for ease of travel. Optional ties are provided at the base of each hat to be used for anchoring during breezes.
South Beach features lemon yellow, marigold and milk white thread colours woven in thick bands, through its base of natural grass fibres to create a stripe pattern, with cream cotton trimming.
The Capri is the perfect essential hat for those wanting an everyday sun-safe yet stylish addition to their attire, as a luxe fashion statement.
Due to the nature of this handmade piece the sizing is approximate and may vary between our different colour ways, so we recommend using the size guide for the best fit.


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Thank you for the veto, Governor Christie!
How nice it is to return from vacation to find the good news that Governor Christie vetoed a bill that would have permitted development on existing piers along the Hudson River waterfront. His veto supports the existing rules of the NJ Department of Environmental Protection which prohibit residential and discourage commercial development on piers in high risk waterfront areas.
The governor's reason for the veto was the inevitable loss of insurance coverage since FEMA has declared the entire Hudson River Waterfront as a Coastal High Hazard Zone ineligible for FEMA insurance (this makes other insurers hesitate to provide coverage or to charge extremely high rates ). In addition, a municipality that might have opted to allow such development for the sake of gaining tax income would have brought a loss of FEMA discounted rates to the remainder of the municipality, not just the loss of insurance for the waterfront.
The special handful of developers the legislation was intended to assist (but never completely identified) may have to abandon their plans. Good news tends to make one think of the future so wouldn't it be wonderful if those piers could be transformed into open space usage such as tennis courts or great lawns for sun bathing and as outdoor entertainment venues? In the past that type of use was planned but abandoned. We can now dream a little and maybe the forgotten plans can become reality, thanks to Governor Christie's veto.


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Chad Billingsley (2-5, 4.89) vs. Ben Sheets (4-0, 2.53).
COMMENTS: Good morning, Grumpy Gus! With a six-game losing streak looming last night, I was about to get all Negative Nelly on you...until Juan Pierre made me turn that frown upside-down! Never mind that Rafael Furcal is on the DL. Never mind that we have no stopper. Never mind that today the Dodgers are facing Brewers ace Ben Sheets. Never mind that the Diamondbacks have shaken off their losing streak by winning two straight. Never mind that the Giants have won at least one against the Dodgers-sweeping Astros. Never mind that the Dodgers play the Angels this weekend. Never mind that I'm working this gag way too hard. Why? Because SoSG has a secret weapon: A Son in the stands at Miller Park! He will do the voodoo that you do to give the Blue Crew the juju to see a win through! (Hey, it worked yesterday!)


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Here's Why:
Since there is such a focus on eating a low-fat diet, people often think that any food that is low in fat is inherently healthy. This is not the case. For example, soda and hard candy have no fat, but they also have no vitamins, minerals, fiber, or other healthy ingredients. What they do have is sugar, and lots of it. A lot of sugar can add up to a lot of calories.
Eating foods high in sugar and calories can lead to weight gain. Being overweight increases your risk of chronic disease, such as heart disease, high blood pressure, joint problems, and type 2 diabetes. Excess weight can also increase complications of other conditions you may have.
In addition, sugary foods often take the place of healthy foods, for example choosing a soda over a glass of skim milk or snacking on gummi bears instead of on an apple.
Here's How:
Here are a few tips to help you minimize your intake of sugary foods.
Do Not Be Fooled by Low-Fat Sweets
Often, when food manufacturers remove fat from cookies, crackers, cakes, and other snack foods, they add sugar to make up for the flavor lost with the fat. The result is that many low-fat snacks provide the same amount of calories—or more—as the original product. So a low-fat banner on the package does not give you free reign to eat too many. It is still important to look at calories and limit snacks.
Find Other Ways to Satisfy Your Sweet Tooth
Sometimes a little bit of sugar goes a long way. Try some of these tactics:
- Instead of the sugary cereal you have been eating since you were a kid, make a bowl of oatmeal and top it with some brown sugar, honey, or maple syrup.
- Mix ¼ cup of a sugary cereal with ¾ cup of a less sugary cereal. Check the Nutrition Facts label for the sugar content.
- Snack on a bowl of applesauce. If it is not sweet enough, then add raisins or brown sugar.
- Fruits, both fresh and dried, are sweet and may offer you the sweet fix you are looking for at 3:00 in the afternoon or after dinner. Before heading for the candy, try some fruit first and see if that satisfies your sweet tooth.
- Dark chocolate (made with 70% cocoa or more) has less sugar and can be rich and satisfying in small amounts.
Choose Diet Versions
If you just love the taste of soda and cannot imagine having popcorn or pizza with anything else, try a diet version. Or, if it is the bubbles you crave, have a glass of one of these zero calorie beverages:
- Seltzer water (some are flavored)
- Club soda (add a splash of fruit juice for flavor)
Eat Right—Academy of Nutrition and Dietetics http://www.eatright.org
US Department of Agriculture http://www.usda.gov
Dietitians of Canada http://www.dietitians.ca
Health Canada http://www.hc-sc.gc.ca
Sugars and carbohydrates. American Heart Association website. Available at: http://www.heart.org/HEARTORG/GettingHealthy/NutritionCenter/HealthyDietGoals/Sugars-and-Carbohydrates%5FUCM%5F303296%5FArticle.jsp. Accessed September 25, 2020.
Sugars and sweeteners. US Department of Agriculture website. Available at: http://www.ers.usda.gov/topics/crops/sugar-sweeteners.aspx. Accessed September 25, 2020.
What are empty calories? ChooseMyPlate.gov website. Available at: http://www.choosemyplate.gov/weight-management-calories/calories/empty-calories.html. Accessed September 25, 2020.
Revision Information
- Reviewer: EBSCO Medical Review Board Monica Zangwill, MD, MPH
- Review Date: 09/2020
- Update Date: 09/25/2020


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When Your Laptop Dies, Nobody Hears You Scream
Because you can't get online to scream (that is, you can't get online comfortably, from your usual happy perch on the sofa or at the dining table, because you have to sit in the hot room with the uncomfortable chair and use the stupid desktop).
Because you've lost all of your document files of haikus on the theme of screaming.
Because you've lost all of your image files, and in any case can't get into your Photoshop to make new ones that rip off Edvard Munch.
Because you're alone with the child for the weekend and can't risk disturbing her sleep with your manic screaming.
Because you're alone with the child for the weekend and can't get to a computer shop to see if they can perfrom emergency laptop CPR.
Because even if you could access your files and get online (at least with something more efficient than the cloddish desktop in the den, which has an old version of Windows and none of your preshus files) you don't know how you would express your scream, because if you could get to those things you wouldn't have this guttural howl burbling at the bottom of your throat.
Because you feel really stupid, actually, for not backing all of that shit up, and screaming feels like it would be more stupid piled on stupid.
This image would be much, much better with some Photoshop interefence. Like, say, a blond bob and some graffiti text proclaiming Bill Gates' future in hell.
Stupid, stupid, stupid.


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Both Dove Creek and Mancos started the new year slow last Saturday night at Dove Creek High School.
But the visiting Bluejays finished strong in what coach Mike Glover called his team's best performance.
Every player scored for Mancos, as the Bluejays left Dove Creek with a resounding 77-37 win.
"It was a team effort tonight," Glover said. "It was fun. The boys played well. We had some real good ball movement out there and we took good shots."
Point guard Nigel Henry had a strong outing for Mancos (4-3, 2-1 2A/1A San Juan Basin League), scoring 18 points. Kyle Cox and Brandon Hood-Farley also netted double figures with 14 and 11 points, respectively.
Mancos played without senior captain forward Branson Mitchell. Glover challenged his boys to step up and the Bluejays did.
"It's a nice win to have on the road and a nice win to have coming off the (Christmas) break," said Hood-Farley, a sophomore. "We worked on our press and we can still do better with that. But overall, getting the win tonight is what we wanted."
Dove Creek trailed 13-11 after one quarter of play.
Then, Bulldogs guard Kyle Shultz came out firing in the second quarter. The freshman hit back-to-back 3-pointers to lift the Bulldogs in front, 17-13.
With the home fans in a frenzy, Glover called timeout.
Whatever the coach said worked, because Mancos responded with a 19-0 run to seemingly put the game away. The Bluejays clamped down on defense and forced turnovers, which led to layup after layup after layup.
Mancos led 34-19 at halftime and kept its foot on the gas in the second half.
The Bulldogs were limited offensively, especially from high scoring threat Jordan Ernst, whom the Bluejays constantly doubled.
"We put in a press and we were hoping it would give us some kind of an advantage, a different look," Glover said. "For having only three night of practice (after the Christmas break), I felt it really worked for us."
In the end, it was a long night for the home team and a satisfying bus ride back to Mancos for the Bluejays.
"The biggest thing, is to try to get the kids to play basketball," Garver said. "We need to try to get them to react to some of the stuff we've been teaching them. For them to take it from practice into a game, has been a struggle for us. I think we're coming along. They strive to get better."
Mancos plays at Telluride on Friday at 7.
[email protected].