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31 August 2015

Gold Daily and Silver Weekly Charts - Charts Undecided - Goldman Takes A Little More

"Don't get involved in partial problems, but always take flight to where there is a free view over the whole single great problem, even if this view is still not a clear one."

Ludwig Wittgenstein, Notebooks, Nov 1914

We say goodbye to August, and the active month for gold at The Bucket Shop, and welcome the first stirrings of September, which promises to be much more interesting for silver.

Prices were heavy for the metals most of the day, with silver showing a little more perkiness, but gold doggedly hanging on to close for a slight gain.

We have an interesting, if yet undecided, chart formation on the daily gold chart in a potential cup and handle formation that, if activated and confirmed, will target a minimum objective of around $1,255 and even a likely test of the big prior support from the trading range at $1,270.

To put this potential formation to 'work' gold must continue to hold its successful retest of 1120 on the 'handle,' and move to take and break the top of the cup at 1170.   This is no mean feat, since gold is being pressed upon so heavily by the meddlers in the forex crosses.  Despite the propaganda, it most certainly is a currency of the world.

Silver is just coming into its own and September will most likely to provide some fireworks for the beta rocket, depending on which way the black swans start coming home to roost.  We have already seen the first deliveries taken for September, as noted on the clearing report below, of about 835,000 ounces.

I keep hearing stories of retail shortages and premiums that are certainly interesting.  I will be more interested if we start seeing some pressures at the wholesale level.

Gold went out quietly, with Goldman stopping another 49 August contracts for their 'house account.'

I am hearing some talk about leaner times for gold bullion supplies at the LBMA for this booming physical gold market in Asia and India.  There is certainly not much bullion up for sale at these prices in NY. Perhaps the bullion banks will use a quiet September to regroup and reform, if they get a quiet month that is.

Better not to try and guess, and look ahead too much however.   These pool operations, which we are almost certainly seeing now in my judgement, take a long time to reach their natural conclusion.  But they always seem to get there one way or the other.

So perhaps we can use this time to get our own houses in order, to put our pieces on the board where we are sure that we will have them if things get more interesting.  I certainly would not wish to put them in an unallocated pile in some vault managed by the status quo, since possession is nine-tenths of the law to these jokers, as we saw with MFGlobal's default.

I am ambivalent about the miners here, mostly because I am in the position of owning some, which I have not done for quite some time.  But silver is too temping with its 77:1 ratio to gold, and the absolutely beaten down into the ground place of some fairly tempting mining stocks.

Oh well, let's see if we can get something more substantial to hang our hats on, like the activation of a chart formation or some especially bullion friendly news for a change.  The gold trolls were out in force today on the financial networks, so we will have to see what this means if anything.

There was a greater than usual amount of information about the metals posted over the weekend, so you may wish to scroll down and have a look if you have not done so already.   There are quite a few odd little things happening that seem to be missed by most.

Have a pleasant evening.

SP 500 and NDX Futures Daily Charts - September Song

"The ideological and physical hold of American imperial power, buttressed by the utopian ideology of neoliberalism and global capitalism, is unraveling. Most, including many of those at the heart of the American empire, recognize that every promise made by the proponents of neoliberalism is a lie. Global wealth, rather than being spread equitably, as neoliberal proponents promised, has been funneled upward into the hands of a rapacious, oligarchic elite, creating vast economic inequality.

The working poor, whose unions and rights have been taken from them and whose wages have stagnated or declined over the past 40 years, have been thrust into chronic poverty and underemployment, making their lives one long, stress-ridden emergency. The middle class is evaporating. Cities that once manufactured products and offered factory jobs are boarded up-wastelands. Prisons are overflowing. Corporations have orchestrated the destruction of trade barriers, allowing them to stash $2.1 trillion in profits in overseas banks to avoid paying taxes. And the neoliberal order, despite its promise to build and spread democracy, has hollowed out democratic systems to turn them into corporate leviathans."

Chris Hedges, The Great Unraveling

US stocks came in a bit shaky this morning, but managed to rally back up close to unchanged during the day.

Alas, it was not to be, and stocks sold off in the afternoon, going out on the close at or near to their lows.

This is the 50% retracement area here from the recent big decline last Monday.

Stocks need to own this level, and start climbing back up to at least retest the prior big support area that had formed the bottom of the longer trading range.

If we get too sharp a rally higher that fails, let's say around a Fed rate hike in September or October, then it might be Katy-Bar-The-Door time, because a rally that fails after a steep decline in a long trend rally to these kinds of lofty heights is, in the words of classic technical analysis, 'bad news.'

But lots of things can happen between now and the end of the year.

I would feel better if I thought that the powers-that-be were doing anything close to some real solutions for the economy, and not just playing extend and pretend with an unsustainable quiet riot of upper crust looting and malfeasance.

But that is not in the cards it seems.  And most things tend to fill one with concern.

But nevertheless, let's see what happens.

30 August 2015

Bernie Sanders Interview: 'The Business Model of Wall Street Is Fraud'

Most people are sick and tired of the system as it is now.  And they are once again attempting to reject the status quo, having been badly disappointed by Obama and the Congress.  And this gives rise to popular movements and even third parties.

The biggest problem with popular movements is that they either tend to be co-opted by the most powerful in the status quo and used badly, misdirected and deceived, as in the case of the Tea Party, or diffused by too many factions and  lack of prioritization resulting in a lack of effective cohesion, as in the case of the Occupy Movement.

And so we have the ascendancy of the Wall Street wing of the Democratic Party, and the Koch Brothers wing of the Republicans.

And the corrupting power of Big Money underlies all of it, in part thanks to the Supreme Court ruling in Citizens United that defined corporations as having the rights but not the obligations of people, and money as free speech, while doing nothing to remediate the actual use of free speech by real people except in special zones and restricted venues, subject to some of the most oppressive abuse of the secrecy laws..

Contrast this with the anti-War movement of the 1960's which was driven by a single issue:  end the war in Vietnam.  The message was simple and clear, and it took hold, fritghtening the political establishment and hounding first Johnson to withdraw, and then Nixon to be so weakened and desperately foolish  that he caused his own downfall.

And so we have the more focused, non-establishment campaigns of Bernie Sanders and Donald Trump shaking up the accepted norms in political campaigning wisdom.

I would like to think that finally, after all these misspent years, the 'same old same old,' no matter how artfully the spin machines may brand them, cannot win again.

The probability for change is higher now than in the past.  But how it eventually turns out is another question.  The electoral process is still very young, and many things may happen between now and next November.  And the power of money and of powerful connections between the shadow government and the moneyed interests is still there, still lurking in the shadows and pulling strings.

Interesting times.

Gold Coming Off the LBMA Spiked Last Week

There was a interesting spike in physical gold activity last week on the LBMA.

It could be some seasonal phenomenon connected with the end of August and the approach of the prime season for gold.

But it also seems consistent with the 'tension on the tape' that I have been seeing.  And a number of little indicators and some interesting things, like the generally 'well informed' Goldman taking delivery of gold at the Comex for their house account.

One outcome of this increase in physical gold flows *might* be the realization of the cup and handle bottom formation on the gold chart, and a quick run to target around the 1250 to 1270 area.   And depending on what else goes with it, that might just be for openers.

Or it might once again be ignored and come to nothing.

But it does seem that the gold flows from the West to the markets in China and India are intensifying at these prices based on a number of diverse data points.

One cause of this could be a divergence between the paper price of gold with leverage and the actual physical markets because the price of gold as set in London and New York is below the clearing price in dollars as part of a momentum trend in the forex markets.

If a commodity price is set below the natural clearing price, one would expect to see the demand for the real underlying asset increasing.

Those who flatly dismiss the possibility there can be such a divergence between the market price and the natural clearing price have not been paying attention to what has been going on in any number of rigged markets over the past few years.

The excessive speculation fueled by a surfeit of paper money in a few hands and slack regulation that permits the unsustainable reckless pyramiding of positions is a good contender for the theme of the last two decades.

For what it is worth, I am seeing what appear to be increasing signs of 'fragility' in the precious metals market.   And in a nutshell, I am thinking that we are seeing a bear market bottom.  Trends, especially in forex related markets, often tend to overshoot and overstay their time.

But like the proverbial search for the lost keys, we will find the end of this era of financial madness in the last crisis, and perhaps that will be the one that breaks the Banks.

The chart below was provided by Nick Laird at goldchartsrus.com.

29 August 2015

Leveraged Financial Speculation to GDP in the US at a Familiar Peak, Once Again

"I believe myriad global “carry trades” – speculative leveraging of securities – are the unappreciated prevailing source of finance behind interlinked global securities market Bubbles. They amount to this cycle’s government-directed finance unleashed to jump-start a global reflationary cycle.

I’m convinced that perhaps Trillions worth of speculative leverage have accumulated throughout global currency and securities markets at least partially based on the perception that policymakers condone this leverage as integral (as mortgage finance was previously) in the fight against mounting global deflationary forces."

Doug Noland, Carry Trades and Trend-Following Strategies

The basic diagnosis is correct.   But the nature of the disease, and the appropriate remedies, may not be so easily apprehended, except through simple common sense.  And that is a rare commodity these days.

Like a dog returns to its vomit, the Fed's speculative bubble policy enables the one percent to once again feast on the carcass of the real economy.

'And no one could have ever seen it coming.'

Once is an accident.

Twice is no coincidence.

Remind yourself what has changed since then.  Banks have gotten bigger.   Schemes and fraud continue.

What will the third time be like?  And the fourth?

Do you think that Jamie bet Lloyd a dollar that they couldn't do it again?

Should we ask them to please behave, levy some token fines, watch the politicans yell and posture in some toothless public hearings, let all of them keep their jobs and their bonuses?   And then bail them out, wind up the old Victrola,  and have another go at the same old thing again?

Maybe we can vote for one of their hired servants, or skip the middlemen and vote for one of the arrogant hustlers themselves, and hope they get tired of taking us for a ride before we all go broke.

This policy we have now is the trickle down stimulus that the wealthy financiers have been sucking on with every opportunity that they have made for themselves since the days of Andrew Jackson. Whenever the ability to create and distribute money has been handed over by a craven Congress to private corporations and banking cartels without sufficient oversight and regulation, excessive speculation, financial recklessness, and moral hazard have acted like a plague of misery and stagnation on the real economy.

"Gentlemen! I too have been a close observer of the doings of the Bank of the United States. I have had men watching you for a long time, and am convinced that you have used the funds of the Bank to speculate in the breadstuffs of the country. When you won, you divided the profits amongst you, and when you lost, you charged it to the Bank.

You tell me that if I take the deposits from the Bank and annul its charter I shall ruin ten thousand families. That may be true, gentlemen, but that is your sin! Should I let you go on, you will ruin fifty thousand families, and that would be my sin!

You are a den of vipers and thieves. I have determined to rout you out, and by the Eternal, (bringing his fist down on the table) I will rout you out."

From the original minutes of the Philadelphia bankers sent to meet with President Jackson February 1834, from Andrew Jackson and the Bank of the United States (1928) by Stan V. Henkels

I believe all of the above is entirely possible.  Because we still have an unashamed cadre of quack economists and their ideologically blind followers blaming the victims,  prescribing harsh punishments for the weak, laying all the blame on 'government' and not corrupt officials on the payrolls of Big Money, and giving the gods of the market and their masters of the universe a big kiss on the head, and expecting them to just do the right thing the next time out of the natural goodness of their unrestrained natures the next time.  What could go wrong with that?

Genuine reform.   It's too much work, and too much trouble.

Related:  Comprehensive Tally of Banker Fraud

h/t Jesse Felder for the chart

Gold Seasonality And Average Intraday Price Movement

It will be interesting to see how gold moves in the latter half of this year.

As for the intraday movement, the impact of the London - New York on the gold trade is hard to miss.

It might not be too glib to say that the Anglo-Americans are sellling, and the rest of the world is buying overnight.

I certainly hope that this sort of long term price manipulation does not catch up to them on the supply side.

28 August 2015

Recent Trends in the Premium For Silver Coins Versus Spot Silver

"One important aspect of the physical market that is often overlooked is the premium it commands over spot price. Right before the Global Financial Crisis in 2008, the spot Silver price fell as low as USD 9 per oz., whereas the price of a 1 oz. Silver Eagle was around USD 17 on the wholesale market and even higher on the retail market! That’s a price premium of 188%!

That means that if you had held 100 oz. of paper Silver, you might have had to liquidate that for USD 900 (assuming the market was not halted for trading then), whereas if you had held 100 pieces of 1 oz. Silver Eagle coins, you would have gotten at least USD 1700 for them if not more."

BullionStar, The Difference in Paper and Physical Gold and Silver in times of Crisis

For the charts below the price data is the 'Ask'  live price from a major online supplier.

As always, if it is data related to the gold and silver markets and it is publicly available, Nick Laird at goldchartsrus.com is probably keeping track of it.

Shanghai Exchange Has 73 Tonnes of Gold Withdrawn In 4th Largest Week In History

There were a little over 73 tonnes of physical gold withdrawn from the Shanghai Gold Exchange in the latest week ending August 21st.

This is the 4th largest withdrawal of bullion in its history.

It is hard to tell what exactly is going on in such a dodgy, highly leveraged market, with its determined attempts to keep the price knocked lower so often during the late London to NY trading hours.

But I am sensing a change in the market, and more things running under the surface than meets the eye.

Goldman is no major player in the gold bullion market, but it did strike me as odd that they are suddenly stopping large amounts of bullion for their own house account this month. It is not that they are a player in gold, because they are not.  But that they are wired into many sources of information, are good at spotting trends, and are more like a hedge fund, comfortable running on the edge of the markets.

And the gold chart, for what it is worth in these times of market interventions, seems to be trying to form a rounded bottom in the form of  a cup and handle, with a successful retest of the handle this week.  This calls out a price around the bottom of the old trend channel at 1270.

It could also be nothing.  I will pursue the details of such a chart formation if we see the right kinds of follow through next week.

And I will certainly be watching silver very carefully for any signs of life.  It may be pivotal next month.

Let's see what next week brings.  Gold is just one market among many, and it is certainly not the largest one in play.

And while I have your attention, I thought I would include a long term chart of the relation of deliverable gold at current prices to open interest.  It might mean nothing.  But it doesn't seem to be anything familiar before 2013

The charts below courtesy of data wrangler Nick Laird at goldchartsrus.com.

Gold Daily and Silver Weekly Charts - Maintaining Confidence - Keep On Dancing

The action was a bit heavy in the metals today, as the Powers-That-Be quietly attempted to restore confidence and a sense of well-being and recovery after the somewhat disconcerting equity market plunge of Monday.

There was intraday commentary here about some interesting Goldman Sachs activity in an otherwise exceptionally sleepy week at The Bucket Shop.

People often ask me for a possible motive as to why central banks might care about gold and silver. Willem Middelkoop does a decent job of briefly explaining why in the first pictorial below.  It is all a part of the confidence game, when a series of bad decisions place a strain on one's full faith and credit.

The goal of the financial class is to keep the music going, and the public out there on the floor dancing so they don't have time to think.

Still out there bottom watching.

Have a pleasant weekend.

SP 500 and NDX Futures Daily Charts - Fly Me To the Moon

Qualis dominus talis est servus.
As is the master, so is the servant.

Titus Petronius

Stocks came in weakly, but managed to rally in the last hour to closely largely unchanged.

The GDP revision for 2Q yesterday was a bit much.

The conversation on financial tv today was replete with interviews from that moveable feast of finance, from the rarified world at Jackson Hole, where the black swans of monetary policy return every so often to molt old forecasts and acquire new ones that are certain to work better than the last seven years of the same old thing.

Mostly it is just the usual nonsense. Alan Blinder had some interesting and surprisingly realistic things to say. Most of the others were just mouth breathing the talking points about our exceptional and improving economy which will allow the Fed to raise interest rates.

The research paper from the Fed asserting that the US is relatively immune (ok they said insulated) from global currency and economic shocks because of the position of the dollar as the settling currency of choice for international invoices was-- interesting.  Why is it that so many economic, and especially monetary, theories feel so comfortable inhabiting an alternate universe where trees are blue and pigs can fly?

And as a particularly astute reader observed, if this is actually true, is there any wonder why the rest of the world would resent the dollar hegemony if it grants that sort of power to the single nation that controls it?  That they are able to wreak havoc on the rest of the world, exporting malinvestment and willfully fraudulent financial instruments, without having to endure any consequences?

Well it doesn't work so nicely as that, but yes they do resent it for other reasons, and they have been doing more than resenting it for some time now.  And that is the basis for the 'currency war' that these jokers still do not understand. They think it is only 'currency devaluations' which, along with tariffs, was the tactic of choice in the last currency war in the 1930's.

But the one that left me gaping was the tendentious conversation this afternoon on Bloomberg about how fragile China and its markets are. And as evidence they cited the 'obvious interventions' in their stock market this week, wherein the Chinese markets slump, but then miraculously recover in the last hours of trading. They are obviously doing this so the leadership will not be embarrassed for their 70th commemoration of the end of WWII next week. Which by the way, the US is gracelessly boycotting.

Knock, knock, hello? Is self-awareness or unintentional irony at home?

Is there any doubt that we have been seeing the exact types of intervention by a powerful unseen hand in our own stock markets this week, on steroids, after the Monday flash crash? Does that mean that our economy is fragile and doomed as well?

Do these people actually believe what they are saying, or is this just some clumsy attempt to try to reassure our public that if their public gets into trouble there is no need to panic because, wait for it, we are so much better, more wisely and so much more virtuously blessed to be led by those archangels of benevolent wisdom in Washington and New York.

One can only wonder.

Have a pleasant weekend.

JPM Customer Issues and Goldman Takes Another 54,100 Ounces of Gold For the 'House Account'

The receipts for another large chunk of bullion changed ownership from a JPM Customer to the Goldman 'house account' at $1,122 per ounce.

With all the usual caveats, and just taking note.

This is especially intriguing since Goldman has been publicly beating the drums for gold to drop well below $1000.  Perhaps, like Rick who moved to Casablanca 'for the waters,' they are merely misinformed.

We ought not to presume anything about how naive the customer might be, or the sly cunning of any particular buyer.  For all we know the 'customer' could be a large and highly competent ETF or fund, and not some naive or desperate or perhaps whimsical individual.

And as for the buyer and its motives, my friend Dave offered some possible insight on this phenomenon here.

While it is a hypothesis based on a correlation founded in possibly disparate facts, it is no more untoward than those who will simply dismiss the whole thing, and apparently ascribe no significance to almost anything whatsoever, other than the price of gold and silver must go lower. There is no truth, and there are no fundamentals, when things and their values are merely what we say that they are.

And I am sure that all of this is simply more of God's work, and not sly cunning in service to earthly greed, from such a benevolent and public-spirited institution.

27 August 2015

Gold Daily and Silver Weekly Charts - Bottom Watching - Icahn Buys Stake In Miner Freeport-McMoran

Gold took a gratuitous little hit on the NY open/London PM fix this morning. It was held down most of the day.

Silver managed to perk up nicely though, regaining the midpoint to the 15 handle. Next month will be more active for silver, and not so for gold.

Lets see if sparky can carry the day.

Not much ever happens at The Bucket Shop these days, so when Goldman takes 44,200 gold ounces for its house account as they did yesterday it is at least worth of note intraday which you can read about here.

I know, it's not that great, but it's something.  We're hard up for any real action here, except for the daily dump of paper to knock the prices lower in the AM with a slight recovery into the PM and then higher prices overnight.  Rinse and repeat the next day.

Chart formations for the precious metals have not meant much for, oh I don't know, about a year or so now.   Its just a steady knockabout lower, tap tap tap.

It may be dissipating.   Way to early to say.  But let's watch the chance for a rounding bottom here.  No charge for looking.  And after all, Summer is almost over.

Have a pleasant evening.

Related:   Carl Icahn Takes 8.5% Stake In Miner Freeport-McMoran

Check out those 1960's outfits and hairstyles. And that frilly blue cap?  Ouch!

SP 500 and NDX Futures Daily Charts - Walking the Dog

The revision to 2Q GDP came in higher than expected this morning.

Even more importantly, stocks did not fall out of bed overnight, so that gave the Streeters an opportunity to 'walk the dog' back up to less threatening levels after the decline on Monday got out of hand, compliments of the HFT algos.

Both of the futures I follow, the SP 500 and the NDX, have achieved a fifty percent retracement of the big decline. I have marked it on the charts.

Lets see if the dog walkers can keep the pooches in line for the close into the weekend tomorrow.

I know at least two aficionados of this pooch parade, Jan and Stan, who would like to see stocks recover in time for their big rate soiree in September.   Cannot have a paper with the dog messing the rugs.

They might well put down some heavy paper, and then go for it.  They may not get a better chance this year.

Have a pleasant evening.


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Home > I Could > I Could Not Help But Notice You Lyrics

I Could Not Help But Notice You Lyrics

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Thursday, December 24, 2009

rainbow cookies!!!

it's christmas eve!! which means my sister, the urban grocer, is in from switzerland and whipping up my grandma's passed down recipe and my holiday favorite, rainbow cookies!!! she baked the batch you see pictured this morning. yumm!

Tuesday, December 22, 2009

the coolest store in america

2009 has afforded me a bit of travelling the states. I can tell you from hard experience, that the cooolest store in all of america is the john varvatos store at the hard rock hotel in las vegas. my goodness is it cool. 3,000 square feet where music and style groove. most weeks they clear out the inventory and host concerts there. and the employees smoke cigarettes. too cool for school. plus, they've got incredible design and product to match. rock on.

Wednesday, December 02, 2009

the forecast calls for smooth skin

I am obsessed with beauty products, so I figured why not write all about 'em and share it with you in a very stylish format. I am now writing beauty reviews for stylecaster. want to know which face cream best keeps the wrinkles away? click here for my first piece.

no need to leave, google it here


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Thursday, September 20, 2012

Another border finished to my Longbourne (Katrina Hadjimichael) quilt. The next one is a border of scallops and appliqued vine. I am running out of space to take a photo of my quilt.

Sunday, September 16, 2012

Sea of Yellow

Surrounding our area, the annual planting of the Canola crops are in full bloom. Paddocks alongside  the Highway to Geelong are a sea of yellow. All of a sudden, you drive past and there they are, then next day they could all be gone, harvested. This annual event is the welcome to Spring.

Sunday, September 9, 2012

Wyndham Quilt In

Enjoyed a lovely day yesterday at the Wyndham Quilt In, held at Kelly Park, here in Werribee. Wonderful company of Joy, Judy, Doris and Wendy. Corliss from Threadbear quilt shop in Castlemaine was guest speaker. She spoke of and showed her collection of antique quilts and some of her own made ones. Truly inspirational. Loved hearing the background of her collection from America and family stories.
It's at these quilt ins that you get to catch up others that you haven't seen in a while. Not much sewing done but lots of chatter, beautiful cakes/slices and didn't get to buy anything from the 3 shops. Too busy talking!!!!


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The Writer’s Block

Do you get writer’s block? I do. Often. Honestly, I have it a little bit about this very post. It’s frustrating because I wanted to write it. I had ideas about writing it. But when I sat down to write it, nothing happened. So I checked my email instead. I looked for summer shoes at Then I wrote a sentence, erased it, and bought a sundress. It’s a problem, an expensive problem.

So what do I do about it? Well, for one thing I just put my wallet out in the car. Now in order to buy anything else I’d have to put my shoes on and go all the way out to the driveway. And it’s dark out there. And there might be a bear or something hanging out by the trash cans because we have bears in the neighborhood now. So I’m probably not going to do that. Because, honestly, I’d rather write this post than fight a bear.

“writing about a writer’s block is better than not writing at all”
– Charles Bukowski

Anyway, we were talking about writer’s block. There’s all kinds of conflicting advice about combating it. Some say you should get up and do something else for a while. I tried that once. I didn’t write another word for four years. Some say it’s better to stay at your desk. To keep working even if what you’re writing is awful.

“When I’m writing, I write.
And then it’s as if the muse is convinced that I’m serious and says,
‘Okay. Okay. I’ll come.'”

– Maya Angelou

I’m with Ms. Angelou on this one. Even when I know I have no chance of writing anything I won’t immediately want to delete, I still sit down at the desk. I still make myself type. Even when it’s really hard. Even when there’s something I’d like to watch on TV. When I lack the motivation to get there, these are things I tell myself:

1. You can’t call yourself a writer if you don’t write. If you’re not a writer, you’re a person with a lot of imaginary friends. You are too old for imaginary friends.

2. Robert Frost was right: the best way out is always through. Getting through takes effort.

3. There’s nothing more common than unrealized dreams and wasted talent. (see 1)

4. Everyone gets writer’s block from time to time. It’s a drag. But if you find a way to tip it over, you can stand on it.

5. TIVO is recording your show anyway.

Then I begin to work.  Sometimes I sit there with my fingers poised above the keys, waiting for inspiration. Sometimes I write for two hours and then delete the whole thing. The reward is eventually the words come back and the story gets moving again.

What do you do when you get writer’s block? Do you get up? Stay seated? How do you work through it? Leave a comment and let me know. Maybe we can help each other out.

2 thoughts on “The Writer’s Block

  1. Well put. Though not productive, one of the things I do is switch from computer to paper and pencil or my old typewriter. Even if it’s loosening up the stuck keys by typing every “q” word I can think of for 15 minutes, writing something helps me most of the time.

  2. I say if it keeps you in your chair, keeps you thinking like a writer and working at being one, coming up with q words is as productive as all git out.

    Pencils up, Colleen. That’s what matters. How we keep them that way is just details. Thanks for stopping by.

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Career Development Workshop (11/7)

developmentJoin us for our annual Career Development Workshop.

When: 7 November at 2:30pm–5:30pm

Where: Consulate-General of Japan in Chicago, 737 N Michigan Ave Suite 1100, Chicago, Illinois 60611

Thinking about making a career change? Wondering what skills you need to get that promotion? Looking for a job? Get tips and tricks from the experts to build a pathway to success. Sit down and chat with local professionals from non-profit organizations, higher education institutions, Japanese-owned firms, graduate programs, and more. Bring your resume and get advice on how to stand out specific to your field.

Then join us for a wine and cheese networking reception and learn about local job opportunities.

All are welcome! Bring a friend or colleague and take home one of our JETAA Chicago reusable tote bags!

Questions? Contact us at

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Monday, 13 June 2011

Essie Coat Azure

Hi everyone,

hope you are all doing well. Today I have for you the polish called Coat Azure. It is one of the polishes that came in Essie Mini Nail Polish set. I believe the collection is called Essie Resort Collection Summer 2011.
Coat Azure is definitely my favourite colour in the group, it is a nice pastel dusty blue with a soft silver shimmer. I'll definitely wear this one a lot in the summer.

3 coats no topcoat or basecoat

 Everything looks better with a little bit of glitter, right?
2 coats of OPI Last Friday Night over Essie Coat Azure


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A law legalising assisted suicide in Israel moved one step closer to reality this week, after an influential Knesset committee agreed that doctors could administer a lethal dose of medicine to those with less than six months to live.

458811835The euthanasia bill, which was approved by the Ministerial Committee on Legislation by eight votes to two, was immediately challenged as “a pill of death” by Senior Citizens Minister Uri Orbach.

“Death is becoming a commodity or service granted to citizens,” he said. The poor doctors now have to supply death for terminally ill patients as well [as medical care]. This is a false liberalism.”

Orbach is joined in opposition by the Israeli Medical Association and Chief Rabbi David Lau, who said: “Doctors have been given the job of healing, and when they cannot heal, they have no right to kill.”

The Bill was brought by journalist and Yesh Atid lawmaker Ofer Shelah, who lost an eye in the Lebanon War, where he served as a paratrooper.

Israel already allows doctors to practice passive euthanasia, whereby physicians stop lifesaving measures, after years of negotiations with religious and medical officials resulted in legislation passed in 2005.


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Wednesday, March 21, 2012

Bimberi Peak, #3 of the State 8

Returning back from the summit of Bimberi Peak, carefully following the narrow track marked by stone cairns, we heard voices off to the right in the forest. Mmm… strange, we thought we’d be alone on this hike.

Bimberi Peak, Australian Capital Territory

The first of three blog entries for a week spent around Canberra doing three of the State 8 peaks - the highest mountains in each of Australia's eight states and territories.

SUMMARY - Bimberi Peak hike
Start Locked gate on Pocket Saddle Road, 34.5km from bitumen highway
End Bimberi Peak summit, re-trace steps to gate on Pocket Saddle Road
Time 3.5 hours each way
Distance 11km each way
Elevation gain 680m
Topographic maps 1:25 000 scale, two maps, Rules Point 8626-4S and Rendezvous Creek 8626-1S

Having set them straight on the ascent, to follow the stone cairns – "the what?", the piles of stones - we met another two parties ascending. It was a long weekend, but having camped out overnight at Oldfields Hut had given us a head start on other hiking parties.

The previous day we had driven the 35 kilometre Tantangara Road to the Tantangara Dam wall, crossing the Murrumbidgee River on a low timber bridge, then proceeding along Pocket Saddle Road. We had had conflicting advice about this dirt road, particularly Pocket Saddle Road past the timber bridge, was it suitable for a 2WD, or was a 4WD necessary. We had six people in our hiking party, so had hired two cars. To edge our bets, we hired an AWD and 2WD sedan. In the fortnight prior to our hike, a huge weather front had dropped 388mm of rain here, although nothing of significance in the five days prior. The road was fine. There was the occasional pool of water, but as the two roads follow the ridges creek crossings are minimal. The few creek crossings there were were culverted beneath the road.

We hiked an hour into Oldfields Hut, an old three-roomed cattlemans hut from the 1930s. We camped beside the hut, there is a large verandah, water tank and toilet. The following morning we continued along the fire trail to Murrays Gap. Water was flowing in the creeks, but again in each instance the creek was culverted beneath the road, otherwise there would have been some cold creek crossings.

The road reaches into the cleared and swampy saddle, the border between NSW and the ACT. From here we followed the stone-cairn marked track up the ridge, along the border, through the tree line to the summit. A survey trig point marks the summit. In what, at first, seemed like an ingenious logbook container, a double capped PVC sewer pipe bolted to the concrete footing of the trig, the contained logbooks was somewhat soggy and mouldy. Leaving some blank papers in a new sealed plastic bag, having signed our merry hearts away, this was after all peak number three in the State 8 - the highest summit in each of Australia’s states and territories.

We returned back to the car that afternoon. Simon, Shea and myself enjoyed a refreshing swim in a creek near the car, much to the mocking cries of the crew from the AWD who preferred to fester with their smelly gear in their vehicle. Not a problem, all in our car washed, as we journeyed down to Jindabyne to camp in a swampy caravan park beside a flooded Lake Jindabyne.

View in full screen format
Download GPX file - for use as a navigational aid in a GPS unit
Download KML file - view in Google Earth

TRACK NOTES - Bimberi Peak hike

Download larger version of track notes
Label Grid Ref Location Note
1 588 504 Locked Gate 34.5km along dirt roads, first Tantangara Road then Pocket Saddle Road. Leave car here.
2 Fire Track t-junction Follow east track
3 620 523 Oldfields Hut 1 hour from gate (1)
4 Murrays Gap Proceed to middle of swamp clearing at top of saddle, beside double sign saying 'Namadgi National Park' & 'Murrays Gap'. 1h15m from Oldfields Hut (3).
5 Bimberi Peak Follow stone cairn marked foot track along ridge to Bimberi Peak summut. 1h15m from Murrays Gap (4). 3.5 hours from gate (1)

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December Newsletter

Solo / Ensemble
Thanks and best wishes to the 111 students who have registered for this year’s Solo/Ensemble festivals.

  • Participating students received a paper invoice on Friday, Dec. 1 (solo $15, ensemble $10). Payment of that invoice is due Friday,
Read more

SCIBA Honor Band Results

On November 30, 2017 Urbandale High School had 25 students audition for the South Central Iowa Bandmasters Association (SCIBA) Honor Band.  7 students were selected for participation in the January 6, 2018 performance to be held at 5:00 p.m. at … Read more

November Newsletter

Calendar of Events
As we transition from marching band to concert bands, now is a good time to revisit the band calendar of events to ensure that upcoming performances of concert bands, jazz bands, and solo festivals are correctly entered … Read more


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Archive | October 3, 2007

Great Expose on Lies on the USS Liberty

The Chicago Tribune yesterday printed an expose on the lies regarding the Israeli attack on the USS Liberty in 1967.   John Crewdson’s article makes clear that the U.S. government knew that the Israeli  planes had clearly identified the USS Liberty as an American ship before they began strafing and bombing it.  Three Israeli torpedo boats attacked and almost […]

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Tuesday, 2 February 2010

Did you miss these bits of Jimena news?

You would have because we just posted them on their corresponding dates. We apologise for not keeping you as updated as we'd like, but a living has to be earned. Here they are -just click on each item to see it: New vehicles for local police and works department; Sevilla, Yustos and Sol to have new drainage; Town Hall to get a lift. There's lots more and we'll be doing the same again soon. There's also news on CampoPulse; you can see it on the sidebar. (P.S. How do you like our new header? Please let us know!)

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Sunday, 21 March 2010

The greatest scientific discovery since ... (Sunday, innit?)

Oxford University researchers have discovered the heaviest element yet known to science. The new element, Governmentium (symbol=Gv), has one neutron, 25 assistant neutrons, 88 deputy neutrons and 198 assistant deputy neutrons, giving it an atomic mass of 312. These 312 particles are held together by forces called morons, which are surrounded by vast quantities of lepton-like particles called pillocks  (pillocksis governmentsis). Since Governmentium has no electrons, it is inert. However, it can be detected, because it impedes every reaction with which it comes into contact.>
A tiny amount of Governmentium can cause a reaction that would normally take less than a second, to take from 4 days to 4 years to complete. Governmentium has a normal half-life of 2 to 6 years. It does not decay, but instead undergoes a reorganisation in which a portion of the assistant neutrons and deputy neutrons exchange places.

In fact, Governmentium's mass will actually increase over time, since each reorganisation will cause more morons to become neutrons, forming isodopes.
This characteristic of moron promotion leads some scientists to believe that Governmentium is formed whenever morons reach a critical concentration. This hypothetical quantity is referred to as a critical morass. When catalysed with money, Governmentium becomes Administratium (symbol=Ad), an element that radiates just as much energy as Governmentium, since it has half as many pillocks but twice as many morons.

(Thanks, Jon!)

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Wednesday, 28 September 2011

China is close to the end of the Silk Road

JIMENA The magnificent effort made by Melissa and her crew at Casa Henrietta is coming to an end. BUT October brings us to China, and therefore Chinese cooking on every one of this month's Saturday evenings from 8pm.  It's a great idea to book ahead on 956 648 130 because this offer has become very popular. Prospero has been lucky enough to be invited this Saturday and is really looking forward to it. (P.S. Just wait for what they have in mind for the season: watch this space!) Also, these posters by Gonzalo Polo are wonderful works of art. Click on this one for a full view of Tin Tin in China.

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Remembering "Light Magic" -- Part 5

Jim Hill

Jim's musings on the history of and rumors about movies, TV shows, books and theme parks including Disneyland, Walt Disney World. Universal Orlando and Universal Studios Hollywood.

Remembering "Light Magic" -- Part 5

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Just a quick note before we get started here today. I want to take a moment to thank all of you nice people who've sent me notes over the past 10 days, saying me how much you've been enjoying my "Light Magic" series.

In particular, I want to acknowledge an e-mail that I just received from Vicki T. of Fort Collins, CO who wrote:

Dear Jim:

Kudos to you for your continuing series of "Light Magic" articles over at DCACentral.com. These are the types of stories that I think you do best, Jim. The long-form pieces where you methodically walk your readers through how something at the Walt Disney Company actually came into being.

I can't wait to read Part Five of your "Light Magic" series because frankly, I can't understand how Disney didn't know that this show was going to be a disaster. Your articles clearly show how "Light Magic" was in trouble almost from the start. And yet these talented people, all of these veterans from other successful Disneyland shows, still seemed to have missed or ignored the warning signs.

If "Light Magic" really was in such rough shape during its construction and rehearsal phase, Jim, then why didn't Disney Entertainment just postpone its premiere?

Excellent question, Vicki. And the answer is, Disneyland's Entertainment staff DID try to get the "Light Magic" premiere postponed. In late April, they actually went to Disneyland management and begged them for the extra time that DL's Entertainment staff would needed to get the "streetacular" in shape. Which staffers figured would only take an additional three or four weeks.

Unfortunately, Disneyland's management refused Entertainment's request. Why? Because three other departments at the Disneyland Resort: Marketing, Merchandise and Special Events, insisted that "Light Magic" had to open on time and on schedule.

Why did Disneyland's Marketing. Merchandise and Special Events offices do this? Did you ever hear the expression "The road to Hell is paved with good intentions?"

That is what honestly happened with "Light Magic," folks. Three divisions of the Disneyland resort got behind the "streetacular" in such a big way that their futures were literally riding on the "streetacular." They had already invested so much time and money in "Light Magic" that they just couldn't afford to have that show postponed .

Take. for example, Disneyland's Marketing division. This department was just coming off a highly successful year. Michael Eisner himself credited DL marketing & its brilliant "See It before It Glows Away" campaign for making the Summer of 1996 one of the most successful seasons the Anaheim theme park had ever seen. Now Eisner was expecting Disneyland's crack marketing staff to work the same sort of magic in the Summer of 1997 during the "Light Magic" inaugural season.

Well, it's one thing to try & get people excited about a show that they've seen before. (And there's no denying that Disneyland's Marketing staff did a masterful job of making people feel nostalgic about MSEP. Which is why they turned out in record numbers to catch the "Main Street Electrical Parade" during its alleged "Farewell Season.") But it's quite another to try & get people enthusiastic about something they've never seen before. Particularly a show like "Light Magic" that's a real departure from other Disneyland theme park shows.

So, to get the word out, Disneyland's Marketing office had to commit hundreds of thousands of dollars months ahead of time on splashy print ads for all of the magazines. They also had to hire pricey special effects houses to produce their TV commercials (Which got kind of tricky. Particularly since none of the "rolling stages" were camera ready when the "Light Magic" TV commercial had to be filmed. So that float that you glimpsed rolling down Main Street U.S.A. during the LM TV ad campaign? That was actually just a model of the float, no more a foot high. One that had been used by Disneyland Entertainment staffers when they were pitching "Light Magic" to upper management). Not to mention all the money the Mouse had to pour into recording sessions for those "Light Magic" radio commercials that blanketed the airwaves that summer.

So Disneyland Marketing obviously had a lot of dough tied up in "Light Magic" long before the show actually debuted. Which is why these guys were really reluctant to listen when DL's Entertainment division began whispering that their "streetacular" might not meet its May 13th premiere date.

Mind you, one of the main reasons that Disneyland's marketing staff disregarded DL Entertainment's advance warnings about "Light Magic" was because, well, Disneyland Entertainment had a history of crying "Wolf." DL's PR people had grown used to hearing horror stories about Disney theme park shows that were in terrible trouble just prior to their premieres.

Take, for example, "Fantasmic!" Few people now recall how close this special effects extravaganza came to crashing and burning. Disneyland's Entertainment staff didn't even find out if the "Fantasmic!" cutting edge water screen technology would work in a theme park setting until a scant 10 weeks before the show was originally slated to open. Never mind all of the other technical bugaboos that forced the Mouse to push back the show's official debut by nearly a month.

And let's not forget the park's "Lion King Celebration" parade in 1994. This show opened at the park right after Mickey not-so-wisely had decided to shut down Disneyland's on-site parade fabrication facility. Which meant that Disney had to hire outside vendors to build the floats for this show. Of course, thinking that he had come up with a clever way to keep costs down, Mickey didn't hire a single design company to build all five units. But rather - they contracted five different design companies to each make a single "Lion King" themed parade float. Can you say "royal screw-up?"

So, as you can see, Disneyland's Marketing staff, by this point, had grown used to hearing DL's Entertainment staffers complain about the horrible shape their latest show was in. Which is why they paid little heed to all the awful rumors that had begun swirling around "Light Magic."

Mind you, DL's Marketing staff wasn't the only division at the Disneyland Resort that was counting on "Light Magic" to come through in the Summer of 1997. DL's merchandising staff was also betting heavily on the "streetacular." After all, Disneyland's shops had moved a mountain of "Main Street Electric Parade" merchandise during that show's farewell celebration back in 1996. The park even managed to sell out on some of the more expensive, limited edition commemorative MSEP items. So was it too much to hope for that lightning might strike twice with "Light Magic"?

Disneyland's Merchandise staff didn't think so. Which is why they literally ordered tons of "Light Magic" related merchandise. These items included $300 "Light Magic" letterman jackets (with real working fiber optics that lit up the "streetacular" logo on the back), $70 commemorative watches, collectible coins. Along with the usual assortment of T-shirts, sweatshirts, buttons and mugs. All purchased in record quantities because Disneyland's Merchandising staff was certain that the inaugural season of "Light Magic" would at least be as popular as the final season of the park's "Main Street Electrical Parade."

Another Disneyland division that was counting on "Light Magic" being hugely popular was the Resort's Special Event office. These folks were so certain that DL's new "streetacular" was going to be a hit that they decided to stage a special premiere event just for Disneyland's annual passholders.

This hard ticket event (Translation: Annual passholders would only be allowed to attend the "Light Magic" exclusive premiere party after they had paid $25 per person for tickets to attend the event) would be held on May 13th. a full 10 days ahead of LM's official Disneyland debut. The party would be held after hours, long after the theme park had officially closed for the day.

Of course, to make the annual passholder's "Light Magic" premiere party experience that much memorable, Disneyland's Special Events Office decided to offer some exclusive merchandise to party-goers. Items that you could only get your hands on if you attended the May 13th event.

Disneyland's merchandise office was happy to get on board with this idea. They contacted noted Disney artist Charles Boyer and hired him to create a "Light Magic" lithograph. They then arranged for Charles to be the park on May 13th, where he'd sign any LM lithos that were purchased during the premiere party.

The New Century Timepieces shop at Disneyland also got in on the act. They created another "Light Magic" premiere party exclusive: a limited-edition watch that could only be purchased by people who attended the annual passholders event.

All this, plus mugs, T-shirts, buttons. All emblazoned with the May 13th party date.

So now can you understand why Disneyland's Marketing, Merchandise and Special Events went ballistic when they learned that DL's Entertainment Office really did wanted to push the "Light Magic" official debut back from May 23rd until at least the middle of June? The PR flacks cried "You can't push back the opening date. We've got ads placed in national publications that say that this show opens in May. If you change the date, that will totally screw up our "Light Magic" ad campaign."

Then the Special Events Office chimed in: "You can't push back the "Light Magic" opening date. If you do that, we'll have to cancel the annual passholder's premiere party. And you know how those weenies are. They'll *** and moan like the world's coming to an end. Never mind about all the ticket money that we'll have to refund."

But it was Disneyland's merchandise office that complained loudest and longest. They said: "You can't postpone the premiere of "Light Magic." You just can't. Why? Because we've a warehouse full of stuff that's stamped "May 13, 1997." If you pull the plug on this party, we'll going to have to eat all of this merchandise."

Which is why Disneyland management ultimately told DL's Entertainment staff that "Light Magic" would have to go forward as scheduled. Never mind that only three out of the show's four "rolling stages" would be ready to roll by the night of the May 13th premiere party. Or that 15% of the show's crucial special effects had yet to be installed in floats. Or that the "streetacular" cast would only have time for a single dress rehearsal: on the night before the premier party, May 12th, before they'd have to perform before that most finicky of customers: Disneyland's annual passholders.

All because Disneyland's Marketing department couldn't bring itself to eat the cost of a few measly magazine ads. All because DL's Special Events office didn't want to refund any of the money that it had already taken in from annual passholders. All because the resort's merchandise staff didn't want to write off the cost of a few thousand dated T-shirts and mugs, a $40 million theme park show debuted before it was ready, and promptly hit the rocks.

All because some people with good intentions got behind "Light Magic," then put their own agendas ahead of those of Disneyland's Entertainment staff. The folks who were actually trying to save the show.

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Disney Dish Why For?
  • Blog Post: Toon Tuesday: The Wow Factor

    I’ve often been asked this goofy question. “How would you run an animation studio if you were in charge?” Questions like this come from young people who assume I have answers. The truth is, I’m not in that position, and I don’t expect to be. However, I once ran my own business...
  • Blog Post: Toon Tuesday: Funky Warehouse Syndrome

    Some years ago, I watched helplessly as Walt Disney's animation department was moved out of their old building on the Burbank lot. You see, the new management needed room to expand, and animators took up space. So clearly somebody had to go. The Animation Building on Disney's Burbank Lot. You can wait...


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Friday, October 29, 2010

Coming Attraction

Mark & I got to see our baby for the first time yesterday, it was pretty amazing! So far everything is looking good, so we're happy. :)

Monday, October 4, 2010

Finally, a new post and new news!

At long last, here is a somewhat new picture of us (it's actually from August).
Mark started his last and paid for semester of college last month! Yay! We're both excited about him being done in December and whatever is next after that.
I'm still instructing and teaching a ground school class again this term, while also trying to continue with the Creative Memories business.
Other news is that Mark & I will be joined by a third family member somewhere around the end of March or early April, hopefully. No, we're not getting a dog, we're having a baby! :) Needless to say, we're pretty excited!


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Smarten up your StringBuffer usage

Folks, I’m ticked. I’ve recently lost several hours to correcting some third-party Java code that did a terrible job of managing object allocation, and therefore used a lot of memory in a very short period of time. Apparently there are some programmers out there who aren’t aware that memory allocation remains a concern even in a garbage-collecting runtime like the JVM. While Java may not require you to think about every byte allocated and deallocated, sparing a couple of moments to think about memory can yield tremendous performance benefits.

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I dolci calabresi

The traditional Italian sweets that my mother and grandmother make are a big part of my Christmas past and present. A couple of years ago I ran across this page [2007 update: original page gone, switched to archive version] that describes most of what my family makes. Our mustazzuoli are S-shaped, rather than the rectangles shown or the other “forme tradizionale” mentioned in the recipe. Pitta ‘mpigliata is not in the family tradition, but we do have pizelle-like press cookies (known only as “French cookies” to me) to round out the selection. Interestingly, the French cookies might be something that came to my Italian family through Balkan immigrants who also settled in southeastern Kansas. See the Little Balkans recipes section on
These things are more than just Christmas food for me, they’re ties to my not-so-distant immigrant roots. No matter where I go, these seemingly little things remind me of where I came from.

I thought today would be just another day; go to work (no bike commute today, due to my shocking lack of appropriate equipment for icy roads), come home, eat dinner, sleep. Birthdays have been ho-hum for some time. But I forgot that three-year-olds practically live for birthdays, their own or someone else’s. I came home only slightly later than usual, and the smell of frying meatballs nearly sent me flying backwards in space and time. Andrew insisted that I have a cake, and insisted that it have a picture of a bike on it. Elise tells me that it took a while to talk him out of the candles. He was more than happy to help open my presents and even barely avoided telling me what he bought for me.
Thanks, fam…that made my day.


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Friday, April 2, 2010

Good Friday =)

Today's business class on 9.30am started at 11am. Went to eat chee cheong fun for breakfast with wei may and the guys.

Guess what?!
It's Bryan with the kambing face again. x)

ohh. Sorry Raymond, ter-show your king kong's act.
His explanation. He says he was just scratching.

Blame the angle!! xD

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Some interesting articles about Steadicams

Steadicam Masterclass Transcript

Thank you all for coming today. I'd like to say a few words before we start. In one hour it is impossible to cover the whole world of Steadicam so I've had to focus in on some topics and leave others out. What I'm going to do is to briefly talk about the history of the Steadicam then explain how it all goes together and how it works. We'll then go on to see how it's used in TV and films emphasizing the diverse range of shots which can be accomplished. Before you operate Steadicam you need to seek out some form of training in order to be able to safely rig and operate the system. Optex periodically run courses and there is also a week long course run at the Short Course Unit at the National Film School at Beaconsfield.

Brief History

The Steadicam has been around for over 20 years. It was invented by an American called Garrett Brown and was originally to be called 'The Brown Stabiliser'. The systems are not actually manufactured by 'Steadicam' but by an American company called Cinema Products who make them under license from Garrett Brown - in the UK Optex are the sole agents for the system.
By today's standards the original Steadicam was quite a crude device and was really an evolving prototype for its first 3 films ('Bound For Glory', 'Rocky' and 'Marathon Man' - which were all released in 1976).

Jan Harlan, Stanley Kubrick's production manager, visited the set of Marathon Man while Garret Brown was operating with the Steadicam and was very impressed with the machine. Of course the Steadicam was later used on The Shining, producing some stunning shots.

TAPE ONE - The Shining

There have been various versions of the Steadicam as it has evolved over the 20 or so years that it's been around. There have been Mark 1, 2, 3 and 3A version's and in the last few years the range has been expanded. There is now an EFP version (for 16mm and video work), an SK (cameras up to 19lbs), a PROVID (for cameras up to 26lbs), a JR (for domestic camcorders) and the new MASTER SERIES, which I'll be using to demonstrate in a minute. The Mark 3 or 3a is probably the rig which most people are familiar with seeing around but they all work on the same principle.

How It Works

In understanding how the Steadicam works, it's useful to talk about the hand held camera and why the pictures from a hand held camera look like they do. The hand held camera is a great device and gives the operator freedom to place the camera dynamically into positions which before were impractical or impossible. The main problem is that it is unstable - it shakes around, giving the 'hand-held look'. This is OK if the 'hand held look' is what you are after but if it isn't it can be very limiting. You can hold pretty good static shots with a hand held camera but when you start to move you are transmitting a lot of the motion from your body to the camera.

Introduction To The Steadicam System

The Steadicam system is a very elegant solution to this problem. The system is basically in three parts. Firstly we have the sled with the camera mounting platform on top. Not surprisingly, this is where the camera is mounted. The camera is attached to the rest of the sled by a carbon fibre post - down below we have a monitor, battery power and, in between, all the electronics and a detachable 12v/24v converter for when we're powering 24v. film cameras. On the post we have the 'friction less' three axis gimbal about which the sled is free to rotate. What we have done by attaching all these extra sections to the camera is to bring the centre of gravity outside the camera body to a point just below the gimbal so that now we can operate this whole thing about its centre of mass - we've also made it a lot heavier!!

The other two parts of the system are the vest which the operator wears to distribute the load as evenly as possible over the body - one size fits all - and then between the camera/sled and the vest goes the articulated sprung arm . Inside each section are three titanium springs which are preloaded to match the particular camera/sled weight. The arm is attached to the vest at one end and to the camera/sled at the other and away you go.

We now have a camera which we can effectively operate about its centre of gravity and a camera which is isolated from our body movement by the articulated arm. We are free to pan tilt and roll the camera and boom up and down. We have the freedom of a hand held camera but approaching the smoothness and precision of a dolly. There are no gyroscopes; it's all done with balance.

Now that I've got the rig on, it's probably a good time to mention a couple of safety points. By putting a Steadicam on, you make yourself into a very top heavy item. Normally, as you walk along you could trip over a cable or the edge of a carpet or something and recover pretty easily. Not so when wearing this. If you trip, the effect of the sled/arm combination is to accelerate the sled away from you and to drag you into the ground faster than you thought possible. So you have to be especially aware of your surroundings, particularly on uneven ground or slippery surfaces. Ideally you should have someone with you to watch out for you and definitely if you are working on stairs. You should scout the ground (without wearing the rig) where you will be shooting, to check for problems. Also most operators wear knee pads to protect them should they fall.
So now that we have the camera with its new found freedom, when do we use it? I think the only answer is; when it's the right tool for the job because that's what it is, another tool. It's important to understand what it can do well and what it really struggles with.

Using the Steadicam - set pieces

When the Steadicam first took off in the early 80's, a lot of the time it was used as an effects camera performing visual 'stunts' which no one had seen before - it was a novelty for the camera to do shots that up until then had been virtually impossible such as wide angle running shots; in through doorways; up stairs etc. The Steadicam has been refined over the years which has expanded the range of shots possible.

Here are a couple of one shot Steadicam sequences one an opening title to a film and the other the closing. The first is the end shot from Kenneth Branagh's 'Much Ado About Nothing' (Kenneth Branagh - 1993) - Andy Shuttleworth was the operator and it's an amazing set piece that I think works really well. It was shot in 100 degrees of heat in Tuscany - 16 takes, of which this is take 9, I think. The second clip is the opening title sequence from 'Bonfire of the Vanities' (Brian De Palma - 1990)

TAPE ONE - Much Ado About Nothing (1993), Bonfire of the Vanities (1990)

If you're shooting a sequence in one shot, with no coverage, what you shoot on the day is what you end up with in the final edit. You've done all the editing by choreographing the shot - all the decisions have been made. On the one hand this might seem to be restrictive - locking you into a situation you can't get out of but you have the advantage of seeing it all in front of you in realtime. What you're doing is to produce there and then what you want to appear on the screen. Also, if you're producing a very complicated sequence you'll want more than one good take just in case something happens to the film or tape.

A lot of choreography goes into these one shot sequences. The camera movement can be motivated by a variety of things such as carefully timed looks and head turns, extras crossing frame, a glass being handed from one person to another etc. etc. There are the basic mechanical things to consider as the shot is being constructed and supporting artists are essential to weave into the shot and 'fill in the gaps'. What you don't want to end up with is a rambling shot which just goes on and on, has no direction and gets boring. In a traditionally shot scene, you might cut to another camera angle for a close-up or to show some relevant background action - someone coming through a door, say. If you are attempting to do the whole scene on one Steadicam shot you have to devise ways of showing all these things to the audience without the camera motion attracting attention. The camera's movement must also interweave seamlessly into the action.

Another thing to consider is that you are asking the actors to perform in a long unbroken take, which can be very demanding, although some actors might feel this method improves their performance. A one shot scene also means that you don't need to worry about continuity within the scene.

As a Steadicam operator you are, or should be, very much involved at the sharp end and you should be aware of the possible problems you and you machine could be causing for other people - like how a DOP/Lighting Cameraman is going to light this wonderful 360 degree shot you've just sold to the Director and how the sound department is going to get the boom in to pick up dialogue. You can become very unpopular very quickly if you don't tread carefully!

To illustrate an excellent piece of shot-choreography I've chosen a shot from Brian De Palma's 'The Untouchables' which is now 10 years old but is still one of the best Steadicam sequences around.

TAPE ONE - The Untouchables (1987)

Using the Steadicam - Non set pieces

Of course not all Steadicam shots are big feature film set pieces. Steadicam is used day to day on many productions where it is less visible. It is not the function of the Steadicam to appear 'flashy' (although it does!). It's there to do a job just like every other piece of camera equipment and it can be used for a variety of reasons.

It's useful when working with children or animals when you're not quite sure where they're going to end up

It is great when used as a subjective camera for POV's

Used for vehicle shots or when a track is required over rough ground

It maybe that you have to get a certain number of setups in a limited amount of time because of light, access to a building or area, or for financial restrictions.

Steadicam gets used a great deal on corporate shoots because the production value it can add is very cost effective. It can also be used to give the operator back ache - it does that very well!

As a contrast to the sequences we've just seen, here are a couple of things I did last year. The first is a compilation from a six part drama series shot in North Wales last summer on widescreen Digi-Beta. It was all shot on location in and around a small village - most of the interiors were very small and there was no way we could get tracks in the interiors so the production decided that all the moving shots, interior and exterior, would be shot on Steadicam . This was quite a challenge for me as an operator because not only was I doing the Steadicam shots but also all the dolly shots as well.

TAPE TWO - Cyw Haul

The next shot is from a feature called Chameleon. Again it's a fairly subtle shot - not obviously Steadicam - although it would have been complicated to execute on a dolly because the camera snakes in at the end to emphasise the shadow on the wall. Also the previous setup to this was a wide shot which showed all the frontage of the houses and so we would have had to wait for the track to be laid and the dolly/arm to be rigged. As it was, we got the shot in about 20 to 25 minutes.

TAPE TWO - Chameleon

The last sequence on this tape is a series of shots from Harvest Moon (aka Drover's Gold) a BBC period drama which I believe gets released in the next few months. We were shooting in Frome over three or four days and once again there were a lot of setups to get in the can.

TAPE TWO - Harvest Moon

The shot is locked off at the start, then as our characters come closer to camera, we pull back with them maintaining the 2/s. There were 100 head of cattle coming up behind our actors, so there is no way we could have achieved this on tracks. It is important as an operator to be able to hold a static frame at the end, or in this case in the middle, of a shot so that there is a clean point for the editor to cut into the reverse. These pictures are recorded from video assist. When shooting on film, a tiny video camera points down the camera eyepiece and you take the video-out to feed to the Steadicam monitor. These video assist cameras vary considerably and it can sometimes be quite a battle to get a usable picture out of them - whereas, of course, when shooting on video, you get a nice broadcast quality picture.

With film shoots it's become common practise to record the shot onto 8mm tape for instant playback - using a portable recorder. It's much more reassuring as an operator to have playback because you cannot always have you eyes on the monitor; sometimes you have to glance away from the screen and that could have been the point at which someone's eye caught the lens or you shot a light in the corner of the frame.

Another thing which becomes less straight forward with Steadicam is focusing. When you're wearing the rig you've got your hands full so you need someone to focus for you but because of the fine balance of the system it's impossible to focus without disturbing the shot, so we use a remote focus unit radioed to motors on the lens. The handset wheel is marked up as per the lens - the focus puller can now pull focus remotely. There is also a facility for a second lens control, so you can pull the iris or zoom, and a camera start/stop switch.

The balance of the rig and therefore the steadiness or the shot can also be upset by the wind. A blustery wind is the worst; it's like someone pushing the camera as you try to hold it still. The simplest way to overcome this is to get someone to flag the wind off the rig using a 4X4. If the wind is heading straight down the lens, obviously he can't do that or he'd be in shot, so it's a matter of getting two boards and forming a 'V' behind you, to stagnate the flow.

Low mode / cranes

Most of the shots I've shown up to now have been shot at normal eye level. That's where most of our own POV's in life come from. With Steadicam, if you want to shoot lower than about waist level you have to rig the camera in what is called 'Low Mode', that is, with the camera still mounted on the camera mounting platform but attached by its handle, using a 'Low Mode' bracket, so that it is upside down. The monitor is flipped the other way up too, so that when the whole rig is flipped over, the camera is on the bottom, under-slung. 'Low Mode' is great for shooting with children and animals. The downside to 'Low Mode' is that it is much more tiring than 'Hi Mode' because you're distorting your body more and the normal rest positions no longer work.

On the other end of the height spectrum there are Steadicam crane shots. There are obviously safety implications with crane shots - you need to be secured safely when you're at height but still be able to be released quickly when you reach the ground. As far as the shot is concerned, the trick is to conceal the transition between being on and off the crane platform. You do this using the arm to continue the downward motion as the crane stops at the ground and you step off the platform. The technique is reversed for stepping onto a platform to crane up.

The next clip on tape is a crane shot from 'One from the heart (1982). The Steadicam operator was Garrett Brown and it's followed by a rather interesting shot from 'Parenthood' (1989) which is like a mini crane shot. It's very subtle and you hardly notice it's happening. As the two actresses walk out onto the porch the camera is preceding them and the operator steps off the top step, onto a wooden door affair which is being carried five feet off the ground by a bunch of guys. They track him along and then crane him down back to eye level.

TAPE THREE - One from the heart, Parenthood, Illegal Access (stairs), Gene (stairs)

Question: For someone who has a good sense of balance and spatial awareness, how long would it take to become proficient and would practicing with the JR Steadicam shorten this time?

Answer: Using a JR probably wouldn't help much, if at all. What your brain is doing when you're wearing a Steadicam is learning a whole new way of balancing. How long does it take to learn to drive a car? - different people show different aptitudes and will pick it up faster than others. The courses that are run in the UK by Optex in New Barnet and the Short Course Unit at the National Film School in Beaconsfield are essentially just an introduction to Steadicam. Even at the end of the 5 day course at Beaconsfield you realise that you are still just beginning.

Question: Are there any exercises that you do to build up your back muscles?

Answer: Not specifically. People expect you as a Steadicam operator to be a foot taller and a foot wider than I am, which is one of the myths; above all you've got to be fit and have stamina more than anything else. It's good to do the general fitness exercises such as swimming, cycling and hill walking.

Question: Do you find that resting up against a tree or a pole (or something!) takes the weight off you and allows you to rest?

Answer: No. The best way to rest is to dock the rig back onto the stand. I was always taught that if you're not looking at the monitor then switch it off to save battery power and if the monitor's off then you might as well put the rig back on the stand! It's easy to fall into the trap of chatting to the director or whoever while you're wearing the rig and wearing yourself out for no reason.
There are two problems with the weight of the Steadicam:- 1: It's heavy and 2: It doesn't look heavy. However much the director is aware of the weight at the beginning of the day, he'll soon forget when he sees the thing 'floating' around by your side.

Question: What's your time limit - how long would you wear it for?

Answer: As little as possible. It's good to practice with a lighter cameras but if you're shooting 35mm you can be easily carrying 70 to 75lbs. The sensible thing to do is to sort out most of the problems with the shot by blocking it out before you put the rig on.

Question: Would the focus puller have a monitor to focus by?

Answer: Not usually. The Steadicam monitors are much sharper than they used to be, so on video maybe he could look over the shoulder of the operator to judge focus but more often than not (and always on film) he'll go off marks on the remote focus unit which will have been calibrated to the lens being used.

Question: Is there an optimum lens angle to be used with Steadicam or is it a case of 'the wider the better'?

Answer: If you're on a wide angle, it makes focusing easier and makes the move more dramatic but you see more of the horizon which could be a problem if your horizontal level is slightly out.
On a tighter lens it 'feels' much more like a dolly shot, more precise and of course you see less of the horizon. Tighter lenses force you to be more precise with your operating especially starting the shot static and stopping with a 'lock off'.

Question: If you want to find out more about Steadicam, how would you go about it?

Answer: I would suggest that the best way to learn more is to go on a course. Even if you don't eventually end up as an operator; it's a good education. Learning about Steadicam is a very practical thing - there is only so much you can learn by watching and talking about it before you need to put it on and try it out.

Question: How long did it take you to become a competent Steadicam operator?

Answer: Until this morning! You're always learning and there's always something just around the corner which you didn't expect to have to do. I suppose that after a couple of months you can do the easy things fairly well but I think it's healthy to always be self critical so that you keep learning and improving.

Question: Does Steadicam get used a lot on documentaries?

Answer: I think there are some barriers to the use of Steadicam. Documentaries can be very personal affairs and I think the use of Steadicam could be intrusive. Also time would have to be allowed for the rigging of the system. I don't think there's an inherent reason why it can't be used; it's down to personal taste. On the last documentary I did, Steadicam was used to great effect by the director (The Vanishing of Richie Manic, Channel 4 - director Stuart Clarke).

Question: What do you do about recording sound?

Answer: On video, if you're recording effects only you might get away with the camera mic. It is possible to plug lightweight cables into the back of the Betacam in the normal way but this restricts the mobility and running cables across the 'friction less' gimbal is always a compromise to the balance of the rig. The best option is to record onto DAT or to use radio mics. to radio the sound from the mixer to the Betacam.

Question: Will technology overtake Steadicam and make today's models obsolete?

Answer: I don't think so; the Steadicams from 15 years ago are still going strong. The Master Series Steadicam of today might look very different but it is still based on the same physical principals of balance and mass distribution.

Question: How much work is out there for Steadicam operators?

Answer: Steadicam is being used more and more as it becomes more high profile and producers and directors become aware of the advantages of using it; whether it be for creative or time saving/flexibility/logistical reasons. It can sometimes be its own worst enemy in that well executed shots which slide invisibly into a drama, say, go unnoticed

John Wards feature film credits include Highlander (1986), Full Metal Jacket, Death Machine (1995), Jack and Sarah (1995), Restoration (1995) and The Fifth Element (1995). For his full credits see John Wards Internet Movie Database entry. I talked to John on several occasions in November of 1997 about his involvement with the film company.

Q: I’m trying to find out more about the Steadicams used as futuristic gun mounts in the 1986 movie Aliens, can you help?

JW: It was 1985 and they were rented from me.

Q: Around this time were you known as John Ward Films or were you a one man band?

JW: Well (laughs), its always been me, and I’ve always been known as Ward Films.

Q: I’ve heard from Peter Cavaciuti that you started work on the movie but moved onto Kubrick’s Full Metal Jacket, what scenes did you shoot?

JW: I was never hired for Aliens since I was already scheduled for Full Metal. The other guy on Aliens was Jan Pester. What happened was one day I got this phone call out of the blue, it was handed to me and they said there’s somebody called James Cameron on the phone (laughs), somebody I said, there’s only one James Cameron! His wife was running things at that time, I think she produced it. Anyway, I get to the phone and there’s Jim Cameron, saying that he wanted to know what I thought about putting a machine gun on a steadicam...I think I talked to him twice about it, I went down to Pinewood to visit the sets.

Q: What was the make and model of the Steadicam which you hired (used by Vasquez and Drake), how many did you hire, and did you hire directly to the production?

JW: They were Cinema Products Mk III arms and vests. I hired them directly to the Aliens production. One was, I think number 325, the other was 286. I ended up taking them to Bapty, I put the steadicam on and this guy placed the gun on the arm...they ended up having to put more weight on since it didn’t balance, they took some photographs of me in the get-up but I never got to see them.

Q: Thats a shame, I’ve seen photos on the construction of the smaller gun, but never any of the Smartgun. When they were returned did they come back in as good a condition as you hired them?

JW: No, they didn’t, one was o.k. but the actress was too small for hers so they had to cut it down, they compensated me for it later. I remember that they both had light weight arms (Steadicam arms).

Q: What happened to the rigs after Aliens, are they still used for shooting movies today?

JW: I have sold them both, one complete rig (286=Drake) went to Vince McGahon in York, the arm off the other went to Channel 5 News, while the vest was so badly damaged that it was unusable. I think the pads went to Nigel Curtain, I think he still has the plate.

Q: Thanks for your time John.

JW: No problem, its been a pleasure.

Portions of this interview were edited for clarity.

Notes on the Mk III Steadicam and its use in Aliens: The M-56 Smartguns in Aliens are described in the script as ‘Guns fixed to a floating body harness and targeted by thermal gun sights mounted within the operators helmet. They were composed of a German Spandau M-42 Sub-Machine gun fixed to a modified steadicam harness. The M-42 was chosen for its large muzzle flash and minimum smoke. The guns were designed by Jim Cameron and were put together by Bapty, the leading supplier of firearms to the UK film industry. Two Mk III Steadicam harnesses were rented from John Ward and extra weight added to balance them since the guns were lighter than a standard camera , Terry Reed made the IR sights, lights and front plates at Pinewood Studios Below are some notes I have composed on the Mk III. Although the model 3A is no longer manufactured, it is readily available on the used market. Right now used model 3A’s are in the neighbourhood of $27,000-29,000. Camera Operators Vest: The comfortable and adjustable, padded close fitting, breakaway vest, is an effective and sophisticated weight distribution system which efficiently transfers and distributes the weight of the steadicam system across the operator’s shoulders, back and hips. A parachute-type pin and cone quick release system is a reliable safety measure. The vest pad, made of washable cotton polyester and featuring velcro backing for easy removal, offer added ventilation and comfort.

CONTACT DETAILS joe *at* joesjibs.co.uk  07973 226532 020 8671 5708


text:
Cunningham Piano Free Concert Series

PHILADELPHIA, PA - - Happy 120th birthday! How many times do you get to hear that especially when it is a local family owned and operated business that has not only managed to survive in tough economic times, but thrive and continue to grow!

Cunningham Piano Company located in Philadelphia's Germantown section will honor its 120th birthday this summer with a series of free piano concerts featuring local, regional and national talent, as well as an array of pianos ranging from fully restored, historic or rare pianos including Steinway Grands to newly imported Bosendorfer Grands from Vienna.

This series, referred to as "The Collaborative Pianist", will give listeners the rare opportunity to get a glimpse into the artists mind. Each performer is encouraged to share his thoughts, ideas, and challenges presented by the pieces performed. The audience will be able to interact directly with the musicians in an intimate setting. Additionally, the performers are encouraged to select an instrument from Cunningham Pianos vast inventory that they feel best fits the material at hand.

The highlight of the series will take place July 20th when Eastern University's David Bryant will perform on an 1875 Steinway Concert Grand known internally as the Centennial Piano.

The 120th birthday celebration will culminate with a gala on-site at the showroom in late October. Monies raised from this gala will go to the newly created Cunningham Piano Scholarship Fund which will allow students in the tri-state area who might not otherwise be able to afford piano lessons, the chance to do so. This fund will work in tandem with the different programs Cunningham Piano already has in place, which include the sponsoring of international music programs, concerts, and locally based institutions such as the Philadelphia Opera Company, the Delaware Symphony Orchestra, The Princeton Music Festival, and many more.

The summer concert series will launch at the showroom at 5427 Germantown Ave., June 22 at 7p.m. and feature tenor Christopher Pfund, and pianist Hugh Sung.

Universally recognized for his irreverent portrayals of the Roasting Swan in Carmina Burana, tenor Christopher Pfund has made the role a pillar of his career, performing it with countless major orchestras in North America. The Milwaukee Journal Sentinel admired his "rounded vocal beauty" and The New York Times called his voice an "attractive tenor [that] helps define a sympathetic character." While best known for his oratorio work with orchestra, Pfund has also enjoyed success on the opera stage, including Glimmerglass Opera (Bardolfo in Falstaff), New York City Opera (Emilio in Handel?s Partenope) and Florentine Opera as Pong in Turandot, to name a few.

Pianist Hugh Sung has been an active soloist and chamber musician ever since his debut with The Philadelphia Orchestra at the age of 11. Two years later, he was accepted for studies at the Curtis Institute of Music, where his principal teachers included Eleanor Sokoloff, Jorge Bolet, and Seymour Lipkin, along with Karen Tuttle and Felix Galimir for chamber music. Throughout his studies and subsequent to graduating with a Bachelor of Music, Sung has performed in major cities throughout the Americas, England, Canada, South Africa, Japan, and Korea. Mr. Sung has been presented at some of the world's most prestigious venues, including Carnegie Hall, Weill Hall, Wigmore Hall, The National Gallery of Art, and The Ravinia Festival. He has made several guest appearances at radio stations throughout New York City, Rochester, Philadelphia, and New Zealand, and was featured on NPR's nationally syndicated "Performance Today" performing works by Clementi, Ravel, and Mussorgksy. His concerto engagements have included performances with the Concerto Soloists Chamber Orchestra of Philadelphia, annual appearances with the Masterworks Festival Orchestras since 1998, and extensive tours with the South Jersey Symphony Orchestra. Most recently, he was presented on Japanese National Television NHK in collaboration with violinist Aaron Rosand during a recital in the esteemed Ouji Hall in the Ginza district of Tokyo. In addition to his solo endeavors, Sung has continued to receive critical acclaim for his work as an ensemble musician. He has been featured in the Philadelphia Orchestra's Chamber Music series, and has also collaborated with such distinguished groups and artists as The American Quartet, the Diaz Trio, Jeffrey Khaner, Julius Baker, Gary Schocker, Hilary Hahn, Leila Josefowicz, composers Jennifer Higdon, Robert Maggio, Harold Boatrite, and violinist Aaron Rosand, with whom he has recorded extensively under the Biddulph and Vox labels. His work can also be heard under the I Virtuosi, CRI, and Avie labels. In 1993, Sung joined the staff of the Curtis Institute of Music and served as Director of Instrumental Accompaniment and its world-renown Student Recitals Series until his 2009 appointment as faculty Collaborative Pianist.

Cunningham Piano Company began manufacturing pianos in 1891 and, in its time, was one of the largest piano makers in Philadelphia. In Pianos and Their Makers, by Alfred Dolge, Patrick Cunningham's business was described as being "as true to the traditions of honest values in pianos as any the old Quaker City has ever produced." Composer Vincent Persichetti is quoted as having siad, "In the beginning, God created a Cunningham player piano," and the Charleston Museum in South Carolina houses the Cunningham piano on which George Gershwin composed Porgy and Bess. The original Cunningham Factory ceased production in December of 1943, due to the effects of the war effort, but at the end of the war, Louis Cohen, a piano technician for the company, purchased and reopened the buiness, and actively promoted the Cunningham brand while also turning his focus toward a booming new industry: piano restoration. Cohen's two daughters. Rose Karr and Doris Reber, continued their father's work by dedicating their 45,000 square-foot, four-story facility solely to piano restoration, while transforming a three-story facility solely to piano restoration, while transforming a three-story Masonic Temple on the same historic block into a piano showroom. In 2007, the Cohen family sold the company to Tim Oliver and Rich Galassini, two musicians with long histories with the company and close associations with the Cohen family.

Today, visitors to Cunningham Piano Company have the opportunity to take a step back in time and tour one of the largest and oldest piano restoration factories in existence. They can look over the shoulders of some of the finest craftspeople in the piano industry as they lovingly bring musical treasures back to life. Cunningham's experience in restoring pianos has led to the re-creation of its own brand, the Matchless Cunningham. In development for many years, this instrument has received rave reviews from musicians affiliated with several prestigious Philadelphia-area institutions. The creation of the Matchless was made possible by the restoration ship's intimate knowledge of the world's best suppliers of piano parts. Frank Emerson, a world-respected American piano designer, developed a new scale based on the original Philadelphia-made Cunningham. His commission was to create a balanced, warm tone from top to bottom, using high-quality piano parts and the efficient and capable production facility that manufactures the Hailun brand.

Visitors are welcome to tour the four-story factory (free by appointment) and get a first-hand look at the delicate restoration process, which begins with an instrument that shows decades of wear and ends with nothing short of a miracle.

For more information log onto or call 800-394-1117