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"Helping woodworkers online for the last 17 years"

Turning on lathe

Wood Lathes 101

Wood turning can be a satisfying and addictive experience, it is in itself a complete unit capable of producing finished work. You can duplicate parts to repair chairs, dig into a burl to make a bowl or make your own custom candle sticks. Wood lathes come in many sizes, from small pen lathes to huge bowl turning machines. They are designated according to the maximum diameter of material that can be swung over the bed. A lathe capable of turning an 11-inch diameter disk is referred to as an 11-inch lathe. The other dimension to be concerned with is the center to center measurement, this determines the maximum length of material that can be mounted between the headstock and tailstock.

Parts of a Lathe

There are four basic parts to a wood lathe, the headstock, the tool rest, the tailstock and the bed.

Headstock - The drive end of the lathe, it will have a hollow, threaded stub, this is the spindle. The hollow is an industry standard Morse taper, these run from a #0, very small and increase in size up to a #4 or larger. The threads are also industry standards, refered by the diameter of the stub and the threads per inch on it. Smaller lathes may have a "3/4" - 16TPI" the next step up would be a "1" - 8 TPI". Material is held with a spur center that inserts into the taper or chuck or face plate that threads on to the stub.

Bed - The rails that support the headstock, tool holder and the tailstock. These may be flat cast iron or steel, some models use round steel tubes. The length of the bed determines how long of a peice of material that can be turned between the headstock and the tailstock.

Tool Rest - An adjustable bar on a base that attaches to the bed that supports the cutting tool.

Tailstock - This is an outboard rest with a Morse taper that supports material or holds a drill chuck to bore material. This taper may be identical to the headstock, but is often a size smaller

Types of Lathes

Pen Lathe

Small specialized lathe, usually limited to maximiun 2" swing, ideal for pen turning.

Penmaking Supplies from Woodcraft.com

Mini Lathe

A good size for starting out, fits in limited space, extension to lengthen bed is available.

Floor Lathe

Heavy duty lathe, more rigid bed than lighter models, a machine for serious turners.

Shop and Compare

Lathes at Amazon.com

Lathes at Rockler.co

Lathes at Woodcraft.com

Common Tools

Gouge - A round nose hollow chisel, used for roughing cuts.

Skew Chisel - A double ground flat chisel with the end ground at an angle, used for smoothing and cutting shoulders.

Spear Chisel - Flat ground to a point.

Round Nose Chisel - Flat with point rounded.

Parting Chisel - Double ground chisel, used for cutting off.

Morse Tapers

Most lathes will be equipped with a Morse taper in the headstock spindle and the tailstock, these are standard sizes and designated by numbers, the smallest will be a # 0 MT, most hobby lathes will not use anything above a # 3 MT.

morse tapers

If you measure across the opening of the spindle you can figure out which size you need, a # 3 MT opening will be aproximately 15/16" in diameter, a # 2 MT aproximately 11/16" in diameter, a # 1MT aproximately 1/2" in diameter and a # 0 MT will be approximately 3/8" in diameter.

The shank of the # 3 MT illustrated has a threaded end for a draw bar, basically a long bolt, that holds it in the spindle. The shank of the # 2 MT has a tang on the end that locks into a slot in some spindles to prevent it from turning.

The drawbar style is used when sideways pressure is applied, otherwise it will work loose as it is run, this style is commonly used in the head stock.

When there is pressure against the end the tang style is used, commonly used in the tailstock of a lathe and drill presses. In this application the drawbar style may also be used without the drawbar installed.

Wood Lathe History

Thomas Blanchard patented the first copy lathe in 1820, really more of a shaper for producing irregular shaped wooden objects such as gunstocks and shoe lasts. Patent Print

Another example of an early copy lathe from 1884, used to make spirals. The object is slowly rotated and advanced under the revolving cutter head. Patent Print

This example is a 1934 Delta "Copy Attachment" for their lathe, in this case the object rotates and a gouge is used to form the profile following the attached template.

Buying a Used Lathe

It is not always possible to get the specs of a used lathe from the seller and if it is an older model the manufacturer may no longer have a listing for that particular model. Three Seasons Woodturnings has a page, dated but still valuable to check on most older models.

Three Seasons Woodturnings Specs

Learning to Turn

I once asked an old turner what was the best thing for a beginner to make on his lathe, his reply was, "Chips, lots and lots of them."

His advice was to take a green tree branch a foot or so long, mount it between centers and with a roughing gouge true it up so you have a perfect cylinder. After that start practicing cuts, beads, coves, grooves, etc. with a spindle gouge, keep at it until the branch is whittled down to nothing, then get another branch and start over, practice identical combinations, try to make what you imagine in your mind.

HIs theory was that once you got your hand making what you pictured in your mind, only then should you begin to turn actual items.

Practice on green wood, it is much easier to work than seasoned wood and best of all it is free.

A Course in Wood Turning by Archie S. Milton and Otto K. Wohlers

Published in 1919, an oldie but comprehensive book on wood turning. The ultimate aim of this book is to give, through the exercises and problems, a thorough understanding of the principles of wood turning by gradually developing the confidence of the pupil in the complete control of his tools, at the same time suggesting harmonious lines in design which will lead to other ideas in designing problems.

Edited Reprint

1. Always wear eye protection, a full face sheild is recommended.

2. Turn material over by hand before starting machine.

3. Never wear loose fitting clothing, tie long hair back.

4. Hold tools securily on tool rest, start at a slower speed until material is balanced.

5. Make sure material is fastened properly in chuck or between centers.

6. Make it a habit of removing chuck key immediately after using it.

7. Keep tools sharp, never force a dull tool to cut.

8. Remove tool rest before sanding or polishing.

9. Keep your eyes on the job, never look away while cutting.

10. Don't leave lathe running unattended.

13 X 19 Shop Poster

download free .pdf image

Safety rules on 1884 Foster & Holman lathe
original patent drawing background.


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Top menu

Autori Sezioni: Arianna Tassinari

Striking the Startups

This is not to say that the gig economy hasn’t innovated. These companies have created new ways to deny labor protections, increase profits, and attract investors. In Italy, striking food couriers showed “gig economy” capitalists they’re serious about their rights as workers

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Thursday, July 15, 2010

Windows Server Codename “Aurora” Video Walkthrough

Wow, over on WeGotServed, Terry found an awesome video that talks about Aurora from our very own Michael Leworthy, product planner for SBS. He talks about the differences between “SBS7” and “Aurora”, and why you might want Aurora over SBS7

Get Microsoft Silverlight

Source is We Got Served.

Anonymous said...

There's also a great video by Becky Ochs about Aurora here:

Sean Daniel said...

Thanks but that is already posted on this blog. it's also a great video!


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Performance of a reluctance synchronous machine under vector control

Trubenbach Richard A. ; Mackay Adam T. ; Kamper Maarten J. (1993)

Conference Paper

The merits of the Reluctance Synchronous Machine (RSM) under various operating conditions are investigated by means of performance analysis. The steady state as well as the dynamic performance of the RSM are investigated. Two control strategies are dealt with. These are the constant phasor angle control method and the constant-current-in-d-axis (field axis) control method. Regarding the former it is found that for both maximum torque and power factor control, constant current phasor angles can be used. These angles however are found to be much larger than was theoretical derived. A new control method is investigated whereby the apparent power flowing towards the machine is minimized. Constant-current-in-d-axis control also proved to be an effective control method.

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Cytomorphological patterns of M. bovis BCG and M. tuberculosis on fine needle aspiration biopsies: Does HIV make a difference?

Schubert P.T. ; Cotton M.F. ; Wright C.A. (2011)

To determine if fine needle aspiration (FNAB) of mycobacterial lymphadenopathy can differentiate infection with M. bovis BCG (BCG) from M. tuberculosis (TB) and whether HIV status affects discriminatory cytological features. A retrospective study of culture positive, fine needle aspiration biopsies of lymph nodes in children (<13 years) between 2003 and 2008. A total of 77 aspirates were available for evaluation with 67 (87%) patients having known HIV status. BCG occurred at a younger age (6 months), predominantly axillary lymph nodes (90%) compared with TB (5 years and 20% axillary lymph nodes). Amorphous necrosis was only seen in aspirates fromTB lymph nodes, while in HIV negative children with TB, foamy macrophages were absent. OnZN staining there were more organisms in the BCG group and in HIV positive patients the organisms were present in both extra- and intracellular locations, whereas in the HIV negative patients the organisms were predominantly extracellular in location. Demographic and cytomorphologic features that can assist in distinguishing between thetwo mycobacterial species include: age of patient, location of the lymph node, and presence/absence of amorphous necrosis and foamy macrophages on FNAB. However the only reliable method to identify the mycobacterial species is by mycobacterial culture and/orPCR. © 2010 Wiley-Liss, Inc.

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Document Type

Publication Date

Popular discourse on constitutional interpretation and judicial review tend to employ a series of catch phrases that have become constitutional clichés. Phrases such as “judicial activism,” “judicial restraint,” “strict construction,” “not legislating from the bench,” “Framers’ intent,” the “dead hand of the past,” and “stare decisis” so dominate public commentary on the Constitution and the courts that quite often that is all one hears. Unfortunately, even law professors are not immune. There was a time when each of these catch phrases meant something and, although each could mean something again, in current debates all have become trite and largely devoid of substance. In short, they have become clichés.

In this Essay, the author explains why these clichés should be abandoned even in casual conversation. Somewhat surprisingly, it turns out that several of them are connected by a common thread: the apparent desire by commentators to avoid substantive constitutional argument in favor of a process-based analysis that can be easily leveled in the absence of any expertise on the issues raised by a particular case. In other words, at least some of the appeal of these constitutional clichés is that they enable commentators to criticize the Court or particular decisions without actually having to know much about the Constitution itself.

Publication Citation

36 Cap. U. L. Rev. 493-510 (2008)


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The #1 High School and University Resource for Students

Frosty the Doughman Scholarship

Scholarship Deadline: December 20, 2016
Scholarship Value: $1,000
Number of Scholarships - 1

The Frosty the Doughman $1,000 Scholarship was created to help students win scholarships without the hassle of filling out paper applications and writing dozens of essays.

To be eligible for the Scholarship you must be:

A) At least 13 years old and enrolled or will enroll in a college or university in the US.

B) A legal resident of the U.S. or Puerto Rico.

Thus far, they have given away more than $650,000 to students through a variety of scholarship programs.


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a cukeybara sandwich

During Spring Break I started working on integration tests for Prism. An integration test is a bit more involved than the regular unit tests we’ve been doing with the RSpec framework so far. An integration test seeks to test the software by imitating a typical user interacting with it. In particular, we wanted to make sure that all the different translations from the i18n process were working. In order to get it right, we needed to emulate a user visiting the homepage in different languages.

For Rails development, the tools of choice for this kind of testing are Cucumber and Capybara. Cucumber is a language, a framework and a workflow —if I understand it correctly. It is much more human readable than RSpec (even though it borrows some RSpec for some tasks), which makes ideal to share with non-developers in the team. Here, for example, is the .feature file I created to test i18n:

Feature: Check language
  In order to test the selected language is right
  As a cosmopolitan developer
  I want to make sure the right words are present in the header

  Scenario: English pages
    When I visit the "English" homepage
    Then the header should have the words 'Prism is'

  Scenario: French pages
    When I visit the "French" homepage
    Then the header should have the words 'Prism est'

  Scenario: Spanish pages
    When I visit the "Spanish" homepage
    Then the header should have the words 'Prism es'

  Scenario: German pages
    When I visit the "German" homepage
    Then the header should have the words 'Prism ist'

Once a feature file has been created, the next step is to ‘translate’ the natural language into ‘step definitions.’ Line by line, we convert the .feature file to Ruby… actually, to Capybara. Capybara is a Ruby gem that helps us imitate the behavior of users visiting a page by sending GET and POST requests —if I understand it correctly. Below is our sample .rb ‘step definition’ file translating the original feature into ruby actions.

When /^I visit the "([^"]*)" homepage$/ do |lang|
  if lang == 'French'
    locale = 'fr'
  elsif lang == 'English'
    locale = 'en'
  elsif lang == 'Spanish'
    locale = 'es'
  elsif lang == 'German'
    locale = 'de'

  visit('/' + "?locale=" + locale)

Then /^the header should have the words ([a-z]*|[A-Z]*)/ do |desc|
  page.should have_content(desc)

Once the feature descriptions and the step definitions are in place, we run the test by simply invoking cucumber from the command line. I am happy to announce that after running the tests above, Prism is in the GREEN. I repeat, Prism is in the GREEN.

Textual critic, high theory acolyte, archive rat, hard-hat Caribbeanist, Rails aficionado, conference-trotter. My thesis focuses on the evolution of the play Et les chiens se taisaient by Aimé Césaire. Other projects include: an edition of Césaire, THATCampCaribe, a better Juxta, a class on #critcode, and Prism at the Praxis Program.

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University of Baltimore Journal of International Law

This paper evaluates same-sex marriage policies in three industrialized countries: the Netherlands, the United Kingdom and Canada. In assessing the legislative and judicial history of same-sex marriage policies in each country, as well as other influential factors leading to these policies, this research helps to create a roadmap to reach a nationwide policy for the United States. By comparing the current history of the United States’ same-sex marriage policies to that of the aforementioned countries, it is possible to develop a plan to achieve marriage equality in the U.S.


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Let's beat cancer sooner

Reseacher looking at DNA fingerprint

Scientists have found around eighty new gene variations linked to breast, prostate and ovarian cancers

A thousand scientists from one hundred international research groups working over four years. Thirteen papers spread across five journals. DNA analysis of two hundred thousand people. And eighty new genetic variations, or SNPs (pronounced “snips”) linked to three different types of cancer, doubling the current total known about so far.

These are impressive, big figures from an equally impressive, big piece of science, which Cancer Research UK helped to fund (here’s the press release). But what does it all mean?

To find out, we spoke to Professor Doug Easton from the University of Cambridge, one of the leaders of the project.

Cancer Research UK: What exactly are SNPs?

Prof Easton: SNP stands for “single nucleotide polymorphism”, and it’s a single ‘letter’ difference in the DNA between individuals. Your DNA is made up of around 3 billion of these ‘letters’ – there are four possible letters you can have: A, C, T and G – so a SNP is just a single place in your genome where you might have one particular letter, and someone else has a different one.

To explain a bit more about SNPs and what they do, have a look at this short animation:

Cancer Research UK: Are these what we would think of as mutations, such as faults in particular genes? Or are they just variations between us?

Prof Easton: It’s a bit of both. We normally think of mutations as quite rare changes in a particular gene that affect its function, so it makes a faulty protein or is broken in some other way that is harmful to a person.

Most SNPs, of which there are many millions, don’t usually occur in genes (although some of them do), and can be quite common. They may be in the control regions that help to switch a gene on or off, but most of them are just markers – they act as ‘flags’ to tell us that something else that is important in cancer is nearby.

Cancer Research UK: How do you find them, and how do you link them to cancer risk?

Prof Easton: This is the work of a huge consortium of researchers, known as COGS (the Collaborative Oncological Gene-environment Study). What we did was to use a little chip to look at many hundreds of thousands of these SNPs at the same time in a very large number of people. Some of these we already had an inkling they might be involved in cancer from previous studies – the usual suspects, if you like.

We looked at 100,000 people with cancer, focusing on ovarian, breast and prostate cancer patients, and the same number of people who didn’t have cancer. We looked at the frequency of particular SNPs (for example, an A in a particular place as opposed to a C) in the cancer patients and the healthy controls. And if we saw a particular letter come up time and time again in people with a specific type of cancer, but not in the people without, then we can infer that that SNP is probably linked to that cancer in some way.

Altogether we found eighty new SNPs associated with breast, prostate or ovarian cancer, more than doubling the number that we knew about before. We expected to find quite a few, but weren’t sure exactly how many would turn up. In fact, we had a sweepstake amongst all the members of the COGS consortium on how many SNPs we would find, ranging from around five or six to more than a hundred.

There were more than a thousand people involved in this study, spread over more than a hundred research groups. It was quite tricky keeping track of everything as there were a lot of different stages – designing the study, getting the samples together, getting the SNP testing done, having it quality-controlled and analysed and then finally writing up the results for publication.

The whole process took around four years. It’s not what people might think of as traditional science, but I think it’s been really worth it.

Cancer Research UK: How did this whole project start?

Prof Easton: Initially it kicked off to follow up on the results of previous studies that we’d published, which were the first step. We had two major projects to do this – one was a Cancer Research UK grant to look at breast cancer, and the other was a big EU grant to look at the genes involved in breast, ovarian and prostate cancers.

So we decided to combine these efforts together, and at the same time the technology to look at huge numbers of SNPs became available, and we realised there could be an economy of scale – if you do a big number of samples it becomes cheaper. And then more and more people got involved and it kind of snowballed.

Cancer Research UK: Now we have a collection of SNPs that we know are linked to these cancers. How much do we know about what they actually do, or what genes they affect?

Prof Easton: At the moment we only know about very few of them in that kind of detail. We’ve looked at a couple of the regions of the genome in depth and pinned down a few genes that we think are involved in causing cancer when they’re faulty.

But a lot of that work still has to be done. In quite a lot of cases we have a fairly good idea of what the gene involved might be, because there’s an obvious candidate nearby. But for most cases we simply don’t know.

There are some interesting things coming out about the clustering of SNPs in particular places throughout the genome. There are certainly regions where you get multiple hits. For example, we find a lot of SNPs for different types of cancer in a particular region on chromosome 8 – a kind of genomic ‘blackspot’, if you like.

One of the things that came out quite clearly in the COGS papers is that there are a lot more of these blackspots than we previously thought, so you get regions where there’s a hit for all three cancer types. They’re usually not the same SNP, but we presume that they are all affecting the same gene but in different ways.

Cancer Research UK: How close are we to being able to use this information to benefit people?

Prof Easton:  In the very near future, we hope that our knowledge will be helpful in terms of risk prediction – studies are ongoing to figure this out, as we don’t quite know how best to use it. It’s important to point out that you have to take all the SNPs as a set – individually, having a single “bad” SNP is not going to affect your risk very much, but if you have many of them, then it starts to add up.

One obvious example of how this could be used is in women with faults in the BRCA1 or 2 genes. We know that overall they have a greatly increased risk of breast cancer compared to the general population, but there’s quite a big range.

And because the SNPS that influence breast cancer risk in the general population also influence risk in these women, you could imagine a scenario where you can test a range of SNPs and give a woman a better idea of her overall risk and help her make choices about how to play it. If it comes out as, say, 30 per cent, she might just want to have regular screening. But if it’s 80 per cent, then she might want to have her breasts or ovaries removed as a preventive measure.

Looking further into the future over the coming years, this kind of information could change how screening is delivered. At the moment in the UK we have a national “one size fits all” breast screening programme, but it has its limitations. It would make sense to screen people at higher risk from a younger age, and screen people at lower risk less.

As another example, for prostate cancer the SNPs we know about are much more predictive about risk, and we don’t currently have a good screening technique. So knowing more about a man’s individual risk would be very helpful in terms of working out who might benefit from screening or further investigation.

One further idea is chemoprevention – using certain drugs to prevent cancer in those at high risk. This is still at an early stage, and the drugs also come with side effects. But using genetic information to figure out those people for whom the benefits of chemoprevention would outweigh the risks could be useful.

We also know that there are different subtypes of cancer – particularly breast and ovarian cancer – and it looks like different combinations of SNPs can predict the specific subtype of cancer a person has, which might affect how they are treated. Understanding that in more detail is an important future aim.

And finally, the SNP studies we’ve done so far can’t tell us how someone will respond to treatment, but they can tell us a lot about the underlying biology of the disease, which could point to new targets for the development of future treatments.

Cancer Research UK: The cost of whole genome sequencing – looking at the entire genome, not just specific letters –  is falling rapidly. Are the two approaches complementary or will whole genome analysis eventually overtake SNPs?

Prof Easton: In principle, whole genome studies could eventually supercede SNP analysis. But at the moment it’s much more difficult to do a whole genome study, and the cost difference is huge – it’s roughly a hundred times more expensive to do a person’s whole genome than look at all their SNPs using one of our chips, say £3,000 compared to £30.

But the cost of whole genome sequencing is coming down all the time, so it will change. The data handling is much more complex for whole genome analysis, so I think for the next few years they will be complementary approaches. But as the whole genome studies get bigger, they’ll become big enough to be really useful.

The advantage of a whole genome study over SNP analysis is that it can tell you about every variant, not just the ones we’re specifically looking at. At the moment we only find variations in the specific SNPs we’re looking at, and it’s good for looking at common gene variations that confer relatively small increases in cancer risk. But it’s not so good at spotting rare variants that may have a bigger influence. So hopefully more of that kind of information will come out of the whole genome studies in the future.

For now, we still have a huge data set that hasn’t really been mined yet, so there will be a lot of papers to come out over the next few years. We know that there are a few surprises in there, and much more to be discovered on the functional side, exploring what these genes actually do, as well as looking at the different types of cancer. So these are exciting times.

Interview by Kat Arney

Further information

Simon Anderson March 29, 2013

Yes, let’s keep bank-rolling the multi million pound corporate that is Cancer Research because they’re that close to the cure they can touch it.

Trish March 29, 2013

Fantastic news well done researchers & the many thousands of fund raisers who have helped to make this possible. May your excellent work continue to enable sufferers to benefit & future generations.

Paul Murphy March 28, 2013

Anything that can bring a greater understanding of a disease is a plus.

John March 28, 2013

It just goes to show that the more people that support cancer research, do so, as we’re kept informed of the achievements that are being made, however small. It gives me a continued firm belief that cancer can & by scientific improvements, will be beaten. A big congratulations to those that are making it so.

Darren Esslemont March 27, 2013

All great news, I lost my wife to breast cancer and she was pregnant at time of diagnosis so I have great faith and hope that this will all work for the better good in time for my daughter reaching adulthood and be able to stop Cancer in its tracks should she have bad genes. Keep up the great work, the world is watching.

Shirley Berridge March 27, 2013

Absolutely marvellous! A lot of hard work involved but so positive both for the scientists (clever, clever people) and even moreso for future generations. Well done to everybody.

Samuel Ayisi Shoetan March 27, 2013

Fantastic and hopeful achievement. Well done to all the Researchers & Cancer UK.

louise ward March 27, 2013

hopefully my samples helped in this well done cancer research


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This is your stage. Tell your story. And we’ll amplify it! We believe that by sharing our stories of recovery, we can empower others to overcome addiction. We need your voice! We’re looking for unique stories that inspire recovery. Submit your story now.

Though it may not be rational, addiction affects each and every one of us; not only the alcoholics and addicts themselves, but their families, their friends and society as a whole. Yet there’s a cloud of stigma subjugating us, silencing us, and causing us to feel as if we were alone in what is a universal struggle.

Part of that stigma exists because traditional media’s coverage of addiction is lacking. They’re not telling the right stories, and they’re not reporting on what many of us need to hear. Unfortunately, traditional media is more interested in the tragedy of addiction than it is in recovery.

So we need to step-up to tell the stories that are aren’t being told. The types of stories that matter most. The stories that empower people to change, and open the door to recovery. Stories that stimulate empathy, that change our hearts, change our minds, and make a difference in the lives of people who need it most.

~Motivational~Meaningful~ ~Hopeful~Inspiring~ ~Life~Changing~Stories~

addicaid newsletter

Everyone has a voice, but not everyone has a place to share it

Everyday Addicaid connects with an audience whose voices often go unheard. Our mission is to help more people lead healthier, more meaningful lives by empowering them to take charge of their recovery. We are the addicts and alcoholics who need our voices to be heard.

There are people struggling with addiction who need help getting started in recovery. They often don’t know where to begin — or worse yet — they are afraid to take the first step because of the damning stigma that surrounds addiction.

People in recovery know that recovery is different for everyone, but not every addict knows this — and that can be very detrimental, perpetuating the unhealthy situation.

tell your story - Addicaid Addiction Recovery

A Call for Voices

That’s where you come in. We want your story to be told. We want your story to break through to someone in need. Because we believe that by sharing our struggles and triumphs, we can illuminate the multidimensional scope of addiction recovery in our communities. And revealing that no one is alone in this struggle, that addiction doesn’t always look just one certain way, that recovery takes on many faces, and is just as complex as the people it touches.

We’re looking for stories that inspire change and can even change the way the entire world looks at addiction. Because addiction affects all of us. And because we’re all part of the same story.

So we urge you to join this conversation. Your personal struggle may very well mirror someone else’s — and for an addict who thinks s/hes alone — it could be a lifesaving lesson to learn how you transcended your addiction.

So what’s your story? How has addiction affected you? Got an interesting or unique way of telling your story? Great! Because we’re open to unusual ideas that will resonate with the millions of people in recovery, and we love to experiment.

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text:
Tuesday, September 29, 2009

Di Caprio as Travis McGee

WELL, this is probably a good-news-and-bad-news situation.

Mike Fleming has just reported in Variety that the star of "titanic" and "the departed" has been attached to "the deep blue goodbye," the first of what could become a franchise of films based on john d. macdonald's travis mcgee series. HERE's my previous LAT piece on the project.

here's fleming:

"Chernin joins Appian Way's DiCaprio and Jennifer Davisson-Killoran as producers on a project that has a strong draft by Dana Stevens ("For Love of the Game") that is drawing interest from directors. Amy Robinson is also involved in a producing capacity.
"DiCaprio is in line to play Travis McGee, a self-described beach bum who lives aboard the 52-foot houseboat The Busted Flush, and alleviates his
cash flow problems by hiring on as a "salvage consultant." He recovers property for clients, taking a hefty percentage and getting into a lot of danger and romance in sun-drenched Florida. "The Deep Blue Goodbye," the first of a 21 volume bestselling series, was originally published in 1964."

the goods news is, this brings us a little closer -- after decades of waiting -- to a real mcgee film. it also suggests the studio will spend money on it. decaprio is a real actor who's deepened in his recent work.

but doesn't he seem at least a little bit wrong? too young? too pretty? too sensitive? too internal for the raw-boned floridian?

readers let me hear from you!

Photo credit: Public domain

FILM MAKER said...

Ugh, I grow so weary of the PREJUDGMENT of people re: film casting. How many times have the 'stone throwers' (usually literary cognoscenti) been DEAD WRONG? To put it into literary context: Don't judge a book by its cover!
Ok then let's cast the role:
Johnny Depp?
Emile Hirsch ?
But why not Leo? Make a better case for poo pooing Di Caprio please.

Scott Timberg said...

not sure that trying to discern how good a fit cast and role is quite as shallow as "judging a book by its cover." readers tend to develop a strong image in their mind of characters they love or care about. you can see dicaprio as a fine actor and still feel a mismatch here.

FILM MAKER said...

No worries! I wouldn't characterize either pursuit as "shallow" both involve critical judgments based on many factors, which is why cover art is so very important to both book and video sales! The beauty of creating the soul of a human spirit through art (acting) is the limitless opportunity to surprise, surpass expectations and win the admiration of those who may have thought it couldn't be done. I remember the gasps when it was revealed that Sean Penn would play Harvey Milk.

PS I do see your point though.


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Sundance 2010: Cordell Barker Talks RUNAWAY

Founder and Editor; Toronto, Canada (@AnarchistTodd)
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Sundance 2010:  Cordell Barker Talks RUNAWAY
[With Cordell Barker's Runaway screening at Sundance, we present again the interview with Barker I conducted at the Toronto International Film Festival.]

One of the most acclaimed animators in Canada, the only complaint about director Cordell Barker is he just doesn't make very much, his painstaking hand-drawn process guaranteeing gaps of years between his projects.  And so a new film by Barker is big news and at the past Toronto International Film Festival we had the chance to sit down and talk to the man about his new effort, Runaway.

TB: In Canada, we're pretty familiar with you: people especially in my generation have seen THE CAT CAME BACK - we watched it in school all the time, and we watched it a lot. People know your work. I don't know how widely it would have traveled, so for our readership outside of Canada, can you tell us a little about your history, how you came into animation, and what your background is?

CB:  Well, my background - I don't really have one. I just came out of - in fact, I wasn't even finished high school, and there was a local animation firm and I just went there and introduced myself. While I was completing my Grade 12, I would go there in the afternoons and I wasn't being paid, I wasn't on staff, I was just hanging out and drawing and animating some things, thinking this might lead to something. Sure enough, they asked if I wanted to be hired to paint cells for the actual animators there that were working on little TV commercials - Sesame Street, KTel commercials, that sort of thing - and eventually offered me the opportunity to do some..... I think the first thing was some Sesame Street. Sesame Street was not exactly demanding: it was low-quality in terms of standards. Basically, the first thing I did was really quite ugly, especially at the time I wasn't that great of a drawer, but they took it. Then it was on to a few other things, and when I got better, they gave me some KTel to do. Those were definitely more demanding, but still pretty low-rent. That was pretty much my introduction into the whole world.

TB: Do you still do commercial work?

CB: Yep. There's not as much as there used to be because nowadays, firms that ten years ago would have had animation in their commercials, now have motion graphics. For anyone who doesn't know, motion graphics is just moving images with a compositing program, where they're just being shifted around the screen. That's trimmed away a lot of the work that would have been available. In a way that was sort of good, in the final two years of finishing RUNAWAY. Normally, in the final two years is when I stop accepting work, and when I make that decision: "Okay that's it, I can feel the end is in site, the end of the tunnel is there," and then I launch myself into it full-tilt. I mean there's still some out there, but not as much.

TB: How long is the normal production cycle on one of your films? From start to finish, how long did it take you on RUNAWAY?

CB: That was about eight years.

TB: And you draw it all yourself?

CB: Not completely. I did most of it. I did have an assistant on this one that did some in-betweening for me, a little bit of original stuff. Mostly it's me taking it over because I have a very 90s style - it's what I would call limited animation, and so it can be hard for somebody to adapt to that. It's like Disney, with full moving animation, and another person comes in who knows that whole thing and if they can draw really well then they can flesh it out and take it on. My stuff is a simple, limited style that's particular to me, I guess.

TB: Do you hand draw?

CB: Yep, it was all hand-drawn - everything in this film but the train. Many parts of the train were just a hand-drawn cheat, where I would do a multi-plain of the train coming forward where I would cheat all the elements to simulate three-dimension. I brought on Frantic Films early on in the production to just do a couple of shots where the train is doing a three-dimensional action. There was no way I was going to sit down and animate that train coming around the track, especially in the middle of the film, when the camera is actually moving through the train, through all the cars. It's one thing when things are moving past the sides of the camera, everything's moving more quickly, but that end point, the perspective point where it's are barely moving from frame to frame - that would have been just horrible, trying to animate that. If I would have gone with an even more naïve style and just gone with the crudeness of animating perspective and just letting it be really wiggly and all that....part of me thinks I should have gone that route, and just kept it super raw and super-ultra naïve, I could have told the same story. When I did the animatics for the film, a lot of people thought it was a finished film. It was just this really naïve, black and white kind of thing, but it had lots of movement in it - motion graphics - and people thought it was finished.

TB: You talk about your style being a bit naïve. Tonally, it's interesting how - if you want to look for them - there are these layers of social commentary, and the social ladder within the train -

CB: Right, well this one's a little different. In my other two films, it was mostly the surface lecture - and it has of course an underlying metaphor - but it's the surface of the film that is driving the thing along. For me, on RUNAWAY, the metaphor was really the driving factor. I didn't want to do anything that violated the metaphor, and I just kept on slaving to that. I think that's why this last film - which is less of a lark and more driven by this metaphor - was the toughest thing I've ever done in my life. It was potentially a career-ender. It was so tough and difficult to get through, I was thinking, "If this thing bombs, that's the end of my animation career."

TB: Wow.

CB: Yeah. I was even talking to a buddy of mine and saying, "Well, I might be doing home reno with you soon." He and I built a house together way back - I'm pretty good with my hands, construction and that - and I was thinking, "If this thing fails, I don't think I can go through this again, with a lukewarm response at the end." If this one had a lukewarm response, I don't think I could face it again because it's pretty torturous.

TB: Yeah, it's a long process, it's a long time.

CB: Yes, it's really long. I did animatics for years! For CAT CAME BACK, I did a very rudimentary animatic and just launched into the thing. For this one, I knew it would be complicated, and so I was doing animatics just one after the other and just getting lost in it. Oh man - I can't even count how many animatics I would have done.

TB: Yeah. At what stage did the NFB come on board for the film?

CB: Right at the outset. I went to the Film Board - actually, the same producer who was at the Film Board when I came in to do CAT CAME BACK was there - he started it, then left the Film Board to pursue other things, and then came back to the Film Board - and he called me in for a revisit, to see how things were going. He said, "Do you have any ideas that you're thinking about?" And I said, "Well I have this one about a train." And I told him, and he said "Let's do that." And that was it. Then he left. (laughs) He never saw the end of either of the productions.... my first one and maybe my last one, (laughs) we'll see.

TB: Would I be right in thinking the music in the film, you had that piece of music before you started animating?

CB: Nope.

TB: Really?!

CB: I know and that's what made it - CAT CAME BACK was simple in that way. I did this really simple animatic, just to give me a sense of the structure, and then basically the musician came up with the music right away and then I used the music as it was. RUNAWAY was vastly more complicated. I heard the music of Benoit Charest for THE TRIPLETS OF BELLEVILLE - a fantastic piece of music. When I heard that piece of music, I was like, "That's the guy." Luckily, he was a Canadian and he agreed to do it. But I warned him right at the outset it was going to be difficult because I wanted him to do some musical sketches, but I was using "Rendez-vous" from THE TRIPLETS OF BELLEVILLE as my guide. So I was building my animatic using TRIPLETS music as temp music. So I'm then handing it to the musician saying, "Here, here's the temp music, but it's your temp music -"

TB: And you have to give me something different.

CB: Something different that isn't too similar to that. Then he would write a piece of music and do different sketches. And I had a very particular idea of what I wanted so I kept asking him to change it. At a certain point, I got an animatic that was structured the way I wanted and then he would have to write and layer his music on top of - strip out "Rendez-vous" and put in his music. With that in, I could then go in and trigger in onto certain little violin slides or some horn blasts. But then I might say, "That horn blast is coming too early: I need more time to get to that point" so I would restructure my animatic with his music, but then tell him, "Now I need these changes." It would go back and forth and back and forth for something like four years.

TB: Oh man.

CB: I think it was four years. I'm pretty sure. So really difficult for Ben, well difficult for both of us because there was that constant back and forth. I'm sure Ben wasn't expecting anything like me coming down the path and the demands that were required.

TB: It's interesting that you were drawn to him because Chomet is very much a proponent of hand-drawn animation. There aren't a lot left anymore. Miyazaki did his last one that way but he's talking about that it's kind of the end.

CB: I got to admit I'm fascinated by CGI - who isn't? Let's say if I was a real good drawer, then I'd be a real proponent of sticking to the original way, but I'm not a great drawer and I find that a painful process. So as a result, I think it would be great to have a character structured and then you work with the operator, or you can play with the timing. That's my thing: I like playing with timing.

TB: It's hard with hand-drawn because every time you want to play, you have to draw it again.

CB:  Yeah, either you have to re-draw the thing again, or - what's sometimes even harder - ask the person who drew it to re-draw the thing. On my films, it's easier because I'm just facing the challenge primarily myself, but when I do commercial work, I'm asking the person who did a really incredible job of drawing this really terrific structure to the character, but if the timing is wrong, then you got to ask them to throw it out and do it again. With CGI, you can endlessly tweak and experiment and evolve your way to the end, not take giant lateral moves and move forward.

TB: It's like in a lot of ways, CGI is more like puppeteering.

CB: Yes, puppeteering with ultimate control. Even with puppeteering, there's a bit of a 2D drawing work ethic there where you hit a certain point where you just can't step back in and redo that whole shot again. It does what it needs to do and let's move forward. With CGI there isn't that requirement; you can just keep on going 'til the money runs out or you've exhausted yourself. That does appeal to me a lot, but I've made no effort to move in that direction. (laughs)

TB: (laughs) It doesn't appeal enough.

CB: It doesn't appeal enough, or I've just had my slate full with the 2D up to this point. I've finished my three films for the National Film Board which was always my goal, and now that I've done that, I'm entertaining different avenues. I'm not excluding anything.

TB: Yeah. So you saw this at a screening in Cannes, I believe? You've had the chance to see this with an audience?

CB: Yeah, that was fantastic! As things evolve at the NFB, you don't get any feedback because everyone has seen it at different stages so there's nobody stepping in and seeing it cold and giving you any kind of large perspective feedback. So to take it to Cannes and sit in a room with a fresh audience in a pretty big room, and the reaction was really strong, really positive. In fact, the director of the category I was in La Semaine de la Critique??? came up to me afterward and said "Wow, you got a really terrific reaction." In fact, there was a reaction where everyone applauded when the credits first came up, and then they applauded again at the end of the credits, which triggered a reaction by the producer of the feature film that was immediately following my film. He was off in the back in a lounge area, and he was like, "What? What's going on? Why are they applauding again?" The coordinator was amused by that because it was puzzling because there was this extra applause prior to their film coming on. Anyway, overall the reaction was far better than anything I was expecting. It was, as I mentioned, it was kind of a dark -

TB: Arduous process.

CB: Yeah, arduous process, where all the life had been sucked out of it for me. No light at the end of the tunnel.

TB: Well hopefully you'll get the same reaction here.

CB: Yeah, different crowds in different places. Who knows? I hope so, I really hope so. Validation, you know?

Thanks to the lady-friend for tackling the transcription of this one.
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love and hip hop atlanta selfie althea karlie 'Love & Hip Hop: Atlanta' selfie battle between Karlie Redd and Althea HeartThe “Love and Hip Hop: Atlanta” Twitter account has sent #LHHATL fans into a tizzy Saturday (July 26) with a selfie battle between Karlie Redd and Althea Heart.

The @LoveHipHopVH1 account has deemed this battle the “@IAmBenzino’s Bae Edition” because Redd is the ex-girlfriend of Benzino, a.k.a. Raymond Scott, who is a hip hop executive and producer, and Heart is Benzino’s current fiancee.

Retweet the tweet to vote for Karlie, favorite the tweet to vote for Althea — who do you think took the better selfie?

Posted by:Andrea Reiher

TV critic by way of law school, Andrea Reiher enjoys everything from highbrow drama to clever comedy to the best reality TV has to offer. Her TV heroes include CJ Cregg, Spencer Hastings, Diane Lockhart, Juliet O'Hara and Buffy Summers. TV words to live by: "I'm a slayer, ask me how."


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rachel brosnahan manhattan season 1 wgn 'Manhattan's' Rachel Brosnahan calls 'The Blacklist,' 'Orange Is the New Black' roles 'very lucky'
Zap2it: How is it to work on the somewhat isolated New Mexico set that was developed for “Manhattan”?
Rachel Brosnahan: It feels stupid, almost, to compare our situation to what the actual people really went through — but in a way, I think it’s helped us become grounded. We’re all by ourselves, living in Santa Fe, and we came here not knowing anyone.
We’d met once at a table read in Los Angeles, but we have formed a community as a cast and crew, and I think it’s helped us find a way into this. This is exactly what the families who came to Los Alamos experienced.
Zap2it: What do you think of the role that your character, Abby, plays in the saga?

Rachel Brosnahan: There’s a wealth of information about the science aspect of this, and it took a little bit of digging to find some of the wonderful accounts of the women who lived there.
The wives also represented a vastly diverse pool; some were scientists, there were also Army women, and then there were the wives who simply came along as part of their husbands’ journey. That’s where Abby enters into this.

Zap2it: How have you managed to appear in many of TV’s most buzzworthy shows, also including “The Blacklist,” “House of Cards” and “Orange Is the New Black”?
Rachel Brosnahan: At this point, I’m feeling very lucky to be working, and to have been given opportunities to work on such incredible material … and in a lot of different facets of television as well.
Posted by:Jay Bobbin


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Calling all Perth volunteers!

Posted: January 21, 2015 / News

  It is that time of year again! We are looking for enthusiastic and self-motivated people who are keen to help out at one of Perth’s most exciting cultural events. Sculpture by the Sea, Cottesloe 2015 will run from 6 -23 March and, as we are a not for profit organisation, we rely on the…


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GEt a FrEE QUOtatiON

0141 638 3335

  • Driveways

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Welcome to S & D - First in Home Improvements

S&D is a general building, landscaping plus driveway company based in the Glasgow area. We have a wealth of experience and are well versed in all aspects of the commercial and domestic market. We pride ourself in providing a quaility service to the people of Glasgow.

S&D's main services include: Driveways, Patios, Garden Walling, Decking, Artificial Grass, Sunrooms, Extensions, Loft Conversions , Kitchens, Bathrooms, Roofing, RooflineGarden Paths & Steps, Garage Conversions and Double Glazing.

S&D have an excellent reputation for their workmanship and after sales service and frequently receive recommendations from satisfied customers.

Have a look at what our customers say in our Testimonials page - all the original, hard copies  are available in our Clarkston showroom.

Clarkston showroom:  2 Benview Road  (at Clarkston Toll), Clarkston. G76 7PP

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A Mutual Walk of Discovery

May 17, 2012

by the Rev. Nick Parker, Senior Port Chaplain at the Mission to Seafarers in Vancouver/Roberts Bank, British Columbia, Canada

As an Anglican cleric, employed for the last five years as the Senior Port Chaplain to the Mission to Seafarers in Vancouver, BC, I felt it was time to experience some continuing education. Few places specialize in Maritime Ministry let alone the combined role of Centre Management and Chaplaincy. Gaining, acquiring and refreshing the necessary skill sets to operate and function within the challenging sphere of the seafaring world is daunting. Fortunately, the Seamen’s Church Institute (SCI) is one such place that endeavors to offer training. Part of their strategic plan is to provide a nurturing environment for those who come seeking information and learning.

From May 7-11, 2012, I spent four days in dialogue with those responsible for the running of operations, finance, gift giving, Christmas at Sea, administration, pastoral and seafarers’ advocacy services. Those I journeyed with were confident, engaging, knowledgeable and passionate. Each had a story to tell while enticing me to share my own. Together, it was a mutual walk of discovery.

I experienced a centre that was alive, forward thinking and realistic with a staff equally at home with the ability to share and learn. To top it off, the centre was bold, bright and airy providing a welcoming atmosphere and an area conducive to learning and relaxing.

I left both refreshed and rejuvenated in my ministry, with new tools to embrace and engage in the expression of the ministry that I am steward of in Vancouver. Thank you SCI!


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Every cloud has a green virtual lining

Buzzwords are taking over the data storage industry, so it’s probably asking way too much of storage vendors to just tell us what their products can -- and can’t -- do.

This article can also be found in the Premium Editorial Download: Storage magazine: Why automated storage tiering is on the rise:

I’m about to have another Peter Finch moment -- specifically, when he played the slightly demented newscaster Howard...

Beale in the movie Network and exhorted the masses to proclaim, “I’m as mad as hell, and I’m not going to take this anymore!”

OK, maybe I’m not quite that ticked off and, yes, I’ve used this Peter Finch reference once before in a column. I think I may have regressed to the “mad as hell” theme because the thing that set me off the first time -- vendors carelessly tossing around marketing mumbo jumbo -- hasn’t gone away. In fact, it somehow managed to rev itself up into an even higher gear, achieving new heights of nonsense and non sequitur. But . . . “Hey, vendors, we’re not dummies!”

Now that I’ve gotten my “mad as hell” rant out of the way, let’s get down to specifics. I don’t know if storage vendors actually think we’re dummies or if they just kind of treat us that way because they don’t know any better. And it’s not that they’re cheating people or selling bad stuff or anything like that -- what they’re doing, they’re doing with words. And some of those vendors seem to live in an alternate universe where things become true just by saying them. Mostly, though, they just delude themselves and don’t fool the ones they’d really like to convince, like storage managers.

Let’s face it, storage is a tough business. Making the things on which you just store stuff sound exciting or novel isn’t easy, especially with the competition always nipping at your heels with catchier catchphrases.

But it does take a certain amount of talent to take a word or phrase and by sheer misuse (and repeated use) render it meaningless. Most data storage vendors are doing a great job with “cloud”; they’ve managed to simultaneously render it meaningless while making it impossible to define. Cloud is headed straight to the Buzzword Buzzkill Hall of Fame to take its place next to “compliance” and “green.”

“Virtual,” the poster child for storagespeak in 2010, has been nudged out of the spotlight by the first significant catchphrase of 2011 that appears to have some legs: “big data.” This is an interesting one because in the short time it’s been bandied about, its meaning has already morphed into something that’s essentially the complete opposite of what the term originally referred to. That’s record-breaking obfuscation in my book, and it should probably earn members of the tech marketing intelligentsia nominations to the Cunning Marketers Hall of Fame.

I don’t know where “big data” came from, but at first it was used fairly innocuously (and accurately) to describe really huge files like video or research data that put a strain on storage gear. But then EMC went and bought Isilon, and Joe Tucci, EMC’s top guy, said “big data” was the key to the acquisition, and that was enough to trigger an avalanche of “big data” me-too-ism. When it comes to buying stuff, EMC doesn’t screw up very often (ever?), and if Joe says “big data,” everyone listens.

And soon -- what a surprise! -- everyone had storage systems that were perfect for big data. Except now “big data” also means lots and lots of not-necessarily-really-huge files. So everyone does big data even if they don’t really do big data, and big data includes both large and small files. Got that?

We’re not out of the “big data” woods by a long shot. For some reason, a lot of analysts and consultants are on the big-data bandwagon now, and everyone’s talking about it as if it actually meant something.

But don’t worry; as soon as “big data” wears out, the buzz will shift again. I’m betting on “_aaS,” as in, something-or-other as a service. We already have SaaS, which can mean storage as a service or software as a service; IaaS, which is infrastructure as a service; and PaaS, or platform as a service. And just the other day I saw DPaaS: data protection as a service. The _aaS engine is just heating up so you can expect more and more of this stuff, especially as people start to get tired of hearing the word “cloud.”

I guess I’m just old-fashioned and expect storage vendors to push the truly unique aspects of their products, like being faster or bigger than the others, or doing as much for less money. Instead, storage marketers obscure any real outstanding qualities of their products by paying lip service to the same buzzwords that everyone else is working over. These vendors seem to think they can be all things to all people: “Sure, we do big data!” I wonder if they’ve even asked storage managers what “big data” means to them. And I wonder how storage managers would define “big data.”

Can we start talking about real features and capabilities again? When everyone uses the same term to describe things that are basically (and very obviously) unalike, it can only be confusing. Let’s try to get this stuff out of our systems once and for all and get back to reality.

So tell me again, what exactly does your Green Virtual Cloud Big Data as a Service Compliance Edition system do?

BIO: Rich Castagna (rcastagna@storagemagazine.com) is editorial director of the Storage Media Group.

* Click here for a sneak peek at what’s coming up in the June 2011 issue.

This was last published in May 2011

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Friday, November 22, 2013

Today marks the 50th anniversary of John F. Kennedy's death.  Like many people, the most remarkable thing about his life was his death.

If only I had a nickel for each time someone is compelled to share where they were when they heard he had died.  They were in school, at work, walking to the student union, cleaning the house, driving in the car.  The point is that we were everywhere carrying on our lives when it happened.  There is no new story here.  Where you were at the time is no more sacred or memorable than where I was at the time.  Since a great portion of the American population is younger than 50 years, most of Americans have absolutely no memory of where they were when it happened because they were not alive at the time.

Someone wrote, "Rest in peace, John Kennedy."  It's been 50 years.  If he is not in peace by now, he is relegated for eternity to chaos and pain.  His story is written; he cannot undo anything in his life or his death.  It is final.

As for me, I can barely remember when this happened.  My long-term memory has never been good.  My mother chastised me when she insisted that I should remember certain things from 30 years ago.  But I didn't.  I know I was in an 8th grade math class when the announcement came over the loud speaker.  I know that my teacher in that class was Mrs. Morton.  I don't remember how she reacted.  We were out of school until after the funeral, and I watched the murder of Lee Harvey Oswald and the funeral procession for Kennedy on our small black and white television. I remember that the country stopped everything.  That's about it.

 It was 50 years ago.  In the case of any other people who have been dead for 50 years, we somehow find the will to move on, to carry on our lives, to give up the grieving.  We lay them to rest and then go home to have a bite of something to eat.

It's perfectly acceptable to move on from this thing.  Perhaps it's our own national psyche that needs to rest in peace.


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Be Runway Ready at the Kultivate Spring Fashion Event!

Posted by on Feb 11, 2017 in (1) Fairs & Events | 0 comments

Kultivate Magazine is pleased to announce it’s very first Spring Fashion Event!  The models of the Amazing Impressions Modeling Agency (AIM) is hosting the Feed A Smile Charity.  This nonprofit charity raises funds to provide educational opportunities for the children of Kenya.  This event will feature over 50 designers and creators, a variety of fashion shows, a shopping area with exclusives, two special hunts, entertainment, and much more!   The final special themed show by the Fantasy Angels will conclude this charity event on February 26, 2017.

Teleport to Kultivate Spring Fashion Event

MIA:  Ahroun Designs, Black & White, Bliensen & Maitai, Chop Zuey, Designs By Soosy, Dotbe Fashion, Egoisme, Emerald Couture, Gabriel, Gee, Maras Mysteries, Moonstar, Pekas, Pin Up, Pro Pose, Snowpaws, Steelhead Outfitters, Style Morris, Sweet Dreams, Tashi, Zibska, Zuri Jewelry

Note: Any store listed as MIA either (1) did not have exclusive items clearly marked and/or able to be purchased, (2) was not completely set up; or (3) was absent at the time of the event opening at 08:00 on February 11th. We try to cover any changes or additions after the time of designer set up, however, due to other commitments, we are often unable to do so. Thank you for your understanding!

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Tuesday, January 27, 2009

Paneer Jalfrezi

The kitchen was all set up. Rows of jars, all filled with an array of lentils and masalas lined the shelves. A new microwave, a rice cooker that came free with the MW, a tea/coffee maker and the gas cylinder were all in place as well. We had just moved cities, and finding myself jobless, the kitchen was about to become my playground and I seemed to be ready to cook. Or was I?

Notice anything missing in the things I listed above?

Yeah, you got it...the cooking range!! The one I wanted was out of stock and was likely to be delivered only the following month. So there I was, all set to cook, but unable to.

Or maybe not....there was the MW afterall.

No one I knew cooked in the MW, using it only for heating food. The MW came with an instruction manual and also a recipe book and it seemed that it was geared for all kinds of cooking from grilling, baking, steaming etc. Very tentatively (and very sheepishly, I must admit that I was actually scared), I started my MW cooking journey by boiling potatoes and within a few days, there was no looking back.

MW cooking is not only quick but also uses less oil and water in the cooking process. As a result, food (and especially vegetables) retain more of their vitamins and minerals when cooked in the microwave.

Some dishes ended in absolute disasters (making kadhi, rotis, meat roasts - a definite no no), many others were surprisingly successful (cakes, puddings, omelettes). One of my favourites was and continues to be paneer jalfrezi. This particular way of making it (adapted from Sanjeev Kapoor's TV show Khana Khazana) requires the veggies to be cooked very little and I have made it both on the stove top and the MW, cooking it in the latter keeps the veggies fresher and crisper.

Paneer - 200gms
Onion, 1 large, sliced
Ginger, 1" piece, julienned
Green bell pepper, cut into long thin strips
Tomato, seeds taken off, sliced into long thin strips
Corainder leaves, finely chopped, 1 tbsp

Cumin seeds - 1 tsp
Whole red chilli - 2 nos
Turmeric - 1/2 tsp
Red chilli powder, salt, to taste
Kitchen king masala - 1 tsp
Vinegar - 1 tbsp
Oil - 2 tsp

Heat oil for a minute. Toss in the cumin seeds, let them splutter - this should take about a minute. Next, put in the red chillies for 30 secs.

Add the onions and the ginger and let them cook for half a minute. Stir and put the capsicum in next and cook for 30 secs. Stir and add the paneer and all the masalas and the salt and cook for a minute and 30 secs. Add the vinegar, give it a good stir and add the tomatoes. Cook for a minute and a half, add the coriander and serve.

A friend of mine once told me that good food is all about color. Get the colors right and the food becomes that much more appetising. This paneer jalfrezi, with its lovely mix of yellow, green and red looks good, doesn't it?

Needless to say, this is my entry to Sunshinemom's FIC : Yellow and MEC : Paneer at Rak's Kitchen.

And after a lot of deliberation, also sending this to Click: February 2009 - Cheese/Tofu at Jugalbandi.

  1. You are right, the MW retains beautifully the color, the paneer dish looks very inviting!

  2. Thats a great effort and indeed microwave cooking uses less oil than the stove top method!
    Tahnks for the entry:)

  3. That's impressive. I've only used my (very basic) MW for heating up leftovers, so this is certainly food for thought :)

  4. I am like dee, i use them for heating up.
    Jalfrezi looks yumm.

  5. Can't tell they were made in the MW. Looks so good.

  6. The jalfrezi looks tempting and very colorful...

  7. paneer in the microwave, that sounds new! I only use mine to reheat as well.

  8. Super cool. Must try this seems, though I've never tried the MW!

  9. Indeed they look good dear..i have never tried MW cooking..I dont have the right pans I guess or do u use the normal plates/bowls?..Lovely dish..:)

  10. paneer jalfarzi looks good.. will try it sometime.. have bookmarked it .

  11. Thanks guys! Your comments really keep me going :)

    Varsha, take a look at this link: http://housewares.hardwarestore.com/learning/all-about-microwave-cookware.aspx
    I use glass cookware for cooking in the MW.

  12. wow, u made in mw? looks so yummy.

  13. great recipe n i m a jalfrezi fan...made them just last night, but didn't take a pic as we were hungry ;p

  14. This is my fav. dish.. I call it chilli paneer capsicum:)

It is not just about the ingredients or the recipe, good food happens when it is served with love!!

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Posts Tagged ‘Eric Anderson’

Yalie NIMBY Outed by Uptown Almanac after SFPD Shuts Down 4 Loko Party in Dolores Park

Monday, August 30th, 2010

Uptown Almanac‘s Kevin Montgomery is all steamed this AM about an Eli who had the popo shut down* our recent Four Loko party in Dolores Park.

Learn about Crackdown Deja Vu all over again at Dolores Park Works and consider attending the public meeting, if you’d care to.

Is this man Local McNimbydouche? Via KevMo:

Anyway, it seems that elements of SafeCleanGreen Mission Dolores might be at the meeting as well. Play nice. people:

Dolores Park Works is organizing a community meeting to discuss safety, law enforcement and 19th & Dolores has been set. The big day is September 1st, from 6:00-8:00, at Mission High School cafeteria, which is located across from the tennis courts in Dolores Park (entrance to cafeteria off of Dolores & 18th).

We will be covering:

  • 19th & Dolores pedestrian safety & proposed changes
  • Park patron safety and law enforcement

We will be hearing from:

  • Captain Corrales, from the Mission Street Police Station
  • Eric Anderson, RPD Neighborhood Service Area Manager (replacing Bob Palacio)
  • Manito Velasco, Engineer, SFMTA
  • Ilaria Salvadori, SF Planning Department (Streetscape project)
  • Adrian Field, RPD Park Section Supervisor for the Mission Complex
  • Marcus Santiago, RPD Park Ranger

This is your chance to hear how and why the signs were installed, how laws will be enforced, and plans for 19th & Dolores traffic calming. Everyone is welcome and encouraged to attend. Please help us spread the word.”

*Wow. Circulation-cutting, tight-as-possible jeans are in again? Did not know that.


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2100809503 Image representing cover of The Known World 2100345101 2100809303 Photo of Edward Jones 2100345401 2007年2月的選擇 :: 舊金山公共圖書館

The Known World

Image representing cover of The Known World The Known World
by Edward P. Jones

In this vividly-imagined historical novel, Edward P. Jones explores an oft-neglected chapter of American history, the world of blacks who owned blacks in the antebellum South. Viewed through the unique prism of slaves and masters of the same race, even of the same family, the “peculiar institution” of slavery is seen in a new, more immediate way. The human costs and moral distortions inherent in a slave-based society are given a glaringly original focus.

Jones’ fictional examination of this unusual phenomenon starts with the dying 31-year-old Henry Townsend, a former slave-now master of 33 slaves of his own and more than 50 acres of land in Manchester County, Va., worried about the fate of his holdings upon his early death. Although his widow, Caldonia, tries to maintain his slave-based plantation, the slaves begin to run away. Henry’s black overseer, Moses, the first character that we meet, embodies the contradictions in this world. Moses hopes to take his master’s place, and although he ends up in Caldonia’s bed, he fails at securing his own freedom. Another character who experiences slavery from many perspectives is Henry’s father, Augustus. Freed from slavery as a young man, Augustus is shocked when his son becomes a slave-owner. Augustus, himself, is eventually sold back into slavery—to say this is done illegally presses the issue of what is legal to begin with.

The insecurity of free black people in the antebellum South is reiterated throughout the novel. As Henry’s mother tells him, “If a white man say the trees can talk, can dance, you just say yes right along...” Even a formidable character such as Fern Elston, a disciplined teacher to Caldonia and many other free blacks, is dependent on white protection. The most powerful of these protectors is Henry’s mentor and former owner, William Robbins. This power, however, is limited, even in his ability to protect his black mistress, Philomena, and her children, Dora and Louis. Robbins urges Henry to maintain a distance with his slaves, to ensure his own power as a master. This method is also employed by Caldonia’s mother, Maude, whose icy and poisonous control of others to maintain her own security extends even to her own husband.

If life is precarious for the free blacks in the fictional Manchester County, Va., the depredations and ever-threatening violence experienced by the enslaved blacks is conveyed in a heartbreaking, yet almost casual, way by the author. We learn, sometimes in a mere aside, about disfiguring punishments for running away, about young slave children worked to death in the fields or left to freeze outdoors. Loretta, Caldonia’s maid, has to walk a fine line to avoid Maude’s wrath. The arbitrary, color-based nature of antebellum slavery is evoked in many ways, as is the violence which can strike all classes of society. We learn early on of slave rebellions and escapes, and of a case where a white woman was enslaved by her own slaves. In a telling comment, the author notes that the white woman “did not remember that she was supposed to be the owner, and it was a long time before she could be taught that again.” One of the “patrollers” who hunts down runaway slaves for Sheriff Skiffington is a Cherokee with slaves of his own, who are members of his own family. Skiffington, himself, becomes a victim of the endemic violence. The novel ends, though, on a tender note, as Moses, now hobbled and old, is cared for by Celeste, one of the slaves. The reader is touched and humbled by the humanity that is seen to survive the soul-damaging permutations of slavery.

This month's title was selected to coincide with Black History Month. For On the Same Page, the Library has purchased the 2004 paperback edition of The Known World, published by Amistad Press. It is also available at the Library as an unabridged talking book in cassette and CD formats. Large print and Spanish language editions are also available at the Library.

Photo of Edward Jones About the Author

Edward P. Jones was born in 1950 and raised in Washington, D. C. by a single mother, who was illiterate and worked as a dishwasher and a hotel maid. She encouraged her son’s studies as did a Jesuit priest who recommended that Jones apply for a scholarship at the College of the Holy Cross in Massachusetts. There, Jones took a creative writing class and was encouraged to write by one of his professors. He also discovered an odd fact about the antebellum South—that some free blacks owned slaves. Two decades later, this was to become the central theme of his first novel, The Known World.

After earning his B.A. in English, Jones returned to Washington, D.C. in 1972, worked in non-writing jobs and lived with his mother when she became ill. Jones published a short story in Essence magazine in 1975. That same year, his mother died and Jones moved briefly to Philadelphia, but returned to Washington, D.C. He met authors James Alan McPherson and John Casey, both of whom taught creative writing at the University of Virginia. Inspired by the two men, Jones enrolled at the university in 1979. He taught creative writing there and received a Master of Fine Arts degree in 1981.

The financial insecurity of a creative writing career led Jones to retain a business writing job for almost 19 years. He took writing seminars and did some writing on the side, eventually seeing his 1992 debut, Lost in the City, become a National Book Award finalist and winner of the PEN-Hemingway Foundation Award for best first fiction. This collection of 14 stories about black people in Washington, D.C. in the 1950s to ‘70s, was inspired by James Joyce’s Dubliners. After this success, Jones began planning his first novel, editing and revising it in his head. The actual writing of the novel coincided with Jones being laid off. Supporting himself on his severance pay and unemployment checks, he wrote the first draft of what was to become The Known World. It became a National Book Award nominee and won the fiction prize from the National Book Critics Circle and the Pulitzer Prize for fiction in 2004. It also won the International IMPAC Dublin Literary Award, and the Lannan Literary Award. The author also received a MacArthur Fellowship in 2004.

The details of The Known World seem heavily researched, but the author maintains that the creation of antebellum Virginia’s Manchester County was almost entirely a product of his imagination. This fictional Southern world has been compared with William Faulkner’s Yoknapatawpha County. His highly-praised short story collection, All Aunt Hagar’s Children, was published this year. Jones has taught fiction at a number of universities, including Princeton. He lives in the Washington, D.C. area.

1992: National Book Award finalist and Ernest Hemingway Foundation/PEN Award, both for Lost in the City

2003: Lannan Foundation Literary Award and fellowship and National Book Award nomination for fiction for The Known World

2004: National Book Critics Circle award and Pulitzer Prize for fiction for The Known World

2005: O.Henry Prize for the short story, A Rich Man.

Of Related Interest

NPR: The Known World. Online interview with the author.

Tavis Smiley Archive. Friday 10/8/04, PBS. Online interview with the author.

IdentityTheory.com. Interview, Edward Jones. January 21, 2004.


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Altair advice
You know, I'm half-convinced that somebody knows me entirely too well...

You're Mother Night!

by Kurt Vonnegut

Nobody knows what to believe about you, and you know least of all. You
spent most of your time convinced that the ends justify the means, but your means were,
well, downright mean! And the end is nigh. Meanwhile all you want is to travel back in
time, if not to change, then to just delight in the way it used to be. You are who you
pretend to be. Oh yes, you're the great pretender.

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Top 100 Movies Based On Books

The Council of the American Bar Association (ABA) Section on Legal Education and Admission to the Bar permitted at the moment the merger of Rutgers’ regulation colleges into one unified Rutgers Law School with two distinct locations in Camden and Newark, throughout its annual assembly. Law faculty is basically a contest that you pay a life-altering amount of cash to take part in. Many of the people who are drawn to regulation faculty have persona issues and are very delinquent. Both the Faculty Lounge and Prawfsblawg had posts on the novel, and last time I checked, nobody had commented – illustrating that even legislation professors can really feel embarrassment for one among their colleagues. In the short time I’ve been a lawyer, I’ve single-handedly deterred a half-dozen potential legislation students. This isn’t some TV present script, it’s business as traditional for NYC/NJ private damage.

Hundreds of law students finished taking the Kentucky bar examination yesterday, ending a grueling ordeal that will likely be etched into their minds for the rest of their legal careers — in the event that they end up passing. Professors at colleges like Chicago have an incentive to lie in an effort to get their pet college students placed in tutorial positions.

Law faculties, together with Harvard, Yale, Columbia, NYU and Penn, do not make as much sense as they used to as a result of some of the grads from the decrease tier colleges take good jobs and get into the pipeline, leaving fewer jobs for high law school grads. Just bear in mind what the parable is. I ate my grapes by going to and finally finishing regulation school.

I suppose that if the US is going to introduce a compulsory language lesson, it must be the most useful and related one to the nation (e.g. in England French and German are obligatory at most faculties). Law dean Charles Cercone tells the ABA Journal that anybody enrolled in the legislation college as of January 2016 will get free tuition and charges for all the 2015-16 school year, as well as for their remaining time on the college. Note: On a private level about eighty% of the clients of Chateau Du Mer Conference Hall are Marinduque’s OFW’s and their family members.

How To Be A Production Assistant
Broker, Trader, Lawyer, Spy


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Home / Music / Album Reviews / Philip Glass

Philip Glass

The Essential Philip Glass (Sony Classical)

Feb. 27, 2012
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Few composers of “contemporary classical music,” much less opera, have found as large and welcome an audience as Philip Glass. The prolific composer and recording artist is honored for his 75th birthday with a triple-CD “best of” collection covering the late '70s through almost now. There is variation in his minimalist sound. “Lightning” and “Changing Opinion” sound indebted to Kraftwerk in one of Glass' rare deliberate overtures to the wide popular culture that found him on its own. Mostly, his music moves with the graceful solemnity and icy beauty of an iceberg in the sun. His operas (Satyagraha and Akhnaten are sampled here) are among the few recent works in that form gladly heard by audiences outside the conservatory.

Since January, there has been a rise in anti-Semitic incidents, with dozens of bomb threats against Jewish centers. Has Donald Trump directly or indirectly enabled these incidents?

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Wednesday, 3 June 2015

Full moon - Diana Moore - A Visitor to the Forest

Full Moon

That's it. When my aunt went to India to meditate I was about 10 and upset she was leaving. I told her that when I could see the moon, she'd be seeing the same moon. Did she realise I missed her?

Diana Moore

Diana performed twice recently at the Ekphrasis poetry readings in the Ashmolean in Oxford. I simply listened to her first piece, half spoken/half sung. She is so comfortable on stage, even if it is a flat floor of a gallery.

She needed someone to turn the pages for her second piece, A Visitor to the Forest, so I did that. It is a poem inspired by this painting. It has been published as a children's book and is in the shop in the Ashmolean.

It is so unusual and easy to read out. Even the review on Amazon is beautiful!

Her website

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Shoeaholic No More

December 2015

November 2015 Results

Written by , Posted in Money & Finances

This article may contain affiliate links. Read our Disclosure Policy.

It's the last month of the year! How did I do on my November budget? Check it out here!

Ok guys, since I decided to be financially honest with myself and you guys this past month and admitted that I do have a car loan that I never reported to you when I took it out in March, my debt numbers below look a little weird this month.

Although my debt total is higher than what I had previously been reporting to you because I hadn’t including my car loan, I did still have a debt decrease in November even though it might look like it went up from $131,651.16 to $148,127.92. In reality, I had a debt decrease of $716.91 all in with my credit cards, loan with my parents, student loan, mortgage, and car loan. The numbers reported below are only showing a decrease of $509.51 which is my mortgage, student loan, parent loan, and credit cards.

My main focus is still on my credit cards, parent loan, and student loan. After that I will be focused on my car loan and then finally on my mortgage.

Because I took on more debt in March from my car loan, I’m not really sure how to track my goals this year as far as debt payoff. I might make my goal of $5,000 principal reduction of my mortgage and other debt if I don’t include the increase I took on from my car loan. On the other hand, a car loan is still debt and will still have to be paid off. It’s not something that can be ignored.

While I never told you that I took out a car loan in March, if you look back you’ll see that my debt payments/month went up about $250 and yet my reported progress didn’t really reflect that. That’s because that $250 ($248 to be more exact) is my monthly car payment. I was reporting that $250 in my budget spending but I wasn’t showing the progress I was making with that payment.

How do you guys think I should handle these things? I don’t want to give myself a big pat on the back for paying off $5,000 of mortgage and other debt when I really took on more debt from my car loan…

On a happier note, I did put an extra $200 in my emergency fund in November. I don’t know that I can make my goal of finishing the year with an emergency fund of $1,500, but I should be able to hit at least $1,000 for sure.

2015 Goals:

  1. Increase emergency fund savings account to $1,500. – Pass-ish – I don’t know that I’m going to make this goal happen. But I did put $200 extra into my emergency fund in November.
  2. Demolish $5,000 worth of debt (principal). This works out to $416.67/month. ($5,000 goal includes mortgage debt pay down.) – ??? – Not sure how to handle this since I took on my car loan.
    1. This also includes paying off my 0% interest promotion for my computer by October 2015. – DONE!
  3. Paint and prep home office by April 13. (My birthday!) MUST BE USABLE BY THIS TIME! – DONE!
  4. Attend FinCon15 and pay for everything in cash! – DONE!
  5. Quit my full-time job by December 31,2015 to freelance full-time. (I may pick up some additional hours at my part-time job to help make ends meet for a while.) – DONE!
  6. Limit spending on clothing, shoes, and accessories to $500 for the whole year! – Fail – I’m not tracking this anymore.
  7. Get rid of more books throughout the year than I get. – Pass-ish? – I got rid of a ton of books in my garage sale. I have only gotten 2-3 new books this year. Even though I’d call this a pass, I’m not tracking it anymore.

Debt Totals:

10/31/2015 – $131,651.16 including mortgage, without car loan
$17,566.71 without mortgage

11/30/2015 – $148,127.92 including mortgage and car loan
$131,141.65 including mortgage, without car loan
$17,276.56 without mortgage and without car loan

Difference – -$716.914 including mortgage and car loan
-$509.51 including mortgage, without car loan
-$290.15 without mortgage and without car loan

10/31/2015 – $693.50
11/30/2015 – $924.87
Difference – $231.37 Increase

CategoryBudgeted AmountActualDifference
City Bill$115.00$91.56$23.44
Gas Bill$15.99$15.99-
Auto Insurance$101.61$101.61-
Cash Spending$160.00$160??-
Weekend Trip$150.00$150.00-
Eye Doctor$51.00$51.00-
Business Income$2,565.00$3,554.97+$991.86+

Wow guys! I knew I had spent some extra money this month, but I didn’t realize it was that bad. When I went out-of-town to visit my friend I bought most of my Christmas gifts for my friends and family. I also bought a couple of things for myself – namely a couple of pairs of PJ pants. The rest of it I’m not even honestly sure what I spent it on. Yikes!

How was your November?

It's the last month of the year! How did I do on my November budget? Check it out here!

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Kayla is a mid-20s single girl living in the Midwest, USA. She is focused on paying off her consumer and student loans, while simplifying her life and closet. You can join her on her journey at ShoeaholicNoMore or follow her on Twitter.

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Tuesday, October 26, 2010

Blaze vs Crocs

I was lucky enough to have one of my friends (thanks Nick!) hook me up with a ticket to the Gold Coast Blaze's home-opener on Sunday. I've got a friend's 40th coming up at Hyatt Coolum so I planned a quiet one this weekend and the Blaze game was the highlight. The first live game of the NBL season is always a highlight and after some major changes to the lineup, it was going to be interesting to see how the team looked.

The "look" was answered pretty quickly when Gold Coast found themselves down double-digits early in the game. Another friend who was at the game text me saying, "Worst game ever" as the Blaze found themselves down by 22 points in the 3rd quarter.

Just before it seemed that the home crowd were about to give up, the Blaze finally started to make some shots and they started to show some life. Sparked by Chris Goulding off the bench and solid play from Anthony Petrie, the Blaze started to work their way back in to the game. Superstar Mark Worthington also found his range and there was still hope.

Each time Gold Coast looked like it would cut the margin back to single figures, Townsville would immediately answer to keep them at bay. With just over 2 minutes in the game, Townsville led by 12 and I figured there just wasn't enough time left for them to really have a chance. A couple of turnovers from the Crocs and a couple of triples from the Blaze and the game was well and truly on. Miraculously the Blaze hit tough shot after tough shot and tied the game with 18 seconds to go.

It was here where the game turned on its head. Crocs point guard, ex-Detroit Piston, Will Blalock wound down the clock at the top of the key before driving left and putting up a tough runner. It missed and the last few seconds players were scrapping for the ball without anyone gaining control. Just as time expired the baseline ref blew a foul in favour of the Crocs and it looked like Gabe Freeman would step to the line to win the game. The Crocs celebrated but the Blaze were saying that time had expired and the whistle was blown after the buzzer. Head referee Scott Butler conferred with the scorer's bench and after much discussion ruled that time had expired and we were going to overtime.

Not surprisingly, Trevor Gleeson (Crocs coach) and the Townsville bench exploded at the decision. I'm not impartial, but considering the way the game played out in the final quarter, it would have been a terrible injustice to have the game decided on a scrappy play in the final milliseconds.

History now shows that the Blaze continued the momentum in to extra-time and got the win 94-90.

For the Blaze:
Worthington had 26 points (on 8 of 12 from the field), 6 boards
Petrie had 17 points (on 7 of 9 from the field), 9 boards
Harvey had 13 points, 8 boards

For the Crocs:
Blalock had 18 points
Cedar had 17 points with 5 triples
Freeman had 14 points, 7 boards

My notes from the game:
* Disappointing crowd numbers but that can be put down to the V8's, first game of the season, Sunday afternoon time-slot, etc
* Blaze are yet to secure a naming rights sponsor (they didn't have one last season either)
* Blaze were awful from the free-throw line (21 of 35) and need to work on this
* Blaze playing with one import, James Maye, and he'll have to do a LOT of work to survive the next month
* Blaze will take time to gel but showed in the final quarter that they should be ok
* Crocs have a good, deep team and they just had a rough weekend on the road

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T Handle, Universal Aluminum T-Handle With Button
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B & M T Handle, Universal Aluminum T-Handle With Button

Part No. 80658 Warranty Details

Fit of this part varies by vehicle & equipment specs Type of Fit

This B&M Universal Button T-handle fits most B&M and aftermarket shifters. Kit includes thread inserts to fit 1/2-20, 3/8-24, 3/8-16 and 5/16-18 SAE. And a 12v momentary switch to activate Line-Lock, transbrake or nitrous.

Product Features:
  • Fits Most B&M Shifters
  • Fits Most Aftermarket SAE And Metric Shifters
  • Activate Any Line Lock or Transbrake
  • Activate Nitrous System
  • Works On 12 Or 16 Volt Systems
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Handle Style:T-handle
Material:Brushed aluminum
Transmission Type:Automatic and manual
Check out the specials in our monthly flyer.
Disclaimer We strive to keep all information accurate and up-to-date; however, product availability, pricing, promotions and store hours are subject to change without notice. Please contact Customer Care if you have any questions or corrections.


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Denver Broncos Ladies Burnout Nightshirt - Navy Blue
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Denver Broncos Ladies Burnout Nightshirt - Navy Blue

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Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.

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    • Burnout team logo
    • Distressed screen print graphics
    • Imported
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    • 71% Polyester/29% Cotton
    • Sleeveless
    • Imported
    • Brand: Concepts Sport


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Ground cover floor sweeper Stefix 135

Article code
Selling type
Sweeper for root cloth
Steenks Service
Stefix 135
3 Available from 3/8/17
10000 M² per hour
200 cm
127 cm
145 cm
With the Stefix 135 Cultivation Floor Sweeper you will have a perfect sit-on sweeper, that is suitable for sweeping soft or uneven surfaces, such as floors or outdoor cultivation areas. This cultivation floor sweeper has been especially designed for growers who work on ground cover or foil. Because this machine has wide front and rear wheels and the front and rear axles have different widths there will be no traces on the ground and everything stays nice and flat. This machine is also suitable for sweeping fine dust.

- sweeping width of the central brush: 700 mm.
- sweeping width with brushes on both sides: 1.350 mm.
- sweeping width with both brushes on the right side: 1.210 mm.
- filter surface 6m2
- with electric filter shaker
- with hydraulic traction-drive on rear wheels
- with Honda 13 HP petrol engine
- with electric start
- with removable 120 ltr. bin
- weight (empty): 435 kg.
- turning radius: 3.500 mm.
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Steenks Service has sweepers for use on ground cover specially made for use in horticulture. For instance this Stefix 135 sweeper from Steenks Service with a sweeping capacity of 10000 M² per hour, with which vegetable and soil waste can be easily swept up from the ground cover.

The Steenks Service Stefix 135 floor sweeper is fitted with wide wheels so that the machine can easily move on soft surfaces such as ground cover and film. Moreover, thanks to the pressure distribution, this machine will cause no rutting.

Our service

Global Horticultural is a supplier for the horticultural and industrial industry with a specialised range of new and used machines. Our in-house knowledge and experience means that we are able to provide expert advice when it comes to the choice of your machines. Global Horticultural also provides worldwide service for these products, such as the maintenance of various machines both in our workshop and at the customer's facility.

Large stock of new machines

  Purchase and sale
For more information, see purchase and sales.

Large stock of used machines.

We provide service both in our wokrshop and on-site.

Contact us to learn more about the rental options available.

Click here for our contact information.


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Boston Bruins Bottle Opener Keychain - Black

Boston Bruins Bottle Opener Keychain - Black

Out of Stock
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.

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  • Details
    • Carabineer clip included
    • Approximately 5" in length with attached ring and clip
    • Two-sided design
    • Brand: Gamewear
    • Imported
    • Brand: Forever Collectibles


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adidas 2014 Ryder Cup Pique Angular Performance Polo - White
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adidas 2014 Ryder Cup Pique Angular Performance Polo - White

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Now: $49.99 (extra 30% off)

You Save: $30.00

  • Mesh ventilation panels
  • Officially licensed
  • Placket with three buttons
  • Quality embroidery
  • 95% Polyester/5% Spandex
  • Imported
  • ClimaCOOL technology for ultimate comfort
  • Tagless collar
  • Short sleeve
  • Imported
  • Brand: adidas
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.
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