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The gallery had sold out of the glossy, colour catalogue for Making the Australian Quilt: 1800–1950 by the time I saw the exhibition last week. But I had a terrific chat with the young woman serving at the museum shop while I placed an order to have the catalogue mailed out (at a discounted rate, no less).
“Isn’t it interesting,” she said, “how contemporary some of those quilt designs are. It’s amazing to think they predated modernism by decades. But not acknowledged, of course.” She gave me a gorgeous, wry smile. “Why would women’s sewing be acknowledged as art?”
Making the Australian Quilt: 1800–1950 is a wonderful and important exhibition now showing at NGV Australia (the gallery at Federation Square, in the heart of Melbourne). Over eighty works are on display – mainly quilts and bedcovers – and they are variously beautiful, historically significant, poignant, charming and fascinating. Intricate quilts stitched by convict women en route to Australia. Depression-era blankets (called waggas) made in desperation from scrounged bits and pieces. Delicate embroidery commemorating the jubilee of Queen Victoria.
But you know there was only one quilt that I really wanted to see.
This hexagon quilt, pictured above, is attributed to Elizabeth Macarthur. Her descendants believe she started it sometime around 1840 and her daughters (and/or grand-daughter) finished it. By the 1840s Elizabeth was in her seventies, with fading eyesight and prone to headaches. If she did begin it, I do wonder how much is actually hers…
The colours have faded with time, of course, and some of the fabrics have started to perish. But if you look closely below you can see the individual stitches – perhaps made with Elizabeth’s own hand. I’m a (sometime) quilter myself and I can assure you that those stitches are impressively tiny!
Lady Mary Fitzroy, the wife of the NSW Governor, was making a similar quilt at around the same time. But in 1847 she was killed in an accident (she was handed into the carriage but before her husband could take the reins the horses bolted, took a downhill corner too fast and her carriage tipped over and hit a tree). She’d attended a Macarthur wedding only three days earlier.
The coverlet Lady Fitzroy was working on remains unfinished to this day – the colours of her hexagons a little brighter for having spent a century and more tucked in her sewing bag (see photo below).
Lady Fitzroy evidently had a better eye for design than the Macarthur women. She practiced what today we would call ‘fussy cutting’ – deliberately selecting and then cutting fabrics in such a way that a secondary design is created once the hexagon was pieced together (see photo below).
But Lady Fitzroy and the Macarthur women used the same technique to ensure the consistency of each hexagonal piece: paper piecing. Hundreds of paper templates were cut, then the fabric was basted on top of the paper, then each hexagon was whip-stitched (with those tiny stitches we’ve already seen) to those adjacent. It’s a technique still very much in use today.
One of the quilts in the exhibition was displayed with the wrong side showing (below).
Usually a quilter will pull out all the papers once the quilt top is finished but historians are often very grateful if the quilt-maker didn’t manage to get around to it!
Making the Australian Quilt: 1800–1950 is open until 6 November 2016. The adult entry fee is $15 (concessions are available). The curators have done an excellent job of selecting and displaying the works and it’s an exhibition well worth a visit. I can’t wait for my catalogue to arrive so I can enjoy it all over again.


As of Saturday,the 15 th October 2016 ,in association with alterations that are being made to the tramline routes, several permanent changes to Prague Integrated Transport’s bus line routes will take place, particularly in the northeast and southeast parts of Prague. These changes are being made to respond to significant capacity problems in some sections and are taking into account the principal requirements of individual City districts and of the passengers.
Muzeum – Kačerov: temporary suspension of the underground service
22.10. 04:00 - 31.10. 01:00
Due to railway reconstruction, the underground service on line C will be…
Permanent Changes to the PIT System as of the 15th October 2016
As of Saturday, the 15 th October 2016 ,in association with alterations that…
Permanent diversion of the route and stops of Line H1
Due to traffic optimisation, the route and stops of Line H1 (for persons with…
Wishing to avoid a traffic hold-up? Take the public transport with us!


Introduction to firewalls
A firewall is a network security device that monitors and filters incoming and outgoing traffic to protect your network from outside threats. Firewalls can be hardware, software, or both. They are typically placed between your network and the Internet to protect your network from external threats.
What is a firewall?
A firewall is a security device between your computer and the Internet. It filters traffic coming in and out of your network, blocking any malicious traffic. Firewalls can be hardware devices, software programs, or a combination.
When choosing where to place your firewall, there are a few factors to consider. The first is whether you want a hardware or software firewall. A software firewall may be all you need if you have a small network. For larger networks, however, hardware firewalls are usually a better option.
Another factor to consider is where your bottleneck is. This is the point in your network where traffic slows down the most. Placing your firewall at the bottleneck ensures that all traffic passing through it is properly inspected.
Finally, you’ll also want to consider which firewall best fits your needs. Several different types of firewalls are available, each with its advantages and disadvantages. The right one for you will depend on your specific needs and requirements.
How do firewalls work?
Firewalls are one of the most important components of a network security strategy, yet their placement often needs to be understood. Let’s look at how firewalls work and where they should be placed in a network to clear up any confusion.
Firewalls are a barrier between a trusted internal network and untrusted external networks like the Internet. They inspect incoming traffic and block any that is deemed to be malicious or unauthorized. Firewalls can be hardware devices, software programs, or a combination.
When it comes to choosing where to place a firewall, there are three main options:
- On the network’s edge: This is the most common firewall placement. They can protect internal resources from external threats by placing them on the network’s edge.
- In the middle of the network: Placing firewalls in the middle can be beneficial if you want to segment your network into different zones. For example, you could have a DMZ (demilitarized zone) for public-facing servers and another zone for private servers. By placing firewalls between these zones, you can add an extra layer of protection.
- Distributed throughout the network: A firewall architecture is often used in large enterprise networks. In this setup, firewalls are placed at different points throughout the network to provide comprehensive protection.
The different types of firewalls
Several different types of firewalls can be used to protect a network. The most common type of firewall is a hardware firewall, a physical device between the network and the Internet. Hardware firewalls can be divided into two categories: perimeter firewalls and internal firewalls.
Perimeter firewalls are placed between the Internet and the internal network and act as a first line of defense against attacks. Internal firewalls are placed within the internal network and protect against threats from within the network.
Another type of firewall is a software firewall, a program that runs on a computer and protects that specific machine. Software firewalls can be either host-based or network-based. Host-based firewalls are installed on individual computers, while network-based firewalls protect an entire network.
Finally, there are also cloud-based firewalls, which run in the cloud and provide protection for networks connected to the Internet. Cloud-based firewalls can be either web application firewalls or virtual private networks (VPNs).
The benefits of firewalls
Regarding network security, firewalls are one of the most important tools. A firewall can protect your network from external threats by blocking unwanted traffic and controlling access to your network.
Many different types of firewalls are available, and each has its own strengths and weaknesses. The best way to determine which type of firewall is right for your needs is to consult a qualified IT professional.
Once you’ve decided on the type of firewall that’s right for you, the next step is deciding where to place it in your network. The location of your firewall will depend on several factors, including the size and layout of your network and the level of security you require.
In general, it’s best to place firewalls as close to the perimeter of your network as possible. This will help to ensure that only authorized traffic is allowed into your network.
You may need multiple firewalls to provide adequate protection if you have a large or complex network. In this case, it’s important to carefully plan the placement of your firewalls to avoid creating any security gaps.
By taking the time to properly secure your network with firewalls, you can help protect your data and resources from external threats.
The best places to put firewalls in a network
When it comes to securing a network, firewalls play a vital role. But where should they be placed in a network? This blog post will look at the best places to put firewalls in a network.
The network topology is one of the most important things to consider when placing firewalls. That’s because the location of the firewall will determine how effective it is at protecting the network. For example, if you have a star topology, the best place to put a firewall is at the center of the network. This way, all traffic has to pass through the firewall and can be inspected for any malicious activity. is allowed and what traffic is blocked. This will ensure that your network is as secure as possible.
If you have a bus topology, it’s best to place the firewall at the end of the bus. Any traffic that passes through the firewall will have already been through the rest of the network and, hopefully, be clean when it reaches the firewall.
Another thing to consider is what type of traffic you’re trying to protect against. If you’re mostly concerned with external threats, place your firewalls closer to the perimeter of your network. But if you’re also worried about internal threats, you must place your firewalls closer to your internal servers and devices.
No matter where you decide to place your firewalls, make sure that they’re properly configured and that you have rules in place that define what traffic important factor to consider when placing firewalls is the network size. If your network is small, a single firewall might be enough to protect it. But if your network is larger and more complex, you might need multiple firewalls in strategic locations throughout the network. This way, each firewall can protect a specific area of the network.
Finally, it’s also important to remember that firewalls can’t always stop all malicious traffic from entering your network. That’s why it’s important to have additional security measures such as intrusion detection/prevention systems and antivirus/anti-malware tools. These additional security measures will help ensure that any malicious traffic that does pass the firewall is quickly identified and blocked before it causes any damage.
In summary, when deciding where to put firewalls in a network, consider both the topology of the network and its size. Additionally, you should also make sure to implement other security measures alongside your firewall to provide maximum protection for your network.
Where should firewalls be placed in a network?
There are a few schools of thought regarding placing firewalls in a network. The most common approach is to place a firewall between the Internet and the internal network, as shown in the diagram below.
Another approach is to place a firewall between the DMZ and the internal network. This configuration is often used when an organization has sensitive data they want to protect from being accessed by outsiders.
A third option is to combine both approaches, with one firewall between the Internet and the DMZ and another between the DMZ and the internal network. This provides an extra layer of protection for your most sensitive data.
No matter which approaches you to choose, it’s important to ensure your firewalls are properly configured and up-to-date with the latest security patches.
How to configure firewalls?
When configuring firewalls, there are a few key things to remember:
- It would help if you decided where the firewall should be placed in the network. There are a few different options for this, and the best option depends on your specific network setup.
- You must configure the firewall to allow traffic from the trusted network to pass through and block traffic from the untrusted network.
- You need to test the firewall to ensure it works correctly.
If you need help figuring out where to start, a few resources can help you. The first is the documentation for your specific firewall product. This can usually be found on the manufacturer’s website. The second is a how-to guide for configuring firewalls in general. These can be found online with a quick search. Once you have read through these materials, you should understand how to configure firewalls for your specific needs.
Firewalls play an important role in keeping your network secure. They can be placed at the edge of your network to protect against external threats or within the internal infrastructure to limit access and control user activity. If you are still determining where they should be placed in your network, consult a professional IT security expert who can help you choose the right locations for optimal protection. With their help, you’ll know that any malicious attacks will be prevented before they even have a chance to do any damage.


Do you remember that $200 million earmarked by Congressional Democrats for re-sodding the national mall? Do you recall how Democrats and the White House were so embarrassed about the project that they at last deleted it from the legislation – and then complained loudly any time Republicans failed to note that they had eliminated it?
Well, it turns out they’re spending it anyway:
More than $55 million in economic stimulus money will be used to fix the National Mall, even though money for mall renovations was removed during congressional debate on the stimulus package this winter…
In January, majority Democrats removed $200 million in stimulus funding that had been targeted for the National Mall, after Republicans criticized it as an example of wasteful spending.
Salazar called the money being spent to renovate the Mall a “down payment” on a much larger challenge to fix a national symbol that has fallen into disrepair. He said the mall does not belong to the District of Columbia but to the nation, and called it an important symbol for all Americans.
This is just one more demonstration that ideas for more spending never really die in Washington; they always come back. Can stimulus funds for condoms be far behind?


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Hollow Filigree 18K gold
Egyptian Cartouche Jewelry
Have your name inscribed in our hollow filigree 18K gold Egyptian Cartouche Jewelry today and enjoy wearing a piece of Ancient Egyptian Jewelry.
Our Hollow Filigree 18K Gold Egyptian Cartouche Jewelry portrays your name in ancient Egyptian Hieroglyphics, English or Arabic..Our devoted designers handcrafted this beautiful piece of 18K gold. It also bears the 18K gold stamp for authenticity purposes.
Have your name inscribed in a Gold Egyptian Cartouche today and enjoy wearing a peace of Ancient Egyptian Jewelry.
When ordering your Egyptian Cartouche, please make sure to review the different options provided and type the name that you would like in the name section. As the sounds represented by the ancient Egyptian hieroglyphic alphabet are not exactly the same as in English, our artists will best select the appropriate letters to match your name. You can review the ancient Egyptian Hieroglyphics we use by visiting our Ancient Egyptian Hieroglyphics page.
Your Egyptian Cartouche size will be approximately 1/2″ by 1 1/2″ and weight will range from approximately 4 grams to 6 grams depending upon the number of letters that you desire. Price will vary based on the options selected.
Please also see our Gold Jewelry display, which features a DIAMOND CUT 18K gold necklace. This necklace is a perfect compliment for your cartouche.
Shipment of our Filigree 18K gold Egyptian Cartouche takes from 4-6 business days
Shipping takes place from Egypt

domain: history


General Motors reported that its supplier LG has restarted production for lithium-ion battery modules to be installed Chevrolet Bolt electric vehicles and electric SUVs, and that owners of those recalled vehicles could expect the replacement parts to be available for installation in mid-October.
According to the automaker, it will prioritize replacing batteries in Chevy Bolt EV and EUV customers whose batteries were manufactured during specific build timeframes, where GM believes battery defects were “clustered.”
Affected customers will be notified when replacement modules will be available for their vehicles.
Starting in November 2020, GM began a recall of 2017-2019 Chevy Bolts due to a number of battery fires. In May 2021, GM said it would install new software on those affected models (and all new models) to help prevent future fires. More fires were reported after the new software had been installed.
In August, GM expanded the recall to include 2019, 2020, 2021, and 2022 Bolts and Bolt EUVs.
By that time, GM said it identified the cause of the battery fires as two separate defects: 1) a torn anode and 2) a folded separator, both of which must be present in the same battery cell in order for the fire to take place.
However, in identifying the battery as cause of the fires, GM in August was forced to suspend production for the 2022 Chevrolet Bolt passenger cars and Bolt EUV sport-utility vehicles.
The automaker has not indicated whether assembly of the new Chevy Bolts at the Lake Orion, Mich., plant will resume as initially scheduled on October 11.
New batteries to be provided for the recalled vehicles will include an extended battery warranty, GM stated: 8 years/100,000, or 8 years/160,000 km in Canada.
More than 140,000 Chevy Bolts are covered by the recall, and the automaker said it soon will have available a diagnostic software that allow owners to fully charge the cars unattended. At the present time, full charging has been cautioned against.
“We absolutely have figured out how these defects happened,” according to Tim Grewe, GM’s battery-cell engineering director, “...and that’s what started our (EV battery) production up again.”


Adeleh joined NSERC PermafrostNet in the Winter of 2023 as a Master’s student in Civil and Environmental Engineering at Carleton University. She completed her B.Sc. in the same field at Amirkabir University of Technology in Iran in 2022. She became interested in the area of geotechnical engineering during her undergraduate studies and after taking many courses in this area.
During her master’s studies, she will work on sustainable culvert design over degrading permafrost in the Hudson Bay railway under the supervision of Professor Shawn Kenny. This research project involves numerical modelling of several culverts, the surrounding permafrost environment and local hydrology to develop engineering designs and strategies for supporting northern communities in the adaption of infrastructure for thawing permafrost.


(Madhya Pradesh Vyavasyik Pareeksha Mandal)
“Chayan Bhawan”, Main Road No.1, Chinar Park (East), Bhopal – 462011
Examination for the post of Assistant Grade-III, Lower Division Clerk and Registration Clerk on Direct, Backlog and Contract basis
An examination will be conducted on 26/02/2012 for the following posts :
- Assistant Gr. III : 1887 posts (Direct-612, Backlog-1270, Contrac-5)
- Registration Clerk : 61 posts
- Lower Division Clerk (LDC) : 04 posts
Pay Scale : Rs. 5200 – 20200 grade pay Rs. 1900/-, Rs.8326/- on contract basis
Age : 18-35 years (30 years for outside of MP)
How to Apply : Apply Online from 19/12/2011 to 18/01/2012.
Please visit http://www.vyapam.nic.in/e_default.htm for details and apply online.


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London's Komodo bond power Indonesian infrastructure
Nikhil Rathi and Kartika Wirjoatmodjo
PREMIUM In recent months Indonesia has been celebrating a series of firsts: from the first Indonesia pavilion at the World Economic Forum in Davos; to being rated, for the first time, investment grade by all three major rating agencies and launching the world’s first ever Komodo bond by a state-owned enterprise. This is testament to President Joko “Jokowi” Widodo’s commitment to...
Disclaimer: The opinions expressed in this article are those of the author and do not reflect the official stance of The Jakarta Post.
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domain: news


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So we have arrived in London. The trip over from Boston was fairly incident free, though we had to change planes at Montreal where they can’t cope with transit passengers and we had to go out through customs and then back in through security.
Yesterday we arrived a little late and had a walk around before an afternoon nap and then dinner. We all had broken sleep last night before finally sleeping through until 9:30.
Today’s adventure was a trip to Harrod’s. After we had explored Harrod’s Nanny went back to the hotel while Jessi and I walked up to Picadilly Circus then caught a Routemaster double decker back to Knightsbridge tube station.
This evening Mum had an earache so we went to the local hospital for her to have it looked at. It was fairly fast – they told us it would be a two hour wait but when Mum said she’d just go they found a doctor to take a quick look and diagnose a middle ear infection.
Afterwards we had a great dinner at a cafe/restaurant across the road called Caffe Carluccio’s (236 Fulham Road – across from the Chelsea and Westminster hospital). I can recommend the Osso Bucco and they had a chocolate bread and butter pudding that was to die for.

domain: geography


text:
|Forlag||Constable & Robinson|
|Emne||Crime & mystery|
|Se flere detaljer|
Om Joe Sandilands Omnibus (Books 1-4)
The Last Kashmiri Rose India 1922. In Panikhat, 50 miles from Calcutta, the wives of officers in the Bengal Greys have been dying violently, one every year and each in March. All the deaths are bizarre and appear to be accidental. The only link between them is the bunch of small red roses that appear on the women's graves on the anniversary of their deaths. In order to help solve these mysterious deaths, the Governor of Bengal calls on the reluctant help of Joe Sandilands, Scotland Yard detective and war hero who happens to be on secondment to the Bengal police. Joe learns that the deaths are connected and that the series has not yet run its course. But who will be the recipient of the next Kashmiri rose? Is Joe hunting an Indian or European killer? And what is the reason behind the slaying of the officers' wives? With only days to go before the end of March can Joe uncover the murderer whose compulsions seem to be rooted deeply within the dark soul of India itself? Ragtime in Simla Simla 1922. The summer capital of the British Raj is fizzing with the energy of the jazz age. Commander Joe Sandilands is looking forward to spending a month here in the cool of the Himalayan hills as the guest of Sir George Jardine, the Governor of Bengal. When Joe's travelling companion, a Russian opera singer, is shot dead at his side in the back of the Governor's car on the road up to Simla, he finds himself plunged into a murder investigation. Confronted by the mystery of an identical unsolved killing a year before, Joe realizes that Sir George's hospitality comes at a price. Behind the sparkling façade of social life in Simla he finds a trail of murder, vice and blackmail. Someone in this close-knit community has a secret and the nearer Joe comes to uncovering it, the nearer he comes to his own death. The Damascened Blade The North-West Frontier, 1910. The screams of a wounded British officer abandoned at the bottom of a dark ravine are heard by a young Scottish subaltern. I...

domain: library


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When the series was announced in May, ABC said it would be similar to the sitcoms “The Office” and “Modern Family,” which have characters talking directly to the camera, as in a documentary. But the network recently decided to re-shoot some scenes in the first episode so that there are no more nods to an imaginary camera crew.
ABC was worried that the style would put distance between the characters and the audience, but real life events also had an effect.
Just days after the series was announced, The Detroit News reported that the mayor had banned camera crews from riding along with police officers. The decision followed the death of a 7-year-old Detroit girl during a police raid that was being filmed by the A&E cable channel.
“We’re trying to do a show that’s realistic. And we suddenly found ourselves with a premise that would no longer be viable,” an executive producer of the show, Jason Richman, told the magazine.
ABC still has another fake-documentary on the way this fall, a relationship drama called “My Generation.”

domain: artistic


text: I’m not sure I belong in this group, but I check in occasionally. I’ve had weird symptoms for years, with no diagnosis. I thought for a while it might be spinal stenosis, but two MRIs said it wasn’t. I researched some more and thought it might be CIDP. Recently however, a thorough workup at a University-based Neurology clinic resulted in a diagnosis of small fiber neuropathy. The “weird symptoms” they said are an autonomic neuropathy, that is the same thing as my peripheral neuropathy, only affecting the autonomic nervous system. They wanted to call it diabetic neuropathy, but I went armed with proof that the peripheral neuropathy was well established and documented in 1994, and I had perfectly normal blood sugars going back to 1989. Then they said it was “idiopathic” neuropathy in 1994, but since I developed type II diabetes in 2003, that everything since then is due to the diabetes. That simply doesn’t make sense to me. My diabetes has been very well controlled since then, with a minimal dose of Glipizide but mostly with diet. My A1Cs hang around 6 all the time, and I have no sign of diabetic damage to my eyes or kidneys or circulatory system. So I know that I have peripheral and autonomic small fiber neuropathy, but as far as I am concerned, the cause is till a mystery. I have had this problem for at least 30 years. Come to think of it, I have been married for 30 years. Maybe my husband is the cause, LOL. I am 73 (will be 74 in June). I had esophageal cancer, diagnosed in 2005, and had an esophagectomy in 2006, and am still here to talk about it. I have been mentoring several esophageal cancer support sites for the last ten years, so it was not a great stretch to look for support sites for the neuropathy.

domain: medical


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Autism Acceptance: Empowering Neuro-diverse Minds
It’s about celebrating differences and accepting autism as a natural condition. That’s the way Danielle Castle, a Rocky Mountain Human Services Therapy Manager, explains the difference between “autism awareness,” and “autism acceptance.”
At first blush, it may seem like a small difference, but changing the way people look at autism can be an empowering reframe for people with autism, and families who have a child or a loved one with autism.
“I think acceptance leads to advocacy and that’s what is beneficial overall,” Castle said.
April is World Autism Month, a month set aside to honor and push for inclusion for people who have autism. At RMHS, our staff work with parents and loved ones to ensure they have support, services and coaching to they can best support their family members with autism.
Deputy Program Officer Amanda Lighthiser says RMHS supports people with autism across many programs. But it’s really not about a diagnosis.
“It’s more about what a person needs,” Lighthiser said. “We are focused on making sure they know all the services that are available to they can pick and choose what they need.”
Putting people – whether it’s children who are learning and growing, parents who need guidance or adults looking for particular supports – and their unique needs and wants at the center of consideration is how RMHS focuses its work.
During World Autism Month, RMHS hosted an online dance party to celebrate autism acceptance and neurodiversity. It was a joyous event that included participation in many ways. It celebrated diversity and acceptance – Just as RMHS does every day with the people we support.
To learn more about RMHS and the many ways in which we support the people who receive services from the organization, please visit www.rmhumanservices.org.


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Will you be traveling this year? If, perchance you find yourself in Amsterdam between March 11th and August 27th, you might want to stop by the Tassen Museum of Bags and Purses. It claims to be the largest museum of its kind in the world and is situated in a beautiful canal house in Amsterdam’s historic canal ring. The collection contains more than 5,000 bags and purses dating back to the 16th century, including one of Margaret Thatcher’s purses as well as the Versace bag that Madonna carried to the premiere of Evita.
All very interesting on its own, but this month the museum is unveiling a special, new exhibit called It’s a Men’s World. The exhibit explores the history of the “man bag” and its inevitable resurgence in popular culture.
You see, up until the 17th century, men’s purses and bags were attached to their belts, but the advent of inner and outer pockets in menswear eventually replaced the need for man to have a bag. That was fine in the days when a man only carried a wallet and a set of keys, but now a pocket is not enough when you’re carrying a laptop, water bottle, gloves, sports gear, earbuds and various other gadgets and gizmos. A man needs a bag!
The exhibit is organized by themes of Hunting, Wall Street, Sport and Travel and looks to be most enlightening. Well worth a visit, we think.
After all, the man bag is nothing new, but by looking back in time we often get a glimpse of what’s yet to come.
Put your best foot forward. Shop for accessories at Hugh & Crye.


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Which of the following statements are incorrect?
(i) Fibres obtained from plants and animals are termed natural fibres.
(ii) Coir is a coarse fibre extracted from the cotton plant.
(iii) Plant fibres when burnt give smell of burning hair.
(iv) Wet woollen clothes dry faster than wet cotton clothes.
A(ii) and (iii) only
B(ii), (iii) and (iv) only
C(iii) and (iv) only
D(i), (ii), (iii) and (iv)
Wet wool does dry faster than wet cotton! The answer is A!

domain: biology


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So where does that keep us. We as parents need one's teeth fixed”, sometimes at all costs. Secondly, it's the expense of the orthodontic staff, services and workplace charges that are associated. Alabama Pediatric Dental Colleagues is looking for a Dentist to hitch our class. We are looking for both full-time and part time pediatric dentistry prevenzione denti authorities that are flexible. We now have two orthodontists employed in three extremely fresh office locations and five dentists. Don't email questions or pediatric dentistry comments, only concerns regarding the dentist position. E. You will find excellent behavioral methods I have viewed pathologists use to get youngsters to stop.
Ask your pediatric dentist in case your child's eruption structure is right-on course, if you're uncertain. In medication this could be compared to anything called evidence-based research, or even to flow chart decisionmaking. The situation with dentistry and medication is that there's always lots of data that is unknowable, that is not regular or absent. When you might get I want to consider planning to the dentist is not a gamble, but close-to a sure thing.
Subsequently, it is the expense of the staff, associated office prices and amenities. Orthodontics and Al Pediatric Dental Colleagues is currently buying Dentist to participate our group. We are looking for part-time pediatric dentistry specialists that are versatile and both regular. We actually have five dentists and two orthodontists working in three really new office locations. Do not e mail pediatric dentistry comments or queries, only queries about the dentist situation. E. You can find excellent behavioral practices I've noticed pathologists use to have kids to prevent.


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Polyurethane effectively repels water, making it a waterproof finish for wood. It shields wood surfaces from moisture and humidity damage.
Polyurethane is a popular choice among homeowners and craftsmen for protecting wooden structures and furniture. Acting as a robust barrier, it preserves the natural beauty of wood while offering resistance to water and wear. By forming a clear or tinted film over the wood, polyurethane not only enhances the wood’s appearance but also ensures its longevity in both indoor and outdoor environments.
This makes it a suitable option for a wide range of wood finishing projects, from hardwood floors to outdoor decks. It’s essential to apply it correctly and allow it to cure fully to achieve optimal waterproofing benefits and durability.
The Basics Of Polyurethane Coating
Polyurethane coating acts as a shield for wood, providing a durable topcoat that can resist water and other elements. It’s a popular choice among professionals and DIY-ers alike for its protective qualities and aesthetic appeal. This section will dive into the essential properties of polyurethane and offer guidance on its application to wood surfaces.
Polyurethane is a synthetic resin and comes in various forms, from water-based to oil-based formulas. Each type possesses unique characteristics that impact its performance and suitability for different wood applications:
- Water resistance: Polyurethane forms a solid barrier against moisture.
- Versatility: It’s suitable for almost any wood project.
- Durability: Resists scratches and daily wear and tear.
- Non-yellowing: Water-based types retain wood’s natural color longer.
Application On Wood Surfaces
To achieve the best results, proper application of polyurethane is key. Here is a simple guide to ensure a smooth, protective finish:
- Surface preparation: Sand the wood surface until smooth.
- Clean: Remove all dust with a tack cloth or damp rag.
- Apply: Use a high-quality brush or foam applicator.
- Cure time: Allow adequate drying time between coats.
Note: Multiple coats increase protection but require attention to detail to avoid drips and brush marks.
Water Resistance Vs. Waterproofing
Folks often mix up ‘water resistance’ with ‘waterproofing’ when dealing with wood. Let’s dive into what these terms really mean for polyurethane and your wood projects!
Defining Water Resistance
Water resistance is like a raincoat for wood. It’s a shield that slows down water from soaking in. Polyurethane offers this kind of protection. It coats wood with a tough layer. But it’s not a magic cloak! It can handle splashes and spills. Yet, it won’t keep water out forever.
- Repels water on contact
- Prevents immediate damage
- Wood stays safe from moisture for a while
Limitations Of Waterproof Claims
Some products shout ‘waterproof’, but let’s get real. True waterproofing means a full block against water. Even with polyurethane, it’s tricky. It creates a strong barrier, yes. But over time, this shield can weaken. Cracks and scratches can happen, letting water sneak in.
|Wood will never get wet
|Not quite true
|Polyurethane is forever
|Better described as water-resistant
Regular maintenance is key. Reapply coats. Sand out imperfections. Stay vigilant. Doing so keeps that polyurethane layer at its best. And in turn, that keeps the wood safer from water damage.
Types Of Polyurethane Finishes
Protecting wood surfaces requires a durable finish.
Polyurethane offers this protection.
It is available in various forms.
Each has distinct properties and applications.
Understanding the types helps in making an informed choice for wood projects.
Oil-based polyurethane stands out for its resilience.
It imparts a warm amber glow to wood surfaces.
Durability is a key feature of oil-based variants.
These are preferred for high-traffic areas or surfaces that face heavy usage.
- Longer drying times allow for a stronger finish.
- Suitable for furniture and flooring.
- Higher VOC content requires good ventilation during application.
Water-based polyurethane is a popular choice for DIY enthusiasts.
It is known for its quick drying times and low odor.
This type provides a clear finish.
It does not yellow over time.
- Eco-friendlier option with low VOCs.
- Better choice for light-colored woods.
- Easy cleanup with soap and water.
|Best Used For
|Light Woods, DIY items
Factors Influencing Water Protection
When sealing wood with polyurethane, water protection is a prime goal. Yet, there’s no simple “one size fits all” answer. Several factors determine how effective this sealant will be. Every step, from application to daily wear, plays a role in long-term water resistance. Below, we delve into the two essential factors that influence water protection when using polyurethane on wood.
Coat Thickness And Application
The thickness of the polyurethane coat is crucial. A thicker layer provides better defense against water. Here are the steps to achieve an optimal coat:
- Sand the wood surface to ensure it is smooth.
- Wipe the surface to remove dust.
- Apply the first layer of polyurethane using a brush or sprayer.
- Let it dry and then sand it lightly.
- Apply additional coats for increased thickness.
|No. of Coats
Curing Time And Conditions
The results depend on proper curing. Curing time and conditions are critical. You’ll achieve the best results by following these guidelines:
- Apply polyurethane in a well-ventilated area.
- Avoid humidity to reduce drying time.
- Wait 24-48 hours between coats.
- Cure for at least one week before exposing to water.
Remember, temperature and humidity affect curing. Ideal conditions are 70°F with 50% humidity. Your patience will pay off with a durable, water-resistant finish.
Field Tests And Expert Opinions
Understanding whether polyurethane is waterproof on wood involves more than just lab results. Field tests and expert opinions provide insight into real-world applications and durability. This section delves into concrete cases and professional advice to unveil the true effectiveness of polyurethane as a waterproofing agent on wooden surfaces.
Real-life Case Studies
- Beachside Decking: A two-year study showed no water damage after regular exposure to sea spray.
- Bathroom Vanities: With daily water contact, a vanity coated in polyurethane displayed no signs of moisture ingress after five years.
- Outdoor Furniture: Pieces treated with polyurethane withstood rain and snow, remaining unscathed for multiple seasons.
Woodworking Professionals’ Insights
Experts from the woodworking industry share their experiences:
“Polyurethane forms a protective shield that keeps water out.” – Jane Doe, Custom Furniture Maker
“Moisture resistance depends on correct application and maintenance.” – John Smith, Carpentry Instructor
These insights confirm polyurethane’s effectiveness when applied properly and maintained over time.
Maintenance For Enhanced Durability
Protecting your wooden surfaces with polyurethane not only enhances their appearance but also shields them against water damage. To ensure your wood stays in pristine condition, a proper care routine is vital. This section covers essential maintenance steps to maximize the durability of your polyurethane-coated wood.
Routine Care Tips
- Regularly dust the surface with a soft cloth to avoid scratches.
- Immediately clean spills with a dry cloth to prevent water spots.
- Avoid harsh cleaners that can strip the finish.
- Use mild soap and water for sticky spots, and dry promptly.
- Place protective pads under heavy objects to prevent dents.
- Keep wood away from direct sunlight to prevent fading.
Reapplication And Longevity
The longevity of a polyurethane finish on wood depends on wear and tear. Follow these guidelines for reapplication:
|Every 3-5 years
|Every 2-4 years
|Lightly Used Surfaces
|Every 5-10 years
Consider the environment and usage patterns when scheduling reapplication. A fresh coat of polyurethane will keep wood waterproof and looking new.
Frequently Asked Questions For Is Polyurethane Waterproof On Wood
Does Polyurethane Make Wood Completely Waterproof?
Polyurethane does provide water-resistant protection to wood, enhancing its durability against moisture. However, it is not completely waterproof. Regular maintenance and reapplication can help sustain its water-resistant qualities over time.
How Long Does Polyurethane Protect Wood From Water?
A polyurethane coating can protect wood from water damage for years. Its longevity depends on the application’s quality and environmental exposure. Usually, it’s recommended to reapply polyurethane every 2-4 years for optimal protection.
Can Polyurethane Be Used On Outdoor Wood Surfaces?
Yes, polyurethane is suitable for outdoor wood surfaces. It is important to use an exterior-grade product, which contains additives to resist UV rays and extreme weather, to ensure best results and durability.
Is Water-based Or Oil-based Polyurethane Better For Waterproofing?
Water-based polyurethane dries faster and with less odor, but oil-based polyurethane tends to be more durable. However, both can provide good water-resistant protection if applied properly. Choose based on desired finish and working conditions.
Wrapping up, it’s clear that polyurethane acts as a formidable barrier against moisture on wooden surfaces. For lasting protection, applying it correctly is key. Remember to maintain treated wood for enduring waterproof benefits. Polyurethane might just be your wood’s best ally against water damage.
Keep your wooden fixtures secure and stylish with a proper coat.

domain: chemistry


NFA Ifugao to procure palay from local farmers
by Vency D. Bulayungan
LAGAWE, Ifugao (20 October) -- The Local Office of the National Food Authority (NFA) here is ready to procure palay from the farmers here in an effort to uplift their economic condition.
NFA manager Emmanuel Villanueva said their office will buy palay from legitimate individual farmers and farmers' cooperatives.
"This is one way of helping our poor farmers cope up with the present situation wherein they need money for other needs such as the education of their children,"Villanueva said.
Villanueva disclosed that for the wet crop, NFA has targeted 3,000 bags with corresponding procurement fund of P4.2 M ready for payment.
"The palay should be clean and dry with a moisture content of 14%. The NFA buying price is P10.25 per kilogram for individual farmers and P10.50 per kilogram from cooperatives inclusive of incentives.
In order to facilitate the said procurement in the whole province, the NFA fielded one buying station at the NFA warehouse in Barangay Namillangan in Alfonso Lista and another team at the warehouse here.
All farmer cooperatives as well as individual farmers are encouraged to have their farmers passbook revalidated at the NFA Office here. Those without passbook have to fill up a farmer's information sheet which is available at the NFA Provincial Office.
Applicants should submit two 1x1 ID pictures and xerox copy of title or tax declaration of landholdings prior to issuance of passbook. (PIA-Ifugao) [top]


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Expired Event - The Spirit of Churaki - 27 May 2019
This is a past event: Search for New Events »
The Spirit of Churaki
Two years in the making, this heroic, largely unknown story brings together an extraordinary line up of Australian musicians, including Fred Leone, Emily Wurramara and Veronique Serret, with visuals by acclaimed artist Vernon Ah Kee and music direction by American rock legend Brian Ritchie (Violent Femmes / Dark Mofo), who was awarded a Helpmann for Best Musical Direction in 2018.
The Spirit of Chuarki rides the perfect wave between traditional ceremony, the ancient sounds of Aboriginal language and compelling music theatre, closing with set by Australian surf rock legends, The Break (starring Rob Hirst, Jim Moginie, Martin Rotsey of Midnight Oil, Jack Howard of Hunters & Collectors and Brian Ritchie).
Share The Spirit of Churaki with friends.
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The Teenage Mutant Ninja Turtles must band together to face off against new mutant foes and an extraterrestrial threat in Teenage Mutant Ninja Turtles: Out of the Shadows. Following their defeat of the Shredder (Brian Tee) one year previous, Leonardo (Pete Ploszek), Raphael (Alan Ritchson), Donatello (Jeremy Howard), and Michelangelo (Noel Fisher) let Vernon Fenwick (Will Arnett) take all the credit for saving the city, while the turtles remain hidden in the shadows.
Meanwhile, a correctional officer named Casey Jones (Stephen Amell) is accompanying Shredder on a prison transfer when the latter escapes with the help of a teleportation device operated by Baxter Stockman (Tyler Perry). The teleportation technology belongs to brain-like alien Commander Krang (Brad Garrett), who instructs Shredder to find the other pieces of the device and open a portal to transport Krang’s warship the Technodrome to Earth.
To help with the plan, Krang provides Shredder with a purple ooze, which turns lowlife thugs Bebop (Gary Anthony Williams) and Rocksteady (Stephen “Sheamus” Farrelly) into Shredder’s mutant henchmen. It is up to the turtles, Casey Jones, and April O’Neal (Megan Fox) to put a stop to Krang and Shredder’s plans.
Teenage Mutant Ninja Turtles: Out of the Shadows is the sequel to the 2014 Michael Bay produced reboot. Out of all the Teenage Mutant Ninja Turtle films, including the original live-action trilogy from the 1990s, Out of the Shadows is probably the film most directly inspired by the 1987 animated series, which is likely the version of the turtles most people of my generation grew up with. The elements from the cartoon featured in the film include the turtles’ gadget-laden van, as well as the mutant henchmen Bebop and Rocksteady and the extraterrestrial antagonist Krang. Heck, the credits for the film even features a new version of the animated series’ theme song.
It is probably this nostalgic connection to the cartoon that helps to make Teenage Mutant Ninja Turtles: Out of the Shadows a noticeable improvement over the previous film. While I am still not a fan of the way these modern turtles are characterized, I am able to look past these issues more in this film. Teenage Mutant Ninja Turtles: Out of the Shadows is probably at its best when it’s CGI turtles fighting either a CGI Warthog and Rhinoceros or a CGI brain-shaped alien in a giant robot body. Human villain Shredder was recast for this second film and even though Brian Tee (The Wolverine) does a fine enough job, Shredder is somewhat overshadowed by the mutant and alien characters and doesn’t even wear his signature helmet for much of the film. I’m also not sure about the stunt casting of WWE Superstar Sheamus as Rocksteady, since the bulk of the role is motion capture and voice work and I don’t Sheamus’ Irish accent really fits the character. The same can be said for Brad Garrett’s voice acting for Krang, which is a lot more deeper than what fans of the villain from the animated series will remember.
While I was somewhat surprised by Megan Fox’s turn as April O’Neal in the previous film, she is back to being little more than eye candy here, with her very first scene in the film having her in a very revealing Catholic school uniform. I was also less than impressed with the performance by Arrow‘s Stephen Amell as Casey Jones, with this version of the character not holding a candle to Elias Koteas’ definitive performance of the character from the 1990 Teenage Mutant Ninja Turtles film. Finally, I don’t really know what to think of Tyler Perry’s very nerdy performance as mad scientist Baxter Stockman, though I am curious if we’ll see the mutated fly version of the character in later films.
With the 2014 reboot, I was ready to write-off this rebooted take on the Teenage Mutant Ninja Turtles. However, while Out of the Shadows doesn’t fully solve the issues I had with the previous film, the multiple references to the 1987 animated series helped to make it a somewhat more enjoyable film.

domain: entertainment


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I’ve written at length before about Three Men Talking About Things They Kinda Know About on here and this year marks the 10th anniversary of the show. I met up today with the other two men to embark on a special little project to mark the occasion. Stay tuned!
In 2011, myself, Colm Keegan and Stephen James Smith had an idea. Let’s write something together. We were all involved in the Dublin spoken word and independent arts scene, with each of us running our own nights The Glór Sessions (Stephen), Nighthawks (Colm) and The Brownbread Mixtape (me). We had become friends, and all had huge admiration for one another’s poetry (as well as being fans of the nights that we respectively ran), so, in retrospect it feels like there was an inevitability that we would join forces in some way. This is my version of the journey we took to create that collaborative piece of writing, that would end up becoming our award-nominated spoken word play Three Men Talking About Things They Kinda Know About.
We chatted at length about possible ways to work together on a show of some kind, and I remember those early conversations were just us considering something simpler like a spoken word event, with each of us performing our poems. Essentially a gig by us, for us. Gradually that evolved into a more sophisticated idea of creating a collaborative piece with intertwining poetic monologues, but we still weren’t even clear what that meant.
So, we started to sketch out some initial ideas about what we wanted to tackle in our writing together. We knew that we wanted there to be some kind of link between them, but equally being able to retain our own voices and identities in the piece. So we met for a cup of tea in the Irish Film Institute and hastily sketched out a map of ideas and thoughts on a piece of paper around themes and paths to follow, as well as pondering the structure of the piece. Gradually it started to take shape and we loosely decided that we would write about the big milestones in our life, and how they had shaped us, in three interlinking poems each.
At some point soon afterwards, I think Stephen suggested we take a leap of faith and submit an application to the legendary Dublin Fringe Festival, in the hope that they would take an interest in our idea. While it seems strange to think it now, but the idea of a narrative-driven long-form spoken word poetry show was a relatively rare theatrical phenomenon on Irish stages at the time, so we felt we were proposing something fresh and interesting to the Fringe audience. And the Fringe festival happily agreed. The initial meeting between us and Roise Goan, Director of the Fringe Festival, was a great meeting of creative minds, and she would become one of our biggest supporters for this show well beyond the Fringe festival.
With the imminent deadline of the Fringe festival a few months away, and our own broad outline in place, we each went our separate ways and started writing different long-form poems about big moments in our respective lives. Then, on a weekly basis, we would convene at one of our homes to read out what we had written. It was a moment to air ideas and challenge each other. I remember those moments very well and very fondly (except for the times Colm’s insanely big dog would accost me), where we really pushed each other to rewrite and rework ideas. So often, one of us would read out an unflinching poem that would cause the others to pause for breath, and realise there was a need to dig even deeper and go even further. Those were huge learning periods for me as a writer, and as a critical reader of someone else’s work. All of us striving to make something excellent together.
Over time the poetic monologues began to form into the script as we now know it, with a relatively solid three part structure to each of our respective pieces. It became clear that much of what we were talking about was the idea of being a man. And fathers were a central spine to all of our stories, both our own fathers, as well as myself & Colm’s experiences as fathers too. The title for the show, which seems almost frivolous for a play that went to such deep and emotional territory, was something I said on a whim in that first meeting over a cup of tea in the IFI. But now it almost felt like a perfect disarming title for what was ultimately very lyrical explorations of tough topics like death, love, masculinity, loss, happiness, home, new beginnings…
With the poetic monologues coming together well, we still felt the piece was slightly incomplete, and knew there needed to be a shared piece of writing that bookended the piece. We were struggling to find the right tone and words, so we headed off for one final writing session in my old family home in Waterford. After a meal and a few cans we hit upon the idea of a series of declarative statements about what it means to be a man (that ultimately became the intro and outro to the show). “A man is proud of putting up a shelf“, “A man is two bad mistakes away from having nothing“. And I have very distinct memories of us being fascinated by a pastel drawing my father had done (fittingly of three figures) that hung above the mantelpiece, which almost certainly inspired my line from that section “A ghost in the family home”.
So, at this stage, we had a final script of sorts and we had secured the upstairs of The International Bar for our venue. It was time to embark on the rehearsals. I think we still naively believed we would be able to direct ourselves, and still saw this as something more like a series of poems to be delivered on a mic, versus it being an actual theatrical production so to speak. I recall us having the entire script laid out on the floor in chunks and reshuffling the sections to make them work more effectively in tandem with one another. We definitely had a few different variations until we settled on the final version, which made complete sense and clicked for us all once we performed it aloud. Nevertheless, despite figuring out the structure, it was clear we needed a directorial independent voice to help us bring it to life for the stage. Enter the mighty Sarah Brennan. Sarah was an established actor and director of many years standing, with a rich family history in the Irish acting world. So, we were absolutely delighted to have her on board, and it seemed fitting to have a singular female vision for this text that was written by three men.
It turned out to be one of the best things to happen to the show. Sarah helped us steer clear of maudlin moments and coaxed terrific performances out of all three of us, with both Stephen and Colm never having formally acted onstage prior to this. And my experience was not too extensive in fairness, limited mostly to the Brownbread Mixtape sketches, and, as a kid, a Tom Stoppard show for the theatre company Red Kettle (bizarrely, directed by Sarah’s uncle Paul Brennan!).
My friend and longtime collaborator in The Brownbread Players sketch troupe, Eva Bartley, also jumped on board to help us put together our set. The play was littered with references to photographs and images, so we gathered up several photos of our families and snaps of ourselves from our youth. Eva then deftly wove them together into these simple hanging mobiles of images, that ended up becoming integral to the show.
I still recall the nerves of opening night, not knowing if we would fill the 70 seats upstairs in the International Bar, or if the audience would respond to our deeply personal and lyrical stories. We needn’t have worried, it was sold out (and remained sold out for the remainder of the run) with incredibly moving standing ovations almost every night. Our initial eagerness to get offstage during those ovations, gave way to the fact that this was a unique thing for us all, and we learned to enjoy those moments that the audience gave us. And the critics responded too, with a stunning 4 star review in the Irish Times, which bowled us over.
The show went on to receive a Fringe Award nomination for the Little Gem category, where the winner would receive a monetary prize to restage the show for a week in the legendary Bewley’s Cafe Theatre. It was such a huge buzz to get nominated for our show, and we even dared to dream for a moment, but in the end we didn’t take home the prize. But it didn’t matter, because we had achieved something really special already.
And then all of a sudden the show was done, but there were still loads of people asking us if we would be staging it again, as they hadn’t been able to catch it in the original sold out run. So, we started to explore if that was a possibility and how one would go about doing that. Remember, none of us really knew anything about the world of theatre in Ireland. We reached out to Roise Goan, Director of the Fringe Festival, for advice. As serendipity would have it, she was just about to get in touch with us about a cool new venture Fringe was doing with the legendary Project Arts Centre called Turnaround.
The idea behind Turnaround was to showcase 5 shows from all previous Fringe Festivals that they believed were deserving of another look, and were worthy of being staged on a professional stage. We were one of those shows! We were bowled over by the request and were happy to dive in headlong into the process. And so in April of 2012, with tremendous support teams, we ran the show for three more sold out nights in the Cube theatre space in the Project. It was a really special experience, and far from being over, Turnaround led us to the next part of the Three Men Talking adventure.
On the back of both successful runs of the show, we were lucky enough to partner up with the brilliant producer Jen Coppinger, who helped us take the show on the road to even more audiences. What followed was almost a year of Irish shows around the country (sometimes with a post-show Q&A), including an emotional return to Garter Lane Theatre in my home town of Waterford. I had worked in that very theatre with both my father and mother, and many of the audience were writers, actors and friends who knew them (and me), so it was a unique moment I’ll treasure.
The tour of the show even took us abroad to wonderful rooms (and more sold out shows) at the Centre Culturel d’Irlandais in Paris, the London Irish Centre in London, and the Arnolfini Centre in Bristol (where we had the first sparks of an idea for LINGO festival – but more on that at a later date). We even printed a limited edition run of the script to sell as merch on tour, and that sold out too!
Audiences responded deeply and strongly to it everywhere we went, with each of our specific stories often ringing a bell very pointedly with people. Because of the confessional nature of our stories, audience members were often keen afterwards to share their own tale of losing a loved one with me, or indeed their stories of family that echoed those of Colm or Stephen. The show really meant something to people and that was deeply gratifying.
I seem to recall we did one “last ever final never-performing-it-again” show a couple of times, but after a poetic journey of almost three years, the show had reached a natural conclusion. Our lives had changed quite a lot since the original writing of it, with relationships altered, new children in our lives, and much more besides – so it was time to move on to new creative projects.
It was an incredible journey all told (I didn’t even cover everything here, including an American theatre company asking to stage it Stateside), and it is not too much of an exaggeration to say it was one of the great artistic experiences of my life. But more significantly I formed two great friendships with Stephen and Colm, and we are all still good friends to this day. That is the most remarkable thing of all really. In a strange way, even through we were acquaintances before it started, we really didn’t know each other that well until we embarked upon the writing of the show. But we were honest and vulnerable, and in sharing those stories of our lives, we created a piece of art that brought us together for a period of time. And as a result we got the chance to share a slice of our lives together travelling & performing with the show.
We’ve talked about doing another show together. We even went so far as to do a writing session together, but nothing major came from that. Maybe we weren’t ready yet. Maybe in a few years when the show is ten years old, we could do a sequel… Three Men Still Talking.
I adore the podcast format and I’m an avid fan of all audio longform storytelling. I’ll do a post at another time about some of my favourite podcasts, but this post is about the brief spell where I produced a podcast of my own. It was motivated by two creative impulses. Firstly I wanted to test the waters of hosting and interviewing in this type of creative format – I have facilitated and MCd plenty of live shows in my time, but its such a very different skill and discipline to interview artfully in this longer audio format, so a really great thing to sharpen the skills on. And secondly I wanted to showcase some of the world class musicians and writers that had treaded the stage at the brownbread mixtape.
The format for the first chunk of episodes was always the same. Invite a great musician or poet along to talk about their creative process, a bit of their life story, and then have them select some favourite clips from the brownbread mixtape down the years, as well as perform an in-studio session featuring an original and a cover. And what a series of gems we managed to record. They are all embedded in the YouTube player above and I urge you to give them all a listen, with episodes featuring Pearse McGloughlin, EleventyFour, Colm Keegan, Justin Grounds, Fergus Costello and Lindsey Ryan
Now that time has passed I can see a few things I would do differently. I would certainly be more judicious in editing down the episodes so that they zip along a little bit. Perhaps I was too enamoured with keeping everything in, rather than making it a snappier show each time that might appeal to a wider audience. It would have been something that a slightly objective producer would have been able to spot right away. I’d also nudge myself to be quiet more often and just let the interviewee speak. Far too often in the earliest episodes I felt the need to say “yeah” or “mmm hmm”, when silence would have served the whole experience better. But I did learn from that and the later episodes were better. There is loads to love about them. I really dig the intro music / title sequence that Enda Roche cut together. And we managed to capture some absolutely stunning in-studio songs, especially some of the cover versions (Pearse McGloughlin and Lindsey Ryan are real standouts)
The latter chunk of podcasts veered away from that original format primarily because I simply didnt have time to record and produce the show any more. And then an artist I was acquainted with, Eamonn McLoughlin, had produced a documentary radio series for a local station in Ireland, and he had nowhere to house or archive the episodes. Given that many of the episodes covered artists and writers who had performed at the brownbread mixtape, it felt fitting to put them out under our banner. Some of the interviews are really interesting with top drawer Irish writers, and I even make an appearance on one of them chatting about the brownbread mixtape.
I would love to return to the podcast format and have a few ideas bubbling away, so watch this space. In the meantime, have a listen and let me know what you think.
We record every single Brownbread Mixtape, and we have managed to capture some truly magical moments down the years from that room. Nowadays it is easier to share things digitally (even though we have yet to truly share even a fraction of our enormous library of recordings) but back in the day we decided to go relatively old school and create a limited run of CDs of some of those early performances that we could raffle off at our live shows. We enlisted help from New York filmmaker and graphic designer David Bagnall to create unique and supremely cool cover art, and then we pieced together some of our favourite artists from the first run of shows that gave a good snapshot of the music, spoken word and sketch comedy we were showcasing every month. Manyof these artists have gone on to greater things since, which is so briliant to see, but here they are in the cosy surroundings of the Parlour Bar upstairs in The Stag’s Head pub. The result is a moment in time, replete with all the ramblings and imperfections that come with a live performance, as well as the moments of utter magic that we were witness to. In recent years I decided to upload it to bandcamp so others could get a chance to hear the tracks too. There are even a few of my early poems and comedy sketches with The Brownbread Players on there, which have a certain charm to them too. Have a listen and let me know what you think – tell me about your favourite. Enjoy!
Back in 2014, the poet Dave Lordan, was serving as guest editor for Penduline Press – a publication from Oregon in the United States. He commissioned a special audio broadcast from me to showcase some of the very best contemporary performance poets in Ireland. I had never really tried something like it before but I was really excited about trying to piece something that was representative of the many great voices in Ireland at the time, as well as making it an audio piece that was enjoyable to listen to, maybe even informative, and maintain a good energy and rhythm to it, so it actually flowed like a proper album. There was also something nice about taking the time to go back through the archives of the endless hours of audio from all of the many poets at the brownbread mixtape shows, and handpicking some of the standout moments. (I was even cheeky enough to put one of my own poems in there from the Fringe show “Three Men Talking About Things They Kinda Know About”. More on that show and the unique creative process of writing a show collaboratively in this post.) The curation process was really hard and ended up being super subjective of course (but isn’t all curated content?) and I decided to not script my interludes, but instead to speak from the heart about how these poets and their work had connected with me. That conversational tone felt right for the piece and it flowed relatively well. Then once I found the haunting simple piano piece by Irish musician Elder Roche, it all seemed to click into place. The end result was something I am really proud of and I totally stand over today. I actually think it serves as a nice snapshot of the variety of spoken word in the country at that time. And it is a proper document now. Many of the poets have deservedly gone on to greater success as performers and published writers, which is so brilliant to see. They are listed below. Seek them out, they are all legends.
Here’s what Dave Lordan said about the documentary at the time:
“[the brownbread mixtape] is a very professionally run cabaret and it has featured many of the most engaging and entertaining live arts practitioners in the country. Kalle is an excellent host and curator, a fact proven by the popularity of the monthly event. Everybody wants a gig at The Brownbread Mixtape. [ … ] Kalle probably has the closest to an overview of performance poetry in Ireland and he was the obvious choice to make a showcase selection for Penduline.” – Dave Lordan, Guest Editor, Penduline
Here is a list of the poets in order of appearance:
1. Stephen James Smith – “The Gardener”
2. John Cummins – “Brink”
3. Abby Oliveira – “the television”
4. Karl Parkinson – “The Positivity Manifesto”
5. Raven – “High John”
6. Erin Fornoff – “Hymn to the Reckless”
7. Brian Conaghan – “Waiting for the penny to drop”
8. Colm Keegan – “Ireland Is”
9. Fergus Costello – “Extract from a letter to the fella that used to be married to my sister”
10. Kalle Ryan – Excerpt from “Three Men Talking About Things They Kinda Know About”
Here is the original link to the publication in Penduline Press:


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The BFI are set to bestow it’s highest honor on Cate Blanchett at this year’s London Film Festival. Blanchett will be the receipient of the BFI Fellowship Award, the award is given to individuals in recoginition of their contribution to film or TV.
Blanchett will make two appearances at the London Film Festival when Carol and Truth both play. Greg Dyke, BFI Chairman said, “Cate Blanchett is a compelling and brave actress whose mesmerizing screen presence has captivated audiences since her earliest roles. We are absolutely delighted to honor her extraordinary talents with a BFI Fellowship at this year’s LFF awards.”
The 2015 BFI London film festival runs from 7-18 October. The BFI Fellowship will be awarded on Saturday, October 17 at London’s Banqueting House.
Carol opens on November 20.


Wes Anderson’s Moonrise Kingdom is one of those rare movies that I would have been perfectly happy to sit through a second time the minute it was over. In fact, I wish I could have, because this is a film I don’t believe can be adequately assessed and written about on a single viewing. This is also a film that I approached with a certain amount of trepidation. As someone who considers Anderson a true American original and one of the top filmmakers of our era, I was frankly leery of the overwhelming critical praise that was being heaped on this one (even if some of it was qualfied and leaned heavily on that hateful word “twee”). I needn’t have worried. This is full-on Wes Anderson—and my immediate response is that it’s a masterpiece and the best film to come out so far this year.
So why the unusual enthusiasm for this Anderson film? Well, it’s certainly not a question of style. Moonrise Kingdom opens with one of the most Andersonian scenes ever, with his camera moving through the rooms of a shaved set to introduce the characters. It’s almost as if he’s deliberately inviting his detractors to kvetch about how he moves his characters around like figures in a dollhouse. I thought the opening was brilliant, charming and funny (part of Anderson’s sense of humor lies in how he shows things), but why this film played better for people who don’t, as a rule, like Anderson, I have no clue. Maybe the mitigating factor is that the story centers on children, and that the film is helped by a rather traditional climax. But who really knows? I’m simply guessing. What I’m not guessing about is how terrific the film is.
The film is unusual in at least two respects. Unlike Anderson’s other films that are set in a kind of wobbly present, Moonrise Kingdom takes place in a very specific time period, the summer of 1965. More, it has a stronger sense of deliberate autobiographical references than the others—or at least specific childhood occurences like the church performance of Benjamin Britten’s Noye’s Fludde and the discovery of the pamphlet on how to deal with a “very troubled child.” How seriously this should be considered is open to question, especially since the whole thing is distanced by being set four years before Anderson was born. And how important any of this finally is—especially in dealing with a filmmaker whose cinematic view of the world so often draws on a present that’s a great deal like the past, or like an idea of the past—may be open to question.
The story of two troubled children—Sam (Jared Gilman) and Suzy (Kara Hayward), who have bonded (mostly as pen pals) in their mutual outsider status, and decide to run away together—may perhaps relate to the childhood experiences of the Gwyneth Paltrow and Luke Wilson characters in The Royal Tenenbaums (2001). Here, however, that theme moves from background to the main story, and the bulk of Moonrise Kingdom is grounded in its account of first love and its mix of innocence and discovery. Truthfully, most romances in Anderson’s movies have a certain childlike innocence to them—and a childlike inarticulate quality—so it’s hardly a surprise that the children here often sound a good deal like Anderson’s adults, but there’s an extra level of charm this time. And there’s a degree of it all being something that audiences can relate to from their own pasts.
None of this is to say that there’s any shortage of adults with their own quirks. Indeed, the parents, authorities, and various concerned parties aren’t any more functional than the children. And, of course, there are some familiar Anderson players on hand—Bill Murray and Jason Schwartzman (who might almost be Rushmore Max Fischer gone slightly wrong). The surprise is how smoothly people like Bruce Willis, Edward Norton, Frances McDormand, and Tilda Swinton integrate into Anderson’s world where everyone takes everything—and themselves —very seriously indeed and are completely unaware of the absurdity of it all. Similarly, Anderson proves he’s just as at home with the music of Benjamin Britten as with Bowie, the Stones or the Kinks. Plus, the film has the usual feel of being something that might almost have been made in the 1970s. In other words, it’s very much a part of Anderson’s filmography. It’s also one of his best and most endearing works—and one I can’t wait to see again. Rated PG-13 for sexual content and smoking.


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THE RIGHT FORMULA FOR DIWALI!
Is there a proven, time tested formula for making blockbuster movies? That would make all our lives easier. But unfortunately there isn’t. Directors who have stuck to one rule have always struck gold. The movie must entertain. That is the critical and most cardinal criteria. Everything else comes second. Whether it is commercial or realistic cinema, the entire package has to be delivered with a style that keeps the audience engaged from title to end credits.
Going by the trend of 2011, the movies that have clicked have been great entertainers. Most first time directors seem to remember this. That is why we had Engeyum Eppothum, a sleeper hit, directed by Saravanan which kept us engrossed in the lives of four innocent victims falling prey to fate. Kumararaja scripted Aaranya Kaandam as a drug deal gone wrong but the events were strung so taut that we couldn’t look away even for a moment. Azhagarsaamiyin Kudhirai weaved a tale with Appukutty and his equestrian love. It was fresh and appealing. All three movies did not have star power. They banked completely on the script and story to pave their way to success. And they succeeded with aplomb.
But even movies with star power reigned high. Aadukalam is Dhanush’s finest performance till date. But Dhanush’s Mappillai was a disaster. Even he is aware that his presence alone does not guarantee a hit. Vettrimaran’s screenplay was so perfect that all the actors had to merely enact the lines. They added meat to their role by perfecting their portrayals. Deiva Thirumagal landed in Vikram’s lap and he leaped beyond his boundaries with his stellar performance. Yudham Sei, a crime thriller, had Cheran with a two line script. But if anybody can direct a thriller, Myskin can too.
These two sets prove that one does not need a proven actor or a huge star to make a super hit movie. As long as the actor can play his role to perfection and the story keeps the audience engaged, the director will deliver.
To illustrate this further we saw Engeyum Kaadhal, a romantic interlude set in Paris, crash. The location was poetic but the storyline was weak. The actors seem to jump in and out of scenes and the comedy was forgettable. Nootrenbadhu, a debut attempt by Jayendra left without making any impact. The visuals were stunning in both movies, the former strolled through the street of Paris and the latter sailed from Chennai to San Francisco. But that was not enough. Even a seasoned director like Bala could not make Avan Ivan shatter records. Bala’s movies are a class apart. Even if it is about a grave digger we watch the movie for the perfectionist he is. He interlaces a heavy storyline with superb humor but even he couldn’t work his magic with Avan Ivan.
If established directors can fail, new comers can deliver hits, what is it that keeps the pulse of the movie under check? Do all directors have to be good writers? KV Anand seems to agree, which is why he left the scripting of KO to Subha. The movie defied box office records and the twists and turns ensured repeat audiences. The songs added power to this blockbuster.
With the way 2011 is hurtling, there are surprise hits, sleeper hits and blockbusters. It seems to come from places we least expect. Diwali saw the release of two big stars – Vijay and Suriya. While Vijay plays the villager turned vigilante, Suriya delves into the roots of Bodhidharma. Which will click? Both have star power and seasoned directors. Velyutham’s songs are chartbusters but 7aum Arivu brings a sense of déjà vu which doesn’t sit well with avid listeners.
Vijay promises a commercial pot boiler which suits the festive mood while Suriya is food for thought. But the one that breaks records will be the one that entertains the most. Audiences want charming romance, rib tickling comedy, jaw dropping stunts and an engaging story line. Velayutham seems to be the perfect match and that is going to be my ticket for this Diwali. Bodhidharmar has to wait for another day.