Tuesday morning sunshine was streaming through the skylight portion of the bowed roof on the Jacobson Exhibition Center at the Iowa State Fairgrounds. Melting snow slid off the massive building’s edges in big chunks as a fleet of school buses began arriving from all corners of the district to deliver an elite force of middle school musicians.

They came to rehearse for last night’s All-City Middle School Music Festival. Besides the musicians a gallery of visual art was arranged for display in the building lobby. The annual fine arts event is a generous gift to DMPS from former school board member Marjorie Spevak that she just keeps on giving. You’ve probably heard the term student-athletes? Mrs. Spevak makes a regular point of honoring student-artists.

The musicians were divvied into a choir, a band and an orchestra and assigned separate practice spaces.

The band settled in at the Jacobson Center and after a rowdy arrival that was a mix of middle school hijinks and random, brassy tooting everyone got down to business under the direction of Richard Thimmesch, Director of Bands at Grandview University. Same thing next door with the singers where Stephen Sieck, Co-Director of Choirs at Lawrence University in Appleton, Wisconsin, blended a strong, choral voice out of the 168 squeaky, changing ones that got off the bus sounding more like the moo-sic that’s heard in that 4H building every August. Meanwhile, Joshua Reznicow, Director of Orchestral Activities for the Linn-Mar Community School District, was working his magic with the stringy warm-up bleats coming from the Walnut Center, up near the sheep barns.

All told, nearly 400 kids from eleven schools were selected by their music teachers to participate. They’d all been practicing the program selections at their home schools since the 2nd semester began in January so they came well-prepared. But until yesterday many of them had never met one another, let alone played together. As they tumbled off the buses, most no bigger than a cello, clad in hoodies and tennis shoes and lugging their instruments and a change of clothes, the cavernous venue looked too big for them. Each school’s delegation arrived and improvised campsite in a corner where backpacks and other gear were stowed.

By the time they broke for dinner each of the three ensembles was ready. They ate and horsed around. Then they changed into their blacks-and-whites. And finally, after weeks of separate practice, school-by-school; and one long crash, mass rehearsal, they made music together – enough to fill that big barn of a recital hall and then some.

Ryan Rowley is the district’s Fine Arts Coordinator; the DMPS Music Man, you could say. And he orchestrated quite a show last night, as per tradition. There weren’t seventy-six trombones (only seven) or a parade. But there were rows and rows of virtuosos and horns of every shape and size, etc. Yes folks, we got music, lots of it, right here in River City. Thanks to Spevak. That starts with ‘S’ and that stands for SCHOOLS!

Outside on the Jacobson Center entrance plaza is a sign that proclaims BUILDING FOR THE FUTURE. It wasn’t put there with this specific event in mind. But it might as well have been.

Cashing in a coupon for henna, D got her feet hennaed for her upcoming trip. Last time we did Indian, this time it was Moroccan slippers. I had really stringy henna paste so it was perfect timing. She's promised me after pics.

Emu Bottom Homestead is a historic homestead near Sunbury, in Victoria. Built around 1836, Emu Bottom is the oldest existing farmhouse constructed by settlers in Victoria. It was so named because it was on low lying ground which was the haunt of numerous emus. The main homestead and some of its outlying buildings were constructed from local stone, dry coursed with creek mud and stringy bark.

Emu Bottom is also a rare example of early Australian colonial architecture, with its twelve paned deeply recessed windows recalling the old world, whilst the homestead was also intelligently adapted to the new harsh Australian environment with its wide verandas and easterly aspect.

The building of Emu Bottom homestead commenced circa 1836. George Evans (1785 – 1876), who had arrived on the Schooner Enterprise from Van Diemen’s Land (now Tasmania) in 1835, settled near modern day Sunbury. Emu Bottom, later called Emu Vale, was occupied by George Evans, by squatting license, as one of many large squatting runs on Crown Land. In 1843, George Evans, then aged fifty-eight, married eighteen year old Anne Holden. Six children were born from the union and grew up at the homestead. After 1851, many squatting runs, including Emu Bottom, became available for outright purchase. To George Evans' dismay, “his” run was purchased by the immensely wealthy pastoralist W. J. T. Clarke. The homestead block of 640 acres stayed with George Evans, but this was hardly viable. In about 1860, George Evans leased the property and moved to operate the Royal Oak Hotel in Queen Street in central Melbourne. He died in Melbourne in 1876, but his family eventually returned to Emu Bottom. In 1916 the last of Evans’ son’s died and the property passed through several owners, being renamed “Holly Green.”

In 1968, the property was purchased by the current owners, and Holly Green was completely restored and was given back its original - if perhaps less poetic - name. During restoration, several discoveries were made including the original kitchen fireplace and oven, as well as some artifacts. Today the homestead and surrounds are managed as a reception centre.

I was dripping water out through a straw (I need to get an eyedropper :P), and I guess a little saliva made the water stringier.

I got my new Snap Shot II strobe light the other day. It's a great big thing, made for DJ's light systems. It makes a pretty good photo strobe, though. Nice and short but very intense flashes, up to 15 a second, and it can be controlled by my MAKE: Magazine strobe controller.

A composition for Wks 51 & 52 - ' Indoors / Outdoors' - set by the Compositionally Challenged Group.

A composition for December's Most Versatile - set by Sharon for the Compositionally Challenged Group

Our Xmas card display kit.

A sheet of polystyrene insulation, covered with Xmas wrapping, and some wire on the back to act as a hanger and support it's weight. By the end of Xmas it will completely covered in cards.

Since I took the photo the display has become well filled in, but it looks so much prettier here, with a bit of space, very much like Linda's collages do.

A handmade frame using Photoshop Elements 2021.

Overlay of stringy stuff that has a Xmas look added in Ribbet.

At Comic Con

So, here's my application for The Producer, since I did say I would upload it and all. God, I'm SO excited to get started.

You could say I'm... PUH-PUH-PUMMPED. Yeah, I've had quite a lot of soda today. YEY, WAHOOO, YIPPEE.

--

The wind gently caressed her pallid face. The soft breeze toying with her long blonde locks, teasing the curls as it touched them. Her eyes, glued shut from the rays of yellow light emitting from the sky above. Veiled was how they hid from the world, ignoring the sun. However, as her eyes remained closed, the brilliant sunlight would kiss them ever so softly. Keeping her entire body covered in a sweet blanket of warm, calm security. As the sun's energy entered her body, it filled her with a foreign hope. Hope she had never been exposed to previously in her short, innocent life.

--

Well, hope you guys who've read this enjoyed it. Special thanks to my friend Erin who proofread and make some nice little suggestions here and there. SHE RULEZ.

p.s - Fuckin' English exam tomorrow at 9:30 AM. FUKMAHLYFE.

[syn. Mariscus javanicus]

Polynesian Names: ʻAhuʻawa (Hawaiʻi); ʻEhuʻawa (Hawaiʻi), Mahele (ʻUvea); Māhelehele (Tonga); Māselehele (Futuna); Mauku tatau tai (Cook Islands); Moʻu haʻari (Society Islands); Mouku (Marquesas); Mouʻu (Austral Islands, Marquesas); Selesele (Samoa)

Cyperaceae

Indigenous to the Hawaiian Islands

Oʻahu (Cultivated)

Early Hawaiians pounded stems of ʻahuʻawa until they were only fibers and used them as strainers for ʻawa or niu (coconut), and as cordage. Fibers soaked for a few hours to free pulp, dried in the sun for a day or two, and then could be used. The fibers were very durable lasting two years or more. The cordage was used for cords (hāwele) or nets (kōkō puʻupuʻu) designed to carry ʻumeke (food or water containers).

The stringy fibers were also made into brushes to paint color onto tapa.

The leaves and seed/fruit were used in lei.

nativeplants.hawaii.edu/plant/view/Cyperus_javanicus

" We descended and entered. Within the church, long rows of fluted columns, like huge monuments, divided the building into broad aisles, and on the figured pavement fell many a soft blush from the painted windows above. I knew the church was very large, but I could not fully appreciate its great size until I noticed that the men standing far down by the altar looked like boys, and seemed to glide, rather than walk. We loitered about gazing aloft at the monster windows all aglow with brilliantly colored scenes in the lives of the Saviour and his followers. Some of these pictures are mosaics, and so artistically are their thousand particles of tinted glass or stone put together that the work has all the smoothness and finish of a painting. We counted sixty panes of glass in one window, and each pane was adorned with one of these master achievements of genius and patience.

The guide showed us a coffee-colored piece of sculpture which he said was considered to have come from the hand of Phidias, since it was not possible that any other artist, of any epoch, could have copied nature with such faultless accuracy. The figure was that of a man without a skin; with every vein, artery, muscle, every fiber and tendon and tissue of the human frame represented in minute detail. It looked natural, because somehow it looked as if it were in pain. A skinned man would be likely to look that way unless his attention were occupied with some other matter. It was a hideous thing, and yet there was a fascination about it some where. I am very sorry I saw it, because I shall always see it now. I shall dream of it sometimes. I shall dream that it is resting its corded arms on the bed's head and looking down on me with its dead eyes; I shall dream that it is stretched between the sheets with me and touching me with its exposed muscles and its stringy cold legs." --- Mark Twain

The bones in my legs crunch like hickory sticks when I slam into the ground, and GOD FUCKING DAMN does this shit hurt. I mean, like, my wrist's turned a full three-sixty and...oh... ok that's a little grosser looking at it again... and it feels like I have a shard of glass up my ass. Fuckin' Ariadne. She'll fucking pay, I swear. That is, of course if I can get my sorry ass outta this fucking alleyway. Maybe my goons are nearby? Naaah. They'll be out Zulu-Hunting, like I asked. Fuck me, that was a retarded idea...

For those who don't get the joke, the "prayer" is a modified version of Kendrick Lamar's masterpiece song, M.A.A.D. City. www.youtube.com/watch?v=10yrPDf92hY

Emu Bottom Homestead is a historic homestead near Sunbury, in Victoria. Built around 1836, Emu Bottom is the oldest existing farmhouse constructed by settlers in Victoria. It was so named because it was on low lying ground which was the haunt of numerous emus. The main homestead and some of its outlying buildings were constructed from local stone, dry coursed with creek mud and stringy bark.

Emu Bottom is also a rare example of early Australian colonial architecture, with its twelve paned deeply recessed windows recalling the old world, whilst the homestead was also intelligently adapted to the new harsh Australian environment with its wide verandas and easterly aspect.

The building of Emu Bottom homestead commenced circa 1836. George Evans (1785 – 1876), who had arrived on the Schooner Enterprise from Van Diemen’s Land (now Tasmania) in 1835, settled near modern day Sunbury. Emu Bottom, later called Emu Vale, was occupied by George Evans, by squatting license, as one of many large squatting runs on Crown Land. In 1843, George Evans, then aged fifty-eight, married eighteen year old Anne Holden. Six children were born from the union and grew up at the homestead. After 1851, many squatting runs, including Emu Bottom, became available for outright purchase. To George Evans' dismay, “his” run was purchased by the immensely wealthy pastoralist W. J. T. Clarke. The homestead block of 640 acres stayed with George Evans, but this was hardly viable. In about 1860, George Evans leased the property and moved to operate the Royal Oak Hotel in Queen Street in central Melbourne. He died in Melbourne in 1876, but his family eventually returned to Emu Bottom. In 1916 the last of Evans’ son’s died and the property passed through several owners, being renamed “Holly Green.”

In 1968, the property was purchased by the current owners, and Holly Green was completely restored and was given back its original - if perhaps less poetic - name. During restoration, several discoveries were made including the original kitchen fireplace and oven, as well as some artifacts. Today the homestead and surrounds are managed as a reception centre.

(Rollover picture)

Lobster tail poached in clarified butter. The shellfish is served on a bed of English peas and white onion. The dish is sauced with a sweet carrot broth.

Taste: I really loved this dish. The butter poached lobster tail was nice and plump, not stringy or tough at all. The peas were nice and firm, yet not raw-tasting. The best part was the sweet carrot broth, which added an earthy sweetness that really played off nicely against the sweetness of the lobster meat itself.

Tuesday morning sunshine was streaming through the skylight portion of the bowed roof on the Jacobson Exhibition Center at the Iowa State Fairgrounds. Melting snow slid off the massive building’s edges in big chunks as a fleet of school buses began arriving from all corners of the district to deliver an elite force of middle school musicians.

They came to rehearse for last night’s All-City Middle School Music Festival. Besides the musicians a gallery of visual art was arranged for display in the building lobby. The annual fine arts event is a generous gift to DMPS from former school board member Marjorie Spevak that she just keeps on giving. You’ve probably heard the term student-athletes? Mrs. Spevak makes a regular point of honoring student-artists.

The musicians were divvied into a choir, a band and an orchestra and assigned separate practice spaces.

The band settled in at the Jacobson Center and after a rowdy arrival that was a mix of middle school hijinks and random, brassy tooting everyone got down to business under the direction of Richard Thimmesch, Director of Bands at Grandview University. Same thing next door with the singers where Stephen Sieck, Co-Director of Choirs at Lawrence University in Appleton, Wisconsin, blended a strong, choral voice out of the 168 squeaky, changing ones that got off the bus sounding more like the moo-sic that’s heard in that 4H building every August. Meanwhile, Joshua Reznicow, Director of Orchestral Activities for the Linn-Mar Community School District, was working his magic with the stringy warm-up bleats coming from the Walnut Center, up near the sheep barns.

All told, nearly 400 kids from eleven schools were selected by their music teachers to participate. They’d all been practicing the program selections at their home schools since the 2nd semester began in January so they came well-prepared. But until yesterday many of them had never met one another, let alone played together. As they tumbled off the buses, most no bigger than a cello, clad in hoodies and tennis shoes and lugging their instruments and a change of clothes, the cavernous venue looked too big for them. Each school’s delegation arrived and improvised campsite in a corner where backpacks and other gear were stowed.

By the time they broke for dinner each of the three ensembles was ready. They ate and horsed around. Then they changed into their blacks-and-whites. And finally, after weeks of separate practice, school-by-school; and one long crash, mass rehearsal, they made music together – enough to fill that big barn of a recital hall and then some.

Ryan Rowley is the district’s Fine Arts Coordinator; the DMPS Music Man, you could say. And he orchestrated quite a show last night, as per tradition. There weren’t seventy-six trombones (only seven) or a parade. But there were rows and rows of virtuosos and horns of every shape and size, etc. Yes folks, we got music, lots of it, right here in River City. Thanks to Spevak. That starts with ‘S’ and that stands for SCHOOLS!

Outside on the Jacobson Center entrance plaza is a sign that proclaims BUILDING FOR THE FUTURE. It wasn’t put there with this specific event in mind. But it might as well have been.

The Mad Horologist's Lesson

This is a tale that the Ninimians tell to instill into the little gearwork girls and boys a “healthy distrust” of organic interlopers.

Long ago, in a time when the organics outside of Our Forest were still somewhat civil and properly structured, some of them practiced a strange form of medicine. These doctors of flesh built children of metal and wood; they were simple children of course, and they were called chronometers. These poor rudimentary creatures were capable of little more than keeping track of the passing of moments or crying out in alarm when a specific moment had arrived in the day.

The strange flesh men who created these gearwork offspring were called The Horologists, and they were feared and shunned within their lands because the other organics did not possess the understanding of regimentation and governance that we do. They could never build anything as civilized as Our Forest of sweet copper and bitter iron.

One day... one of these men of flesh, an Horologist to be precise, had found his way into Our Forest for the very first time. Now, the forest was much smaller then, and more innocent. Children were even allowed to leave if they wished, to play outside in the fields of organic sprawl.

So it was that the Horologist wandered freely past our marvelous dancing tree copses and came to a rest near the Black River. He had dabbled in gear medicine his whole life, even considered himself devoted to it, but being confronted by the reality of Our Forest was almost too much to bear. As he sat quietly within the tall humming pipe grasses on the bank of the Black River, he heard an unexpected noise behind him.

It was the ringing laughter of a young lady! It was untainted by the imperfections of the flesh, and it pierced soundly through his quickly beating heart.

He turned around and his jelly filled eyes met the visage of a well engineered brass female form bathing in the soothingly swirling oils of the Black River. She had previously removed some of her casework, so that her inner cogs and springs were exposed to the air, but she was more intrigued by the presence of the odd creature before her to be too concerned about such formalities.

When the Horologist saw that he had been noticed, he ducked lower into the pipe grass and began skulking away.

“Hello there!” she called out, waving an arm toward the man. “You needn't depart!”

The man paused. He slowly stood up and swiveled on his feet, “My apologies! I didn't intend to interrupt your... uh... private activity.” He grinned and bowed before her like a true gentleman should.

“Very well then!” she giggled, My name is Sah Trennial Raysofah, how may I address you, sir?”

The gentleman brushed his jacket down and ran his fingers through the long stringy fur that grew from the top of his head, “My name is Devlin Quicksilver, milady. Pleased to make your acquaintance!”

The two looked at each other for a moment, unsure of what to say or do next. A warm breeze carried the sound of a thousand ticking escapements from the slumbering gearwork trees in the fields around them. The lady stepped out of the stream onto the bank below him, thick inky oils running down her curves. The gentleman caught himself staring and hastily averted his gaze once more.

“You are a man made entirely of meat, are you not?” she asked curiously as she began to towel her frame dry.

The gentleman laughed, “Haha! I- I suppose I am, yes!” he then added, “I just have to say that I have never seen such a fantastic construction as you! M-may... may I ask who built you?”

Trennial dropped her towel and began up the short climb to where the man of flesh was standing. “Only if you will tell me who built you.”

Devlin turned to the woman as she approached him. “I was born... from the union of a human man and woman... so my parents built me, I suppose.” he looked her up and down intensely, he was captivated by the exposed cogs and levers as they performed their delicate concert within her. He felt a strange lust for an intimate knowledge of her that defied any rational thought.

She stepped right up to him and looked in his eyes directly, “My Learning Codex was created from an optimized combination of three mature Niminians who had bonded together and wished to create offspring. My intellect grew within the collective nodal sensory network of The Forest trees. Once I felt ready to experience the world unfettered, I engineered myself physically. My form was crafted by skilled artisans of metalwork and precision mechanics.”

The flesh man stared back into her eyes with conviction, “I can make you even better.”

A sly grin crept over Trennial's face, betraying her surprise and intrigue at the stranger's boast, “What does a meat-man know of Niminian medicine!?”

The story is continued on the next image...

I was having a hard time getting the full frame image to turn out so I took a close up shot.

Le Thon

Blue fin tuna tartar, bergamot red pepper confit with quail egg ($24)

Notes: Everyone has their sense of aesthetics. To me, this dish looked like a nightmarish creation of Salvador Dali - grotesque, fantastical and somewhat garish - as if it were alive, in its own strange way.

Okay, back to the food. The tuna was very clean tasting and fresh - everything glistened with just the right amount of oil and dressing. My one criticism of this dish - as with a number of others, is that it's terribly difficult to eat. Cutting through the egg, pepper and tuna was near-impossible. You either had to deconstruct everything or try and cut through and end up with a mess. We did the later. You can see the results here.

I joked with my friend about the "fence" of chives and julienned chorizo. The chives were tough and tasteless and ended up as floss in my teeth (read: extremely stringy); the chorizo, as I mentioned in the Le Calamar commentary, was dry and jerky-like. After all the silky tuna and pepper had melted away, you left flossing and chewing on these two elements. This distracting factor negated whatever flavor the chive and chorizo might have imparted.

Read the full review of this meal on my blog.

Very buttery crust that melts in your mouth. The pineapple jam was good too, but a bit stringy. Perhaps next time, we'd finely chop the pineapple instead of grating it.

Cashing in a coupon for henna, D got her feet hennaed for her upcoming trip. Last time we did Indian, this time it was Moroccan slippers. I had really stringy henna paste so it was perfect timing. She's promised me after pics.

Esh el Belbol: lebanese for "bird's nest". Fine stringy dough wrapped around pistachios and lightly fried.

Hard coral - Enallopsammia rostrata (amphelloides). A large brittle star and a green stringy material are seen. The green material may be a type of algae although the depth of water should preclude this.

Image ID: expn7396, Voyage To Inner Space - Exploring the Seas With NOAA Collection

Photo Date: 2016 0618 003151Z

Credit: NOAA Okeanos Explorer Program, 2016 Deepwater Exploration of the Marianas, Leg 3

* Best of 2006 * Dish

Read about this dish and the other 25 Best Dishes of 2006 on my blog.

Burrata cheese on garlick-y and very fresh olive oil grilled bruschetta. The cheese has been drizzled with Leccino extra virgin olive oil, sea salt and lemon zest. The bruschetta is accompanied with bagna cauda of spring vegetables.

Note: Yeah, this was just up my alley. The first time I had burrata was at blackbird, and I never looked back. This course, served cold, was excitingly satisfying, yet refreshing. The cheese was nice and tangy - and delightfully thick and stringy - very fresh and clean. The bruschetta, though a bit oily, was out-of-this-world garlicky.

I LOVED the bagna cauda - not only visually stunning, but also very flavorful. Slightly sour from a light pickling, the flavor of each vegetable really stood out. Also, the pickling rounded out the edge of the raw-crunchiness of crudite. The most enjoyable part of the bagna cauda, however, was a distinct fishiness that I suspect was either from a fish sauce or anchovies. (After asking, my server confirmed that it was anchovy - although my tastebuds still think it was Asian fish sauce...)

The Wellpoint pump: (The 2nd pump from top) is designed to pump clean water/effluent for a wellpoint dewatering system and lowers the groundwater table to drain construction excavations. It is designed to have the highest air handling capacities on the market and can pump water while removing air without shutting the pump down. A typical 6 inch wellpoint pump is capable of pumping 1500 gallons per minute with head pressures of 100 feet or more. The water being pumped by a wellpoint pump must be relatively clean. Well suited for: wellpoint dewatering and sock dewatering.

Trash Pump: (The 3rd red pump from the top) Designed to pump clean or dirty/trash laden effluent most models will pass 3 inch solids without becoming clogged. It can be used to pump sewage or sandy water. These pumps can handle clean, muddy, mucky or sandy water with solids up to 3 inches in diameter, they incorporate an open impller and wear plate. A 6 inch Trash pump is capable of pumping 1500 gallons per minute with 125 ft. of head. Trash pumps are widely used because of their reliability and versatility. Well suited for: flood drainage, sewage bypass, pumping polluted wastewater, and pumping settled sludge.

High Pressure Jet Pump: (The 4th red pump from top) Designed to be used as a fire pump, jet casings or wellpoints without drilling/digging, for use in agricultural irrigation systems, and use in mining and quarry applications where high head capacity is required. Jet pumps are powerful pumps capable of pressurizing large amounts of water with high head capabilities. A typical 6 inch jet pump is capable of pumping thousands of gallons per minute of clean water with several hundred feet of head or more. Standard pumps just aren’t designed to handle much more than a 100-ft head. As anyone in the mining industry knows, sometimes you can go up a hundred feet and still be a long way from the discharge point. The typical high pressure jet pump is equipped to achieve discharge heads well over 500 feet. You won’t find another pump type that’s better at pushing water that far uphill. Jet pumps for high head and extreme high head situations. Well suited for: quarries/mining, jetting wellpoints, jetting casings, pipe cleaning, pipe testing, water blasting, and marine construction.

Hydraulic Submersible Pump: (The lower black pump) Designed for dewatering applications in construction, mining and sewer rehab projects. The benefit of using a submersible pump is that they can be used in areas that would flood and disable a conventional pump. Power units can be installed and operated remotely for safety from flooding, ease of maintenance and fewer space restrictions at the point of pumping. A well designed 6 inch submersible will fit into manhole openings. Hydraulic driven pumps can be an effective solution for applications with high heads and are not affected by "suction lift limitations". A limitation of submersibles is that they must be pulled out for inspection. Well suited for: open pit, lake unwatering, manholes, flood control, mining, and sewer bypass pumping.

Non-Clog Pumps: (Top Pump) These pumps offer the best of both worlds easily able to fill the role of a wellpoint pump in wellpoint excavation dewatering, while also working in well for sewage bypass pumping, sumping, flood control applications, or any other application pumping trash laden effulent. Their non–clog impeller is capable of handling stringy materials and solids up to 3” and large clean out ports offer hassle-free removal of large debris over 3” without removing suction pipe or hose. Well suited for: wellpoints, flood control, sewer bypass, and sumping.

For more information and specs on these dewatering pumps please visit: www.griffinpump.com

Ranch Life Twilight Backdrop

(Summer Alpenglow)

This 220 pound “King” Corso Mastiff is one of 4 Mastiff’s of 2 different breeds living in our ranch compound with us currently. (Along with my nephews tiny poodle mix lolol). He was walking away from a a cool bath under that spigot after the last run of the day. (I have that bath on another similar image) Give the short haired dogs a few minutes to dry in the summer air and off to bed. Living with mastiffs has it’s big rewards with just a few detractions.

The Drool Thing:

As a rancher wearing ranch cloths, I don’t mind so much the drool issue.. If you’ve never been around Mastiffs that were bred by the Romans for war (not table manners), you haven’t experienced living with a salivating horse before. Generally they are clean enough for dogs but the strings of drool are impressive. I should have waited until after he drank to show the foot long strings that occur after eating or drinking. I bet there are some patentable characteristics for the sticky, stringy properties of Mastiff Drool.

So I’m sitting in my computer chair working while my wife is feeding the mastiffs. (they eat outside but we hand feed them meat rolls about a pound each. ). She let the dogs right in and the first thing the big one does is come over laying his head on my arm. I almost had to take a shower lololol. The command is now, “Wipey Wipe” after feeding BEFORE the dogs come back in. They don’t like their face wiped but they let us do it lol.

Location: Bliss DInosaur Ranch, Wyoming/Montana borderlands.

Title: Ranch Life Twilight Backdrop

blissphotographics.com/ranch-life-twilight-backdrop/

I befriended Gina during the Great Pillow Swap last year. She first got my attention when she posted this photo, because I thought, "hmm, this is actually exactly what I was thinking for my partner!" She then revealed a process pic of her project, and I was completely floored -- *I* was also planning to make a rainbow Lizzy House Meadow pillow for my partner, but Gina got there first! And look how amazing hers was already turning out to be!

So I got in touch with her just to share a chuckle about it. At first, I kind of asked her if she would mind if I made the same for my partner, and she was cool about it. (I ended up going somewhere else though.)

In the weeks after the swap, Gina and I thought it'd be fun to do a swap between ourselves -- I think we both like certain colours and designers, and we love fussy cuts. If you check out her stream, you'll see that she's played with all sorts of techniques and seems to have mastered all of them, really, so I was really excited because I think her workmanship is really amazing!

I sent Gina her pillow at the end of 2015. I had a few designs kicking around for awhile, but I ended up being very happy with my final product (I'll have to dig up the photos! I think I took them on my dad's camera, which is of course at his place. You can see Gina's photo here). And I just received Gina's -- look how incredible it is! It's funny that both our pillows ended up being super colourful, stringy and scrappy. I absolutely love the colours and brightness it brings to my living room, especially in the middle of winter.

Thank you so much, Gina! I'm so glad we swapped! I'll post photos of the back too...

(And I really need to buy more pillow forms! This one is all flat from years of use...And then I can display all my pillows at once!)

Born just a head,

a miracle they said,

to a shocked mum and I, his dad.

My poor son Rod, he

really had nobody,

and this made him lonely and sad.

'Listen son,' I'd confide,

'look on the bright side:

You've no worry of angina or gout.

Airfares? You've none,

because you travel "carry-on",

and your job modelling hats get you out.

‘But Dad’, he replied,

‘People are snide,

talk down to and make me feel small.

I’m a spineless freak,

who makes children shriek.

And I can’t play Twister at all.’

So we took him bowling,

(I thought it consoling),

and he scored a strike and a spare.

But he only grumbled,

that when the pins tumbled,

the impact had messed up his hair.

Yet it was at the above,

that he met his true love,

whilst cooling his bruises with ices.

Below the neck she was fare,

above: nothing there,

as she'd once lost her head in a crisis.

Mary wasn't shy,

she'd caught Rod's eye,

which she coquettishly re-inserted.

Then she gently appended,

him to where her neck ended,

and their symbiotic love was asserted.

But alack and alas!

Such love rarely lasts.

And on all-hallows-eve things came to a head.

While Mary lay dreaming,

Rod lay a-scheming,

he’d make her a meal, then ask her to wed!

So, with his mum's aid,

(now blind with old age),

a huge pumpkin pie they started to bake.

She groped for the filling,

but in error - quite chilling,

she grabbed our poor Rod by mistake.

And before I could stop ‘er,

she'd picked up a chopper,

cut him in two and scooped out the "seed".

He was cooked until tender,

puréed with a blender,

then back in the oven to finish the deed.

Now I couldn't tell his mum,

that she'd cooked her own son,

so, ‘He ran off with the circus’, I lied.

Yes, all were aggrieved,

yet all had agreed:

T'was the tastiest pie they'd e'er tried.

______________________________________________________________________________

Recipe for Rod Pie: Take a Mutant Mushroom (this had two stalks which when removed looked - to me - like empty eye sockets). Using your prefered graphics app. insert a ping pong ball for eyes and overlay with pupils/irises etc. (artists own). Merge in a reptile skin texture and cobwebs for the stringy bits round the eyes. And for that finishing touch you can't beat the old classic: tomato ketchup for blood. Voilà, one (slightly overcooked) portrait.

I just got my hair did (well highlighted from brown, not cut)..i need to get it cut, but they always take off too much!

ref: pixabay.com/photos/animal-tiger-big-cat-amurtiger-cat-292...

Deep Dream Output: deepdreamgenerator.com/ddream/dosgaeyhk3n

This time I got a little (well lot) of help from Deep Dream. Still, after resize, I added some of my own enhancements to the stringy. :)

This is a necromancer I have been working on. It took about 2-3 days to complete. I tried to keep the skin tones fairly pale, but around the eyes theres glazes of liche and warlock purple. The toxic/poison/gloop is made with UHU glue (the yellow and black one) and carefully put in place with a modelling tool, its very stringy sticky stuff so good for things like this and blood and gore. I tinted the clear glue with thraka green and a scorpian green + glaze medium wash

Nave foundation stone 27 Oct 1846 by Miss Fanny Conway of Jiddown Estate, architect Moses Garlick, opened 12 Sep 1847, consecrated 13 Mar 1849, tower by 1872, new bell 1896. First church of stringybark & shingles opened 4 Jul 1841 on land given by John Wickham Daw. Foundation stone Sunday School hall 21 Oct 1865, opened by Mar 1866, replacing earlier stringybark church/school. Church originally known as "St Mary's on the Sturt", later “St Mary's South Road”. Suburb named after the church.

“Church, erected by voluntary subscriptions, on the Onkaparinga road, mid-way between the river Sturt and the Brownhill creek, was opened for public worship, by the Rev. C. B. Howard, Colonial Chaplain. . . The structure of the Church is both simple and neat. It is composed of stringy bark, and is capable of accomodating [sic] almost two hundred and fifty persons. A Sunday School is attached to the Church, and a Day School is about to be established.” [Southern Australian 6 Jul 1841]

“Saint Mary’s Church. The foundation stone of this church was laid on Tuesday last in the village of St. Mary's, on the Sturt, and some few acres south of the old church. . . Saint Mary's Church, In the Village of St. Mary's, on the Sturt, County of Adelaide, South Australia. The foundation stone of this church was laid by Miss Conway, of Jiddown Estate, On Tuesday the 27th October, 1846, being the tenth year of the reign of our most Gracious Sovereign Queen Victoria. Lieut. Governor of South Australia-Major Robe.” [South Australian 30 Oct 1846]

“The foundation-stone of a church near the old wooden building known as St. Mary's Church was laid on Tuesday last, in the presence of the Colonial Chaplain, the Rev. Messrs Woodcock and Newenham, and some of the settlers in the neighbourhood.” [SA Gazette & Colonial Register 31 Oct 1846]

“A meeting was held on Wednesday, at St Mary's, on the Sturt, of the inhabitants of that district, to take measures for erecting a parsonage. The Rev. John Fulford has been licensed by the Lord Bishop of Adelaide for the cure of souls within the district It was resolved, after a lengthened and friendly discussion, to build on the glebe approaching Tapley's Hill — the situation being centrical for Christ Church, O'Halloran Hill, and St Mary's — which churches, for a time at least, will be supplied by the same clergyman.” [South Australian 8 Sep 1848]

“the Lord Bishop of the diocese performed the service of consecration at St. Mary's Church, on the Sturt, and afterwards preached to a large and most respectable congregation. The Very Rev. Archdeacon Hale, and the Rev. T. Fulford, bore part in the services of the day. The church, having accommodation for 130 persons, is exceedingly neat, and a very commodious parsonage house is nearly completed.” [South Australian 20 Mar 1849]

“the opening service at St. Mary's, Sturt River, on Sunday, September 12, 1846, was taken by the incumbent of St. John's (Rev. W. T. Woodcock). St. Mary's at that time being apparently an off-shoot from St. John's.” [Register 11 Feb 1928]

“St. Mary's Church Sunday-School, Sturt. . . The spot selected is situate a little to the north of the present church, being the site of the first church of St. Mary's.” [Register 4 Jul 1865]

“St. Mary’s Sunday-School, Lecture Hall, and Institute. The ceremony of laying the foundation-stone of the above building was performed by the Lord Bishop of Adelaide at St. Mary's, Sturt on Saturday afternoon. October 21. . . The site of the proposed building is a short distance north of St. Mary's Church. It was originally selected for the church, but circumstances occurred which caused the latter to be erected where it now stands. The new building is to front the west and its size is to be 22 by 42 feet. . . The style is Gothic. Messrs. Wright and Woods kindly prepared the plan.” [Register 23 Oct 1865]

“A tea and public meeting took place in the St. Mary's Schoolroom and Institute, Sturt, on Thursday evening, March 22.” [Advertiser 24 Mar 1866]

“As the designation of the Church — St. Mary's, Sturt — causes confusion, particularly in the Post-Office, letters so addressed being sent to the Sturt Post-Office, instead of the Edwards Town one. No fault, whatever, being attributable to the Post Office authorities; it was considered advisable to change the title to St. Mary's, South-road, and the Chairman was requested to write to the Secretary of Synod, with a view to all future Synodal communications being so directed.” [Advertiser 7 Apr 1866]

“Concert at St. Mary's, South-road. . . held in St. Mary's Hall, on the South-road, in aid of the funds of St. Mary's School.” [Register 20 Jul 1872]

“St. Mary's. Church, South-road. . . The tower of the church, for which subscriptions were raised a year or two ago, is now finished at a cost, including extras, of £65 5s. 3d. A new bell, weighing more than 1 cwt., recently sent out from England, will soon be hung up inside the tower.” [Advertiser 24 Apr 1873]

“a very successful fancy fair with music, singing, and tableaux, was held in St. Mary's Hall, South-road, with the object of raising funds for the purchase of a new bell for the church, the present one having been cracked in hanging some years ago.” [Advertiser 17 Apr 1896]

“the dedication service in connection with the new bell was held in St. Mary's Church, South-road, by Bishop Harmer, assisted by the Rev. W. S. Moore (incumbent), and the Rev. A. Honner.” [Evening Journal 14 Jul 1896]

“St. Mary's, South-road. . . thanks were also passed to those ladies and gentlemen who had taken put in the entertainments to raise funds for the new bell, and. . . to Messrs. Ragless, of Tonsley Park, for their kindness in not only flooring the bell tower, but also in providing wood for the same, and ladders to reach the bell floor.” [Advertiser 8 May 1897]

“Old St. Mary’s, as the Anglican Church on the South-road is affectionately called by the inhabitants of Edwardstown and district, is shortly to be embellished with stained-glass windows. The Church has been a familiar landmark for upwards of sixty years, and the present edifice, which replaced a wooden temporary structure over half a century ago, is the oldest ecclesiastical building still remaining intact in the province. Persons who hail from the old country are often carried back in imagination to their native villages when passing by its distinctly rural English aspect, with its orthodox square tower and picturesque churchyard.” [Evening Journal 26 Sep 1898]

“within a few days, the removal of one of the oldest landmarks alone the main road. For more than 80 years the original St. Mary’s Anglican Schoolroom has stood just past the angle where the South road is joined by Daw's road. . . Mr. Daw gave the land for the schoolroom, and for St. Mary's Church and rectory a little farther south. . . The schoolroom was used in the first place for church services and other purposes, afterward serving for many years as a school and for social gatherings. It is being taken down at last by the direction of the Succession Act Trustees as past repair.” [Register 11 Feb 1928 with photo p 14]

“More than £800 had been spent on renovations to the 106-year-old St. Marys Church of England, South road, St. Marys, before last night's fire. . . destroyed the south-eastern section of the ceiling and roof and burnt the church's historical records. The fire began in the vestry and quickly spread through the shingle, straw, and galvanised iron roof. . . The last service at the church was on Sunday, but the doors are never locked.” [News 3 Jun 1953]

“The church organ was extensively damaged by water. A woman member of the congregation has offered to bear the cost of restoring it. In addition to the damage to the building, elaborate needlework by the women of the church was destroyed.” [News 4 Jun 1953]

“The fire had destroyed baptismal, wedding and burial registers dating back to the 1840's, together with candlesticks, vestments and altar linen which were stored in the vestry.” [Advertiser 4 Jun 1953]

“The weekend arson attempt on SA's second-oldest church — St. Mary's Church of England on South road — is the thirteenth deliberate attempt to burn down churches in Adelaide in six years. . . But for Saturday night's fire, which destroyed a £200 organ, members of the congregation would this week have completed restoring the £3.000 damage caused by the earlier fire.” [News 5 Oct 1953]

“For the first time in years, the doors of St. Mary's Church of England on South road have been securely bolted following Saturday night's arson attempt.” [News 7 Oct 1953]

“An organ to replace the one destroyed by a fire in St. Mary's Church of England, South road, St. Marys, on October 5, has been given by Mr. H. M. Wood, of Greenhill road, Tusmore. . . Mr. and Mrs. Wood had offered to pay part of the cost of restoring the organ, which was in need of small repairs.” [Advertiser 19 Oct 1953]

Emu Bottom Homestead is a historic homestead near Sunbury, in Victoria. Built around 1836, Emu Bottom is the oldest existing farmhouse constructed by settlers in Victoria. It was so named because it was on low lying ground which was the haunt of numerous emus. The main homestead and some of its outlying buildings were constructed from local stone, dry coursed with creek mud and stringy bark.

Emu Bottom is also a rare example of early Australian colonial architecture, with its twelve paned deeply recessed windows recalling the old world, whilst the homestead was also intelligently adapted to the new harsh Australian environment with its wide verandas and easterly aspect.

The building of Emu Bottom homestead commenced circa 1836. George Evans (1785 – 1876), who had arrived on the Schooner Enterprise from Van Diemen’s Land (now Tasmania) in 1835, settled near modern day Sunbury. Emu Bottom, later called Emu Vale, was occupied by George Evans, by squatting license, as one of many large squatting runs on Crown Land. In 1843, George Evans, then aged fifty-eight, married eighteen year old Anne Holden. Six children were born from the union and grew up at the homestead. After 1851, many squatting runs, including Emu Bottom, became available for outright purchase. To George Evans' dismay, “his” run was purchased by the immensely wealthy pastoralist W. J. T. Clarke. The homestead block of 640 acres stayed with George Evans, but this was hardly viable. In about 1860, George Evans leased the property and moved to operate the Royal Oak Hotel in Queen Street in central Melbourne. He died in Melbourne in 1876, but his family eventually returned to Emu Bottom. In 1916 the last of Evans’ son’s died and the property passed through several owners, being renamed “Holly Green.”

In 1968, the property was purchased by the current owners, and Holly Green was completely restored and was given back its original - if perhaps less poetic - name. During restoration, several discoveries were made including the original kitchen fireplace and oven, as well as some artifacts. Today the homestead and surrounds are managed as a reception centre.

I’m quite sure that there should be a Helpline for anyone addicted to the 100 Strangers Project, as I was out again this afternoon looking for another one. I’m completely hooked! I saw a couple of people but they weren’t interested so I thanked them and continued my search. As I turned the corner into the road that has a restaurant in it with a terrace, I saw someone sitting at the table wearing a hat that looked interesting. As I got closer I realised that I recognised the hat and the man wearing it. It was a fellow Flickr member who lives in Etampes and I met for the first time a few years ago. I couldn’t possible call Jacky Corbel a stranger. But I did sit down for a chat with him and his friend.

Eventually after a long chat and a coffee I thought it was time I found this stranger and although some other people who I didn’t know joined us, none of them liked the idea of having their photos taken. So I left them and continued my search. Saw and asked some more people, but they said no too, by which time I had been out far longer than I intended to be, so turned round and headed home. Surely there’d be someone. Just as I turned into the main square I saw someone walking towards me who looked like a hopeful. When he was close enough I asked if he had some time and he asked why, so I explained and he said yes, he’d take part.

Meet Prince, he’s 32 and is a film director. He was born in Togo but lives in Germany and is in France making his first film. I forgot to ask why he was in Etampes, but my guess is that he was looking for locations for his film as Etampes has featured in several films already. He’s not married and hasn’t got any children. When he’s not working he writes his screenplays, watches TV and videos.

I looked around me for a place to take his photos the sun was right behind me, but it was going to make it uncomfortable for Prince. Being a film director and possibly a mind reader too he asked if I wanted to find a different location to take his photo. I do like taking photos of someone who know what he’s doing! So we moved into a small side road and I took my first photo of him. The background wasn’t great, a muddle of exterior air vents. The photo was OK, but I asked if we could move to a more attractive spot. No problem, so I moved him to another side road and took the other three photos. We looked through them and both agreed that the first and second were the best of the four I took. I have chosen the main shot as it was the best and the complimentary photo (my third of him) as he looked very similar in the first two I took and the last. I then asked what he hadn’t liked eating as a child and caught my last photo. He didn’t like a vegetable from Togo called “Gombo.” Apparently when it’s cooked it resembles cooked cheese and he didn’t like the stringiness of it.

en.wikipedia.org/wiki/Abelmoschus_esculentus

When I’d finished taking his photo I leant on a wall to write my notes and we chatted about this and that once I’d finished. Prince was really interesting and it was a pleasure to have met him. Another time I find a Film producer to photo I’ll take his word that a horrible looking alley might really be the best place to take his portrait. I gave him the details of where to find his photos and wished him good luck before we both went out separate ways.

100 Strangers (Round I) www.flickr.com/photos/44506883@N04/sets/72157627810663376/

100 Strangers (Round II) www.flickr.com/photos/44506883@N04/sets/72157632333365533/

100 Strangers (Round III) www.flickr.com/photos/44506883@N04/sets/72157634454644547...

100 Strangers Group www.flickr.com/groups/100strangers/

Merci beaucoup Prince.

no idea why it appeals to me to grow stuff from my food. (Hey my fridge is full of growing stuff ... way in the back... in generic honey tubs of unrecognizable leftovers. *ahem*)

Anyway, I eat cases of the ataulfa mangoes when they are in season because they are not stringy and hard like the big ones.

Turns out lots of people grow trees from the seeds. Not like you could ever get it hot enough here to do outside, but still -free fun!

[syn. Mariscus javanicus]

Polynesian Names: ʻAhuʻawa (Hawaiʻi); ʻEhuʻawa (Hawaiʻi), Mahele (ʻUvea); Māhelehele (Tonga); Māselehele (Futuna); Mauku tatau tai (Cook Islands); Moʻu haʻari (Society Islands); Mouku (Marquesas); Mouʻu (Austral Islands, Marquesas); Selesele (Samoa)

Cyperaceae

Indigenous to the Hawaiian Islands

Oʻahu (Cultivated)

Early Hawaiians pounded stems of ʻahuʻawa until they were only fibers and used them as strainers for ʻawa or niu (coconut), and as cordage. Fibers soaked for a few hours to free pulp, dried in the sun for a day or two, and then could be used. The fibers were very durable lasting two years or more. The cordage was used for cords (hāwele) or nets (kōkō puʻupuʻu) designed to carry ʻumeke (food or water containers).

The stringy fibers were also made into brushes to paint color onto tapa.

The leaves and seed/fruit were used in lei.

NPH00001

nativeplants.hawaii.edu/plant/view/Cyperus_javanicus

1. More Doll Parts, 2. it's a new day, it's a new dawn, it's a new year, 3. Corbeau, 4. Freedom, 5. ., 6. Forced heart, 7. ., 8. piña, 9. colorless butterfly, 10. Hairy Interfaces and Stringy Molecules, 11. vintAGE beauties 083, 12. Let's All Dredge, 13. 4- Miudos - kids14. Not available15. Not available16. Not available

Created with fd's Flickr Toys

(Rollover picture)

Main lobster tail "cuite sous vides" sauced with a saffron-vanilla emulsion and topped with a tempura Arrowleaf spinach leaf. The lobster is accompinied by a perfectly round ball of wilted Arrowleaf spinach.

Notes: My companions and I were slightly disappointed in the slightly tough and stringy lobster meat. I don't know how the meat could have been so tough in light of its sous vides treatment - unless the temperature was set a bit high? I don't know. Not to keep comparing it against its sister restaurant, I'd have to say that I liked the shellfish dish at Per Se ("Langoustine") infinitely better than this lobster course at The French Laundry.

While you can never get enough of a good thing, I found the whole vanilla sauce with lobster just a bit tired, after having seen it played out in numerous other restaurants by chefs like Morimoto and Rick Tramonto

Like so many other courses at The French Laundry, I found the side element(s) to be more compelling. The ball of wilted spinach was stellar - agreed by all in my party.

Tuesday morning sunshine was streaming through the skylight portion of the bowed roof on the Jacobson Exhibition Center at the Iowa State Fairgrounds. Melting snow slid off the massive building’s edges in big chunks as a fleet of school buses began arriving from all corners of the district to deliver an elite force of middle school musicians.

They came to rehearse for last night’s All-City Middle School Music Festival. Besides the musicians a gallery of visual art was arranged for display in the building lobby. The annual fine arts event is a generous gift to DMPS from former school board member Marjorie Spevak that she just keeps on giving. You’ve probably heard the term student-athletes? Mrs. Spevak makes a regular point of honoring student-artists.

The musicians were divvied into a choir, a band and an orchestra and assigned separate practice spaces.

The band settled in at the Jacobson Center and after a rowdy arrival that was a mix of middle school hijinks and random, brassy tooting everyone got down to business under the direction of Richard Thimmesch, Director of Bands at Grandview University. Same thing next door with the singers where Stephen Sieck, Co-Director of Choirs at Lawrence University in Appleton, Wisconsin, blended a strong, choral voice out of the 168 squeaky, changing ones that got off the bus sounding more like the moo-sic that’s heard in that 4H building every August. Meanwhile, Joshua Reznicow, Director of Orchestral Activities for the Linn-Mar Community School District, was working his magic with the stringy warm-up bleats coming from the Walnut Center, up near the sheep barns.

All told, nearly 400 kids from eleven schools were selected by their music teachers to participate. They’d all been practicing the program selections at their home schools since the 2nd semester began in January so they came well-prepared. But until yesterday many of them had never met one another, let alone played together. As they tumbled off the buses, most no bigger than a cello, clad in hoodies and tennis shoes and lugging their instruments and a change of clothes, the cavernous venue looked too big for them. Each school’s delegation arrived and improvised campsite in a corner where backpacks and other gear were stowed.

By the time they broke for dinner each of the three ensembles was ready. They ate and horsed around. Then they changed into their blacks-and-whites. And finally, after weeks of separate practice, school-by-school; and one long crash, mass rehearsal, they made music together – enough to fill that big barn of a recital hall and then some.

Ryan Rowley is the district’s Fine Arts Coordinator; the DMPS Music Man, you could say. And he orchestrated quite a show last night, as per tradition. There weren’t seventy-six trombones (only seven) or a parade. But there were rows and rows of virtuosos and horns of every shape and size, etc. Yes folks, we got music, lots of it, right here in River City. Thanks to Spevak. That starts with ‘S’ and that stands for SCHOOLS!

Outside on the Jacobson Center entrance plaza is a sign that proclaims BUILDING FOR THE FUTURE. It wasn’t put there with this specific event in mind. But it might as well have been.

I posted this for natural history interest value - not sure if others would agree with me, but I find it fascinating.

3 species of Humpback whale specific ectoparasites.

The round barnacles are probably Coronula diadema, but surprisingly, the stringy bit hanging off them is probably a Rabbit-ear barnacle (Conchoderma auritum) which are ectoparasites which are specific to the big round barnacles, which are themselves specific to humpback whales!

The little crabby things are probably Cyamus boopis.

All are 100% crops from photos of live and swimming adult Humpback whales.

Thanks to www.tonywublog.com/journal/whale-lice-and-barnacles-on-gr... with info on all these parasites.

Product Feature

*ADVANTAGES OVER MANUAL SYSTEM*

Decrease in manpower:

By keeping only three labours, you can do weighing, bagging/batching and stitching with accuracy level of plus or minus 0.05%, bagging/batching rate of up to 500-600 bags/batches per hour. (Bagging/Batching rate depends upon the efficiency of the labour)

Fully automated line:

By installing this bin system in your concern, you can convert your weighing, bagging/batching, stitching and conveying up to your godowns or storage places all in one line.

Reduced in wastages:

By doing your bagging/batching in automatic manner, you can reduce the spillage wastages as well as leakage wastages because of using hooks and you keep your bagging/batching house/station neat and clean.

Computer & Printer Connectivity:

Computer & Printer Connectivity for Reporting & feedback function.

Product Specification/Models

This System is capable of Weighing/Batching/Bagging of any Bulk, Powder & Liquid Materials from 10kg to 1000kg.

There are different models depending upon particular application e.g. one of model is suitable for weighing from 10 to 100kg. Other model is suitable for more 100kg weighing i.e. Jumbo Weiging/Bagging.

There can following types:

1) Net type

2) Gross type

3) Batch type

4) Continuous type

Application

This system is applicable to All the industrial sectors where Weighing/Bagging/Batching of materials is carried out.

Other Information

*Materials Handled*

Depending upon Bulk material characteristics

Size

Very fine – 100 mesh & under

Fine 3mm & under

Granular – 12 mm & under

Lumpy containing lumps over 12 mm

Irregular – being fibrous, stringy or the like

Flowability

Very free flowing

Free flowing

Sluggish

Abrasiveness

Non-abrasive

Mildly abrasive

Very abrasive

Other Characteristics

Contaminable, affecting use or saleability

Hygroscopic

Highly corrosive

Mildly corrosive

Gives off dust or fumes harmful to life

Contains explosive dust

Degradiable, affecting use of saleability

Very light & fluffy

Interlocks or mats to resist digging

Aerates & fluidized

Packs under pressure

Liquids – Viscous, Non-viscous

*Here is list of some of the Bulk materials which we can handled & stored by using our 'Bulk Handling & Storage System' are as per given below:*

SN BULK MATERIAL

1 Sugar

43 Lime, agricultural, 3mm & under

2 De-oiled rice bran

44 Lime pebble

3 Ammonium chloride, crystalline

45 Limestone, crushed

4 Ammonium nitrate

46 Limestone dust

5 Ammonium sulphate 47 Phosphate, rock

6 Ashes, coal, dry, 12mm & under

48 Phosphate sand

7 Ashes, coal, dry, 75mm & under

49 Phosphate, rock, pulverized

8 Ashes, coal, wet, 12mm & under

50 Potassium chloride, pellets

9 Ashes, coal, wet, 75mm & under

51 Potassium carbonate

10 Asphalt, crushed, 12mm & under

52 Potassium nitrate

11 Bauxite, Benzine hexachloride

53 Potassium sulphate

12 Bicarbonate of soda

54 Pyrites, pellets

13 Bagasse

55 Salt, common, dry course

14 Calcium carbide

56 Salt cake, dry, coarse

15 Carbon black, pelletized

57 Salt, common, dry fine

16 Carbon black powder

58 Salt cake, dry, pulverized

17 Cinders, coal

59 Sand, bank, dry

18 Cinders, blast furnace

60 Sand, bank, dump

19 Coal, anthracite

61 Sand, silica, dry

20 Coal, pulverized

62 Silica gel,

21 Coal powdered

63 Soda ash, heavy

22 Coal, bituminous, mined, slack 12mm & under

64 Soda ash, light

23 Coal, bituminous, mined, run of mine

65 Sodium nitrate granular, Sodium Silicate

24 Coal, bituminous, mined, sized

66 Sulphur crushed, 12mm & under

25 Coal, bituminous, stripping, not cleaned

67 Sulphur, 76mm & under

26 Coal char

68 Sulphur, powdered

27 Coke loose

69 Trisodium phosphate

28 Coke breeze

70 Triple superphosphate

29 Cement

71 Fertilizer, Urea, prills

30 Cement clinker

72 Ammonium nitrate, prills

31 Copper sulphate, ground

73 Calcium, ammonium nitrate

32 Dicalcium phosphate

74 Diammonium phosphate

33 Disodium phosphate

75 Nitrophosphate (suphala)

34 Ferrous sulphate

76 Double salt (ammonium sulphate nitrate)

35 Flue dust, boiler house, dry

77 Single superphosphate (S.S.P.), granulated

36 Fly ash, pulverized

78 Barley

37 Gypsum, calcined, 12mm & under

79 Wheat

38 Gypsum, calcined, powdered

80 Rice

39 Gypsum, raw, 25mm & under

81 Paddy

40 Lime, ground, 3mm & under

82 Maize

41 Lime, hydrated, 3mm & under

83 Corn

42 Lime, hydrated, pulverized

84 Wheat flour

& many more...

the new 365 project 2026 6/8/26

Primnoid coral - Family Primnoidae, Narella sp. - with green stringy material.

Image ID: expn7408, Voyage To Inner Space - Exploring the Seas With NOAA Collection

Photo Date: 2016 0618 030208Z

Credit: NOAA Okeanos Explorer Program, 2016 Deepwater Exploration of the Marianas, Leg 3

Sides of the chest plate lace up with a thin leather cord. The D-rings on the insides are held in place with bands of wonderflex

Text below taken from DECC website

Camfield's Stringybark - profile

Scientific name: Eucalyptus camfieldii

Conservation status in NSW: Vulnerable

National conservation status: Vulnerable

Description

Mostly mallee to 4 m tall though can grow to a straggly tree to 9 m high. Bark is rough, fibrous and stringy, red or dark grey-brown. Juvenile leaves round to heart shaped and roughly hairy. Adult leaves broadly lance-shaped, to 10 x 3 cm, glossy green. Flowers creamy-white. Buds egg-shaped, stalkless, to 8 mm long in clusters of 11 or more; bud caps conical. Fruit flattened, globe-shaped, to 9 mm across, with valves enclosed or with tips protruding.

Location and habitat

Distribution

Restricted distribution in a narrow band with the most northerly records in the the Raymond Terrace Area south to Waterfall. Localised and scattered distribution includes sites at Norah Head (Tuggerah Lakes), Peats Ridge, Mt Colah, Elvina Bay Trail (West Head), Terrey Hills, Killara, North Head, Menai, Wattamolla and a few other sites in Royal National Park.

Habitat and ecology

* Poor coastal country in shallow sandy soils overlying Hawkesbury sandstone. Coastal heath mostly on exposed sandy ridges.

* Occurs mostly in small scattered stands near the boundary of tall coastal heaths and low open woodland of the slightly more fertile inland areas.

* Associated species frequently include stunted species of E. oblonga Narrow-leaved Stringybark, E. capitellata Brown Stringybark and E. haemastoma Scribbly Gum.

* Population sizes are difficult to estimate because its extensive lignotubers may be 20 m across. A number of stems arise from these lignotubers giving the impression of individual plants.

* Flowering period is irregular, flowers recorded throughout the year.

* Poor response to too frequent fires.

A bit moist but not too dry and stringy meat.

Chez Bob

22 Beatty Ave

Armadale, VIC 3143

Mon-Sat 12:00pm- 2:30pm

Mon-Sat 6:00pm-11:59pm

Tel: (03) 9824-8022

Tuesday morning sunshine was streaming through the skylight portion of the bowed roof on the Jacobson Exhibition Center at the Iowa State Fairgrounds. Melting snow slid off the massive building’s edges in big chunks as a fleet of school buses began arriving from all corners of the district to deliver an elite force of middle school musicians.

They came to rehearse for last night’s All-City Middle School Music Festival. Besides the musicians a gallery of visual art was arranged for display in the building lobby. The annual fine arts event is a generous gift to DMPS from former school board member Marjorie Spevak that she just keeps on giving. You’ve probably heard the term student-athletes? Mrs. Spevak makes a regular point of honoring student-artists.

The musicians were divvied into a choir, a band and an orchestra and assigned separate practice spaces.

The band settled in at the Jacobson Center and after a rowdy arrival that was a mix of middle school hijinks and random, brassy tooting everyone got down to business under the direction of Richard Thimmesch, Director of Bands at Grandview University. Same thing next door with the singers where Stephen Sieck, Co-Director of Choirs at Lawrence University in Appleton, Wisconsin, blended a strong, choral voice out of the 168 squeaky, changing ones that got off the bus sounding more like the moo-sic that’s heard in that 4H building every August. Meanwhile, Joshua Reznicow, Director of Orchestral Activities for the Linn-Mar Community School District, was working his magic with the stringy warm-up bleats coming from the Walnut Center, up near the sheep barns.

All told, nearly 400 kids from eleven schools were selected by their music teachers to participate. They’d all been practicing the program selections at their home schools since the 2nd semester began in January so they came well-prepared. But until yesterday many of them had never met one another, let alone played together. As they tumbled off the buses, most no bigger than a cello, clad in hoodies and tennis shoes and lugging their instruments and a change of clothes, the cavernous venue looked too big for them. Each school’s delegation arrived and improvised campsite in a corner where backpacks and other gear were stowed.

By the time they broke for dinner each of the three ensembles was ready. They ate and horsed around. Then they changed into their blacks-and-whites. And finally, after weeks of separate practice, school-by-school; and one long crash, mass rehearsal, they made music together – enough to fill that big barn of a recital hall and then some.

Ryan Rowley is the district’s Fine Arts Coordinator; the DMPS Music Man, you could say. And he orchestrated quite a show last night, as per tradition. There weren’t seventy-six trombones (only seven) or a parade. But there were rows and rows of virtuosos and horns of every shape and size, etc. Yes folks, we got music, lots of it, right here in River City. Thanks to Spevak. That starts with ‘S’ and that stands for SCHOOLS!

Outside on the Jacobson Center entrance plaza is a sign that proclaims BUILDING FOR THE FUTURE. It wasn’t put there with this specific event in mind. But it might as well have been.

Two pumpkins today. Right arm is now completely numb. But so worth it. Poor guy is wearing an eye patch because the pumpkin meat got really stringy there and came off in big chunks. oops. need more practice.

08/14/2010 -- I've been holding off on cutting my hair for quite some time. Like 2 days after Gunner was born (Feb. 19, 2009) I cut all my hair off to about this length! As of today.. it was almost to the top of my buttcrack (haha). It was getting rather thin toward the bottom & stringy, honestly. I got hot & irritable this morning while getting ready for work & being the amazing self-proclaimed BEAUTICIAN that I am, I cut my hair! Like I told a friend of mine, Alyssa, I've been cutting it since I can remember. I think I was 12 or 13 when I started cutting it! As long as it's either straightened, or FIXED wavy & not straight out of the shower, it looks good. Straight out of the shower, it curls up like horns on the sides of my forehead & I hate it, haha.. but it's always done that.

Anyway, I think it looks pretty good! Sean told me I need to start taking "prenatals because they make your hair grow" haha. He was so upset that I had cut it! But lord, prenatals? I'd end up pregnant when just trying to make my hair get longer! Lol. Either way, it'll grow back! :p

There are two main types of pieces in this vintage jigsaw - smooth and not smooth! When I flipped this jigsaw in the portapuzzle the beauty of the mahogany backed ply was revealed - along with the accurate line-cutting and the continuous cutting in the complex colour areas.

The pieces are generally quite large and completely filled my jigsafe (including the lid). The assembled jigsaw occupied most of a '1000pc portapuzzle'.

I started by working on all the complex pieces, by colour, which produced many 'islands'. Putting these 'islands' together with the more obvious smooth push-fit pieces led to the assembly of a good portion of the image as you can here. It was hard not to remember that the Puritan was sitting on a bench on the left, but I couldn't remember the order of the ladies by dress colour, or the order of their faces by the direction of their gazes or their hair colour. It was straightforward to work out once I'd started with the lady in pink.

Putting together the stringy bits of cobbles allowed the lower edge to be completed and located the Puritan's shoes, although I expected the stockings to be white. Finishing the cobbles gave me the outline of his legs so the whole black area I'd joined up went in. It was then simple to fill in the bench and white parts. The upper background slotted around the hair of the girl in turquoise. There wasn't much left at all then, but the line-cut push-fit areas were more tricky to assemble than the complex shapes.