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"I will devour you."
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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.
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 was first taken by the appearance of these rolls that could pass as the distant cousin of the Green Giant (but edible). Perhaps spinach juice was used to colour the normally white opaque noodle wrapping, but the greener version made me feel healthy just eating the silky sheets. Just cooked meaty grouper slices remained moist while the snow pea sprouts were a little past wilted (pretty good as they could be stringy (aka old) or mushy (i.e. over cooked)) that added a slight body to the slippery dish. The plate came naked as seen which was a positive thing to note because any soy dressing would mask the innate sweet flavours of the fish slices or the tender sprouts. I would have preferred to have had it with a touch of chili (I love chili) but this was pretty good on its own.
Seen on: blogto.com/toronto/the_best_dim_sum_in_toronto/
Seen in: www.torontolife.com/daily/daily-dish/food-porn/2009/05/01...
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.
Good Morning,
It was a weekend of hikes.
A short 20 minute drive, east from our house, gets you up into the northern reaches of the Santa Cruz Mountains. We love these mountains because they act as a fog break for us. When Half Moon Bay is socked in, we're usually enjoying sun in Belmont. While we've loved them from a distance, this weekend we took two hikes to explore them - up close and personal.
Nana & Cha-Cha were kind enough to take the kids to a movie on Friday night. This let Chelsey & I head out on a date. Again we ventured up into the mountains to go for a hike. We walked along the Russian Ridge trail for a few miles in the wind and clouds. We talked about our plans for the waning days of Summer and beyond. Dinner was burgers and a nice glass of wine at the fantastic Mountain House restaurant. We wrapped up the day with a hug and a kiss goodnight to the kids.
On Saturday morning, the boys and I jumped in the car and set off to explore the Tunitas Creek Redwoods. The boys powered through solid 2 mile hike. We covered a good bit of vertical terrain. We counted 8 banana slugs. Listened to birds. We looked under fern fronds for their see pods. We checked out several species of lichen and moss -- the boys giggled when they learned that the long, stringy moss, hanging from the Madrone trees is call Old Man's Beard. It was a great way to start our weekend.
Sunday, the boys decided they wanted me to teach them how to shave. I took the blade off the razor. Lathered them up. And let them have at it. It was pretty hilarious.
Sunday night, Sharon & Kenbo hosted us for Sunday Family Dinner. The boys loved playing with Alex & Evan. We enjoyed catching up with Kenbo, Sharon, Aunt Leslie, and with Auntie Cookie and Carolyn who had dropped Samantha off at Berkeley for her Sophomore year.
Great day. Great weekend. Great life.
We're lucky.
Love to you all.
Mike
As always, you can see all our photos here: www.flickr.com/photos/michaeltadlock/albums/7215765541229... and here:
St Mary’s before tower completed.
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. [Photo from State Library of SA: B-12574 (1857)]
“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]
1/4c water
1/4c sugar
bring just to boil
add 1/2 to 1c peanut butter, 1/3c icing sugar.
Mix until creamy.
Add milkshake mixings to blender. Ice cream, milk, healthy dose of vanilla, all to your preference.
Add dose of peanut butter syrup, to your preference.
Blend.
Pour into glass.
Add spoonful of peanut butter syrup to make "stringy" throughout milkshake.
Feel your ass getting bigger.
Optional: add oreo cookies towards end of blending (to leave bite sized chunks)
Natto (納豆) is not recommended for work. It really stinks the place up.
Natto is fermented soy beans. A bacteria similar to that used to culture yogurt or some cheeses is applied to the soybeans and left to "culture" the beans after they've been steamed. The result is a gooey, sticky, stringy, smelly clump of natto. It smells something like wet gym socks, but the rich taste is wonderful to those who like it.
I grew up on the stuff so naturally I like it. My son loves it also. My wife and daughter both complain about how much it stinks the place up when I eat it at home.
There are some things that are passed down for generations because of family tradition; then there’s Porzia’s “pizza” di nonna ($10), chef Basilio Pesce’s nostalgic tribute to his grandmother’s version of the baked bread.
(Side note from chef Pesce: “Anything that was made with dough or had flour in it she called pizza, in her limited English”)
Pesce tweaked the original recipe – using half the butter and incorporating potato and a chilled step to rest the dough – and stuffs a stringy layer of Swiss and Parmesan cheeses with salty punches of mortadella and prosciutto between two buttery moist halves of brioche dough.
The result: a rich, greaseless stuffed focaccia-like pastry that has a flaky crust, tender crumb, mouth-watering yeasty aroma, and an oozy center that’s cut by a loose, slightly acidic and bitter seasonal salad. (On this visit: a shredded mix of Brussels sprouts, Treviso (variety of radicchio) and sliced radish tossed with a pickled mustard seed vinaigrette.)
Fun fact: Porzia’s (anti-)brunch menu that launches this weekend (April 21) will feature variation of the pizza.
UPDATED February 2022
FLICKR
The Active, a 49 ton ketch, was built by William Woodward of Cockle Creek (n.b. Register records location as Coral Creek but William Woodward’s yard was at Cockle Creek, Brisbane Water (Kincumber).
She was completed ready for service on the 12th January 1877. Her greatest feature was a shallow draft that allowed her to operate across shallow bars. After a long service of 20 years, she sank at the entrance to Newcastle Harbour on January 19th 1898 and was completely wrecked.
DETAILS
Official Number: 74902
Registered Sydney 1877/01
Length: 67.6 ft
Breadth: 17.6 ft
Depth in Hold: 6.2 ft
Under Deck tonnage: 46.56 tons
Register tonnage 49.19 tons (139.21 cu. m.)
n.b. 1 shipping ton = 100 cu. ft. or 2.83 cu. m.
Builder: William Woodward of Cockle Creek, Brisbane Water
OWNERS:
1877 William Woodward
Sold March 1877 to William Henry Fisher (Shoalhaven)
Sold May 1879 to George Fisher (Sydney)
Sold June 1880 John Smith (32 shares) and Thomas Moorhead - Bermagui (32 shares))
Sold September 1882 to Thomas Moorhead (32 shares) and John Breckenridge, Cape Hawke (Sawmiller Forster) (32 shares)
Sold September 1882 to John Breckenridge, Cape Hawke, Forster (64 shares)
Wrecked 19th January 1898 while entering Newcastle harbour
AUCTIONS 1877 and 1879
In February 1877 the Active was put up for Auction
NEW KETCH. JUST ARRIVED FROM BRISBANE WATER.
Built under special superintendence by Mr. Woodward.
GILCHRIST, STUBBS, and WESTON will sell by auction, at the Rooms, THIS DAY,
February 2, at 11 o'clock,
That excellent ketch, launched this month from Woodward's Yard, Brisbane Water, and now, lying off Pyrmont Bridge. This vessel, coppered and copper fastened, is of the following dimensions:
Length, 76 feet over all
beam, 18 feet
Depth of hold, 6 feet 4.
She can receive down her main hatch 40 feet girders, is faithfully built, and suited especially for our coasting trade. Terms at sale.
The Sydney Morning Herald (NSW : 1842 - 1954) Fri 2 Feb 187.
The Active was put up for auction again in May 1879 and was presumably purchased by George Fisher. The following advertisement details the auction
THURSDAY May 1, at the City Mart.
Fast-sailing Ketch ACTIVE, 49 tons register, carries 650 bags maize, or 25,000 feet timber.
Recently repaired, refastened, and metalled, and now in fine order for sea.
By order of the mortgagee.
FRASER and CO. will sell by auction, at the City Mart, on THURSDAY, May 1, at 11 o'clock, The fast-sailing ketch ACTIVE, with gear, stores, &c.
A good chance for the coasting trade now opening.
Inventory at Rooms. Terms at sale.
The Sydney Morning Herald (NSW : 1842 - 1954) Sat 26 Apr 1879
KETCH ACTIVE DELIVERS PROVISIONS FOR BERMAGUI GOLDFIELDS
The Active regularly traded between Sydney and Bermagui. Her shallow draft allowed her to cross the bar while steamers such as the Australian had to stand off shore. The following extract describes the Active’s role
“Hitherto only one small vessel regularly traded to this small port - a craft known as the Active - and she generally managed to make good weather over the bar. A strong
southerly would check a vessel entering the port, but the headland would afford shelter. Mr. Moorehead has for over eight years carried on a sawmill on this river, employing several men. There are good forests of spotted gum near at hand, and stringy and iron bark
trees too abound. The Active's trade consisted of bringing down stores and returning with sawn timber and dairy produce.” The Sydney Morning Herald (NSW : 1842 - 1954) Fri 8 Oct 1880
During the 1880 gold rush to the Montreal goldfields, north of Bermagui, large numbers of diggers (searching for gold) descended on Bermagui. At one stage supplies were particularly short as reported “The Kameruka arrived on Thursday morning with 150 diggers. The Australian came in in the evening with another hundred, and the Illawarra landed another hundred this morning. The passage per G. and B. Nicoll's boats is 20s, but I hear that it is considerably higher by the I. S. N. Co. Although — owing to the uncertain means of landing goods — provisions were scarce on Saturday, and flour not to be had for love or money, at 4 o'clock in the afternoon; yet they are reasonable in price, and the arrival of the Active, ketch, has again made them plentiful.” The Sydney Daily Telegraph (NSW : 1879 -1883) Thu 7 Oct 1880
ACTIVE WRECKED AT ENTRANCE TO NEWCASTLE HARBOUR
After the purchase of the Active by John Breckenridge (Forster and later Failford) in 1882 she regularly traded to Cape Hawke. In early 1898 she was unfortunately wrecked at the entrance to Newcastle Harbour.
“THE KETCH ACTIVE SUNK. INSIDE THE BREAKWATER. About 10 o'clock last night [Wednesday 19th January 1898] the ketch Active, laden with hardwood timber, and bound from Cape Hawke to Morpeth, was suddenly caught by a southerly wind just inside the breakwater. The captain let go the anchor. Immediately after a curious bumping sensation was felt, and she sank in about seven minutes. The crew, four in number, escaped, in their own boat, but everything belonging to them and the ship went down with her. Mr. Hannell, the shipping master, ordered their admission to the Sailors' Home, where they were at once provided for. The Active, which is 49 tons register, and 20 years old, is uninsured. She is owned by Mr. Breckenridge, of Cape Hawke, and had 23,300 feet of ironbark timber on board.” Newcastle Morning Herald and Miners' Advocate (NSW : 1876 - 1954) - Thursday 20 January 1898
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
Image Source: M. Breckenridge (1992) - Mills, Merchants & Migrants. The Breckenridge Story. pp225. Published by M. Breckenridge.
The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
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]
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.
So whilst still bugging about Waimangu, I found this peculiar sight.
This is a river bed so rich in sulfur that the roots of the plants have made these long stringy slime deposits, the sulfur itself has formed along the river bed from an abundance of it in the surrounding areas.
I challenge anyone to stand close to one of these deposits for more that an hour, it has a rather unique scent
Nikon D800, Nikkor 14-24mm @ 14mm, f/8, 1/320th of a second exposure shot at ISO 100.
A few years ago I worked on a sewing project and lost a needle. The next day our cat started acting weird, coming to us for attention then abruptly running away as soon as he started purring. He wouldn't eat or drink so I took him to the vet who did an x-ray of his body. Nothing was there so we went home. Shortly after that, Dale was petting Spritel and felt a small hard lump on his neck. Spritel didn't like it being touched. I took our cat back to the vet who did another x-ray, this time of Spritel's head and neck, and this is what we saw.
My stupid cat saw a bit of string and started eating it, as usual. Unfortunately, there was a needle still attached to one end, which he partially swallowed. The point of the needle wedged behind the roof of his mouth while the blunt end got stuck in his throat, so he couldn't swallow or throw it up.
The vet put him out then attempted to pull out the needle through Spritel's mouth, but it was firmly stuck. He ended up making a small incision in Spritel's neck and pulling it out that way.
Thankfully, Spritel made a full recovery, though he's still stupid enough to try and eat anything stringy and dangly, including ribbons and hair. And I've learned to keep track of all my needles and pins and make sure I don't leave them lying around.
A much longer version of this story was posted on my blog when it happened.
After taking apart the air cannon set-up, I put the pellet set-up back together.
And the trigger didn't work.
I spent a few hours looking at the circuit and it works just fine. So I put it back in and everything works fine.
My theory at this point is that trigger circuits are self centered little bastards that just need attention from time to time in order to function.
So this is some fiberglass-ish strips being hit by a pellet.
Cheers.
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.
Ribera's 'Apollo flaying Marsyas' of 1637.
When strait another pictures to their view
The Satyr's fate, whom angry Phoebus slew;
Who, rais'd with high conceit, and puff'd with pride,
At his own pipe the skilful God defy'd.
Why do you tear me from my self, he cries?
Ah cruel! must my skin be made the prize?
This for a silly pipe? he roaring said,
Mean-while the skin from off his limbs was flay'd.
All bare, and raw, one large continu'd wound,
With streams of blood his body bath'd the ground.
The blueish veins their trembling pulse disclos'd,
The stringy nerves lay naked, and expos'd;
His guts appear'd, distinctly each express'd,
With ev'ry shining fibre of his breast.
(Ovid, Metamorphoses, VI. Translated by Sir Samuel Garth, John Dryden, et al)
A fine example of Josep de Ribera (Lo Spagnoletto)'s spectacular and gruesome spanish/neapolitan baroque. Rather a poor quality image I'm afraid, the Museum is a very dark gallery in places.
Things that caught my eye in the Musée royale d'Art Ancien, Bruxelles / Koninklijke Museum voor Oude Kunst, Brussels
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.
This is my 3rd string pillow. This time I did HSTs of blocks in purple, blue, and green with a light gray background. I like the look of this different technique, but think I'll stick to more stringy/spider webby looking blocks.
This is going to a male co-worker, so hopefully it's a bi more manly. It's hard for me to really determine those types of things.
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.
Though I was very lucky with this species in north Pasco County last summer, I really wanted some better photos from the Kissimmee Prairie Preserve, since they nest there and are very commonly seen soaring gracefully about as they hunt in the summer.
Last week's camping trip provided a great opportunity on two different mornings with kites that roosted overnight in trees not very far from the campground. This bird preened and posed for well over an hour before heading out for the day.
An interesting behavior that I saw with two different kites, including this one, was regurgitation of small dark bits in stringy liquid (Yes, I got photos!). Assuming that was the undigestible parts of prey items and that they empty their crops before going out to hunt. I knew about and have seen owl pellets, but never really thought about this process that occurs in all raptors.
The Boxtrolls: Dare to Be Square
A primary feature in the style of character design in “The Boxtrolls” is unrealistic proportions of the human form. They are heavily distorted into strange shapes, with torsos ranging from needle-thin to heavily rounded, heights from squat to medium to lanky, and face shapes and features as unique as the character itself. A common theme in the anatomy, however, is skinny, long arms on all characters, regardless of body type, with the exception of the character Winnie.
When it comes to the anatomy of the boxtrolls, they mirror certain traits of design in the humans, but not to the same extreme degree. Three of the main boxtroll characters, Fish, Oilcan, and Shoe, play on the spectrum of tall to short, portly to skinny. This spectrum is actually mirrored in the three henchmen of the antagonist, Snatcher. Both of these trios remind me of the hitchhiking ghosts from the Haunted Mansion attraction at the Disneyland resort. It is my belief that these spooky spectres are in fact the inspiration for these two sets of characters.
An element I specifically noticed again and again in the course of the film is hair. The hair, although mostly static – as is the nature of the beast in stop motion animation – is purposefully designed to reflect individual personality. Eggs, the protagonist, has unkempt dusty hair, reflective of his life underground and not concerned with appearance. Winnie has a more pristine style with a touch of dirt and disarray, hinting at her proper upbringing clashing with her rebellious “unladylike” disposition. Snatcher, meanwhile, has almost nauseatingly greasy unhealthy locks. Beneath his red hat are stringy, dull strands that complement his ashy face. He is written to be a slimy, greasy character, and his design reflects those traits.
Just as important to the film’s design are the settings and backdrops. Set in a town, precariously and preposterously clinging to an almost Burton-looking hill (in fact, Tim Burton’s style screams through every aspect of this film, from storyline to aesthetics), the entire setting is inherently slanted. I took note of the fact that in the entirety of the film, I saw almost NO right angles. Although straight lines would seem to be the foundation of a town full of roads and buildings, almost every last line in this film is crooked or curved to some extent. The cobblestones on the road and the tiles on the roofs are individualized, never uniform. Each window pane is just slightly askew. Lampposts are crooked, walls are always leaning, and no table leg is ever even with another. Yes, in a film seemingly revolved around boxes, even the boxes themselves are never a perfect prism.
Additionally, the attention to detail in regards to texture is mind boggling. The fabrics of the characters’ clothing are so realistic. Of course, seeing as how this is stop motion, chances are the fabrics were real. But in the sculpting of textures such as unfinished wood signs and of course the cardboard boxes critical to the film’s themes, the design technique is admirable.
There was a lovely contrast between the “upper” and “lower” realms of this world. Above ground, in the world of humans (and order and rules), sunlight and artificial lighting was plentiful. Yet the artists’ choice in color and lighting made the upper world, almost paradoxically, darker than the world below. In the underground lair of the boxtrolls, in a land of freedom and fun, the design reflects the light feeling of the boxtroll society. Bare lightbulbs, with each light representing a member of the community, unite to illuminate a world without sun, but certainly not without light. This luminosity is mirrored by the eyes of the boxtrolls. Unlike humans, the costarring species in this film have eyes that glow at night. At first this is viewed in a perspective of “monster” or “animal”. But as the film progresses, you realize it refers to the light nature within these misunderstood creatures. The tunnel structure of the underground contributes to the free-flowing attitude of the design. Compared with the attempted (and failed) rigidity of the upper world, the underground is a land of curves and flow and freedom.
When the characters and settings are combined, they create a world so well-lived-in that the film really takes on a dimension of reality in its own way. Almost everything (and everyone) in this universe is designed to look aged, weathered, or dirty. Eggs is always seen with soot and dirt smudging his face. The wardrobes of most of the characters are tattered or stained. Even in scenes that suggest higher class living, such as the gala in Lord Portly Rind’s residence, the whites of the linens are dingy, and the metal fixtures of the candelabras all boast a patina. The boxes, a major focal point of the film, are all lived-in… literally. They are slightly sagging, faded, and stained with dirt and moisture. Nothing in this film looks fresh or new, and this is a major contributor to the overall context of this movie.
Italian sausage hoagie with green peppers, onions, homemade marinara and lots and lots of stringy mozzarella cheeeeeeese.
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.
Good Morning,
It was a weekend of hikes.
A short 20 minute drive, east from our house, gets you up into the northern reaches of the Santa Cruz Mountains. We love these mountains because they act as a fog break for us. When Half Moon Bay is socked in, we're usually enjoying sun in Belmont. While we've loved them from a distance, this weekend we took two hikes to explore them - up close and personal.
Nana & Cha-Cha were kind enough to take the kids to a movie on Friday night. This let Chelsey & I head out on a date. Again we ventured up into the mountains to go for a hike. We walked along the Russian Ridge trail for a few miles in the wind and clouds. We talked about our plans for the waning days of Summer and beyond. Dinner was burgers and a nice glass of wine at the fantastic Mountain House restaurant. We wrapped up the day with a hug and a kiss goodnight to the kids.
On Saturday morning, the boys and I jumped in the car and set off to explore the Tunitas Creek Redwoods. The boys powered through solid 2 mile hike. We covered a good bit of vertical terrain. We counted 8 banana slugs. Listened to birds. We looked under fern fronds for their see pods. We checked out several species of lichen and moss -- the boys giggled when they learned that the long, stringy moss, hanging from the Madrone trees is call Old Man's Beard. It was a great way to start our weekend.
Sunday, the boys decided they wanted me to teach them how to shave. I took the blade off the razor. Lathered them up. And let them have at it. It was pretty hilarious.
Sunday night, Sharon & Kenbo hosted us for Sunday Family Dinner. The boys loved playing with Alex & Evan. We enjoyed catching up with Kenbo, Sharon, Aunt Leslie, and with Auntie Cookie and Carolyn who had dropped Samantha off at Berkeley for her Sophomore year.
Great day. Great weekend. Great life.
We're lucky.
Love to you all.
Mike
As always, you can see all our photos here: www.flickr.com/photos/michaeltadlock/albums/7215765541229... and here:
What a spectacular moment, its always cool when you get stringy clouds across the sun, giving it that "jupiter" storm effect...
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.
President, Fishermen Against Destruction of the Environment (FADE)
In 1986, Wayne Nelson anchored in the shallows and hopped out to wade fish in the knee-deep water, about a mile from Boy Scout Cut on Lake Okeechobee. He took a couple steps and promptly tripped over a mesh of stringy green algae.
"I scooped up a handful of (the algae), threw it in the bottom of my boat, and put it in a plastic bag when I got home." The next day, he visited Johnny Jones, executive director of the Florida Wildlife Federation.
"I threw this bag of algae on his desk and said, ' What are you going to do about this?'"
---
C. Scott Driver Jr., Lake Okeechobee Protector
May 14, 1988
By JOHN MULLIKEN, Staff Writer
Sun-Sentinel
Lake Okeechobee`s hard-working, vocal supporter C. Scott Driver Jr. has died in Seattle, Wash., where he had undergone a bone marrow transplant to combat leukemia.
The fishing guide and lake activist was still in a sterile recovery program at the Fred Hutchinson Cancer Institute when he died Thursday night, according to friends of the Driver family.
Mr. Driver, 45, first came into the public spotlight in 1985 when he began to demand that the state do something to clean up Lake Okeechobee. He quickly became a respected leader among conservationists fighting to save the lake.
Along with West Palm Beach fisherman Wayne Nelson, Mr. Driver in 1985 played a major role in persuading then-Gov. Bob Graham to appoint a Lake Okeechobee task force. The outgrowth of the task force`s final report includes plans to halt lake pollution, and establishment of Florida`s water clean-up law, the Surface Water Improvement and Management Act of 1987.
As word of Mr. Driver`s death reached Florida on Friday, Graham, Nelson and others praised the late fisherman`s environmental efforts.
``Scott Driver`s heart and soul are in the waters of Lake Okeechobee. He was an advocate of the protection of the lake on which all of Florida depends. He will be missed, but his legacy will continue,`` said Graham, now a U.S. senator. Graham was sometimes a target of Mr. Driver`s criticism.
Some officials attending a South Florida Water Management District meeting in Stuart appeared stunned when executive director John Wodraska announced the news and then called for a recess.
``We`ve always admired his courage and his commitment, and we will miss him,`` said Nancy Roen, chairwoman of the district`s governing board.
Mr. Driver spent hours attending district meetings, lecturing board members and scientists alike on the need to do more to save the lake from a choking death of phosphorus-driven algae.
But he spent most of his time on the lake itself, hauling politicians, news reporters or government scientists around the lake, showing them fish kills, algae blooms, weed beds and other problems. He made continual searches across the lake for trouble signs, analyzing changes in fish, wildlife and habitat.
``He was always at the forefront at diagnosing the lake`s problems. Scott discovered the algae bloom in 1986, and most of the subsequent algae blooms, and he was the first to figure out that many of our problems were started after high water levels in Lake Okeechobee in 1982-83,`` said Nelson, Mr. Driver`s close friend and associate.
In fact, Mr. Driver`s lake-level theories started a process that on Thursday resulted in a water management district proposal to change the way Lake Okeechobee`s water levels are manipulated.
Mr. Driver had attended a special presentation in March on the proposed lake changes, and had endorsed the plan`s benefits to coastal estuaries. But he steadfastly insisted that the water district continue to search for ways to aid the troubled lake, as well.
``Scott Driver was a great friend of Lake Okeechobee. He was a practical guy who knew more than most scientists and learned it from using the lake,`` said Estus Whitfield, the chief Lake Okeechobee and Everglades adviser to Gov. Bob Martinez.
Said Nelson: ``Scott had the most incredible powers of observation of anyone I`ve ever known.``
A memorial service for Mr. Driver has been scheduled for 7 p.m. on Monday at the Buxton Funeral Home in Okeechobee.
He is survived by his wife, Mary Sue; a son, C. Scott Driver III; his parents, Mr. and Mrs. C. Scott Driver Sr.; and a brother, Mike, all of Okeechobee; and a sister, Pat Dees, of Mobile, Ala.
Nelson said a bass fishing tournament to raise money for a Driver Memorial Fund would take place on June 12.
``We were going to raise money for his medical expenses, but now we`ll make it a memorial tournament and raise money for his family,`` Nelson said.
This week's theme was "extreme detail". This is a picture of a coral in our salt water tank. Those "stringy" things are sticking out because it is hungry and it is trying to catch food that floats by.
With mere days to go until my departure (and internal pressure to get my 12 Projects in 2013 Project uploaded) I needed a moment of serenity and simplicity. Sticking to my challenge of incorporating some of the Pantone 2013 colours, I combined two of them (Grayed Jade and Linen) using Carolyn Good's recipes) and went for a very soothing simple technique. I was inspired by the look of our stringy bark gums-although there's not SO much navy there! I tend to err on the complex side so this was in itself a challenge. Creating the bracelets also allowed for sanding and polsihing (and how's that for creatinve reframing!!!) which can be meditative. Sometimes.
The Boxtrolls: Dare to Be Square
A primary feature in the style of character design in “The Boxtrolls” is unrealistic proportions of the human form. They are heavily distorted into strange shapes, with torsos ranging from needle-thin to heavily rounded, heights from squat to medium to lanky, and face shapes and features as unique as the character itself. A common theme in the anatomy, however, is skinny, long arms on all characters, regardless of body type, with the exception of the character Winnie.
When it comes to the anatomy of the boxtrolls, they mirror certain traits of design in the humans, but not to the same extreme degree. Three of the main boxtroll characters, Fish, Oilcan, and Shoe, play on the spectrum of tall to short, portly to skinny. This spectrum is actually mirrored in the three henchmen of the antagonist, Snatcher. Both of these trios remind me of the hitchhiking ghosts from the Haunted Mansion attraction at the Disneyland resort. It is my belief that these spooky spectres are in fact the inspiration for these two sets of characters.
An element I specifically noticed again and again in the course of the film is hair. The hair, although mostly static – as is the nature of the beast in stop motion animation – is purposefully designed to reflect individual personality. Eggs, the protagonist, has unkempt dusty hair, reflective of his life underground and not concerned with appearance. Winnie has a more pristine style with a touch of dirt and disarray, hinting at her proper upbringing clashing with her rebellious “unladylike” disposition. Snatcher, meanwhile, has almost nauseatingly greasy unhealthy locks. Beneath his red hat are stringy, dull strands that complement his ashy face. He is written to be a slimy, greasy character, and his design reflects those traits.
Just as important to the film’s design are the settings and backdrops. Set in a town, precariously and preposterously clinging to an almost Burton-looking hill (in fact, Tim Burton’s style screams through every aspect of this film, from storyline to aesthetics), the entire setting is inherently slanted. I took note of the fact that in the entirety of the film, I saw almost NO right angles. Although straight lines would seem to be the foundation of a town full of roads and buildings, almost every last line in this film is crooked or curved to some extent. The cobblestones on the road and the tiles on the roofs are individualized, never uniform. Each window pane is just slightly askew. Lampposts are crooked, walls are always leaning, and no table leg is ever even with another. Yes, in a film seemingly revolved around boxes, even the boxes themselves are never a perfect prism.
Additionally, the attention to detail in regards to texture is mind boggling. The fabrics of the characters’ clothing are so realistic. Of course, seeing as how this is stop motion, chances are the fabrics were real. But in the sculpting of textures such as unfinished wood signs and of course the cardboard boxes critical to the film’s themes, the design technique is admirable.
There was a lovely contrast between the “upper” and “lower” realms of this world. Above ground, in the world of humans (and order and rules), sunlight and artificial lighting was plentiful. Yet the artists’ choice in color and lighting made the upper world, almost paradoxically, darker than the world below. In the underground lair of the boxtrolls, in a land of freedom and fun, the design reflects the light feeling of the boxtroll society. Bare lightbulbs, with each light representing a member of the community, unite to illuminate a world without sun, but certainly not without light. This luminosity is mirrored by the eyes of the boxtrolls. Unlike humans, the costarring species in this film have eyes that glow at night. At first this is viewed in a perspective of “monster” or “animal”. But as the film progresses, you realize it refers to the light nature within these misunderstood creatures. The tunnel structure of the underground contributes to the free-flowing attitude of the design. Compared with the attempted (and failed) rigidity of the upper world, the underground is a land of curves and flow and freedom.
When the characters and settings are combined, they create a world so well-lived-in that the film really takes on a dimension of reality in its own way. Almost everything (and everyone) in this universe is designed to look aged, weathered, or dirty. Eggs is always seen with soot and dirt smudging his face. The wardrobes of most of the characters are tattered or stained. Even in scenes that suggest higher class living, such as the gala in Lord Portly Rind’s residence, the whites of the linens are dingy, and the metal fixtures of the candelabras all boast a patina. The boxes, a major focal point of the film, are all lived-in… literally. They are slightly sagging, faded, and stained with dirt and moisture. Nothing in this film looks fresh or new, and this is a major contributor to the overall context of this movie.
Cucumber tendrils is modified leaves . Yes, those little stringy things are actually leaves. As you may have noticed, tendrils will wrap around anything that they touch.
The Boxtrolls: Dare to Be Square
A primary feature in the style of character design in “The Boxtrolls” is unrealistic proportions of the human form. They are heavily distorted into strange shapes, with torsos ranging from needle-thin to heavily rounded, heights from squat to medium to lanky, and face shapes and features as unique as the character itself. A common theme in the anatomy, however, is skinny, long arms on all characters, regardless of body type, with the exception of the character Winnie.
When it comes to the anatomy of the boxtrolls, they mirror certain traits of design in the humans, but not to the same extreme degree. Three of the main boxtroll characters, Fish, Oilcan, and Shoe, play on the spectrum of tall to short, portly to skinny. This spectrum is actually mirrored in the three henchmen of the antagonist, Snatcher. Both of these trios remind me of the hitchhiking ghosts from the Haunted Mansion attraction at the Disneyland resort. It is my belief that these spooky spectres are in fact the inspiration for these two sets of characters.
An element I specifically noticed again and again in the course of the film is hair. The hair, although mostly static – as is the nature of the beast in stop motion animation – is purposefully designed to reflect individual personality. Eggs, the protagonist, has unkempt dusty hair, reflective of his life underground and not concerned with appearance. Winnie has a more pristine style with a touch of dirt and disarray, hinting at her proper upbringing clashing with her rebellious “unladylike” disposition. Snatcher, meanwhile, has almost nauseatingly greasy unhealthy locks. Beneath his red hat are stringy, dull strands that complement his ashy face. He is written to be a slimy, greasy character, and his design reflects those traits.
Just as important to the film’s design are the settings and backdrops. Set in a town, precariously and preposterously clinging to an almost Burton-looking hill (in fact, Tim Burton’s style screams through every aspect of this film, from storyline to aesthetics), the entire setting is inherently slanted. I took note of the fact that in the entirety of the film, I saw almost NO right angles. Although straight lines would seem to be the foundation of a town full of roads and buildings, almost every last line in this film is crooked or curved to some extent. The cobblestones on the road and the tiles on the roofs are individualized, never uniform. Each window pane is just slightly askew. Lampposts are crooked, walls are always leaning, and no table leg is ever even with another. Yes, in a film seemingly revolved around boxes, even the boxes themselves are never a perfect prism.
Additionally, the attention to detail in regards to texture is mind boggling. The fabrics of the characters’ clothing are so realistic. Of course, seeing as how this is stop motion, chances are the fabrics were real. But in the sculpting of textures such as unfinished wood signs and of course the cardboard boxes critical to the film’s themes, the design technique is admirable.
There was a lovely contrast between the “upper” and “lower” realms of this world. Above ground, in the world of humans (and order and rules), sunlight and artificial lighting was plentiful. Yet the artists’ choice in color and lighting made the upper world, almost paradoxically, darker than the world below. In the underground lair of the boxtrolls, in a land of freedom and fun, the design reflects the light feeling of the boxtroll society. Bare lightbulbs, with each light representing a member of the community, unite to illuminate a world without sun, but certainly not without light. This luminosity is mirrored by the eyes of the boxtrolls. Unlike humans, the costarring species in this film have eyes that glow at night. At first this is viewed in a perspective of “monster” or “animal”. But as the film progresses, you realize it refers to the light nature within these misunderstood creatures. The tunnel structure of the underground contributes to the free-flowing attitude of the design. Compared with the attempted (and failed) rigidity of the upper world, the underground is a land of curves and flow and freedom.
When the characters and settings are combined, they create a world so well-lived-in that the film really takes on a dimension of reality in its own way. Almost everything (and everyone) in this universe is designed to look aged, weathered, or dirty. Eggs is always seen with soot and dirt smudging his face. The wardrobes of most of the characters are tattered or stained. Even in scenes that suggest higher class living, such as the gala in Lord Portly Rind’s residence, the whites of the linens are dingy, and the metal fixtures of the candelabras all boast a patina. The boxes, a major focal point of the film, are all lived-in… literally. They are slightly sagging, faded, and stained with dirt and moisture. Nothing in this film looks fresh or new, and this is a major contributor to the overall context of this movie.
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]
Filled with processed cheese slices. Not bad, but would have been much better with good cheddar cheese or stringy mozzarella.
Mega Curry House
B6, Lrg Tun Ismail 11,
25000 Kuantan,
Pahang
+6095131677
I was taken by the beauty of this stand of mamaku in Rimutaka Forest Park near the Orongorongo Valley. Our tallest native tree-fern
Mamaku grow in damp gullies throughout New Zealand. Reaching 20 metres in height, they have oval-shaped frond scars on the trunk. The white pith of the trunk and the koru (new shoots) are edible, although slimy when first cut. Māori stripped the trunk’s outer layers so the slime could dry or drain away. The plant was then cut down and cooked whole. Alternatively, koru (new shoots) were hung to dry. Baking was the preferred way to cook mamaku, to separate the stringy fibres from the flesh. Although the taste is bland, the nutritional value is high.
(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.
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.