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After reading a post that included a fun quote by Stephen King (Spoiler Alert by The Biblio Files), I realized that I have never gotten around to telling my Stephen King story.
Before you think that this is a mindless bit of star fucking, I would like to note that every Mainer has a Stephen King story. He does live there, of course, and when I think of all the people that might have a tale or two to tell on me when Open Salon propels me into literary superstardom—well, let's just say it is a pretty long list. There's also a great deal of local pride regarding Steve. It doesn't matter that he mines Maine culture for his stories, or that he lives in an impossibly creepy house in Bangor. He's ours, dang it, and if you are from a mostly forested state populated by the sort of people who make Alabama look like a bastion of intellectual refinement, you take what you can get.
When I was in high school, Steve came and gave a little talk, naturally because someone in the English Department had some connection to him. I don't remember much about what he said, but I do recall his manner as being quiet, thoughtful, and rather genuinely nice. This might be enough to qualify as a Stephen King story, but maybe only if you moved there from away.
(A friend's mom, whose family had lived in Maine for so long that they look down on descendants of the Mayflower voyage as tourists, had the ultimate Stephen King story: she dated his brother in high school. Unfortunately, she destroyed much of her Maine cred by marrying from away.)
One day, I was sitting with my friend Dice at the bar in Gritty's, one of several pubs on Fore Street in Portland. Dice is a character unto himself. He's a greaser, a poet, a local legend, and the nexus of an entire population of disaffected youth. He has an encyclopedic knowledge of music, especially music from the 50s, 60s and 70s. Seriously, if you want to know what was on the B side of any 45 released within those decades, Dice will have the answer faster than you can Google it. He will probably also own the 45 in question. Don't even think you can put your hands on that 45, though, because while Dice hates everyone equally, he reserves his greatest antipathy for any one caught touching his records.
Dice is also my best friend, and while we sat in Gritty's with our beers, we talked about the sort of thing best friends converse about: music, other friends, and impossible feats of derring-do. At some point I got up to use the restroom. When I came back, someone was sitting on my barstool. On closer inspection, I realized this:
Stephen King was sitting on my barstool.
Now, for those of you who think it could have been a case of mistaken identity, allow me to remind that no one else on the planet looks like Steve. I am not sure what happened to his originating gametes, but it is as if they knew their union would produce a horror writer and adjusted accordingly. Having seen him before, I recognized immediately his wide grin, blocky jaw, squinty eyes, and dark brow.
I quietly took a seat on the other side of Steve. He and Dice were in the midst of an animated conversation, and I realized also that Dice had no idea who he was speaking to. This did not surprise me, as Dice has no regard for celebrity. He will read King's books but not pay attention to the image on the dust jacket. If Steve were a hot babe, that might be another story, one perhaps fit for King's own telling. But there, at the bar in Gritty's, Dice was just talking to some guy who struck up a conversation about oldies music because of Dice's slicked back hair, sideburns, and leather jacket.
It was a meeting of the minds in that regard. Anyone who reads King's books knows that he also has an affection for old cars, music and culture. And King was delighted to be discussing some of his favorite topics without ever once mentioning his writing.
A minute or two passed, and Dice, formerly engrossed, suddenly realized that I had returned.
"Hey Alix! Hey, that's my friend Alix. Alix, this is Steve."
"Yeah, I know," I said softly as I shook Steve's hand. I gave him an I-know-but-I'm-not-telling-if-you're-not-telling look, and he smiled before turning back to Dice.
To be fair, this is more accurately Dice's Stephen King story, as I was content to listen to a conversation that evoked rusting fenders lost to wooded dumps and the haunting sounds of doo-wop emerging from a decaying porch in the chill darkness.
After a while, Steve finished his final beer and excused himself. "See you around," said Dice. "See you around," replied Steve. He looked at me and said just, "Thanks."
"No problem, Mr. King."
Stephen King is also a sort of unofficial protector of Lake Kezar, in the Fryeburg area (he owns some property there, so I understand).
I've never seen him on any bar stool in any Maine joint I've been into.
You've got one on me there, Alix.
I'm still hoping he comes back again - I've a well-worn copy of The Stand I'd like him to sign. :-D
Was that TMI?
Thanks for sharing!
Another King story told to me by a friend in Bangor is how he came to be a published writer. Apparently one of his little ones (maybe Joe?) was in need of medical care, and the check from his publisher arrived in the nick of time.
After reading this over at Salon proper, that Steve story has a new poignancy.
Oh, and Sandra! Now you've got me curious. Any writing you can direct us to?
Also, wow. His son is kind of hot there. Sorry. I'm so shallow.
It is a bit hard to fathom, however, that the man who gave us "The Longest Walk" and "The Shining" could really be all that super nice and friendly and normal. Did you follow him out to his car and look in the trunk?
Hmmm... on second thought... Maybe it's best that you didn't.


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Anyone know what happened to adventure outdoor it like one minute they were open and the next they wern't.
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Posted in Featured Articles
Greene Starts Every USDGC Right
You can't begin any USDGC round without Andy Greene.
As the USDGC Official Starter, he has introduced every player prior to their round since the tournament began in 1999 and he's approaching a milestone of announcing 8,000 names.
Greene predicts he will call that name around 9 a.m. during the last round on Saturday. USDGC officials encourage fans to come out and help celebrate the achievement.
Greene, who is the Innova East VP of Operations, said when they were first organizing the USDGC years ago with a skeleton crew, he volunteered for the starter job, thinking it sounded pretty cool.
14 years later he's still doing it and with the streak alive you can count on Greene to keep doing it right on time.
Greene takes his announcing job seriously, keeping up to date with players' US and Open World titles so he can tack those onto the appropriate name.
Greene says he likes being able to interact with all of the players.
"Most of the time everyone is in relatively good spirits because they haven't started playing yet," joked Greene.
With players converging upon the Championship from all over the World, sometimes the names get a little tricky to pronounce.
"Some of the European ones, I don't think English speaking Americans can make some of those sounds," said Greene, with another smile.
One of Greene's favorites is to say the name of Finn Jussi Meresmaa. The key to his last name, says Greene is to put an accent on the first syllable.
As the week progresses and the crowds begin to swell, Greene likes to build up his introductions more, asking players on the lead cards if they want any special titles to go with their names.
Spectators have even asked to record Greene announcing their names so that they can replay it during their Sunday Spectator round or at a home course elsewhere.
"I love indulging folks with that because it's funny," said Greene.
Out of nearly 8,000 throws off Hole 1's tee, Greene has only seen two aces: one by Dana Vicich and another by Roger Cansler.


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Parks Union Contract OK'd
by Thomas MacMillan | Nov 19, 2013 2:18 pm
Commenting has been closed | E-mail the Author
Posted to: City Hall, Labor
Workers who trim trees and clean city parks will see pay raises, but new hires won't get medical benefits after they retire.
That's one of the takeaways from an arbitration decision on the city's labor contract with Local 71, which covers about 63 blue-collar city workers, from tree-trimmers and bridge-tenders to mechanics and maintenance men. Local 71 is part of UE Local 222, CILU/CIPU, an independent union.
The city and the union had been negotiating on a new contract for three years. At an impasse, the matter went to arbitration, where a three-person panel settled all the sticking points on Nov. 12.
The Board of Aldermen Monday night voted unanimously to approve the arbitration panel's decision.
The city will save $70,000 over the remainder of the contract, which ends July 1, 2015, city spokeswoman Anna Mariotti said.
The panel ruled on 34 separate issues, some of which contained as many eight sub-issues. Click here to see a summary of the decisions. Click here to see a spreadsheet of changes.
Local 71 President Dominic Magliochetti said his union did relatively well, compared to other city bargaining units. "A lot of the stuff we kept, they lost," he said. The new contract maintains language on subcontracting and vacations, Magliochetti pointed out. Local 71 won on about half of the issues, he said.
The union didn't win on pensions, nor did it end up with the wage increase he would have liked to see, Magliochetti said. "We're the lowest-paid local in the city. They didn't even want to look at that part," he said. "We're blue-collar workers. We're out in the elements day in and day out." Union members currently make between $36,000 and $58,000 per year.
The union didn't win retroactive pay increases. The contract, which covers fiscal years fiscal year 2010-11 to fiscal year 2014-15, includes pay raises of 0, 0, 3, 2, and 2 percent respectively for each year.
The new contract brings Local 71's pension and medical benefits in line with other recent union contracts, Mariotti said in a release.
The union will now have a tiered pension system, with bigger changes for newer employees. Workers with less than 10 years experience as of July 1, 2010, will not have overtime factored into their pension, and they will have to be over 62 years old and their age plus number of years worked will have to total 85 before they can retire with full benefits.
Local 71 will have the same medical plans that other union recently agreed to: "a choice of plans that includes a high deductible health plan with premium cost sharing options ranging from 9 percent for the high deductible plan to 21.25 percent."
Also: "Employees with less than 10 years of service as of July 1, 2010 will have retiree medical coverage for only themselves and not for a spouse. New hires will not be eligible for retiree medical benefits."
Mariotti highlighted a number of other changes:
• "The penalty for early retirement has been increased to 3.5 percent per year for those hired after July 1, 2013.
• "Buy back of unused sick leave for pension credit eliminated for those hired after 11-8-13.
• "The cost of living adjustment (COLA) increase for employees with less than 20 years of service as of July 1, 2010 will be lowered to 2 percent annually and capped at 20 percent over a lifetime. ...
• "The elimination of meal allowance payments.
• "Elimination of longevity pay for new employees."
Tags: local 71, arbitration, Dominic Magliochetti
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Nov 11 2014
Brainzy Review and Giveaway (WINNERS ANNOUNCED!!)
By Heather Sanders THE 10 WINNERS OF THE "BRAINZY REVIEW & GIVEAWAY" ARE: Gwen – (Comment #35) Miley D. – (Comment #52) Kate – (Comment #31) Morgan T. – (Comment #296) L – (Comment #53) Shara – (Comment #63) Lora H – (Comment #256) [...]
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Apr 12 2013
Video Games and the Future of Learning
By Heather Sanders. For the last several years, more and more research suggests video games are an exceptional training and educational tool, both for the classroom and at home. While video games continue to permeate our culture across all demographics, new research on gaming design begs [...]
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I am looking for someone that can help me find a company that makes custom square knots my camp staff fmaily and some friends that I have made are all BSA lifegaurds, I know that there is not an OFFICIAL square knot but we all would like something to identify ourselves from the other program areas. Somebody please help me out here! thanks
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We were going to do an optional patch but our uniform requires that we wear the camps patch on the right pocket, then they added a rule that we couldn't add or change that patch in any way shape or form. Thats why we want to do a square knot
Agree with Papaddy below You need to sort out with your CD if he approves of your team distinguishing yourselves on a BSA field uniform AT ALL. Then, if he/she approves that, ask how you could go about doing that given the restriction on camp patches.
(Personally, I really like the idea of converting BSA guard patches to slides. But, some camps' staff don't do neckers. )
The other option to consider is a special sticker on your name tag.
The only square knots authorized for uniform wear are listed in the Insignia Guide and are produced by the BSA. The BSA Lifeguard has an insignia authorized for wear on the swim trunks. I find it odd that your Camp Director would authorize you to wear it, but is very stringent about what can go on the right pocket. As camp staff whom young Scouts look up to, your uniforms should be exemplary and regulation.
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What does SIU mean in Electronics?
This page is about the meanings of the acronym/abbreviation/shorthand SIU in the Academic & Science field in general and in the Electronics terminology in particular.
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"SIU." Abbreviations.com. STANDS4 LLC, 2015. Web. 6 Mar. 2015. <http://www.abbreviations.com/term/195178>.
SIU also stands for:
- Scheduling Information Unsolicited
- Seafarers International Union
- Seiko Instruments USA, Inc.
- Sensor Interface Unit
- Signal Interface Unit
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Shey is an experienced blogger, social media expert and traveler. She studied journalism at Oklahoma State University before working as a full-time reporter for Houston Community Newspapers in 2005. She lived in South Korea for three years, where she worked as a freelancer.
Did you know the U.S. Government publishes a list each year of popular American New Year's Resolutions? No. 1 is "lose weight," and No. 2 is "manage debt" which shows the kind of fucked-up priorities... More >>
Right after Christmas, Rocks Off hopped into our car and headed straight for the bowels of West Texas. It's a long drive to Big Bend, mostly through the middle of nowhere, huge swaths of land wher... More >>
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Every year in October, the Kohala Coast hosts the awe-inspiring Ironman Triathlon world championship: a 2.4-mile ocean swim, followed by a 112-mile bike ride through a lava field, followed by a 26.2-mile runall executed in one day under the blazing sun. (Spectators should be aware that there isn't much sun cover on the sidelines either.) For a week before and a week after the event, the quiet coast bustles with camera crews and some of the most hard-core athletes you'll ever meet. And not just energetic twentysomethingsthere are triathletes who compete through their 60s. After the event, the whole bay-front strip of Alii Drive turns into an Ironman after-party.
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Angel Haze Tells Azealia Banks to 'Shut the Fuck Up' in Second Dis Track
But: "At the end of the day, I still want to see women win."
Update: Angel Haze has laid the beef to rest.
This beef is quickly becoming overdone. Yesterday, a goofy Twitter tiff between rising rappers Angel Haze and Azealia Banks resulted in a fairly fierce dis track by the former: "On the Edge," which found Haze hollering hate at her #seapunk-inclined former friend for taking her sweet-ass time in releasing Broke With Expensive Taste. This morning, after taking her sweet-ass time to compose a stylishly superior response, Banks returned fire with "No Problems."
Neither one to loaf nor, it seems, to miss a headline opportunity, Haze immediately announced her plans to record yet another song, and within 30 minutes no less. She also said this:
bitch sounds like holiday heart rapping. strong ass vingh rhames faced bitch...
— Young Gypsy(@AngelHaze) January 4, 2013
Though she took longer than projected to deliver the third installment in this sordid affair, Haze has released her followup to Banks' followup: "Shut the Fuck Up." The quality is raw — as Haze notes via Twitter, "you get an unmastered diss…you aint worth my studio time" — but the verses are pure fire, and filled with references to the ongoing online drama.
Highlights: "You thought that the Twitter shit was just for the blog / thought you wouldn't get your whole head cut the fuck off." Or: "You a Internet goon, a Twitter personality." And: "How much Twitter beef does it take to wanna make you get / into the studio and come with a different flow / not try to recreate '212' the only shit you know." Oof.
Your move, mermaid mama.
Having, so far, had the last word, Haze later called off the feud in response to a fan's query on Tumblr. Rather astutely, the anonymous follower asked, "why do 2 boss females need to get catty with one another?? what the fuck this industry is hard enough for women and now its like there's an even greater divide. wish women would support each other instead of tearing each other down and letting the boys win ya know."
Haze's response was measured, although her assertion that Banks "started it" should raise eyebrows: "I think the same, but I don't support frivolity or people coming out the side of their necks like they're crazy. She started it, I entertained her…and I'm done. At the end of the day, I still want to see women win." Here here.


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Many Guises and Many Names
Lords of Gondor: 10. Return of the King
onlookers filled the great square behind Minas
Tirith's main gate with flickering shadows. Ecthelion
waited, his lady at his side tightly gripping his arm.
A Guardsman rode out of the darkness through the
open gate followed by a score or so of his fellows, a
horselitter in their midst. As it came to a stop
before them the Lady Miriel gave a low moan and
released her husband's arm to throw herself on her
knees beside the litter, tearing aside the curtains.
"Denethor! Denethor!"
Finduilas, white as her gown but calm, put her arms
around her mother-in-law murmuring comfort.
"He's alive, Mama, the healers will help him -
you'll see. Everything will be all right -"
The Guard captain climbed stiffly off his horse,
approached the Steward and saluted.
Ecthelion looked at him. "What happened."
"An arrow, my Lord, fired from cover just outside
the old city wall. Only the Lord Denethor was hit. We
searched the brakes but found no one." the captain
swallowed. "I drew the arrow myself and set it
carefully aside, but when I looked for it after
binding up the wound it was gone."
"Vanished." Ecthelion said flatly.
The Man looked miserable. "There was much
confusion, my Lord. It could have been knocked off the
stool and trampled underfoot...."
The Steward forced himself to smile reassuringly.
"You are not to blame, Captain, some dangers cannot be
guarded against." the guardsman did not seem
convinced. "See to your Men."
Only then did Ecthelion allow himself to go to the
litter and look at his son. Denethor moved restlessly
as in a fever, muttering scraps of words, but his face
was pale and when Ecthelion reached down to touch as
cold as ice. Not a fever then, but something worse.
Miriel had their son's hand between both of hers
and pressed to her cheek as she begged him to open his
eyes and speak to her. Ecthelion tried to force her
convulsive grip apart. "Miriel, darling, you must let
go - just for a moment, so the healers can see to him.
Please, my heart -"
"Mother." Emeldir's voice cut across his pleas.
"Mother, you must be calm. Father needs you to be
That did it. His wife let go, allowed him to draw
her to her feet, whispered: "I'm sorry, I'm making a
spectacle of myself."
"A mother has a right to cry for her son,"
Ecthelion whispered back, "but we must try put on
brave faces or the people will think it is worse than
it is."
She smiled bleakly. "How could it possibly be
The healers could offer little comfort.
"My Lord, my Ladies, we will do all we can." the
Master of the Houses told them. "We have much
experience in treating poisoned wounds but if it was a
Morgul arrow -"
"There is nothing you can do." Ecthelion finished
"It wasn't a Morgul arrow, it *wasn't*" Finduilas
said fiercely.
"My little sister is right." Emeldir said firmly.
"We must not assume the worst. A poisoned arrow from
some lurking Orc is far more likely."
"We must not lose hope." her father agreed, an
anxious eye on his wife.
Miriel tried to smile. "My son has a powerful will,
He shall not be easily overcome!"
"And that counts for a very great deal in these
cases, my Lady." the Master Healer assured her
They took turns watching over Denethor, Miriel and
Emeldir by day; Ecthelion and Finduilas by night when
Denethor was more active, tossing in the bed and
raving in broken sentences.
"There, there, my darling." Finduilas crooned,
tucking her husband back into his bed. As always he
quieted at the sound of her voice and touch of her
hands. She settled back into her chair and risked a
look at her father-in-law. "You must forgive him,
Papa, he would never say such things in his right
Ecthelion was staring at his son, face frozen,
unreadable. After a moment he stirred, looked back at
her. "Spoken or not he has felt so for some time."
shook his head helplessly. "I knew he was jealous of
Thorongil but such venom...."
"Not jealous - afraid!" Finduilas corrected
sharply. "Thorongil is a danger to Gondor and to
Denethor himself. We have both seen it."
Ecthelion shook his head again, emphatically. "No!
That I will never believe. He has been more than loyal
"I didn't say he means us harm." Finduilas
interupted. "I know he doesn't. He is a good Man, he
loves Gondor and you too, Papa, but something hangs
over him - something that could destroy us all - and
Thorongil knows it, I've seen it in his eyes."
Ecthelion sighed. Finduilas was not entirely wrong,
he too had recognized how Thorongil's charismatic
presence could become a threat to his son. But the
fault lay in Denethor, not some vague doom hanging
over the Captain. "Thorongil may well be leaving us
soon." he said aloud.
His daughter-in-law looked pleased. "That would be
best for everybody, including Thorongil himself."
The repetition of the hated name had pierced
Denethor's stupor. He jerked upright in bed,
Finduilas started out of her chair to calm him, and
the door to the chamber opened admitting a gust of
cool air that fluttered the candles and twisted the
flames burning in braziers and hearth into strange
shapes. Thorongil stood in the doorway, his dark cloak
billowing around him, looking for one fantastic moment
like a wraith who'd been conjured by his name.
Ecthelion and Finduilas both stared transfixed as
the Captain moved swiftly past them to the bed, firmly
forcing Denethor back onto his pillows. "I see it is
as bad as they said. What happened, my Lord?"
"An arrow shot from cover outside the walls of
Osgiliath." Ecthelion replied, recovering himself. "We
fear it is a Morgul wound."
Thorongil shook his head. "It looks much like it I
grant you, but I have a remedy that will serve I
think.(1) I will need a bowl and some hot water, my
The Captain took a handful of long, glossy leaves
from a pouch at his belt, bruised them then arranged
them in the wide bowl Finduilas brought him and poured
boiling water from the kettle on the fire over them. A
fresh, pungent scent filled the room.
Ecthelion felt suddenly calmer, comforted by
Thorongil's sure presence, and a touch of color came
into Finduilas' white face. The Captain took the
steaming bowl to the bedside, unwound the bandages and
bathed the wound high on Denethor's arm.
The patient sighed deeply and his eyes no longer
moved restlessly under closed lids. As wife and father
watched hopefully Thorongil laid one strong, square
hand upon his brow and said softly but with powerful
authority: "Denethor son of Ecthelion, hear my voice,
return to the Light." then he took Denthor's hand and
put it into his wife's. "Call him, my Lady, your voice
above all will draw him back."
"Denethor? Denethor, my darling, time to wake up
dear." her voice broke. "I need you, my love, please
wake up." and the heavy lids fluttered and opened.
"Finduilas?" his voice was a thin thread of sound,
barely audible.
She gave a cry of joy, and the tears she'd been
restraining for three endless days finally flowed
free. "Yes, darling, I'm here! I'm here!"
Ecthelion felt Thorongil brush past him to the
door, turned and followed him into the dim, cool
passage. "Thank you."
"I am glad I could be of help, my Lord." the
Captain glanced through the open door where Finduilas
now wept in her husband's arms. "Very glad.
Denethor woke to sunlight streaming through the
casement of his chamber and Thorongil sitting silent and
watchful on the window seat.
For a moment the two Men just stared at each other.
Denethor trying to convince himself the luminous
figure, with eyes bright as the star burning upon its
brow, that had commanded him back from the shadows was
nothing more than a fever dream - and failed. It had
been real enough. And he knew now exactly who and what
'Thorongil' really was.
"So who are you?" he heard his own voice say
harshly, "some bastard byblow of an exiled princeling
whiling away his days among the Elves?"
"I am Aragorn son of Arathorn, Heir of Isildur,
Elendil's son of Gondor." the calm voice held a note
of reproof, as Ecthelion's so often did, and Denethor
felt himself flush with the usual miserable mixture of
humiliation and anger.
"Isildur's heir you may be - but you have no claim
on Gondor!"
"I have no intention of making any claim on
Gondor." the Man he had known as Thorongil rose,
features set in grim lines, eyes bleak. "I admit I had
some thought of doing so when first I came, but I long
ago realized it would be folly. Gondor is the bulwark
of the West, she must not be weakened by divisions and
For a moment Denethor could not answer, struggling
against a treacherous undertow of ancient loyalties.
Long ago his fathers had sworn allegiance to this
Man's ancestors. Served and followed them faithfully
for a hundred generations. Part of him felt the call
of those oaths, longed to submit to the power hidden
within the Man before him. But he armoured himself
with pride and and old hate and pushed the temptation
"We are in agreement then."
A faint smile touched the King's face. "For once. I
ask only that you keep my secret, Lord Denethor.
Should Sauron discover an Heir of Isildur still lives
he would not rest until I was destroyed."
"And he had taken his vengeance on any who had
harboured you." Denethor said grimly. "Never fear, my
Lord. I will keep silent - for Gondor's sake."
The door opened unexpectedly, making both Men
start. Boromir darted through to throw himself with a
glad cry upon his father.
Finduilas followed, face darkening as she picked up
the tension between the two Men. "Surely you two are
not quarreling again so soon!"
"On the contrary, my Lady, the Lord Denethor and I
find ourselves in perfect agreement." Thorongil bowed
to her, to Denethor, and left closing the door gently
behind him.
Finduilas gave the door a dark frown, then turned
it on her husband. "What did you say to him?"
"So this is the answer to all the mysteries."
Aragorn glanced up from his maps. A look of
annoyance passed over his face and then resignation.
"Of course, I should have realized Denethor's promise
of silence would not extend to you."
Finduilas came into his small workroom, closing the
door behind her, blue eyes fastened piercingly upon
him. "Isildur's heir. You could bring destruction upon
us all should the Enemy learn you exist."
"I know." Aragorn agreed. "But, as I told you, I
have decided against that course."
Looking at him with less hatred and more perception
the Woman saw the hidden pain her husband had missed.
"Do you want so much to be a King?" she wondered. Such
deep ambition seemed out of character for the
Thorongil she knew.
"I am a King, my Lady, acknowledged or not." he
answered quietly. "And as King I must put the welfare
of the realm before my private desires." then the pain
broke through, tightening his mouth and darkening his
eyes. "But if I spare Gondor a new kinstrife, I also
condemn my people in the North to fade away and be
forgotten. Arnor will never rise again." (2)
Finduilas wanted to reach out, to comfort him
somehow, but had none to give. "I'm sorry." she
He shook his head, smiling wearily. "It's not your
doing, my Lady, or your Lord's. Even if Denethor and
Ecthelion were willing to accept me, my decision would
be the same. Gondor must stand, or all the West
1. Notice how Aragorn carefully avoids a direct lie.
2. This is true, but of course there's also the matter
of Arwen....


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PanAust expects earnings growth
PUBLISHED: 24 Jan 2012 13:03:11 | UPDATED: 24 Jan 2012 13:03:11PRINT EDITION: 24 Jan 2012
Copper and goldminer PanAust has forecast an increase in production from its major operation in Laos and a rise in earnings.
PanAust said it produced 59,897 tonnes of copper in concentrate in 2011 at its Phu Kham operation, within its previously issued guidance range.
The company has forecast production of between 63,000 and 65,000 tonnes of copper in concentrate in 2012 at Phu Kham.
The cash cost of production was $US1.01 (96¢) per pound for the year to December, and PanAust expects an average cash cost of between $US1.05 and $US1.15 per pound in 2012.
PanAust will report its financial results for 2011 in February, but on Tuesday said its unaudited earnings for the year were $US285 million.
Earnings in 2012 were expected to be between $US340 million and $US400 million, the company said.
Read more
Companies | Panaust Ltd |
Topics | Company News /Earnings & Reporting , Metals & Mining /Non Ferrous Metals |


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26. Tube Map London
At its most basic, Tube Map London is a London Tube map on your device, for free. In landscape, even the ads get out of your way, which is rather nice. And if you've a web connection, the app also provides live board info, a station finder and a route calculator.
27. Google Earth
"Hold the world in the palm of your hand," says Google about Google Earth, which enables you to fly across the planet by swiping your finger. More integration with content and features from Maps would be good, but Google Earth's Wikipedia articles and a Panoramio layer at least ensure it's a great app for seeing the world from your living room.
28. XE Currency
XE Currency is a fine example of an app that does what it needs to, without fuss. You configure a list of currencies, and it shows current conversion rates. Double-tap a currency to set its base rate or to define values for custom conversions.
29. Shazam
Shazam is an app that feels like magic when you first use it. It's deceptively simple—hold your iPhone near to a music source, and wait while the app listens and tells you what track is playing. But the sheer technology behind this simplicity is mind-boggling, and while Shazam doesn't always guess right, it's worth a download.
30. SwiftKey
The revamped iOS 8 keyboard is far better than its predecessor, not least because of the predictive word bar, but SwiftKey takes things a step further. Rather than laboriously tapping out individual keys, you just glide your finger across them. This can make for some comical typos initially, but SwiftKey soon speeds up iPhone text entry.
31. Yell Search
As you might expect, Yell Search enables you to find local stuff. Select from a bunch of built-in categories or type in your own term for a list of local amenities, and use the map to navigate. Avoid the clunky augmented reality view, though.
32. BBC News
BBC News has a mobile website that works very nicely in Safari. However, the BBC News app is designed to give you quick access to breaking stories, complete with playable videos and zoomable text. The navigation's a tad on the quirky side though.
33. Find My iPhone
For the paranoid souls out there (or the unlucky ones who've had their devices pilfered), Find My iPhone is a must-have download. Assuming you've a 2010 or later iOS device, you can set up a free account and locate your devices within seconds. (Note that older devices can also be added to Find My iPhone - you just need a recent one to get things going.)
34. Dragon Dictation
Fed up of typing on the tiny iPhone keyboard? Use Dragon Dictation instead, which happily converts your speech into text (with slightly spooky levels of accuracy for a freebie app). You can even punctuate ("Comma! Full-stop!"), and when you're done the app enables you to fire your thoughts at Facebook, Twitter, Mail or the iOS clipboard.
Of course, Siri's available for more recent iOS devices; even so, Dragon Dictation has a longer buffer time and might be more suitable for people used to defining punctuation while dictating.
35. iHandy Torch Free
It's a torch! It's a cheesy neon light! It's a hypnotic spiral effect! With slightly annoying ads! In reality, iHandy Torch Free is mostly a handy app for owners of older devices to have installed in case you get up for a midnight snack or toilet visit, don't turn on the light and want to avoid smashing your toe annoyingly hard into an unruly cupboard.
36. TVGuide.co.uk TV Guide
TV Guide is an app that's come a long way. At one time, this was a disappointing UK TV listings app. Today, it boasts now-and-next and scrollable listings views, reminders, and calendar, Twitter and Facebook integration. Only avoid if you hate TV or don't live in the UK.
37. Zoopla Property Search
There are loads of property search apps on the App Store, but Zoopla is the best of them. Its listings are comprehensive and there's also local market data, including sale prices and estimates on market value. Naturally, the app is also location-aware, meaning it can rapidly find properties nearby or close to a user-defined post code.
If you're an instant messaging fiend, IM+ gives you access to a bewilderingly large range of services, from giants like AIM and Facebook through to more niche fare. It's the perfect app for anyone who does a lot of instant messaging and wants everything within a single app, rather than having dozens of apps on their home screens.
39. Kayak
Kayak aims to be an all-in-one smart travel app, providing the means to search for flights, hotels, and car rentals, and then manage your trip and track your flights. Alerts can be defined to inform you about price changes, and the interface is clean and simple, ensuring that you don't miss any important details.
40. Virtuoso Piano Free 3
Virtuoso Piano Free 3 won't turn you into a virtuoso, but it's a perfectly serviceable mini piano. You can amend the number of keys shown on screen, and buttons enable you to rapidly navigate the full keyboard. You get two built-in voices for playback, to which you can add variable levels of sustain.
You might also like: Best alternatives to the default iPhone apps
41. TuneIn Radio
Don't bother buying a DAB radio - just install TuneIn Radio instead and plug your device into a set of speakers. TuneIn Radio has a great interface for accessing over 50,000 digital stations; it also has AirPlay support, and you can use it as an alarm clock.
42. 4oD Catch Up
The 4oD app has its problems — a lack of AirPlay support; enforced registration; quite a lot of ads — but it does give you the means to catch up with plenty of the TV shown on Channel 4, E4, More 4 and any other '4' channels the corporation's decided to unveil this week.
43. Jamie's Recipes
More a gateway drug for the tasty treats of Jamie Oliver, this IAP-infused app nonetheless flings ten freebie recipes your way and a few videos. The interface in Jamie's Recipes is lickable, and there's a handy shopping-list feature, for those of you who don't fancy arriving back home after fighting the crowds in the supermarket, only to find you accidentally picked up 500 lemons and forgot the chicken.
44. Instagram
Take a photo, smash a filter into it, and upload it. Instagram's service is now used by millions of people to share nuggets of visual loveliness, and the app itself is a pleasure to use, and also to browse during moments when you're not feeling quite so inspired.
45. Google Translate
Assuming you're online, Google Translate is a great app for translating text between dozens of different languages; handily, the most popular of them enable you to speak into your device and listen to translations. It's also considerably cheaper and more portable than dozens of translation staff.
46. iMotion HD
We say a big PFFT! at CGI. Real animators use stop-motion, until they inevitably go crazy at only being able to craft about three seconds of footage per week. iMotion HD enables you to create such painstaking animations with your device.
The sting in the tail: a £1.49 IAP for export, but if you don't care about that, you can play your creations on your device to your heart's content. There's also the free iMotion Remote to use as a remote controller over Wi-Fi for iMotion HD, to avoid you accidentally moving your 'camera'.
TED is brain food. The app provides access to talks by insanely clever people, opening your mind to new and radical ideas. You can also save your favourite talks locally, for even easier access, or ask the app to inspire you, based on your mood and available time.
48. Remote
The remote for Apple TV is a bit of a joke when you need to do anything more than play or pause. Remote is a free app which provides much better control and the ability to stop yourself going mad when typing things into search fields. It'll also happily use Home Sharing to pull content from computers on your network to your device, or fire said content at your Apple TV using AirPlay.
49. Skyscanner
Skyscanner's a great website, which enables you to punch in airports and find out the cheapest way of getting from A to B. The Skyscanner app is the same, but it's on your device and with a spiffy AI. Well worth a download, even if only to check flights for an upcoming holiday.
50. Apple Store
Apple fans with a lack of self-control should steer clear of the Apple Store app, which enables you to buy shiny Apple products directly from your device, to locate your nearest shrine of tech loveliness (aka Apple Store), and even to pay in-store, without having to bother hassling one of the blue-shirted staff.


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Hi, totally new to this, however needs s little help for my wifes Ka.
Just bought 4 weeks ago and getting a sharp knocking or clinking noise from 15 - 40 mph (Approx) from passenger side. Been through an MOT 4 weeks ago and nothing showed, have had wishbone, Track rod ends and all associated suspension bushes etc checked, however we have noticed the top of the coil spring is rusted and missing the powder coating - would this cause the knocking?
It is worse when you drive over rough parts in the road or where are 2 people in the car. Also just replaced both discs and pads.
Any help would be appreciated. If spring can someone advise where best deals are ?


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Bond with friends & family.
Bonduu is a social experience that focuses on people and their relationships. Joining is free of charge and allows you to document the connection between you and your significant other, friends, family members, coworkers, or anyone. Upload pictures, tell stories, and post updates about your bonds to share with whomever you choose.
Manage your page together with the other people in your bond. Share your latest developments through pictures, stories, and updates. Then see what others have to say.
Stay updated on your bonds as well as others. View updates as they are posted and only those you want to see. Take control of the front page.


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I just wrote, costumed, casted, filmed, and edited a movie in 72 hours. And that's over the course of three school nights.
Why, you might ask? I'll tell you why. Because my Mythological Figures composition presentation is going to be the standard by which all Mythological Figures composition presentation Mythological Figures composition presentations are graded. It is going to be the presentation that Mr. fucking Richards is going to talk about for the rest of his life. And it is going to get an indisputable A.
My project is based on the myths surrounding Artemis, the Greek goddess. It has to include, in 4 minutes or less:
Greek Name
Roman Name
Where they lived
Recap a myth
Visual representation (picture)
Modern relevance (characters based on them, etc)
That's a lot of information for four minutes. Most kids decided to make a powerpoint and just list all of the information. But the myths captured my imagination and I realized that Artemis would be a dream role. So my partner Diana (who's also queer, incidentally) and I decided to make a movie.
We researched all the information we could and I went home and wrote the script.
Diana and I discussed the script, edited, and I went home again. As soon as I got home I posted in the school drama FB page, asking for actors to meet me the next day after school. Three showed up: Nice Gabby, not-quite-reliable Hunter, and bossy Danielle. Between the five of us we had several roles to play. Danielle was Hera and Callisto (The Unchaste Handmaiden); Hunter was Apollo/Camera Guy; Gabby was Poseidon (with a surprisingly convincing hair-beard); Diana was Leto (Artemis's mom); and I, of course, starred as Artemis. We took one hour to film, and then I went home and put together the clips in a "rough draft."
My cast forgot to come to Day Two of filming. However, I was able to substitute some pictures of old pottery for actors. :) I then finished editing, the final touch being to create a montage to "Holding Out for a Hero." The movie is almost exactly 4 minutes long!!
It's actually quite a good movie. Funny, but to-the-point. We really hammed it up on set, and I think that Gabby, Diana and Hunter may be my friends now. Like, real friends, not just "people I talk to at school." It's nice!
Anyway, I'm very proud of myself. Goodnight!
And did I mention I spent 3 hours gathering random scraps of cloth and trying to make them somewhat resemble togas? I didn't get to bed until, like, 1 o'clock!


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Winter Season
Open Tuesday, Wednesday, Thursday, Saturday & Sunday
10am - 4pm
(last admission 3pm)
Click Here to see our Corporate Partners
One for the tramway enthusiast! Saturday 7th & Sunday 8th March will see the first of our monthly transport weekends.
All aboard for this transport extravaganza! From trams and cars to steam engines, lorries and cycles, there will be a fantastic line-up of Beamish transport and visiting vehicles alike.
Beamish's Matthew Henderson is in the national final of VisitEngland's Tourism Superstar - and he needs your vote! Matthew, our Engagement and Participation Team Assistant, is one of just 10 people across the country to be shortlisted from hundreds of entries.
Beamish is taking the 1950s on tour across the North East to invite people to nominate their house from the decade to be replicated at the Museum.


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Thursday, Mar 05 2015 11:03 Vietnam (GMT+7)
Call us now!
Lines Open: 8:00am - 8:00pm
This is one of many hotels and resorts throughout Vietnam of Green hotel chain. With a wide range of accommodations from basic standard rooms to luxurious ocean view suites, the impressive Green Plaza Hotel is Danang's first four-star hotel that caters to all tastes.
1 night
Built in 1996, the hotel has recently been upgraded into a modern three star hotel to offer another good option for budget travelers in Danang.
1 night
Come to Sun River Hotel to enjoy wonderful relaxation after stressful working days. Rooms are well equipped with modern facilities. The young, professional and friendly staff are guaranteed to give you satisfactory service always.
1 night
Sandy Beach Non Nuoc Resort Da Nang is located on 17 hectares of private garden fronting Non Nuoc Beach of the East Sea. A picturesque 15 km drive through Danang City from the airport brings you to Sandy Beach Non Nuoc Resort Da Nang.
1 night
YOUR ROAD TO HEAVENLY SCENERY… Sitting in the cable car cabin, mid air, looking upon the endless tree line of the forests, guests will be able to enjoy breathtaking views of the lush jungle and waterfalls along the way. Experiencing the pristine ecological system of the Bà Nà mountains will bring you a sense of unforeseeable discovery. Beginning its inaugural service on March 25th of 2009, the Bà Nà Cable Car carries guests to the mountain tops within minutes compared previously to almost an hour by road.
1 night
We offer you 5 "4 star hotels" in Da Nang. You can also use the search box on right hand to find your ideal hotels in Da Nang based on advanced criteria available. We will update more search features for your convenience in the near future.


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Go Green: Repurpose Old Furniture
The 411 from Stacey Zarrelli of Refabed Chic.
We've all heard the saying, "Reduce, Recycle, and Reuse." With the ever-increasing efforts to preserve our planet, we constantly need to find new ways to live that mantra.
These days, thanks to Pinterest, we have access to an abundance of DIY repurposing ideas — and if you have the time for these projects, they can be a fun way to "go green." If you don't have time for a project like this, you can turn to the experts.
That's where Fairfield County resident Stacey Zarrelli comes in. Stacey is the founder of Refabed Chic, a company she started to help others interested in "making something old new again." Stacey specializes in antiques and upcycled furniture, which means she can take your old stuff and make it look brand new!
We sat down with Stacey for the scoop on this environment-conscious trend that's been sweeping the world one Pinterest board at a time.
How did you first get started refinishing old furniture?
For me, it was when I was in my late teens to early twenties living at home with my mother. Her taste was so different from mine that my bedroom became my own vignette. I loved redesigning my space, adding new curtains, changing the bedspreads and rugs but eventually that all got boring when I had to look at the same furniture every day. That's when I first got into painting. I stenciled my twin headboard. I purchased black iron sconces that I spent days sanding with a Dremel and then painted an antique white and gilded them with gold wax. That was my first taste at decorating and painting.
Then my mother passed and life got busy and I stopped painting all together. I took it up again last year when my husband, Tom, and I put a new kitchen in our condo. We had bought about four to five paint samples for the walls and I hated them going to waste so I drove over to my storage unit with all my treasured (unfinished pieces that I picked up years ago waiting to be touched) and got my pie crust table out. That was the first piece I had painted in almost ten years. The joy I got from that was amazing. I actually listed the piece on Craigslist but quickly took it down as I couldn't part with it quite yet. After all, it was the piece that got me painting again!
What's the strangest item you have repurposed?
I just haven't done anything like that [yet!]. However, I'd love to get my hands on an old sewing table and turn it into a cooler. I'm also dying to paint my childhood piano. Waiting till we move to do that as it's currently in storage but the thought of a turquoise piano excites me. Although, by the time we move I might want to make it green! We'll see!
Where does your inspiration and vision for each piece come from?
Pinterest is my go-to. I love lying in bed at the end of my day looking at painted furniture. I can't say I get a vision and run with it. For instance when I bought my provincial desk my initial thought was to staining the top Jacobean and paint the body coco. I hit it with the stain and immediate changed my mind. My desk is a prime example of my flow. Unless I'm working on a specific piece for someone, I just go with my mood and my feelings at the time. My initial vision of my coco desk with a dark stained top turned into a grey crackled top with any off white based and a grey wash with pure white hardware. Completely different from what I initially envisioned. Now I couldn't envision it any other way.
Approximately how long does it take you to complete one time of furniture from start to finish?
Every piece is different depending on my mood, my time and what the piece is. I can crank it out in a day or do it slowly over a few weekends.
Stacey working on upcycling a chair.
Where are some of the places you found old furniture to upcycle?
I don't have a specific place that I get my pieces from. I'm an early bird on Saturdays and I hit up estate sales and tag sales looking for hidden treasures that I can claim. I also go to consignment shops and check Craigslist and Facebook. My sister, Jill, helps out a lot. She's also on Facebook tagging me for pieces that she thinks I'd want. Then all I need to do is pick it up. With the help of some family it makes my job a bit simpler.
What is your favorite part of the process?
My favorite part of the process is really two-fold. First when I get the piece I'm so stoked. Second when it's completed. I guess my favorite part is truly the before and after. And putting the first coat of paint on the piece. When the vision really starts to become the reality.
Check out Refabed Chic on Etsy to see Stacey's work, or contact her if you have furniture to recycle!


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In our last post Asynchronous Google Analytics is Better but Not Faster, we ran some tests using HttpWatch in Firefox 3.6 and IE 8 to see if the asynchronous version of the Google Analytics (GA) script was really faster as many have claimed. We found the following: Changing from the synchronous to asynchronous GA snippet make no significant difference in page load time over a typical broadband connection When we tried simulating a slow download of the ga.js file, we did find that the asynchronous version of GA isolated the page from this potential performance problem – but only in … Continue reading
Posted on August 12, 2010 in HttpWatch,Javascript,Optimization Tags: Google Analytics,HttpWatch,IE
In December 2009, Google launched the asynchronous version of the Google Analytics script. The update aimed to address potential script blocking problems that have been extensively researched and reported by Steve Souders at Google. Steve's blog post about the new asynchronous loading of Google Analytics identified three potential benefits: Your pages should load faster Availability or performance problems at Google should have less impact on your site Analytics data is more likely to be collected if a user leaves a page early Before applying the change to our web site we decide to compare the new and old versions of … Continue reading
Posted on July 29, 2010 in Firefox,HTTP,HttpWatch,Internet Explorer,Javascript,Optimization Tags: Firefox,Google Analytics,HttpWatch,IE


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İznik pottery
İznik pottery, named after the town in western Anatolia where it was made, is a decorated ceramic that was produced from the last quarter of the 15th century until the end of the 17th century.
The town of İznik was an established centre for the production of simple earthenware pottery with an underglaze decoration when in the last quarter of the 15th century, craftsmen in the town began to manufacture high quality pottery with a fritware body painted with cobalt blue under a colourless transparent lead glaze. The meticulous designs combined traditional Ottoman arabesque patterns with Chinese elements. The change was almost certainly a result of the active intervention and patronage by the recently established Ottoman court in Istanbul who greatly valued Chinese blue-and-white porcelain.
During the 16th century the decoration of the pottery gradually changed in style, becoming looser and more flowing. Additional colours were introduced. Initially turquoise was combined with the dark shade of cobalt blue and then the pastel shades of sage green and pale purple were added. Finally, in the middle of the century, a very characteristic bole red replaced the purple and a bright emerald green replaced the sage green. From the last quarter of the century there was a marked deterioration in quality and although production continued during the 17th century the designs were poor, as the city's role as primary ceramics producer was taken up by Kütahya.
The ceramic collection of the Topkapi Palace includes over ten thousand pieces of Chinese porcelain but almost no İznik pottery. Most of the surviving İznik vessels are in museums outside Turkey, but plentiful examples of the city's tile production exist in numerous cities throughout Turkey, such as İstanbul, Bursa, Edirne, Adana, and Diyarbakır. In Istanbul alone examples of İznik tiling can be seen in at least 40 mosques, tombs, libraries, and palace buildings, such as the Rüstem Pasha Mosque, the Sokollu Mehmet Paşa Mosque, the tomb of Selim II in the Hagia Sophia complex, and certain buildings of the Topkapı Palace complex such as the Circumcision room and the Baghdad Kiosk
- 1 Overview: role of Chinese porcelain
- 2 Provenance of Iznik pottery
- 3 Miletus ware (15th century)
- 4 Fritware
- 5 Blue-and-white ware (1480–1520)
- 6 Patronage by the Ottoman court: Süleyman the Magnificent
- 7 Golden Horn ware (c. 1530 - c. 1550)
- 8 Damascus ware (c. 1530 - c. 1550)
- 9 Polychrome ceramics (1550–1600)
- 10 Decline (1600–1700)
- 11 See also
- 12 Notes
- 13 References
- 14 Sources
- 15 Further reading
- 16 External links
Overview: role of Chinese porcelain[edit]
Following the establishment of the Ottoman Empire in the early 14th century, Iznik pottery initially followed Seljuk Empire antecedents.
After this initial period, Iznik vessels were made in imitation of Chinese porcelain, which was highly prized by the Ottoman sultans. As the potters were unable to make porcelain, the vessels produced were fritware, a low-fired body comprising mainly silica and glass.
The originality of the potters was such that their use of Chinese originals has been described as adaptation rather than imitation.[1] Chinese ceramics had long been admired, collected and emulated in the Islamic world. This was especially so in the Ottoman court and the Safavid court in Persia which had important collections of Chinese blue-and-white porcelain. Such Chinese porcelains influenced the style of Safavid pottery and had a strong impact on the development of Iznik ware.[2] By the mid-16th century, Iznik had its own vocabulary of floral and abstract motifs in tight designs making use of a limited palette. Decoration progressed from pure symmetry to subtle rhythms.
Provenance of Iznik pottery[edit]
From the second half of the 19th century until the 1930s European collectors were confused by the different styles of Iznik pottery and assumed that they originated from different pottery producing centres. Although it is now believed that all the pottery was produced in Iznik (or Kütahya, see below) the earlier names associated with the different styles are still often used. In the 19th century until the 1860s all Islamic pottery was normally known as 'Persian' ware.[3] However, between 1865 and 1872 the Musée de Cluny in Paris acquired a collection of polychrome fritware pottery with a design that included a bright 'sealing-wax red'.[a] As all the items in the collection had been obtained on the island of Rhodes it was assumed, erroneously, that the pottery had been manufactured on the island and the term 'Rhodian' ware was adopted for this style. European collectors also purchased a number of pieces decorated in blue, turquoise, sage green and pale purple which were believed to originate from the town of Damascus in Syria and became known as 'Damascus' ware. Blue and white fritware pottery became known as 'Abraham of Kütahya ware' as the decoration was similar to that on a small ewer that once formed part of the collection of Frederick Du Cane Godman and is now in the British Museum.[4] The ewer has an inscription in Armenian script under the glaze on its base stating that it commemorated Abraham of Kütahya with a date of 1510.[5][6] In 1905-1907, during the construction of a new post office in the Sirkeci district of Istanbul near the shore of the Golden Horn, pottery fragments were unearthed that were decorated with spiral designs on a white background. As a result, pottery with similar spiral patterns became known as 'Golden Horn ware'.[6]
It was not until the 1930s that art historians fully realised that the different styles of pottery were probably all produced in Iznik.[7] In 1957 Arthur Lane published an influential article in which he reviewed the history of pottery production in the region and proposed a series of dates.[8] He suggested that 'Abraham of Kütahya' ware was produced from 1490 until around 1525, 'Damascus' and 'Golden Horn' ware were produced from 1525 until 1555 and 'Rhodian' ware from around 1555 until the demise of the Iznik pottery industry at the beginning of the 18th century. This chronology has been generally accepted.[9]
Iznik and Kütahya[edit]
The 'Abraham of Kütahya ewer' is not the only vessel with a possible Kütahya origin. A fragmentary water bottle decorated in the 'Golden Horn' style has an underglaze inscription in Armenian script that refers to the vessel as an "object of Kütahya".[10] Lane argued that it was unlikely that either the 'Abraham of Kütahya' ewer or the water bottle had been made in Kütahya.[11] However, subsequent archaeological excavations in Kütahya unearthed fragments of pots in the blue and white İznik style that had been damaged during manufacture ('wasters') providing evidence that fritware pottery had been produced in the town.[12] The designs, materials and manufacturing technique appear to have been similar to that used in İznik. Kütahya is further from Istanbul with less easy access to the capital and was probably only a small pottery producing centre in the 16th century.[12] Nevertheless, it is likely that some of the pottery that is currently labelled as 'İznik' was manufactured in Kütahya. The art historian Julian Raby has written: "For the moment we have no choice but to call all Ottoman glazed pottery of the 16th and 17th centuries by the generic label 'İznik', and to hope that in time we can learn to recognise the diagnostic features of contemporary 'Kütahya ware'."[9]
Imperial workshops in Istanbul[edit]
During the first half of the 16th century underglaze painted blue-and-white ceramics were also produced in Istanbul. A surviving account book for 1526 that records wages paid to craftsmen employed by the Ottoman court, lists a tilemaker from Tabriz with ten assistants.[13][14] The tilemaker was probably one of the craftsmen brought to Istanbul after Selim I had temporary captured Tabriz in 1514. The tile workshops were located in the Tekfur Sarayı neighbourhood of the city near the Palace of the Porphyrogenitus.[14] The craftsmen are believed to have been responsible for all the tiles on the imperial buildings until the construction of the Süleymaniye Mosque in the 1550s.[13] Most of the tiles were decorated with coloured glazes using the cuerda seca (dry cord) technique, but in a few cases the tiles were underglaze painted in cobalt blue and turquoise. These underglaze tiles were used on the revetments of the facade of the Holy Mantle Pavilion (Privy Chamber) in the grounds of the Topkapı Palace and within the mausoleum of Çoban Mustafa Pasha (d. 1529) in Gebze.[15][16] The most striking examples are five extremely large rectangular tiles (1.25 m in length) that form part of the facade of the Circumcision Room (Sünnet Odası) of the Topkapı Palace. Although the building dates from 1641, the tiles are believed to be from an earlier structure on the same site that was erected in 1527-28. These large tiles are decorated with very elaborate designs that suggests the close involvement of the court designers.[17][18][19]
Although there are no surviving records detailing the output of the imperial workshops, it is likely that the potters manufacturing the blue-and-white underglaze painted tiles also made other items for the court. The historian Gülru Necipoğlu has suggested that an unusual gilded mosque lamp and a decorative ball that come from the Yavuz Selim Mosque should be attributed to the imperial workshop.[20] The lamp and ball have underglaze inscriptional bands in cobalt blue but the mosque itself is decorated only with cuerda seca tiles.[21][b] The number of tilemakers employed by the imperial workshops dwindled so that by 1566 only three remained. With the construction of the Süleymaniye Mosque, Iznik became a major center for the manufacture of underglaze tiles.[22]
Miletus ware (15th century)[edit]
Archaeological excavations in Iznik conducted by Oktay Aslanapa in the early 1960s revealed that the town had been an important centre for the production of simple earthenware pottery well before the introduction of the blue-and-white fritware.[23] The excavations uncovered fragments of what is confusingly known as 'Miletus ware'. The discovery of kiln-wasters confirmed that the pottery was manufactured locally. The name originated from the discovery of sherds during excavations by Friedrich Sarre at Miletus in the early 1930s. As Miletus had a long history as a pottery producing centre, it was erroneously assumed that the pottery was produced locally and it became known as 'Miletus ware'. It is now believed that Iznik was the main centre for the production of 'Miletus ware' with smaller quantities being produced at Kütahya and Akçaalan.[23] The excavations have not provided a clear date for the pottery but it is assumed to belong to the 15th century. The archaeological evidence from other sites in Turkey suggests that Miletus ware was produced in large quantities and widely distributed.[24]
Miletus ware used a red clay body covered with a white slip which was painted with simple designs under a transparent alkaline lead glaze. The designs were usually in dark cobalt blue but also sometimes in turquoise, purple and green. Many dishes have a central rosette surrounded by concentric bands of gadroons.[25][26]
From the late 15th century, potters in İznik began producing wares that were decorated in cobalt blue on a white fritware body under a clear glaze. Both the manufacturing technique and the underglaze designs were very different from that used in the production of Miletus ware. Fritware had been made in the Near East from the 13th century, but İznik fritware, achieving a white surface, was a major innovation.[27]
Fritware (also called stonepaste) is a composite material made from quartz sand mixed with small amounts of finely ground glass (called frit) and some clay. When fired, the glass frit melts and binds the other components together. In the 13th century the town of Kashan in Iran was an important centre for the production of fritware.[28] Abū'l-Qāsim, who came from a family of tilemakers in the city, wrote a treatise in 1301 on precious stones that included a chapter on the manufacture of fritware.[29] His recipe specified a fritware body containing a mixture of 10 parts silica to 1 part glass frit and 1 part clay. There is no equivalent treatise on the manufacture of Iznik pottery, but analysis of the surviving pieces indicates that the potters in İznik used roughly similar proportions. In Kashan the frit was prepared by mixing powdered quartz with soda which acted as a flux. The mixture was then heated in a kiln. In İznik, as well as quartz and soda, lead oxide was added to the frit.[30]
As the fritware paste lacked plasticity and was difficult to work on the wheel, vessels were seldom made in one piece. Instead they were formed in separate sections that were allowed to dry and then stuck together using the fritware paste. This additive technique meant that there was a tendency for the final vessels to have slightly angular shapes.[31] Dishes were almost certainly made using a mould attached to a potter's wheel. A lump of fritware paste would have been rolled out into a sheet much like when a cook rolls out pastry. The sheet would have been placed on the mould to form the inside of the dish. The underside of the dish would have been shaped using a template as the mould was rotated on the wheel. When the paste was partly dry the foliate rim would have been sculptured by hand.[32]
The ceramics were coated with a thin layer of white slip. This had a similar composition to the fritware paste used for the body, but the components were more finely ground and more carefully selected to avoid iron impurities that would discolour the white surface. It is likely that an organic binder was also added such as tragacanth gum.[32] Although in his treatise Abū'l-Qāsim recommended that fritware vessels were allowed to dry in the sun before being decorated, it is probable that Iznik ceramics was given a bisque firing.[32] The pottery was painted with pigments that had been mixed with glass frit and ground in a wet quern. For some designs the outlines were pounced through a stencil.[33]
In the early period only cobalt blue was used for decoration. The cobalt ore was probably obtained from the village of Qamsar near the town of Kashan in central Iran.[34] Qamsar had long been an important source of cobalt and is mentioned by Abū'l-Qāsim Qamsarin in his treatise.[29] From around 1520 turquoise (copper oxide) was added to the palette. This was followed by purple (manganese oxide), green, grey and black. The distinctive bright bole red was introduced in around 1560.[35] The red slip containing iron oxide was applied in a thick layer under the glaze. Even after the introduction of a range of different pigments, vessels were sometimes still produced with a restricted palette.[36]
The wares were glazed with a lead-alkaline-tin glaze, whose composition has been found from analysis to be lead oxide 25-30 percent, silica 45-55 percent, sodium oxide 8-14 percent and tin oxide 4-7 percent.[37] Tin oxide is often employed to render glaze opaque but in İznik glazes it remains in solution and is transparent.[38]
Abū'l-Qāsim described the use of earthenware saggars with a fitting lid.[29] Although Miletus ware bowls were stacked in the kiln one on top of the other separated by spurs, the lack of spur marks on İznik fritware suggests that saggards were used. Firing was done in an updraft kiln, to about 900°C.[39]
Blue-and-white ware (1480–1520)[edit]
In the final decades of the 15th century, potters in Iznik began producing blue-and-white fritware ceramics with designs that were clearly influenced by the Ottoman court in Istanbul. There are no surviving written documents that provide details on how this came about. The earliest specific mention of Iznik pottery is in the accounts for the Imperial kitchens of the Tokapi palace for 1489-1490 where the purchase of 97 vessels is recorded.[40] The earliest datable objects are blue-and-white border tiles that decorate the mausoleum (türbe) in Bursa of Şehzade Mahmud, one of the sons of Bayezid II, who died in 1506-7.[41][42]
The term 'Abraham of Kütahya ware' has been applied to all the early blue-and-white Iznik pottery as the 'Abraham of Kütahya' ewer, dating from 1510, is the only documented vessel. The art historian Julian Raby has argued that the term is misleading as the ewer is atypical and has instead proposed the term 'Baba Nakkaş ware' after the name of the leading designer attached to the Imperial court in Istanbul.[43] The earliest surviving Iznik fritware objects, dating from probably around 1480, are believed to be a group of vessels painted in a dark cobalt blue in which much of the dense decoration is in white on a blue background. The vessels have separate areas of Ottoman arabesque and Chinese floral designs. The combination of these two styles is referred to as Rumi-Hatayi where Rumi denotes the Ottoman arabesque patterns and Hatayi the Chinese inspired floral patterns.[44] Many of the meticulously painted arabesque motifs of this early period are believed to be influenced by Ottoman metalwork.[45][46]
Although both the use of cobalt blue on a white background and the shape of large dishes were clearly influenced by Chinese porcelain from the Yuan and Ming dynasties, the early Iznik fritware dishes were far from being direct copies of Chinese designs. In some pieces, such as the front of a large charger with a foliate rim in the Çinili Koşk Museum, the decoration used only Ottoman Rumi designs.[47]
During the first two decades of the 16th century there was a gradual shift in style with the introduction of a brighter blue, more use of a white background and a greater use of floral motifs.[48] Dating from this period are four mosque lamps from the mausoleum of Sultan Bayezid II in Istanbul which was constructed in 1512-13.[49] A fifth lamp that probably also came from the mausoleum is now in the British Museum.[50][51] These pottery mosque lamps are of a similar shape to Mamluk glass lamps. There was a tradition of hanging pottery lamps in mosques dating back at least to the 13th century. The opaque pottery lamps would have been completely useless for lighting and they instead served a symbolic and decorative function.[52] The lamps from Bayezid II's mausoleum are decorated with bands of geometric motifs and kufic inscriptions but around the centre they have a very prominent broad band containing large rosettes and stylized lotus blossoms.[49]
Fragment of tile identical to those on mausoleum of Şehzade Mahmud in Bursa, 1506-1507
Patronage by the Ottoman court: Süleyman the Magnificent[edit]
After the conquest of Constantinople in 1453, the Ottoman sultans started a huge building programme. In these buildings, especially those commissioned by Süleyman, his wife Hürrem (Roxelana) and his Grand Vizier Rustem Pasha, large quantities of tiles were used. The Sultan Ahmed Mosque in Istanbul (the "Blue Mosque") alone contains 20,000 tiles. The Rüstem Pasha Mosque is more densely tiled and tiles were used extensively in the Topkapı Palace. As a result of this demand, tiles dominated the output of the Iznik potteries.
Under Süleyman the Magnificent (1520–66), demand for İznik wares increased. Jugs, hanging lamps, cups, bowls and dishes were produced, inspired by metalwork and illuminated books as well as Chinese ceramics. Many large dishes were made with looser designs, incorporating ships, animals, trees and flowers. The dishes appear to have been made for display, as most have pierced footrings so that they can be hung up, but they have been observed also to be scratched from use.[53] Designs in the 1520s include the saz style in which a long, serrated saz leaf, dynamically arranged, is balanced by static rosette forms. In the later 16th century, the quatre fleurs style used a repertoire of stylised tulips, carnations, roses and hyacinths.
Golden Horn ware (c. 1530 - c. 1550)[edit]
The so-called 'Golden Horn ware' was a variation on the blue-and-white decoration that was popular from the late 1520s to 1550s.[54] Golden Horn ware was so named because sherds in this style were excavated in the Golden Horn area of Istanbul.[c] It was later realized that the pottery was made in Iznik as some motifs on the vessels closely resembled those used on other blue-and-white Iznik pottery.[55] The decoration consists of a series of thin spirals adorned with small leaves. The narrow rims of dishes are painted with a meandering pattern. The design is similar to the illuminated spiral scrolls used as a background to Sultan Suleyman's Tuğra, or imperial monogram. Julian Raby has used the term 'Tuğrakeş spiral ware' as the tuğrakeş were the specialist calligraphers in the Ottoman court.[55] The earlier vessels were painted in cobalt blue while later vessels often include turquoise, olive-green and black.[56] A number of dishes dating from this period show the influence of Italian pottery. The small bowls and a large flat rims are similar in shape to maiolica tondino dishes that were popular in Italy between 1500 and 1530.[57][58]
Cut down water bottle, probably made in Kütahya, dated 1529
Damascus ware (c. 1530 - c. 1550)[edit]
The so-called 'Damascus ware' was popular under Suleiman the Magnificent from 1530 to 1550. They use for the first time green and purple, in addition to cobalt blue and turquoise, and form a transition towards full-fledged polychrome ceramics.[59] There were again mistakenly labeled "Damascus" after some were found in Damascus, Syria, but were later understood to be derived from Iznik.[60]
A key object from this period is a ceramic vessel in the form of a mosque lamp with an inscribed date that is now in the British Museum. It is the best documented surviving piece of Iznik pottery and enables scholars to fix the dates and provenance of other objects. The lamp was discovered on the Temple Mount in Jerusalem in the middle of the 19th century and is believed to have been associated with the refurbishment of the Dome of the Rock initiated by Suleiman the Magnificent.[61][62] Around the base of the lamp are a series of inscribed cartouches giving the name of the decorator (Musli), a dedication to the Iznik Sufi saint Eşrefzâde Rumi, and the date of AH 956 in the month of Jumada'l-Ula (AD 1549). The lamp is decorated in green, black and two shades of blue. The design includes pale blue cloud-banks, small-scale arabesques on a green ground and a row of tulip buds in dark-blue cartouches. The lamp can be used to date a group of other vessels including some large footed basins. Although the basins are quite different from the lamp in overall style, each basin shares motifs present on the lamp.[61][62]
Mosque lamp, probably made for the Dome of the Rock in Jerusalem, dated 1549
Polychrome ceramics (1550–1600)[edit]
Polychrome ceramics form the longest and most successful period of Iznik ware. They were made from the mid-16th century to the end of the 17th century.
Iznik polychrome ware with cypress tree, second half 16th century
Other objects[edit]
Tiled panel with a central mandorla, second half 16th century
Decline (1600–1700)[edit]
Towards the end of the 16th century there was a marked decline in the quality of the pottery produced in İznik.[63] This has been linked to the loss of patronage by the Ottoman court and with the imposition of fixed prices in a period of inflation.[64] Another important factor was that from the middle of the 16th century increasing quantities of Chinese porcelain were imported into Turkey. The İznik craftsmen failed to compete with the high quality imports and instead produced pottery with crudely painted rustic designs.[65] Although the Chinese imports did not compete with locally produced tiles, there was little new imperial building and therefore little demand. Even when the court required tiles such as for the mausoleum of Ahmed I built between 1620 and 1623, the low prices led to a drop in the living standards of the potters. They responded by finding new markets outside the Ottoman imposed price system. Tiles were exported to Cairo where they were used to decorate the Aksunkur Mosque which was remodelled by Ibrahim Agha in 1651-52.[66][67] Tiles were also exported to Greece where in 1678 the Monastery of the Great Lavra on Mount Athos was decorated with polychrome tiles inscribed with Greek lettering.[68][69] Nevertheless there was a decline in the volume of pottery produced and by the mid-17th century only a few kilns remained.[70] The last dated pottery are dishes with crude uncial Greek inscriptions from 1678.[71]
Iznik dish showing a pagoda like building with an uncial Greek inscription, dated 1666
Fritware is still produced at Kütahya, about 200 km south of Istanbul, principally for the tourist trade and in imitation of Iznik ware. Works synthesizing traditional Iznik designs with modern themes are being produced in Kutahya as well.
See also[edit]
- ^ The collection of 532 items is now housed in the Musée National de la Renaissance in Écouen near Paris.
- ^ The hanging mosque ornament is on display at the Walters Art Museum in Baltimore (Inv. no. 48.1022). The mosque lamp is displayed at the Tiled Kiosk (Çinili Köşk) in Istanbul.
- ^ A bowl excavated at Sirkenci in Istanbul is now in the Victoria and Albert Museum, London (Inv. No. 790-1905)
- ^ Carswell 2006, p. 32.
- ^ LACMA: Los Angeles County Museum of Art
- ^ Atasoy & Raby 1989, p. 71.
- ^ 'Abraham of Kütahya' ewer, British Museum Accession Code: G.1
- ^ Carswell 2006, p. 46.
- ^ a b Atasoy & Raby 1989, p. 72.
- ^ Lane 1957a, p. 247.
- ^ Lane 1957a.
- ^ a b Atasoy & Raby 1989, p. 74.
- ^ Carswell 2006, pp. 46-47.
- ^ Lane 1957a, p. 271.
- ^ a b Carswell 2006, p. 48.
- ^ a b Atasoy & Raby 1989, p. 96.
- ^ a b Necipoğlu 1990, p. 139.
- ^ Necipoğlu 1990, pp. 143-145.
- ^ Atasoy & Raby 1989, p. 102, Fig. 129.
- ^ Necipoğlu 1990, pp. 148-152.
- ^ Atasoy & Raby 1989, p. 102.
- ^ Denny 2004, p. 72.
- ^ Necipoğlu 1990, p. 145.
- ^ Atasoy & Raby 1989, p. 102, Figs. 305-306.
- ^ Necipoğlu 1990, p. 156.
- ^ a b Atasoy & Raby 1989, p. 82.
- ^ Atasoy & Raby 1989, p. 83.
- ^ Carswell 2006, p. 29.
- ^ Lane 1957b, pp. 40-41.
- ^ Carswell 2006, p. 30.
- ^ Atasoy & Raby 1989, p. 50.
- ^ a b c Allan 1973.
- ^ Atasoy & Raby 1989, p. 51.
- ^ Atasoy & Raby 1989, p. 57.
- ^ a b c Atasoy & Raby 1989, p. 58.
- ^ Atasoy & Raby 1989, pp. 57, 59-60.
- ^ Atasoy & Raby 1989, pp. 58, 67.
- ^ Atasoy & Raby 1989, pp. 221,228.
- ^ Atasoy & Raby 1989, p. 237.
- ^ Henderson, Julian, "İznik pottery, a technical examination" in Atasoy & Raby 1989, p. 67.
- ^ Atasoy & Raby 1989, pp. 60, 67.
- ^ Atasoy & Raby 1989, p. 62.
- ^ Atasoy & Raby 1989, p. 30.
- ^ Atasoy & Raby 1989, p. 90.
- ^ Carswell 2006, p. 38.
- ^ Atasoy & Raby 1989, pp. 76-79.
- ^ Lane 1957a, p. 262.
- ^ Lane 1957a, p. 256.
- ^ Atasoy & Raby 1989, pp. 79, 81.
- ^ Atasoy & Raby 1989, pp. 77, 79.
- ^ Atasoy & Raby 1989, pp. 90, 98.
- ^ a b Atasoy & Raby 1989, p. 100, Figs. 105-109, 293-296.
- ^ Carswell 2006, pp. 39-41, Fig. 23.
- ^ Inv. No. 1878,1230.520, British Museum, London.
- ^ Atasoy & Raby 1989, pp. 41, 94.
- ^ Carswell 2006, p. 55.
- ^ Atasoy & Raby 1989, pp. 108, 113.
- ^ a b Atasoy & Raby 1989, p. 108.
- ^ Atasoy & Raby 1989, p. 110.
- ^ Atasoy & Raby 1989, p. 104.
- ^ Lane 1957a, p. 268.
- ^ Istanbul Archaeology Museums permanent exhibit
- ^ Islamic art by Barbara Brend, p.184
- ^ a b Carswell 2006, pp. 63-67.
- ^ a b Atasoy & Raby 1989, pp. 135, 138, Figs 239, 355.
- ^ Carswell 2006, p. 106.
- ^ Atasoy & Raby 1989, pp. 274, 278.
- ^ Atasoy & Raby 1989, p. 285.
- ^ Atasoy & Raby 1989, p. 278.
- ^ Behrens-Abouseif 1992, p. 116.
- ^ Atasoy & Raby 1989, p. 279.
- ^ Carswell 2006, p. 108.
- ^ Atasoy & Raby 1989, p. 21.
- ^ Atasoy & Raby 1989, p. 284.
- Allan, J.W. (1973), "Abū'l-Qāsim's treatise on ceramics", Iran 11: 111–120, JSTOR 4300488.
- Atasoy, Nurhan; Raby, Julian (1989), Iznik: The Pottery of Ottoman Turkey, London: Alexandra Press, ISBN 978-1-85669-054-6.
- Behrens-Abouseif, Doris (1992) [1989], Islamic Architecture in Cairo: An Introduction, Leiden: Brill, ISBN 90-04-09626-4.
- Carswell, John (2006) [1998], Iznik Pottery, London: British Museum Press, ISBN 978-0-7141-2441-4.
- Denny, Walter B. (2004), Iznik: the artistry of Ottoman ceramics, London: Thames & Hudson, ISBN 978-0-500-51192-3.
- Necipoğlu, Gülru (1990), Grabar, Oleg, ed., "From International Timurid to Ottoman: a change of taste in sixteenth-century ceramic tiles", Muqarnas: An Annual on Islamic Art and Architecture (Leiden: Brill) 7: 136–170, ISBN 90-04-09347-8, JSTOR 1523126.
- Lane, Arthur (1957a), "The Ottoman Pottery of Isnik", Ars Orientalis 2: 247–281, JSTOR 4629039.
- Lane, Arthur (1957b), Later Islamic pottery: Persia, Syria, Egypt, Turkey, London: Faber and Faber.
Further reading[edit]
- Akar, Azade (1988), Treasury of Turkish designs: 670 motifs from Iznik pottery, New York: Dover, ISBN 978-0-486-25594-1.
- Colomban, P.; Milande, V.; Le Bihan, L. (2004), "On-site Raman analysis of Iznik pottery glazes and pigments", Journal of Raman Spectroscopy 35: 527–535, doi:10.1002/jrs.1163.
- Denny, Walter B. (2005). "Dispersed Ottoman unified-field tile panels". Benaki Museum Journal. 4, 2004: 149–157. ISSN 2407-9502.
- Denny, Walter B. (2006). "Dispersed Ottoman repeating-pattern Iznik tiles". In Parzymies, Anna. Studies in Oriental Art and Culture in Honour of Professor Tadeusz Majda. Warsaw: Dialog. pp. 169–190. ISBN 978-838989939-2.
- François, Véronique (1997), "Les ateliers de céramique byzantine de Nicée/Iznik et leur production (Xe-début XIVe siècle)", Bulletin de Correspondance Hellénique (in French) 121 (1): 411–442, doi:10.3406/bch.1997.1637.
- Henderson, J.; Raby, J. (1989), "The technology of fifteenth century Turkish tiles: an interim statement on the origins of the Iznik industry", World Archaeology: Ceramic Technology 21 (1): 115–132, doi:10.1080/00438243.1989.9980094, JSTOR 124488.
- Mason, R.B.; Tite, M.S. (1994), "The beginnings of Islamic stonepaste technology", Archaeometry 36 (1): 77–91, doi:10.1111/j.1475-4754.1994.tb01066.x.
- Paynter, S.; Okyar, F.; Wolf, S.; Tite, M.S. (2004), "The production technology of Iznik pottery—a reassessment", Archaeometry 46 (3): 421–437, doi:10.1111/j.1475-4754.2004.00166.x.
- Queiroz Ribeiro, Maria (2009), Iznik pottery and tiles in the Calouste Gulbenkian collection, Lisbon: Calouste Gulbenkian Foundation, ISBN 978-972-8848-58-3.
- Tite, M.S. (1989), "Iznik pottery: an investigation of the methods of production", Archaeometry 31 (2): 115–132, doi:10.1111/j.1475-4754.1989.tb01008.x.
External links[edit]
Wikimedia Commons has media related to İznik ceramics. |
- Timeline of the main developments in Iznik pottery, Oxford: Ashmolean Museum.
- Photographs of Iznik tiles in Istanbul taken by Dick Osseman


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Went to check out an rtu at a strip mall yesterday evening and when I got up on the roof heading to my unit I passed these beauties! That's some quality work right there man!
Originally Posted by nolaHVAC Went to check out an rtu at a strip mall yesterday evening and when I got up on the roof heading to my unit I passed these beauties! That's some quality work right there man! Does LA have a state conditioned air lic board? Assuming they do and the contractor who installed that would need a lic for commercial work I think you can make him wish he never did that. In GA you can turn someone in for real substandard work both residential and commercial. Takes time but they could get fined, reprimanded, forced to redo bad work or all of that. They also could get their lic suspended, put on probation or revoked. Thank you very much
"I could have ended the war in a month. I could have made North Vietnam look like a mud puddle." "I have little interest in streamlining government or in making it more efficient, for I mean to reduce its size. I do not undertake to promote welfare, for I propose to extend freedom. My aim is not to pass laws, but to repeal them. It is not to inaugurate new programs, but to cancel old ones that do violence to the Constitution." Barry Goldwater
If you can't fix something with duct tape and a claw hammer, it's not worth fixing.
That's good work compared to some of the crap I see around NOLA.
My name is TooCoolforschool and I am a chronic over charger.
Send the pics and the units serial number to Ruud and ask them if they approve the way their equipment was installed.
A people who would exchange liberty for apparent safety, will deserve neither and lose both.
That's just Ruud. At least there was effort. lol
You need to put the phone down and get back to work!
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Reset Registry Permissions:
This will change the owner of the reg keys to Administrators and give admins & system full control. This will not remove any current permissions, it only adds to them.
What will this fix?
A lot of things actually. Here are a few examples.
You try to install some Windows updates but they fail. If the updates don't have permission to certain keys the updates will fail.
Software wont work. Same as windows updates, if a program cant access a key it needs it will fail.
Registering files gives you an error. When trying to register some system files you get an error that it failed. This is because the reg keys the file needs arent accessible. By fixing the permissions you can again register the files.


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BREAKING: Barack Obama Traded To White People For Hillary Clinton And Cash Considerations
A leading spokesman for Black people was quoted as saying, "I just can't believe it bounced that high off the backboard– it doesn't make sense. It was a layup. We're thinking maybe Hillary can run and win in 2016 to perhaps become the first black President and I guess first female President ever."
Because the trade is retroactive and President Obama is now a white man, history will now read that there has never been a black President Of The United States.
Bill Clinton is still on record as being the closest.


text: Bryan Singer (born September 17, 1965) is an American film director and film producer. Singer won critical acclaim for his work on The Usual Suspects, and is especially popular among fans of the sci-fi and comic book genres, for his work on the first two X-Men films and Superman Returns. Singer was born in New York City, and was adopted by Grace Singer (née Sinden), an environmental activist, and... Full Article At Wikipedia.org


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What does CHC mean in Music?
This page is about the meanings of the acronym/abbreviation/shorthand CHC in the Community field in general and in the Music terminology in particular.
Find a translation for CHC in other languages:
Select another language:
Discuss this CHC abbreviation with the community:
Use the citation below to add this abbreviation to your bibliography:
"CHC." Abbreviations.com. STANDS4 LLC, 2015. Web. 7 Mar. 2015. <http://www.abbreviations.com/term/206634>.
CHC also stands for:
- Call Handling Centre
- Canadian Heavyweight Champion
- Canadian Holding Company
- Capital Hockey Conference
- Cargo Handling Cooperative
... and 54 more »
Nearby & related abbreviations:
Alternative search:
- Search Church Hill Crew on Amazon
- Search Church Hill Crew on Google


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Will Greenwood praised Northampton's physical approach after they bounced back from successive Premiership losses and inflicted Exeter's first home league defeat of the season.
Saints had slipped to sixth in the top-flight standings after they were beaten by high-flying Harlequins and Saracens over the festive period, but returned to the top four after a 30-19 triumph at Sandy Park on Saturday afternoon - until they were bumped down again the following day after Wasps conquered Bath.
Ken Pisi, Soane Tonga'uiha and Gerrit-Jan van Velze scored a try each, while fly-half Stephen Myler kicked three penalties, as well as a trio of conversions, as Saints won in Devon for the second consecutive campaign.
"It was a super win; Northampton were outstanding at the breakdown, they kicked, they chased and they hunted Exteter down," Greenwood told Sky Sports.
"They put in a physical performance which Van Velze was at the heart of, while they were well marshalled by (George) Pisi and (Dominic) Waldouck in the midfield.
"Their driving maul, which has been coached by Dorian West for four or five years, was excellent and I think they took confidence from winning at Exeter last season as they had a real strut."
Stuart Barnes now believes Northampton are likely to see of the challenge of Gloucester - who lost at home to struggling London Irish on Saturday - Wasps and Exeter and claim the final play-off spot.
Dewi Morris, meanwhile, praised the attacking intentions of Rob Baxter's Chiefs, but says they must be less careless in possession if they are to push for a place in the top four.
"Northampton might struggle against the top three of Harlequins, Leicester and Sarcens, but showed against Exeter they are the best of the rest and remain clear favourites for that fourth spot," said former Bath man Barnes.
Morris added: "I take my hat off to Exeter as they try to play their way out of trouble, but there were too many handling errors. Northampton knew they had the sign over Exeter power-wise and that was the basis of their win."


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The Create a Wrestler(CAW) mode is included in most of the smackdown series.