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By Michael Cox
There's a standard strategy when playing against 10 men - whatever your formation, regardless of your general playing style, you make the pitch as big as possible by playing with great width.
The 10 men are stretched out of shape, and the greater distance they're forced to cover, the more their numerical disadvantage becomes obvious.
Arsenal did this excellently against Tottenham on Saturday afternoon, turning a 0-1 deficit into a 5-2 win thanks to fine work on the flanks.
Arsène Wenger's sides have always played with some degree of width - he's never experimented with a diamond midfield, for example - but often Arsenal's wide midfielders have drifted inside into central positions.
In the corresponding fixture six years ago, for example, Freddie Ljungberg and Tomas Rosicky were the wide men - the former tended to charge into the penalty box into goalscoring positions, while Rosicky roamed into central, creative zones. Back then, stretching the play would have been more difficult.
On Saturday, the two players in the equivalent positions were Theo Walcott and Lukas Podolski. They're much quicker, direct runners with and without the ball - and although both are capable of playing up front, they still remain close to the touchlines when deployed wide.
By encouraging the opposition defence to play wider, gaps between defenders open up, allowing Arsenal's creative players opportunities to play through-balls.
That was occasionally notable as Santi Cazorla and Mikel Arteta played incisive passes, but more obvious was Arsenal's direct use of width.
In other words, they weren't simply stretching play for the sake of it, they were doing so to get into crossing positions - which isn't a typical feature of Arsenal's play. Per Mertesacker headed the opener from a fine Walcott cross, then shortly afterwards Olivier Giroud had a good chance from Bacary Sagna's delivery.
Two further goals, scored by Giroud and Cazorla, came following low centres from wide positions. Crossing isn't a consistently successful approach only five of the attempted 24 were successful on Saturday afternoon (which is not unusual: cross completion rates are generally at the 20-25 per cent mark), but three resulted in goals, justifying the strategy.
It was particularly interesting that so many crosses came from Arsenal's right against Tottenham.
There were a couple of reasons for the bias towards that flank. First, with Sagna at right back and Thomas Vermaelen at left back, it's clear the Frenchman is a more natural attacker, and more accustomed to skipping down the line and centring the ball.
The heatmaps show he galloped into the final third more regularly than Arsenal's captain, who played a more reserved role on the left.
Equally crucial was the positioning of Cazorla. Although he took up varied positions throughout the first half, he increasingly moved towards the right-hand side after Emmanuel Adebayor's red card, creating three-against-two situations with Walcott and Sagna.
For the second half, he was permanently positioned to the right, from where he scored the fourth goal.
Because of the greater attacking possibilities down that side, Arsenal's orchestrator Arteta directed play to that side constantly from deep midfield positions.
ARTETA - PASSING (green - successful)
This approach unquestionably favours Giroud. Of his seven Arsenal goals, only his debut strike against Coventry in the Capital One Cup was assisted with a vertical pass, rather than a cross or pass from a wide position.
The Frenchman thrives on deliveries from wide, and Arsenal are well-equipped to provide him with his favoured service.Copyright 2017 The Arsenal Football Club plc. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source

subset: commoncrawl


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A few months back i was driving in slippery conditions on the mountain with bad tires and ended up smashing into a snow bank. Cracked my front bumper and my windshield washer reservoir (which btw i need to replace.. anyone have any thoughts on best way to swap this? dealership told me they would sell me one for 100... lol)
Anyways, after getting my car pushed out it actually drove fine. I've been driving it ever since. However, before this happened I never noticed much sound from my turbo, and now when i accelerate quick it's quite noticeable. So much that people even point it out. (At least i'm pretty sure it's the turbo.. its a whirling that sounds like spooling up air). Also lots of creaks and other sounds that are a bit annoying, including my chair which if i move around at all makes noises.
Should i take it to a mechanic and just have them look it all over? Would that be expensive? Anybody with any experience with this sorta thing please help me out!
Thanks for reading all


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Winter-Inspired Photo Shoot by Erich McVey + A & B CreativeWinter weather is upon us and this is the PERFECT time of year for cozy inspiration fit for your upcoming fire-side affairs. A & B Creative crafted a wintry inspiration shoot filled with lovely cold weather accompaniments. From snuggling blankets to hot cocoa,
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Access your Emirates Skywards or Business Rewards account
Explore our website in multiple languages for a tailored experience.
Find flights, see our featured fares and earn Skywards Miles on your travels.
Find the best fares across our global network.
Check in online, choose your seats and add extra services with one click.
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Open up a world of rewards every time you travel. Enjoy reward flights, upgrades, exclusive benefits and more.
As well as dune bashing, Arabian Adventures offers an exciting range of safaris, tours and other activities. They'll even tailor make packages for you, and after your adventure, they'll arrange for dinner to be served among the dunes.
Back to Dubai Family Holidays
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My mother's maiden name is Hawkins and her family all came from Wonston & Sutton Scotney in Hampshire so I was thrilled to find the website for the village online. It must be a couple of years since I put Hawkins and Wonston into Google so it has sprung up since the last search.
Amongst details of Church services etc, it has a short history of the Church and a transcript of some of the parish registers. Lovely site, well done the PCC of Wonston!


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Lord Of Misrule
Misbehave while you bathe
Revel in your bath with this mischievous bomb that features a spicy herbal blend of patchouli and black pepper oil. Inspired by the ruler of the pagan Feast of Fools, Lord Of Misrule has a deep green exterior that slowly froths away to reveal a rich wine-colored center. Just like at the Feast of Fools, when the wine starts to flow, the popping candy crackles and the festivities begin...
VeganThis product does not contain animal products of any kind.
Fresh ingredients
Fresh ingredients
Sodium Bicarbonate, linkHolder Citric Acid, linkHolder Popping Candy (Isomalt, Lycasin, Carbon Dioxide), linkHolder Cream of Tartar, linkHolder Black Pepper Oil, linkHolder Patchouli Oil, linkHolder Vanilla Absolute, linkHolder Lauryl Betaine, linkHolder Sodium Laureth Sulfate, linkHolder Gardenia Extract, linkHolder *Limonene, linkHolder Fragrance, linkHolder Red 33, linkHolder Blue 1, linkHolder Yellow 5. linkHolder *Occurs naturally in essential oils
Natural ingredients
Safe synthetics


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Resume (One page resume summary)
A very brief summary of Dr. Breggin's CV.
with Peter R. Breggin M.D.
January 28, 2008
A very brief summary of Dr. Breggin's CV.
with nearly 200 annotated scientific articles, glossary of searchable terms and a brochure for patients and families about the enormous harm to the brain and mind caused by electroconvulsive therapy.
A psychotherapy training 5-part 4 hour film (on DVD)
With his genuine and profoundly engaging style of psychotherapy, Dr. Breggin shows how to relate to patients and clients in a manner that engenders trust, mutual understanding and the opportunity for recovery and growth.
Most psychiatric drugs can cause withdrawal reactions, sometimes including life-threatening emotional and physical withdrawal problems. In short, it is not only dangerous to start taking psychiatric drugs, it can also be dangerous to stop them.
Withdrawal from psychiatric drugs should be done carefully under experienced clinical supervision. Methods for safely withdrawing from psychiatric drugs are discussed in Dr. Breggin's new book, Psychiatric Drug Withdrawal: A Guide for Prescribers, Therapists, Patients and Their Families.
Copyright © 1996 -2017 Peter R. Breggin


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May not be the ideal place to ask this, but I know this community a little better and trust them implicitly. :)
I have an opportunity to buy a set of GF Type 2 armor (not the FX version) off of the FISD for what looks like a great price. Just wondering what, if any, opinions people here with experience with various TK armor would have with how it stacks up to AP, TE2 or TM armor. I've visited Starwarshelmet.com and the finished suits there look great.
Any thoughts?


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I couldn't agree with your analysis more Slip. From what I've seen of this kid I think he's gonna be a very good LB in the NFL for years to come.
Would love him in a Giants uniform. Not sure if he will be around for us in Draft. Especially depending on where the giants finish this season.
If giants end up getting into playoffs and winning a game or two there is no way we get him and the only option would to trade up for him.
Do you guys think the Giants would trade up for someone like him or no?


text: Retrospective moves onto the 1972 Olympics. The key facts in relation to these Olympics are:- These Olympics were the nadir for compulsory figures, with both winners of the singles events performing very poorly in their free skates, but winning despite that, due to their strength in the school figures. At this time, compulsories still contributed 50% of the marks. Consequently, Trixi Schuba was able to win, despite finishing 7th in the free skate, and Ondrej Nepela was able to win despite finishing 4th in the free skate. As a direct result of this, and its perceived unfairness towards much more accomplished free skaters like Janet Lynn and Toller Cranston, the weight contributed by compulsories were gradually reduced over the next 20 years (with compulsories being eliminated altogether at the end of the 1989/90 season) and a short program was introduced. Ondrej Nepela wins the men's title. He was the reigning world champion and favourite going into the Olympics, and would go on to win the world title on 3 consecutive occasions between 1971-73, before retiring at the end of the 1972/73 season to tour with Holiday on Ice. Sadly, he died of AIDS-related complications in 1989, at the age of just 38. The Ondrej Nepela Memorial tournament was set up and named in his honour, and has been held annually (usually in his home town of Bratislava) since 1993. In fact, were it not for the fact that the 1973 World Championships were to be held in Bratislava, Nepela would have retired a year earlier at the end of the 1971/72 season. Nepela won the compulsories at the 1972 Olympics easily, opening up a huge lead. His 4th placed finish in the free skate, was therefore sufficient for him to win the title. Sergei Chetverukhin won the free skate, and took the Silver. His medal was a first medal at an Olympics for a Soviet skater in singles. For the second Olympics running, Patrick Péra took the bronze, despite a thoroughly disastrous free skate in which in finished 8th in that section. His 2nd place in the compulsories was sufficient to enable him to win a medal. Beatrix Schuba wins the Olympic title in the ladies event. Like Nepela, she led by a enormous margin after the compulsories. So large was the lead, that she would go on to win the title despite a dismal 7th placed finish in the free program. Schuba's 7th place in the free program has the unfortunate distinction of being the lowest placement in the free skate section by an Olympic gold medalist in the entirety of Olympic history. In singles, nobody comes close to matching this feat. Nepela, of course, came 4th when winning his title. And Jeannette Altwegg (1952) and Magda Julin (1920) both came 4th when winning their gold medals. Moreover, it was not as if the best free skater, Janet Lynn (who won the free program and took the bronze medal behind Silver medalist, Karen Magnussen) was poor at the compulsories. Her school figures were quite respectable, and she finished 4th in that section. As for Schuba's free skate, footage of it has not been widely seen in over 40 years (fortunately for her). Nobody can therefore say for certain whether it is the worst free skate of all time by an Olympic gold medalist, except by way of inference. For example, as stated, it has the distinction of garnering the lowest placement by a gold medalist in a free program in Olympic history. Moreover, the descriptions of it are extremely unflattering - performing mostly single jumps, and the ultimate result was booed by the crowd (this was not the first time, moreover, that a crowd had displayed consternation at a result involving Schuba and Lynn - it also happened the previous year at the 1971 World Championships, where Lynn finished outside the medals despite winning the free program with a superb performance). Nevertheless, in winning the title, Schuba became the first Austrian to win the Olympic ladies event since Herma Szabo in 1924. Karen Magnussen would go on to win the 1973 World title, before retiring at the end of the 1972/73. Janet Lynn also retired at the end of that same season, without sadly having ever won a world or Olympic title (an awful fate for one of greatest ever ladies free skaters). Had there been no compulsories at the time Janet Lynn was skating as an amateur, then in terms of where she finished in the free program (and where relevant, the short program as well), she would have won a silver medal at the 1970 World Championships, she would have won both the 1971 and 1972 World Championships, and she still would have won a Silver at the 1973 World Championships due to a disastrous short program. She would also have become Olympic champion in 1972. Nevertheless, where Lynn finished in the free program (and where relevant, the short program) at the time does not tell the whole story. Had there been no compulsories, then all skaters would have focused their training on becoming better free skaters. Hence, who can tell in those circumstances whether Janet Lynn would still have been the best free skater of her generation. I strongly suspect that she would have been, but nobody can simply take that as a given/a certainty. Moreover, take away the compulsories, then the pressure is firmly on each skater to perform in the short and free programs in the shoot out for the medals. Lynn, in such circumstances, would have gone into the competition as the favourite. How would she have coped with that? When the weight given to the compulsories was reduced for the 1972/73 season, with a short program being introduced, this made Janet the favourite going into the 1973 World Championships. However, a disastrous short program cost her the title. Did she have the ruthless streak required to become a world/olympic champion? Its impossible to tell as its not possible to gauge a persons overall temperament for the big occasion on just 1 competition. Irina Rodnina & Alexei Ulanov win the pairs gold medal, winning both the short program and free skate to take the title. Rodnina & Ulanov were the reigning world champions going into the Olympics, having won the world title on 3 consecutive occasions between 1969-71. They would retain their world title after the 1972 Olympics. Nevertheless, the 1972 Olympics was a closely fought contest between them and their compatriots, Lyudmila Smirnova & Andrei Suraikin, who took the Silver. In fact, Ulanov missed a double salchow in the short program, and Rodnina made an error in the jump combination at the beginning of the free program. Despite this, however, they did just enough to win. The fact that they were not at their best during these Olympics may have been attributable to personal problem between Rodnina & Ulanov. As Sports Reference point out: "Rodnina was considered the stronger skater of her pair, and Ulanov, who was weary of her mocking him, became romantically involved with Smirnova. They would eventually marry and after 1972, Rodnina and Ulanov split as a pair skating couple. In Sapporo, knowing what was to come, Rodnina, who had once had strong romantic feelings for Alexei, left the ice in tears after their free skating performance." The 1972 Olympics was the first of three consecutive Olympic titles for Rodnina, who would go on to win the 1976 and 1980 titles with Alexander Zaitsev. There is not much footage of the 1972 Olympics, but here is what there is:- MEN'S Gold: Ondrej Nepela (Czechoslovakia) Free Skate (1971 World Championships) Reception back in Czechoslovakia after winning the Olympics Silver: Sergei Chetverukhin (USSR) Free Skate (1972 European Championships), 2nd Copy Bronze: Patrick Péra (France) Clip from 1968 Olympics free program (16 seconds in) 4th: Kenneth Shelley (USA) Free Skate (1972 U.S. Nationals), 2nd Copy 5th: John Misha Petkevich (USA) Free Skate (1972 U.S. Nationals), 2nd Copy LADIES Gold: Beatrix Schuba (Austria) Compulsories, More Compulsories Medal Ceremony - 7 mins 5 secs in Free Skate (1972 European Championships) Schuba/Lynn Controversy - 1971 World Championships Silver: Karen Magnussen (Canada) Free Skate (2 mins 48 secs in) Free Skate (1973 World Championships) Profile Bronze: Janet Lynn (USA) Compulsories (1 min 46 secs in), Free Skate (With Swans - 7 mins 38 secs in) Free Skate (2nd Copy - 4 mins 54 secs in - No Swans) 3rd Copy - With Swans 4th Copy - No Swans Profile, 2nd Profile, 3rd Profile, 4th Profile 4th: Julie Lynn Holmes (USA) Free Skate (1972 U.S. Nationals), 2nd Copy PAIRS Gold: Irina Rodnina & Alexei Ulanov (USSR) Free Skate - 7 mins 35 secs in Silver: Lyudmila Smirnova & Andrei Suraikin (USSR) Exhibition - March 1971 Bronze: Manuela Gross & Uwe Kagelmann (East Germany) Short Program (1976 Olympics) Free Skate (1976 Olympics) 4th: JoJo Starbuck & Kenneth Shelley (USA) Short Program (1972 U.S. Nationals) Free Skate (1972 U.S. Nationals) As usual, many thanks to Floskate for uploading many of these videos to YouTube. Unfortunately, it will be noted that the maker of the official 1972 Olympic film had an unfortunate fascination with swans , which somewhat spoils the Janet Lynn free skate footage


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Speaking of dogs with a different bark.
Packages are like swarms. Splits are like old hives.
Both can bark but they are surely not the same dog.
Package bees have the mentality of a Pitbull compared to splits which are like emaciated chihuahuas.
Now that ought to raise the hair on the backs of a couple of Short haired beekeepers!
Actually a cross breed is probably the best.
My best year was when I dumped 750 2 lb packages on top on 2 frames of brood 15 years back. Go figure?
THere were more bees in the two frames of brood probably than the two pound package and they were time release. I agree that is a good way to go but a little complicated for the target audience here to pull off. But packages and nucs being equal is just plain silly. I will take nucs every time I have a choice and money is not hugely different.
You may have mis-understood my response so I will clarify. The OP is talking about buying Packages V Nucs to expand from 3 hive to 20 hives. He is also near Sacramento CA which is a mild climate compared to here and the area is full of citrus and nut groves. Putting my self in his situation, in his location.. I would spend the 600.00 difference on a honey extractor and go with the packages.
In your friendly jab you didn't mention that I also sell nucs..... If a customer asks I still give the same response, "packages are the better value" even though I make more money off of a nuc. I have run both side by side and nucs tend to have more variables. Not everybody holds their product to the same standard as you, and most nucs are not overwintered, but are usually splits with a new queen a few days before the customer picks them up.
My packages are always available the 1st week of May. I would encourage you to visit the for sale section and buy a few nucs from other people and compare them to the ones you sell. If you want to give a package a try I will trade you a couple.
BTW the AMM hive is still going well... I will get you a split this spring.
Always question Conventional Wisdom.
It depends on where ya get them from. I helped a guy install 80 pkgs into 5 frame nuke boxes then he sold them as nukes. Let the buyer beware.
Im really not that serious
I agree with Michael Palmer, because he is Michael Palmer, the guy that makes his living, and apparently a good one, from bees. An over wintered nuc is a beautiful thing to me. The brood is there, the queen has been accepted, and they are a functioning colony. I purchased three packages two summers back, and all three superceded their queen that same summer.
I agree with Mac that the nuc buyer needs to comprehend, "caveat vendor." I purchased three "nucs" last summer, only to find out that the queens were added to the splits two days before I picked up the bees. This beekeeper didn't know the difference between a split and a nuc. It was then early June, and I needed the bees so I accepted them. This spring I am receiving a nuc from and old established apiary, and I can't wait to see what an over wintered nuc will accomplish in a year.
Both methods work. I got my first hive in June from a NUC. At the end of Aug. it was into 2 deeps and I pulled 2 frames of brood and one frame of honey to make 2 5 frame NUCs with purchased queens. 2 months later the NUCs were in double deeps and the donor hive was back up to full strength. April 6 I am picking up package bees to start 2 more hives, and I have done a hive rescue so it it makes it through the winter I will end up with 6 hives. This is my first winter as a beekeeper and I consider myself pretty lucky. I went with local bees, the BeeWeaver Navasota facility is 1.5 hour drive and I am very happy with them. Here is a short video of 2 of my foundationsless frames from my first hive.
N5RWH - 7a
On average a nuc will cost 125-130.00 each VS a package that costs 95.00 average. So using the scenario above where the OP wants to expand by 17 hives by purchasing one or the other there is an approx cost difference of $600.00
What are the benefits of a nuc?
#1. hopefully an accepted queen, which frequently is not the case.
#2. Brood in all stages.
#3. about a 3-4 week head start on a package.
#4. Better chance of survival the first winter.
The down sides of a Nuc:
#1 All I have purchased have almost always been full of SHB
#2 If not caged the queens frequently get injured on the trip home and superseded.
#3 Frames and wax in nuc has an unknown treatment history.
#4 No guarantee that the queen isn't 3 years old.
Up side of Packages:
#1 Cannot be produced by an amateur.
#2 Producers usually produce 20-50 K packages per season and know what they are doing.
#3 Queens are reared by people who do 1000s per season and are always first year queens
#4 Cheaper than Nucs
#5 They are produced to mimic the Natural reproduction of a colony.... Full combs never walk out of a colony and make a home somewhere else.
#6 Bees are of the appropriate age to draw comb and rear brood.
Down side to Packages:
Insert what ever misinformation you like here
Now lets look at the cost difference in relation to what you end up with. You are paying 30.00 more for what? Okay so some package queens fail, so do some Nuc queens, There is a far smaller risk of disease with a Package because you don't have the unknown combs and brood present. A Nuc has a few week head start on a Package, but in northern areas you can buy a package a few weeks before a Nuc is even available. I have had both Packages and Nucs produce honey the first year. I will agree that a Nuc has a slightly better chance of survival the first season, but not enough to justify the 30.00 extra.
For the extra 600.00 the OP could buy an additional 6 packages and there is no way that 17 Nucs would have a better survival rate than 23 Package started hives.
Mike Palmer could verify, but I don't think he has any experience with Package bees, or not any in recent history. If the price was the same and the Nucs were coming from MP, I would buy the Nucs all day long , But that isn't the case.
And one last thing to consider: In Europe they don't have access to package bees and they pay E 400.00 for a Nuc. Package bees keep Beekeeping semi-affordable for many hobby keepers in this country, whether they use them or not
Always question Conventional Wisdom.
I would vote Nucs. What value would you put on drawn comb? I put a lot!!! And when comparing a $95 package to a $125 nuc you are saving $10 by not buying frames (not to mention they are drawn and full of brood, pollen, and honey) That puts the price difference down to $20 each. Now figure a lot of the people I know that buy packages are frantically looking for a queen in late April-May because theirs is a dud or has been superseded. (Yes, some package suppliers are better then others) So there you are shelling out $20 bucks for a queen. Your $95 package has now cost you $125 and you have missed the honey flow, because your dud queen didn't build up. Some sell nucs for as little as $110!!! I know, what a deal!!!
I agree it all depends on where you get the nucs and packages from. Queens bought in the spring for nucs should be laying for weeks before they are sold, not days!!! Queens caged in packages have layed for 4 to 6 days (if that) before they are shoved in a package and shipped across the country.
I keep a lot of the nucs I produce for personal use and I sometimes split them in early May! Split a package in early May? Not in Ohio.
-Dan Williams
Always question Conventional Wisdom.
The initial investment to sell packages is fairly high. Where do you think they get the cans of HFCS? They buy the HFCS by the tractor trailer load and run it through a canning facility on site.
So on top of operating 1000s of hives, they need to be able to raise queens and have them mated when they need them. They have to have a fully functional cannery. A fully functional woodworking operation to build the packages and make the queen cages etc... and they do it by the 1000s. many of the producers are putting out 20-50 K packages per year.
I guess you could shake 3 # of bees into a used cage and put a can of tomato soup in it... but why do that for 90 bucks when somebody will pay you 125 for a crappy nuc
Always question Conventional Wisdom.
I am not saying that they both don't have their place. Just that Value for Value the package is a better value.... A nuc is the only real way for a hobby beek/sideliner to make any money selling bees. To produce packages you need to be located in a location that is suitable for it and be set up to do so.
Not everybody wants to buy bees from a commercial operation, some people like meeting face to face with the producer, seeing their hives and seeing how they do things... That might be worth the extra money to somebody... but the other advertised benefits of a Nuc generally are not true due to variability of the product... There is no definition of what is a sale worthy nuc, yet the prices are pretty consistent.
MP said that a package installed on May 1st and a nuc installed on may 1st isn't the same and with that I will agree... But in his area it is unlikely you could get a nuc on may 1st anyway... may 15th is more like it... I can install a package the first week of April if I like, and it will likely be farther along than the nuc on May 1st... providing a person could get one.
Always question Conventional Wisdom.
Think the NUC is going to outperform the package. One would have to buy the NUC from a reputable supplier and get a young queen(last years or a purchased mated queen) and healthy bees, May well be getting more bees with NUC.
First eggs I saw with a package on blank foundation was the eighth day. No emerging bees then until 28th if the package arrived May 1.
The NUC will have emerging bees on May 15, so it has a two week jump.
I started a NUC on May 18 last year with a purchased mated queen and it became four deeps and a medium. Harvested one deep super and one medium for 80lbs of honey. Did no sugar syrup feeding. And by fall it was boiling with bees.
To get a package to achieve the same and from my experience 80 lbs is doable, one would have to feed sugar syrup for a couple of months and then be concerned about enough winter stores, so some more sugar likely.
Zone 3b. If you always do what you always did, you'll always get what you always got!
The nuc's I bought had emerging bees from day one. A true nuc should have brood, no?
Brian Cardinal
Zone 5a, Practicing non-intervention beekeeping
I absolutely agree with you, Bluegrass, that one has to be very careful from whom they purchase their nucs. I happen to be fortunate enough to be able to make a 5 hour round trip and get mine from MP. I always feel it is worth the time and effort to establish a relationship with a supplier who values his/her reputation and I'm happy to take the trip to buy a product I trust, whether it's bees, nursery stock etc. Yes, there is a cost to the trip but I leave at 4:30AM and after a nice chat with Mike, I'm home by 10:30-11.
In short, if you care about the quality of your apiary, make the effort to find the best breeders in your area and support them. For me, nucs are a win-win every time.
9 yrs, TF 6 yrs, moved to OAV in 2014, MAQS 2016. 5 hives and 4 nucs Zone 4B
Bluegrass... I will insert one down side to package vrs nucs. In a package you get a wire cage you can throw away. In a nuc you get either a reusable nuc for a swarm box or splits, (in my nucs you get a box jointed, detachable bottom board, feeder top, wooden nuc,) or, you get a cardboard nuc that can be reused to split a hive.
You made a very good cost/benefit analysis, (Very good). but, at the very least, the value of the nuc should be included, and subtracted from the difference quoted.
Last edited by Cleo C. Hogan Jr; 01-09-2013 at 05:29 PM. Reason: sp typing


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Joe Guzzardi
With the federal debt ceiling debate at crisis level, Republicans and Democrats are rumored to be working hard to cut fat from the budget.
As usual, however, illegal immigration is not one of the variables under consideration. If I didn't know better, I might think the United States didn't have an illegal immigrant population that is at least 11-30 million strong. And I might also think, mistakenly, that since illegal immigration isn't part of the budget debate, it represents no cost to taxpayers.
In his July 18 Fox News opinion column Bob Dane, communications director for the Federation for American Immigration Reform, wondered how federal funding to millions of illegal immigrants could be left off the table. Since Congress refuses to discuss illegal immigration as a significant factor in layers of national debt, then we can sadly conclude that it has no plan other than to allow the status quo to continue. Doing nothing, however, guarantees that costs associated with illegal immigration will increase indefinitely
Dane offers several practical recommendations, with which I agree, that would not only gradually reduce expenditures on illegal immigrants but also would create job opportunities for millions of unemployed Americans.
According to FAIR's analysis, American taxpayers spend $113 billion annually to subsidize illegal immigration. State and local taxpayers are the most heavily hit. They provide $84 billion in services while the federal government pays out $29 billion. With funding for illegal immigration—housing, education K-12 and college, ESL, emergency medical care and AFDC—obviously a major budget factor, the question for Congress is how to permanently eliminate those costs that taxpayers should not have to bear….


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I can't get over the ugly technique Michal has when going into the toe jumps (not so much the edge jumps) wherein he breaks at the waist and his chest almost touches the ice, it's really distracting & aesthetically not pretty.
ps: I would have had Alexander over Amodio, but Alexander's joke of a SP (unlike the exquisite FP) is what put him behind Amodio.
Yesterday I had to attend a conference in the afternoon as I had promised, having skipped the morning. I even thought about overnight live streaming having the advantage of having no conflicting obligations. Looks like I won't try to get out of attending the conference today.
Sorry, jettasian, I'm watching on IN.
Brezina knew he didn't need the Q. In another comp this would have been a so-so skate. Here's it's the standout. Oddly, he landed two good 3As, esp. the one in combo, and then 2-f'd a 2A.
Eurosport is on air now with men's figure skating, but NOT LIVE.
Thank you, tilak!
Any word on what happened to Kevin Reynolds that caused him to withdraw? Also if something was physically amiss with Oda?
Brezina will be going to the GPF - a gold and bronze will be enough.
Looking at Michal's 3F it seems that he could easily rotate 4F. Can he?
I love love Nan Song!!! He is not only a jumper. He can interpret the music, although he still has a lot of work to do in that department. I can't wait for his development
I saw Kevin fall a couple of times in warmup (I didn't watch much of it so he may have fallen more). The last time he went over to his coach and had some serious words with her.


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We are having great weather here and I know that ornamental citrus trees are in bloom and bees collecting. I dont know how many citrus trees are in my neighborhood or out where my country bees are located. There is an orange tree orchard also near my country hives though I dont think they are in bloom.
My question is, not knowing how strong a nectar flow might be going on right now, are the open cells with nectar that I see in my hives stores that they have opened, or would this be new nectar? Im finding solid areas of open honey cells along with left over capped honey.
How do I know if they are uncapping their stores or if its new nectar?


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[quote user="byron"][quote user="MattMeyerBud"][quote user="byron"][quote user="MattMeyerBud"][quote user="byron"][quote user="MattMeyerBud"][quote user="dezzzR"][quote user="ny06"]
[quote user="bigblue4417"]Bart Hubbuch of the New York Post asked Steve Smith if he regrets leaving the Giants for the Eagles. Smith's response? "Oh, no. I'd rather have more money in my pocket."
And to think there are fans on these boards who want him back next season. </p>
I was done with him the second he signed that contract with the Eagles. </p>
</p>[/quote]what a dumbass. if he was patient, put in a decent season the giants probably would of paid him more.big dummy.
honestly, your both better than that
Dude never got a big contract, never made huge money. 1 Million different to him really isn't much of a difference than a million dollars to us
Lets stop like he should of been better than that - no he shouldn't of. He should of went to Philly. There is NO guarantee in his future in the NFL and especially when he signed that deal it was looking grimm
He would of been a moron to sign here. We all got emotional at first about it, but by now u have to come to your senses. If he signed a big deal here and then got hurt and he got cut u wouldn't be cursing out the organization.
I still think theres a shot hes back next year. depends what happens with Mario
[/quote]I can't kill him for taking that money all... hecould have maybe toned down the talk but hey he was mad at what he throught was a **** offer from the Giants ...I don't care one way or the other if he comes back....Matt do you think this coaching staff game plans downto the level of competition form week to week.....we blitz the eagles /pats to take away their pass game we play the 49'ers totally against the run...when they come throwing we don't adjust or it seemed ...this staff drives me crazy....they got out coached last week... imo[/quote]
not sure what you mean by game plans down
I think they try to stick to their general philosophies, while taking into account their opponents philosophies and successes, and try to attack the weaknesses they see.
Im not sure i'd call that performance past week game planning down. The reality of it is that the last TD SF scored, they got the ball on the 17 to start the drive, the VD TD was a ****up by Jones by not recognizing he was in man coverage and VD streaked the field wide open. I just disagree that Alex Smith looked as good as people are suggesting. Reality of it is if we defend that play vs Davis its 3rd down and they would of had to hit a 50 yarder.
[/quote] well when we played the eagles and the pats we went after brady and vick it seems like we played the 49'er totally different defensively....[/quote]
yea but i don't consider that anything more than game planning
You can't play the Pats the same way you play the Eagles even. I mean sure in the sense that you have to guard vs the pass but with the eagles your gameplanning for big plays and containing a speed QB while NE is all about dipping an dunking passes with a statue QB.
Our general philosophy is always intact of breaking the QB, but you can't just wrecklessly blitz the Eagles as you would the Pats. You have to account for what Vick can do on his feet
So I guess that answer is yes what we do completely dictates on what we think the offense will try and do. Thats true anywhere. Even the STeelers who typically zone blitz and zone cover, man pressed the **** out of the pats.
[/quote]wellI hear ya butI would have liked to have seen a little more pressure on Smith...anyhow[/quote]
well it wasn't like we didn't try, their OLine is pretty legit.
Also, the fact that the best way to tone down a pass rush is3 step drops with quick releases, which is what happened. HAve to tip your hat to the niners, they have a great base of a team. They can own the line of scrimmage vs anybody on both sides of the ball - something we use to be able to do


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Internationally outstanding panel painting and sculpture from the Late Middle Ages are highlighted in the permanent exhibition
at the Upper Belvedere. The remaining works of the museum's superb medieval collection are on display in the Medieval Treasury study collection, installed in 2007 in the Palace Stables at the Lower Belvedere. This is the first time in the history of
the museum that it is in a position to offer a comprehensive overview of one of the most significant collections of medieval
art in Central Europe.The Belvedere's holdings comprise internationally outstanding works of Late Gothic sculpture and panel painting that give
an overview of the most significant artistic developments of the International Gothic style from c. 1400 to the early sixteenth
century. The works on view in the Upper Belvedere include exquisite sculptures exemplifying the so-called 'Beautiful style',
as well as the impressive Znaim Altarpiece and works by Conrad Laib, the Master of the Altarpiece of the Abbey of the Scots
in Vienna, Rueland Frueauf the Elder, and Michael Pacher.The presentation starts with a sculpture gallery featuring works by the Master of Großlobming, a leading sculptor of the International
Gothic style who was presumably active in Vienna around 1400. The Master of the Albrecht Altarpiece numbers among the most
significant Vienna-based panel painters of the next generation, whose depiction of the Annunciation to Joachim (c. 1435–40)
is a remarkably early example of a rendering of a natural light phenomenon. The Znaim Altarpiece, probably executed in Vienna in the 1440s and still exhibiting its original polychromy, is impressive
because of its monumentality and powerful expressivity. The large-sized panel of a Crucifixion by Conrad Laib from 1449, one
of the principal works by the Salzburg-based painter, is characterized by a realistic sense of detail and a drastic rendering
of Christ's Passion. Masterpieces of the subsequent generation include panels once forming part of the famous Altarpiece of the Abbey of the Scots,
the largest and most important work of Late Gothic painting in Vienna. Eventually, Michael Pacher, the great master of South
Tyrol, set new standards with his perspectival views and elaborately staged scenes revealing direct references to Italian
models. The presentation features paintings from Pracher's early Altarpiece of Saint Lawrence and his later Salzburg Altarpiece,
the latter of which was the largest and most costly winged altar in the Alpine region. A prominent example of advanced contemporary woodcarving is the group of figures of The Virgin Mary and Joseph from a Nativity
altarpiece (?) by Hans Klocker, who, besides Michael Pacher, numbered among the leading masters in South Tyrol. The presentation
concludes with three Bishops from the Abtenau Altarpiece by Andreas Lackner. Stylistically indebted to the work of the Bavarian
sculptor Hans Leinberger, these highly individual and expressive figures anticipate the new image of man propagated by the
Renaissance an.
In 2007, this architectural jewel of the Baroque in the Lower Belvedere, where Prince Eugene of Savoy, the former landlord,
accommodated his personal horses, was adapted as a show depot by the Berlin architects Kuehn Malvezzi. Today it is used as
a place to provide new insights into medieval religious art. Focus exhibitions presenting current restoration projects and
scientific findings related to exceptional works of art are installed here at regular intervals. With these additional facilities,
the Belvedere has broken new ground in making its entire medieval holdings accessible to the public.Today Prince Eugene's Palace Stables accommodate a dense display of masterpieces of panel painting and sculpture, as well
as Gothic polyptychs, including one of the earliest Austrian altarpieces of its kind: the Obervellach Altarpiece from c. 1400.
Works by such well-known masters as Friedrich Pacher and Hans Klocker are installed side by side with numerous precious works
by anonymous painters and sculptors. The presentation spans from a Romanesque Crucifix to the early sixteenth century, with
a special focus on Late Gothic painting and sculpture. The Medieval Treasury study collection makes it possible for visitors to closely examine the works and deal with them scientifically.
Seminars, guided tours, and school programmes are aimed at creating a dialogue between visitors and experts. Both scholars
and students are granted direct access to these unique objects of the collection for the first time.
The Belvedere's collection conveys an impressive picture of the Baroque art produced in the lands of the former Habsburg Monarchy.
The eighteenth century in particular is represented in almost encyclopaedic form by paintings and sculptures, with the sculpted
Character Heads by Franz Xaver Messerschmidt as its drawing card. Another focus is on works by artists who either studied
or taught at the Vienna Academy of Fine Arts.In the seventeenth century, it was primarily international artists who achieved great renown in the territory of present-day
Austria. Only towards the end of the century can one begin to speak of Austrian painting of the High Baroque, which nonetheless
was marked by a strong Italian influence. Among its prominent representatives, besides Martino Altomonte, are most notably
pupils of the German-Venetian Johann Carl Loth, including Johann Michael Rottmayr, Hans Adam Weissenkircher, Johann Carl von
Reslfeld, and not least Peter Strudel, who was a celebrated painter in his day and founded a protoacademy to ensure that young
artists received an education. This academy, which engaged specialists from every genre, later became the Vienna Academy of
Fine Arts. From the eighteenth century onwards, the art of the Habsburg Empire was marked by the influence of the Vienna Academy,
where painters like Jacob van Schuppen, Martin van Meytens, Paul Troger, Friedrich Heinrich Füger, and Johann Baptist Lampi
the Elder were active as either professors or rectors. One of its foremost graduates was certainly Franz Anton Maulbertsch,
whose expressive style broke with tradition and who later gained great popularity.Other important artists of the time were the brothers Franz Anton and Franz Xaver Karl Palko, Franz Sigrist the Elder, Josef
Ignaz Mildorfer, and Franz Anton Schunko, whose career is difficult to trace today. Many of the graduates scattered to the
far corners of the Habsburg Monarchy, thereby spreading what they had practised and learned in Vienna.After the death of Paul Strudel, one of the most outstanding and influential personalities in the field of sculpture in the
first half of the eighteenth century was Georg Raphael Donner. Although he never belonged to the Academy, his style was nevertheless
propagated at this institution by his younger brother Matthäus. Apart from them, Giovanni Giuliani and Lorenzo Mattielli were
the most important masters active in Austria. Later on, Balthasar Ferdinand Moll, Franz Xaver Messerschmidt, and Friedrich
Wilhelm Beyer numbered among those sculptors who were in favour – especially with the imperial family. Johann Georg Dorfmeister,
Johann Baptist Hagenauer, and members of the Schwanthaler dynasty were other important representatives, especially in terms
of Austrian Baroque sculpture.The diverse applications of art in the Baroque also required that an artist specialize in one of the various genres. While
some artists – whether sculptors or painters – were able to succeed in portraiture, others would find work mainly decorating
churches, convents and monasteries, or castles. Numerous oil sketches in the Belvedere's collection are reminders of these
large commissions for frescoes and altarpieces.Several landscape painters also achieved major accomplishments. Johann Christian Brand occupies a special place in this area,
for he not only contributed to the development of realistic landscape depictions, the so-called 'landscape portraits', but
also paved the way for the landscape painting of the eighteenth century through his teaching at the Vienna Academy.A primary task of Baroque painters and sculptors was the artistic decoration of churches, convents, and monasteries. It was
precisely in this domain that masters like Paul Troger and Martin Johann Schmidt, called Kremser Schmidt, as well as Franz
Anton Maulbertsch, created their most exceptional works. The Baroque principle of a harmonious interaction of the individual
genres is illustrated by the palace chapel in the Upper Belvedere, with its altarpiece by Francesco Solimena and the frescoes
by Carlo Innocenzo Carlone.
The Swabian Franz Xaver Messerschmidt is one of the most fascinating sculptors of the Enlightenment. He enjoyed great success
working in Vienna for the imperial family under Maria Theresa and was one of the first artists of his time to break with the
traditional formula for grand Baroque portraits in favour of Neoclassicism. Due to a personal crisis around 1770, both his
work and life circumstances took a radical turn, which resulted in his most famous group of works, the studies of heads known
today as Character Heads.Born into humble beginnings in 1736, Messerschmidt learned the skills of his craft from his uncle, the Munich court sculptor
Johann Baptist Straub. Then, after having completed his studies at the Vienna Academy, he took up a position as a bronze chaser
at the Imperial Armoury in Vienna's Renngasse.The gilded bronze busts of Maria Theresa and Francis I Stephen of Lorraine for the Imperial Hall in the Armoury were his first
major commission. Messerschmidt's early works – the statues of the imperial couple, the reliefs of Joseph II and his consort,
and the gilded bronze bust of Gerard van Swieten – fulfil all of the requirements of Baroque representational portraiture
and demonstrate integration into Vienna's artistic tradition.From the beginning of the 1770s, the curves and pathos of the Baroque yielded to a cooler austerity and relentless precision
in the rendering of a likeness. With his aggressive skill in characterization, Messerschmidt prepared the way for truth in
the portrayal of individuals. This absolute break with tradition must have come as a result of a critical change in his life.
His illness, failure at the Academy, and loss of clients drove Messerschmidt into isolation. He moved to Pressburg (now Bratislava),
where his most famous group of works today, the studies of heads known as Character Heads, was created.Messerschmidt worked obsessively on these altogether 69 heads, the majority of whose faces are contorted into extreme grimaces.
The spectrum of heads, which he conversationally referred to as his 'Portreen' – portraits – extends from natural-appearing
busts modelled after those of antiquity to heads with exaggerated, highly expressive facial features whose supreme exertions
manifest emotions that defy interpretation. With its 16 original heads, the Belvedere possesses not only the world's largest
collection from this group of works, but also numerous plaster casts of the total of 54 extant works. Messerschmidt died in
Pressburg in 1783.
Neoclassicism originated in Italy and French painting provided impetus that pointed the way ahead. Artists deliberately turned
away from the dramatic movement and opulence of the Baroque style and aspired to calm expression and clarity of outline.In addition to works by the leading masters of Neoclassicism Jacques-Louis David and François Gérard, the Belvedere owns paintings
by other key artists, such as Josef Rebell, Jakob Philipp Hackert, Angelica Kauffmann, and Friedrich Heinrich Füger.Subjects from history and literature were particularly popular in the era of Neoclassicism and so history painting enjoyed
the greatest prestige. Yet current events also made an appearance. These first emerged in French painting to serve Napoleon's
propagandist ambitions, of which the equestrian painting showing Napoleon on the Great St. Bernhard Pass by Jacques-Louis David (1801) is a striking example.At approximately the same time, the French artist François Gérard painted the family portrait The Imperial Count Moritz Christian
von Fries with his Wife Maria Theresia Josepha and their Son Moritz (c. 1804). This large-scale painting reveals clear, bold
colours and precise lines in contrast to the British painting tradition that is characterized by spirited brushwork and an
execution that tended more to suggestion than description. Angelica Kauffmann, who lived in England for many years, conveys
an impression of this painting style in her portrait of John Simpson (1773), one of her most superb portrayals.The most versatile Austrian artist in the period around 1800 was Friedrich Heinrich Füger. He was the Director of the Vienna
Art Academy and was later in charge of the Imperial Picture Gallery at the Belvedere. Among his contemporaries he was renowned
for his history painting but posterity has remembered him most for his portraits. The painting of his wife, the actress Josefa
Hortensia Füger (c. 1797), draws out the personality of his sitter with great sensitivity while at the same time adopting
the current mode of Western European portraiture in his own personal idiom.The move toward a true-to-life depiction of the visible world in the late eighteenth century is most evident in landscape
painting. Jakob Philipp Hackert, who frequently travelled in Italy, is a case in point. Even early on, he aimed to depict
a recognizable scene, as demonstrated by his work Waterfalls at Tivoli (1790). A few years later, Josef Rebell captured sun-drenched views from around Naples in brilliant daylight, anticipating
the realistic landscapes of the so-called Biedermeier era.The Romantic movement in the early nineteenth century is represented at the Belvedere by a number of important works. The
superbly painted landscapes by Caspar David Friedrich, a leading figure in Romanticism, are not confined to a mere representation
of the world around but try to fathom the relationship between humanity and nature. The sandstone columns in his Rocky Landscape
in the Elbe Sandstone Mountains of 1822–23, tower upward, dramatic and sublime, making the area in the foreground appear dangerous
and practically impassable.By contrast, the Tyrolean artist Josef Anton Koch aimed to capture divine creation in his images of nature, as shown in his
painting Bernese Oberland (1815). By transforming the classical ideal landscape into the heroic mountainous scene he aspired, as he himself stated,
to give a total impression of the essence of the Alps.The philosophy of a group of young artists, the Nazarenes, pointed in another direction. In 1809 they had formed the Brotherhood
of St. Luke (Lukasbund) in Vienna as a reaction against academic principles. They refused to draw from antique models and
rejected Baroque colourism. Instead, the group returned to medieval ideals, they were dedicated to Early Renaissance Italian
painting, and emulated artists such as Albrecht Dürer and Raphael. Their members strove for serenity both in the compositions
and spirit of their works. They concentrated on religious subjects and tried to give tangible expression to their faith. In
1810 they embarked for Rome. One member of the group was the Viennese artist Johann Evangelist Scheffer von Leonhardshoff,
who died so prematurely and whose Dead Saint Cecilia is a masterpiece of the Austrian Nazarenes.Josef von Führich, Leopold Kupelwieser, Ludwig Ferdinand Schnorr von Carolsfeld, and Moritz von Schwind were all artists who
worked on the cusp between religious Romanticism and history painting. Aiming to secure the status of the Austrian Empire,
which had been founded in 1804, they selected subjects from the history of the Habsburgs that revealed a close connection
between the imperial family and the Catholic Church. The founder of the dynasty Rudolf of Habsburg and Emperor Maximilian
I were frequently depicted.
1793 Vienna - 1865 Hinterbrühl near Vienna Waldmüller is the most important Austrian artist of the nineteenth century. His name is always associated with the so-called
Biedermeier era and yet his art reached beyond this period, both in date and in the realism of its images and the power of
their pictorial messages. Indeed, the works that account for Waldmüller's international acclaim – such as Corpus Christi Morning (1857) or Early Spring in the Vienna Woods (1861) – were painted long after the Biedermeier era.Waldmüller was the leading master in all the fundamental subjects of the day. Significant portraits, landscapes, genre scenes,
and still lifes were all captured by his brush. Whether in the conquest of landscape and the convincing rendering of proximity
and distance, the accurate characterization of people's faces, the detailed, exquisitely meticulous textures, or the witty
description of rural life, his works were always in the vanguard. Waldmüller describes, explains, moralizes, and is critical
of society all at once. In his late career, the master even surpassed himself by taking genre painting into a new realm, combining
it with a depiction of nature to create a harmonious whole.The Belvedere houses the world's largest collection of Waldmüller's paintings. Furthermore, the museum owns the Waldmüller
Archive and through continuous research is amassing knowledge about the painter's work.
The Biedermeier era covers the period between the Congress of Vienna in 1814–15 and the revolution year of 1848. Yet paintings
as late as the 1860s have been attributed to this epoch. The pictures are characterized by striving for a true-to-life representation
of the visible world and are thus termed Biedermeier Realism. This period's most important artists were Ferdinand Georg Waldmüller,
Josef Danhauser, Friedrich von Amerling, Peter Fendi, Michael Neder, Johann Baptist Reiter, and Friedrich Gauermann.The Belvedere owns the world's most comprehensive and significant collection of works from the Biedermeier era. It originated
from the wish of Emperor Franz II (I) and Ferdinand I to acquire at least one work by every contemporary artist. It is thanks
to this endeavour that today one can superbly trace the development of Austrian art in the first decades of the nineteenth
century.In landscape painting artists were in constant quest for true-to-life realism. Ferdinand Georg Waldmüller's views of the Prater
park in Vienna and the Salzkammergut from the 1830s demonstrate these concerns, as does Landscape near Miesenbach by Friedrich
Gauermann and the scenes from Salzburg by Friedrich Loos.In portraiture the aim was to capture a complete image of the person, rendering sitters with all their individual idiosyncrasies.
Whereas Waldmüller depicted people with maximum realism, as if presenting a "snapshot", Friedrich von Amerling strove to create
a complete image, in which the sitters' emotions were captured as well. Thus, his large-scale portrait Rudolf von Arthaber and his Children Rudolf, Emilie, and Gustav (1837) addresses the family's grief after losing their wife and mother.In the Biedermeier era, flower and fruit painting excelled in painterly quality, supported by well-researched scientific observation.
This is demonstrated by many examples in the collection, including the large-scale painting Jacquin's Monument by Johann Knapp.In the first half of the nineteenth century genre painting developed its own distinctive character. This usually focused on
episodes from everyday life, occasionally tackling current events. Peter Fendi, for instance, addressed the thriving gambling
industry in his painting Girl at the Lottery (1829). Artists' own experiences were also documented, as the Coach Drivers' Quarrel (1828) by Michael Neder reflects. Josef Danhauser, on the other hand, transported literary subjects into the present day,
thus highlighting their timelessness. For example, the artist based his painting The Rich Glutton (1836) on the Biblical parable of the rich man and Lazarus. In his Monastery Soup (1838) he continued the story: the rebuffed beggar forgives the now poverty-stricken glutton by offering to share his bread
with him.
The core holdings of the Belvedere's Modern Gallery, opened in 1903, were acquired in order to provide a comprehensive showcase
for contemporary Austrian art and to place it in an international context, positioning it within the framework of the major
art movements of the nineteenth and early twentieth centuries. The first substantial additions to the Modern Gallery's collection
came from exhibitions organized by the Secession. They form the foundation of the Belvedere's collection – with art from the
fin de siècle and Gustav Klimt's Golden Period as the centrepiece. In addition to the largest number of paintings by Gustav
Klimt in the world, the collection brings together masterpieces by such artists as Hans Makart, Anton Romako, Arnold Böcklin,
Jean-François Millet, Emil Jakob Schindler, Carl Schuch, Auguste Rodin, Gustave Courbet, Edouard Manet, Claude Monet, Edgar
Degas, and Pierre-Auguste Renoir.In a sensual, narrative style, Historicist art establishes a connection to bygone art epochs, with depictions of historical
events, staged portraits, and allegories as the predominant subjects. The diversity of the times is reflected in the pictures
by the history painter Franz Defregger, the unconventional Anton Romako, and the Orientalist Leopold Carl Müller, as well
as the Baroque formal repertoire of Hans Canon. In Vienna, this epoch is also called the Makart era, after its most prominent
representative. Many of Makart's principal works are on display in the Belvedere, which is home to the premier collection
of art from the Ringstrasse era.Born in Salzburg in 1840, Hans Makart had studied with Piloty in Munich before coming to Vienna in 1869 at the emperor's behest.
In 1879 he was appointed professor of history painting at the Academy. His breathtakingly sensual paintings are striking for
their technical brilliance, something Makart took pleasure in publicly demonstrating at studio parties. Basically, all of
his works – including the superb portraits Magdalena Plach (1870) and Eugenie Scheuffelen (1867) – can be regarded as superb dramatic stagings. The same opulence is apparent in Makart's allegories of The Five Senses
(1872–79) and his monumental painting Bacchus and Ariadne (1873/74), which was originally designed to be the curtain in the Komische Oper (Ringtheater). This work, like The Nile Hunt (1876) and Venice Pays Homage to Caterina Cornaro (1872/73), belongs to the group of sensational pictures. The latter work, which was presented during the Vienna World's Fair,
combines in exemplary fashion historical reality with a fictitious pictorial splendour and a staged image enhancement of the
middle class. Hans Canon was another who cultivated the formal language of the Baroque, through his references to Rubens and
Rembrandt. One of his finest works, The Lodge of Saint John (1873), which was also shown at the World's Fair, pictorializes the concept of ideological tolerance. The positive response
elicited by this painting allowed Canon to return to Vienna, where he established himself beside Makart as a portrait painter
of Vienna's high society. Among the artists of the day in Vienna was Anselm Feuerbach, who, like Makart, enjoyed international acclaim. Born the son
of an archaeologist in Speyer, he had spent a long time in Italy before being summoned in 1872 to the Academy in Vienna. Feuerbach,
like his successor at the Academy, Hans Makart, soon distanced himself from history painting. His subjects are often mythological
in nature – as, for example, his Orpheus and Eurydice (1869); his works, in contrast to those of Makart, demonstrate a strict formal structure and a reserved use of colour. Whereas Makart and Feuerbach abandoned narrative history painting, Anton Romako transformed it by interpreting crucial situations
from a psychological point of view. In his picture Tegetthoff in the Naval Battle of Lissa I (1878–1880), instead of depicting a conventional sea battle panorama, he presents the decisive moment in the battle as a drama,
clearly evident in the reactions of the participants. Besides the high degree of psychological content, Romako's portraits
– for example, his Italian Fisherboy (c. 1870–75) – also display an application of painting techniques that was unconventional for the time, but which was greatly
admired and adopted by the Austrian Expressionists, above all by Kokoschka.
If the painters of the Barbizon School had given plein air painting a new importance, the French Impressionists went one step
further: their pictures were meant to capture the impression of a moment – the instantaneity of its fleeting light effects.
At the same time, this painting style should also be radically contemporary and express the modern view of life in a changing
society. In Austria, Impressionism developed a totally unique variation: although the pictures here in many cases were also the result
of uncompromising outdoor painting, the sensitive reproduction of an atmosphere seemed more important to the artists than
transitory light effects or pure colours. This development ran concurrently with French Impressionism, which is represented
in the collection with works by Paul Cézanne, Edgar Degas, Vincent van Gogh, Claude Monet, Edouard Manet, Camille Pissarro,
and Pierre-Auguste Renoir.In sharp contrast to the themes of history painting, which were regarded as meaningful, plain landscapes increasingly became
the chosen subject of a number of artists in the mid-nineteenth century. These Impressionist works are characterized by heavily
cropped views, the exact observation of light and weather conditions, and the analytical breakdown of tonal atmospheres
into colour values achieved by setting dabs of paint side by side. A visit to the International Art Exhibition in Munich in 1869 had affirmed Austrian painters in their ambitions to depict
simple motifs from the suburbs or landscapes from the environs of Vienna. So it was that Emil Jakob Schindler's Steamboat Station at Kaisermühlen on the Danube (1871/72) and Camille Pissarro's Street in Pontoise (1868) were created at almost the same time, and Olga Wisinger-Florian's Blooming Poppy (1895/1900) was painted somewhat earlier than Claude Monet's Garden Path at Giverny (1902). In complete accord with the original intention for the Modern Gallery, the Belvedere collection includes works by artists
both from home and abroad: Pierre-Auguste Renoir, Edouard Manet, and Edgar Degas represent Impressionism, whereas Still Life with Blue Bottle, Sugar Bowl and Apples (1900–2) by Paul Cézanne and The Plain at Auvers by Vincent van Gogh already usher in the transition to Modernism. The Berlin Secession, led by Max Liebermann, was entirely dominated by Impressionism. Outstanding examples, such as Hunter in the Dunes (1913) by Liebermann, The Herzogstand on Walchensee in the Snow (1922) by Lovis Corinth, and Boys Bathing (1911) by Max Slevogt, reveal the free brushwork and intimate cropped effect so typical of German Impressionism. Carl Schuch, one of the most individualistic of the Austrian artists, seems to have been a maverick concerning the movements
of the time. Born in 1846, he, like Manet, completely eschewed Historicism. And as with Manet, or Leibl and Trübner in Germany,
the realism of Courbet – represented in the collection by such works as The Wounded Man – was Schuch's point of departure
in his efforts to achieve an artistic renewal. His still lifes are among his greatest achievements, as can be seen at the
Belvedere in such paintings as Still Life with Pumpkin, Peaches and Grapes (c. 1884). They bring to mind works by Cézanne, like Still Life with Blue Bottle, Sugar Bowl and Apples (1900–2), which they in fact preceded.
1862 Vienna - 1918 Vienna Owning altogether 24 works – portraits, landscapes, and allegorical scenes – by this renowned Austrian painter, the Belvedere
houses the world's largest collection of oil paintings by Klimt. A co-founder of the Secession and initiator of both the Kunstschau
of 1908 and the Internationale Kunstschau of the subsequent year, Klimt contributed considerably to the international avant-garde's
breakthrough in Vienna. The Belvedere's collection illustrates Klimt's development from his initial attempts at Historicism
to his Secessionist style and late period, in which he also responded to Fauve influences and the younger generation of Austrian
artists, including Egon Schiele.Gustav Klimt was born on 14 July 1862, the second of seven children. When still studying at the Vienna School of Arts and
Crafts, he founded a studio co-operative, the so-called Künstler-Compagnie or Company of Artists, together with his brother
Ernst and Franz Matsch, one of his fellow students. Besides commissions related to the interior decoration of the municipal
theatres of Karlsbad, Reichenberg, and Rijeka, the artists were entrusted with similar projects for the Vienna Burgtheater
and the Museum of Art History in Vienna in the course of the development of the Ringstrasse. In 1897, Klimt was among the founders of the Vienna Secession and became its first president. He was deeply committed to a
renewal of the arts and the promotion of young artists, such as Egon Schiele and Oskar Kokoschka. However, a scandal flaring
up over his Faculty Paintings in 1905 caused the artist to withdraw from public life. Henceforth, Klimt exclusively worked
for the liberal-minded upper classes, painting his world-famous portraits of ladies. Their stylistic development is impressively
visualized, from the early portrait of Sonja Knips (1898) to that of Fritza Riedler (1906), a sophisticated example of a rigid
two-dimensional and ornamental painting style, and then on to the accomplished likeness of Johanna Staude (1917/18). Apart from these portraits, Klimt created mainly allegorical and symbolist works, the most famous of which is
his depiction of two lovers (The Kiss, 1908). During the summer months, Klimt frequently retired to Lake Atter in Upper Austria, where created most of his landscapes, like
Poppy Field (1907), Sunflower (1907), and Avenue in the Park of Schloss Kammer (1912). Gustav Klimt died from a stroke on 6 February 1918, at the age of 56 years. He left behind numerous unfinished paintings,
including The Bride and Adam and Eve.
The Vienna Secession was established on 3 April 1897 by Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich,
Max Kurzweil, Josef Engelhart, Ernst Stöhr, Wilhelm List, and other artists. It was a 'secession' indeed, a split-off from
the Vienna Society of Visual Artists (Künstlerhaus) that had been motivated by a vehement rejection of the latter's conservatism
and notion of art still rooted in Historicism. The Secession's first exhibition was held in 1898. Pursuing the goal of an
artistic renewal and opening, the Secession saw it as one of its priorities to provide insights into modern art production
abroad. In this sense, it was considered a forum of the international avant-garde that redefined and repositioned both itself
and the country's art.Prominent donations the Secession made to the Modern Gallery, which had been founded in 1903 and preceded the Belvedere as
an institution, included The Plains of Auvers (1890) by Vincent van Gogh, the bust of Henri de Rochefort-Luçay (1897) by Auguste Rodin, and The Evil Mothers (1894) by Giovanni Segantini; these works marked the beginnings of today's internationally acclaimed collection of early
twentieth-century art. At its heart is the Secession itself, personified by Gustav Klimt, whose masterpiece The Kiss (1908) is regarded as the monumental icon of Viennese Art Nouveau. In 1905, Gustav Klimt and a group of artists and architects, such as Otto Wagner, Josef Hoffmann, Richard Luksch, Wilhelm
Bernatzik, Max Kurzweil, Wilhelm List, Carl Moll, Koloman Moser, and Emil Orlik, left the Secession. The fundamental issue
that had been up for discussion was whether the decorative arts should be included in the prevalent concept of art. Klimt
and his like-minded colleagues fervently advocated for art and everyday life to merge and form a unity. With its outstanding
exhibition events Kunstschau (1908) and Internationale Kunstschau (1909), the Klimt Group offered such young talents as Egon
Schiele, Oskar Kokoschka, Max Oppenheimer, and many others a future-oriented platform.
1890 Tulln – 1918 ViennaBesides Gustav Klimt and Oskar Kokoschka, Egon Schiele ranks among the most outstanding artists of Viennese Modernism. While
still studying art in Vienna, Schiele rapidly developed his own, unmistakeable language of form. Starting out from Art Nouveau,
he combined ornamental structure with a fractured line and expressive colouring. Egon Schiele was born in Tulln in 1890 and
grew up in humble conditions. Despite the protests of his uncle and guardian, Leopold Czihaczek, Schiele took the demanding
entrance exam at the Vienna Academy of Fine Arts in 1906. However, he dropped out after only three years, due to fierce controversies
with his professor, Christian Griepenkerl, who was opposed to all innovation in the visual arts. In 1909, Schiele founded
the New Art Group together with such young artist friends as Anton Faistauer and Franz Wiegele. That same year, the group
first presented itself at the Vienna Salon Pisko, but, after several exhibitions that were to follow, remained only loosely
connected.Schiele's portraits, figural compositions, and landscapes are frequently governed by the tensions revolving around the subjects
of love and solitude, life and death. The motif of coming into existence and subsequent decay is a constantly recurring theme
in his art and most impressively rendered in the Sunflowers (1911). Shining, vigorous blossoms juxtaposed with dark, withered leaves symbolize the cycle of life.In 1912, Schiele moved to Neulengbach, where a most productive period began, which, however, was brought to an abrupt end
by the so-called Neulengbach Affair: Schiele was accused of the dissemination of immoral drawings and sexual abuse of a minor.
After numerous exhibitions and travels, 1914 brought the next turning point in Schiele's life. He separated from his long-time
companion Wally Neuzil in order to marry Edith Harms. The painting Death and the Maiden from 1915, definitely a self-portrait of the artist, might be considered an artistic digestion of his new life situation.
The painting is reminiscent of Klimt's famous Kiss (1907/8), with Schiele translating the motif into the formal vocabulary of early Expressionism, manifesting itself in dissonant
tones and angular contours.
The art of Richard Gerstl marks the beginning of the Expressionist movement in Austria. Excessive emotionality is not only
conveyed through colour and brushwork, but also through a psychological approach to subject matter. In its dual relationship
between observation and expression, his oeuvre is related to that of Edvard Munch.Analytical observation and self-inspection also characterize the paintings by Egon Schiele, Oskar Kokoschka, and Max Oppenheimer.
In their self-portraits, they frequently present themselves as sufferers, thereby documenting their special interest in psychological
conditions. Whereas the Expressionism of the Brücke artists is dominated by an emotionalization of colour and of the application
of paint, it is the precise observation of psychological conditions that determines the degree of expressivity in the art
of Austrian painters. By holding on to linearity and rigid outlines, they also continued employing elements of Secessionist
art.Anton Hanak is undoubtedly one of the most important sculptors of the twentieth century in Austria. His work, influenced by
Wilhelm Lehmbruck, ranges from small figural sketches to huge figures for façades and monuments. In Hanak's sculptures, which
bear such titles as The Last Man, symbolical references to Secessionist art remain recognizable. However, both the high degree
of psychologization and the gestural pathos and elongation of the body are already suggestive of the new, expressive approach
to art.Besides examples of Austrian Expressionist painting, the Belvedere also holds outstanding masterpieces of German Expressionism,
including works by the members of the Brücke group, such as Ernst Ludwig Kirchner, Max Pechstein, and Emil Nolde, as well
as portraits by Alexej Jawlensky. Ernst Ludwig Kirchner, one of the chief exponents of German Expressionism and a leading
personality within the Brücke group, which he co-founded in 1905, is represented in the collection with the work The Klosters
Mountains (1923). As a further important representative of the Expressionist movement, Max Pechstein joined the group, which
had been established by Kirchner, Erich Heckel, and Karl Schmidt-Rottluff, in 1906. Outstanding permanent loans from the Thyssen-Bornemisza
Collection complement and expand the Belvedere's holdings of Expressionist art. And thanks to the loans from the Ars Bohemiae
Foundation – The Rotter Collection, Czech art from the first half of the twentieth century is also impressively displayed
and conveyed.In 1912, Pechstein painted his Still Life with Apples and Bananas. Similar to Pechstein, Emil Nolde also employed flatly applied paint as a means of expression. Following Nolde's brief affiliation
with the Brücke, he created his first religious paintings, including Joseph Relating His Dreams (1910). The Russian-born painter Alexej Jawlensky, who lived in Munich, was in close contact with the Blauer Reiter group,
due to his personal relationship with Wassily Kandinsky. He drew the inspirations for his powerful colour combinations from
Russian folk art and such French Fauvists as Henri Matisse, as is betrayed by Jawlensky's Portrait of a Lady (1908). The delicately built bust of a Kneeling Figure (1913) by the sculptor Wilhelm Lehmbruck shows a high degree of expressive internalization and illustrates the artist's affinity
for Expressionism.
Across the whole of Europe and especially in Germany, this period saw a return to a realistic representation of things as
a counter movement to the abstract trends of the 1910s. In Austria the greatest exponents of this style known as Neue Sachlichkeit
(New Objectivity) included Rudolf Wacker, Herbert Ploberger, Marie-Louise Motesiczky, and Franz Sedlacek. The majority of Austrian artists tended to paint in a lyrical, predominantly naturalistic style, focusing on traditional subjects
in painting such as landscape, portrait, and still life. A centre of this representational style was established by a group
of artists in Carinthia known as the Nötsch Circle.Even in the first three decades of the twentieth century, many Austrian artists had emigrated to other countries, for example
the USA or France, in anticipation of better working conditions and career prospects. As of 1938, however, the growing powers
of the dictatorial Nazi regime forced many artists to flee into exile, among them Max Oppenheimer, Joseph Floch, Franz Lerch,
Wolfgang Paalen, Hans Boehler, Fritz Wotruba, and Georg Ehrlich. Others, who could not escape, were persecuted and murdered
after having been banned from painting and practicing their profession. Émigré artists encountered fresh inspiration and new
networks thus arose. The Belvedere's collection includes Village Landscape (1912–13) by Fernand Léger, one of the few examples from the early period
of French Cubism. Alfred Wickenburg, from Graz, had studied with Jean-Paul Laurens at the Académie Julian in Paris from 1906
to 1909 and his work Rinaldo and Armida (1923) is one of the most significant examples of Cubist figure painting in Austria at this time. Czech artists had already adopted the formal language of Cubism in their compositions prior to 1914. Outstanding representatives
of this style include Emil Filla and Antonin Procházka. Works by both of these artists, in addition to numerous other Czech
masterpieces, were given to the museum on permanent loan from the Rotter Collection in 2012 and they shed new light on the
relationship between Czech artists and their Viennese colleagues. Masterpieces from the Thyssen Collection, also on permanent
loan to the Belvedere, round off this representation of links to abstraction in Vienna. Viennese Kineticism, Czech Cubism,
and Russian Constructivism are thus presented together for the first time. From the mid-1920s, Neue Sachlichkeit was one of the few reference points within an art scene made up of somewhat disparate
styles. The leading master of this style in Austria was Rudolf Wacker from Vorarlberg. His painting Two Heads (1932) has a matter-of-fact precision that hints at something demonic and menacing, so typical of many works in this style.
Similarly, the art of Franz Sedlacek has a fantastical narrative style that often appears bizarre. Comparing these with works
by the Czech Surrealists has also presented new perspectives in the appraisal of their mutual influences. Franz Wiegele, Anton Kolig, Sebastian Isepp, and Anton Mahringer all belonged to the artist group known as the Nötsch Circle
in Carinthia, who concentrated mainly on the genres of figure and landscape painting. However, many Austrian painters working
between the two world wars cannot be categorized as belonging to one particular style as they found their own individual mode
of expression.
The work of Wilhelm Thöny from Graz is a case in point. He worked in an extraordinary, non-academic style, rendering his images
with a pared down fragility and often a touch of irony. Oskar Laske adopted a narrative, anecdotal style, sometimes – as in
his painting Ship of Fools (1923) – resembling caricature. Other artists, such as Josef Dobrowsky in Vienna or Jean Egger from Carinthia, placed an
emphasis on gestural brushwork. Egger's work in particular pushed the boundaries of representational art.In addition, the Belvedere houses important examples of post-1918 German painting. Among these highlights are a series of
late works by Lovis Corinth. These include The Herzogstand at Walchensee in the Snow (1922), a striking reflection of how the artist's works were dissolving into a painterly and gestural style. The picture
Reclining Woman with Book and Irises (1931) is a masterpiece by Max Beckmann that achieves a balance between expressive line, symbolic content, and harmonious
colours.Fritz Wotruba was, besides Anton Hanak, Austria's greatest sculptor of the twentieth century. Wotruba's late work reveals
elements of Cubism and a strong tendency toward abstract block-like forms. Yet the human figure always remained at the heart
of his art, as his stone sculpture Large Seated Figure (Cathedral) (1945) reveals.
The collection has been structured into sections based on chronological criteria. The collection of contemporary art ranges
from the 1960s to the present and includes works of Austrian informal art, Viennese action painting and key examples of media
art from the seventies. The younger generation of Austrian artists is represented in the collection through works by Heimo
Zobernig, Gelatin (gelitin), Markus Schinwald, and more.By the mid-1960s, a process of differentiation within art production and its traditional genres was underway. Roland Goeschl
and Bruno Gironcoli no longer resorted to bronze and stone as material, but to plastic, and to the designation "object" rather
than sculpture.The picture cast off the frame. Artists like Hans Staudacher took a spontaneous and random approach within the art informel painting
movement.In action painting, the body itself became the vehicle and Günter Brus and Rudolf Schwarzkogler projected the wounds of the
canvas onto themselves. Their actions were conceived for the instant and archived in documentary media. By addressing their
own bodies as projection planes, VALIE EXPORT and Mari Lassnig put a social-critical focus on systems manipulated by patriarchal
viewpoints and judgements.While Austrian art in the seventies produced major achievements in media art, the subsequent decade saw a revival of the panel
picture. Alois Mosbacher and Hubert Schmalix created rapidly washed, expressive motifs.The early nineties saw more precise issues being addressed, the discourse revolved in part around institutional prerequisites.
For Heimo Zobernig and Marcus Geiger, the framework of the presentation, exhibition properties and inventory, partitions,
etc., became the starting point of their artistic explorations. However, Franz West, though similar in the way he handles
the material, is more influenced by the non-aesthetics of action painting.The latest generation is especially well represented in the collection, collecting activities were intensified in the mid-nineties
and afterwards, to name just a few, Hans Schabus, Gelatin (gelitin) and Markus Schinwald.


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|Topic Review (Newest First)
Registration goes up July 1.
Do you have a beautiful cichlid that you would like to show?
There will be folks selling fish and plants from their rooms.
Rare and interesting fish available in silent auction and more fish at the B.I.T.C.H.E.S Oral Auction.
There will be a huge auction on Sunday.
We hope to see you there.
CCA does ACA
Hey all,
We're less than 2 months out from American Cichlid Association Convention 2011. http://www.ccadoesaca.com
1. The promotions are in full swing! Have you seen the June edition of TFH yet? We have a full page ad!
2. Convention Registration prices will be going up in June. Have you registered yet? If not, what are you waiting for? Register before the prices go up.
3. Our Speaker List is complete:
Zeb Hogan - Awards Dinner Keynote Speaker
Ad Konings - Malawi Cichlids
René Krüter - Tanganyika Cichlids
Vin Kutty - Pike Cichlids
Greg Steeves - Presented by CARES
Ken Davis - Presented by the North American Discus Association
Charles Hawks - Presented by the Angelfish Society
Mike Wise - Presented by Apistogramma.com
Wayne Leibel - Presented by the South American Study Group
Eric Hanneman - Presented by the Central American Study Group
Joe Middleton - Presented by the Central American Study Group
Rusty Wessel - Presented by the Central American Study Group
4. You spoke and we listened. Discus subclasses have been added to the ACA 2011 Fish and Art Show - presented by United Pet Group.
5. Have you seen the Map yet? We have more than 120 places to recommend to convention goers. But do you have some great ideas for itineraries? What route would you recommend to visitors? We will be compiling them to add to the webpage, so let's hear them!
6. We will be conducting our final raffle for an Ultimate Registration Bundle
The Ultimate Registration Bundle includes the following:
* 1 Free Registration
* 1 Limited Edition T-shirt signed by our Featured Speakers Zeb Hogan, Ad Konings, Rene Kruter and Vin Kutty. The Limited Edition T-shirt will be the same red motif shirt that the Convention Staff will be wearing. It features the same graphics as the regular convention t-shirt.
* 1 (almost) new iPad 2 signed by our Featured Speakers Zeb Hogan, Ad Konings, Rene Kruter and Vin Kutty. The iPad will have been lightly used during the convention.
* Anyone who has purchased a Full Registration or Registration Package by 11:59 P.M.(DST) on 10 June 2011 will be automatically entered. Funds must be received and cleared by this time.
* A winner will be randomly selected at the CCA meeting on 11 June 2011.
* The winner's name will be announced on the CCA webpage by 12 June 2011.
* The free registration will be in the form of a $50.00 refund.
* The winner will receive the registration amount and t-shirt when he/she physically checks in at the Convention.
* The winner will receive the iPad after the conclusion of the convention. All data will be wiped clean and reset before the transfer.
The Cichlids Are Coming.
Be Here.
CCA President/Founder
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Supervisory Leadership course offered at CLC
"Succession planning is so important that in a recent study, 80 percent of companies in the U.S. said their number one concern was keeping up with the demand for leadership," said Sally Klauss, who teaches supervisory leadership courses to people all over the country.
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Not much of a honey flow where I'm at. Even with the strongest colonies it is pretty light. Seems like the blooming times are a little out of whack too.
Not much of a honey flow where I'm at. Even with the strongest colonies it is pretty light. Seems like the blooming times are a little out of whack too.
In Northeastern Ohio, clover (dutch) and bridsfoot trefoil, Basswood is ready to bloom any day. So far bees are storing a lot, even my swarms have stores of honey. So Far So Good.
Sweet and sticky
Leer Family Honey Farm-Shannon Leer
A very successful local farmer always answered that question the same way when I was a kid, "It varies". That is always a good answer.
You are right, it varies, ours is only sticky and sweet. Actually it is too early to tell. Will the Alfalfa continue to bloom in a drought, or do we need a rain to "freshen em up".
Crazy Roland
Alfalfa does best with wet feet, cool nights and hot days. Give it that and there aren't enough bees to use it up. If you could just arrange that for all of us the next six weeks, we will all be filthy rich.
I am already have extracted more honey that I got all last season. But if we don't get rain soon the flow will slow down.
The Busy Bee teaches two lessons: One is not to be idle and the other is not to get stung.
My hives in town are packing away the black berry flow that is happening right now, both hives almost had a full medium super packed and I added another medium to them. One hive is a swarm hive I picked up at the end of March, the other hive threw a swarm on me in April and is already built back up to strong numbers. These hives are two deeps and two mediums now!!
My other hives in the country have stores, maybe from the vineyards or something, but just enough to sustain until the star thistle blooms. I think the star thistle is going to be late this year, seen very few plants blooming along the road ways, but in the pastures not much is even growing yet, hope it does, because last year was phenominal and I could have easily pulled around 400+ pounds if I had the hives I do now!!
Hope to extract the city honey in a couple weeks after things are capped!
Coyote Creek Bees
We just extracted this week here in Virginia. I averages 3.5 to 4 gallons per hive. Some running double supers. Not the best, but certainly not the worst I have had. Our flow is about done for the year. I wish we had Alfalfa fields here.
spring flow was good in N. Illinois. I pulled 29 pounds off my strong hive about three weeks ago. Saturday I pulled a medium super off both of my hives. Harvested 60 pounds. This honey must have a heavy linden content because it sure is minty.
The bees are now working milkweed and thistle. After that we might slow down for a while until we the goldenrod, aster, and sunflower bloom.
Anyone from Southern California have a report?
Ran out of supers. The main flow looks to be starting. The race is on. Just hope the new operation can keep up this year.
We had some HOT days here and the bees really worked their wings off. I was hoping it would last more than two or three days. Temps dropped down into the low 70s after that and then we had cool rain. It was in the 40s or low 50s last night.
When it was hot clover and staghorn sumac were blooming like crazy and bees were seen yesterday working on the cranberries. One yd in particular has hives almost as tall as me, 6'3", after I gave them another three shallow supers, because they already have three supers of honey above the brood boxes.
Mark Berninghausen
what is your new operation Ron?
Same story here Mark. Was booming for a bit but this rain and coolness has slowed them down a bit. Hoping for sun!
Raising Vermont Bees one mistake at a time.
USDA Zone 5A
Just saw the weather map showing the heat staying down below the NY State line for the next week. Bummer.
Keth, you seeing any Basswood yet? I'm not sure whether it will even bloom here this year. Though it isn't yet the 4th of July. We had no locust.
Mark Berninghausen
Was walking my dog last night and walked by two big basswood trees and didn't see any sign of a bloom on them at all.
Locust failed here this year too.
We need some sun to get the nectar flowing again!
Raising Vermont Bees one mistake at a time.
USDA Zone 5A
Looks like some fellas didn't read the poll question. You northeasterners taking a vacation this year?
Nick, I'm running a gunnies over spinners with an equinox and 80 frame hubbards extractors. Just when to a 1000 gal. holding tank, hope to fill each day.
Kevin, if this setup works the way I think. I'll need the best year ever to give it a run for its money.


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[quote user="critters"][quote user="BlueSanta"][quote user="TuckYou"]Im going to say right now, that, watching Alabama play in the SEC and not watching them perform in the combine, Upshaw and Hightower will both be studs in the NFL. Also, everone is looking at Kirkpatrick as the big time CB from Bama and 1st round talant, but if you look hard enough, a CB named DeQuan Menzie quietly performed and is ready to get drafted late in the draft. He was opposite Kirkpatrick and held his own. Watch out now.[/quote]
According to Mayock, after the combine Menzie is now being considered as a safety in the NFL. His lackluster speed and explosion at the combine combined with the ongoing concerns about his previous tear of an achilles are the primary reasons. His very short arms and subpar vertical didnt help either. I agree that his place in the league may be as a safety.
He was a good player at Bama but his past achilles tear was a tragedy.**
I think he'd be a good safety as well. He's built a lot thicker than I thought and was always great against the run. Really good tackler and was tough to beat after the catch.
I don't see his injury having an effect on him. He was playing, and outplaying Dre Kirkpatrick IMO, within like 4 months of that injury. It obviously wasn't too bad because he played WAY ahead of schedule. He had intended to redshirt because of it and never needed to. He beat out a 5 star starter soon after.
Also, Josh Chapman could be a late round find for DT. Also playing in that Bama dline


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