text:
Tivantinib in Treating Patients With Previously Treated Malignant Mesothelioma
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01861301
Recruitment Status : Terminated
First Posted : May 23, 2013
Results First Posted : October 24, 2016
Last Update Posted : October 24, 2016
- Study Details
- Tabular View
- Study Results
- Disclaimer
- How to Read a Study Record
|Condition or disease
|Epithelioid Mesothelioma Recurrent Malignant Mesothelioma Sarcomatoid Mesothelioma Stage II Pleural Mesothelioma Stage III Pleural Mesothelioma Stage IV Pleural Mesothelioma
|Other: Laboratory Biomarker Analysis Drug: Tivantinib
|Phase 2
I. To determine the objective response rate of patients with malignant mesothelioma who are treated with ARQ 197 (tivantinib).
I. To determine the progression-free survival of patients with malignant mesothelioma who are treated with ARQ 197.
II. To determine the toxicity experienced by patients with malignant mesothelioma who are treated with ARQ 197.
III. To determine median and overall survival of patients with malignant mesothelioma who are treated with ARQ 197.
I. To determine the frequency of mesenchymal-epithelial transition (MET) gene amplification in malignant mesothelioma patient tumor samples, and to correlate the results with MET immunohistochemistry (IHC).
II. To determine whether MET gene amplification results in increased sensitivity to ARQ 197 as observed by improved clinical outcomes (response rate [RR] and progression free survival [PFS]) compared to those without MET gene over-expression/amplification.
III. To determine whether high baseline serum hepatocyte growth factor (HGF), as well as changes in serum HGF during treatment at pre-defined early time points, correlate with treatment efficacy and clinical outcome, as measured by response rate and progression-free survival.
IV. To identify mutations by sequencing of specific areas of the MET gene in tumor samples (semaphorin [SEMA], jumonji [JM] and tyrosine kinase domains).
V. To perform immunohistochemistry (IHC) of mesothelioma tumors for HGF, MET and phosphorylated (p)-MET (pY1003 and pY1230/34/35).
VI. To assess serum HGF and serum soluble MET levels by enzyme linked immunosorbent assay (ELISA) (R&D systems) pre-treatment, after 2 cycles and at disease progression.
Patients receive tivantinib orally (PO) twice daily (BID). Treatment continues in the absence of disease progression or unacceptable toxicity.
After completion of study treatment, patients are followed up for 1 year.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|18 participants
|Intervention Model:
|Single Group Assignment
|None (Open Label)
|Primary Purpose:
|Official Title:
|A Phase 2 Study of ARQ 197 in Patients With Previously-Treated Malignant Mesothelioma
|Study Start Date :
|January 2013
|Actual Primary Completion Date :
|March 2015
|Actual Study Completion Date :
|March 2015
Experimental: Treatment (tivantinib)
Patients receive tivantinib 360 PO BID. Treatment continues in the absence of disease progression or unacceptable toxicity.
Other: Laboratory Biomarker Analysis
Correlative studies
Drug: Tivantinib
Given PO
Other Names:
- Objective Radiologic Response Rate (Complete or Partial Response) Assessed by the Response Evaluation Criteria in Solid Tumors (RECIST) v1.1 [ Time Frame: Up to 1 year ]Per Response Evaluation Criteria In Solid Tumors Criteria (RECIST v1.1) for target lesions and assessed by CT or MRI: Complete Response (CR), Disappearance of all target lesions; Partial Response (PR), >=30% decrease in the sum of the longest diameter of target lesions; Overall Response (OR) = CR + PR.
- Incidence of Adverse Events, Graded Per NCI CTCAE Version 4 [ Time Frame: Up to 2 years ]Grade 3 or higher AE of any type, regardless of attribution.
- Overall Survival [ Time Frame: Up to 2 years ]Analyzed using the Kaplan-Meier method.
- Progression-free Survival [ Time Frame: Up to 2 years ]Time to disease progression or death from any cause. Analyzed using the Kaplan-Meier method.
- Change in Baseline Levels of Continuous or Ordinal Markers (e.g., Serum HGF/MET IHC) Between Responders and Non-responders [ Time Frame: Baseline to 1 year ]Fisher's exact test will be performed for binary variables (e.g., presence/absence of MET gene amplification). Paired t-tests or Wilcoxon signed-ranks test, whichever is appropriate, will be used to examine the changes with treatment in the laboratory correlates that are continuous and McNemar's test will be used for binary markers.
- Change in Serum HGF or MET IHC and Tumor Size Change (Percent Reduction in Sum of Longest Diameters) [ Time Frame: Baseline to 1 year ]Will be evaluated by Spearman's rank correlation coefficient.
- Association Between Baseline HGF, MET Gene Amplification, MET IHC and PFS [ Time Frame: Baseline to 1 year ]Will be evaluated using the Cox regression model.
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- Patients must have histologically or cytologically confirmed malignant pleural or peritoneal mesothelioma, epithelial, sarcomatoid, or mixed subtype; the patient's disease must be metastatic, recurrent, or unresectable
- Patients must have measurable disease, defined as at least one lesion that can be accurately measured in at least one dimension (longest diameter to be recorded for non-nodal lesions and short axis for nodal lesions) as >= 20 mm with conventional techniques or as >= 10 mm with spiral computed tomography (CT) scan, magnetic resonance imaging (MRI), or calipers by clinical exam; pleural effusions and ascites are not considered measurable lesions
- No more than two prior cytotoxic chemotherapy regimens; prior chemotherapy with pemetrexed is required; prior intrapleural cytotoxic agents (including bleomycin) are allowed, and are not counted as a cytotoxic chemotherapy; chemotherapy must have been completed at least 4 weeks prior; patients who have previously received radiation therapy are eligible provided that the only site of measurable disease is not located within the radiation therapy port; at least 4 weeks must have elapsed from completion of the radiation therapy and all signs of toxicity must have resolved
- Eastern Cooperative Oncology Group (ECOG) performance status =< 1 (Karnofsky >= 70%)
- Life expectancy of greater than 3 months
- Hemoglobin >= 9.0 g/dL
- White blood cells (WBC) >= 3,000/mcL
- Absolute neutrophil count >= 1,500/mcL
- Platelets >= 100,000/mcL
- Total bilirubin =< 1.5 X institutional upper limit of normal
- Aspartate aminotransferase (AST) (serum glutamic oxaloacetic transaminase [SGOT])/alanine aminotransferase (ALT) (serum glutamate pyruvate transaminase [SGPT]) =< 2.5 X institutional upper limit of normal
- Serum creatinine =< 1.5 X institutional upper limit of normal OR creatinine clearance >= 60 mL/min/1.73 m^2 for patients with creatinine levels above institutional normal
- The effects of ARQ 197 on the developing human fetus are unknown; for this reason and because tyrosine kinase inhibitors as well as other therapeutic agents used in this trial are known to be teratogenic, women of child-bearing potential and men must agree to use adequate contraception (hormonal or barrier method of birth control; abstinence) prior to study entry and for the duration of study participation; should a woman become pregnant or suspect she is pregnant while she or her partner is participating in this study, she should inform her treating physician immediately; men treated or enrolled on this protocol must also agree to use adequate contraception prior to the study, for the duration of study participation, and 4 months after completion of ARQ 197 administration
- Ability to understand and the willingness to sign a written informed consent document
Exclusion Criteria:
- Patients who have had chemotherapy or radiotherapy within 4 weeks (6 weeks for nitrosoureas or mitomycin C) prior to entering the study or those who have not recovered from adverse events (to grade =< 1) due to agents administered more than 4 weeks earlier
- Patients who are receiving any other investigational agents
- Patients with known brain metastases should be excluded from this clinical trial because of their poor prognosis and because they often develop progressive neurologic dysfunction that would confound the evaluation of neurologic and other adverse events
- History of allergic reactions attributed to compounds of similar chemical or biologic composition to ARQ 197
- ARQ 197 is metabolized by cytochrome P450 (CYP)2C19, and to a lesser extent CYP3A4; the metabolism and consequently overall pharmacokinetics of ARQ 197 could be altered by inhibitors and/or inducers or other substrates of CYP2C19 and CYP3A4; while inhibitors/inducers of these cytochrome P450 isoenzymes are not specifically excluded, investigators should be aware that ARQ 197 exposure may be altered by the concomitant administration of these drugs; because the lists of these agents are constantly changing, it is important to regularly consult a frequently-updated list; as part of the enrollment/informed consent procedures, the patient will be counseled on the risk of interactions with other agents, and what to do if new medications need to be prescribed or if the patient is considering a new over-the-counter medicine or herbal product
- History of congestive heart failure defined as Class II to IV per New York Heart Association (NYHA) classification; active coronary artery disease (CAD); clinically significant bradycardia or other uncontrolled, cardiac arrhythmia defined as >= grade 3 according to National Cancer Institute (NCI) Common Terminology Criteria for Adverse Events (CTCAE), version 4.0, or uncontrolled hypertension; myocardial infarction occurring within 6 months prior to study entry (myocardial infarction occurring > 6 months prior to study entry is permitted)
- Uncontrolled intercurrent illness including, but not limited to, ongoing or active infection, symptomatic congestive heart failure, unstable angina pectoris, cardiac arrhythmia, or psychiatric illness/social situations that would limit compliance with study requirements
- Pregnant women are excluded from this study because ARQ 197 is a tyrosine kinase inhibitor with the potential for teratogenic or abortifacient effects; because there is an unknown but potential risk for adverse events in nursing infants secondary to treatment of the mother with ARQ 197, breastfeeding should be discontinued if the mother is treated with ARQ 197
- Human immunodeficiency virus (HIV)-positive patients on combination antiretroviral therapy are ineligible because of the potential for pharmacokinetic interactions with ARQ197; in addition, these patients are at increased risk of lethal infections when treated with marrow-suppressive therapy; appropriate studies will be undertaken in patients receiving combination antiretroviral therapy when indicated
- No prior treatment with a c-MET inhibitor
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01861301
|Principal Investigator:
|Hedy Kindler
|University of Chicago Comprehensive Cancer Center
|Responsible Party:
|National Cancer Institute (NCI)
|ClinicalTrials.gov Identifier:
|Other Study ID Numbers:
NCI-2013-00937 ( Registry Identifier: CTRP (Clinical Trial Reporting Program) )
12-2158 ( Other Identifier: University of Chicago Comprehensive Cancer Center )
9267 ( Other Identifier: CTEP )
N01CM00071 ( U.S. NIH Grant/Contract )
P30CA014599 ( U.S. NIH Grant/Contract )
|First Posted:
|May 23, 2013 Key Record Dates
|Results First Posted:
|October 24, 2016
|Last Update Posted:
|October 24, 2016
|Last Verified:
|August 2016
Mesothelioma, Malignant
Lung Neoplasms
Neoplasms, Glandular and Epithelial
Neoplasms by Histologic Type
Neoplasms, Mesothelial
Respiratory Tract Neoplasms
Thoracic Neoplasms
Neoplasms by Site
Pleural Neoplasms
Lung Diseases
Respiratory Tract Diseases


text:
Situated in the 6th arrondissement of Marseille, a coastal city in the southernmost part of France is the beautifully designed apartment of Architect Aurélie-Anne Vincent and her Husband Guillaume. Originally purchased as an investment property for their little daughter and for weekend getaways, their flat situated in the heart of Marseille has predominantly become an AirBnb for everyone to enjoy! With stunning views of the Basilica Notre-Dame de la Garde from every window, charming shops, markets and restaurants a few steps away, you'll rest comfortably in this 4th story flat and enjoy all the coastal amenities this area has to offer.
We had the opportunity to experience the apartment for ourselves and I also spent some time play re-styling and snapping some photos. With Aurélie-Anne's great taste in style and natural eye for remodeling and design there's not much more that could be done to an already great looking apartment!
Omitting before photos and rather using their AirBnb link instead, I'll share some after photos below. Thanks for dropping bye and have a great day all!
To book Airbnb directly – HERE
Need an Architect Book – Aurelie-Anne Vincent @Pixel Architecture
Rue pierre Haret, Paris France

subset: commoncrawl


text:
Electronic Arts plans to grow its digital game business to become one-third of their total revenue over the next few years and that includes starting to charge for what one analyst described as very long game demos.
The comments came during an analyst visit to Electronic Arts' Redwood City headquarters and meetings with the company's executives.
One of Electronic Arts strategies will be to release what they call "premium downloadable content" on the Playstation Network and Xbox Live for $10 to $15 and then later release the full game for a full price, EA Group General Manager Nick Earl told Wedbush analyst Michael Pachter during the recent meeting.
Pachter writes in his report of the meeting that this premium downloadable content would "essentially be a very long game demo, along the lines of 2009's Battlefield 1943." The "full-blown packaged game" would released shortly after the download version, he writes.
Earl told Pachter that the strategy would allow the company to limit the risk of marketing the full game and would "serve as a low-cost marketing tool."
A marketing tool that it sounds like you'll be paying $10 to $15 for. We've contacted Electronic Arts for comment and clarification, but have not yet heard back. We'll update this story when and if we do.
During the same meeting at EA, John Riccitiello, the company's CEO, told Pachter that the "company had performed poorly over the first years of his tenure, and admitted that the turnaround of the company was taking longer than he originally expected."
Riccitiello estimated that Electronic Arts was about two-thirds of the way through its turnaround, and one-third of the way through its "transformation to the distribution of intellectual property through multiple channels."
He added that he expects the company to grow its digital business to one-third of EA's revenues within the next few years.
Another major way that EA plans to achieve that goal, Riccitiello told Pachter, is for EA to "exploit all of its packaged games with ancillary digital revenue streams."


text:
A father and a daughter coyote had been lolling on a hillside when the daughter's attention became riveted on something in the distance. She stared at it for a minute and then darted off, at a full run. Dad was surprised at her suddenly bolting away, but he followed not too far behind. And I, too, ran, but at a relatively slow follow.
When I caught up with them, they were sitting next to a house and their attention was focused on something I could not see. One of the coyotes then ran forwards and I could see flailing tails and lowered bodies, and rolling around. There was a third coyote there. It was because of this third coyote that the others had made their mad dash over to this area.
I soon recognized the third coyote as a male sibling to the female, son to the father — a family member! I had not seen him in months. This is a coyote whom I had characterized as timid and careful. He preferred "watching" his siblings roughhouse rather than entering into rough play. The last time I saw him, he had hurried off quickly — he avoided being seen by people and pets. I imagined that he had either moved into the bushes for good, where he would live his life hidden from view, or dispersed.
Could this be a joyful greeting of the kind I have seen so often? As I got closer, the sad truth revealed itself: teeth were bared. I realized that this male youngster had probably been driven off, banned, from the territory at some point. Today there was a confrontation because of the male youngster's return to "forbidden" territory. This would explain his absence.
The fray moved to the open lawn at first but soon the yearling male coyote backed up against the wall of a house — and he remained there, possibly for protection. At first both father and daughter coyote charged him. But then the female youngster went off in the distance, focusing her attention elsewhere, but intermittently updating herself on the battle between father and son, with a glance in that direction.
Dad coyote would stalk, then strike. The strike consisted of punching, nipping, and knocking the youngster over with a shove from Dad's hindquarters, maybe in an attempt to sit on him, or throw him on his back. The son yelped and fought back in self-defense, all the while standing his ground and not succumbing to lying on his back submissively. I wondered why he didn't just run off. Did he know he might be chased, and, out in the open, there would be no protection at all? Or was he himself making a "comeback" claim?
The assaults were not aimed to maim, they're intended as a firm messaging device: "Leave! You are not welcome here anymore!" The father's strikes were short but intense. After a few seconds of contact, Dad would withdraw about 30 feet and watch, either lying down or standing, probably giving the youngster "the evil eye" — communicating through facial expressions and body language. After a few minutes, there would be another round of this activity.
At one point a dog and walker appeared. I suggested to the owner that he leash his dog and keep moving. The man waited there for a few minutes. At that point the young female jumped IN FRONT of the dog and walker and lured/led them away from the battling coyotes! Fascinating! The young female returned to her spot in the near distance after the dog and owner were far enough away.
Eventually Dad decided to walk away from the "interloper" coyote, but not before giving several backward glances over his shoulder at the young male — shooting him the "evil eye" again, and peeing a dislike message. He then slowly walked off, with the female close behind, stopping every now and then to look back at the young male who remained with his back up against the wall. When they were out of sight, the young male lay down for a minute, but only for a minute, and then he, himself, darted off quickly in the other direction, and into the bushes.
I caught up with the Dad and young female as they, too headed into bushes. I suppose that the young female is being guarded and protected, and that the territorial domain will be hers. I'm wondering if she has alpha characteristics which might have driven the mother away. Just a thought.
Interestingly, I've seen moms beat up female youngsters in this same manner, and now a dad doing the same to a male youngster. It's as if each parent is jealous of it's unique position and wants to keep it that way. It's same-sex youngsters who present the biggest threat to any adult. Is it dispersal time, or some other rule which is being imposed? Pupping season is beginning, which means territories have to be secure for any pups which might be born this year.


text:
Rats infest parked cars in New York City
New York City residents want to know what Superstorm Sandy did to all the rats.
TV stations and newspapers have been rife with reports about rats infesting parked cars and Brooklyn brownstones.
A city councilwoman floated a proposal to create a $500,000 emergency rat mitigation program for storm-impacted neighborhoods after a rodent problem forced a two-day closure of Manhattan's Magnolia Bakery, often credited with starting a national cupcake craze. Company spokeswoman Sara Gramling said Thursday she's sure the storm was a factor in the infestation.
But the city's health department says rodent complaints have declined since the late October storm. And the agency that runs the city's subway system also dismisses tales of rats being stirred up by Sandy.
Follow Emirates 24|7 on Google News.


text:
Wolf Blitzer delivers the most important breaking news and political, international, and national security stories of the day. Tune to The Situation Room weekdays 5-7pm ET on CNN.
More than 20 days after MH370 went missing, search teams have still not discovered any sight of debris in the southern Indian Ocean - and many are now questioning if the plane parts might have sunk, making the search that much more difficult. CNN's Rene Marsh examines whether such debris from a plane would normally sink or float.
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text:
Yankees use 3-run 11th to beat Orioles 6-3
BALTIMORE – Russell Martin singled home the tiebreaking run in the 11th inning after Mariano Rivera gave up the lead in the ninth, and the New York Yankees beat the Baltimore Orioles 6-3 Sunday for a two-game sweep.
The thriller of a game had a bit of everything, including a 40-minute rain delay in the 11th inning. Baltimore rallied from a three-run deficit against Joba Chamberlain and Rivera; both teams had the go-ahead run thrown at the plate in the late innings; and the Yankees ultimately won on the strength of three infield hits and a couple of Baltimore errors in a wild 11th.
Robinson Cano led off the inning with a double off Jason Berken (0-1). After Nick Swisher failed on a bunt attempt, Cano was caught between the bases. Catcher Matt Wieters threw to second, and Cano scampered safely to third.
Swisher struck out, and after an intentional walk to Eric Chavez, Martin hit a grounder deep in the hole to shortstop Robert Andino, who threw wildly to second in a desperate attempt to start a double play.
One out later, Derek Jeter hit a slow roller to third, and Mark Reynolds' throw went awry on what was ruled an infield hit. Curtis Granderson followed with an RBI single off the glove of second baseman Brian Roberts.
Boone Logan (1-1) got four outs, and Buddy Carlyle retired the final two batters.
Jeter had four hits for Yankees, who earned their sixth straight series win at Camden Yards. New York is 41-17 against Baltimore since the start of the 2008 season.
After Mark Reynolds hit a two-run homer off Chamberlain to make it 3-2 in the seventh, the Orioles drew even in the ninth against Rivera. With runners on first and second and two outs, Roberts bounced a double into the right-field corner. One run scored, but Andino was thrown out at the plate by Cano, who took the relay from Swisher.
In the top of the 10th, New York had runners at the corners with one out when Alex Rodriguez lifted a fly ball to medium center. Jeter tagged up at third and Adam Jones uncorked a dart that reached Wieters in the air.
Wieters had the plate blocked, and he tagged Jeter for the final out.
Yankees starter Freddy Garcia pitched six innings of two-hit ball and left with a 3-0 lead, but he was betrayed by the New York bullpen.
Garcia struck out seven and walked two in his second start with the Yankees. The right-hander permitted one runner past second base and retired 13 of the last 14 batters he faced.
With the score 3-2 in the eighth, the Orioles got runners on the corners with two outs in the eighth against David Robertson.
Rivera came in to face Luke Scott, who hit an opposite-field liner to left that the speedy Brett Gardner snagged just short of the warning track. In a rare outburst of emotion, a grinning Rivera thrust his right arm upward before walking off the mound.
But Rivera would give away the lead in the ninth, his second blown save in nine opportunities.
Orioles starter Jake Arrieta gave up three runs, five hits and three walks in six innings. The right-hander had a career-high nine strikeouts.
New York needed only four pitches to take a 2-0 lead. After Jeter singled on Arrieta's first offering, Granderson hit a 1-1 pitch into the right-field seats, his team-high seventh homer of the season.
Arrieta rebounded from his poor start to keep the Yankees in check until the fifth. Granderson doubled with one out, took third on a single by Mark Teixeira and scored when Rodriguez beat the relay on a potential double-play ball that resulted only in an out at second base.
NOTES: Jeter has 2,945 career hits. ... Reynolds' homer ended his 0-for-22 skid. ... Roberts stretched his hitting streak to 11 games. ... Cano extended his hitting streak to 13 games, and now has hit in 16 straight games against the Orioles.


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Nobody seems able to work up much excitement over Alfred Hitchcock's Stage Fright, not
even critics who can find something to drool over in all of his pictures. Although
there's a lot of discussion about its famous 'lying flashback' sequence, it is
a rather uninteresting murder mystery with some cute peripheral characters. But most of the
humor is forced and the main dramatic setup too pat to generate the usual Hitchcock thrills.
An innocent man runs from a crime and his sweetheart becomes a junior spy to exonerate him, taking
on false identities and playing her own cat & mouse games with the police as if she were Nancy
Drew. All that separates Stage Fright from an ordinary whodunnit is the exemplary English
cast, where meaningless bit parts are played by charming nutty types like Joyce Grenfell.
Jane Wyman spends a lot of the movie pretending to be a drab maid, but the unhappy look on her face
is a constant that makes her Eve a less-than-appealing heroine. She's not a very bright one either,
in a script that makes both her and her accomodating father (he jumps willingly into her flaky
accessory-after-the-fact scheme) look like dolts. The grouchy recipient of their goodwill has already
lied to Eve and himself seems quite the chump falling for Marlene Dietrich's transparently
wicked machinations. All of them deserve worse than they get, except for Todd's Jonathan, who
pays too dearly.
The possible romance angle fares better, with the charming Michael Wilding
in rather good form. Yet there's still no chemistry between him and Wyman; nothing in the story
gels. I'll bet that if Hitchcock found the play Dial M for Murder around this time, he wished
to heck he had a story one tenth as clever.
As if to compensate, Hitchcock fills the picture with his idea of comic relief - little bits of
inane verbal comedy, mildly suggestive jokes and colorful 'English' characters like the overly
familiar Miles Malleson and the above-mentioned Joyce Grenfell. Sybil Thorndike's comic playing
opposite Alastair Sim is certainly well done, but it and all the other trimmings are irrelevant
filler. As if bored, Hitchcock entertains himself with trick shots like a car accelerating
apparently right into the camera - a gag probably done with a mirror.
This is the film with Hitchcock's self-confessed biggest mistake, the lying flashback. (spoiler
ahead) As soon as the film starts we rush into an awkward flashback that later turns out to be
a complete falsehood. Instead of taking it as a lie by a dishonest character, audiences understandably
feel cheated. Hitchcock wanted to give film language the same flexibility as a novel - if people
can lie, why can't his camera? But visual conventions are naturally literal; viewers don't normally
screen flashbacks for subjective inconsistencies. They instead think they're being given privileged
information. If you show a cow on in a scene, you'll have a hard time later explaining that a
character was just thinking of a cow.
Hitchcock tried to lick the problem again in
I Confess, but still didn't get it
right. A film needs to visibly switch gears to present different 'tenses,' something that art films
and post-modern screenplays now feel the need to do all the time. Hitchcock wanted complexity
but also didn't want to alienate his audience or leave them in confusion. He couldn't
have it both ways.
Anyone defending the rest of the film has to contend with hackneyed ideas like the doll with the
bloodstain or
the 'hidden microphone confession' in the theater, stuff that's way below Hitchcock's ability level.
He must have been marking time waiting for material that got his juices flowing.
Just in case you think I can't come up with anything positive to say about the show - It's too long,
too! Hitch's talented daughter Patricia makes an appearance in a bit role and does fine, even with
the demeaning name of 'Chubby.'
Warners' DVD of Stage Fright is also no looker. The transfer is okay but marred with rather
prominent scratches here and there. The most obtrusive ones interrupt Marlene Dietrich's sultry song
numbers and mar the last few shots in the show.
The docu is short and light, with Peter Bogdanovich finding things to talk about other than
the merit of the film. Richard Schickel sidesteps actually coming out and calling the lying flashback
a failure, and others try to put the best face possible on things. Jane Wyman appears in an old
Turner interview with a Dietrich anecdote. The rising of the stage safety curtain as a stylized opening
is mentioned as a clever device, but nobody notices that it's this same curtain which bisects the
villain for the film's vindictive conclusion.
On a scale of Excellent, Good, Fair, and Poor,
Stage Fright rates:
Movie: Good --
Video: Good --
Sound: Good
Supplements: Docu
Packaging: Keep case
Reviewed: September 10, 2004
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text:
Size & Fit
- Gucci Kids green mélange wool gloves
- GG intarsia, ribbed cuffs
- 100% wool
- Dry clean
SKU No.: SC496121
Style No.: 909914
Brand Bio
Few fashion houses boast Gucci's timeless allure, and the label has been at the centre of Italian luxury since 1921. Maintaining the perfect balance between its Florentine heritage and reputation as a fashion leader, creative director Alessandro Michele's collections for Gucci have reinvented the brand aesthetic with a youthful energy that translates into embellished accessories and enchanting fragrances.
Help & Advice
Find out the delivery options for this item.
Returns couldn't be easier.Find out more
If you're suffering from a sartorial block or need a hand hunting down something extra special, we're here to help.


text: After two Halloween remakes, rock star turned filmmaker Rob Zombie has penned a somber, surprisingly tame tale of witchcraft and possession that may trigger unintended giggles among even his most devoted admirers. Sheri Moon Zombie, the director's wife, stars as Heidi Hawthorne, a Salem, Massachusetts radio DJ who begins hearing voices and having bloody visions after listening to a heavy-metal LP given to her under mysterious circumstances. Her neighbors are three witches descended from a 17th-century coven determined to call forth the Devil, who's looking to find the right woman to give him a son and heir. Zombie takes all of this very seriously, staging flashbacks to unholy ceremonies that feel disturbingly authentic, while surrounding Heidi, a disappointingly timid character, with decrepit, corpulent demons we can see but she cannot. The movie is eerily photographed (by Brandon Trost) but never suspenseful or scary, and events eventually descend into goat-sacrificing silliness. Any fun to be had here lies in spotting the many old-school character actors Zombie has hired, from Bruce Davison and Dee Wallace to Meg Foster and Maria Conchita Alonso, all of whom have faced their fair share of movie monsters over the years — to far more memorable effect.


text:
Proof you need to visit your local farm
Cats, dogs are cute, but have you seen these baby goats?
Cats, dogs are cute, but have you seen these baby goats?
Cats, dogs are cute, but have you seen these baby goats?
If there's one thing our viewers can agree on across the country, it's their love for farm animals. Goats, chickens, cows, lambs-- they love them all. So a video sharing their appreciation for farm animals is long overdue.
Prepare for these playful goats, hyper chickens and cute calfs to convince you that if you don't already live on a farm, it may be time to visit one.
Want to share your farm animal experiences with other viewers? Click here to upload your photo or video now. Don't forget to include a description, your name and your location. It will help us share your story in the future.
This u local article wouldn't be possible without photos and videos from viewers like you. Our goal is to showcase the stories we receive in a beautiful, fun way. So if you have something you want to share with us, you can upload it here. For more articles and videos made with the help of our viewers, check out: u local | Stitch


text:
The world's biggest Art of the Wild Festival 2023 is now on the door. Here you will get a how-to watch, lineup, and ticket-buying guide for the Art of the Wild Festival 2023. This festival's complete TV guide, artist lineup, start time, date, and location were announced see full details here. If you miss buying tickets for the Art of the Wild Festival 2023 don't worry you can easily stream this Festival on you any device. Here are the details:
|Las Vegas, NV
|Friday, 10 March 2023
|Live Stream:
|Watch Now
Art of the Wild Festival 2023 is happening today don't miss to watch this year's Music Festival online. Before going to this topic we clarify here what you will get down blow. You will get a full Festival lineup and an online tv broadcasting schedule.
Watch Art of the Wild Festival 2023 Live Online
Nowtime watching your favorite Festivals is the best choice. here is the best online TV broadcasting service for the Art of the Wild Festival 2023. don't miss to watch this year's Festival if you are home or at any work. Here is the full list of where you can stream this Festival.
- YouTube TV
- Sling TV
- FuboTV
- direcTV Now
- FuboTV
We are excited to know how you feel about watching this Festival online. tell us about your experience streaming this Festival on your device online. Eventsliker.com is waiting for your review about this Festival please follow us on Facebook and tell us about your experience.
during the Festivals, the rain and sunny weather are the common thing. Here are some tips if there is rainy then wear boots, ponchos, rubber duckies and take umbrellas with you. If there is sunny then wear sunglasses, and sunscreen and bring water and pink flamingos with you.
- Id
- Valid driver's License
- Phone charger and Power Bank
- Best Outfit for this Festival
- Comfortable Shoes
- Sunscreen
- COVId-19 negative certificate
- Hats
- Sunglasses
- Earplugs
- Camping gear if you stay
- Event tickets
- Your Medicine
- Sleeping Bag
- Tent & Tent Pegs
- Money
Here is all the thing you must need to take with you during this Festival.
- Weapons
- Fireworks or explosives
- Illegal drugs
- Tobacco/smoking products of any kind (including e-cigs, vape, etc.)
- Any kind of Outside Food
- Large Umbrellas
- Any kind of pets
- Laser light
- Professional camera equipment
- Children
- Any kind of thing that makes with Glass
- drones or hover cameras
- Instruments
- Baskets
- Large Backpack
- Pets
- don't Wear Flip-Flops, Sandals, or Heels
- Full Meal
- Jewelry
this common mistake all fans do during any Festivals and you should avoid taking these things with you.
Losing anything during Art of the Wild Festival 2023 is a common thing. please be serious during the Festivals if you lost anything then find it or wait for the Art of the Wild Festival 2023 to end.
The set time for the Art of the Wild Festival 2023 will be announced soon please stay tuned with us.
during the Art of the Wild Festival 2023, tickets holder can enter the event area anytime in the day.
The food and drink lineup is huge for the upcoming Art of the Wild Festival 2023 in 2022. during the Festivals, fans will get a lot of vendors and little food shops around the Art of the Wild Festival 2023 ground. You can drink any kind of drink in the Festival area. On the Festival ground, there is also a VIP area if you buy tickets for the VIP then you can get all the VIP facilities.
The COVId-19 Rules:
After the 2020 Art of the Wild Festival 2023 announced that fans must have to get the vaccine and bring the COVId-19 negative certificate with them for attending the event.
his event has no limit for age but in some cause, they announced an age restriction if that happens it will be announced here.
FAQ About Art of the Wild Festival 2023
Where can I buy tickets?
Tickets are In It Togetherilable through Art of the Wild Festival 2023's website or any of the authorized ticket retailers.
How can I watch the live stream?
You can watch it online on tv.
Festival Tickets:
For buying the upcoming Art of the Wild Festival 2023 tickets the official way is the best choice. Here is the best ticket-buying platform for this Festival.
- Ticketmaster
- StubHub
- Eventbrite
- Vivid Seats
- See Tickets US
- Etix
Here we try to cover all information about the Art of the Wild Festival 2023. You can also get this type of Festival and events information on the eventsliker website don't miss to follow us on Facebook and get really quick updates about this Festival.


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This newly released Mars panorama gives armchair explorers a 360°, rover's-eye view of the Red Planet, from a vantage point near the base of Aeolis Mons. Also known as Mount Sharp, the 18,000-foot mound of sedimentary layers forms the central peak of Gale crater, and is the Curiosity Rover's primary scientific target. Curiosity's come a long way since her first color photo of Mars, hasn't she?
"The images for [the panorama were] obtained by the rover's 34-millimeter Mast Camera," writes 360 Cities' Andrew Bodrov, who created the immersive viewing experience. "The mosaic, which stretches about 30,000 pixels' width, includes 101 images taken on Sol 437." You can interact with the panorama below by clicking and dragging, or selecting from specific points of interest. Make sure you try it out in full screen.
Bodrov's done up similar Mars panos in the past, and his work is seriously inspired. Hands down some of our favorite images of the Red Planet. That includes the ones released by NASA.


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I love reading. I do. My kindle is bursting, my shelves overflowing, and my postman constantly unhappy about the packages he has to carry to my door. I'm forever adding to my wish lists and I spend an ample proportion of my wage on books. And I read across genres, constantly on the lookout for that great read. And I'm happy to try most things, as I've been pleasantly surprised by the most unlikely candidates. But the one thing that will, without fail, put me off reading/buying a book is a poorly written blurb.
The back cover/ ebook blurb is where you have to hook people, to get them to want to read your book. Sure, some people are drawn to a book by the cover, or reviews, or excerpts, but those are mostly things that get them to consider the book. Which brings us back to the blurb.
As with most things, it's often easier to give advice on what not to do (although I shared some useful advice from a workshop last year on structuring these here). Flicking through Goodreads, I was reminded of just how casually some people treat their blurbs. I find it uncanny how the same people that will meticulously edit their books, who will ensure they're free of clichés and full of originality, can be the same people who will riddle their blub with phrases like 'unimagineable consequences', 'terrible fate', 'race against time', 'murky past', 'harbouring secrets' etc etc. You get the idea.
The same goes for the verbal blurb. I got asked the other day what my book was about and, caught on the back foot, I managed to stammer "errr, it's fiction. Contemporary fiction." Luckily, this conversation was with friends, so the raucous laughter that followed my terrible sales pitch allowed me to salvage the situation. But, under different circumstances… (In case you're wondering, it's a story of immaturity, misunderstandings and betrayal, although what it's about depends on who's narrating it…)
In today's environment of too many good books and not enough time, no-one can afford to let an opportunity slip. So make sure you give your book blurb the attention it needs. If it's worth the reader's while, it's worth yours.


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Books like this rarely get published these days, and that isn't just a shame--its a damn shame. There was a time fifty or more years ago when books like this would have been published several times a year, and one could fill in the gaps between good fly fishing writings by gleaning the pages of Field & Stream, Hunting & Fishing, and National Sportsman for the latest exploits of Lee Wulff or Ray Bergman.
No more, at least when it comes to magazines. However, a few writers like Dollosso and fellow Californian John Parmenter have sought in recent years to resurrect these autobiographical fly fishing epistles that so many of us devoured in years past.
Dollosso's path to fly fishing was not easy. Growing up in a tough part of San Francisco, where most of the stories take place, he took to fly fishing early -- or perhaps it's best to say that fly fishing took him early. All the evidence one needs to support this particular theory can be found in the chapter "Dan Bailey's Vest," a charming story about Dollosso as a young man and the expensive fly angler's vest he purchased with the kind of toil and sacrifice only a teenager who's friends were tossing rocks in the river and cracking wise with the girls while he was delivering papers can understand. He writes of his beloved Dan Bailey vest:
It is safe to say an angling accoutrement is not quite like, or as sentimental as, that first kiss, or that first love. Yet it does have meaning, like a long life, or hope. Pass it on.
Aspiring fly angling writers take note. This is how you write without pretense about a sport all too full of pretentious snobs.
I could go on, about his take on opening day, about the peculiar Italian-American community in San Francisco where he came of age, of his tough childhood that keeps pulling him back like a magnet, helping him to make sense of the present and the man that he became. But that would be spoiling it, and Dollosso is a writer who should be read in a comfortable chair on a quiet evening when the kids are sleeping over and the spouse has gone to bed. In a perfect world, you would have a hunting dog curled up at your feet and a double finger of a single malt by your side.
(Just so you don't think I'm a pretentious snob, while reading this book I had a half-Australian cattle dog/half long haired dachshund rescue dog snoring away on the couch next to me, and a glass of orange juice to drink. True story.)
If you like writing in ALL CAPS, strings of expletives in place of descriptive dialogue, gratuitous "grip and grin" fishing photos and other tropes of the internet generation of fly angling scribes, I'm afraid you probably won't like Art Dollosso's writing. Too each their own. But if you're looking for a book that deftly melds autobiography, history, fly fishing, and the meaning of life, than you will love Where Trout Sing.
It's been a really good couple of years for books like this, but we who love this kind of writing should not become overconfident. We should celebrate every single time a book like Where Trout Sing gets into print. They are too few and far between to grow complacent.
Art Dollosso is a great story teller and has written a charming book that transcends its California setting.
This hardcover (with dust jacket) book is privately published and is 163 pages in length. It has a brief foreword by fly fishing icon Russell Chatham, and is available exclusively through Jim Adams at Adams Angling in San Francisco. The price is $24.95 and Jim offers free shipping. You can contact him at the link above or by calling 510-849-1324.
-- Dr. Todd


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Laer, Pieter van
or Laar, Pieter van both: pē´tər vän lär [key], c.1592–1642, Dutch landscape and genre painter and etcher. In 1625 he went to Rome, where he stayed until 1639. He was nicknamed Il Bamboccio [puppet] because his body was deformed. The influence of Caravaggio is apparent in the genre scenes of peasant life that Laer and his followers created. The paintings themselves came to be called Bamboccianti by hostile critics. The name survived, but it lost its derogative sense as aesthetic tastes changed. Laer's The Halt (Metropolitan Mus.) and Water Carrier (National Gall., Rome) are characteristic paintings of this type. He produced 18 notable etchings of landscapes and animals.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2023, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: European Art, 1600 to the Present: Biographies


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Building a structure, whether for living or working, is a notoriously ambitious, stressful and challenging undertaking. That is what makes architects and architectural services a highly worthwhile investment. The article below gives an insight into many of the architect architectural services that can be provided and relieve certain stressors in the long run. The job description of architects, in general, is to design buildings. That encompasses much more than dimensions and measurements. Architects must make a prospective structure that meets specific laws, regulations, and compliances. Architects are also responsible for the form and functionality of a structure.
If this is a private architectural project or the new premises for an up-and-coming business, the building must look attractive, both internally and externally. Also, there will be little point in engaging an architect's services at all if the building ultimately can't be used for the intended purpose. When hiring an architect, architectural service company you ensure that all the structural design questions will be solved correctly.
The first step to delivering a successful architectural project? It all starts with the program or brief. Even something as seemingly self-explanatory and straightforward as this can require professional help. Who better to ask to formulate the basis for an architectural project than the architect? Architects will be able to help outline what the customer requires for the project and assess whether they can provide the requirements.
Since projects are individual regarding complexity, architects can help a client assess opportunities, identify constraints, and highlight areas where further investigation is needed. They also assist in drawing up the later stages of the program too, such as a schedule of accommodation.
One unpredictable factor to any architectural project is dealing with a planning commission to seek developmental approval, known in some regions as planning permission. As part of the architectural service, architects will be able to advise clients if their project requires any developmental approval, and can provide useful, relevant information to help them submit their case to the local authority.
Planning commissions and other such authorities are often notorious for declining proposals. In the event of this, architects can be enlisted to help appeal the decision. Some architectural services even offer to deal with the planning authorities on their clients' behalf. However, that representation like this will probably incur surcharges.
PSDP stands for the project supervisor design process. Throughout the project, it is the purpose of the PSDP to ensure that the work of the designers, architects remains coordinated. Their responsibilities range from identifying and if possible, eliminating hazards stemming from design, organizational or time-related flaws in the project, to issuing directions to contractors, architects, designers.
They are the chief person on the project, in short. A PSDP consists typically of an architectural services company. However, as the client appoints them, the PSDP can be an individual architect. As per regulations, there cannot be more than one PSDP.
Clients can be full-time workers or inundated with childcare commitments. As such, their attention may not be best positioned to manage an architectural project - despite their beliefs in the beginning. Leaving it to the architect to act as the project manager is by far the best decision. They possess the knowledge to properly coordinate the various elements and personnel involved to produce a successful result.
Architects can be engaged to handle building contractors and project administration on a client's behalf. It can be an appealing feature to an architectural service since it eliminates some stressors involved. By extension, it allows the clients more time to attend to decisions for later stages in the project.
Naturally, the added time and responsibility involved will make it a more expensive architectural service. However, getting the architect to take care of this side of the project ensures it is carried out by their design and development approval.
As aforementioned, the complexity of an architectural undertaking differs from project to project. As such, the client may have to call in specialist consultants for input on the plan. These include people like structural engineers or quantity surveyors. They will understand better what these consultants are talking about and what they will be looking for, it makes sense to have the professional to deal with them.
Furthermore, the architect will be able to manage and coordinate these specialists' involvement in the project; curbing this where necessary.
It is a rare project that goes ahead precisely as the client envisions it. There are too many factors and occurrences midway through a project that are too unpredictable to include in a design program. As such, some alterations and amendments to the original design will be proposed and suggested, accepted, and declined for various reasons.
As part of the architectural service, an architect can measure pre-existing buildings to provide a basis for new architectural drawings. These drawings, in turn, will assist the architect in formulating proposals for alterations or additions to the original design.
Some projects conducted on existing historical architectural buildings, some of which can be a couple of hundred years old. In cases like these, prior inspection is required to establish the condition of the property before a project gets underway. It would be a bad investment, not to mention a potential safety risk to the people working on the project.
Some architectural firms are specializing in these kinds of projects. Their architects will be able to carry out the inspection – a Condition Survey – to determine if the property is safe to work. Following their investigation, they will prepare a report, which usually must be presented to the development approval authority.
Following on from the previous section, the architects will have to advise clients on conserving a building declared as historic. The property in question may even be a "Protected Structure" or in an "Architectural Conservation Area," which will merit an appropriate degree of attention, care, and skill when it comes to conservation.
Even if the property not classed as a "Listed Building," its character should still be considered when planning any alterations of extensions. Character features left undisturbed as the project ensues will add value to the property when it comes to sale or resale.
They don't just deal with the external elements. The interior design also has often included as part of architectural service. That doesn't just mean negotiating the placements of kitchen islands and window-side desks in residential properties, or bar counters and reception desks for commercial buildings. The service extends with some architects to cover loose furnishings and even artwork.
Architects may not readily advertise their interior design service on their business websites; it would be best to enquire in the earlier stages of the project. If they do offer the service, they may include it as part of the overall package, rather than a separate charge altogether.
When the design has been implemented and finalized; it must be sustainable and future-proof. Putting measures in place for this early on into the project will potentially prevent further expenses.
To help a client with this, the architects can advise on some sustainability options, from lifecycle costing to energy and water consumption. They will ensure that all choices and decisions made are 100% compliant with all building laws and regulations.
Furthermore, in the interests of being eco-friendly, studies into how to make a property zero-carbon emitting can usually be conducted in the earlier stages of the project as part of the overall architect, architectural service.
Stress and pressure levels are often high on architectural projects. It is a time-sensitive and, in some cases, weather-dependent environment, and internal disputes can often arise. Since they're such commonplace occurrences, some architectural service packages even offer to help resolve any project disputes. That can come about by way of mediation sessions or conciliation.
Way back, in 1754 BC, if someone killed due to faulty construction, the builder would be put to death. Luckily, today's building codes aren't as draconian. It's not correct to think that all you need is a building permit for home renovation, and you're good to go. However, without professional construction drafting services to detail exactly what you project you will look like, a building permit alone will not provide the quality and budget control essential for any projects.
Construction drafting services provide drawings, called blueprints or working drawings, to precisely illustrate what will be built, and it is here that construction drawing services put even the most basic construction information. First used in the 1800s using a process that facilitated rapid, accurate copies of documents to be produced, today blueprints used by everyone on the project who will contribute to the actual building.
Previously done by hand, architectural drafting services almost always use computer-aided design (CAD) software to produce today's construction drawings. Larger projects will often make use of Building Information Modelling (BIM) software to create a virtual model that integrates all facets of construction to minimize delays and anticipate any scheduling conflicts that could arise.
Architectural drafting services will use the blueprints they create for you to give specific information about the building project, both graphics and written. It can include everything from paint color to outlet placement to the cabinet and flooring finishes. These types of construction drawings are usually called architectural drawings. When necessary, architectural drafting services will create the second part of their drawings to illustrate the engineering aspects of the building or renovation project, such as electrical, plumbing, or any mechanical features that will include. These known in the trade as engineering drawings.
Construction drafting services are used to ensure that construction is well thought out and meets the specific expectations of those paying for the project. Quality architectural drafting services save time and money in the long run by avoiding expensive unanticipated changes and construction conflicts among contractors.
Usually, projects including new construction; significant renovations or structural changes; or electrical mechanical or plumbing upgrades will require professional architects and engineers to ensure success. Examples of specific projects that usually need construction drafting services are:
Though there are many off the shelf plans available, if your project will involve any personalized details, you will need expert construction drafting services. And, personalization goes beyond just overall design. Architectural drawing services can alter existing plans to accommodate budget considerations or to meet your lifestyle demands.
Employing design services to alter an existing floor plan for a new build can result in significant savings as they can advise on more cost-effective materials than the ones suggested in a plan produced for the masses. Construction drawing services can also create entire plans from scratch, so if you've already envisioned your perfect home or remodel and none of the plans on the market can be customized to suit your needs, construction drafting services will collaborate closely to ensure your dreams becomes a reality.
Some architectural drafting services will also include detailed notes with information commonly found in specifications with their blueprints. It can consist of materials, quality standards, and techniques to be used during installation. When included in the blueprints and the specifications, it's possible that this information duplicated in both places. To avoid any confusion construction drawing services should review the documents and remove duplications whenever possible.
The drawings created by architects are usually included in the tender documents for construction, forming part of the agreement between the employer and contractor. From a legal perspective, specifications generally win out over blueprints, so it's important to review these documents with the architect before commencing a project to ensure all information represents your vision and is consistent and easily understandable by all contractors who will work on the project.
The most common types of architectural drafting services.
Construction drafting services will provide a set of drawings that will map out the project from start to finish. A complete set of architectural drawings will include:
The type and size of the construction project will dictate which architectural drawings you need, and the architect can explain which drawings required for your project. The most common drawings provided by architectural drafting services include floor plans, sections, elevations, and detailed drawings, which combine to present a complete representation of the structure and the architectural drawing services should draw them to scale.
Elevations are illustrations created by an architect - building that drawn as though you were looking straight at the building. Since there is no representation of depth in these types of drawings, construction drawing services can also provide floor plans.
One draws floor plans as though the viewer is looking at the building straight down, from above. Architects will use these types of representations to give precise dimensions and locations of all the interior rooms and elements.
Further, to illustrate how the structure's framing and other elements fit together, architects use section architectural drawings. These drawn as though the building were sliced apart so that the viewer can see the inside of the walls, floors, or foundations.
Finally, there are sometimes portions of a building that contain more detail than architectural services can realistically depict in larger drawings. To be able to go into these elements, the architect may provide detailed drawings. These are enlargements of the section drawings to show the intricate workings of the walls.
Because architectural services use a standard set of symbols, called architectural hatchings, they can be easily understandable by any professional in the field.
After the architectural drafting services finished the drawings, it is time to apply for any necessary permits. Drawings created by architectural services can be used in the application process and providing drawings by professional architectural drawing services with your permit application can expedite the process and save money. Many construction drawing services will offer to secure the building permit for you as part of their services, so check with your architectural services provider to see if this is something they can help with.
It is the architectural services firm's responsibility to ensure that the drawing set complies with applicable construction codes when they create the designs. Discuss this with architects to confirm that they will submit their plans for the proper permits. If this is not part of the architectural services that they provide, they can advise how to submit on your own.
An interior design company, an architectural firm, or an engineering company can also provide construction drafting services. Many colleges offer certification in construction drafting – you can check with the construction drafting services you talk to about the certifications held by their drafters. It is also essential to find out how much experience the drafters have when considering construction drafting services and whether they have worked on projects like yours. No matter how many additions a construction drafting services firm has completed, it won't help your project if you want to put in a pool, and they haven't any experience with that. You can also check reviews of construction drawing services firms on sites and check their listings for their overall rating.
Taking on any home improvement is a stressful project. Make your life easier by contracting with an architectural services provider to put your ideas down on paper. That way, when you embark on making your house your dream home, everyone is working toward the same goal, and your project comes in on time and on budget.


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Woman Buys a Block of Wood with an Apple Logo Thinking It's an iPad
The spectacularly stupid Ashley McDowell was approached by two men in a McDonald's parking lot where they offered to sell her an iPad for $300. She only had $180, but they gave it to her anyway. When she got home, she found out it was really just a block of wood with an Apple logo painted on the back.
But it's sort of an amazing block of wood. This story is just too comical in so many ways. There's McDowell, thinking she scored the deal of a lifetime at the South Carolina Mickey D's and paid $180 for a piece of wood in a FedEx box. Apparently the con men selling her the goods claimed they bought them in bulk and were selling them at a discount. Then she calls the cops and they launch in investigation into her stupidity. Sorry, lady, but if you bought this story, the $180 should be considered a Stupid Tax and the crooks should get to keep it.
The crooks are totally crazy, too. Didn't they realize that they didn't need to make the block of wood look like an iPad? They even painted on a screen and some fake icons so that it would look like the real deal. Did they realize that the success of their felonious enterprise was contingent on the mark not taking it out of the box? This wasn't going to fool them! I mean, if you swipe the screen and get a splinter, you have to know something's up. I can just picture the two men sitting around for hours making all these fake iPads like Santa's elves in the workshop thinking they're going to strike it rich. Either that or they just painted it up to fuck with the people who they just ripped off. Actually, that's pretty badass.


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Though not yet a household name, the Dutch duo have amassed a considerable body of work – including TV commercials, short films, print pieces, and art installations – that's darkly humorous and eminently engaging. We first got hooked on their witty films series "How To Explain…" and "The Procrastinators." In the former, Lernert & Sander film conceptual artists as they (painstakingly) attempt to explain their work to their parents. In the latter, a series of artists confess their struggles with procrastination. Further digging led us to "Chocolate Bunny" and their first "Revenge" film, which elegantly stages and then documents the destruction of a single, innocent egg. So what's their creative process like? We chatted with Lernert & Sander about how their partnership got started, how bike riding relates to creative problem solving, and why you should always break the rules of the design brief.
For our new series "The Procrastinators" we interviewed 26 artists, writers, fashion designers, and comedians about their daily struggle against procrastination. To conquer this behavior many of them invented clever ways to keep them inside the creative process, or at least try. One of the writers had her parents come and pick up the television set and lock it in their basement until she finished her third book. Another writer had his publisher lock himself inside his writing room for each writing session. While these are techniques to fight the procrastinator inside them, lots of them clearly embraced the whole fiddling and doing nothing all day thing. It was quite liberating to hear Coco Schrijber, a documentary filmmaker, say she eventually gets up late in the morning only to set herself the daily goal of doing nothing. In this freedom she creates for herself, good stuff comes. Eventually. We latched on to the issue of procrastination because we thought ourselves to be guilty of it, too. We basically live on our computers: checking email all day, doing multiple vanity searches on Google – "Did this blog or that blog write something about us?" – and we feel we are able to do so much more when we go offline and approach the world physically. After this interview process though, we realized that we didn't even come close to being procrastinators. When we look back on this year with all the work we've done so far, we think just the effort involved in making this series alone proves we are cured of this self-diagnosed disease.
We made "How To Explain It To My Parents," a series in which abstract or conceptual artists were asked to explain their work to their parents. In the series, we make use of the tension between artists and their parents. In their chosen surrounding – amongst friends, fellow artists, curators, gallery owners, journalists – these artists are comfortable explaining their art. They are essayists of their own work. But the language they have learned to speak belongs to the art world and doesn't always help them connect with their mother and father. We've been active as filmmakers, writers, graphic designers, and visual artists for 10 years now, and we still find ourselves struggling to explain our work to our parents. So when we visit our parents our work is not discussed. We avoid it like we avoid politics, as these discussions always end in argument. Our mothers don't like that: "Let's keep things civilized, please."
Lernert worked for national television VPRO as a director and writer, working at the time on a drama series. When it came to the point of art direction and graphic elements, Sander was brought on to help. During this process we discovered that many of the best ideas came from the collaboration of art direction and graphics. Of course, it was too late to change everything [on that project], but that's when we realized we needed to start working together. Only next time, from the beginning of the process. Our first project together was the film "Chocolate Bunny."
We don't have strict roles when conceiving work. An outsider might think that the idea of the story comes from Lernert, and Sander does the art direction or design, since that's how our CVs read. But after years working together, it's impossible to determine who does what. While Sander was doing the final design for the 8-meter x 6-meter pop-up book for Pearle Opticians, Lernert was feeding the designers at Selfridges the Pantone numbers for the windows. And while Sander was doing the graphic design for Madness and Arts Festival, Lernert was designing the Sikkens Prize shoot. It's sort of a blend.
We tell ourselves we are here to bend the brief. So we pick up most briefs bravely – no limits. Very often we'll get stuck at a certain point in a pitch. We start feeling insecure and build up an almost "I-don't-wanna-do-homework" kind of feeling. Then in a split second, during the bike ride home, one day before deadline, just where Lernert turns right and Sander turns left, standing in front of a red traffic light, we say quickly: "You know what? Let's do it this way (a way that's totally the opposite of what's been asked for in the brief) or else they get nothing." A few times already good stuff came out of feeling quite miserable for a while about a project and then all of a sudden we managed to drill new resources.
We always tend to bend the brief and go against expectations of the medium we're working in. Our latest commercial for Pearle was a brief all about creating a computer generated world. In our treatment, we only wanted to do it for real. No computers. We wanted to show with dedication, the reliability and realness of the brand. We got the assignment.
Projects can be triggered by something we've read, heard, or seen. Our "Procrastinators" project clearly got started because we found ourselves spending too much time online. And we hated that. But Lernert also tends to drink too much coffee and can spill out ideas every other second. Sander, who tends to drink less, filters out the good from the bad. Walking through parks or cycling home brings out the best in both. Lots of times after a day's work, when cycling home, we will start calling each other every five minutes. Then everything falls in place.
Yes! And it's the best way to leave the evil computer on its desk. And walk through reality instead of strolling through the Internet.
We were invited to a pitch for some Selfridges windows in May. Selfridges loved our concept and light-hearted approach but in the end we didn't get the assignment. Then, in July, Selfridges contacted our agent BlinkArt and commissioned us for four windows for the grand opening of the new shoe department in September. We presented two concepts and by the end of July we upgraded ourselves to 11 windows. If you work with very professional paid people you can push the boundaries. The same with the commercials we made for Pearle. It's refreshing to sometimes think without budget restrictions.
Don't manage clients! Just treat them as friends. That'll break the ice and keeps energy flowing.
We were asked to participate in the TV show "Big art for small children" by the Dutch production company Cut 'n Paste. 20 artists made a 2 ½-minute film.
We wanted to make something that taught children in a very indirect way that they can't and will not always get what they want. We deeply feel the times we live in are creating "on demand-monsters," a click-and-go generation at large, that later grow up expecting to get everything, right here and right now. By showing something desirable and cute as a chocolate bunny and then melting it in front of their eyes, yet in such beautiful way and with a recognizable, colorful, cartoon-like aesthetic, we wanted to shock them – shake them out of their state of comfort. With three colorful background paper rolls, the right color spray paint, primer, the different props, and a car-painting studio, we created the set for the shoot. With 40 chocolate bunnies, created by a famous Dutch pastry maker in mid-summer, we started filming. What you see is what you get. No after effects or digital adaptation.


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手机新2管理端_Indonesia plans to implement B35 biodiesel by end of July
FILE PHOTO: Workers load palm oil fresh fruit bunches to be transported from the collector site to CPO factories in Pekanbaru, Riau province, Indonesia, April 27, 2022. REUTERS/Willy Kurniawan/File Photo/File Photo手机新2管理端(www.hg108.vip)实时更新发布最新最快最有效的手机新2管理端网址,包括新2手机网址,新2备用网址,皇冠最新网址,新2足球网址,新2网址大全。
JAKARTA: Indonesia aims to implement a 35% palm oil mix in biodiesel, known as B35, by the end of the month to help absorb excess palm oil supply, senior energy ministry official Dadan Kusdiana said on Friday.
The world's biggest palm oil producer currently has a mandatory 30% blend of palm oil-based fuel in its biodiesel and the government has been looking at raising it to 35% or 40% to support the price of local palm oil fruits.
The Southeast Asian country is struggling to cut palm oil inventories after a three-week export ban ending in May aimed at controlling domestic cooking oil prices had boosted stocks and weighed on palm fruit prices amid the peak harvest season.
CNBC Indonesia cited Dadan as saying on Friday that B35 should be brought in by the end of the month.,
"That is the plan," Dadan said in a message to Reuters, without elaborating.
Dadan also told CNBC Indonesia that the ministry had run laboratory testing for biodiesel containing up to 40% of palm oil fuel in biodiesel (B40).
"We will run a road test for B40. For now, B35 would be implemented," Dadan was quoted as saying.
Senior cabinet minister Luhut Pandjaitan on Thursday said authorities needed to make extra efforts to cut inventories and that an additional 2.5 million tonnes of palm oil could be absorbed if Indonesia implemented B40.
Indonesia's palm oil stocks had climbed to 6.2 million tonnes following the ban, the chairman of industry group Indonesia Palm Oil Board Sahat Sinaga said. - Reuters


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Story highlights
Incident reportedly took place during military maneuvers in southern Iran
It's unclear exactly who the drone belongs to
Iran has claimed to have captured U.S. drones in the past
Iran said Saturday that it downed and captured another "enemy drone," the semi-official Fars News Agency reported.
The incident reportedly took place during Iranian military maneuvers in southern Iran.
"IRGC's electronic warfare systems detected electronic signals, which indicated that foreign drones intended to enter our country," said Islamic Revolutionary Guards Corps Lt. Gen. Hamid Sarkheili, Fars reported. "Our specialist forces then succeeded in bringing down the drone in the field of maneuvers."
Sarkheili said that Iran may release film of the drone.
Earlier this month, Iran said that it had decoded and released footage from a U.S. drone that it downed more than a year ago.
The black and white aerial footage, which Iran claims was from a RQ-170 spy plane, was aired by Iranian news agencies and placed on YouTube.
Iran said it downed the drone on December 4, 2011, near Kashmar in the country's northeast, some 225 kilometers (140 miles) from the border with Afghanistan.
At the time, U.S. officials acknowledged that the drone was missing and President Barack Obama asked Iran to return it.
Iranian military officials vowed not to return the plane.
In December 2012, Iran's navy claimed that it had captured another U.S. drone, after it entered Iranian airspace over the Persian Gulf.
However, a U.S. defense official, who could not be named because the official was not authorized to speak to the media, told CNN that whatever the Iranians claim to have, it is not an actively operating U.S. Navy drone.


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Baney's 6BR--the "Lil' Big Gun"
World Open Heavy Gun Winner
Other Guns of the Week
Jason Baney, our 1000-yard Editor, proved that "less is more" with his little 15.6-pound 6BR. On July 7-8, Jason captured the Heavy Gun (HG) Overall title in the ultra-competitive World Open Match at Williamsport, PA. Competing against large, heavy (50+ lb) big-bore rifles with unlimited stocks, Jason notched fourth in HG for score and fourth for group to garner the Heavy Gun Grand Champion title, besting some 140 talented shooters. He did that with brass essentially right out of the box, with a no-turn neck chamber, shooting a caliber many people consider "under-powered" for the 1000-yard game. Awesome shooting, Jason. This just proves that the little 6BR cartridge is capable of some amazing performance when delivered from a quality rifle by a very talented shooter.
Jason's 6BR during load development. At the World Open it had a Leupold LRT on top, boosted to 20-50X by Premier.
Support Our
Multi-Discipline 6BR--From Concept to World Open Winner
by Jason Baney
From the Beginning
Interestingly, this rifle project was one of the original inspirations for launching this web site (6mmbr.com | Accurateshooter.com). Way back in the summer of 2004, your editor (Paul) and I were both thinking about building new 6mm BR rifles for Varmint and 600-yard matches. Paul had collected load data and assorted information about gear, dies, and gunsmiths. He said, "I could put up a few pages on the web so you could access them more easily--should take a couple weekends--no sweat." Well about 3500 man-hours later--here we are with 650+ pages of content and thousands of readers worldwide. And my original 6BR project gun has finally been completed and tested in competitions. Its performance has far exceeded my expectations. Versatile, and wicked accurate, this rifle was a winner from Day One. Of course I have to credit
Mark King
for his great gunsmithing work on the gun.
Paul and I both considered a variety of components, but the only thing we knew for sure back then was that we wanted to try a Broughton 5C 8-twist barrel for our project rifles. The only problem was,
didn't yet offer a 5C in 6mm 8-twist. Well, a call to Tim North revealed that he would actually be receiving an 8-twist button in late August of 2004. We both ordered barrels and within a few weeks, we each had one of the first 6mm 8-twist Broughton 5C barrels.
Next up was the action--which turned out to cause the main delay in the project. I had been talking with a fellow about an all-new action, a cute little single-shot (now, finally, in production). Unfortunately, delivery times kept getting pushed back due to new business woes--understandable. Almost a year passed with no assured delivery date, so I decided to give Jerry Stiller (
Stiller Precision
) a call. I wanted a stainless, RBLP Diamondback. As luck would have it, Jerry had one in stock and it was soon in my hands.
Stock and Chamber Choices for a Double-Duty Rifle
I wanted to get the most "bang for my buck", and therefore wanted two different stocks so I could use the gun in several different applications. One stock would be a long-range BR stock, and the other, a tactical/field oriented stock. This rifle was to serve as mainly a GroundHog Shoot rifle, as well as a back-up Light Gun for
Williamsport 1000-yard BR
. I also might use the 6BR (in tactical trim) at the Allegheny Sniper Challenge (ASC), a field expedient, unknown-distance, steel match in West Virginia. For this "tactical role", I wanted to be able to use factory Lapua 6BR loaded ammo. That meant a "no-turn" chamber.
Because of my requirements, several compromises had to be made. A lighter contour, 28" barrel was used (7.4 contour). Also, a straight 6mmBR, no-turn 0.272" neck chamber was used with 0.113" freebore to take the heavy bullets, and fit the factory ammunition.
Well, I had made a fairly easy decision to go with a
McMillan A5
for the field stock, and ordered it to fit the original action (Remington footprint). True to form, this project changed directions once again. The Diamondback would not fit the Rem 700 inlet, so the stock wasn't suitable, and I was running out of time before match season. So the A5 was sold, and a new one (inletted for the Diamondback) was ordered. But now I was 14 weeks out, waiting on a stock again, and the GroundHog Match and BR seasons were fast approaching. Initially, I was going to fit the A5 first and then decide which BR stock to use, but due to time constraints, I decided to start with the BR stock first, and install the A5 when it finally showed up.
After a glance at this site's
Sponsor list
, I decided to order a new
stock from
Richard's Custom Rifles
. Richard promised me a fully-inletted stock in under two weeks--and that's just what he delivered. I was hoping the LowRider, with its advanced design, would make the little un-braked 6BR track like it was on rails. At right is a photo showing a different LowRider laminated stock. This shows the vertical "step" just forward of the action plus the integral "rails" on the fore-end. The relieved area between the side rails allows the stock to track cleanly on the front bag, even if the bag is bulged a bit in the center.
I wasn't disappointed. The LowRider is extremely stable on the bags, with its ultra-low profile. The front "rails" perform as advertised. Once I obtained a rear bag that was sized right for the rear of the LowRider, I found I could free recoil the 6BR with great success. Even with its 28" barrel, the gun tracks like a dream with very little hop and minimal torque effect.
Optics--First Sightron, Then Leupold
During initial testing with the rifle, I fitted a 36X Sightron Benchrest Scope. Later I swapped in my Leupold LRT, boosted to 20-50X by Premier Reticles. I liked the extra magnification, and the ability to zoom down the power when necessary. There's nothing real tricky about my scope set-up, though I have rotated the scope 90 degrees counter-clockwise. This way I don't have to reach over the rifle to get at the windage turret. With my mounting setup, I had just enough clearance under the scope to do just that with a 20-50x50 Leupold LRT. After the scope was turned and remounted, the marked turret covers were simply switched, so now the old windage turret runs elevation, and vice-versa. This makes the parallax a little harder to adjust, as it is now at the 6 O'clock position between the scope and action, but it is really no problem at all when you are shooting at known distances, as in a BR match. Set the parallax once and you're good to go.
Reloading Methods or "Who Needs Case Prep?"
This gun was intended to be a field rifle as well as a BR gun. Therefore I wanted a
simple loading regimen. This way I could load up a large amount of ammo for a tactical match (or varmint hunt) with the minimum amount of effort. I want to emphasize that my reloading methodology is very basic. I inspect the flash holes, but do not ream the primer pockets or flash holes. I weight-sort the brass, but do not turn necks. Basically the only thing I do to my 6BR cases (after weight segregation) is to chamfer the necks inside and out. After fire-forming, I size the cases with a Harrell's full-length die with bushings. This is similar to a Redding Type 'S' FL bushing die. I run about .001-.0015" neck tension. Bullets are seated with a Wilson stainless, micrometer seating die. It is outstanding. I don't tumble my brass after firing. Instead I clean the cases, inside and out, using the ultrasonic cleaning method I've described in
this article
When loading for Benchrest matches I do sort bullets by bearing surface--if there is enough variation to justify it. With the Scenars, I think you can get away without sorting.
Load Development and Accuracy Testing
Over the year of waiting, I gathered up my rather large collection of basically every available 6mm bullet from 87gr on up, as well as some light varmint-weight bullets. Deciding which to select was very hard as I was looking at dozens of bullet styles from many different manufacturers.
I picked the 105 Scenars as I had the largest quantity of them, and a check of bearing surface uniformity was a surprising eye-opener…these were some quality bullets! [Editor's note: I purchased one thousand 105gr Scenars at the same time Jason did, from the same lot. Measuring bearing surface, 93 of 100 bullets were within .002", and the majority were within .0015". Overall length was also extremely uniform, as was weight. After doing some testing, I basically stopped sorting the bullets.]
For a beginning load, I started right off with about 30 grains of Varget and CCI 450 primers, bullets seated firmly in the lands (about .020"). Yes, you
experience lot to lot variations with Hodgdon Varget, but we've generally found that 29.5 to 30.0 is a good place to start with Varget and a standard 6mm BR case. Often, you'll find your best accuracy between 29.5 and 30.5 grains of Varget, with the 105-107 grain bullets. Your editor told me the 105 Scenars shot well when seated .020" into the lands, and that indeed produced tight groups.
I decided to do a Ladder-type load work-up at 100 yards. I ran 3-shot groups round-robin to identify nodes. Initially it looked like 30.4 grains and 31.4 grains of Varget were good accuracy points. Since the 30.4 load was under 2800 fps, I went with the hotter load (2850 fps).
Warning: My Broughton 5C (5 canted lands) barrel seems to tolerate higher charges, and I'd rate my lot of Varget very slow. Accordingly, I strongly recommend you do NOT excede 30.5 grains of Varget with the heavy bullets. My 31.4 grain Varget load is definitely NOT recommended for most 6BR rifles.
[Editor's Note: I was quite surprised that it took a full grain more Varget for Jason to reach 2850 fps compared to my PacNor-barreled 6BR loaded with 2004-vintage Varget. We were puzzled why his velocities were slow (until he tried the Reloader 15). Nonetheless, Varget did produce excellent groups. During the course of Jason's ladder testing at 100 yards, the aggregate for all 13, 3-shot groups was 0.3 MOA at 100 yards.]
On to Competition--Four GroundHog Matches, Three Wins
As I've explained, one of the main reasons I built this gun was to shoot the 500-yard GroundHog matches that are popular here in Pennsylvania and the East Coast. I managed to get the gun together in time for the spring season at
Mifflin County Sportsmans' Club
. At 500 yards, my 31.4gr Varget load proved very competitive. It delivered surprisingly easy sub-2" five-shot groups at 500. I had great results with the initial load of 31.4 gr Varget, CCI 450s, and the 105 Scenars seated 0.020" in the lands, winning two of the first three GroundHog Matches I entered. Unfortunately, driver error took me out of the winner's circle in the third match, as I was unable to find the center of the target at 500 yards. Group sizes in those matches at 500 yards have been top in the class, or in one case (just mentioned) about 0.3" behind the smallest group. (At this point, unbeknownst to me, carbon fouling was beginning to give me vertical issues).
About this time, we were getting reports (confirmed by Jackie Schmidt's testing for AccurateShooter.com) that Reloader 15 might yield better velocities than Varget, so I decided to give it a try. It worked. I felt 2850-2860 was a "practical" max with Varget. With Reloader 15, I immediately picked up about 80 fps before seeing pressure signs. So, I proceeded with 30.4 grains Reloader 15 (2930 fps) and won my third GroundHog Match--making it a string of three out of four. Reloader 15 definitely gave me more velocity than Varget, and it didn't seem to pressure up as fast.
The Williamsport World Open was nearing, and I was not real happy with what the Scenars were doing at 1000 yards--though this may have been my fault as I didn't have much time to test after the carbon issue was resolved. So with a little encouragement from my smith
Mark King
, I made a last minute decision to switch it up, and test my bag of 106 Clinch River bullets with the Reloader 15. That meant more testing.
First up was a 500-yard ladder test, two shots per charge, fired round-robin at two different aiming points. So this way I had two separate ladders shot in reverse order to confirm how they stacked up vertically, and see if they pointed to the same charge. Well, my first ladder was rudely interrupted around shot 3 (30.3gr RL15) when fog blew in and obscured the target enough that my Dad (spotting/plotting) could not see bullet holes. Shots 3-6 in the second ladder (30.3-30.9gr RL15) hit within one-quarter inch (yes that's inch, not MOA) of vertical at 500 yards. I kid you not. Now here is where it got interesting--shots 7-9 (31.1-31.5gn RL15) landed counter-intuitively. Meaning, the slower charge hit higher on the paper, and the faster charge hit lower (around 1" total vertical on the second ladder). This was confirmed on the first ladder as well. Had I found the "perfect tune" people have been talking about? (I.e. slower shots exit higher than faster shots, and they meet up at 1000 yards.
Now on to testing at 1000 yards. Since the 500-yard ladders were shot on a cooler day (68-70° F) I decided to test a bit under the middle of the apparent node because it would most likely be nearer 80° F during the matches and push my velocities to the center of the node. At 1000 yards, I fired 5-shot groups (30.5, 30.7, 31.2 RL15) round-robin, at the same point of aim (POA) as fast as I could in fairly ideal conditions. The clear winner was 31.2 grains Reloader 15, which produced a 1.5" wide by 4" high group at 1K. 30.7 grains was just under 6", and 30.5 grains was around 9". I decided to go with the 31.2 grain load, though it was pretty tough on the brass. It runs about 2975 fps.
Baney's 6BR (right), next to a "real" 'Big 30' Heavy Gun, Dale Anesi's 60-pounder with barrel block and ultra-wide fore-end.
Initial Performance at 1000 Yards in Match Conditions--Bad Vertical
The first time I shot at Williamsport with this rifle (Match 1), I had a 3" wide, 14" high group…bummer! This is when I realized either that either carbon, or higher ambient temperatures, had pushed me way out of my tune. I decided to give RL15 a try (still not realizing my carbon issue) and shot it at the third Match. Velocity was great, but I had an 11" groups, again with way too much vertical. I knew the gun could shoot better than that, so I had to look for the source of the problem.
I was pretty sure I had a serious carbon problem. I chron'd my load and saw the velocity was way higher than I expected (+45 fps). That's a tell-tale sign of carbon build-up. So, I decided I had to attack the carbon in the throat. One patch of JB paste, and about 20 seconds of scrubbing brought velocities back to where they had started. I'm not a big fan of abrasive cleaners, so now I do a conventional brushing with a bronze brush every 40 rounds or so.
Carbon--The Unseen Enemy--When to Bring Out the Brush
With this rifle I employed an experimental cleaning procedure using only patches, and no ammonia-laden solvents. I would use Slip2000 Carbon Killer first, and follow that up with Wipe-Out, soaking 4-12 hours. It worked very well initially. Accuracy was excellent and there was very little throat erosion. However, near the 450-round mark, the carbon started to build up to a point that it pushed me out of the node resulting in bad vertical (near 3" at 500 yards and 12"+ at 1000 yards.) Basically, it was causing more pressure and pushing the velocities too high. The situation seems to have been rectified first with JB on a patch, and currently with the use of a bronze brush with CarbonKiller, followed by WipeOut. Let me tell you, this 6BR is some carbon fouler! (However, that's a
sample image, not
barrel, thank god.)
Williamsport, PA World Open--the 6BR Beats the Big Boomers
Fast forward to the next match, the Williamsport World Open. I was feeling all right with my 4", five-shot group in load development with the Clinch Rivers, but I was a little worried where the other five would go since we shoot 10-shot groups in PA. At least I had solved the carbon problem, so I was back in tune, with the vertical under control.
Currently I am running two Light Guns (LG), a braked .284 Win at 16.42 lbs, and this un-braked 6BR at 15.6 lbs. Since our Heavy Gun (HG) rules prohibit muzzle brakes, I had to shoot my little 6BR in the HG class to compete for the Overall prizes. The Overall, or in our case dubbed, "Grand Champion" is awarded to three spots: LG Grand Champion, HG Grand Champion, and Two-Gun Grand Champion. These take into account both days' rankings in both group and score as one combined rank.
On Day One (July 8, 2006), conditions were pretty calm, with some small groups being shot. I was rewarded with a 7.3" group, 96 score. This put me second in the relay for group and score, and landed me pretty far back for day 1 standings (somewhere around 20th place for group and score). Sunday (July 9th) dawned with a good bit more wind, and some switchy conditions, and the groups reflected this. When my relay finally came up, the light conditions were as inconsistent as the wind due to the passing clouds. I was fortunate enough to pull out a 6.9" group, 97 score. This represented the smallest group and highest score in my relay.
This ended up getting me a win for HG Grand Champion as I had the best combined rankings of HG Score and HG Group for the 2-day match (4th overall score, and 4th overall group for a total of 8 points).
The Williamsport World Open's prize table is unquestionably the best you'll see. The Grand Prize for the Two-Gun Overall Champion was a $6000 Complete Heavy Gun and rest system donated by
Mark King Rifles
, and JB Products (John Buhay), (717) 335-2217. Joe Saltalamachia shot incredibly well to win both the LG Overall and the Two-Gun Overall. So Joe took home the Mark King rifle, but I didn't do too badly, winning a new Nightforce Scope and certificates for two new barrels.
Baney's Basics--Lessons I Learned:
-- Watch your carbon fouling!!
-- When you start with great brass, extensive prep may not be needed.
-- Use brushing (bronze), but sparingly (when fouling affects accuracy).
-- 100-500 yard testing with a good chronograph (Oehler 35P) tells you most of what you need, but 1000-yard load development will tell you the whole story.
-- You don't need a 100-lb beast to be competitive in the Heavy Gun class.
Rear Bags--Finding a Good Match for the LowRider
The new LowRider stock soon showed me it would not work well with the extra-long
"Doctor" bags I used with my other bench rifles. The LowRider is cut-away in the middle of the underside of the buttstock to achieve a lower profile. But the pistol grip area and end of the stock are left full-length top to bottom. So, you have an overhang both front and rear. The extended pistol grip acts like a recoil stop, while the overhanging butt gives you a full-size recoil pad--useful with heavy-recoiling calibers. However, I soon found that the front and rear over-hangs interfered with my long-footprint rear sandbag. The Doctor bag worked great with a standard MBR-style stock (without overhangs), but it interfered with the tracking of the LowRider on recoil. So, I called Adam at Protektor and some discussion resulted in a new bag on my doorstep in about a week. This design, I thought, would suit the new LowRider stock perfectly. So far it has done all I asked. The larger bags get bumped on recoil due to the cutout and limited travel in the buttstock, but the new bag has eliminated that issue.
When Looks Count--Finishing a Laminated Stock
The LowRider stock came from Richard Franklin unfinished, per my request. He gave me a recommended prep routine for the stock, and I stuck with his recommendation: sand to 240 grit and coat with sanding sealer, then hit that with 240-320 grit before application of auto-body clearcoat. After NINE coats of clear and some wet-sanding by my buddy at his body shop, the stock was shiny and ready to go. The surface finish was very smooth and even, and this helped the stock glide easily in the bags. One key thing in working with any laminated stock is using a sealer of some kind. Without it, the wood, which is very porous, will just soak up the clear (or urethane if you prefer). That can lead to a mottled finish that seems muddy or cloudy. You also need to clean the stock VERY thoroughly between coats. With patience (be sure to let the stock dry completely between coats), you can get a professional-grade, mirror-like finish.
Copyright © 2006, AccurateShooter.com | 6mmBR.com, All Rights Reserved.
No reproduction of any content without advanced permission in writing.
Topics: Williamsport, Jason Baney, World Open, Heavy Gun, Light Gun, Stiller Precision, Cobra, Viper, Python, Diamondback, Broughton, Low-Rider, LowRider, UnderTaker, Richard's Custom Rifles, Laminated, Match, 6mm, 6mm BR, 6BR, 6.5-284, .284, F-Class, Norma, 500 yards, 1000 yards, 1K, IBS, NBRSA, 300m, 800m, Varmint, Varminting, Jewell trigger, Benchrest, BR, Bench Rest, Single-shot, competition, rifle accuracy, Alliant, Reloader 15, RL 15, Norma, CCI BR4, Hodgdon Powder, Varget, Vihtavuori, Berger, Lapua Scenar, Clinch River, stocks, Harrells, Harrell's, barrel, reloading, powder, case forming, neck-turning, WipeOut, JB, Carbon Cutter, Carbon Killer, Slip 2000, Lapua Brass, Berger bullets, precision, NightForce, Hammonds, Wilson Die.