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Grains lost some of their recent gains as they finished the day sharply lower. December corn closed 16 ½ cents lower at $5.50, November soybeans closed 24 ¼ cents lower at $13.71 ¼, and July wheat closed 2 ¼ cents lower at $6.61 ¾.
Globally it was a "risk off" trade today with sharp declines in many outside markets. The US Dollar Index was sharply higher, crude oil was over $3 lower, and the Dow Jones futures were over 250 points lower. This overall weakness certainly affected the agricultural markets especially after the 3 day rally they just had. Also, the midday forecast put some additional rains in the 6-10 day outlook for the central belt. They did reduce rains for the Southeastern Missouri to Indiana areas in the 7-10 day period.
Medium Term Outlook:
For corn, the main point we want to drive home is that the USDA has a 1.881 billion bushel carryout projected WITH an increase in demand of 1 billion bushels from last year. Basically without the estimated demand increase we were really looking at a carryout well above 2 billion. Sure we could see a yield reduction from weather but we have plenty of leeway in corn before seeing heavy demand rationing. It is soybeans that we see having the potential to rally even without a weather market as they have a much smaller window to replenish supply.
Ethanol production was pegged lower on this week's report while supply increased. This could have been the reason July corn has led the move lower. Blending margins have really dropped for the new crop timeframe and with rumors of plants slowing down/temporarily closing we have to ask if that 5 billion bushel demand estimate by the USDA isn't still too high?
Weather is still going to lead the fundamentals in price direction but there are plenty of reasons for the market to hold back. If you would like to receive a free trial of our research including hedge recommendations, please sign up using the link below. To discuss opening an EHedger account with one of our experienced agricultural brokers, please call 866-433-4371. Thanks and have a great weekend!
Chart: December Corn
Chart: November Soybeans
Best Regards,
Trading commodity futures and options involves substantial risk of loss and may not be suitable for all investors. You should carefully consider whether trading is suitable for you in light of your circumstances, knowledge and financial resources. The market information contained in this message has been obtained from sources believed to be reliable, but is not guaranteed as to its accuracy or completeness. Market information may not be consistent with current or future market positions of EHedger LLC, its affiliates, officers, directors, employees or agents.


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We have found Bumbeck's Starion's evil twin. It lives in Nihon and wears American-market Conquest TSi badging. We tend to prefer the stock wheels on Bumbeck's car to the blingy bits on this machine, but if they canned the stickers, it would be the perfect nightime attack-mobile for an aspiring Yakuza hitman with a penchant for the States. If Brock Samson lived in Japan, he would drive one of these. Dare we say it? We do. SUPER MURDERMAN-CARRYING POTENTIAL!
A Brief History of the Starion [Internal]

subset: commoncrawl


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Although the writer(s) of Genesis (unless it was God) knew nothing whatsoever about oxygen, YECs insist that the Bible makes clear that God created Earth's atmosphere, including the oxygen we breathe, before the first life during creation week (water is mentioned, which of course is H2O as we now understand).
"Free oxygen is death to life trying to evolve, but it was present early on, being formed naturally from atmospheric carbon dioxide."
http://blogs.ucdavis.edu/egghead/2014/1 ... fore-life/
"Over the past 40 years, researchers have thought that there must have been a small amount of oxygen in the early atmosphere. Where did this abiotic ("non-life") oxygen come from? Oxygen reacts quite aggressively with other compounds, so it would not persist for long without some continuous source.
Now UC Davis graduate student Zhou Lu, working with professors in the Departments of Chemistry and of Earth and Planetary Sciences, has shown that oxygen can be formed in one step by using a high energy vacuum ultraviolet laser to excite carbon dioxide."
Then Coppedge gets really excited (text in green at the crev link):
"Evolution is dead. Oxygen is death to prebiotic chemistry... Evolutionists cannot get life to start if oxygen was around. This is a make-or-break finding, and it just broke evolution. Sorry, guys; game over. Look for another explanation. Creation, perhaps?"
Apparently ex nihilo creation of life from dust or out of thin air did not face the same oxygen problem that abiogenesis would have faced ...
Scientists understand that most of Earth's oxygen is likely to have been produced by early life - something the Bible does most definitely not hint at.


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… we speak of things that matter,
With words that must be said,
"Can analysis be worthwhile?"
"Is the theater really dead?"
— Paul Simon & Art Garfunkel
I argued in an earlier post that the music industry was killing off its ecosystem. Well, theatre has never had much of one, and it's killing off what little it has.
Back in December, Carroll Senior High School, in Dallas, Tx., mounted a production of "The Phantom Of The Opera." It doesn't sound like a big deal, but it is. As the local NBC station reported,
R&H Theatricals, a division of The Rodgers and Hammerstein Organization, has selected Carroll Senior High School as one of six pilot productions of Andrew Lloyd Webber's acclaimed musical in anticipation of its eventual release into the community, regional and school theatrical market.
"While there are no plans at this time to release Phantom to the stock and amateur market, we want to be fully prepared for when that great day arrives," said Charlie Scatamacchia, Vice President for R&H Theatricals. "What we learn from the production at Carroll Senior High School and five other sites we've chosen will help us with the process of bringing the longest running musical in Broadway history to theaters across the country."
Working from the very same script and score that is currently being enacted every night on Broadway, in London's West End, and on U.S. National Tour, the production here at Carroll Senior High School along with the five other pilot productions will provide R&H Theatricals with the roadmap for future local stagings of "Phantom" across America.
Phantom is a very carefully managed theatrical property. And it's wealthy beyond belief. It's the exception. It opened in London in 1986 and is still playing in the same theatre there. It opened in New York in 1988, and is still playing at the Majestic Theater, 20 years later, the longest run in Broadway history, and the only current show to run permanently in other cities as well.
"'The Phantom Of The Opera" has been produced in hundreds of cities in more than 20 countries around the world, and seen by an estimated worldwide audience of 80 million people to date. It has received more than 50 major theatre awards, among them seven Tony Awards including Best Musical.
Phantom spun off a movie in 2004. Of course, the play is loosely based on the classic 1925 movie, itself adapted from a classic 19th century novel. Phantom is a phenomenon. It's also the exception.
Playbill calls it the "the most successful stage musical of all time."
The Phantom of the Opera has worldwide ticket sales exceeding $3.2 billion (surpassing the highest grossing film of all time, "Titanic," which has grossed $1.9 billion worldwide) and has been seen by over 100 million people. The winner of seven Tony Awards, including Best Musical, the New York production has been seen by over 10 million people and grossed over $550 million.
A top play on Broadway will break $1 million in ticket sales, and a great week on Broadway would be $20 million across 30 shows. A single movie will routinely break $20 million in its first week.
A studio spends $10 or $110 million making a movie and then an equal amount to promote it. In only a few weeks we go from having never heard of a movie to knowing quite a bit about it — for values of "we" that go as high as 300 million people. Oceans 12, a truly awful movie, cost $110 million and grossed $125 million.
What a studio is doing in those few weeks is creating a brand. And it pays off. The initial marketing creates reviews, word-of-mouth recommendations, blog comments — in general, mindshare. And the brand, in turn, generates ticket sales, foreign ticket sales, DVD sales and rentals, and, at least occasionally, a bidding war among television stations to air it, McDonalds give-aways, toys, and, last but not by any means least, sequels, remakes, and television shows (e.g., Buffy the Vampire Slayer and In the Heat of the Night). It's fair to say that "Titanic," "Mission Impossible," and the James Bond series are all multi-billion-dollar enterprises.
And it's not just the top movies. Here's a really unscientific comparison to describe what I mean. Search for "God Grew Tired of Us," which won a jury prize at the 2006 Sundance festival, and you get 145,000 hits. Of course they may not all be about the movie, but a spot check suggests at least the first 800 are. By contrast, "I Was Tom Cruise," which was an Outstanding Play winner at the 2006 Fringe NYC festival has a mere 9830 hits.
What theatre does, by and large, is create brands that it then just wastes. Phantom has not. It is the exception.
Yet look again at Phantom's stats. Its New York ticket sales of half a billion dollars, over the course of 20 years, are far less than Titanic achieved in a matter of months.
And its rights-holders are only now getting ready to "release Phantom to the stock and amateur market," as Scatamacchia put it. What that means is that for 22 years, high schools and amateur and regional theatre companies have not been able to mount productions of it. They can't even get the scripts, or sheet music, or information about building the sets. In fact, they have no clue what the show even looks like without traveling at least to Las Vegas to see one of the few licensed live productions of it.
And that's true for most Broadway shows (except the Vegas part). It's why "The Wizard of Oz" and "You're a Good Man, Charlie Brown" are performed so often by high schools, and "Rent" and "Phantom," enormously popular among teenagers, aren't. It's easy to secure the rights, scripts, and music for the one, and literally impossible to get them for the other.
Theatre survives and even thrives in New York and London because it attracts money from around the world. The most coveted orchestra seats can sell for hundreds of dollars now because rich tourists and sheiks are willing to pay for them. But in the same way that major league baseball needs the minor leagues and pro football needs the NCAA, theatre cannot flourish as a key element of our culture if it is fat and healthy only in two cities on on the planet.
Without a farm system of schools and summer camps, amateur groups and regional companies, without off-off Broadway and off-Broadway, where will future actors and directors and stage managers come from? Without a farm system, where will new scripts come from, and who will stage them?
Theatre has cut itself off from any possible ecosystem. It needs high school students turned on by theatre, learning its language and history, its great designs and performances. Any budding 15-year-old with a videocamera can rent "Citizen Kane" for $2.99 and see Welles's groundbreaking ideas about cinematography. But if that kid wants take up her sketchpad after listening to the soundtrack to Phantom, where does she go to see its legendary set designs?
Does anyone at The Rodgers and Hammerstein Organization really think that a high school production of Phantom will do anything but whet a Texan's appetite for the real thing? To be sure, it's possible that a really bad production would turn people off. But not only would those people probably not have ever gone to see Phantom in Las Vegas or New York or London, but we can extend the question. Does anyone at The Rodgers and Hammerstein Organization really think that a videotape of a New York performance would do anything but whet a viewer's appetite for the real thing?
And so I propose The Broadway Channel.
Broadway — and live theatrical performance in general — needs its own cable network. Take two cameras, one wide-angled and fixed, and the other one closeup on the singers, and film every show on Broadway, and every off-Broadway show as well. Show them on The Broadway Channel. Make it a vehicle for selling scripts, sheet music, and set designs. Put clips up on YouTube.
Broadcast the NYC Fringe Festival, and the Edinburgh one as well. Cabarets and nightclub acts come and go — lift them from the depths of ephemera by recording them for posterity. The ones that have a strong viewership on The Broadway Channel have a strong case for being reprised.
Run a contest for best high school productions of a drama and a musical, with prestigious judges from Broadway, the winning tape to be shown on The Broadway Channel. Create Broadway Idol, an American Idol limited to show tunes and with judges who know and care when someone is off-pitch.
Be creative. And create an ecosystem.


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What Small Business Structure Is Right for You
What small business structure is best for you—sole proprietorship, LLC, non-profit, cooperative, corporation, other? The next in the continuing series of webinars hosted by AARP and the Small Business Administration (SBA) focuses on determining which type of business structure is best for you. During this free, one-hour webinar on Thursday, June 19 at 2pm, ET, experts from will answer your questions on this important topic.
This webinar will include:
Send your questions to firstname.lastname@example.com before the event to help guide the focus of discussion; we'll also take questions live during the webinar.
Can't make this webinar on the scheduled day? No worries. Register anyway to receive the link to the webinar recording and listen later at your convenience.
New to Webinars? All you need is a computer with Internet access and audio capacity.
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Experiments attempting to keep pumpkins smiling longer and fresher.
Pumpkin Rot Experiment.
A pillowcase trick or treat bag experiment.
Wednesday, July 29, 2009
The Demise Of Pumpkin Rot
Experiments attempting to keep pumpkins smiling longer and fresher.
Posted by Rot at 11:47 AM
3 comments:
- Jason-v said...
Interesting.. I typically use wd-40 usually have good results with it. Whats your recipe Rot?
- July 29, 2009 at 9:08 PM
- Rot said...
I never use anything on my pumpkins.
I just carve them the night before Halloween : )
- July 29, 2009 at 10:00 PM
- The Captain said...
Did you see the "how many condoms can you wear test"?
Pretty funny stuff.
My wife swears by Vaseline on her pumpkins. I tried bleach one year, I didn't feel it did much other then making my pumpkins stink of bleach.
- July 29, 2009 at 11:19 PM
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Here's the earliest piece I have by Canadian illustrator, James Hill. This was done for MacLean's magazine, May 1952. Hill would have been in his early 20's at this time, and already getting assignments on a regular basis from Canada's leading magazines, his work being seen by the public from coast to coast.
Hill once told an interviewer,"Back in the early 1950s, many of us had dreams of becoming "star" magazine illustrators like Al Parker [or] Robert Fawcett."
"We poured over the pages of Collier's, Redbook, the Journal and Companion, admiring the work of the established artists and envying the new names whose credits appeared."
When you look at these early '50s pieces by Hill...
... it's apparent that he was being influenced by many of those established American artists...
... and was skilled enough to create successful work in the diverse range of styles and techniques he experimented with.
Describing his 1950s period, Hill said, "When I first started out I had more styles and was trying everything. Trends don't last. To last, you have to be as individual as possible. You have to discover your own way. It happened to me about 1958 and finding it was terrific."
By the start of the '60s James Hill's work (and professional reputation) had matured dramatically.
He was doing steady work for U.S. clients - and receiving accolades from the likes of the New York Art Directors Club and the Society of Illustrators.
Back home in Canada, Hill was dominating industry awards annuals. He had five pieces in the 1960 Toronto Art Director's Annual - three took the top prize in their categories.
Seeing them en masse like this, what strikes me is how Hill continued to refuse to be pigeon holed. He may have "found his own way" - but clearly Hill's own way would not be a narrow path leading to a dead end.
Gary Taxali, today a renowned illustrator in his own right, was one of James Hill's students when he taught at the Ontario College of Art & Design 25 years ago. "Jimmy once said something to me which haunts me to this day," Gary told me. "I showed him my work and he just looked at me and said, "What are you going to do when this goes out of style?" At the time, I dismissed his comment as him being bitter about the industry but later, I realized what a good question that was. I think about it all the time."
It was clearly something James Hill thought about all the time as well. Like many other illustrators, the '60s was a transformative period for Hill. As the '70s displaced that decade, Hill's 'own way' had transformed his style again. Perhaps a little ironically, on the cusp of such a thoroughly modern time, he found inspiration - and renewed success - in the art of a much earlier era.
It must have been work like these pieces above and below that, as Gary Taxali described to me, prompted Bernie Fuchs (while visiting Hill's class before Gary's time) to declare, "this man is the greatest illustrator there is."
Hill described his philosophy on commercial art like this: "I love to work on a job that is not over-conceptualized. Maybe I'm naive, but I believe that ad art, like magazine illustration, must work with the printed word. The graphic interpretation that's right comes about when the illustrator has a chance to take part in developing the concept."
Gary Taxali talked about Hill's classes at OCAD and his painting:
"Jimmy Hill's 6 hour painting class was amazing. You had to be there by 9 AM with your 8x10 wood panel primed with a middle tone, ready to paint the model, if not, he'd kick you out. "You can't start a painting without a middle tone wash", he'd say."
Gary continues, "The absolutely amazing thing about the man was watching him paint. Every stroke was made in the kingdom of Heaven. His brushwork was flawless and watching inspired me to 'draw' with a paintbrush. I wonder how many people today can paint, I mean REALLY paint, even close to that level. He was simply the most underrated, and talented, illustrator in our country's history."
Taxali concludes, "I miss that crotchety, chain smoking, whiskey drinking old man! Never have I seen someone paint as well as him. I used to get to class early so I could set up behind his easel and copy how he made his palette. He was a legend."
* Many thanks to Gary Taxali and Age Hill for information related in this post!


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Yes, the Washington Post is getting very worried that it will have egg all over its face if January 1 comes with no budget deal and we don't get its promised recession. The paper pushed this line yet again, telling readers:
"Unless the House and the Senate can agree on a way to avoid the "fiscal cliff," more than $500 billion in tax increases and spending cuts will take effect next year, potentially sparking a new recession."
Of course the potential for a new recession does not refer to missing the January 1 deadline. It is the risk the country faces if we continue well into 2013 paying higher tax rates and with large cuts in spending. This is an enormously important distinction.
This is not the only important distinction missed in this piece. It told readers that President Obama and Speaker Boehner were very close to a deal:
"Boehner offered to raise $1 trillion in fresh revenue, and he wanted spending cuts of equal size. By that measure, Obama's tax offer was $300 billion too high and his cuts $150 billion too low, for a net difference between the two men of about $450 billion — less than 1 percent of projected federal spending over the next decade.
The Stakes Have Never Been Higher.
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In the end, however, the gap proved to be much wider politically than it was numerically."
Actually, Boehner never specified the tax increases that raised $1 trillion in fresh revenue. (If he did, the Post did not bother to report them.) So it is not clear how far apart they were. It is also likely that one of Boehner's big revenue raisers would have been a cap on deductions, including the deduction for state and local taxes. This would make it far more difficult for states like New York and California to maintain their current level of taxation. President Obama would find considerable resistance among Democrats to this sort of deal.
The piece also refered to Senator Lindsey Graham's warnings that the country could end up like Greece. It should have pointed out that Graham is either ignorant of economics or was trying to needlessly scare his audience since there is no way the United States can end up like Greece.
The United States borrows in its own currency, which means that it will always be able to pay its debt. Its worst risk would be inflation, which is a very remote risk at the moment. Greece, on the other hand is like Ohio. It cannot borrow in its own currency. The Post should have pointed out this distinction to its readers since some might have taken Lindsey's scare story seriously.
The piece also tells readers that Starbucks decision to make employees write "come together" on cups is a "sign of mounting anxiety over Washington gridlock." While anxiety may explain the motivation of Starbucks CEO Howard Schultz, he may also just want to curry favor of the powerful executives in the Campaign to Fix the Debt and win praise from their allies in elite media outlets like the Washington Post. Since Schultz's motives are not known, a serious newspaper would just report his actions without implying that it knew his motives.


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There was a lively rally in support of the people fighting the Gaddfi regime in San Francisco this weekend. TomVeeTV posted this comment and video to YouTube:
Over one thousand people demonstrate their solidarity with the revolution currently going on in Libya and other North African/Middle East nations. Ladies and gentlemen the world is changing.
There was an earlier rally in support of the Egyptian people in sleepy Los Angeles on February 5th. This was posted by jdmk3


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Votre titre Audible gratuit
Bad Business
It seems the folks in the Cowleys' circle have become enamored of radio talk show host Darrin O'Mara, whose views on courtly love are clouding some already fuzzy minds with the notion of cross-connubial relationships. O'Mara's brand of sex therapy is unconventional at best, unlawful (and deadly) at worst. Then a murder at Kinergy, where Trent Cowley is CFO, sends Spenser in yet another direction. Apparently, the unfettered pursuit of profit has a price.
With razor sharp characterizations and finely honed prose, this is Parker at the height of his powers.
"Parker, declared a Grand Master in 2002 by the Mystery Writers of America, delivers another combination of wry satire and sly action in his thirty-first mystery starring Spenser, the Boston private eye." (Booklist)
"Mantegna expertly delivers Spenser's sarcastic humor and grounded confidence." (Los Angeles Times)
"Robert B. Parker's writing has never been sharper, matching an engaging plot with Spenser's famous razor-sharp one liners. Joe Mantegna...does a great job giving vocal identity to each of the odd assortment of good guys, bad guys, and ladies of questionable character, using pace and emotion to effectively separate one from another." (AudioFile)
Autres livres audio du même :
- Jennifer
- 01/04/2004
This is pure Parker
I have listened to part of this book and Parker's "Backstory"-- also read by Mantegna. For me, his reading captures the style and pace of Spenser. The "I said" "she said" is all Parker and is integral to the Spencer prose of factual, enlightened skepticism. You might not like Parker's style, but to say that he can't write dialogue is contrary to the opinions millions who have read him in print and enjoy the books on audio. Maybe Spenser isn't for you, but as a Spenser fan-- I think it's great.
6 personnes ont trouvé cela utile
- Virginia
- 12/08/2004
Joe Montegna IS Spenser
Every time I have to leave my car and disconnect from my Otis, I find myself saying outloud, I LOVE THIS BOOK! I've been reading Robert Parker's novels for a long time and have enjoyed his amazing way of putting so much into so few words. And now I'm enjoying them even more on Audible books. Parker succeeds at what I use to tell my creative writing students to attempt--establish a voice that's all your own. And Montegna, a fabulous actor, strikes just the right vocal chord of a brilliant, satiric wiseguy, who puts more into a simple two word sentence like "I did" than most actors can get out of a long monologue! Once again..I love this novel!
3 personnes ont trouvé cela utile
- Stephen
- 16/05/2004
Well written; well read
Joe Mantegna reads Parker's works just as Parker wrote them. Parker writes in a style consistent with his characters. The minimalistic, almost simplistic, style that he uses in the Spenser novels is completely congruent with the characters. It's part of the charm. It's not the way that LeCarre writes, but both Parker and LeCarre are masters of their genre. "Bad Business" probably isn't Parker's best Spenser novel, but it's still quite good considering that he has written so many, and has taken his hero through so much already. I suspect that Parker is rather tired of writing about Spenser, but he continues to publish another one occasionally so that people like me can enjoy an easy listening experience while driving or working out at the gym.
3 personnes ont trouvé cela utile
- Me & My Girls
- 02/08/2015
This one isn't a competitor for the worst Spenser ever, not even close. Unfortunately it's an even longer distance from being the best of the works featuring the Boston PI. There are sections that take the story nowhere that are far too long, and a couple of ancillary characters that needed to be developed more thoroughly than they were. The climatic point was delayed more times than it should have been as if Parker was leading up to various endings and not being able to choose just one and decided to try them all out. Still There are very few of Parker's works that translate into time wasted and Joe Mantegna is an excellent narrator.
2 personnes ont trouvé cela utile
- D. Williams
- 08/04/2004
Great read for Spenser fans!
Another enjoyable Spenser novel and narrated with just the right style for Parker by Joe Montegna.
2 personnes ont trouvé cela utile
- Kathleen Watkins
- 25/05/2005
Bad Business
The first Robert Parker book I read was "Poodle Springs". I was hooked and read every book he had written. I am disappointed with this one. Spenser has lost his intensity, Hawk is practically non-existent, and Susan is a snob. They used to be such robust and likeable characters. I hope Robert Parker chooses to retire Spenser and write more books like "All Our Yesterdays" and "Double Play". Those I recommend with five stars.
1 personne a trouvé cela utile
- Richard Delman
- 15/06/2012
Classic Parker; classic Mantegna. Many chuckles.
There are quite a few Hall of Fame partners in the mystery-detective-thriller genre. Robert B. Parker and Joe Mantegna clearly belong in this category. Listening to one of their collaborations is a pleasure. You find yourself smiling wryly and chucking throughout. There are no LOLs, but still. It turns out that Michael Prichard is just about as good a narrator as Mantegna, but Joe's face is so familiar and his voice so friendly that really, what's the diff? Spenser and Hawk are at their usual best here. The triangular relationship among them and Susan Silverman, Ph.D., Spenser's long-time love, is just wonderful. Very tender and very funny. The plot here is rather contorted, involving corporate corruption mixed in with sexual misbehavior on a rather grand scale. There is some exposition at the end by Spenser which is really confusing, involving who did what to whom and when. Nonetheless, there is a marvelously lizardly serial killer, an unctuous radio host who also pimps for the company, and a lot of double-dealing and back-stabbing. Fun is had by all. You have to marvel at Parker's ability to keep writing these books and never really missing a step. If you don't like one of these, chances are you'll like another. And, maybe that will lead you to the other Hall of Famers: Steven King and Frank Muller, Martin Cruz Smith and Mr. Muller, John Grisham and Muller (I know), John Lescroarts and David Colacci, Tim Hallinan and Victor Bevine. I could go on, obviously, but I won't. Have fun.
4 personnes ont trouvé cela utile
- Joan Lewis
- 05/10/2016
Another good mystery
I had to laugh when I heard the business and the players were involved in SOLAR ENGERY.
I love the reader, Joe Mantegna, sounds like a PI. JOE I do have a crush on you
Joan Lewis
- Powellmoss
- 01/08/2016
I love Spenser!
Montegna is such a good narrator , you really can feel the nuances of the different characters. The story captures you and as always you can look forward to all the usual players.
- D. Gering
- 05/02/2016
vintage Parker/Spenser!
I enjoyed this one as much as the many others I've read, and actually chuckled out loud a few times at the classic RBP banter. Joe Mantegna is pretty good, but don't expect a bastin accent. Joe is pure New Joisy. Actually prefer James Naughton, but Joe will do.


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Top 10 Toxic Chemicals Found in Skincare
We all know that eating cleanly is one of the many not-so-secret secrets to longevity, but did you know that what we put on our bodies is just as important as what we put in our bodies? Skin—the body's largest organ—absorbs 60% of everything we put on it! When I first started beauty blogging, I was pretty much oblivious to this – now I make much wiser purchasing decisions. I HIGHLY recommend looking up the toxicity of your current beauty products in the Environmental Working Group's Skin Deep Database. If you come to discover your beloved x-y-z is tainted with nasty, fret not! There are plenty of natural non-toxic cosmetics and skincare brands, and there's always the handy-dandy DIY beauty route, too! M'kay, let's uncover these nasty betches!
- Sodium Laurel/Laureth Sulfate – Super common foaming agent that is considered a skin irritant and carcinogen, which is also known to cause skin irritation. SLS also a nasty culprit of PMS, decreased fertility in men and an increase in breast cancer in women. Sometimes "natural" companies will disguise this ick chemical by saying it's "derived from coconut" but don't buy that B.S.!
- Parabens (including Propyl-, Isopropyl-, Butyl-, and Isobutyl- parabens) – Parabens are estrogen-mimicking preservatives. They are used to prolong product shelf life by hindering bacterial growth. Unfortunately, these can be found in most conventional cosmetics and skincare products. 🙁 Parabens have been known to disrupt the endocrine system and cause reproductive and developmental disorders and may cause cancer.
- Phthalates – This is a class of chemicals used to help lotions penetrate skin. Phthalates are also commonly found in perfumes and labels listing "fragrance."Phthalates have been known to lower testosterone levels in men and decreased sperm counts and quality. Exposure to phthalates during development can also cause malformations of the male reproductive tract and testicular cancer.
- Petroleum By-Products – This includes ingredients like mineral oil, petrolatum, paraffin, dipropylene, glycol, butylene glycol, disodium EDTA, tetrasodium EDTA, trisodium EDTA, polybutene, triclosan, polyethylene Petroleum by-products interfere with the skin's natural functions, clog pores (read: ZITS), and are likely to be contaminated with carcinogens linked to breast cancer.
- Propylene Glycol and Polyethylene Glycol (PEG) – These are made from the same chemical that is used to create anti-freeze – BARF! This is linked to liver, kidney and brain damage.
- Diethanolamine (DEA) and Triethanolamine (TEA) – These chemicals can react with other ingredients in cosmetics to form potent carcinogenic chemicals called nitrosamines, which have been linked to liver, stomach, bladder, and esophagus cancers.
- Formaldehyde – Commonly found in nail polish, this chemical is a known carcinogen, allergen and irritant. And it stanks, yo!
- Fragrance – Federal law doesn't require companies to list any of the chemicals in their fragrance mixture – LAME, right? Fragrances can contain hormone disruptors and are among the top 5 allergens in the world. Buy fragrance-free or essential oil scented products!
- Hydroquinone – This is a skin bleaching chemical used in many whitening creams under eye treatments. It's used for fading hyperpigmentation, acne scars, sun spots, etc. It can cause a skin disease called ochronosis, with blue-black lesions that in the worst cases become permanent black caviar-size bumps. In animal studies, hydroquinone has caused tumor development.
- Methylisothiazolinone (MI) – This is often considered a "safe" preservative alternative to parabens, but it's a known skin irritant and allergen. It's also a neurotoxin that has been linked to brain cell damage and nerve damage.
I just wanna quickly say that there's no need to chuck your entire stash of beauty goods if they're all starting to look kind of scary. I posted this list to simply bring awareness so that we all can be more conscious consumers. Feel free to ping me if y'all have any questions about any of these ingredients or if you'd like suggestions for non-toxic beauty products/brands. xo
About Sunny (Sunny's Profile)Longtime vegan, hardcore compassionate beauty junkie, serious cake aficionado, and lover of all things floofy and sparkly! If there's something in particular you'd like me to review, drop me a line at email@example.com. You can also find me on Facebook, Instagram, Twitter, YouTube, and Google +.
Filed in: vegan skin care
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Can you please explain more why the SLS derived coconut is BS?
Do you know of any skin care or beauty brands that for sure don't have these in their products?
Rachel Kathryn – I really like S.W. Basics, Booda Organics and Hurraw!, all of which make wholesome, few ingredient products. Organic coconut oil also makes an affordable, multipurpose moisturizer and you can't beat 1 ingredient, no chemicals and no preservatives.
Sunny – I'm looking forward to your post about super pure vegan beauty brands!


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Strata Website
265 E. 15th Ave., Vancouver, BC, V5T 4K4
No of Levels: 3, No of Suites: 51, Status: Completed , Year Built: 1977
MAP 5 - Mount Pleasant Area
Type: Freehold
Bldg # 126
Bing Map
Instructions: To pan the map use your mouse to click a point on the map and drag in any direction or use the navigation menu in the top left hand corner. To view a full size map click HERE.
Google Map
Google Street View


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Topic: Your Lightsaber Hand?
Right, so if you were to wield a lightsaber, which hand would you hold it in? AKA, would you be a lefty or righty? Right now, since my arm is still in teh healing process, I'm a lefty (I can actually swordfight well, cuz I've done some un-formal training over the years), so I do perty well with both hands.


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Taking product innovation to the market in the fastest and most cost-effective way is the winning mantra for automotive companies. Content reuse is the key to increase speed and reduce cost of documentation. Companies also need to deliver after-sales material globally in local languages. Achieving these objectives is simple through efficient content reuse and powerful translation management capabilities offered by Adobe solutions.
Electronics and Electrical
Globally distributed teams often work on content creation, making smooth collaboration a top priority. Documentation is frequently updated based on product upgrades and needs to be published across mobile, web and print for ubiquitous access. Adobe products enable multi-author, multi-reviewer teams to collaborate seamlessly and offer effortless multi-channel, multi-device publishing.
Aerospace and Defense
The Aerospace and Defense sector is heavily regulated and documentation needs to adhere to various standards such as SGML, S1000D, and ATA Spec 2200, among others. Regulatory requirements are constantly evolving and documentation needs to be updated accordingly. With the guided authoring environment of Adobe FrameMaker and industry-specific solutions built on top of it by partners, you can confidently create documents fully compliant with the S1000D standard and easily publish content across mobile, web and print.
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Financial Services
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Manufacturers need a wide range of documentation while developing new machines. These include instruction and maintenance manuals, spare parts catalogs, and legal documents. Adobe provides a comprehensive and flexible set of tools to create a vast range of such documents under tight schedules and budgets, which is often a priority for this sector.


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What It's Made Of: This Fathead Jr. Wall Graphic is a high definition image made of tough high-grade vinyl that's tear and fade resistant, so you can be assured your eye catching Fathead will stay strong. And if the thought of taking down your Fathead makes you tremble, worry no more, because it uses a low-tack adhesive that can be easily moved and reused without any damage to your wall. As if it couldn't get any better, your Fathead comes with free separate smaller images (made of the same stuff) to go with your awesome new wall graphic.
Suggested Uses: We know once you've got your brand new, authentic Fathead, you'll be so excited that you'll want to stick it to the first wall you see. But stop for a just a minute and make sure you apply it to a clean, smooth, interior surface, your Fathead loves them and you'll love the way it sticks. We recommend putting it somewhere where everyone can see it since there's no better way to tell everyone you're a fan. Fathead Juniors are the perfect fan decor for smaller spaces such as doors, fridges, windows, desks, tables, dorm rooms or any other interior area with a smooth, clean surface.
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I have developed many WPF application but they were very small. Not i am going to develop a big enterprise application. I want to know right approach to develop a big application and by keeping in mind the performance of that application should not be degrade So i am going to use MVVM architecture(little bit familiar with it).
Now, My Question is, there are lots of screens in my project so what Should i do.
1. Should i use individual window for each screen.
2.Should i use individual page for each screen.
3.Should i use individual page for each screen and load those page on a Single window of application.
4.Should i use user control of each screen and load those user controls to Window or Page Dynamically one by one
according to requirement.
what is right approach ??? I am getting lots of information and examples about creation of simple application and example by using MVVM architecture which has 1 or 2 screens. But before starting development i want to know the right approach how to start developing of big projects, in which there are lots of screens for showing data, adding data, editing data and deleting data.
My second concern is how to maintain the performance of such a big application ??? Are there any standards for this ??? yes i got few links in MSDN which are telling about Garbage collector and IDisposable and many other things.
So can you suggest me what is right way ??? for over all this problem ???


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Rams Win Streak Reaches Six Games
Farmingdale State - 7, Mount Saint Vincent - 0
Farmingdale, N.Y. – The Farmingdale State men's soccer team defeated Mount Saint Vincent, 7-0, in a Skyline Conference game this afternoon in Farmingdale N.Y. The Rams improved to 8-5 overall and 5-0 in Skyline Conference play.
Farmingdale State wasted no time taking the early lead, Ryan Paul (Sayville, N.Y./Sayville) scored the games opening goal on a pass from Alex Mendolia (Smithtown, N.Y./Smithtown East) only 1:20 into the contest. Paul would add his second score of the afternoon at the 13:37 mark, giving the Rams a 2-0 advantage. Ryan Lang (West Babylon, N.Y./West Babylon), Ryan Standridge (Lindenhurst, N.Y./Lindenhurst) and Mendolia would each add a first half goal for Farmingdale State, Frank Volante (Farmingdale, N.Y./Farmingdale) recorded an assist on three of the goals. The Rams did not allow a shot in the half.
In the second, the Rams added two more goals, an assisted goal by Tyler Balzer (Huntington, N.Y./Huntington) on a pass from Standridge and just before the game ended a score by Joseph Catanzarite (East Islip, N.Y./East Islip). Farmingdale State remains unbeaten in the Skyline Conference.
Second half replacement Ricky Meschkow (Plainview, N.Y./Planview) had two saves for Farmingdale and William Raftery (Bronx, N.Y./Salesian) had three saves in the defeat for Mount Saint Vincent.
The Rams will play at home on Monday, October 20th at 4:30 pm in a non-conference game against Baruch College.


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Cases.com offers 30 days warranty. Manufacturer's warranty applies.
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It would appear to the casual observer that Haddock works fairly excellently cross-packages. For example, I haddocked the Haddock code, and all the links to the types from the GHC API point to the haddock-docs in my GHC 6.10.3 installation. (Yes, you need the versions of the dependent packages chosen, installed and haddocked, and this doesn't always work out optimally online. But that's not the problem that I'm confronting.)
Yes, links work. But that's about it, right now. Compare (broken) http://www.haskell.org/ghc/dist/stable/docs/libraries/haskell98/List.html to (good) http://www.haskell.org/ghc/dist/stable/docs/libraries/base/Data-List.html . The broken one's source (haskell98:List) imports the good one (base:Data.List). haskell98:List's documentation luckily lists the *names* of the exported things, because they're listed in that file's export list. But not their types or their docs. Not the module doc header (though that shouldn't be copied anyway), and there's no link to base:Data.List (which is acceptable. Although maybe someone should write a haddock-header to haskell98:List that says it's the Haskell 98 version (specified at http://www.haskell.org/onlinereport/list.html ) of the slightly expanded base-package Data.List[link].
Anyway, the way we get any links to modules in other packages is because we read their generated .haddock files. They're binary and haddock doesn't have any obvious way to make them human-readable, but they correspond to Haddock.InterfaceFile.InterfaceFile. Which is, roughly, a list of Haddock.Types.InstalledInterface, which seems to be the interesting bit.
data InstalledInterface = InstalledInterface {
instMod :: Module,
instInfo :: HaddockModInfo Name,
instDocMap :: Map Name (HsDoc DocName),
instExports :: [Name],
instVisibleExports :: [Name],
instOptions :: [DocOption],
instSubMap :: Map Name [Name]
A Module (not to be confused with GhcModule, which is defined by Haddock) is a low-information type defined in GHC that contains the package name and version and the module name.
HaddockModInfo is just the module's header description, plus the portability:, stability:, maintainer: fields (HaddockModInfo is defined in GHC, oddly enough: must be parse result. defined in ghc:HsSyn to be precise.)
DocOptions are hide, prune, ignore-exports, not-home. (defined in haddock code.)
The rest contain a lot of "Name"s, which is a GHC thing that refers unambiguously to the place an identifier originates. Sufficient for making a link, but not sufficient by itself for copying the named identifier's docs or type. So passing over them for now… there is one interesting thing left.
A DocName contains a Name and also (if any) the module we'd like to link to in which that name is documented. instDocMap :: Map Name (HsDoc DocName). This gives more info on any number of Name identifiers. (HsDoc provides formatting, DocName provides its references .) There is no type information here at all, as far as I can tell, which will clearly need to be remedied somehow (in Interface, roughly a superset of InstalledInterface, types appears in ifaceDeclMap, though I'm not sure if that's where they're retrieved from for HTML-doc-printing). But there's another big question I need to find out: *which* names are documented in any given module's instDocMap? The type provides no clue, nor does its current (lack of a) doc string, nor ifaceRnDocMap. I could look everywhere in the code that it's generated, or I could ask David Waern… who will need to tell me if I said anything confused here anyway 🙂


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So I made it through surgery intact! Thanks SO MUCH for all of your comments and well wishes. It was great having so many messages to read while I was confined to a horizontal position. Things have gone surprisingly well. Monday (the day of my surgery) is, of course, a bit fuzzy. I had never been put under before and found it to be a strange experience. I was wrapped up like a mummy from mid-thighs on down but was surprisingly comfortable. In fact, I didn't feel the need to take a single pain pill after Monday. It made me really nausous, anyway.
Not much pain to speak of -- more soreness and stiffness, actually. And a lot of swelling, of course. I had my bandages removed on Wednesday and, from Wednesday until today, I've had to deal not only with looking at my shaved legs everyday, but also with having to wear full-leg stockings (to reduce swelling). How humiliating!
My mom and aunt drove down from NYC to spend the week with us and help take care of me and the kids. I don't think I've mentioned this yet, but my wife also decided to go back to work for the first time since the twins were born 4 years ago and, as luck would have it, her first day was Monday. YES, the day of my surgery. So to say that it's been a bit hectic around here might just be the understatement of the year.
I've been to 2 physical therapy sessions so far, and have noticed huge improvements in my movement and flexibility. As of today's appointment, I don't have to wear the stockings anymore (YEAH!) and I can leave the band-aids off. I'm still not close to 100% -- in fact, I just drove for the first time this evening, and I'm still working primarily from home -- but I can see the light at the end of the tunnel. My stitches come out next Tuesday and I'm looking towards that as a major milestone.
And, I'm back in the saddle with sewing! Some finishes to report, including my DQS4 and MBS2 quilts. More on those later!
Without further adieu, here's what bilateral arthroscopic knee surgery looks like, one week later. Self-portrait:


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IoT Bike sensors, ranging from 40 to 100 depending on the bike, collect a vast array of data points – speed, engine running parameters, revs, tire and brake temperatures, and more – as well as track key performance indicators (KPIs) including acceleration, oscillation, vibration and grip.
Artificial Intelligence is then applied to the racing performance KPIs and past test data to identify the optimal bike set-up configuration, using advanced algorithms working on the data patterns from the different sensors, machine learning and applying clustering and regression algorithms.
Performance data is made available to race engineers in an easy to use mobile dashboard that allows them to experiment with different bike configurations and predict outcomes as they work with the rider in pre-race preparation.
"So far, we've seen excellent results in the lab with the Accenture solution. The ability to use existing and new testing data will help us choose the optimal configuration for our bikes. This innovative tool will make our testing a more intelligent process, helping us get the best performance from our bikes, whatever the weather or the track"
Ducati is showing how the latest intelligent technologies can accelerate even a high performing company to a new level as they plan, prepare and test for MotoGP races. To date, around 4,000 sectors of race tracks and 20 different racing scenarios have been analyzed, with a wider roll-out of the solution expected.
The insights generated from this data are transforming their MotoGP racing set-up. And they're dramatically reducing the time needed to perfect each bike's performance. Best of all, machine learning means each bike will learn and improve with every race. Now that really is analytics at full throttle.


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Times change. Once a stack of commercial concrete blocks presented as a work of art would have done more than raise eyebrows; it might have raised a storm. That time is gone. It went with the stack of firebricks that Carl Andre laid on the floor of the Tate Gallery in London in 1966.
A similar work is on show in Auckland as part of Greetings from Los Angeles at Starkwhite Gallery. It features work by eight artists from that city curated by Brian Butler, former director of Auckland's Artspace. Jorge Mendez Blake's contribution is made up of ordinary grey cement blocks, a tall rectangular stack 1.8m high and 4.5m long.
This is not 1966; it is a post-post modern world. Whereas Andre's work was a formal display of surface and assembled weight, the Blake structure has to have an extra point. The pile is massive but the extra is easily missed. Under the crushing weight of the western edge of the massive pile you can see the backs of eight colourful books. They are Bartleby the Scrivener and Benito Cereno by the American writer, Herman Melville. Both of these short stories by the writer of Moby Dick concern oppression and slavery.
So what does this great weight of blocks on the books signify? Does it suggest the White Whale and the way that huge story overwhelms the author's shorter stories? Is it a symbol of oppression? Or is it just some blocks?
This is a large, mute minimalist work shifted from a construction site to a gallery to become art and challenge viewers to find their own answers.
There is another Moby Dick-ish creation by Blake, this time in vinyl, on the wall of the stairwell. It shows a man in the grip of a giant squid. It is impressive but has limitations of expression as does another appealing work, Unboxing by Fiona Banner, a pair of boxing gloves in bronze hung from the ceiling. The bronze gloves chime like bells when they touch.
The works upstairs run the gamut of styles available to the contemporary artist. Diana Thater has a room to herself with the walls coloured by light and projections of daisies. Kerry Tribe gives us a blast from the past with a documentary about early Russian space travel judiciously manipulated. Rirkrit Tiravanija has a set of six pencil drawings with a strong political message. Uta Barth does inkjet prints of windows making delicate and lovely abstract compositions. Along with the rest they make an intriguing, if not always convincing, survey of art across the United States today.
Also from America is the highly original Tony Oursler, an artist prominent enough to make it into textbooks. His sculpture is at once macabre, utterly compelling and, at times, almost tragic.
His exhibition at the Fox/Jensen Gallery features one of his familiar works where eyes and a mouth are projected on to a three-dimensional shape.
The eyes are wide open and function independently. The mouth, filled with startlingly white teeth, is marked by black lipstick that leaks into the lines around the lips. There is no nose, neck or body but the piece, perched on a support, takes on compelling life as the eyes stare at the viewer or look up and away. The smiling and occasionally gaping mouth emits incoherent speech so filled with pathos it is impossible not to feel sympathy for the trapped creature as it bubbles forth words: "cold cold cold, dreaming dreaming dreaming," or "seeking, seeking seeking," endlessly.
The second of these sculptures is much less macabre though it has a similar shape. Lights play continually across the form and spill on to the wall beyond the shadow cast by the sculptured contour. This play of stars is lovely and demonstrates that Oursler commands a variety of effects within his highly individual work.
John Pule, who recently had a large exhibition at the Auckland Art Gallery, is showing his latest painting and poetry at the Gow Langsford Gallery. Some of the work is in his characteristic style based on Pacific patterns but rendered in golden colour. Bright colour, including blue for the Pacific sea and sky, is also part of a new departure. These recent paintings feature an earthy base in heavy paint, which is the plateau from which tendrils reach searchingly up even as they carry memories with them.
The growing plant forms in When I was new here suggest strange new experiences coloured by the past and a similar painting, The Blue Plateau of Polynesian Memory, gives its name to the show.
These strong images indicate that Pule continues to develop his thinking and the metaphorical strength of his art.
Land of the Peacock is the title of a colourful exhibition by Jane Kellahan at the Parnell Gallery. The paintings are loaded with rich blue, yellow and orange. The peacocks represent the female principal and it is a paradox that the work that most captures tension between male and female, The Unmasked Man, is largely black and white.
At the galleries
What: Greetings from Los Angeles: Eight Artists
Where and when: Starkwhite, 501 Karangahape Rd, to August 6
TJ says: Eight prominent artists from Los Angeles present a spectrum of today's artistic attitudes and styles.
What: Sculpture by Tony Oursler
Where and when: Fox/Jensen Gallery, McColl St, Newmarket to August 11
TJ says: Outstanding American sculptor projects movement on to three-dimensional forms to make objects that are macabre, touching and, in one case, oddly beautiful.
What: Blue Plateau of Memory by John Pule
Where and when: Gow Langsford Gallery, 26 Lorne St, to August 4
TJ says: The poetic title of the exhibition is matched by a new departure in style where images in colour stretch upward from islands of paint.
What: Land of the Peacock by Jane Kellahan
Where and when: Parnell Gallery, 263 Parnell Rd, to July 31
TJ says: Attractively colourful paintings of bright peacocks in a misty world where they often shadow tense human relationships.


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Diane Lynn Tibert, a genealogy writer from Nova Scotia, has made a number of wishes in her regular column, and some of them are -
- I wish for you to find a wrecking ball in 2012 that knocks down a major brick wall blocking your path to unearthing a piece of information that exposes a branch of your tree that has been kept buried for years. May the opening be large enough to see into several generations.
- I wish for you to take a trip to a place you've never gone and discover a long lost headstone you've been seeking for years. May it still stand with a flawless inscription that provides all the vital information, including the deceased's country of origin and a wee tale of why they came to Canada. I wish you clear passage to it and an insect bite-free visit.
- I wish for you to come into possession of a stack of letters. The yellowing envelopes contain love letters between your great-grandparents when during the First World War he was a soldier serving overseas and she was living at home with her parents.
Read the rest of her Christmas wishes in the Times & Transcript newspaper at
And submit a query to her column. It's free! Her email address is email@example.com.


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I never blogged much about iCloud Mail or Yahoo Mail as I never find it useful or interesting — except the disposable addresses in Yahoo Mail.
A disposable address lets you create up to 500 temporary email address within Yahoo Mail. You can create a disposable address any time and delete it after use. It's a good thing if you don't want to reveal your "real" email address to anyone.
It's a feature that is really missing in Gmail or Outlook.com but both Gmail and Outlook.com support sub-addressing though it's not as useful as disposable addresses. Anyway, I didn't want to switch to Yahoo Mail only to get that feature.
But a few years back I realized that an iCloud email address (@icloud.com) is also useful — and interesting — as it supports both sub-addressing and disposable addresses (sort of). [Read more…] about iCloud Email Address: One Productivity Tip You Probably Didn't Know (Plus 3 Things About Gmail, Outlook.com, & Yahoo Mail)


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Gotu Kola Centella asiatica
Gotu kola is a herb that has been used in Asia for thousands of years, both as a medicine and as a leafy vegetable.
This luscious green herb is a favourite to help improve mindfulness and is said to revitalise consciousness and maintain youthful wit.
Gotu kola is an example of the doctrine of signatures with its leaf being said to resemble the brain in appearance.
Traditionally this herb is collected from the wild, usually along polluted waterways. To ensure optimum quality and the best organic standards, our gotu kola is cultivated in paddy fields that can be flood irrigated with fresh water.


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With our "Thonet All Seasons" collection for indoor and outdoor use we give our tubular steel classics the opportunity to present themselves in any weather. Selected icons from the Bauhaus era, including chairs S 33 and S 34 by Mart Stam, the side table B 9 and the lounge chair S 35 by Marcel Breuer and the cantilever chair S 533 by Ludwig Mies van der Rohe have received a makeover and are now weather-resistant and beautiful companions outdoors as well thanks to a special technology. The models can be flexibly designed and used, not least because of the large palette of colours for frames and mesh that can be individually combined. In the sun or rain, on the terrace or balcony, in the winter garden or dining room – our new collection is a real eye catcher in any season.
Equipped with exposed concrete or solid-core laminate tabletops and an innovative, coloured "ThonetProtect" surface for the frames, which is just as UV resistant as the mesh for the seats and backrests, our models are especially durable companions.
Show your colours! We offer the models of the "Thonet All Seasons" collection in a number of specially selected colours – and we did not leave the selection to chance: the spectrum for the frames of the "Classics in Colour" collection includes seven colours and is oriented towards both the Bauhaus theory of colour and Johannes Itten's colour wheel. In addition, the twelve colours available for the mesh enable a multitude of variations. Why not combine a tomato-red frame with moss-green mesh?
The previously existing outdoor furniture of the S 40 / S 1040 collection is integrated in the "Thonet All Seasons" collection. The garden table S 1040 is available with a solid-core laminate tabletop in combination with the colour-coated frames. In addition to these models, the range includes the classic cantilever models S 33 and S 34 (Mart Stam) and S 533 (Ludwig Mies van der Rohe), the side tables B 9 (Marcel Breuer) and B 97 (Thonet Design Team), alongside the lounge chair S 35 (Marcel Breuer). Our collection is rounded off with cushions and covers for the seating furniture in matching colours.
The special "ThonetProtect®" surface equips the frames of our "Thonet All Seasons" collection for any outdoor use. This sophisticated coating is tested in compliance with the salt spray test DIN EN ISO 9227-NSS (720 hours). This testing method refers to the strict criteria of the automobile industry and simulates a multiple of a life cycle in regular use. With "ThonetProtect®", the frames become extremely robust and UV-resistant against any weather influences. They will look good for a long time even on terraces in a harsh coastal environment! What's even better: deep scratches that may damage the coloured surface do not cause the coating to lose its protective effect. "ThonetProtect®" is available in the seven "Classics in Colour" hues.
The sensitive selection of the surfaces is decisive for the character of any piece of furniture. Therefore, we offer an almost limitless range of materials, allowing for an individual and special touch for each piece. Create your personal chair or table by choosing from our comprehensive collection of materials for the frame and upholstery. Please note that the materials listed here only represent a small selection of our production possibilities. Our specialist trade partner near you will be happy to offer advice.


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