The Disney Channel will air Frank Sinatra's 13 TV specials every other months for the next two years, beginning with "Ol' Blue Eyes Is Back" (1973) at 9 p.m., April 29.
Other specials include "Francis Albert Sinatra Does His Thing" (1968); "Frank Sinatra: A Man & His Music, Part II" (1966); "Frank Sinatra: 40th Anniversary Show," "Frank Sinatra in Japan" (1985); "Frank Sinatra Royal Festival Hall" (1970); "The Main Event" (1974); "A Man and His Music and Ella and Jobim" (1967); "Sinatra" (1969); "Concert for the Americas;" "Sinatra & Friends," and "Sinatra: The Man & His Music" (1981).
Michael Feldman, star of National Public Radio's "Whad' Ya Know?," stars in half-hour comedy specials based on his radio series, Sundays at 9:30 p.m. throughout March. Taped in Madison, Wis., home base of Feldman's radio show, the specials blend humor, national call-in quizzes, special guests and profiles of randomly chosen "Towns of the Week."
The legendary Motown group The Temptations will perform their greatest hits in the concert special "The Temptations Get Ready," airing May 13 at 9 p.m.
Another rock legend, Paul Simon, will perform and talk about his life in "Paul Simon: Solo," airing on the Disney Channel June 10 at 9 p.m.
During Earth Week 1990--April 21-28--the Disney Channel will have original series, documentaries, specials and movies highlighting the preservation of the environment and an increased concern for the animal kingdom.
The Disney Channel's newest series "Avonlea" airs every Monday evening at 8 o'clock through May.
Produced by Emmy Award-winning film maker Kevin Sullivan of "Anne of Green Gables" and "Anne of Avonlea" miniseries fame, "Avonlea" is based on the stories of Canadian author Lucy Maud Montgomery.
William Devane and Brandon Douglas star in the adventure "Chips, the War Dog," airing March 24 at 7 p.m., based on the real-life exploits of a German shepherd from Indiana who joins the service during World War II and becomes a decorated hero.
Shelley Duvall stars in and produces her first movie musical "Mother Goose Rock 'N' Rhyme," set to air on the Disney Channel in May. The musical fantasy features Ben Vereen as the Itsy Bitsy Spider, Little Richard as Old King Cole, Howie Mandel as Humpty Dumpty, Paul Simon as Simple Simon and Pia Zadora as Little Miss Muffet.
The Disney Channel hasn't forgotten its No. 1 audience--children. It has two new daytime series set for the fall: "Jim Henson's Mother Goose," based on the classic nursery rhymes and featuring new Jim Henson puppets. The series will air Saturday mornings.
"Little Mermaids Island" stars the characters from the hit Disney animated film. Airing weekdays, "Little Mermaid's Island" will feature actors and new Jim Henson puppets. Each 30-minute episode will introduce four new songs.
The Disney Channel will premiere the 1988 blockbuster "Who Framed Roger Rabbit" in June and will also be airing in subsequent months "Honey, I Shrunk the Kids" and "The Little Mermaid."


Tighter financial regulations have prompted Chinese banks to apportion greater resources to the real economy, the part that produces goods and services, and improve the overall quality of financial services while keeping risks at controllable levels, said an official of the China Banking Regulatory Commission.
At the end of 2017, the balance of various bank loans increased by 12.4 percent year-on-year to 129 trillion yuan ($20.49 trillion).
The growth rate was higher than the 8.7 percent increase in bank assets held in Chinese and foreign currencies, according to data released by the CBRC on Feb 9.
"It shows that the trend of turning from the real economy to virtual economy has been contained among banks," said Xiao Yuanqi, head of the CBRC's prudential regulation bureau.
The balance of bank loans to small and micro enterprises and that of agriculture-related loans both hit 31 trillion yuan at the end of 2017, up by 15.1 percent and 9.6 percent from the previous year, respectively.
"In the past few years, bank growth has deviated from growth of the real economy. But now, banks must go back to the basics of finance, which is to serve the real economy," said Steven Xu, a financial services partner at global consultancy firm EY.
To help banks achieve this goal, China has strengthened control over risks associated with shadow banking and cross-sector financial products since last year by stepping up regulation on interbank and asset management businesses.
The People's Bank of China, the central bank, along with the banking, securities and insurance regulators, issued draft guidelines to tighten regulations on the asset management business of financial institutions last year.
According to the draft guidelines, financial institutions should stop offering guaranteed protection for the principal amount and the returns on certain asset management products.
The regulators also plan to forbid financial institutions from using other FIs, or so-called "channel" firms, to raise and invest asset management product funds, so as to avoid rules on bank leverage ratios and on the scope of investment.
A transition period will be given to financial institutions to adjust their asset management business until June 30, 2019, according to the draft. The transition period is likely to be extended appropriately, Chinese business media Yicai reported on Feb 6.
Under tougher banking regulations, senior bank executives must change their business ideas and mindset, said EY partner Xu.


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Tag Archives: book reviews
Books, Quantitative Finance
September 15, 2009 manoj
[This post is a review of my forthcoming book, "Principles of Quantitative Development," to be published by John Wiley & Sons in Feb 2010. This review is written by Shayne Fletcher, Executive Director, Nomura, and author of "Financial Modelling in Python," and is posted here with the reviewer's permission.]
In "Principles of Quantitative Development", Thulasidas has offered a contribution that is somewhat unique in the literature associated with the field of Quantitative Development. In that specialised, narrow domain, technical books abound. Most such titles are concerned with the intricacies of the application of specific programming language to the problems of financial engineering or, expositions of advanced mathematics as used in the pricing models of exotic financial derivative products. Thulasidas however has taken a very different tact. Focusing instead on what he terms "the big picture", Thulasidas offers us his insights into the role of Quantitative Development in the broader context of a bank's "trading platform". Armed with such insights, he shows us how an understanding of the varied usages of the trading platform can and should be used to influence and shape its design.
In the opening chapters, the book is concerned with defining what is meant by the term "trading platform". In doing so, Thulasidas necessarily reviews the "architecture" of a bank from the point of view of a Quantitative Developer. That is, he discusses the nature and interactions of the front, middle and back offices of a bank, the different roles that professionals in each of those areas satisfy and how each of their respective needs induce a different set of requirements on the trading platform. Moving on, he reviews the nature of trades, the so-called trade "life cycle" and how different views of a trade are required as a function of the life cycle and the business role of the user.
Having established a broad understanding of the requirements for a trading platform, Thulasidas turns his attention to translating those requirements into design decisions for trading platforms. Along the way he considers such aspects of design as choice of programming languages, issues relating to scalability and extensibility, security and auditing, representations for market and trade data and a trading platform's macro architecture whilst all the way remaining focussed on ensuring that all business needs identified in the earlier chapters are given consideration and catered for.
Going from the general to the specific, Thulasidas in later chapters introduces a flexible derivatives pricing tool (the source code for which accompanies the book). This program in itself will no doubt serve as an excellent starting point for Quantitative Development teams charged with the production of an in-house trading platform. Perhaps of even greater benefit though is Thulasidas's critique of the pricing tool, that is, in his explanation of how the supplied program fails to meet the requirements of a complete trading platform and how the program needs to be extended in order to be considered one. In this way, the line of thought of earlier chapters is reinforced and brought sharply into focus.
Throughout the book, Thulasidas manages to convey his ideas with remarkable eloquence and lucidity. Understanding is enhanced by numerous rich graphics outlining processes and their design (both in the software and work-flow sense). The reader's attention and interest is never lost and a great deal of entertainment is to be found in the numerous side-bars, the "Big Pictures" (in effect an enjoyable mini-series of magazine style articles in their own right).
As Thulasidas himself notes, the subject matter of his book is broad. Accordingly, the potential readership of this title is equally broad. Notably, Quantitative Developers at the beginning of their careers stand most to gain from this book. The fact is though that even the most seasoned of banking professionals would profit from its reading. Quantitative Developers, Quantitative Analysts, Traders, Risk Managers, IT professionals and their Project Managers, individuals considering switching from academia or other industries to a career in banking… Readers from each and all of these groups will find Thulasidas's work informative and thought provoking.
book reviewsquantitative finance
Books, Creative, Life and Death
Humboldt's Gift by Saul Bellow
January 27, 2009 manoj
I first found this modern-day classic in my father's collection some thirty years ago, which meant that he bought it right around the time it was published. Looking back at it now, and after having read the book, as usual, many times over, I am surprised that he had actually read it. May be I am underestimating him in my colossal and unwarranted arrogance, but I just cannot see how he could have followed the book. Even after having lived in the USA for half a dozen years, and read more philosophy than is good for me, I cannot keep up with the cultural references and the pace of Charlie Citrine's mind through its intellectual twists and turns. Did my father actually read it? I wish I could ask him.
Perhaps that is the point of this book, as it is with most classics — the irreversibility and finality of death. Or may be it is my jaundiced vision painting everything yellow. But Bellow does rage against this finality of death (just like most religions do); he comically postulates that it is our metaphysical denial that hides the immortal souls watching over us. Perhaps he is right; it certainly is comforting to believe it.
There is always an element of parternality in every mentor-protégé relationship. (Forgive me, I know it is a sexist view — why not maternality?) But I probably started this post with the memories of my father because of this perceived element in the Von Humboldt Fleischer – Charlie Citrine relationship, complete with the associated feelings of guilt and remorse on the choices that had to be made.
As a book, Humboldt's Gift is a veritable tour de force. It is a blinding blitz of erudition and wisdom, coming at you at a pace and intensity that is hard to stand up to. It talks about the painted veil, Maya, the many colored glasses staining the white radiance of eternity, and Hegel's phenomenology as though they are like coffee and cheerios. To me, this dazzling display of intellectual fireworks is unsettling. I get a glimpse of the enormity of what is left to know, and the paucity of time left to learn it, and I worry. It is the ultimate Catch-22 — by the time you figure it all out, it is time to go, and the knowledge is useless. Perhaps knowledge has always been useless in that sense, but it is still a lot of fun to figure things out.
The book is a commentary on American materialism and the futility of idealism in our modern times. It is also about the small things where a heart finds fulfillment. Here is the setting of the story in a nutshell. Charlie Citrine, a protégé to Von Humboldt Fleischer, makes it big in his literary career. Fleischer himself, full of grandiose schemes for a cultural renaissance in America, dies a failure. Charlie's success comes at its usual price. In an ugly divorce, his vulturous ex-wife, Denise, tries to milk him for every penny he's worth. His mercenary mistress and a woman-and-a-half, Renata, targets his riches from other angles. Then there is the boisterous Cantabile who is ultimately harmless, and the affable and classy Thaxter who is much more damaging. The rest of the story follows some predictable, and some surprising twists. Storylines are something I stay away from in my reviews, for I don't want to be posting spoilers.
I am sure there is a name for this style of narration that jumps back and forth in time with no regard to chronology. I first noticed it in Catch-22 and recently in Arundhati Roy's God of Small Things. It always fills me with a kind of awe because the writer has the whole story in mind, and is revealing aspects of it at will. It is like showing different projections of a complex object. This style is particularly suited for Humboldt's Gift, because it is a complex object like a huge diamond, and the different projections show brilliant flashes of insights. Staining the white radiance of eternity, of course.
To say that Humboldt's Gift is a masterpiece is like saying that sugar is sweet. It goes without saying. I will read this book many more times in the future because of its educational values (and because I love the reader in my audiobook edition). I would not necessarily recommend the book to others though. I think it takes a peculiar mind, one that finds sanity only in insane gibberish, and sees unreality in all the painted veils of reality, to appreciate this book.
In short, you have to be a bit cuckoo to like it. But, by the same convoluted logic, this negative recommendation is perhaps the strongest endorsement of all. So here goes… Don't read it. I forbid it!
book reviewsclassicsHumboldt's GiftmetaphysicsSaul Bellow
Books, Creative, Life and Death, Philosophy
The Razor's Edge by W Somerset Maugham
January 19, 2009 manoj 3 Comments
May be it is only my tendency to see philosophy everywhere, but I honestly believe Maugham's works are the classics they are because of their deep philosophical underpinnings. Their strong plots and Maugham's masterful storytelling help, but what makes them timeless is the fact that Maugham gives voice to the restlessness of our hearts, and puts in words the stirring uncertainties of our souls. Our questions have always been the same. Where do we come from? What are we doing here? And where are we headed? Quo vadis?
Of all the books of this kind that I have read, and I have read many, The Razor's Edge takes on the last question most directly. When Larry says, out of the blue, "The dead look so awfully dead." we get an idea of what his quest, and indeed the inquiry of the book, is going to be.
Larry Darrell is as close to human flawlessness as Maugham ever gets. His cynical disposition always produced vivid characters that were flawed human beings. We are used to snobbishness in Elliott Templeton, fear and hypocrisy in the vicar of Blackstable, self-loathing even in the self-image of Philip Carey, frivolity in Kitty Garstin, undue sternness in Walter Fane, the ludicrous buffoonery of Dirk Stroeve, abysmal cruelty in Charles Strickland, ultimate betrayal in Blanche Stroeve, fatal alcoholism in Sophie, incurable promiscuity in Mildred — an endless parade of gripping characters, everyone of them as far from human perfection as you and me.
But human perfection is what is sought and found in Larry Darrell. He is gentle, compassionate, single-mindedly hardworking, spiritually enlightened, simple and true, and even handsome (although Maugham couldn't help but bring in some reservations about it). In one word, perfect. So it is only with an infinite amount of vanity that anybody can identify himself with Larry (as I secretly do). And it is a testament to Maugham's mastery and skill that he could still make such an idealistic character human enough for some people to see themselves in him.
As I plod on with these review posts, I'm beginning to find them a bit useless. I feel that whatever needed to be said was already well said in the books to begin with. And, the books being classics, others have also said much about them. So why bother?
Let me wind up this post, and possibly this review series, with a couple of personal observations. I found it gratifying that Larry finally found enlightenment in my native land of Kerala. Written decades before the hippie exodus for spiritual fulfillment in India, this book is remarkably prescient. And, as a book on what life is all about, and how to live it to its spiritual fullness in our hectic age, The Razor's Edge is a must read for everybody.
book reviewsmaughamPhilosophyrazor's edgeSomerset Maugham
Books, Life and Death
December 29, 2008 manoj 1 Comment
I'm embarrassed to admit it, but I didn't "get" Catch-22 the first time I read it. That was some twenty years ago, may be I was too young then. Halfway through my third read a few weeks ago, I suddenly realized – it was a caricature!
Caricatures are visual; or so I thought. Catch-22, however, is a literary caricature, the only one of its kind I have read. Looking for a story line in it that ridicules the blinding craziness of a cruelly crazy world is like looking for anguish in Guernica. It is everywhere and nowhere. Where shall I begin? I guess I will jot down the random impressions I got over my multiple reads.
Catch-22 includes one damning indictment on the laissez-faire, enterprise-loving, free market, capitalistic philosophy. It is in the form of the amiable, but ultimately heartless, Milo Minderbinder. With inconceivable pricing tactics, Milo's enterprise makes money for his syndicate in which everybody has a share. What is good for the syndicate, therefore, has to be good for everybody, and we should be willing to suffer minor inconveniences like eating Egyptian cotton. During their purchasing trips, Yossarian and Dunbar have to put up with terrible working conditions, while Milo, mayor to countless towns and a deputy Shaw to Iran, enjoys all creature comforts and finer things in life. But, fret not, everybody has a share!
It is hard to miss the parallels between Milo and the CEOs of modern corporations, begging for public bailouts while holding on to their private jets. But Heller's uncanny insights assume really troubling proportions when Milo privatizes international politics and wars for everybody's good. If you have read The Confessions of an Economic Hitman, you would be worried that the warped exaggerations of Heller are still well within the realm of reality. The icing on the cake comes when someone actually demands his share — Milo gives him a worthless piece of paper, with all pomp and ceremony! Remind you of your Lehman minibonds? Life indeed is stranger than fiction.
But Milo's exploits are but a minor side story in Catch-22. The major part of it is about crazy Yossarian's insanity, which is about the only thing that makes sense in a world gone mad with war and greed and delusions of futile glory.
Yossarian's comical, yet poignant dilemmas put the incongruities of life in an unbearably sharp focus for us. Why is it crazy to try to stay alive? Where is the glory in dying for some cause when death is the end of everything, including the cause and the glory?
Along with Yossarian, Heller parades a veritable army of characters so lifelike that you immediately see them among your friends and family, and even in yourself. Take, for instance, the Chaplin's metaphysical musings, Appleby's flawless athleticism, Orr's dexterity, Colonel Cathcart's feathers and black-eyes, General Peckam's prolix prose, Doc Daneeka's selfishness, Aarfy's refusal to hear, Nately's whore, Luciana's love, Nurse Duckett's body, the 107 year old Italian's obnoxious words of wisdom, Major Major's shyness, Major — de Caverley's armyness — each a masterpiece in itself!
On second thought, I feel that this book is too big a chef d'oervre for me to attempt to review. All I can do is to recommend that you read it — at least twice. And leave you with my take-away from this under-rated epic.
Life itself is the ultimate catch 22, inescapable and water-tight in every possible way imaginable. The only way to make sense of life is to understand death. And the only way to understand death is to stop living. Don't you feel like letting out a respectful whistle like Yossarian at this simple beauty of this catch of life? I do!
book reviewscatch-22Joseph HellerPhilosophy
Books, Creative
The Unreal Universe – Reviewed
December 7, 2008 manoj
The national newspaper of Singapore, the Straits Times, lauds the readable and conversation style used in The Unreal Universe and recommends it to anybody who wants to learn about life, the universe and everything.
Wendy Lochner
Calling The Unreal Universe a good read, Wendy says, "It's well written, very clear to follow for the nonspecialist."
Bobbie Christmas
Describing The Unreal Universe as "such an insightful and intelligent book," Bobbie says, "A book for thinking laymen, this readable, thought-provoking work offers a new perspective on our definition of reality."
M. S. Chandramouli
M. S. Chandramouli graduated from the Indian Institute of Technology, Madras in 1966 and subsequently did his MBA from the Indian Institute of Management, Ahmedabad. After an executive career in India and Europe covering some 28 years he founded Surya International in Belgium through which he now offers business development and industrial marketing services.
Here is what he says about The Unreal Universe:
"The book has a very pleasing layout, with the right size of font and line spacing and correct content density. Great effort for a self-published book!"
"The impact of the book is kaleidoscopic. The patterns in one reader's mind (mine, that is) shifted and re-arranged themselves with a 'rustling noise' more than once.""The author's writing style is remarkably equidistant from the turgid prose of Indians writing on philosophy or religion and the we-know-it-all style of Western authors on the philosophy of science."
"There is a sort of cosmic, background 'Eureka!' that seems to suffuse the entire book. Its central thesis about the difference between perceived reality and absolute reality is an idea waiting to bloom in a million minds."
"The test on the 'Emotionality of Faith,' Page 171, was remarkably prescient; it worked for me!"
"I am not sure that the first part, which is essentially descriptive and philosophical, sits comfortably with the second part with its tightly-argued physics; if and when the author is on his way to winning the argument, he may want to look at three different categories of readers – the lay but intelligent ones who need a degree of 'translation,' the non-physicist specialist, and the physicist philosophers. Market segmentation is the key to success."
"I think this book needs to be read widely. I am making a small attempt at plugging it by copying this to my close friends."
Steven Bryant
Steven is a Vice President of Consulting Services for Primitive Logic, a premier Regional Systems Integrator located in San Francisco, California. He is the author of The Relativity Challenge.
"Manoj views science as just one element in the picture of life. Science does not define life. But life colors how we understand science. He challenges all readers to rethink their believe systems, to question what they thought was real, to ask "why"? He asks us to take off our "rose colored glasses" and unlock new ways of experiencing and understanding life. This thought provoking work should be required reading to anyone embarking on a new scientific journey."
"Manoj's treatment of time is very thought provoking. While each of our other senses – sight, sound, smell, taste and touch – are multi-dimensional, time appears to be single dimensional. Understanding the interplay of time with our other senses is a very interesting puzzle. It also opens to door to the existence possibilities of other phenomena beyond our know sensory range."
"Manoj's conveys a deep understanding of the interaction of our physics, human belief systems, perceptions, experiences, and even our languages, on how we approach scientific discovery. His work will challenge you to rethink what you think you know is true."
"Manoj offers a unique perspective on science, perception, and reality. The realization that science does not lead to perception, but perception leads to science, is key to understanding that all scientific "facts" are open for re-exploration. This book is extremely thought provoking and challenges each reader the question their own beliefs."
"Manoj approaches physics from a holistic perspective. Physics does not occur in isolation, but is defined in terms of our experiences – both scientific and spiritual. As you explore his book you'll challenge your own beliefs and expand your horizons."
Blogs and Found Online
From the Blog Through The Looking Glass
"This book is considerably different from other books in its approach to philosophy and physics. It contains numerous practical examples on the profound implications of our philosophical viewpoint on physics, specifically astrophysics and particle physics. Each demonstration comes with a mathematical appendix, which includes a more rigorous derivation and further explanation. The book even reins in diverse branches of philosophy (e.g. thinking from both the East and the West, and both the classical period and modern contemporary philosophy). And it is gratifying to know that all the mathematics and physics used in the book are very understandable, and thankfully not graduate level. That helps to make it much easier to appreciate the book."
From the Hub Pages
Calling itself "An Honest Review of The Unreal Universe," this review looks like the one used in the Straits Times.
I got a few reviews from my readers through email and online forums. I have compiled them as anonymous reviews in the next page of this post.
Click on the link below to visit the second page.
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Harvest Rock Festival 2022
Rymill Park, Adelaide
Adelaide played host to the first ever Harvest Rock Festival, with the line up showcasing a plethora of fantastic musicians from all over Australia for fans to enjoy. Throw in a few International acts like Jack White and we had ourselves a festival.
A wet and windy weekend didn't stop punters enjoying some great music with crowds entertained by Jack White, Crowded House, Goanna, The Black Crowes, Cat Power, Groove Armada, Tones And I, Sam Fender, Meg Mac, Genesis Owusu, Electric Fields and more.
Behind the lens: Matt Carty
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'Lolly-Madonna XXX' (1973): Atmospheric, violent & senseless Southern cult classic
Strange, hypnotic doom and gloom Southern cult classic, a modern-day Hatfield and McCoy feud underpinned by a violent, fatalistic melancholy.
We need a Blu-ray on this one: Warner Bros.' Archive Collection released Lolly-Madonna XXX, the dreamlike, languidly brutal 1973 actioner from Metro-Goldwyn-Mayer, co-scripted by Sue Grafton (from her novel), directed by Richard C. Sarafian, and starring Rod Steiger, Robert Ryan, Jeff Bridges, Scott Wilson, Season Hubley, Ed Lauter, Randy Quaid, Kiel Martin, Katherine Squire, Tresa Hughes, Gary Busey, Paul Koslo, and Joan Goodfellow. A disastrous choice of a title, a last-minute edit to tone down the movie's violence, and a few well-placed savagings by prominent New York critics doomed Lolly-Madonna XXX to failure and subsequent obscurity. Seen now, Lolly-Madonna XXX ain't no ordinary hillbilly exploiter—it's a remarkably atmospheric take on the inevitable escalation of violence fueled by misunderstood circumstances, primordial urges, and personal weaknesses. A real find for lovers of 70s moviemaking.
Click to order Lolly-Madonna XXX at Amazon.
Your purchase helps pay the bills at this website!
The back mountains of Tennessee, 1972. A peaceful meadow separates two families once joined by love, and now torn apart by hate. A hundred years ago, descendants of the Feather family owned everything the eye could see around the meadow. Now however, the Gustshall family—neighbors to the Feathers for ten years and once good friends—purchased the property two years ago at a back taxes auction, sowing the seeds of distrust and a growing animosity between the Feather clan's patriarch, Laban (Rod Steiger), and the leader of the Gutshall family, Pap (Robert Ryan).
Previously, the financially-strapped Laban ordered his sons to steal Pap's hogs; in retaliation, Pap's oldest son, Ludie (Kiel Martin) dreams up a plan—endorsed by Pap—to distract Laban's sons Thrush (Scott Wilson) and Hawk (Ed Lauter) from their moonshine still where the hogs are being penned. Ludie sends a fake postcard he knows the Feather boys will intercept that comes supposedly from Ludie's made-up fiance, "Lolly-Madonna," whom Ludie wrote will be waiting at a deserted bus junction. The ruse works, with the bored, agitated Thrush and Hawk rushing to the junction to see if "Lolly-Madonna" shows up.
Meanwhile, Ludie and brother Seb (Gary Busey) raid the still while brother Villum (Paul Koslo) keeps watch, with Ludie losing control and wrecking the Feather still…something his father Pap didn't authorize. When Thrush and Hawk arrive at the lonely bus stop, they spy pretty Roonie Gill (Season Hubley), a newly emancipated foster child whose bad luck it is to be waiting at that particular bus stop, at that particular time. Hawk and Thrush kidnap her and take her back to Laban, who refuses to believe her story; he figures he can exchange her for his meadow land. What follows is a series of misunderstandings and miscalculations on both families' part, as the violence inexorably escalates—between the families and within the families—to unmanageable, deadly levels.
Until I snagged Warner's Archive disc of Lolly-Madonna XXX a few years back, it was one of those movies you remember from your youth…but that you can't quite place (I have very vague, fuzzy jots of seeing it at a drive-in with my older brothers…but quite honestly, I could be remembering just seeing the trailer, such are the brief flashes available to me). I've never read the original 1969 book, The Lolly-Madonna War, by Sue Grafton, which she adapted and co-scripted for the screen (apparently very few people have read it; it was only published in the U.K., in paperback form), so I don't know how much of what I'm seeing on the screen comes from the source material.
What part of the script is Grafton's work is up for grabs, too; the screenplay is also credited to Rodney Carr-Smith (he's listed first), who also happens to be the movie's producer…so one might assume his contributions would dominate (I couldn't find anything specific Grafton said about this movie, but her well-known desire to see none of her subsequent Alphabet mysteries turned into Hollywood productions might indicate frustrations with the moviemaking process that started here with Lolly-Madonna XXX).
I'm not even sure what Lolly-Madonna XXX is on this disc. After a little digging, I found out that the movie was screened for some critics with an "R" rating back in '73, before it was trimmed by 2 minutes to receive a "PG" rating for its general release. A nude scene was supposedly chopped, along with excessive violence (the AFI catalog gives an initial run time of 105 minutes, and then 103 minutes, which would account for those 2 excised minutes). Several sources indicate that that "R"-rated version is the one that raised the ire of snotty, liberal New York critics like Vincent Canby and Rex Reed (they're going to like a hillbilly movie?), and yet…Canby's review references a running time of 103 minutes for the "PG"-rated Lolly-Madonna XXX.
This Warner Archive disc is listed at 105 minutes, which sounds like the original run time…but it carries a "PG" rating, and clearly there are obvious edits in this version that indicate cutting away from scenes of violence (such as the rape scene, Ryan showing Steiger the injuries Goodfellow suffered during the rape, and Steiger's gruesome stomping of Wilson). And yet, Season Hubley is, very briefly, nude for a flash here. So…what gives?
Having grown up on titles from the 70s, I feel pretty confident that what is present here on this disc would not have received an "R" rating back in 1973 (although you never know—Peckinpah blasted out a chunk of some guy's skull in the PG-rated The Killer Elite, from '75). But I also know that M-G-M fiddled with Lolly-Madonna XXX's scattershot release in a vain effort to sell it to the public, including changing its title several times when the moonshine "XXXs" made everyone think it was a porno—particularly the newspapers that wouldn't advertise it (boy have times changed…).
I've seen ads that listed it as The Lolly Madonna War, Lolly Madonna and The Tennessee Feud and Fire in the Meadow, the name slapped on the trailer Warners includes on their disc. M-G-M, despite notorious studio head James Aubrey's life-saving economics, was in artistic freefall by 1973, releasing only 15 features for the year—most of them low-budget exploitation outings like Sweet Jesus, Preacherman, Wicked, Wicked, Deadly China Doll, and The Slams—it's not surprising Lolly-Madonna XXX received a half-assed release. So, the possibility of multiple versions of Lolly-Madonna XXX screened during its brief national and then regional runs, is entirely plausible.
Those other versions aside, what is here is quite effective. The critics that did bother to see it were mostly split on Lolly-Madonna XXX when it first came out in February, 1973. Those that hated it cried "pointless exploitation," but it's hard to see where they got that from (…unless they saw that harsher "R" edition), since Lolly-Madonna XXX's layered, thematically dense narrative deliberately tamps down any prurient, vicarious pleasures that could arise from its potentially exploitative elements.
Opening with a series of black and white snapshots of the neighboring, united Feather and Gutshall families in much happier times, composer Fred Myrow's haunting, mournful music immediately qualifies those seemingly cheerful moments, intimating at the quiet yet terrible pain the families and their members now feel—emotions that will slowly build to a conflagration of tragic, senseless violence. The opening sequence seems to promise just the kind of B drive-in jolts you might expect from a hillbilly actioner: Koslo, Martin, and Busey bait a phony trap for Wilson and Lauter to abandon their 'shine still, while lecherous Wilson and Lauter snatch innocent bystander Hubley from the bus stop.
But director Richard C. Sarafian (Vanishing Point, Man in the Wilderness) deliberately downplays each act: there's nothing "fun" or exciting about Martin smashing the still (voice-of-reason Busey questions why Martin's doing it, which clues us in that unauthorized Martin is going too far), and Hubley, despite that suggestive one-sheet poster artwork and Sarafian's ironic visual build-up (the shots of Lauter leering at her from the truck can only mean one thing, right?), isn't mistreated by anyone during her capture (in fact, she falls in love for the first time).
Once we're inside the houses of the two families, the hooting and hollering stops, and we discover the characters in Lolly-Madonna XXX aren't going to be the typical backwoods movie stereotypes we anticipated from that opening sequence (how could we not think that with Sarafian's ironic emphasis on those menacing close-ups of squinty-eyed bastard Lauter?). Instead, they're relatively thoughtful, conflicted, troubled individuals whose inability to communicate and break through their established familial roles ultimately destroys them. The fact that the scriptwriters and Sarafian are able to dimensionalize these sometimes repellent characters, including two rapists, to the point where we feel a measure of pity for their lot, is testament to a movie that's a lot more complicated and challenging than your typical Southern drive-in exploitation number (and a nice poke in the eye to the "woke," triggered liberal critics who would have this movie banned simply because it's set south of the Mason-Dixon Line).
Several critics back in '73 saw parallels to the Vietnam War in Lolly-Madonna XXX, which isn't exactly surprising since most liberal critics back then made a shout-out for the conflict in reference to seemingly any movie that had violence in it. That's too generalized and simplistic an anti-war reach in reconfiguring Lolly-Madonna XXX's dynamics, which more closely explore the frustrations and rage of flawed families and their damaged members, filtered through primal, deadly traditions. Misunderstandings built on perceived slights and "pranks" fuel the bad feelings already present between the neighboring families—and within their own ranks—before ages-old patterns of violence and revenge take hold.
In Lolly-Madonna XXX, the core of the Feather and Gutshall feud is a disputed piece of meadowland, but that's just the catalyst for betrayals, big and small, from dirty little tricks like stealing hogs or wrecking stills, to homicidal parental bullying and equally deadly patriarchal indecisiveness. Where the rot truly begins, we learn from Wilson and Lauter, is with Steiger, spoilers who apparently had stronger-than-normal feelings for his son Bridges' wife (Bridges mentions how Steiger and her would go off driving together, or shooting…with a bit of sadness in his voice), culminating in a grief-stricken Steiger killing all of son Wilson's horses, including the one that threw the girl, before settling in to emotionally and physically torture innocent Wilson for this accident.
From that point on, as a dying Lauter later tells Hubley, the love went out of the Feather family, and they all went downhill with Steiger. Subsequently losing a piece of their Feather heritage—the meadowland—only deepens Steiger's impotence and rage, with his boys following suit, and Ryan's boys responding in kind (only Ryan's son, Busey, repeatedly asks for peace…and gets his head blown off for his troubles).
The Gutshall house is no better off for Ryan's supposedly more "reasoned" approach to the feud. Relative newcomers to the area (10 years means "just passing through to the Feathers," states Busey, the movie's most sensible character), the Gutshalls' acquisition of the meadowland looks like it has done nothing to bump them up in either status or wealth, in comparison with the equally down-on-their-heels Feathers. Internal divisiveness apparently stems from a dead son, lost in Vietnam and venerated in the home, where his photo and medals are prominently displayed.
Hot-headed son Martin feels the most resentment towards Ryan's worship of this ghost, but ironically, you can see the effects right down through "the ranks," so to speak, from blood-thirsty killer soldier Martin, to delusional wannabe Koslo (always playing at soldier, he cluelessly wraps up eggs and calls them "grenades" for the final deadly assault on the Feather house), to conscientious objector Busey, the lone voice of sanity in the house who constantly consuls calling the law in, or apologizing to the Feathers, while he himself refrains from violence altogether (you could even stretch the analogy to include Joan Goodfellow's Sister E as a civilian collateral damage, raped by the "enemy" Feathers).
Giving out a confusing passive-aggressive vibe (Ryan okayed Martin engineering the "Lolly-Madonna" scam, but he doesn't approve of the Feather 'shine still being smashed…but he won't do the decent thing and apologize for it and make it right), Ryan's patriarch is an indecisive, hypocritical family leader who lets everything spiral out of control before he resigns himself to the worst solution possible: violence. And for what? For a stranger? His son Martin is correct: Ryan's "principles" are completely out of whack when he first wants to endanger his family by "rescuing" stranger Hubley (because Ryan feels responsible for her plight), versus sitting around and waiting and "thinking" when Ryan has every right to do what Martin demands—killing those Feather boys responsible for raping his daughter (just listen to Ryan's nonsensical discussion of "principles" and "scruples," before Martin cuts the sh*t and lays it out: "You know what my basic scruple is? Not to get my ass shot off for your basic principles.").
That's some fairly heavy underlayment for what many critics dismissed as a low-minded, violent redneck programmer…though Lolly-Madonna XXX certainly isn't perfect. The editing can be unnecessarily choppy at times (again, who, exactly, did the cutting for this version might help explain: you can't discount the chance that M-G-M honcho James Aubrey had a hand in it). Season Hubley's opening narration is nicely downbeat and fatalistic, but it immediately disappears, making us scratch our heads for a half-hour or so, waiting in vain for it to come back.
And as much as I loved Ed Lauter's work in the 1970s (one of the premier screen psychos of all time), I'm not sure what to make of Sarafian's emphasis on his character's quirks here; specifically, the "comedic" scene where he pretends to be a backwoods Elvis, complete with an unseen announcer on the soundtrack egging him on, and the disturbing scene, right before he rapes Goodfellow, were he puts on Hubley's underwear and makeup for the amusement of Wilson. These two scenes are frequently mentioned by reviewers as standouts, and they are memorably strange…but they also throw the balance off with the other characters' developments (Kiel Martin has an equally important part here, but his character doesn't have any of these solo "interior" moments like Lauter's…nor does anyone else, except perhaps Bridges' wordless flashbacks to his wife's death).
The rape scene is also problematic, directly echoing (too closely) Peckinpah's Straw Dogs, when Wilson forces himself on Goodfellow, who is shown responding favorably to his advances, before she screams in terror as Wilson holds her down for a make-up smeared Lauter (the scene ends at that moment). What's interesting, though, is how Lolly-Madonna XXX handles the aftermath of this repulsive sequence: a scene of beautifully understated tenderness follows where Goodfellow's pained, non-judgmental mother, Elspeth (Tresa Hughes), soothes a confused Goodfellow, detailing her own initiation to sex (she found it "rude" with new husband Steiger, and went home to her mother, before her mother convinced Hughes it was like drinking coffee: an acquired taste). She assures Goodfellow she can "start over again" the next time she falls in love. That's indicative of Lolly-Madonna XXX's complicated aesthetic: alternately brutal and incredibly sensitive.
By the time Steiger is roasting Ryan's hogs alive in the disputed meadow, Lolly-Madonna XXX begins to achieve a noteworthy sense of inexorable doom. Loyalties within the families disintegrate, and the bodies start piling up. And finally, you begin to see the spine of what Lolly-Madonna XXX is getting at: these two failed patriarchs, completely different in their approaches to the feud, wind up in the exact same spot—pointless violence that solves nothing.
Spoilers Steiger, physically bullying his sons to the point where they become self-destructive animals (but also cowardly enough that he lets his wife Chickie answer Ryan's house call), literally tries to stomp out his own failures by kicking whipping boy Wilson to death, before he loses his mind and is ordered to his room like a child by son Bridges (Katherine Squire as Steiger's long-suffering wife, Chickie, has a bravura moment when she quietly tells her son's murderer that he no longer exists to her…one which the script later ironically undercuts when it has her blowing off hostage Busey's head for the death of her son, Skyler…while chicken headcase Steiger makes a sandwich).
Ryan, passive and indecisive, refuses to listen to his son Busey's entreaties to call the law, instead relying on son Martin to do the rough stuff while he sits back and contemplates "scruples and principles." Ryan is so removed from how far the situation has deteriorated, that when his wife is shot dead, he bemusedly wonders about the various calamities that are listed on his wife's insurance forms ("How does somebody lose a left foot and the sight of one eye?"). He finally resigns himself to direct violence when his "thinking" comes up short, and the decision achieves nothing.
Director Sarafian makes sure the final assault on the Feather home isn't "exciting." We're not encouraged to root for either family, and we get no satisfaction or cathartic rush when people start getting picked off. The final images of Lolly-Madonna XXX—the freeze-frame sepia shots of Steiger and Bridges and Ryan frozen in the middle of the ambush—sure seem like a post-production fiddle for a scene somebody didn't like. However, it does work in the end: it's a completely unsatisfactory resolution for a raw, violent, senseless sequence…and that's just what Lolly-Madonna XXX has been trying to say, all along.
October 20, 2019 September 28, 2019 Movies & DrinksFilm Review1970s, drama, Ed Lauter, Fred Myrow, Gary Busey, James Aubrey, Jeff Bridges, Joan Goodfellow, Katherine Squire, Kiel Martin, Lolly-Madonna XXX, Paul Koslo, Paul Mavis, Randy Quaid, Richard C. Sarafian, Robert Ryan, Rod Steiger, Rodney Carr-Smith, Scott Wilson, Season Hubley, Sue Grafton, The Lolly-Madonna War, Tresa Hughes, Warner Archive
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Engineered Wood & Wood Components
In a previous article, we wrote about where we find the material wood in our everyday life. It turned out that we have it everywhere around us. But people, the public, don't understand that it often is wood that surrounds us – wood that comes from the trees in the forest. So, what could be done with wood? In Sweden they almost only make pulp, paper, and sawn timber of their woods.
New challenges for the Swedish forest industry
The EU is evident in their new EU Forest Strategy for 2030 – more wood construction and more sustainable materials. Recent decisions, programs, and directions, such as Green Deal and others, show that wood as a material is a winner in future Europe. This should be good news for a country like Sweden with all the forest and forest industry. But how is Sweden's ability to face this new future? For example, could engineered wood be an alternative for the Swedish Forest industry?
Only 21 % of the harvested volumes from the Swedish forests become wood products today. The rest becomes pulp for paper and cardboard, but most wood is burned at the pulp mills and the heating plants, something that the EU is not as enthusiastic about the Swedish forest- and energy industries.
The production of wood-based panels and engineered wood is exceptionally modest in Sweden compared to other forestry nations. However, one might think that it would look different and that the possibilities for the Swedish forest industry in the future should be good as more and more shall be built from wood materials according to the EU.
Let's look at different wood products that should be possible for the Swedish Forest industry to produce – if they are interested.
OSB – the North American Oriented Strand Board is becoming more and more popular in Sweden, the import increases steadily. However, there has never been any production of OSB in Sweden.
We have listed three such product groups and will describe them: Components of solid wood, wood-based panels, and wood-based building components.
Components of solid wood
Here we find glulam, CLT (Cross Laminated Timber), edge-glued panels, and blockboard. All have that in common that they consist of solid wood pieces that are glued together.
It is mainly used in construction as supporting pillars and beams in frames and ceilings. Glulam has an excellent strength/weight ratio and keeps its strength also in the case of fire. It's manufactured as square beams in various dimensions and could be made in very long lengths. Glulam is also used in advanced and sometimes spectacular truss constructions.
Glulam is used in more significant buildings but also bridges. Thinner dimensions of glulam could be used in smaller buildings for load-bearing structures.
Glulam is used in trusses and other bearing constructions.
In Sweden, glulam is mainly made of spruce wood; Moelven, Holmen, and Setra are producers.
The benefits of glulam, apart from that it is strong, is that it is made of renewable raw material, is recyclable and esthetic according to many, it simply looks good. One downside is that it requires glue that today can't be produced from renewable sources and that it consumes large volumes of "premium wood."
You can read more about glulam here.
CLT – Cross Laminated Timber
CLT is a large building element made of boards that are glued together crosswise in layers. The result is large solid wooden boards that could be used as load-bearing walls and floors in houses depending on thickness and strength. The principle is the same as for glulam, but instead of gluing the board layers together in the same direction, the layers are alternating with 90 degrees difference, like plywood made of solid wood.
In the manufacturing process, adaptions are often made for specific building projects. For example, holes for windows and doors are cut out, and canals for installations (cables, pipes, etc.) could be milled out directly according to the building's drawings. Construction with CTL reminds me of building a gingerbread house where each part comes from the factory ready to be assembled.
CLT – Cross Laminated Timber are large sheets of cross glued lumber
One of the benefits for the building contractor apart from that CLT is made of renewable materials, is that the assembly is fast and requires less transportation as it is much lighter than, e.G., concrete elements. A benefit for the CLT manufacturer is that you can adapt the product for a specific construction project.
Just as for glulam, the downside of CLT is the nonrenewable glue and that it takes a lot of premium wood to produce it. When the wood prices rice like in the past year, CLT becomes expensive. A future possibility could be to use low-quality softwood and hardwoods as raw materials.
CLT is a relatively new product in Sweden, but production increases rapidly. Martinsson, Stora Enso, Setra and Södra are Swedish producers of CLT today. Both the Swedish and the global markets for CLT are expected to grow in the future.
Edge-glued panels
Edge-glued panels are sheet material made from dried mass timber. The panels are produced by gluing together 40 – 45 mm wide woodblocks, usually softwood, although hardwood may also be used. There are various methods, but the most common is to glue the blocks edge to edge to form a sheet of solid wood. It could also be done in layers glued in different directions, like a miniature CLT sheet. It's also common in edge-glued panels that small blocks are finger-jointed into larger pieces.
Edge-glued panels are available in many wood species. Most of them are used for furniture, joinery, and interior fittings. There are also edge-glued panels for outdoor use, e.G., house panels.
A benefit of edge-glued panels is that tiny bits (waste bits) of wood could be used by finger jointing them into larger blocks. Some might say that a downside is that it consists of solid wood when it could have been made of fiber- or particleboard with veneer on the surfaces. Therefore, particle- and fiberboard could be made of recycled wood and is more environmentally friendly(?).
There are many manufacturers of edge-glued panels in Sweden, although some are pretty anonymous sub-suppliers to larger companies. There is a vast import of edge-glued panels to Sweden, mainly from eastern Europe and Asia, especially China.
Blockboard is an edge-glued panel that is reinforced with a veneer or fiberboard. Here with thin MDF board.
Blockboard is an edge-glued panel that is reinforced with a symmetrically bonded veneer or fiberboard. It was more common before in furniture and joinery but is replaced with other wood-based panels today. There are, to our knowledge, no large-scale manufacturers of blockboard in Sweden today. There are, however, several wholesalers who import blockboards of different kinds. It's mainly used in furniture and interior fittings.
Wood-based panels
Wood-based panels are the most extensive product group within engineered wood. Here you can find materials that have a long history but also good prospects for the future. The products may have been around for a long time, but they are constantly developing. The global market for wood-based panels is gigantic; over 500 million cubic meters per year are produced if you count all types of panels. And the market is growing.
Sweden is a tiny player in this game, but we are a big importer of wood-based panels. In 2020 the import was worth 500 million Euros, according to official statistics. An increase by almost 40 % in 10 years.
Here is a short description of different types of wood-based panels.
Plywood consists of several layers of thin veneer that are glued together under pressure. The veneer layer's fibers are cross-laminated by 90 degrees between the layers. This has given the product the name "cross veneer" in some cases. Plywood is an old product that goes back to the ancient pharaohs in Egypt. It took until the 1800s until it became an industrial product in the US. By the end of the 19th century, the turning of the veneer layers became standard, which meant higher productivity, larger volumes, and lower prices.
The first plywood factory in Sweden (Edsbyn) started in 1912. After that, several plywood factories were built throughout the country. Today is, however, only one left, the Moelven Plywood factory. Otherwise, we import plywood from Finland and the Baltic states.
Plywood is strong and is used within the construction-, furniture- and interior fittings sectors. Other sectors where plywood is frequently used are within the vehicle- and offshore business. Plywood is used as a surface layer on boats, truck bodies, etc. Of the wood-based panels, plywood is the one that is mostly produced in the World.
It's made in many different qualities and types: Softwood like spruce and pine for construction and plywood of birch wood for interior fittings, public spaces, and the transport sector. Plywood that has been impregnated or surface-treated could be suitable for outdoor use. There is plywood of tropical species or fast-growing Pinus radiata, light plywood made of poplar, etc.
Plywood is manufactured in many countries, of which China, India, the USA, Indonesia, and Russia are the largest producers. In Europe, Finland is the dominating producer with a World market share of 1 %.
Although there is one plywood factory in Sweden, we are net importers. We import (according to FAO) approx. Two hundred thirty-five thousand cubic meters of plywood and exports 30 000 cbm.
A benefit of renewable plywood is that it is light but still firm. The manufacturing process is efficient, and large volumes can be produced. Plywood is an excellent alternative to solid wood as it is thin, light, and still strong, making it suitable for, e.G., roofs.
The glue used is the major downside, just as with the other types of engineered wood, as it is not renewable.
Particleboard
Large-scale production of particleboard started in the '40s. In Sweden, SCA was the first to create experimental manufacturing in north Sweden, but that plant was closed already in 1954. Officially, the production of particleboard started in Sweden in 1956 in south Sweden.
Particleboard is made of sawdust that is mixed with glue and pressed into the board. Depending on the mix and the pressure, different types of panels could be made. The particleboard quickly became popular due to its dimensional stability and the fact that it was launched when a lot of large construction projects were underway. Factories popped up everywhere in Sweden. One of the two remaining particle board manufacturers, Byggelit, had five factories at the most. Today they have one; IKEAis the other one.
In the '80s, the particle board was the most common wood-based panel in the World, but plywood has taken over the throne in the last years and is now the most common. Particleboard is, however, still used in the furniture-, interior- and construction sectors.
In Sweden, except for the two producers as mentioned above, the production of particleboard has disappeared. A significant reason for this is a co2 tax that made it more profitable to use sawdust and other rest products from the wood industry as fuel. The particleboard manufacturers were used to getting their raw materials almost for free. Still, as the bioenergy sector could pay for the same material, not much was left for particle board manufacturers.
The introduction of the co2 tax was that Sweden wanted to get rid of the imported oil and replace it with local fuels such as wood pellets. A "wood fiber law" introduced in the '80s (and disappeared in 1993) that gave the woodworking industry priority to the wood raw material and its byproducts didn't help. The particleboard manufacturers went bankrupt one by one until today's two, Byggelit and IKEA, were left.
In other markets with a parallel development of the bioenergy sector, like Austria and Germany, the particleboard industry has managed to survive by developing their products. Customer adaption depends on what it should be used for. Simply put less sawdust and more air in the boards. Or, like many manufacturers offer today, particleboard coated with veneer or laminate as components to the furniture- and interior industry.
Today, particleboard of recycled wood is available, just like a lightweight board made of poplar, "a fast-growing tree species grown on agricultural land." The largest producers of particleboard in the World are found in China, Russia, Germany, and Poland.
According to the FAO (Food and Agricultural Organization), Particleboard is the type of board that is most imported to Sweden, totally almost 500 000 m3. The export from Sweden is a little less than 60 000 m3according to the same source.
OSB – Oriented Strand Board
OSB has rapidly become popular in Sweden. It's a relatively new product; the production started in the USA in the '60s. OSB, Oriented Strand Board, means that long, thin strips/strands are oriented in different directions in a sheet. The strands usually are around 2,5 x 15 cm (1 – 6 in), mixed with glue, and placed in layers with varying orientations. In each board's first and last layers, the strands are put in the longitudinal direction with the board. The layers are pressed under heat, and the strands are glued together.
OSB has similar strength as plywood but is much cheaper and lighter. It is a base component in house building in the USA but has also reached Europe. You will find large OSB producers in Europe in Romania, Germany, Poland, and the Czech Republic. However, most production of the OSB is located in the USA, Canada, China, and Russia. Totally 35 million m3 of OSB is produced in the world annually. Sweden has never had any production of OSB, but its use of it is increasing fast. Today we import 150 000 m3 OSB every year.
The benefits of OSB are a good strength/weight ratio and that it could be made from many types of wood raw materials, also from species that are generally not used or have a low value.
MDF, Medium Density Fiberboard, has become an increasingly common product, especially furniture and interior fittings. Just like in the manufacturing of particleboard or OSB, MDF is made in a dry process. The difference is that the raw material for MDF has been ground to much smaller particle size, down to fiber size. MDF could be made of many different wood materials if it could be ground to the correct size. The process is, to some extent, like the TMP process (Thermo Mechanical Pulp) of making pulp. Wood chips are heated up and ground between two grinding discs. The fibers are mixed with glue and pressed to hard and homogeneous sheets.
MDF is easy to process, like solid wood, and it's also easy to treat the surface. It has become popular as a material in interior and furniture. In addition, MDF boards could be treated for outdoor use and fire resistance.
MDF has been produced in Sweden. The production started in the '90s but was closed in 2012, meaning that all MDF used in Sweden today, more than 230 000 m3, is imported. According to the FAO, the World production of MDF is similar to plywood and particleboard, a little over 100 million m3. China is the largest producer of MDF, followed by Brazil, Turkey, Germany, Thailand, and Poland.
Board – wood fiberboard
Different types of wood fiberboard have been made in Sweden through the years and in large volumes. Well-known brands were Treetex (who used a Swedish patent to release the fibers) and Masonite. The first one was a porous board and the latter a hard one. The wood fiberboards are, indifferent to the previously described boards, produced in a wet process.
The wood material is decomposed to fiber, just like the MDF boards, but mixed with water before it's placed on a cloth and pressed to sheets. In this process, no glue is needed. The natural "glue," the lignin, in the wood is enough to make the products stick together. An unmistakable characteristic of wood fiberboard made in a wet process is that they have a pattern after the cloth on the backside.
The American William H Mason got a patent for a method to decompose the wood fibers with vacuum in 1924. That product was called Masonite. The first Swedish factory for Masonite was built in 1929 when P Wikström Jr bought the manufacturing rights and started a production in Sweden where both porous and hard Masonite boards were made.
The Swedish engineer Arne Asplund, working for Mason in the USA, developed another method to decompose wood into fibers in the 1930s. This method is the one described above for the MDF board. Asplund got a patent for his technic in 1934, and several board factories based on his method were built in Sweden. Porous wood fiberboards became in high demand both in Sweden and abroad. The board production was so successful that after World War II, Sweden was the World's largest producer of wood fiberboard. Today there is no production of wood fiberboard in Sweden. The closest factory is owned by Hunton and is located in Norway.
Wood fiberboard. Wall sheets from the Norwegian branch of Hunton.
Porous wood fiberboard could be impregnated to become moisture- or fire-resistant. Hardwood fiberboards could be coated for different use. The World's production of wood fiberboard is modest compared to plywood, particleboard, and MDF. Approx. 7 million m3 annually. The largest producers are the USA, Germany, Poland, and Japan.
A veneer is not a sheet material in a sense like other products described in this article. Instead, it's a thin layer of solid wood that is tightly connected to the board and other sheet materials as it needs some surface to be glued to. The light (0,5 – 3,0 mm) veneer is often the visible part of the furniture- and interior products. Underneath the veneer, you can find either solid wood, MDF, or particleboard.
The veneer could be cut/planed with a knife or turned like when you make plywood (plywood is made of veneer layers glued together to a sheet). Before the veneer is cut or turned, the log is steamed in a steam chamber or hot bath to make the wood more flexible. Exclusive wood species are always cut (planed) with a knife to keep the wood surface's natural look. This kind of veneer is costly. It could be curly birch, walnut, or other species with beautiful patterns. For example, more common veneers are, e.G., an oak veneer used for furniture and interior fittings made of MDF or particleboard.
Veneers of different hardwoods.
There are also veneers that are more artistic designed. The material is processed in several steps: Glued together in patterns and then cut again, for example, to get an uneven structure. The simpler veneer is used as a component in other products. Extensive usage of this is the lower layer of a laminated floor, which is a floor that contains several layers of which one is visible.
There is one manufacturer of veneer in Sweden today, producing veneers of spruce for flooring. Earlier, there were several veneer plants across the country.
The global production of veneer is, according to the FAO, approx. 15 million m3 annually. The largest producers are China, Russia, Vietnam, Indonesia, and Canada. There are no European countries on the top-ten list of veneer producers. Sweden imports 12 000 m3. It may sound minor but bear in mind that if the thickness is 2 mm, 1 m3 will cover a 500 m2 surface.
Wood-based building components – Structural composite lumber – SCL
This is not wood sheet materials, but it's presented here anyway. It is partly manufactured in the same way and with the same raw material as the sheet materials, especially OSB and plywood.
This is a relatively young product that has its roots in the US. Another name for it is Engineered Wood Products, EWP. The main area of use is within the construction sector. Characteristic for the product category is that it is often customized to be used in standardized building systems.
A critical benefit of SCL/EWP is that it has predicable, very good, and well-defined strength properties. Unlike studs made of solid wood, where the strength is decided by the weakest point, like a knot, etc., the characteristic of the wood is evened out in a glued product that contains several layers. A knot in a veneer layer doesn't affect the strength of the whole creation.
This attracts the construction sector that needs light and robust components that are predictable and fits into building systems. Many of those products demand only low-grade raw material. They have higher raw material utilization than products made of solid wood—a good point in the climate discussions that we see today.
As with many other engineered wood products, the downside is the glue that is not yet a renewable product.
There is no production other than LVL (see below) in the Nordic countries. The use of this type of product in Europe is very modest but looking at OSB, we know that the market for a specific product can change fast. So, for the Swedes and the other Nordic countries, it might be a good idea to keep an eye on "SCL/EWP."
LVL- Laminated Veneer Lumber
LVL was developed in the US during the '70s as smaller building components called "Micro-LAM." The production took off in the '80s. LVL is made of veneer layers glued together with all the fibers oriented lengthwise, unlike plywood, where the layers are oriented crosswise. Another difference is that LVL is not made in sheets but more like beams that could be made in very long lengths.
LVL has good and predictable strength characteristics and is used for bearing constructions like trusses, tiers of beams, and frames, mainly indoors. LVL is also used to produce so-called i-joist as upper and lower layers glued onto a bearing component of OSB or fiberboard.
In the Nordic countries, LVL is produced by Metsä Wood in Finland under the brand Kerto and Stora Enso in Finnish Varkaus.
PSL – Parallel Strand Lumber consists of long strands that are glued together into solid beams.
PSL is made of long strips of veneer, so-called strands, that are glued together to strong beams. The strands could be several meters long, and all are oriented with the fibers lengthwise in the beams. This gives a homogeneous material with very high strength in relation to the weight. PSL is used as bearing components, mainly indoors.
LSL – Laminated Strand Lumber
This is a product that very much looks like LVL but is closely related to OSB. The strands are shorter than in PSL, shorter than 30 cm (1 ft), and lower quality wood, often hardwoods, is used. Unlike PSL, all strands are not placed with the fibers lengthwise, giving components with better strength and form characteristics. It's mainly used in the construction sector.
LSL – Laminated Strand Lumber could be used in bearing constructions.
OSL – Oriented Strand Lumber
It is like LSL but has shorter strands oriented lengthwise and glued together under pressure into different components. Low-quality wood is used, preferably hardwoods like birch, aspen, and poplar. OSL is used in several types of bearing constructions in buildings and furniture.
OSL – Oriented Strand Lumber reminds of OSB but is made in thicker dimensions like studs and beams.
Looking at Torbjörn's presentation of wood-based materials, one might think that Sweden as a nation has several options to utilize its forests in a way that meets the demands of the EU Forest Strategy for 2030. The question is if the industry is interested in that? The pulp- and paper industry in Sweden is powerful and is ruling Swedish forestry.
A huge step is switching from today's industry into producing the products mentioned in this article. On the other hand, Sweden did have a large board industry before so, why not again? Money!! Is one answer. There is no doubt that Sweden makes money on pulp and paper and most likely wants to continue doing that. But looking at the markets today, it seems it should be possible to make money also on wood-based materials.


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Agave farmers 'pushed into a corner'
13th April, 2016 by Richard Woodard
This article is over multiple pages: 1 2 3
With an unavoidable reliance on an agricultural product subject to price rigging, disease, glut and shortage, what does the future hold for the Tequila category?
Some Tequila producers believe the agave shortage may have been "designed" by farmers
*This article was first published in the October 2015 issue of The Spirits Business magazine
It was late 2000, or maybe early 2001 – I don't remember precisely when. But the first time I wrote about Tequila, all the talk was about the agave shortage, and its impact on supplies and pricing for the huge domestic market and for the booming US.
Fast-forward 15 years (or maybe it's 14) and it's Tequila's remake of Groundhog Day. For various reasons – competing alternative uses of agave (agave syrup, inulin), the typical glut-shortage-glut cycle of any agricultural product – supplies are again running short. "We definitely keep a pulse on the market prices; however, we don't focus too much on the issue," says Gary Eisenberger, president and co-founder of ultra-premium Karma Tequila. "Agave prices were pushing up and have just recently dropped.
"It's hard to judge if the market has an actual agave shortage as much as a designed shortage to increase agave prices by the farmers. I believe the farmers have been pushed into a corner over the last five years and need to earn a higher profit, which we're all for."
Producers have also learned – and often the hard way – to hedge against precisely this kind of situation. More have planted their own agave fields, giving them greater control over production and, according to Casa Centinela business executive Erica Magaña, many produced a lot of Tequila when prices were low, leaving them less exposed to rising costs now.
That said, there are clear signs of a real impact on the ground. Magaña reckons some farmers are illegally buying in agave from other, non-DO regions – rumours also relayed by Dale Sklar, MD of Wine & Spirit International, and owner of Bambarria and co-owner of Villa Lobos.
Price rigging
Sklar recalls a time just a few years ago when agaveros found it cheaper to leave unwanted agave to rot in the fields, because they were only getting 3-4 centavos a kilo – versus recent pricing of MXP7/kg (£0.30) or so. Some, he reports, have employed armed guards to stop lorries turning up at night and making off with US$100,000 (£66,000) of precious agave.
"Now temper that with often-heard [in Mexico] allegations of price rigging among some of the larger brands with huge stocks of distilled spirit, and the well-known allegations of agave from Oaxaca/Yucatan etc. travelling north," he says. There have even been suggestions, Sklar adds, of agave juice being shipped in from Nicaragua.
Those whose livelihoods don't depend on the maturation cycle of an obscure, spiky-leaved succulent might step back and take a more philosophical view of the situation. Production peaks and troughs are merely the flipside of what makes blue Weber agave – and, by extension, Tequila – special. It's a farmed product, susceptible to its environment (terroir, if you must) and it is able to express that environment in its end product.
Introduce the human factor and you have something that combines the raw material diversity of grapes/wine with the multifarious production options of single malt whisky.


Make an online gift to West Chester Monthly Meeting, Philadelphia Yearly Meeting (PYM) or another Monthly Meeting. This link will take you to PYM's gift processing page with Acceptiva.
From time to time, Friends attend a silent retreat at the Jesuit Center at Wernersville, PA. Watch a video of a past retreat.


Eine Weinlese girly rosa Pastell Aquarell Blumenmuster. Eine schäbige schicke niedliche Rosen Blumen auf rosa Hintergrund. Erhalten Sie diese Pastellfarben girly boho chic Weinleseart bunter Blumenmusterentwurf für den Tag der Mutter Geburtstag und für sie oder jedermann bei jeder möglicher Gelegenheit. Das perfekte Geschenk für sie.
A vintage girly pink pastel watercolor floral pattern. A shabby chic cute roses floral on pink background. Get this pastel colors girly boho chic vintage style colorful floral pattern design for mother's day birthday and for her or anyone on any occasion. The perfect gift for her.
Lovely lovely work! It would be SO welcome in the Flower Works II group. (Flower Art group).
Gorgeous design Maria. It would be SO welcome in the Flower Art group.


Supplies of poultry feed across northern Europe are being monitored closely following this autumn's major fire at BASF's core plant at Ludwigshafen in Germany.
The blaze at the end of October, which occurred during the start-up of a new plant, has led to the ongoing closure of its Vitamin A and E plants.
BASF said in a news release last month that the company will only be able to restart these plants once supply of Citral is re-established and the corresponding intermediates for Vitamin A and E become available.
"As the cleaning process, follow-up inspection, repair and restart of the Citral plant will take several weeks, BASF is forced to extend the Force Majeure to Vitamin A and E and, in consequence, to several carotenoid products.
This has led to concerns that supplies of feed will be disrupted. Gary Ford, chief poultry adviser for the UK's National Farmers' Union, said the union was concerned about the impact any feed price increases could have on farmers' cost of production. Feed represents 70% of the cost of producing poultry.
"Poultry farmers outside of any feed tracker contract will be particularly vulnerable to changes in feed raw material prices.
"Whilst the majority of egg producers and broiler growers will have the benefit of feed tracker contracts, there will be a number of farmers who are not in that position," he stressed.


We are delighted that Mrs Julie McMahon has been appointed to the role of HOD Technology. Julie brings a wealth of experience in digital technologies and as a national curriculum leader. She is a passionate and experienced teacher and is currently a member of the writing panel for the development of the NCEA Digital Technologies Achievement Standards. She is passionate about encouraging girls to pursue STEM career pathways by providing positive role models and engaging, contextualised learning programmes. We look forward to welcoming Julie to the staff next year.
Ms Judith Turner will be taking study leave for 2017 to complete her Master Degree. Her classes will be taken by our current Social Sciences staff and we are excited for Ms Turner as she continues her learning journey. Ms Turner will be back on the staff in 2018.
We are currently working through the appointment process for the HOD English and the support staff roles. We have been delighted with the excellent calibre of applicants for these positions, and hope to finalise appointments in the coming week.
Year 9 students will be spending their time on Monday working on their Passion Projects. The Expo will be held on Monday 28 November and all parents are welcome to attend.
Many thanks to those families who have sold the Eco Store soap. We would really appreciate the rest in by the end of next week.
Libby van Harselaar and Olivia O'Neill have been selected to trial for the New Zealand U18 Basketball team in December.
The St Hilda's Year 7 and 8 Water Polo team competed at the South Island Intermediate Schools' Water Polo Tournament hosted by Otago Water Polo last weekend. The team played well with a mix of results on day one – losing to Southland Girls' at lunchtime and having a win over Casebrook 5-3 win on Friday evening. The team lost to Christ the King School on Saturday, then went onto beat Columba convincingly early on Sunday morning. This win saw them play-off for 5th and 6th in the Division B Grade against Casebrook, winning the game 7-3 and securing 5th place.
Well done girls and special thanks to coaches Charlotte Cotter and Olivia Gold.
Farrin Quin received the award for 'Under 13 Most Achieved' at the Otago Badminton Prizegiving on October 14.
Annabel Bilkey couldn't run the race due to recovering from having her appendix out, however she and Alika will share the Y7/8 Cross Country Champion Cup, given Annabel won it back in April.


Angela Santone, EVP and head of HR for Turner, sent a memo today to employees, according to a Turner insider. The memo outlined the opportunity for workers 55 years old and older with 10 or more years of service as of the end of 2019. Workers who accept the voluntary offer will receive four weeks' pay for every year of service, up to a limit of two years' pay.
WarnerMedia declined to comment when contacted by Deadline.
Turner is undergoing significant changes under a reshuffling announced last month by CEO John Stankey. The makeover began in earnest once the federal government lost its appeal of a lawsuit challenging AT&T's $81 billion takeover of Time Warner. While the deal was permitted to officially close last June by a federal judge, who rejected the Department of Justice lawsuit, the appeals process restrained the company from operating as a fully merged entity.
Under the terms of a settlement with the DOJ, Turner remained in a silo pending the outcome of the appeal. That eight-month delay created a bottleneck, a series of announcements has been flooding out almost daily about comings and goings. In recent weeks, Turner boss David Levy, a 32-year company veteran, said he was stepping down, and the company put CNN chief Jeff Zucker in charge of Turner as well as CNN. Richard Plepler and two senior executives have left the fold at HBO, and those exits are unlikely to be the last as changes continue to take full effect.
John Stephens, CFO of AT&T, told a Wall Street investor conference last month that the parent company would seek to shield WarnerMedia from "a finance bean-counter from a telephone company." At the same time, AT&T still has billions in debt from the Time Warner deal it is looking to pay down, as it also looks to hit announced targets of $1.5 billion in cost savings and $1 billion in synergies. Many operations in areas like distribution and marketing at Turner and HBO have been consolidated. Part of the Turner network portfolio, including Cartoon Network and Adult Swim, shifted to Warner Bros. control in the reorg., putting a greater emphasis on CNN, TNT and TBS as Turner's main profit centers.
The Wall Street Journal had the first report on the Turner buyouts.
Recently, John Stankey shared his new organizational structure and strategic priorities for WarnerMedia. This is a very important and historic time for our company. As the industry evolves, our focus is to ensure we continue to be as successful in the future as we have been in the past. Across the company, we are identifying opportunities for savings to drive growth and profitability.
As part of these efforts, we have decided to offer a Voluntary Separation Program to regular status U.S. Turner employees who are at least age 55 and have 10 or more years of service as of December 31, 2019, excluding on-air talent and union employees.
Today, employees meeting these eligibility requirements will receive a confidential, personalized email detailing the program, its benefits, and deadlines for acceptance, which is strictly voluntary.
We know this is an important decision for those who are eligible to participate. If you have any questions, please don't hesitate to contact your HR Representative.


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Brathay Trust
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Love Brathay
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Brathay Hall
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Us in a nutshell
Brathay in the 21st Century
Brathay has moved on substantially since its early days, and yet we have retained the central ethos of our work – to develop people to enable them to realise their potential throughout their lives.
The first decade of the century was one of change; government policy challenged charities to get involved in engaging with statutory services in new and different ways and Brathay was at the forefront of doing so. In 2005, we secured substantial funding to set up our own community bases to provide long term leadership and personal development programmes for young people, particularly those who are growing up with major barriers to them transitioning into successful, happy adults. Young people were able to benefit from Brathay's approach from London to Yorkshire and across the North West of England.
In addition, we focused more specifically on research; we established a permanent research unit, now known as the Brathay Research Hub, and formalised strategic partnerships with University of Cumbria, Bedfordshire and Lancaster. This has become a major element of Brathay's ability to influence the lives of many more young people than we can work with ourselves; sharing our knowledge via conferences, articles and training other practitioners across the sector.
Following the 2008 economic crash, all charities, including Brathay were forced to again review and refocus and we changed again. While some of our more geographically remote community bases were forced to close due to lack of sustainable funding, we also took control of two additional outdoor education centres, on behalf of Wigan Council. Low Bank Ground, on the shores of Coniston Water and Hinning House, nestled deep in the Duddon Valley at the foot of the Lake District Central Fells, work with over 2,500 school children each year, mainly from Wigan. A great addition to the scope of Brathay's work and deepening the relationship with Wigan Council.
Read next: 2010 to the Present
Four-Week Courses
Brathay Exploration Group
The Field Study Centre
Expansion and Diversification
Support for the Unemployed
The Disadvantaged and Vulnerable
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Yesterday, I introduced myself for the first time on the Sweet Stamp Shop blog. It's hard to believe I haven't even been on the team for a whole month yet and I feel at home. I've learned so much about photography and blogging and marketing just in these few weeks. I have met some very talented ladies and am having such a great time. Can you believe I'm already getting peeks at what's coming in August? I am soooo very excited for this summer. I have a feeling the summer will go by quickly and I'll miss the team, but I know that I am making life long friends who will always be there for each other to inspire.
So, today I just want to share with you the mini art journal card that I made for my first blog post. This sentiment is just so perfect for all the changes going on these past few months since feeling called to revive this blog. Be sure to head over to the Sweet Stamp Shop blog to read more about how I put it together.
Tomorrow I will be back with a new edition of the Mixed Media Tutorials, be sure to check back to see another use for mists and spray inks.


- Ron H. Stark, M.D.
"Having been in charge of marketing for over 25 years in the industry, M Magazine is the only publication that provides a reliable way to reach our company's desired demographics for marketing. M Magazine provides a high-quality publication for our ads and has a similar high quality staff behind it as well. As a consistent advertiser, I have heard from many of our clients that they have seen us in M Magazine, which tells me they are seeing our ads and are responding. Our ads here, compliment our other marketing and help drive clients to our website.


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La ría Bodie (en inglés: Bodie Inlet o Bodie Creek) es el estuario del arroyo Horqueta y de otros pequeños arroyos (como la ría Findlay) hacia el seno Choiseul, ubicado al sur del asentamiento de Pradera del Ganso en Lafonia, en el centro de la isla Soledad, islas Malvinas.

En esta ría se localiza el puente Bodie Creek, que es considerado el puente colgante más austral del mundo, y conectaba Lafonia con Pradera del Ganso.

Referencias

Enlaces externos
Bodie Creek (en inglés)
Entrada at Bridgemeister.com (en inglés)
Cómo y por qué fue construido (en inglés)

Accidentes geográficos de las islas Malvinas
Isla Soledad

redpajama_set_name: RedPajamaWikipedia


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