Bake cookies and drink tea of course! Sunmaid Raisins Really Good Low Fat Raisin Oatmeal Coolies Cookies (www.sunmaid.com/en/recipes/recipe/low_fat_raisin_oatmeal_… ) is one of my favorite recipes, and I use 1/2 the sugar and 1 cup of chopped walnuts. Don’t overbake these or they will be as dry as biscotti and more dusty tasting! I don’t use Sunmaid raisins, but good ideas are good ideas regardless of their origin. I put the lot in a freezer bag and take out my daily allotment in the morning to defrost.
Is that subtle product placement for the tea?
As always, a special thanks to all of you who drop by to look, comment and fave!
What could be more satisfying than ensure your little one’s health? Organic food offers more nutrients than non-organic food. Here are some mouth-watering organic food recipes to get your kids on board with healthy eating!
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks’ early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force – or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There’s not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn’t been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell’s novella, "Who Goes There?," The Thing is legendary director Howard Hawks’ lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks’ favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it’s this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There’s likely few people out there reading this who don’t know the story of The Thing like the back of their hand, but here goes…When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn’t be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire…
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound’s heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn’t feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion’s share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it’s actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants’ responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn’t direct a thing. One day Howard was late and Chris said,’Why don’t we get started? I know what the shot should be.’ And I said, ‘No, Chris, I think we’ll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn’t Howard Hawks."
Nyby had been Hawks’ editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn’t mean that Hawks wasn’t involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby’s directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn’t take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn’t have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington’s assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she’s no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn’t utter a single scream in The Thing
and in fact, it’s her practical suggestion which gives Bob, Hendry’s ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht’s screenplay hints at the backstory to Nikki and Pat’s relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob’s plan in motion.
Nikki: Looks as if the situation’s well in hand.
Hendry: I’ve given all the orders I’m gonna give.
Nikki: If I thought that were true, I’d ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it’s as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry’s men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey’s Hendry doesn’t have to bark his orders; it’s clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment’s notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx’s right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn’t forget 6′ 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter’s The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps – those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version – I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks’ film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn’t want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice…tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Margaret Sheridan – Nikki Nicholson
Kenneth Tobey – Captain Patrick Hendrey
Robert Cornthwaite – Professor Carrington
Dewey Martin – Crew Chief
Douglas Spencer – Ned "Scotty" Scott
Eduard Franz – Dr Stern
Robert Nichols – Lieutenant Ken Erickson
William Self – Colonel Barnes
Sally Creighton – Mrs Chapman
John Dierkes – Dr. Chapman
James R. Young – Lieutenant Eddie Dykes
Norbert Schiller – Dr. Laurenz
William Neff – Olson
Allan Ray – Officer
Lee Tung Foo – Cook
Edmund Breon – Dr. Ambrose
George Fenneman – Dr. Redding
Tom Steele – Stuntman
James Arness – The Thing
Billy Curtis – The Thing While Shrinking
We really like these in the morning with coffee. They’re very light, and just right to get the morning started!
1/3 cup packed light brown sugar
1/4 cup (1/2 stick) unsalted butter, melted
1 large egg
1/2 tsp. vanilla extract
1 1/2 cups rolled oats (not quick cooking)
1/2 cup sliced almonds
nonstick cooking spray
1. Preheat oven to 350 F. Line two baking sheets with parchment paper.
2. In a large bowl, whisk brown sugar, butter, egg and vanilla until smooth. Mix in oats and almonds.
3. Drop mixture by level tablespoons onto prepared baking sheets, spacing about 2 inches apart. Spray the underside of a metal spatula with nonstick cooking spray, and use to flatten cookies into 2 1/2 inch disks.
4. Bake until golden, 14 to 16 minutes. Cool completely on baking sheets. Handle with care, cookies are fragile.
Contact Christopher Cooke Listing Agent at 1-888 YACHT14 or 615-804-2612 for more information
Accommodations and Layout
Four staterooms, 3 heads, 2 galleys, 3 eating areas, large utility room and numerous options for sitting, lounging, or enjoying the scenery.
Entry is from boarding gates amidships on either port or starboard sides. Portside entry is into the galley. Starboard entry is into an open area leading either straight into the galley, forward to the day head and guest cabins, or aft to the salon, dining area, and master stateroom. Engine, utility, and storage room entry is immediately aft of the landing area upon entering the salon. From this landing area starboardside, stairs lead up to the pilothouse or aft to the expansive aft deck lounge. Sand Pebble offers warm ambiance in her subtle decor. High gloss teak and holly soles throughout, teak cabinetry and trim, natural and custom lighting, fresh ventilation, air conditioning compressors in every room, stand-up head room, generous room sizing, and good taste all lend to a comfortable and inviting home combined with the most seaworthy of ship design and systems.
Down two steps from the two amidship entry doors, the salon offers a large and comfortable area that is inviting for lounging or entertaining. The full beam salon has spatial division with an entertainment center, bookshelves, and leather couch and chair on the port side and a large dining area on starboard side. A passthrough from the galley makes casual service easy. Attention was given to natural lighting and ventilation. The salon and dining area promote a voluminous feeling of openness and comfort.
Phillips plasma TV
Sony DVD/CD player
Granite bookshelf and cabinet
Custom teak dining table
Leather dinette seats 6
Teak and holly sole
(4) opening ports w/deadlight covers
The brilliantly designed galley assures good ventilation, ease of movement, safety while cooking underway, and all of the conveniences of home. The port and starboard teak dutch doors allow for plenty of fresh air in port or underway in good weather; watertight doors with viewing ports provide for safety ad security when desired. While this "main" galley is located main deck level amidships, there is an additional small galley on the aft lounge deck utilizing propane as a back-up. An additional freezer in the utility room and an entire storage room for provisions enable one to be at sea for many months without the need for island market shopping. There is a full complement of spare small appliances. Storage is abundant with deep cabinets, drawers, and ventilated pantry.
4 burner electric stove
Fisher Paykel SS regrigerator
Fisher Paykel SS freezer
Built-in toaster oven
SS stove backsplash
Double SS sinks
Teak and holly sole
The oversized maser stateroom is a spacious suite consisting of a a walkaround bed, exorbitant stowage, large head, and a watertight door leading to an aft deck "patio" and swim platform. There is also a solid teak dutch door at the aft deck as well as a solid teak door at the forward entry to the stateroom. The ensuite head has marble vanity, stand-up shower with teak doors.This stateroom has large separation from the guest cabins and offers a private and luxurious enclave.
King size bed
Phillips DVD/CD AV system
(5) opening ports w/deadlights
Fresh air ports
Weems & Plath clock
Underbed mood lighting
Numerous hanging lockers
Forward of the starboardside entry at the galley is a companionway which houses the laundry center to starboard, guest/day head portside and leads to the 3 guest cabins and 3rd head. The VIP stateroom with queen bed is to port; starboardside guest stateroom has twin bunks and shares a head with the VIP stateroom; the guest cabin foreward has twin bunks and an ensuite head with shower. Each cabin has a large overhead opening hatch which allows for fresh air and natural light as well as serves as an emergency escape hatch. All cabins also have opening ports with deadlights and have individual air conditioning controls. High gloss teak and holly soles throughout.
Pantry, cabinets. and stowage
Freshwater Jabsco head
Portside. Roomy and comfortable with good lighting and ventilation.
Queen bed (tapered)
Starboardside. A generous cabin that is warm and comfortable.
Twin over/under berths
Storage cabinet w/ Corian counter
Foreward cabin serves as a guest cabin or is ideal for crew. Watertight door, collision bulkhead, and lockdown portlights make this entire area a watertight compartment.
Twin over/under berths
Freshwater Jabsco head
At the starboard entry into the vessel, from the starboardside of the salon is a soundproof full height door that opens to wide staircase leading to the watertight lead lined utility room and engine room. The utility room is full beam and houses a work station, night generator, cold plate interchangeable refrigerator and freezer, watermaker, and additional equipment. Forward of the utility room through a watertight door is a large storage room with built-in shelves and generous area for bulk storage.
Glycol holding plate refrigerator
Glycol holding plate freezer
850 gpd Watermaker w/ auto backflush (30hrs)
UV water sterilizer
Watertight door aft from the utility room opens to a large, well finished, bright, self-ventilating engine room. The John Deere engines were the last series of mechanical (not electronic) made in the US. The vessel is designed to run off either engine or both. Cruise speed on either continuous duty John Deere is approximately 8.2-8.4 knots. Cruise while running on both engines is 9.2. The difference in fuel consumption is 4.7gph vs 9.4gph at 1800 rpm.. There is twin disc transmission; 2:1 reduction gear. A cooling pump on each engine allows continuous cooling to the off engine. The engines are 20 degrees off centerline that that the handling of the vessel is not compromised while running on a single engine.
Special consideration was given to systems like the air condition and refrigeration. They are operated by continuous duty pool pumps and there are 2 for redundancy. Forethought allows for such things as engine removal with large hatches opening to the master stateroom. The holding tank is a "septic" system holding 250-300 internally macerated gallons and not requiring vents (eliminating odors), but additionally has pumpout capability.
Generous spare parts for engines and gensets including raw water pumps, impellers, zincs.
(2) John Deere 225hp engines (1630 hrs)
600 gal day tank
Gulf fuel filtration system
Fuel transfer system
2:1 reduction gear
(5) Mermaid reverse cycle AC compressors (7 handlers) + 2 additional compressors
hot water tank (20) gal
50 & 60 hz;12 volt house system.
Northern Lights 20kW generator (690 hrs)
Kohler 10kW generator (130hrs)
Heart 2500w inverter
Heart Link interface 2000
4 AGM 250amp house batteries (6/07)
2 AGM 250 amp starting batteries ( 6/07)
AGM 250 amp bow thruster battery (6/07)
Ground fault circuit interrupter
Red night lighting at all stairs
The pilothouse has numerous windows for visibilty and fresh air ventilation. Situated amidships, the pilothouse is accessed from the starboardside main entry, salon, or galley by way of a curved staircase or from a curved staircase from the lower aft deck through the lounge aft deck through a sliding door.
Side Power24 hp bowthruster
Raymarine 4kW 24 mi Radar/chartplotter
(2) color screens
Icom VHF M27
Icom SSB M802
Icom VHF handheld
Airchine Signal control
Acer monitor (new 5/08)
Leather (real) settee for 4
Leather pilot’s berth
Day and night lighting
(4) opening windows
Window defrosters and wipers
Lilliput Engine room camera
Weems & Plath Clock
Weems & Plath Barometer
Access is from the sliding door to the pilothouse or from the staircase from the aft deck/swim platform. This area, whether for guest entertaining or family use, is surely the focal point in the yacht’s exceptional offerings. While the galley serves as a redundant system to the main galley, it offers practical service for alfresco dining. Whether for breakfast watching the sunrise or cocktails at sunset, this area can be used for eating, lounging, or sightseeing purposes. Incredible vantage point, relaxing secluded atmosphere.
Built-in seating for 8-10
Finely crafted teak board shade overhang
High gloss custom teak & holly dinibg table
Canvas drop-down curtains
(2) lounge chairs
(3) propane tanks
2 burner propane stove
Cabinets, drawers, stowage
Sony DVD/CD player
Decks & Hull
Four watertight bulkheads, all main doors are watertight. Portuguese bridge. The spacious foredeck has access to the pilothouse or to the port and starboardside entry doors at the galley. The steel hull (marine grade) is zinc plated. She has an incredible yacht finish due to epoxy fairing, spray painting with a mixture of flat and semi-gloss International paint, sanding, repainting with International, and finally Awlgripped in Wheat color, finished off with a protective clear coat. Stainless steel plating from below the waterline over the bulbous bow to several feet above protects the hull from debris damage. The shaft is steel encased, rudders are skeg protected. Upper deck is for dinghy storage, radar mast, and antennae. The aft deck is accessed from the master stateroom through a teak dutch door or watertight door or from the swim platform. Stairs lead to the upper deck/lounge.
(5) Integral fuel tanks
(4) cross ventilation vents
lightning rod bonded
(2) 160lb anchors
(2) SS anchor plates
11′ RBI dinghy
Yamaha 15 hp engine (30 hrs)
(2) electric dinghy davits w/ spare motors
8 man life raft
Sunbrella window screens
Sunbrella window covers
M/V Sand Pebble is 55×20 but her voluminous interior space belies her small ship capabilities. The seakeeping ability of this vessel has been proven in her 25,000 miles of South Pacific cruising. With the knowledge and experience of decades of sailing, the owners were able to customize a proven design for all world cruising comforts. The owners having been professionally in the furniture building business resulted in fine teak cabinetry and joinery including rounded corners and edges and enabled them to add aesthetics and practical design to their bluewater ship. M/V Sand Pebble recently arrived from the South Pacific via Transport ship for the purpose of sale. She is in excellent condition and would be near impossible to replicate; however, duplication in a larger sistership is what the owners plan to do upon sale of their beloved yacht. M/V Sand Pebble is ready to go – anywhere!
My burger shrunk in the cooking! If it hadn’t, it would have fit that bun perfectly. Alas.
Oh well. I scooped all the innards out of the bun anyway after I took the photo and threw them away. (I like a bun shell much more than I like the bun itself. It’s convenient for holding, but not so bready.) And once the insides of the bun were gone, the burger and vegetables all fit nicely inside the shell.
This was really good, anyway. It came from a cookbook that I picked up a few days ago, The Dinner Fix by Sandi Richard. Richard has a tv show on the Canadian food network called Fixing Dinner, which is basically about helping harried families get into a week-night routine of cooking quick, tasty, healthy meals. I don’t generally have a problem with my cooking, since I only have to work around my schedule, but I love cookbooks and I was interested in seeing some of her recipes.
I’m actually intending to do a straight week of Dinner Fix recipes (that is five days, since she doesn’t worry about the weekend), and this was a pretty good start, I think.
The burger is flavoured with chipotle seasoning, chili powder, cumin, pepper, Worcestershire sauce, and ketchup. I made two (froze the second for another day) and also made meatballs for dinner on Tuesday. (Her thing: if you’ve already got ground beef out for one recipe, you might as well prep for another.)
It really was very fast – the prep took just a few minutes – and it cooked in about 12 minutes. All told, probably a 17 minute meal. Which even Rachael Ray could be proud of. (Though she’d have eaten two burgers and twice as many potato wedges. Which she’d have made herself instead of getting them from a bag in the freezer aisle.)