Round-Up

31 08 2005

Cinema
Good – Beautiful Boxer
Bad – Red Eye
Fugly – Bride and Prejudice

Cellar
Red – Viansa 2002 Augusto Barbera
White – Viansa 2004 Pierina Vernaccia
Dessert -Viansa Frescolina

Cocktail
Sea Breeze
1 1/4 oz. Vodka, Grapefruit Juice, Cranberry Juice
Serve over ice in Highball glass
Becomes a Bay Breeze if you substitute Pineapple juice for Grapefruit. Why would you?

London cocktails:

  • Solstice = Stoli vanilla + Cointreau + OJ + pineapple juice
  • Radiance = Absolut Citron + Cointreau + S&S + Champagne Float + Sugar Rim
  • Spectrum = Stoli Peach + OJ + Grenadine drop + Raspberry sugar rim
  • Chocolate Nirvana = Stoli vanilla + White creme de cacao + Godiva Chocolate Liqueur
  • Awakening = SBUX Coffee liqueur + White creme de cacao + Tuaca
  • Entourage = Absolut Mandarin + Watermelon infusion + S&S + Chambord Drop + Cantaloupe sugar rim
  • Hot Pursuit = Bombay Sapphire + Red Bull (!) + Cranberry juice + Cayenne pepper
  • Southern Exposure = Corazon de Agave Blanco + Chambord + S&S + Raspberry Sugar Rim
  • Blueberry Mojito = Bacardi Limon + Blueberry + Mint Leaves + Lemon + Soda
  • Dark Side = Jagermeister + Blavado Black Vodka + Red Bull (again)
  • Absolut Mann = Absolut Citron + Midori + Chambord + OJ + Pineapple juice + S&S
  • Green Teani = Zen green tea liqueur + Earl gray Green Tea bag + Soda + Fresh Mint
  • Honey Moon = Malibu Rum + Midori + OJ + Pineapple Juice + Soda
  • Ascension = Crown Royal + Malibu rum + Peach schnappes + Cranberry juice + pineapple juice
  • Sunset = Corazon de Agave Blanco + Torani Pomegranate + S&S + OJ + Pineapple juice + Cantaloupe sugar rim




Pubs London

30 08 2005

TOP 10 BARS IN BLOOMSBURY

  • Grafton Arms, 72 Grafton Way, London W1 0871 332 5367
    A welcoming pub spread over two floors and boasting a fine selection of ales. The sprawling downstairs bar is always popular but come summer, the upstairs bar and roof terrace are a refreshing alternative.
  • Grape Street Wine Bar, 226A Shaftesbury Avenue, London WC20871 332 5371
    An impressive wine list ensures the bar lives up to the street it was named after. Absurdly friendly staff will talk you through the extensive list before seducing you with exotic dishes and cheese platters designed to soak up all that grape juice.
  • Lord John Russell, 91-93 Marchmont Street, London WC1(020) 7388 0500
    Holding court over the passing pedestrians of Marchmont Street, this authentic boozer attracts a worthily diverse flock of regulars – from the local UCL students to discerning neighbourhood drinkers who are steadily working their way through the range of ales.
  • Marlborough Arms, 36 Torrington Place, London WC10871 332 5867
    Ideal for a pub lunch with your mates, even the vegetarian ones, the traditional, dimly lit surroundings make it the perfect place to nurse away the excesses of the weekend.
  • Museum Tavern, 49 Great Russell Street, London WC10871 332 1446
    Located opposite the British Museum which has in the past attracted the likes of Marx and Orwell, it’s not as overrun with tourists as you may expect. Sup on a pint of Brain’s finest ale whilst musing over a well thumbed copy of Animal Farm by the giddy flashing light of the fruit machine.
  • mybar @ myhotel, 11-13 Bayley Street, Bedford Square, London WC1(020) 7667 6000
    A sophisticated affair serving up a mouthwatering selection of cocktails, champagne and beer to accompany your breakfast, lunch or dinner. A reliable, if sometimes, slightly bland alternative to a pie and a pint.
  • Oporto, 168 High Holburn, London WC10871 332 4274
    Neatly spread over two floors, and offering a decent selection of draught and wines, the downstairs bar is a cosy affair complete with pool table that’s better suited to winter months.
  • Plough, 27 Museum Street, London WC10871 332 2086
    Located slightly further down Museum Street than the British Museum, the cosy appearance belies a superb selection of real ales and is a fine alternative to the Museum Tavern.
  • Queen’s Larder, 1 Queen Square, London WC10871 332 2189
    Steeped in history, the pub at the heart of the traditional medical district was named after Queen Charlotte, wife of mad King George. Enjoy an after work drink under the watchful gaze of the royal portraits’ beady eyes.
  • Truckles of Pied Bull Yard, Off Bury Place, London WC10871 332 2534
    The quaint sounding name belies the fact that this is one of a chain, albeit an olde worlde style one, located on a charming courtyard alongside independent shops. The upstairs bar is decidedly modern without a hint of nostalgia.

TOP 10 BARS IN COVENT GARDEN

  • AKA18 West Central Street, Covent Garden, WC2(020) 7836 0110 On the outskirts of Covent Garden, London’s top DJ bar is still cutting edge, and the cocktails rival any of the smaller specialist operations scattered around town. Truly a world class bar
  • West Street, 13-15 West Street, Covent Garden, WC2(020) 7010 8600 The bar at West Street may be rather on the small side and hidden in the basement, but it’s truly brilliant. The cocktail list is mercifully free of syrupy sweet numbers, and the range of Twisted Manhattans is superb. Definitely worth a look.
  • Detroit 35 Earlham Street, Covent Garden, WC2H(020) 7240 2662 Housed in basement and possessing a very good cocktail list and some rather interesting décor, Detroit is a spot to head to if you like to relax in some style…
  • The Porterhouse, 21-22 Maiden Lane, Covent Garden, WC2(020) 7379 7917 Looking like a cross between a Victorian pumping station and a steam ship, the Porterhouse certainly provokes conversation. The draught beer, brewed in a microbrewery in Ireland is very tasty, and they also stock about the largest selection of bottled beers in the country.
  • The Langley, 5 Langley Street, Covent Garden, WC2H(020) 7836 5005 This fairly swanky Covent Garden joint seems to be popular with the area’s hipper office staff and also attracts a few Soho types during the early evening. The reason for this? It’s probably got something to do with the daily happy hour, which runs from 5pm to 7pm. Expect a wide range of cheap drinks, including wine, beer and cocktails.
  • Navajo Joe, 34 King Street, Covent Garden, WC2(020) 7240 4008 If you like tequila then you’ll love Navajo Joe. They have God knows how many different brands in stock, and a pretty good cocktail list to boot. The bartenders are mostly towards the flair end of the spectrum, but that’s quite fun once in a while.
  • The Round House, 1 Garrick Street, Covent Garden, WC2(020) 7836 9838 The Roundhouse is a traditional London pub at the bottom of Garrick Street. The clientele appears to be a mixture of tourists and local office types, but anywhere else in Covent Garden is likely to exhibit a similar demographic. If you’re after a proper pint then give the locals bars a miss and check out this place.
  • The Prince of Wales, 150-151 Drury Lane, Covent Garden,WC2(020) 7240 9935 On the corner of Long Acre, the Prince of Wales is perfectly situated for a mid shopping spree pint. Considering the stresses involved in negotiating the nearby shops on a Saturday morning this might be exactly what you need.
  • La Perla, 28 Maiden Lane, Covent Garden, WC2E(020) 7240 7400 This Mexican themed bar offers a good selection of beers, spirits and cocktails, as well as some tasty Tex-Mex nibbles. They often have happy hours and promotions going on, so pop in and try it!
  • Garrick Wine Bar, 10-12 Garrick Street, Covent Garden, WC2(020) 7240 7649 The Garrick Wine bar is an attractive little establishment offering a fine range of wines from around the world, as well as a selection of other drinks. Again, it seems to attract quite a few tourists, but (again) given its location this is hardly surprising. Worth a look though!

TOP 10 BARS IN THE CITY

  • The Counting House, 50 Cornhill, City, EC3V(020) 7283 7123 One of the nicest pubs in the City, the Counting House is enormous, with a hugely high ceiling, plenty of tasty beers on offer, and a first floor gallery with plenty of seating even when it’s rammed downstairs.
  • El Vino, 3 Bastion Highwalk, 125 London Wall, City, EC2(020) 7600 6377 Reputedly one of the City’s best wine bars, El Vino keeps a fantastic cellar. It attracts a mixture of wine aficionados as well as plenty of city workers who know what they like (even if they don’t know the difference between Pouilly-Fume and Pouilly-Fuisse!)
  • The Jamaica Wine House, 12 St Michael’s Alley, Cornhill, City, EC3(020) 7626 9496If you’re after an atmospheric boozer then this is it. It was once a Victorian rum merchants headquarters, and is a fine place to while away a few hours.
  • Prism, 147 Leadenhall Street, City, EC3V(020) 7256 3888 The main restaurant area at Prism becomes a lounge bar in the evenings (the evening restaurant service takes place in a smaller room than at lunchtime) and the surroundings promote an incredible sense of decadence. There’s also another bar in the basement, which is very slick and smart. Get down there…
  • The Scottish Pound, 50 London Wall, City, EC2M(020) 7374 4210 This is a popular pub that has been totally refurnished over the last couple of years. No longer a dingy city hole, it now attracts a varied clientele who seem to be just as happy ordering wine by the bottle as they do drinking pints. Decent bitters courtesy of Green King.
  • Balls Brothers, 158 Bishopsgate, City, EC2M(020) 7426 0567 This branch of the Balls Brothers chain is smart and spacious, and offers a wide selection of wines as well as all the usual beers and spirits. Quite a calm atmosphere unless you turn up around 6pm on a Thursday or a Friday.
  • The Bishops Finger, 9 West Smithfield, City, EC1A(020) 7248 2341 Another fine pub, the Bishops Finger serves some of the best kept Shepherd Neame beer in the capital, and is one of my favourite pubs for idle time wasting. Well worth a visit.
  • The Evangelist, 33 Blackfriars Lane, City, EC4V(020) 7213 0740 This peculiarly named bar has a few religious trinkets here and there (church pews for instance) but the place is seriously geared to drinking – no need to pray before you start on the lager. Interesting and worth a look.
  • Digress City, CityPoint, 1 Ropemaker Street, City, EC2(020) 7382 1690 Digress City is a huge and impressive bar in the basement of the even bigger CityPoint building. Fairly stylish and with a selection of decent cocktails, it’s understandably popular with people working upstairs or locally.
  • First and Last, 175 Bishopsgate, City, EC2(020) 7786 9251 Typical London pub – plenty of beer, seating and space for a light-hearted rendezvous. The First & Last isn’t a stunning world-class bar, but it is a nice friendly place to meet for a pint.

BARS TO AVOID

  • Cheers – 72 Regent Street, W1R Even if you enjoyed the loathsome excuse for a television show set in that scummy Boston bar, you will still hate this place. What could be worse than a bar themed around an American bar-themed television show? I’ll tell you. A bar themed around an American bar-themed television show almost entirely patronised by American tourists. I would rather be eviscerated with a bread knife than show my face inside this atrocious dive.
  • Ye Olde Mitre Tavern, 1 Ely Court, EC1 Not only is this one of London’s nicest pubs, but it also has a fascinating history. So what is it doing here? Simple – it is the hardest pub to find in the capital. Some places are slightly off the beaten track; they tease you for a few minutes, and then relent. Not the Mitre. If you’ve never been before, you’ll need a military spec GPS system to find the place. Even if you’re a returning customer you probably still get lost. Arranging a rendezvous with friends there is like committing social suicide. I rest my case…
  • Moon Under Water – 28 Leicester Square, W2 There are many reasons why purchasing a selection of alcohol and tobacco products and seating yourself on a Leicester Square bench for an evening of solo revelry might not be a good idea. For one thing you may be accosted by the local alcoholic who will wish to engage you in an impromptu blind tasting. Or you might develop hypothermia. Both of these outcomes are preferable to an evening in the Moon Under Water. It is soul-destroyingly awful.
  • Attica – 14-16 Fouberts Place, W1V It might have been hip when it opened, but Attica has drifted into the realms of Eurotrash naffness. The door staff have more attitude than Prince Naseem, but judging by the sparsely populated lounge-like affair we encountered upon entry, the place is about as happening as a Latvian psychiatric hospital.
  • The Old Blue Last – 39 Great Eastern Street, EC2A Probably not that bad a place actually.
  • The Met Bar – 19 Old Park Lane, W1K What was once the most coveted members bar in town has now become a magnet for all that is awful about our celebrity culture. The only normal people in there are the guests from the nice hotel upstairs, which is a pity as the cocktails are still something special.
  • The Lord Nelson – 386 Old Kent Road, SE1 If you like your pub experience to be quiet, genteel and uneventful I would advise avoiding the Lord Nelson. It is a rather rough place. If you have ambitions to set up your own criminal network then you might find it just the place to start.
  • Pop – 14 Soho Street, W1V 60s design is hip. Pop (ho ho) along to any of the blossoming secondhand design emporiums and you’ll see scores of garish plastic telephones, Vico Magistretti chairs and bulbous glassware. However, cheaply assembled virtual 60s interiors are not hip. The trouble with modern design is that it looks fine when shiny and new, but as soon as a few chips and scratches appear, it starts to look like a pimps broom cupboard. Pop was quite inspiring when it first appeared, but these days it’s more grim than glam. An entrance 6 feet away from Oxford Street doesn’t do it any favours either.
  • The Blind Beggar – 337 Whitechapel Road, E1The Blind Beggar was the scene of a nasty murder back in the 60s, when Ronnie Kray shot George Cornell through the forehead with a Mauser pistol. It is now home to a variety of aging dodgy characters, and students who somehow feel empowered by ordering lager shandy in pubs with criminal associations.
  • Saint – 8 Great Newport Street, WC2H A year or two ago Saint seemed to pick up quite a cool crowd. That’s cool as in up-for-it and relaxed, as opposed to preening clothes horses. Something happened around the autumn of 2001, and ever since Saint seems to attract a rather motley selection of computer salesmen and late 30s eurotrash. The drinks aren’t great, and the staff are hard work (but they don’t work hard in return.) You’re better off staying in!

JAZZ CLUBS

  • Ronnie Scotts Club 47 Frith Street, Soho, W1(020) 7439 0747 Ronnie’s is something of an institution, and has played host to plenty of jazz legends over the years, including Elvin Jones and Georgie Fame. Booking is essential if you want somewhere to sit, and the food isn’t going to win any Michelin stars, but the atmosphere is quite unique. Think twice about a visit mid-week if you need your beauty sleep, as the show often doesn’t really get going till quite late.
  • Jazz Cafe 5 Parkway, Camden, NW1(020) 7344 0044The Jazz Cafe is probably the least jazz specific venue listed here, despite the fact that unlike so many of the others it has “jazz” in its title. The repertoire varies from soul and funk to sing-along guitar stuff, but the core ingredient is still jazz. Quite a few big names have played here, although they tend to be from the more commercial side of the street – Courtney Pine, the James Taylor Quartet and Georgie Fame.
  • Le Quecumbar 42-44 Battersea High Street, SW11(020) 7787 2227Outside of Paris, it is Europe’s only venue dedicated to the promotion of Django Reinhardt Hot Club Gypsy Swing. This and a wide (and seemingly never-ending series of gigs) make it a must stop venue on the London jazz scene.
  • The New Vortex Gillett Street, London N16 8JN(020) 7690 6661 Vortex is North London’s premier jazz venue, and attracts a serious crowd of musical aficionados. Don’t worry if you aren’t as knowledgeable as they are; just make sure you keep your voice down and don’t start singing along…besides, it’s an absolutely great place to start getting into the whole jazz thing so you should go along!
  • Pizza Express Jazz Club 10 Dean Street, Soho, W1(020) 7439 8722This is the flagship jazz venue of the very jazz-friendly Pizza Express chain. Situated in the basement of the Dean Street restaurant, it attracts some fairly big names (okay, some very big names), which is quite impressive when you consider the local competition.
  • The Bull’s Head 373 Lonsdale Road, Barnes, SW13(020) 8876 5241The Bulls Head is a world away from the grime and seediness of Soho. Situated alongside the river (a stones through from Barnes Bride) it blends an easy out-of-centre charm with some serious music and is also one of London’s most established jazz venues – it wouldn’t be too out of place to suggest it is bordering on the famous. Evenings are the best time to visit Monday to Saturday, and the Sunday afternoon sessions are also very popular.
  • The 606 Club 90 Lots Road, Chelsea, SW10(020) 7352 5953The 606 is set in a rather out of the way location (near the ol d Lots Road power station.) The music is always superb, and the policy of hiring local musicians and up-and-coming youngsters ensures that you won’t have to sit through tedious monologues recited by octogenarian has-beens. Non-members have to eat if they want a proper drink, and will have to eat whatever at weekends. It’s definitely still worth it though!
  • Jazz After Dark 9 Greek Street, Soho, W1(020) 7734 0545More of a jazz and funk club at weekends, Jazz After Dark offers a range of jazz orientated nights midweek. Usually open very late, which, of course, is no bad thing…
  • Dover Street 8 – 10 Dover Street, Mayfair, W1(020) 7629 9813Dover Street offers three separate bars, a host of jazz and blues performers as well as tasty food, an extensive drinks menu and late opening. You’ll need to dress up smartly, but it’ll be worth it!
  • Boisdale 15 Ecclestone Street, SW1(020) 7730 6922Boisdale features some seriously good live jazz on a weekly basis (Monday – Saturday, 10pm till midnight) and, for that alone, should be visited (never mind the excellent menu and superb drink selection). Not only that, but they have their own label which they use to release recordings of the most memorable of their evenings. In short, if you miss a really good one, there’s a good chance it’ll turn up on CD sometime soon. Excellent.

CELEBRITY SPOTTING (You know you want to)

  • The Met Bar, Park Lane, W1 Has been a celeb haunt for as long as anyone can remember. Not only that but it’s the one where they most often tend to misbehave – making it all that much more fun for observers.
  • Attica Foubert’s Place, W1V A restaurant long favoured by celeb night owls. More often than not when you see a piccie of some hapless c-lister being helped into their car by a minder/relative/loved one/hanger on, it’s a picture taken after an evening there.
  • Fabric, Charterhouse St, EC1 Blag your way into the VIP bar upstairs (the only place with sitting room after 10pm) and you’ll often find the hipper side of today’s celebs – normally Sarah Cox and Zoe Ball…
  • Cargo, Rivington St, EC2 Like Fabric, Cargo seems to attract the cooler famous types. Normal sightings include various popstars and DJs. Last time we were there I nearly fell over Zero 7 who were milling about in my way…
  • The Elbow Room, Islington, W2 Has recently been used by Ash as a venue for their album party launch.
  • Chinawhite, Air St, W1 In all probability you won’t be able to get in. Nevertheless, it’s packed to overflowing with stars both big and small.
  • Vingt Quatre, Fulham Rd, SW10 Is, apparently, full to bursting with recognisable faces. Regulars include Geri Halliwell, Robbie Williams, Kylie Minogue and Martine McCutcheon. Naomi Campbell, Calista Flockhart, Jim Carrey and Vinnie Jones have been spotted here too according to our spies.
  • Woody’s, Woodfield Rd, W9 Another great place to spot all the usual suspects (Albarn, Ant’n'Dec etcetera ad infinitum) imbibing alcohol…demurely of course.
  • The Ivy, West St, WC2 Obviously…we really don’t need to say any more.
  • Quo Vadis, Dean St, W1 Expect to see diners the like of Jarvis Cocker plonked at the table next to you.




Dance London

29 08 2005

BEST DANCE CLUBS IN LONDON

AKA
18 W Central St, London, UK – England WC1 · 20-7836-0110
WEST END. This posh, late-night club teams up with its neighbor, The End, to form one of the area’s hippest club duos. Ultra-stylish 20- and 30-somethings gather for a scene that’s without parallel: a beautiful clientele, great music, and a decor that’s transformed this onetime post office into a tribute to all things industrial-chic. Seating areas feature cozy leather sofas and offer weary clubbers a chance to catch their breath between DJ sets. Plus, the sleek bar serves an impressive roster of cocktails.
TUBE: Tottenham Court Road or Holborn

Café de Paris
3 Coventry St, London, UK – England W1 · 20-7734-7700
LEICESTER SQUARE. One of London’s more upscale dance clubs, Café de Paris lets you make a superstar entrance via a dramatic staircase. Formerly a posh jazz ballroom, it now features a dance floor frequented by the society set and young professionals. Members pay top dollar to avoid long lines, and lots of people don’t get in, although those that do gain entrance dress up and make a night of it. The mezzanine café offers refreshments and a great view of the throbbing dance floor.
TUBE: Piccadilly Circus

China White
6 Air St, near Piccadilly Circus, London, UK – England WIB 7HH · 20-7343-0040
SOHO. Located in sub-level Soho, this exotic, Asian-themed nightclub is one of the hottest places to gather after midnight. Professional DJs (most of them known all over town) keep the cutting-edge crowd in a frenzy well into the morning hours, courtesy of the best urban, house, and Euro mixes you’ll hear anywhere. What’s more, the weekend clientele includes a virtual “who’s who” of trendsetters – models, Page 6 mainstays, and even a few stars from the sporting and entertainment arenas. Be sure to dress in your best club wear, but be warned: gaining entry to this exclusive club is often nothing short of a miracle since China White is open only to members from Wednesday to Saturday.
TUBE: Piccadilly Circus

Elysium
68 Regent St, London, UK – England W1B 5EL · 20-7439-7770
SOHO. Fashionable Elysium offers a handful of after-hour diversions for its trendy clientele. An expansive interior and plush, Asian-themed decor distinguish the exclusive establishment, which also features a lounge, restaurant, and dance floor where DJs spin top Euro and house beats. Swanky VIP rooms flank the dance floor, and sitting areas are outfitted with comfortable furnishings, ideal for catching your breath and enjoying a good chat. Keep your eyes peeled for the occasional celeb.
TUBE: Piccadilly Circus

Fabric
77a Charterhouse St, London, UK – England EC1M 6HJ · 020-7336-8898
CLERKENWELL. Uber-trendy, this former cellar now hosts some of London’s hippest club-goers. Three separate dance floors, an astounding sound system (bass actually pumps from the floor and into your body), and cutting-edge music conspire to create a singular nightlife destination. DJs run the rhythm gamut, spinning techno, hip-hop, house, and electronica, while light shows prove hypnotizing, especially amid the maze of cavernous spaces. Full-service bars, unisex bathrooms, and a rooftop terrace add to the appeal. If you don’t care for lines, make sure to arrive early.
TUBE: Farringdon

Heaven
11 The Arches, Villiers St, London, UK – England WC2N 6NG · 020-7930-2020
EMBANKMENT. This huge, enormously popular gay club attracts folks from all over the world. The main-floor dance space stretches endlessly and stays packed through the night with gyrating bodies. A level higher, go-go boys take to their pedestals, and a more relaxed mood prevails. Up again, a busy bar takes care of liquid needs and invites socializing. Plus, everywhere are niches where patrons can meet discreetly when they need a breather. Fabulous dance music is standard, acoustics are great, and the party seemingly never ends. A great place to lose yourself for the night.
TUBE: Charing Cross or Embankment

Herbal
12-14 Kingsland Rd, London, UK – England E2 · 20-7613-4462
SHOREDITCH. A converted warehouse provides the setting for this industrial-strength dance club, which sits in a neighborhood beginning to boast one of London’s most impressive night scenes. Herbal supplies just the right elixirs for patrons in need of both late-night clubbing and loud, DJ-driven music beats. The club spans three floors, and on peak nights, each one is packed with folks displaying the latest trends. Music includes a great mix of Euro, urban, and reggae – a little something for every taste.
TUBE: Shoreditch, Old Street, or Liverpool Street

Purple Night Club
Fulham Rd, Chelsea Village, London, UK – England SW6 1HS · 20-7565-1445
CHELSEA. Billed as “Chelsea’s best-kept secret,” Purple brings in big crowds every weekend, thanks to world-class DJs and colorfully mod aesthetics. As the name suggests, purple is the dominant color, punctuated by red leather banquettes and ceiling-draped fabrics. Terrific sound and lighting systems provide added appeal. Purple is located in the shopping-entertainment complex affiliated with the famed Chelsea football club, and it’s not uncommon to spot a few celebs hanging out in the VIP areas.
TUBE: Fulham Broadway

Scala
278 Pentonville Rd, London, UK – England N1 · 20-7833-2022
KING’S CROSS. Lively until the hours of the early morning, Scala is a top pick for hip-hop enthusiasts. The roomy venue was once a movie theater, but the split-level building now boasts an extremely modern decor, complete with strange quotes projected on the walls of the darkened space. This club also claims to have one of the best sound systems in London and frequently hosts DJs from throughout Europe. Always a good vibe.
TUBE: King’s Cross

The Cross Nightclub
27-31 York Way, London, UK – England N1 0BB · 20-7837-0828
KING’S CROSS. You’ll have to look hard to find this spacious subterranean dance venue, located in the catacombs below King’s Cross. Indeed, the edgy nightspot, a favorite with clubbers gay and straight, couldn’t be anymore ‘underground,’ thanks to rough, weathered brick walls and ceilings, an exposed ventilation system, and dimly lit nooks and crannies. Fridays and Saturdays feature multiple DJs, each in a different room and each spinning an individual blend of beats intended to drive the young, hip crowd wild.
TUBE: King’s Cross St. Pancras





Web London

28 08 2005

Best websites to plan your trip to London

I don’t know who this man is but he has an awesome site. Check out the site map. There are walks for every corner of London with tips on what to see, eat and drink along the way. There are activities to do with children. His links must cover every site you might possibly need. This is a site which lists all the alleys, lanes, courts and yards of London. Some have pictures. The text is amusing and interesting. Check out Pubs in Alleys in the menu. Look at St Michael’s Way or Ely Court to get you started. Someone is drinking himself silly just to let you know about the pubs in London. These two sites are excellent places to look at if you want an idea of what you are going to see in London and you are interested in background history. Ben Haines describes an excellent walk to do over a few days in London.
This will tell you all about canals and waterways, not just for London. If you are a shopper, this is for you. Area by area and street by street shopping. It even has pictures of what you will see as you emerge from the nearest tube. Lots of links for individual shops. I sent away for their free map and didn’t even have to pay postage. It is a 3D map with the walk clearly marked. Remember, you don’t have to do all of it. On the back there are pictures and descriptions of sights along the way. I also sent off for a pamphlet from

There are a lot of pamphlets you can send for at absolutely no cost. Investigate. A given. The transport for london site. It is full of information. It takes time to look at it all but the time is well invested. And dozens of other sites which will tell you all about restaurants in London. Everything about the airports. You could even print out a map of the terminal to take with you. Toilets and ATMs clearly marked. The ‘local area’ section is particularly useful to find out what’s in the neighbourhood. Great for street maps. Information about museums. Great reviews of pubs. Free stuff





Hotel London

28 08 2005

BUDGET HOTELS
London hotels are anything but cheap. In all probability, it’s likely to cost more than any airfare you have to pay. Indeed, with London being a particularly expensive city (the second most expensive in the world if you’re to believe Mercer Human Resource Consulting’s large 2004 survey – and I do) it becomes even more important to make sure that you get the best deal possible. Commonly the problem with booking a budget hotel is that it’s just too far from the centre of town to give you any feel of the place (and the budget aspect starts to look suspect when you spend all the money you’ve saved on transport to and from the destinations you’re interested in). Not only that but “budget” can be a rather broad term and encompass everything from genuinely cheap and cheerful little hotels to hideous cockroach-infested dumps that you wouldn’t send your worst enemy to. All of the following hotels are genuinely in the heart of London – no long treks by bus or tube to irritate you. Not only that they possess a high standard even if they are at the budget end of the market.

LUXURY HOTELS

So you’re rich. The Hempel hotel boasts breathtaking minimalist décor (and has been described as an architectural statement in its own right) whilst ensuring maximum comfort and up to the minute technology (including Wi-Fi access throughout). The Mandarin Oriental is home to one of the finest hotel spas in the country (not to mention state of the art gym complete with personal trainer) as well as Foliage, an award winning restaurant and The Park, a visually stunning bar. Likewise The Berkeley is home to the Blue Bar – a breathtakingly decorated lounge bar that almost defines the word “opulence”. With the Sanderson it’s not just that bar that’s a masterpiece of design (though it is), the entire hotel has been crafted into a work of art in its own right. Elsewhere, Claridge’s, aside from its obvious luxuriousness, can point to the fact the Gordon Ramsay, possibly the finest chef in Britain today, runs the restaurant as a demonstration of its level of excellence.

HIP HOTELS

The idea of the hip hotel is one that has emerged only in the last decade (and really not much before the last fiveyears in truth). It is likely to have been recommended by word of mouth (as opposed to massive promotional campaigns) over the years and has, as a result, built up a cult following. This lends itself to a couple of things – one is that the hotel itself has no guarantee of being expensive. It is, in all likelihood, unique and quirky but this is not a section of the market ruled by vastly expensive suites and absurdly obsequious staff (though, naturally, they do occur). Secondly, there’s more than a fair chance that the hotel in question has or does something that makes it out of the ordinary; the Sherlock Holmes Hotel, for instance, has a distinct Holmes theme (and we really don’t mean “theme” in a tasteless sense either), the Sunborn Yacht Hotel is, in fact, on a yacht – that sort of thing. Very often these hotels are situated in out of the way places around the world but it’s fair to say that London has its fair share too – admittedly it’s harder for them to be totally cultish, as London has millions of people living in it and a good proportion will be aware of a good selection – making them, perhaps, a bit more mainstream than truly cult. That being said, they are very fine spots and whilst some, like the Sanderson and The Berkeley, might be well up there in the expensive stakes, we’re sure you’ll be able to find some very pleasant surprises when you look properly.

CITY CENTER HOTELS
The idea of a cheap hotel in the centre of town may seem a bit odd but it does happen. In fact, they really are in the centre of town – scant minutes from all the attractions, places of interest and historical monuments you could want.

THEATERLAND HOTELS
If you’re planning a trip in London to see the theatre, or simply want a hotel in London nearby a theatre then there are plenty more available. London’s theatreland (as it is known) is celebrated worldwide for its diversity, vibrancy and sheer volume of productions. Situated around the Covent Garden and Shaftesbury Avenue areas it boasts some 40 top class venues ranging from the legendary (like the Theatre Royal and Royal Opera House) to the new and progressive (like the Comedy Theatre or Donmar Warehouse). The entire area is also peppered with hotels that cater specially, though not specifically, for those who intend to catch a few shows whilst staying in the capital – many are packed with stage memorabilia and the vast majority are no more than five minutes walk from the very heart of theatreland.





Walking London

27 08 2005

Organised walking tours take place all year round in London. To take part, meet your guide outside the Tube at the designated times. No need to book!

The Original London Walks walking tours cost £5 for adults and £3.50 for concessions. Offering almost 100 different walks every week, they cover London’s history and culture from every angle:
Tuesdays – Ghosts of the Old City guided walk; meet at 1930 outside St Paul’s Tube. Wednesdays – A literary pub walk around Bloomsbury; meet at 1900 at Holborn Tube.
Fridays – A pub walk along the River Thames; meet at 1900 at Blackfriars Tube.
Sundays – The Famous Square Mile: 2000yrs of History; meet at 1030 at Monument Tube.
Original London Walks on +44 (0)20 7624 3978

London Walking Pass has been launched this year by The Big Bus Company, offering visitors five guided walks for only £10. The five guided walks – Royal London, The Beatles, World of James Bond, Ghosts by Gaslight and the Movie Location Walk – all take place at regular times daily and depart from the Big Bus stop at Trafalgar Square, just by the National Gallery. Individual cost of £5 per person. All walks are fully guided and last for approximately one and a half hours. The five guided tours are free with the standard Big Bus hop-on, hop-off tour ticket. Ring +44 (0)20 7233 9533

Theatreland walks are a good way to learn more about London’s theatrical history. The Theatre Museum offers guided walks telling the story of the development of theatre from the Restoration period to the present day. The history and culture of Theatreland – the area which comprises Covent Garden, Drury Lane, the Strand and neighbourhoods – is explored. Walks start from the front entrance of the Museum each Saturday. Tickets cost £5/£4. Ring +44 (0)20 7943 4806 to make reservations.

Kairos in Soho run walks of Lesbian and Gay Soho every Sunday. Turn up at 1400 at the KiS door, 56 Old Compton Street, next to the Admiral Duncan Pub to find out why SoHo is SoGay – from Oscar Wilde to clandestine clubs in the sixties through to the modern day. Ring+44 (0)20 7437 6063. Wilde Tours is the UK’s first dedicated tour operator offering historic and contemporary tours of gay and lesbian London. Get an introduction to Bohemian London in the Nineteenth Century and explore Soho and Bloomsbury as a centre of cultural influence on modern times with a half or full day walking tour. Ring +44 (0)20 7209 4850 to book tickets

The Jack the Ripper guided walk starts at Aldgate Underground station at 1900 on Sundays, Wednesdays and Fridays. It costs £5 for adults and £4 for students. They do Haunted London walks every Tuesday evening from St Pauls station. Call +44 (0)20 8526 7755. The Blood & Tears Walk is an award-winning spooky London walk that runs several times a week. Following the story of London’s dark and murky past, it took years of research and covers sites connected with grave robbers, serial killers, prostitution, witchcraft and conspiracy. Call +44 (0)20 7625 5155

The popular Shakespeare City Walk has been taking place continuously since 1999 and is the perfect way to find out more about the life and work of Shakespeare, as well as hear his immortal words delivered by a former Shakespearean actor. The walk takes place every Monday and Friday. For more information call +44 (0)20 7625 5155

City Sidewalks Walk through 2,000 years of history with an official City of London Guide. Meet the Romans, take in the Grandeur and Glory of Old London Town, explore the City’s East Side and Spitalfields or discover the Blessed, Cursed and Haunted characters from the dark side of London. Walks cost £5.50 per person and £4 for accompanied children under 12.

Alfred Hitchcock London Location Walk: Discover Hitchcock locations from Bayswater to Brixton. Tours depart from Queensway tube in Bayswater on Mondays, Wednesdays and Saturdays at 1100, and the cost is £25 excluding Travelcard. Contact sandra_shevey@yahoo.com to book in advance.

Clerkenwell & Islington walks
Discover Clerkenwell and Islington’s rich and varied history from the 12th to the 20th centuries, their associations with Shakespeare, Hogarth, Dickens, Levin, religion, radicalism and literature. Ring +44 (0)20 7631 0659.

A range of Discovering Hackney walks, uncovering Hackney’s colourful and fascinating history, from early Saxon villages to the multi-cultural inner city it is today, are currently taking place in London. Ring +44 (0)7710 414 240

The Mysteries Pilgrimage: Discover Southwark’s rich past with this informal guided walking tour. Led by John Constable, the author of the ‘Southwark Mysteries’, you’ll discover historic Southwark with its theatres, taverns, artisans and brothels. Tours are by arrangement only, for groups of up to twenty people. Email mysteries@boltblue.com or ring +44 (0)20 7403 1496





Week in Wine

25 08 2005

Carneros Pinot Noirs

2003 Bouchaine Carneros Pinot Noir: $25
2003 Buena Vista Reserve Carneros Pinot Noir : $22
2003 Buena Vista Ramal Vnyd Carneros Pinot Noir : $34
2002 Carneros Creek Reserve Los Carneros Pinot Noir : $20
2004 Castle Rock Carneros Pinot Noir : $10
2002 Clos Pegase Mitsuko’s Vnyd Carneros Pinot Noir : $30
2003 Domaine Carneros Carneros Pinot Noir : $28
2002 Gloria Ferrer Carneros Pinot Noir : $26
2003 Leaping Lizard Los Carneros Pinot Noir : $10
2002 Mahoney Vineyards Carneros Pinot Noir : $24
2002 Robledo Rancho Rincon Los Carneros Pinot Noir : $27
2003 Solaris Carneros Pinot Noir : $14
2002 Waterstone Carneros Pinot Noir : $20
2003 X Winery Los Carneros Pinot Noir : $23





Pizza Margherita

24 08 2005

I had three (count them, 3!) bad pizza margheritas over one (1) weekend. That must qualify for some kind of record book. They could not even spell it right! Queen Margherita of Italy, to whom it is dedicated, must be rolling in her self rising flour by now. She was interested in the peasant dish her chefs could not prepare so the famous Neapolitan pizzaiolo Raffaele Esposito was invited to court and suggested three (3) pizzas: this one reflecting the colors of the Italian Sabauda flag, the marinara and a white cheese pizza. Garlic was avoided as it is considered improper for the delicate palate of royalty (insert inappropriate Prince Charless joke here). On the 11th of June 1889, pizza finally became a dish fit for royalty. The key is a hot oven: it should be really hot or the pizza takes too long to cook and hardens. This pizza should be baked in a wood fired brick bread oven but I cannot afford one so I use my electric fired oven at home. One day….

* Break yeast in cup with a little warm water
* Add 2 tbs of flour and knead into a small ball
* Go to work the whole day (well you should leave it to rise for half an hour in a warm draftless place covered with cheesecloth)
* Come home after work and form a mound with the flour and place the yeast starter in the middle. Add warm water, a little at a time and work with the fingers and then the hands. Knead into a soft ball for ten (10) minutes.
* Go for a swim (let it rise for 90 minutes in a warm draftless place covered with cheesecloth)
* grease four (4) oven sheets with EVOO. Spray PAM and I am history
* Heat the oven (there is no pre-heat: you either heat it or you don’t) to 600*F
* Divide the dough into 4 with well floured hands and slap it onto a hard surface to loosen it up (I use the cool granite)
* Flatten the dough out onto the oven sheets or roll it out with a rolling pin. I use a seasoned terra cotta pizza stone because I use one (1) oven exclusively for pizza but YMMV
* As flattened the pizza must be thin but do not make holes in it. Place the seasoning on the dough just before you are ready to bake or it will go soggy
* Ladle out the romato onto the pizza. Cut mozzarella into many thin discs and arrange on the tomato. Drizzle with a little EVOO
* Bake for ten (10) minutes until the edge rises well. Decorate with fresh basil leaves and serve.

Prosecco goes well with ths pizza. Made primarily in the district of Valdobbiadene near the town of Conegliano in the region of Veneto, Prosecco has quickly become one of the most successful sparkling wines today.

Prosecco is the name of the grape that is used to make this sparkling wine and many of the best examples are 100% Prosecco. As this is a grape that is prized for its delicate flavors and aromatics, the wine itself is not made in the classic method made famous in the Champagne district of France. Rather, the Charmat method of sparkling wine is used to make Prosecco as the classic Champagne method would mean aging the wine for several years before release, robbing the wine of its freshness. Now while the Charmat method is used to make some pretty awful sparkling wine (think of the worst stuff you’ve ever had to gulp at your brother’s wedding reception – no judgment), in this case the producers of Prosecco use this method to create some truly charming wines that are usually enjoyed within a year of the vintage, although the best can age for several years. While there are some ordinary examples of Prosecco made, there are a handful of producers that consistently create first-rate examples.

Prosecco Di Valobbiadene “Frizzante” (DOC)
Made from 100% Prosecco di Valdobbiadene grapes, this has a straw color and small bubbles, Sergio Mionetto has decided to use the traditional string (known as “spago”) to tie down the cork with this wine- a classy touch and one that other producers are starting to emulate. ($12)

Prosecco Brut Spumante (IGT)
Made from 100% Prosecco grapes, this has a straw color and small bubbles. This is slightly fuller in flavor and on the palate than the Frizzante bottling and is a touch drier. ($12)

Sergio Sparkling Extra Dry
A more traditional example of Prosecco. This cuvée is made from 90% Prosecco di Valdobbiadene, 5% Bianchetta and 5% Verdiso. It has enough character to accompany most pastas (cream sauces would be ideal with this) as well as shellfish. The bottle is one of the most beautiful I have ever seen with the letters MO emblazoned in large print in the glass and the letters “sergio” written in white in small print. ($17)

Cartizze (DOC)
Named for the finest area in which Prosecco grapes are grown – the Superiore di Cartizze. These are the steepest hills in the Prosecco di Valdobbiadene district and deliver the most intense, complex flavors. This is best served not as an aperitif, but with richer food. A beautiful-looking bottle, similar to the Sergio. One of the most underrated and delicious Italian sparkling wines made today! ($35)

BISOL • Valdobbiadene
Prosecco brut “Crede”
A blend of 85% Prosecco, 10% Pinot Bianco and 5% Verdiso. Medium body, this is clean, fresh and well made. ($14)

Prosecco Extr Dry “Vigneti Del Fol”
The grapes used to make this cuvée are harvested about ten days after those destined for the “Crede” bottling, so this is a more traditional Prosecco. A pleasant off-dry, citrusy, lemony finish. Not imported in the US, the price in Euros is 7.50

Cartizze
Straw, with an aroma of apple and pear. Medium-full with very good concentration and a crisp, dry finish. Very elegant finish that offers fine acidity. Not imported in the US, the price in Euros is 11.00

NINO FRANCO • VALDOBBIADENE
Prosecco “Sassi Bianchi”
Medium-body with good concentration. Well balanced finish that is dry with very nice acidity. ($12)

Prosecco “Rustico”
Straw color with a beautiful creamy mousse and a lovely perfumed aroma of golden apples and white peaches. Medium-bodied with very good concentration. Soft finish – delicious! ($15)

Prosecco Brut “Rive di San Floriano”
Straw-light yellow color with a hint of almonds in the aroma to go with notes of pineapple and lemon oil. Medium-full with excellent concentration. Long, dry finish with excellent acidity. Very stylish and attractive. ($18)

Prosecco “Primo Franco”
Straw-light yellow with a lovely mousse. Attractive aroma of roses, raspberries and white peaches. Medium-bodied with excellent concentration. Long, ultra-smooth finish that is lightly sweet. This is Prosecco at its best and most charming! ($16)





Order Money

23 08 2005

A money order is a form of payment that may be used by its purchaser to pay bills or other financial obligations or to purchase goods or services worldwide. This may be purchased with cassh (only) at supermarkets, chains, financial institutions, check cashiers or limited independent retailers.

After purchase of a money order, immediately fill in the following information:
(i) PAY TO THE ORDER OF (individual or organization to whom the money will be made payable)
(ii) SURCHASE, SIGNER FOR DRAWER (your signature)
(iii) ADDRESS (your business or preferred address)

The MONEY ORDER NUMBER is printed in several locations on th emoney order, including the stub, the bank code line and, in large blocks numbers, on the side or upper right hand corner. This is required for tracking purposes and purchasers should retain it fo ryour record.
The DATE must be noted. If not used or cashed within three (3) years of this date, a non-refundable service charge will be assessed pursuanr to the SERVICE CHARGE AGREEMENT printed on the back of the money order. I did not know this. The money order itself does not expire.

Alterations cannot be made to a completed money order. Once you have the completed money order, write the phrase “NOT USED FOR PURPOSE INTENDED” on the back of the money order and sign on its back in the presence of acheck cashing agent or depository institution. You might also obtain a claim card and send in the original money order with a copy of the money order stub and a refund money order will be issued.

In the Far East Bay, it is cheaper to purchase a money order (a processing fee is assessed) either at Long’s or Safeway, when compared with purchasing the same at a bank or US postal office.





Very Vernaccia

22 08 2005
Vernaccia di San Gimignano’s origins are shrouded in the mists of time. Some suggest that the grapes used to make it were brought by the Etruscans. The vines adapted superbly to the soil around San Gimignano, and by the Renaissance Vernaccia was considered Italy’s finest white wine, fit to fire the imaginations of poets, artists and Popes. It was the first Italian wine to be awarded DOC status, in 1966.

Vernaccia producers are returning to their roots, improving their grapes, reducing their yields, and vinifying with care. We are seeing a return of the wine that garnered so much acclaim in the past: Powerful and full-bodied, with a rich, heady bouquet and a crisp clean taste that lingers long on the palate, a golden-hued wine that both warms and inspires. Vernaccia is really a red wine made from white grapes.

There are three kinds of Vernaccia, which illustrate the major styles currently being made by San Gimignano’s better producers:
  • Tradizionale, made with extended maceration of the skins to draw the most from the grapes. This has a deep golden color produced by compounds in the grape skins. In the old days producers used to add caramel to achieve it in off years. The wine has a rich floral bouquet, good fruit, and is full bodied; it goes very well with the local cuisine, and could also be an interesting accompaniment to a Chinese meal.
  • Fiore, from free-run must, is the juice that runs from the press before it is turned on — this is the reverse of Tradizionale, a delicate wine that is much lighter on the palate, and which will complement rather than overwhelm subtly flavored dishes such as steamed fish.
  • Carato, which is barrel-fermented. Almost every Tuscan producer who makes white wines now ferments some of them in barriques. The wood tannins from the barrels give the wine a more international character, with hints of vanilla on the nose, and added body and complexity on the palate. The influence of the wood is carefully controlled to keep the wine from being oaky — this is still very much a Vernaccia. It will be a fine accompaniment to crustaceans or white meats.
Some other wines from San Gimignano I enjoy -
Cannaiuolo, a rosé that makes for a delightful aperitif;
Vinbrusco, a surprisingly rich and flavorful blend of Malvasia and Trebbiano;
Il Garrulo, a red wine made following the traditional formula for Chianti, which includes both red and white grapes, and is a nice, undemanding wine that is good when drunk young but ages surprisingly well;
Montenidoli, a more full-bodied red, and
Sono Montenidoli, a red table wine made from Sangiovese.
These wines are all made from traditional Tuscan grapes.
Its well merited fame derives from its quality and appraisable characteristics. It appears the vines were introduced into the region of San Gimignano by a certain Vieri De’ Bardi around the year 1200. It was later on, that his ancestors Zanobi and Angiolo Bardi developed the cultivation of the vines that were destined to become famously appreciated.It is certain that in the year 1276 VERNACCIA di San Gimignano’s trade was flourishing. Infact, we find in the official documents “Ordinamenti della Gabella” dated 1276, that a duty tax of “3 coins” was established for each sum of VERNACCIA sent outside San Gimignano’s jurisdiction. We also find a registration of superintendents, for the finer VERNACCIA wines. They were employed by the city district to control the wine trade. Therefore, it is quite evident that, already in this period, VERNACCIA has acquired notable prestige throughout the Tuscan and Italian market place. It also gladden the tables of the noble and rich.
Dante Alighieri himself, while wondering among the gluttons of his Purgatory, happens upon Foreste Donati. He indicates to Dante an old man (Pope Martino IV) who is paying the price for having stuffed himself with eels alla VERNACCIA…. “Questi e, mostrò col dito, è Bonagiunta. Bonagiunta da Lucca: e quella faccia di là da lui più che l’altra trapunta ebbe la Santa Chiesa e le sue braccia: dal Torso fù, e purga per digiuno l’anguille di Bolsena e la VERNACCIA” (Purg. XXIV, 19-24).
Sante Lancerio, the bottler of Pope Paul III, in 1541, after having asked the city of San Gimignano for 80 flasks of VERNACCIA, complained that San Gimignano cultivated too much art and scieence and not enough VERNACCIA: “…..è una perfetta bevanda da Signori et è gran peccato che questo luogo non ne faccia assai…..”(da “Della natura dei vini e dei viaggi di Paolo III, descritti da Sante Lancerio, suo bottigliere”). In 1468, Vernaccia gleamed in the goblets at the Medici Rucellai wedding. Forty flasks were given as a wedding gift by the city of San Gimignano. Vernaccia on the table of Lawrence De Medici, the “Magnificent” who continually solicited the city of San Gimignano for donations, excusing himself by saying “….it was a pleasing drink to his mother Lucrezia Tornabuoni and a useful and strenghtening remedy to the health of his young son Piero…” ; the San Gimignano people, therefore could not neglect sending generous gifts of Vernaccia for Christmas, Easter and special holidays to the Medici family, especially for Lucrezia and Piero, and in order to send always good quality wines, in 1477 they named two official Vernaccia tasters, because: “….ne provvedessero del migliore et ben condizionato….”(From the historical archives of San Gimignano, Lib. Provv. n. 136, 177). It was in the Medice house that Pope Leone X become familiar with Vernaccia. Once he returned to Rome, he could not remain without this wine and therefore had it sent to him. Ludovico il Moro, 1487 ordered 200 flasks for the wedding reception of his nephew Gian Galeazzo with Isabella, the daughter of Alfonso II, king of Naples. Due to the grand success of Vernaccia at this gala affair, he wrote to the city of San Gimignano asking for 500 vines to plant in Lombardia. Immediately following his request was another request by Duke Guidobaldo from Urbino who wanted to produce Vernaccia: the attempt was a failure! The hopes of the two princes were in vain, as the vines grew but did not produce a quality Vernaccia. The non-success was due to the fact the value of the wine was strictly connected to the earth and environmental conditions of where it was produced, San Gimignano and nerby hillsides. This resulted also in the raising of prices of cultivating soil during the Renaissance period. Vernaccia continues to provoke spontaneous verses by various poets such as the following by Gabriello Chiabrera: “….Di vin qual ambra puro voglio che ella trabocchi, che dolce che maturo tosto che ‘l versin ti s’avventa agli occhi i grappoli suoi furo della vendemmia egregia onde in Toscana Gimignan si pregia….” And as Michelangelo Buonarotti sang in “Aione” (1643) “…E alla nobil terra alta e turrita del bel Sangimignan facemmo gita…..ma i terrazzani altrui sempre fan guerra con una traditora lor Vernaccia che danno a bere a chiunque vi giunge che bacia, lecca, morde e picca e punge….” Or Francesco Redi who was very severe with those who did not particularly like Vernaccia: “…..se v’è alcun a cui non piaccia la vernaccia interdetto maledetto fugga via dal mio cospetto….”(from “Bacco in Toscana” 1967).”If anybody doesn’t like Vernaccia. I means the sort that’s made in San Gimignano. Let me fly, my violent eye. I curse him, clean through all the Alfa – Beta, and for his shame and his spite. I think it right to order him to wear that stupid sweet a crown of beet…”. Even Vincenzo Coppi in his “Annali di San Gimignano” (1965 p. 141) defines Vernaccia as “….a delicate white wine among one of the best and most pleasing wines cultivated in Italy….” It was the first Italian wine to have received recognition DOC in the year 1966. Besides with the decree of 9 July 1993 n. 169, it has entered into the category of the finer Italian prestigious wines carrying the title of D.O.C.G. (Denominazione di Origine Controllata e Garantita).
The birth of the Vernaccia Consortium bears the date of July 3rd 1972 and the signature of Notary Vannisanti Luciano. Together with notary Vannisanti was a small but willingly persistent group that firmly believed in what they were beginning. A private venture that would interest the entire San Gimignano territory. They were nine: Principe STROZZI MAJORCA GUICCIARDINI Dott. GIROLAMO, LORINI Ernesto, LUCII Libano, BARONCINI Jaures, CONCINI Concino, VAGNONI Luigi, MAROLLI FURGA GORNINI Ing. Giorgio, SALINI Alfredo and the presence of Bagnai Franco, Gassino Teresio, Lorini Pietro, Biagini Ascanio, Cecchini Angiolo, Cecconi Ferriero, Pertici Carlo, Razzi Franco, Bartolini Luciano and Borselli Romano. The foundation of the Consortium was based upon very clear objectives and these same objectives have been firmly followed through over the years. Presently the Consortium counts about eighty members. Its management is a continual challenge; keeping in mind the traditional image of San Gimignano, the various initiatives created to introducing Vernaccia in other areas of Italy and abroad and contributing to the betterment of the general quality of the production, not only the grapes, but the wine itself, so that it continues to bear the DOC label a recognition given to Vernaccia di San Gimignano by Italian law.
The wine producing aziendas that are part of the Consorzio Denominazione San Gimignano, are now analysing, developing and applying the results of a long phase of research and study in the vine growing and wine producing field. The results of this research project have already started to clearly improve the quality of the wine put forward, and have made the wine producers more aware and determined to use their important potentiality to the fullest. The San Gimignano “terra/ambiente” has been producing wine for centuries thanks to the habitat, which is ideal for the famous wine that is envied by many. The Vernaccia di San Gimignano is an excellent example of a native species of vine. It is capable of rising above the other wines in the world that seen to be becoming more and more alike due to the process of levelling out that is the result of “globalisation” in the field. The Consorzio Denominazione San Gimignano is striving to achieve further excellence and the maximum organoleptic quality in the products of the San Gimignano “terra/ambiente”, and has developed an important phase of research on experimental vineyards so as to individualize the clones of the San Gimignano species that will most likely provide us with the possibility of producing higher and higher quality wines. The Consorzio has decided not to limit the growth and innovation of this species of vine, which is the prince of the territory. In the past few years, the production of red wine has been growing in importance and San Gimignano has discovered that it is a territory with a particular bent for the making of high quality wine, even red. This potential had lain dormant for many years, but today it can blossom in all its splendour. With this prospective in mind, and with the will to face yet another great challenge that will place some a cut above the rest, the Consorzio has proposed to change the regulations of the “San Gimignano” D.O.C. born only a few years ago, in 1996. The new regulation foresees the presence of an important red D.O.C. wine. This gives the territory an added lustre and a promise that encourages the aziendas to further develop, to aim higher, to set their goals, as a territory, at an objective that will not fail to be noted.




Westend Boys

20 08 2005

Resources for London theater tickets

Tickets
London Theatre Direct
Official London Theater
Albemarle
Whats on Stage
Ticketmaster

Cheap Tickets
Last Minute
London Theatre Club

Day of Show Cheap Tickets
TKTS

Seating Charts
See Tickets
Theatre Monkey

Hard to get tickets
Applause Tickets

Advance booking with discount codes
Broadway Box

Special deals in advance
Whats on Stage
Keith Prowse
London Theatre Direct
See Tickets
ShowSavers

Best Bets (current)
Tom, Dick and Harry
The Odd Couple
Waiting for Godot
Arsenic and Old Lace
On the Shore of the Wide World

Popular
The Rat Pack
Mary Poppins
The Producers
Mamma Mia
Chicago

Star Turns
Guys and Dolls Ewan McGregor
As You Like It Sienna Miller
The Postman Always Rings Twice Val Kilmer

Finds
Billy Elliot
Blood Brothers
Fame
Far Pavilions

Jewels in the Crown
The Woman in Black
The Woman in White

Top 20 Box Office
#1 Billy Elliot
#2 Saturday Night Fever
#3 Blood Brothers
#4 Fame
#5 Dancing in the Streets
#6 Guys and Dolls
#7 Mamma Mia
#8 Mary Poppins
#9 Phantom of the Opera
#10 Stomp
#11 Woman in Black
#12 Joseph
#13 Chicago
#14 Les Miserables
#15 Producers
#16 Chitty Chitty Bang Bang
#17 Death of a Salesman
#18 Far Pavilions
#19 Lion King
#20 As You Like It

Special Offers
#1 Save 10 GBP to see Rob Lowe in A Few Good Men until 9/15/5
#2 Top tix and free drink at Chicago fro GBP25
#3 Pay half price for Saturday Night Fever until 9/30
#4 All tickets GBP10 for Shore of the Wide World
#5 Mon-Fri best seats at GBP25 for Rat Pack
#6 Few Fame tickets for GBP 19.75
#7 Buy one get one free for Far Pavilions through 8/31

Showtimes for planning

A Few Good Men
M-Sa 1945
W, Sa: 1500 and 1945

Billy Elliot
M-Sa 1930
Th, Sa: 1430 and 1930

Far Pavilions
M-Sa 1930
Th, Sa: 1500 and 1930

Guys and Dolls
M-Sa 1930
W, Sa: 1430 and 1930

Mary Poppins
M-Sa 1930
Th, Sa: 1430 and 1930

Woman in Black (play)
M-Sa 2000
Tu 1500 and 2000
Sa 1600 and 2000

Woman in White (musical)
M-Sa 1930
W, Sa: 1430 and 1930





Mexican Drinks

19 08 2005

It is always challenging to come up with nuevo latino drinks for my midsummer cantina party so this year I am attempting to go traditional, yet avoiding the critically acclaimed Sangria.

Agua de Jamaica
Boil 6C water
Add 2c hibiscus flowers adn 3/4C granulated sugar
Boil for one minute while stirring
Pour into a non-corrosive bowl and steep for 2 hrs (this will stain)
Strain thro sieve pressing on flower solids
Add water or sugar to taste
Cover and chill until ready to serve

Agua de Tamarindo
Boil 1 qt water
Add 8 large fresh tamarind pods and 0.5C granulated sugar
Stir while boiling for 1 minute
Pour into noncorrosive bowl and steep for 2 hours
Break up softened pods and free pulp and seeds
Strain thro sieve pressingon flower solids
Add water or sugar to taste
Cover and chill until ready to serve

Agua de Sandia
Puree 28C loosely packed watermelon chunks (seeded)
Add 0.25C mint leaves (fresh) to one of the batches
Pour watermelon juice into large pitcher
Stir in 12 oz water and taste. Add 1tbs sugar to taste
Chill one hour
Pour ice in tall glasses and garnish with mint sprig

Faux sangria
Stir 1 sliced orange, 1 sliced apple, 6 maraschino cherries (with stems), 1 quart grape juice, 3tbs sugar, 3/4 qt soda water in large jar. Serve in small cups garnished with orange and apple slices and a cherry or float the fruit on top in a punch bowl and ladle into glasses.

Mexican hot chocolate
Warm 2C milk and 4oz dark bitter chocolate in saucepan
Scarpe seeds from 1 vanilla bean split lengthwise and adds seeds and bean to milk
Stir with molinillo or whisk until chocolate is melted and begins to boil
Remove from heat and froth chocolate with molinillo
Serve in large mocha mugs immediately

Horchata
Pulverize 6tbs rice in a blender as smooth as possible
Combine rice with 1.25C almonds, 1″ cinnamon stick and 3 2″ strips of lime zest (rind only not the white pithy part). Let mixture stand overnight (minimum 6 hrs)
Blend for 5 minutes until smooth and non gritty
Add 2C water and blend again for few seconds
Strain through sieve and twist out as much fluid as possible
Add 2 more cups of water and stir in sugar to taste
Cover and chill. Keeps for a week, serve in tall glass over ice

Margarita
Salt rim the glass: rub lime wedge on rim then dip into kosher salt
Combine 3tbs tequila, 1.5 tbs triple sec and 1.5 tbs fresh lime juice in shake and add crushed ice
Shake
Pour into crushed ice or over cubes
Garnish with lime wedge

Agua Frescas
Fruits used – pine apple, cantaloupe, honey dew, water melon, strawberry, papaya)
Blend till smooth
Add water to thin to a light consistency
Sweeten to taste
Sieve to remove seeds or small bits
Should be consistency of water

La Tuna
Fill old fashioned glass with ice cubes
Pour in 1 shot tequila, 4 dashes bitters, 1 tsp lime juice and club soda
Sprinkle salt on ice cubes
Serve with slice of prickly pear





Week in Wine

18 08 2005

Russian River Valley and Sonoma Coast Chardonnays

2002 Buehler Vineyards Reserve Russian River Valley Chardonnay: $20
2003 Clos du Bois Calcaire Russian River Valley Chardonnay: $22
2003 Dutcher Crossing Russian River Valley Chardonnay: $22
2003 Hawley Foppoli Ranch Russian River Valley Chardonnay: $21
2003 Hook & Ladder Russian River Valley Chardonnay: $12
2003 J Lynne Russian River Valley Chardonnay: $22
2003 Mia’s Playground Russian River Valley Chardonnay: $15

Cabernet Sauvignons

2003 Black Box Wines Paso Robles Cabernet Sauvignon ($18 for 3L)
2001 Handpicked Yarra Valley Cabernet Sauvignon ($10)
NV HRM Rex Goliath California Cabernet Sauvignon ($9)
2003 Kelly’s Revenge South Eastern Australia Cabernet Sauvignon ($6)
2002 Mirassou California Cabernet Sauvignon ($10)
2003 Pepperwood Grove California Cabernet Sauvignon ($8)
2003 Ravenswood Vintners Blend California Cabernet Sauvignon ($10)
2002 Smoking Loon California Cabernet Sauvignon ($10)
2002 Three Thieves Bandit California Cabernet Sauvignon ($7 for 1L)
2002 Two Tone Farm Napa Valley Cabernet Sauvignon ($10)





Wood Works

17 08 2005

Genuine hardwood furniture lasts longer than Twinkies but needs more than the wrapping. Up to half of freshly sawn wood weight is water. After drying, furniture is crafted from wood that has enough moisture to adjust to domestic humidity but the wood continues to live and exchange moisture with air, shrinking and expandind in response to changes in relative humidity. If you are not air-conditioned or have no dehumidifier, some homes may have excessive humidity and parts of furniture may absorb excess moisture from the air and expand, causing drawers to stick. Use a humidifier in the winter and an airconditioner in the summer to keep the relative humidity at 25-35%. Avoid placing furniture directlyin front of radiators, heat runs or fireplaces. Do not expose hardwood furniture to continuous direct sunlight and draw curtains occasionally. Store table leaves as close as possible to the principal table to insure adjustment to the same realtive humidity.

Read the maker’s directions carefully and keep them handy for future reference. Dust with a soft cloth by following the grain pattern of the wood. Use an old tee that has been laundered to remove the sizing. Dust often to remove abrasive particles from twood surfaces. Moisten cloth lightly with a spray product as dry cloth can leave scratches on the finish. Surfaces may also be cleaned with a mild non-alkaline soap and water mix. Use the suds on a damp sponge or cloth, but be sure to pretest the solution on an out of sight section (posterior leg?) to insure it does not damage the finish. Dry immediately with a soft cloth and buff lightly, following the grain. Wood finishes benefit from an occasional waxing or polishing. A paste was can be applied every six (6) months. Remove old wax first with mild non-alkaline soap and water solution. Avoid waxing urethane-finished furniture (it causes these surfaces to gather dust and dirt rather than repel it).

Scratch and Nick Aids

Finish Treatment
Dark Wood or Stain Fill scratches with shoe polish that matches the lightest shade of the finish, or rub with walnut or Brazil nut meat in the direction of the scratch. A child’s crayon or felt-tipped marker can also be used.
Cherry Fill the scratches with cordovan or reddish shoe polish that matches the wood, or apply darkened iodine with a cotton swab or thin artist’s brush.
Light Wood or Stain Fill scratches with a tan or natural shoe polish, or apply darkened iodine diluted 50 percent with denatured alcohol.

Stain Removal

Stain Treatment
Water Marks & Rings Often, rings are in the wax, not the finish. Cover the stain with a clean, thick blotter, press down with a warm iron, and repeat. Or rub with salad oil, mayonnaise or white toothpaste. Wipe dry and wax or polish.
White Marks Rub with a cloth dipped in a mixture of cigarette ashes and lemon juice or salad oil. Or rub with a cloth dipped in lighter fluid, followed by a mixture of rottenstone and salad oil. Wipe dry and wax or polish.
Milk or Alcohol Use your fingers to rub liquid or paste wax into the stain. Or rub in a paste of boiled linseed oil and rottenstone with the grain, substituting pumice for dull finishes. Or rub with ammonia on a dampened cloth. Wipe dry and wax or polish.

Everyday accidents

Problem Treatment
Cigarette Burns (light) Rub with scratch-concealing polish, or with a paste of linseed oil and rottenstone, working with the grain until the burn mark disappears.
Heat Marks Rub gently along the grain, using a dry steel wool soap pad or a cloth dampened with camphorated oil or mineral spirits, or rub gently along the grain with extra-fine (0000) steel wool. Wipe clean and wax or polish.
Nail Polish Blot the spill immediately, then rub with fine steel wool (0) dipped in wax. Wipe dry and wax or polish.
Paint Marks If fresh, remove latex paint with water and oil-based paint with mineral spirits. If dry, soak spot in boiled linseed oil, wait until paint softens and lift carefully with a putty knife or wipe with cloth dampened with boiled linseed oil. Residue can be removed by rubbing along the grain with a paste of boiled linseed oil and rottenstone. Wipe dry and wax or polish.
Sticking Paper Dampen the paper thoroughly with salad oil, wait five minutes and rub along the grain with extra-fine (0000) steel wool. Wipe dry and wax or polish.
Wax or Gum Harden the substance by holding an ice cube wrapped in cloth against it, then use your fingernail or plastic credit card to remove it. Rub the area with extra-fine (0000) steel wool dipped in mineral spirits. Wipe dry and wax or polish.

Furniture is organic and should be used as such. Unless your wood has some new super finish to protect it, use coasters to prevent spills, stains and damage from hot dishes. Blot all spills immediately. Keep solvents, alcohol, nail polish and polish removers away from furniture surfaces. When dusting, always lift lamps and other objects instead of sliding them across the furniture surface. Always lift furniture to move it (do not drag it). Open and lcose doors, drawers and lids gently.





Pantry Hose

16 08 2005

Preparing an elegant meal, serving it at the right temperature and entertaining guests all on your own can be tiresome albeit terribly fun for me. What if cheese warms to body temperature? What if we run out of plates? What if dirty linen stacks up? How do I not stress? I use the ante-room. Now suddenly I am aware it is called a “butler’s pantry” even though I have never had a butler in my life. It is just a small book between kitchen and the table perfect for drop offs, pick ups, and quick grabs. It is like the departure lounge for your flight of culinary fancy. Historically a symbol of affluence, welathy homeowners (anyone in the Bay area, say) carved ot a nice near the diner for heirloom linens and silver coffee service and serving trays. Butlers were often employed to keep glasses filled and plates cleared. Today, this space is used to store their fine china, crystal and table linens, and to plate food before entertaining. I call it the plating pantry but more critically, why walk all the way to the kitchen with the dishes when I can stop off at the butler’s pantry after entertaining, when this is where I store my dishes anyway.

Essentials in the Plating Pantry:

Glassware (above the plate to its right, except the water goblet directly above the knife and any other stemware set to its right)
Stemware
* red wine (12)
* white wine (12)
* balloon/stem (24), as alt to red or white wine
* goblet/water (12)
store upside down alternately to maximize space. wash before wear
Barware:
* double old-fashioned (8)
* highball (8)
* juice (12)
Accessories:
* shakers (2)
* corkscrew (1). I have a fancy rabbit I enjoy
* party bucket (2)
* coasters (12)
* pitcher (2)
* ice bucket (20)
* decanter (1)

Dinnerware and table linen
White flatware is most versatile permitting you to accessorize as you please and showing off the food well. Dress up with the table linen. I have never bought dinnerware in any other color.
* 12 place settings (setting = dinner plate, salad plate, cereal owl, mug)
* 12 extra salad/dessert plates (no need to wash dishes before ice cream)
* tablecloth (formal, seasonal, informal)
* runners (formal)
* placemats (at least 2 sets, formal and informal for 12 each)
* napkins and napkin rings (2 sets, formal and informal for 12 each)
* place coffee filters between dishes (also use to polish silver)

Serving pieces
* teapot
* sugar bowl
* creamer
* butter dish
* gravy boat (rubbish but recommended)
* pitchers (chill them before hand)
* serving bowls
* platters and trays (3-5 with different finishes and colors)
* soup tureen
* cake stand
* canisters are great to store flour, sugar and coffee but also napkin rings, coasters and flatware. use dry erase pens to relabel
8 store silverware away from cotton or velvet that contains sulfides that might cause pitting over time
* press all linens before folding or storing in baskets and tag each basket suitably





Aspect Love

15 08 2005

You threw away thousands of dollars in a new telly but all the actors on your favorite shows look unnaturally bloated and fat. Or there are black bars at the top and bottom of the screen — and on the left and right. Or everything on your favorite DVD looks tall and skinny. And the neighborhood newscaster: ugh! All of these are examples of the most important and least understood issues in the home-theater world: aspect ratio.

Aspect ratio is the fractional relation of the width of a video image compared to its height. The most common aspect ratios in home video are 4:3 (also known as 4×3, 1.33:1, or standard) and 16:9 (16×9, 1.78:1, or wide-screen). All the older tellys and computer monitors I grew up with had the squarish 4:3 shape–only 33 percent wider than high. 16:9 is the native aspect ratio of most HDTV programming; it is 78 percent wider than it is tall, or fully one-third wider than 4:3.

At comparable screen sizes, the wide-screen image is a distinct improvement as it offers a larger image, and the horizontal orientation is more akin to how your eyes–next to each other, not on top of one another–view objects. Both of these formats work perfectly well when they match the TV screen’s native aspect ratio — standard programming on a 4:3 screen (Nick at Nite fare) and any newer, wide-screen material on a 16:9 set (HDTV programming or most DVDs). But as soon as you try to watch 4:3 content on a wide-screen monitor or 16:9 content on a 4:3 TV, you need to compromise.

Make sure your new TV has aspect-ratio control.
All wide-screen HDTVs, most HDTV set-top boxes, and a few new 4:3 TVs can control aspect ratio in some way. Many DVD players have Zoom functions, and all can be set to work with both 4:3 and 16:9 TVs, but few have additional aspect-ratio controls. Almost every HDTV has aspect-ratio control, but most sets available today limit the number of choices you have, depending the incoming resolutions. In most cases, you’ll have full aspect-ratio control with 480i and 480p sources (generally standard TV and progressive-scan DVD, respectively), but often you get fewer options, or none at all, for HDTV resolutions (720p or 1080i). Some HDTVs, especially older models, restrict the number of available aspect-ratio choices with 480p sources as well. When shopping for wide-screen displays–especially flat-panel LCDs–you may see aspect ratios such as 15:9 or 16:10. They are, for all intents and purposes, close enough to 16:9 to be considered synonymous. Unless you are extremely sensitive to geometry like me, it is doubtful you will notice the slight stretching or squashing they introduce.

Filling the screen with a moving picture is the safest way to view non-wide-screen content on 16:9 plasma flat panel and CRT based RPTV displays. Leaving the black bars on for an extended period of time can cause permanent damage to the display–often called burn-in or image retention–which often isn’t covered by the warranty. Both plasma and rear-projection CRT sets are particularly vulnerable to burn-in during the first 100 or so hours of use. During that time, watch without vertical letterboxing at all, and avoid still images, such as paused games or television shows. After this initial period, the danger of burn-in is greatly reduced. Other easy measures to avoid burn: find a set or a source that produces gray bars (instead of black) to either side of the 4:3 image and/or features other ways to combat burn-in; turn contrast down to 50 percent or lower; balance your 4:3 viewing with more wide-screen material; in particular, sports and animation make good candidates for stretching. Burn-in does not affect LCD, DLP, or LCoS TVs and is much less likely to affect direct-view tube TVs.

As long as your TV or video source has the proper aspect-ratio control settings, aspect-ratio problems are completely avoidable. Over the next few years, as both hardware manufacturers and broadcasters transition from the older 4:3 format to wider, HDTV-friendly 16:9 wide-screen, aspect-ratio control will be particularly important.

4:3 TVs
This is the overwhelming majority of TVs in the marketplace so most television programming is already properly formatted for standard 4:3 TVs. But many movies–on both DVD and cable TV–as well as a small but steadily increasing number of TV shows (e.g., Nip/Tuck) are broadcast in wide-screen format. Seen on a 4:3 TV this letterboxing format–named because it duplicates the effect of staring through a mail slot–leaves black bars at the top and bottom of the screen.

Undesired letterboxing (wide-screen video on a standard screen)
Black letterbox bars appear at the top and bottom of the screen when watching wide-screen content, such as most DVDs and some network TV shows.
Fix: Use the zoom control on the TV or DVD player to get closer to the image.
Pro: The image will fill the screen, or you see smaller black bars.
Con: You will miss any action on the extreme left and right of the image, which will be cut off. The picture will appear softer because it’s being electronically blown up–just like the muddy images one gets when using the digital zoom function on a digital camera.

BEFORE: Letterbox bars at top and bottom–but you see what the director intended in the shot
AFTER: Iimage fills the screen, but not as sharp, and cuts off the left and right sides. What is his left hand doing?

TV and video-source aspect ratio don’t match
Issue: When playing wide-screen DVDs that are anamorphic (enhanced for 16:9 TVs), everything looks stretched vertically–actors appear taller and thinner than they otherwise would.
Fix: In the setup menu of your DVD player or set-top box, make sure the TV Type (or TV Shape or Aspect Ratio) option is set to 4:3 letterbox or 4:3 pan-and-scan, not 16:9.
Pro: The image will appear in its correct proportions.
Con: You’ll see black bars above and below the image. However, this is the aspect that the director intended. You may also notice anamorphic downconversion artifacts. Many newer, more expensive 4:3 TVs–especially HDTVs–have a feature called vertical compression, or anamorphic squeeze. For these TVs, the DVD player’s setting should be switched (counterintuitively, but correctly) to 16:9. As a result, you’ll see a sharper picture with fewer artifacts.

BEFORE: Incorrectly setting the DVD output for 16:9 stretches everything to look artificially tall and thin. Spherical bowling ball is oval-shaped. AFTER: Correctly setting the DVD to match the 4:3 screen displays correct proportions. Bowling ball is circular.

Standard TVs are pretty straightforward, but aspect-ratio issues can get a bit confusing once you upgrade to a set with a 16:9 screen (most HDTVs, for instance). Let’s take a look at how to fix common aspect-ratio problems in the wide-screen world.

16:9 wide-screen TVs
The main problem with 4:3 sets is getting the rectangular “peg” of wide-screen programming to fit the squarish “hole” of a standard TV. 16:9 TVs have the opposite problem: decades’ worth of TV programming has been produced to fit the squared-off 4:3 aspect ratio, not the luxuriously wide space of a 16:9 display. You need to picj your sacrifice: deforming the picture, losing a portion of the horizontal image, sacrificing the resolution, or a combination of the three.

Vertical letterboxing (a.k.a. pillarboxing)
Issue: Black (or gray) bars on the left and right sides of the screen when watching standard TV content–any non-HDTV program.
Fix 1: Use the zoom control on the TV, DVD player, or cable/satellite receiver to blow up the image, eliminating (or at least minimizing) the black bars.
Pro: The image will fill the screen.
Con: You will miss any action at the extreme top and bottom of the screen, which will be cut off–bad news if you’re looking at the stock ticker, news crawl, or subtitles. The picture will appear softer because it’s being electronically blown up, just like the muddy images one gets when using the digital zoom function on a digital camera.

BEFORE: Black bars on the left and right of the screen. AFTER: Image fills the screen, but not as sharp, and cuts off the top and bottom. No more shot clock in upper left corner.

Fix 2: Set the TV’s aspect-ratio control to Stretch or Full.
Pro: The image will stretch to fill the screen.
Con: The black bars are gone, but to fit the square 4:3 image to the wider screen, the picture has been stretched horizontally, making everyone appear squat and bloated.

BEFORE: Black bars on left and right of screen. AFTER: Image fills the screen, but is distorted, making everything wider and fatter.

Fix 3: Set aspect-ratio control to a nonlinear stretch mode such as Panorama or TheaterWide.
Pro: The image will stretch to fill the screen, but only the extreme left and right will be distorted; anything toward the center of the screen will be displayed close to its proper proportions.
Con: It’s the happy medium between native 4:3 and stretch, but this mode is implemented in some TVs better than in others. In some cases, panorama mode can be more distracting than pleasing.

BEFORE: Black bars on left and right of screen. AFTER: Image fills the screen, maintaining proper proportions toward the center and stretching only the extreme left and right edges.

Windowboxing
Issue: There are black bars on the left and right sides of the screen and at the top and bottom.
Fix: Use the zoom control on the TV, DVD player, or cable/satellite receiver to blow up the image, eliminating the vertical bars and removing (or at least minimizing) the horizontal ones.
Pro: Image will fill more of the screen.
Con: Nothing to miss at the top and bottom of the screen, with the possible exception of subtitles, which may be cut off by zooming. Image will appear softer.

BEFORE: Black bars on all four sides of imageof this letterboxed documentary
AFTER: Image fills the screen, not as sharp, but nothing is cut off.

Undesired letterboxing (“ultra” wide-screen movies on a wide-screen display)
Issue: Black bars at the top and bottom of the screen when viewing movies filmed in “ultra” wide-screen formats (wider than 16:9) such as CinemaScope.
Fix: Use the zoom control on the TV, DVD player, or cable/satellite receiver to blow up the image, eliminating (or at least minimizing) the black bars.
Pro: The image will fill the screen.
Con: You will miss any action on the extreme left and right of the image, which will be cut off. The picture will also appear softer.

BEFORE: Black bars on top and bottom of screen AFTER: Image fills the screen, not as sharp and cuts off left and right making epic scenes claustrophobic.

Once you get used to viewing movies in their full wide-screen glory, you will not be able to go back to the cramped confines of a cropped pan-and-scan version. Aspect-ratio control puts choice in the hands of the viewer. For maximum flexibility, put it at the top of your list the next time you shop for a telly or home-video peripheral.





Telly Calibration

14 08 2005

Why do the telly images at my Best Buy look so much better than in my family room? The answer is in calibration. Some tips.

Room lighting
I always turn down (nut never OFF) the lights to watch cinema and I always watch movies at night so most recommendations are designed to deliver a better DVD picture in rooms with controlled lighting. Unless you have a big-screen projector or you sit at the minimum viewing distance (1.5 times the screen’s diagonal), do not watch movies in complete darkness as it can cause eyestrain. For bright plasmas and smaller direct-view sets, place a dim light directly behind the TV and leave the rest of the room dark. Look for special “daylight” bulbs that glow at 6,500 degrees Kelvin. Prevent any light in the room from reflecting off the telly as glare hampers image fidelity. If you watch during the day, thick curtains will really improve the picture. But you really need to get out more :) Before you make adjustments, set room lighting as if you were about to watch a movie. For viewing in brighter environments, use one of the picture presets, such as Standard, Sports, or Vivid, and reserve your custom settings for dark rooms.

Brightness, also called black level, brightness actually adjusts how dark the black sections of the picture appear. Excessive brightness can result in a two-dimensional, washed-out look with reduced color saturation. Images with brightness set too low will lose detail in shadows, and distinctions between dark areas disappear in pools of black. After connecting your DVD player using the hghest quality input available, insert a DVD that has letterbox bars above and below the image, and find a scene that has a roughly equal amount of light and dark material. Turn up the control all the way, then decrease until the letterbox bars begin to appear black, as opposed to dark gray. If you notice a loss of shadow detail–for example, when people’s eyes disappear into the depths under their brows–then you’ve set brightness too low. For plasma, LCD, DLP and LCoS sets that will not ever look black, you will need a setup disc to properly configure their brightness.

Contrast is also called picture or white level and controls the intensity of the white parts of the image and determines the overall light output of the display. Contrast is usually set extremely high by default because it makes images look brighter in the store. High contrast can obscure details and distort lines in the image, cause eyestrain in dim rooms, and shorten the lifespan of tubes and plasma elements. Setting contrast too low robs the image of impact. Display a still image from DVD of a white object with some visible details–such as someone wearing a white button-up shirt or a shot of a glacier from the Ice Age DVD. Adjust the control up all the way, then reduce it until you can make out all the details in the white (such as buttons on a shirt or cracks in the ice). TVs look best when contrast is set between 30 percent and 50 percent.

Color is also called saturation and adjusts how intense the colors look. When there is too much color, the set looks garish and unrealistic and is most noticeable with reds, which are often accentuated (pushed) by the TV’s color decoder. Too little color diminishes the impact of the picture, making it look drab. Setting color to zero results in a black-and-white image. If available, first set the color-temperature control to the warmest option. Then find an image of someone with light, delicate skin tones, preferably a close-up of a face, on a DVD. Turn up the color control until it looks like the person has sunburn, then reduce it until the skin looks natural, without too much red. If the rest of the colors look too drab, you can increase color slightly at the expense of accurate skin tones.

Tint: Unless you are using a setup DVD, this control is best left at the midway point.

Sharpness: This adds artificial edges to objects, which sometimes helps with soft cable signals but almost always mars the already sharp image from a DVD. Reduce it to zero unless you detect visible softening along the edges of text; if you do, increase it until the edges appear sharp again.

Edge enhancement or VSM or SVM for scan-velocity modulation, set this control to Off if possible.

Color temperature affects the entire palette of colors. Select the Warm or Low option, which should come closest to the NTSC standard of 6,500 degrees Kelvin.

Generally, the image looks best for DVD with picture “enhancements” such as autocolor, autoflesh tone, autocontrast, noise reduction, and other proprietary processing modes turned off. DVD image quality is good enough that these modes usually do more harm than good.
Adjusting your TV with the quick tips will yield good results, but you can do even better by investing in a home-theater setup DVD.

Video Essentials (DVD International, 1997)
Pro: Wide array of reference test patterns; varied montage of images.
Con: Difficult to navigate; test patterns not adequately explained.
Best for: Experts who want reference-quality patterns and are already familiar with basic calibration procedures.
The first setup DVD available, Video Essentials is still the gold standard for professional calibrators and other experts who are intimately familiar with its labyrinthine navigation. Created by video consultant Joe Kane, its patterns and excellent video/film montage have tested thousands of monitors–but they’re not easy for beginners to use. People who want less of a learning curve should stick to newer, less arcane discs.

Avia Guide to Home Theater (Image Entertainment, 1999)
Pro: Wide array of reference test patterns and well-detailed calibration procedures; easy navigation; optional in-depth looks at many home home-theater topics.
Con: Sometimes pedantic tone.
Best for: Beginners with patience and others who want comprehensive explanations of system details.
Avia is arguably the most complete. This well-designed disc includes an excellent 40-minute walk-through that covers major aspects of home home-theater systems and setup, and curious users will love the in-depth, text-only explanations of topics from aspect ratio to subwoofers. The heart of the disc, however, is the suite of thoroughly explained calibrations that takes you step by step through TV and audio system optimization.

Sound & Vision’s Home Theater Tune-Up (DVD International, 2001)
Pro: Simple explanations of calibration and setup routines; nice graphical demonstrations.
Con: Constant corny jokes; little elaboration of home-theater concepts.
Best for: Beginners who want a quick-and-dirty way to tune up–as opposed to calibrate–their systems.
Endorsed by the home-entertainment reviews magazine, this disc is positioned as an easy-to-use guide to home-theater setup. In most areas, it succeeds. The body of the program consists of a tutorial on equipment, room environment, and calibrations hosted by a lively pair of hosts–whose trite antics become tiresome after the first minute. Common-language explanations and clear diagrams help beginners immensely, but some important concepts, such as variations among different display devices, are glossed over or eliminated altogether.

Digital Video Essentials (DVD International, 2003)
Pro: Excellent in-depth explanations of up-to-the-minute home-theater concepts; comprehensive test patterns and montages; mastered in 16:9 wide-screen format.
Con: Sometimes inadequate explanations of setup routines; constant chapter stops; no human host.
Best for: True and aspiring videophiles who want the most current, in-depth video information and don’t mind falling asleep to get it.
The successor to Video Essentials, also available on D-VHS in both 1080i and 720p resolutions, has the advantage of being the newest calibration DVD–and a lot has changed in the last few years. Watching the tutorial is a little like attending a class taught by HAL from the movie 2001 since there’s no visible human host, and the narrator sounds a little too nice. The explanations are extremely informative and complete, and they include details that other discs miss. But the actual how-to of setup isn’t as straightforward; beginners should avoid Digital Video Essentials.

If you’ve just dropped $1,000 on a new TV or projector, you are serious about home theater, work too much or are a crackwhore. The most effective and expensive way to get theaterlike pictures is to have the display professionally calibrated.

What do the pros do?
Although the service you get will vary, professional calibrations almost always involve a few common steps aimed at improving the image. Many of these require accessing the display’s internal service menu and measuring the image with test equipment–two reasons why the service calls for a trained professional. I do not tampering with the internal service menu. Typical calibration services:

Direct view and flat panel telly:

  • Set grayscale to the NTSC standard of 6,500 Kelvin, improving color accuracy of the entire palette
  • set contrast, brightness, color, and so on using test patterns designed specifically for each of these controls; optimize overscan and picture position, enabling display of more of the incoming picture; correct “red push” in the color decoder when possible;
  • optimize all DVD input sources using DVD test patterns and HDTV input using an HDTV test-pattern signal generator.

Rear-projection and front projection telly:

  • All of the above for non-CRT displays
  • for CRT: converge all aspect ratios and focus the three guns to maintain image sharpness.
  • mechanical focus of projector lenses, custom setups for every aspect ratio and input source, full projector installations from scratch

Professional calibrations cost anywhere from $250 for a direct-view or plasma set to more than $1,000 for a CRT-based front-projector. If you are on a budget, first purchase a test disc and follow its DIY calibration procedure. If afterward you still feel like your set isn’t performing as well as it should or you simply want to guarantee the best picture, you should get a calibration. One of the most important components of professional TV service requiring special gear is grayscale calibration which equalizes the color of gray at various light levels, from very dark to very bright, at the NTSC standard color temperature (a.k.a. white balance) of 6,500 degrees Kelvin, or D6500K. DVDs are created to be displayed at that color temperature, so if your TV is set to 6,500K, you’re that much closer to seeing the image the director intended. Some tellys, however, have color-temperature presets that come close to 6,500K. Very few come close to the ideal color temperature, even in their warmest mode. There are two ways to get your display calibrated. If you bought the set at a specialty retailer, the vendor would probably be able to refer you to someone who could perform the service. Some retailers even include calibration in the price of the television. The more common way is to retain the services of an independent contractor. Choose a contractor with calibration equipment who has been certified by the Imaging Science Foundation and who owns his or her own calibration equipment. Many calibrators perform their services only in conjunction with full audio/video installations and may not offer separate video calibrations.





Digital Light

13 08 2005

Asking whether someone should buy a telly with a specific model number from a specific vendor is like asking me which wine one should buy. I need specifics! The current discerning choices are DLP and LCD rear-projection HDTV. What makes them so compelling is that they’re much thinner, lighter, and sexier than their less-expensive CRT-based counterparts, which have the traditional boxy look. Many CRT models offer better picture quality than their LCD and DLP cousins, but the performance gap has narrowed so it is less of an issue. There is also a fourth important flavor called LCoS (liquid crystal on silicon). Improved technology has resulted in new models quickly becoming cost-effective alternatives to ultraexpensive large-screen plasma and LCD panels. Twp vendors: Samsung or Sony–rear-projection route.

Esthetically, you cannot go wrong. All of Samsung’s DLP TVs and Sony’s latest Grand WEGA — from 42″ to 70″ — are among the sleekest-looking rear-projection sets ever designed. They give the illusion that they are thinner than they really are, though not as slender as flat-panel plasmas and LCDs. The 50-inch Samsung HLN507W DLP and the 50-inch Sony KF-50WE610 LCD are the same size: the DLP is 17.6 inches deep and weighs 97 pounds; the LCD takes just 0.6 inch off the depth and brings down the bulk a bit to 82.2 pounds. A typical 50-inch plasma is not a lot heavier at about 100 pounds but measures a much slimmer 4 inches.

The price difference between LCD and DLP will quickly disappear but now Sony has a slight value lead as Grand WEGAs are $500 less than equivalent-size Samsung DLP HDTVs. Gateway’s 56-inch DLP is decent deal if you overlook its funky design. RCA makes DLP sets, too. The nice thing about a DLP, LCD, or LCoS set is that you can put in new bulbs like you would with a front projector. Both Samsung and Sony TVs offer up to 8,000 hours of bulb life, depending on brightness settings and usage. Replacements cost $300 to $400.

Earlier Grand WEGAs just couldn’t display black that well; it ended up closer to dark gray which decreases the amount of detail you can see in the shadows and ultimately leaves the picture looking flatter and less three-dimensional. If you look closely at backgrounds on both the Sonys and the Samsungs, you’ll see some low-level noise, which shows up as dancing pixels. DLP sets have a bit of an edge in terms of color accuracy and black-level performance. The difference has to do with the distance between a TV’s pixels, called interpixel spacing or fill factorwhich is instrumental in black reproduction and color saturation. DLPs have far tighter interpixel spacing than LCDs, even though the Grand WEGAs have a slightly higher resolution than the Samsungs.

DLP sets have a shortcoming: because they use a spinning color wheel to modulate the image, some of us can catch a glimpse of the color separation on the screen and they see a brief streak of color that is often referred to as the rainbow effect. It appears most frequently in dark areas around a moving spot of brightness, such as a flashlight bulb. Some people are aware of the rainbow effect–and it really bothers them–and others aren’t. Try before you buy. Get an in-store demo in a dark room and determine whether the rainbows affect you. Out of the box, Sonys are probably a shade better as they have done a decent job with preset picture settings. But after you calibrate a Samsung, there is no difference. Calibrate your telly

If you are nitpicky about video performance and you don’t notice rainbows, lean toward Samsung’s DLPs.
If you would rather keep that extra $500 and want a set with a bit less heft, the lower price and the slightly lighter, sleeker chassis of the Grand WEGAs are favored.
If you’re hedging, these types of HDTVs will only get better and thinner with time. On the DLP side, Samsung’s ultrasleek HLP5685W, and RCA’s wall-mountable 50- and 60-inch Profiles models, are a mere 6.85 inches deep. All will feature Texas Instruments’ next-gen DLP chips, which should provide a small bump up in picture quality.
MicrodisplaysThe lamps inside these sets, which cost $200 and up, must be replaced every 3,000 to 10,000 hours, depending on technology and conditions of use. You can replace most lamp assemblies yourself.RPTV sets start at about 42 inches diagonal, and the majority support the wide-screen, 16:9 aspect ratio and have built-in HDTV tuners. Their big screens hide two basic varieties of display technology: old-fashioned CRTubes; and microdisplays that use DLP, LCD, or LCoS technology.

CRT

Pro: Cheap; excellent black-level performance; best picture quality in a proper environment with proper setup.

Con: Deep cabinets; periodic maintenance; not ideal for bright rooms; narrow viewing angle; softer image than microdisplays; usually cannot display computer signals

Future: quickly phased out in favor of lighter, lamp-driven microdisplays

Microdisplays

A new generation of rear-projection televisions is taking over floor space at the electronics store, and the trend shows no signs of slowing down. These sets are called microdisplays because they essentially consist of a lamp that bounces light off of or through a tiny pixel-filled microchip and onto a big screen.

  • Lamps inside these sets ($200 and up) must be replaced every 3,000 to 10,000 hours, depending on technology and conditions of use. You can replace most assemblies yourself.
  • The bulbs take from 20 seconds to a minute to warm up and cool down.
  • Displays are generally lighter and slimmer than CRTs, and you almost always need a stand to get them to eye level.
  • Most can display computer as well as high-def and standard TV and usually look better when fed a digital (DVI, HDMI, or FireWire) rather than an analog connection
  • Unlike rear-projection CRT sets, all microdisplays can get quite bright without losing detail, so they’re perfectly watchable in brightly lit rooms.

Microdisplay cheat sheet

DLP LCD LCoS

DLP

Pro: Good black-level performance; no maintenance to preserve sharpness; often computer-capable; thin and light compared to CRT.

Con: Expensive; some rainbow effects; video noise in dark areas; periodic lamp replacement required.

Vendors: Samsung, Toshiba, Mitsubishi, Panasonic, LG, RCA

Future: DLP is only getting cheaper and more popular, although LCD will give it plenty of competition.

Aside from CRT models (and possibly SXRD LCoS designs), DLP sets currently provide the deepest blacks of any projection technology. Almost all DLP-based RPTVs use a 1,280×720 native resolution chip that shows every pixel of 720p HDTV, resulting in a very sharp picture with high-definition sources. A new generation of higher-resolution DLP displays offering 1,920×1,080 resolution should be able to display every pixel of 1080i HDTV. These 1080p DLPs cost quite a bit more than their 720p counterparts.

A potential problem with DLP sets is known as the rainbow effect. Some people can see brief streaks of color on these TVs, especially when moving their eyes across the screen. This is caused by the fact that the single DLP chip uses a color wheel to create red, green, and blue, and hence all colors. The occurrence of these rainbows has been significantly reduced with the advent of newer, faster color wheels, and most people who watch a DLP never see rainbows at all (and the few who do usually see them only occasionally). DLP HDTVs do introduce a bit more low-level video noise, which can look like tiny dancing pixels or motes in shadowy areas, than other microdisplay TVs.

LCD

Pro: No rainbow effect; no maintenance required to preserve sharpness; often computer-capable; thin and light compared to CRT.

Con: Expensive; blacks not quite as deep as DLP; periodic lamp replacement required.

Vendors: Sony, Hitachi, Panasonic, LG

Future: LCD has improved performance and will challenge DLP as prices fall

While DLP still holds the lead in producing the deepest blacks, LCD chips have made serious improvements recently, bringing their black-level performance to within striking distance of DLP. Unless you have them side by side, you won’t be able to tell which of the two delivers the deepest blacks. Prices for similarly sized DLP and LCD TVs will likely remain close as big-brand behemoths face off and try to outdo one another.

Another area where DLP has an image-quality advantage is something called the screen-door effect. If you sit close to an LCD, you may notice a faint grid of pixels, much like a screen door, overlaid atop the image. You’re seeing the space between the pixels, which is more visible on LCD than on the other two microdisplay technologies. It is generally not noticeable even on LCDs unless you sit closer than twice the diagonal measurement of the screen.

LCD’s big advantage over DLP, and one that it shares with LCoS, is lack of the rainbow effect–a big deal if you see rainbows on DLP sets, and a moot point if you don’t. In the big scheme of things, 1,386×788 doesn’t provide much of a sharpness boost over 1,280×720. DLP makers have also claimed that the organic compounds in LCD chips degrade over time, while DLP chips do not. While this is essentially true, it has little impact on real-world product life span because LCD chips still last very long time under normal working conditions. While LCoS and DLP makers tout the “inorganic” nature of their chips, that is no reason to choose one technology over another.

LCoS

Pro: Excellent interpixel fill; no maintenance required to preserve sharpness; thin and light compared to CRT; more dependent on variants (below).

Con: Periodic lamp replacement required; more dependent on variants (see below).

Vendors: JVC, Sony, Hitachi

Philips, Toshiba, and Mitsubishi are among the heavy hitters that produced early-generation LCoS models, then decided to abandon the technology. Intel even floated a rumor that it would enter the LCoS stakes (untrue). JVC and Sony introduced variations on LCoS chips and in early 2005, Hitachi jumped on the LCoS bandwagon with its own 1080p LCoS lineup, due later in the year.

JVC (HD-ILA): JVC has been producing LCoS-based front projectors for years under the D-ILA (Direct-drive Image Light Amplifier) brand, and in 2004 the company proffered a line of rear-projection sets, exemplified by the HD-52Z575 (pictured) and employing yet another abbreviation: HD-ILA. They are priced very competitively with DLP and LCD sets and offer the same resolution (1,280×720) as well as the brightest picture and best interpixel fill we’ve seen on a projection TV. Unfortunately, black level wasn’t as good as either LCD or DLP. e ran into some other issues (see the review for more). JVC has announced 1080p HD-ILA televisions that will appear later in 2005.

Sony (SXRD): Sony charges obscene amounts for its initial LCoS variant called SXRD (Silicon X-tal Reflective Display or Silicon Crystal Reflective Display). Initially available only in the Qualia 004 front projector ($27,000) and Qualia 006 70-inch rear-projector ($13,000), the 1,920×1,080 SXRD chip is an excellent candidate for the best microdisplay technology yet. It delivers excellent black levels and a minimum of video noise; it is expected that Sony will officially announce lower-priced SXRD-based HDTVs by January 2006.

Hitachi: No fancy names but in terms of pricing, Hitachi’s sets fall between those of JVC and Sony. Models won’t be released until the holidays of 2005.





Enhanced Definition

12 08 2005

I was at my Sears on Thursday night looking at two 42-inch plasma tellys side by side, and they were playing the same high-def demo PIXAR high resolution footage that all stores typically use to make tellys look good. Cosmetically, the two sets appeared very similar and sexy until I saw the little price cards. One set costs $3,499, the other costs $5,999. You then notice that one is described as an EDTV or Enhanced Definition TV, and the other as an HDTV or High-Definition TV. (Sidebar: some vendors use the terminology High Definition Resolution TV: this does not meet industry standard for HDTV and is like calling Andre California Champagne) Look closer, and you notice – depending on the quality of the source- that HDTV plasma looks sharper. Which do you buy?

Fixed-pixel displays
All fixed-pixel TVs, including every flat-panel LCD and plasma, as well as rear-projection DLP and LCD TVs, have a certain number of pixels (native resolution) to create the picture. It is the absolute limit on the amount of detail you see and follows some rules:

  1. No matter the resolution of the source material, whether VHS, DVD, or HDTV, a fixed-pixel display will always convert it (scale) to fit its native resolution.
  2. If the incoming source has more pixels than the native resolution, you will lose some visible detail and sharpness, though often what you’re left with still looks pretty good.
  3. If the incoming source has fewer pixels than the native resolution, there is benefit from the extra resolution. In almost every case, extra pixels will not make a lower-resolution source look better. All other things being equal, the same DVD shown on an EDTV plasma and an HDTV plasma will have the same degree of detail.

Here is how native resolutions interact with DVD and HDTV sources in the real world:

32-inch analog TV

32-inch analog TV
42-inch EDTV plasma

42-inch EDTV plasma
42-inch HDTV plasma

42-inch HDTV plasma
50-inch HDTV plasma;
DLP or LCD rear-proj

50-inch HDTV plasmaDLP or LCD rear-projection
Native resolution No pixels used but detail in good analog TV is equivalent 640×480 pixels. 852×480 pixels 1,024×768 or 1,024×1,024 pixels 1,280×720 pixels
HDTV feed No Yes Yes Yes
Wide-screen DVD pixel feed No Yes Yes Yes
720p HDTV pixel feed No No No Yes
1080i HDTV pixel feed No No No No

When HDTV isn’t all there
Currently, HDTV comes in two flavors:

  • 1080i, used by CBS, NBC, HBO, and many others, and
  • 720p, used only by ABC and ESPN and Fox

Even the most expensive HDTV plasmas cannot deliver all of the detail of 1080i HDTV but
HDTV sources still look highly detailed on them and even on EDTV plasmas.

A few LCDs, including the HP f2304, the Sharp LC-45GX6U and the Samsung LTP468W, can deliver all the detail of 1080i HDTV.

DLP also has the potential for full 1,920×1,080 resolution–the minimum required for full display of 1080i–so it is only a matter of time before these true HDTV displays become more common. But for now they cost many Nighthawk shifts.

Does pixel count matter?
Is it worth another $1,500 to get the HDTV plasma, or is EDTV enough? Remember:

  1. DVD and standard network telly look basically the same on both. This is what I call the 90-10 rule. Buy something for a purpose that is indicated 90% of the time. At the current time, there is not that much HDTV network or cable telecasting.
  2. EDTVs generally have better black-level performance and higher contrast ratios, which lead to better-looking dark scenes–a big issue with some plasmas.
  3. HDTV plasmas look significantly more detailed with HDTV and computer sources, even though they do not show every pixel.

Same high-def image on an HDTV plasma (top) vs. an EDTV plasma (bottom). Perceived resolution is affected by movement in picture and seating distance (source-image distance).

Do you believe the increased resolution with high-def or computer sources is worth the price difference, and in some cases, the trade-off in black-level performance? Tellys last a long time and as more and more HDTV is becoming available, you will have more opportunities to take advantage of extra pixels in the future. Before you rush to buy a plasma purely on the basis of its pixel count, know that performance among fixed-pixel displays varies widely with variable color accuracy, black levels and video processing. Take your favorite DVD and go into a store and see for yourself.

Terminology
Analog: cannot display progressive-scan DVD or HDTV, and may show only standard-definition programs as on regular TV, cable, or my DISH.

Digital: sometimes called a DTV, can also display progressive-scan DVD and HDTV

EDTV: Enhanced-Definition TV describes a television that can display HDTV signals but without enough resolution as it applies to plasma TVs and denotes 852×480 pixels

HDTV: High-definition TV can display standard TV, progressive-scan DVD, and HDTV signals. The most common type of digital television.

HDTV tuners
Not all HDTVs actually come with a built-in tuner (ATSC tuners) that can receive high-definition programs over the air by simply connecting an antenna. Sets that have them built in are called integrated HDTV, and those that do not are HDTV ready or HDTV compatible. If you buy an HDTV-ready set, you need to connect a separate tuner (or cable or satellite box) to watch high-definition programming. External over-the-air HDTV tuners currently cost at least $150.

FCC tuner mandate: You may have heard that all TVs will have to be HDTVs by 2006. That is not true. The FCC has mandated that certain sizes of televisions on sale on certain dates have built-in ATSC tuners:

Date
TV sizes that must include ATSC tuner*
March 1, 2005 All TVs 36 inches or larger; half of all TVs 25 inches or larger
March 1, 2006 All TVs 25 inches or larger
July 1, 2007 All TVs 13 inches or larger

*Note: Does not apply to monitors, such as many plasmas and front-projectors, that lack built-in standard (NTSC) tuners.

Legislation is currently being proposed that would make the last day of 2008 the official “switch off” for analog television broadcasts. After that time, TVs and other gear with old-style NTSC tuners would be unable to receive over-the-air broadcasts. Part of the government’s quandary is that the switch-off would cause thousands of TVs to go dark and would deprive many lower-income viewers of their only source of TV. That’s why consumer groups are urging Congress to subsidize external converter boxes that would display digital broadcasts on older, analog-only TVs.

Cable and satellite: The FCC’s plans for ATSC tuners have nothing to do with HDTV over cable and satellite. Subscribers to pay TV services can simply get a set-top box that tunes HDTV channels, plug it into their HDTV-ready sets, and watch HDTV.

HDTV resolutions
Resolution, or picture detail, is the main reason why HDTV programs look so good. The standard-definition programming most of us watch today has at most 480 visible lines of detail, whereas HDTV has as many as 1,080. HDTV looks sharper and clearer than regular TV by a wide margin, especially on big-screen televisions. It actually comes in two different resolutions, called 1080i and 720p. One is not necessarily better than the other; 1080i has more lines and pixels, but 720p is a progressive-scan format that should deliver a smoother image that stays sharper during motion (for more on progressive scanning, see our primer). Another format is also becoming more well-known: 1080p, which combines the superior resolution of 1080i with the progressive-scan smoothness of 720p. True 1080p content is extremely scarce however, and none of the major networks have announced 1080p broadcasts. Check out our comparison chart to see how HDTV stacks up against standard TV and progressive-scan DVD.

Name
Resolution
HDTV?
Wide-screen?
Progressive-scan?
1080p 1,920×1,080 Y Y Y
1080i 1,920×1,080 Y Y N
720p 1,280×720 Y Y Y
Widescreen480p (DVD, EDTV) 852×480 N Y Y
Regular TV Up to 480 lines N N N

Not every HDTV can display the full resolution of an HDTV program but the most expensive sets with 9″CRT, LCoS engines, or highest-resolution DLP and LCD panels are incapable of resolving every detail of 1080i material. Plasma, LCD, LCoS and DLP tellys have a fixed native resolution, and the higher that number, the more detail you will see. Higher-resolution fixed-pixel displays, such as 1080p sets with 1,920×1,080 pixels, cost more. A high-definition picture on any HDTV looks far superior to regular TV. Source matters.

Regular TV on an HDTV: Besides displaying high-resolution HDTV shows and films, a high-definition set can also make regular telecasts look better. Almost every HDTV has a processor that takes the regular TV image and converts it to progressive-scan for a more stable image. This conversion does not work miracles and many HDTV buyers are disappointed by how regular television looks on their new sets because the big screen exaggerates the flaws in standard programs. You cannot do much to make regular TV, including digital cable or satellite, look better.

DVD on an HDTV: Since most people do not buy HDTV tuners and converted TV does not leverage the full potential of a new high-def television, most people buy HDTVs for DVD, a very high-quality source that will look spectacular. Progressive-scan DVD players have their own internal processors that are generally superior to the ones inside most digital sets. Mating a prog-scan DVD with an HDTV will give you the best picture you can get outside of HDTV itself.

If you buy an HDTV today, you can be fairly certain it won’t become obsolete anytime in the next few years. There is a possibility, however, that Hollywood studios will enforce some sort of copy protection on analog HDTV connections; a move is underway to “plug the analog hole.” Your safest bet is to get an HDTV with a DVI/HDCP or HDMI connection as they are the most future-ready HDTV connectors currently available. High-Definition Multimedia Interface is USB-like digital video connectivity standard designed as a successor to DVI (Digital visual interface is omnidirectional digital connectivity standard that conveys an uncompressed digital signal from a digital source, such as an ATSC tuner, to a display) HDCP copy protection is often used in conjunction with the DVI connection. DVI connections do not carry audio.

CNET’s Top Picks
Direct-view HDTV

  • Sony KV-30HS420 – 30″ CRT
  • Sony KV 32HS420 – 32″ CRT
  • Samsung TXN2670WHF – 26″ CRT
  • Samsung TXN3098WHF – 30″ CRT

Rear projection HDTV

  • Samsung HL-P5085W – 50″ DLP
  • Mitsubishi WD-52525 – 52″ DLP
  • Hitachi 50VS810 – 50″ LCD
  • Sony KDF-60XBR950 – 60″ LCD
  • Sony KV-30HS420 – 30″ CRT
  • Sony KDF-50WE655 – 50″ LCD
  • RCA HD61THW263 – 61″ DLP
  • Epson LS57P2 – 57″ LCD
  • JVC HD-52Z575 – 52″ LCoS
  • Mitsubishi WD-52527 – 52″ LCD
  • LG 52SX4D – 52″ DLP

Plasma TV

  • Hitachi 42HDT51 – 42″
  • Pioneer PDP-4350 HD – 43″
  • Pioneer PDP-5050HD – 50″
  • Panasonic TH-42PHD7UY – 42″
  • Panasonic TH-50PHD7UY – 50″
  • Dell W4200HD – 42″
  • ViewSonic VPW4255 – 42″

LCD Flat Panels

  • Sharp LC-37D7U – 37″
  • Samsung LT-P326W – 32″
  • Sony KDL-32XBR950 – 32″
  • Sharp LC-32GD4U – 32″
  • Philips 32PF9996 – 32″
  • Philips 42PF9996 – 42″
  • LG 32LX1D – 32″
  • Sharp LC30HV6U – 30″
  • Sharp LC-15L1U-S – 15″
  • Sharp LC-45GX6U – 45″
  • LG RU-23LZ21 – 23″

Projectors

  • InFocus 7210
  • InFocus 7205
  • Hitachi PJ-TX100
  • Sharp XV-Z2000
  • HP ep7120
  • Sony VPL-HS20




Week in Wine

11 08 2005

Washington state Merlots

2002 Chateau Ste Michelle Indian Wells Columbia Valley Merlot: $17
2002 Chateau Ste Michelle Columbia Valley Merlot: $16
2002 Chateau Ste Michelle Canoe Ridge Estate Columbia Valley Merlot: $22
2001 Columbia Crest Reserve Columbia Valley Merlot: $30
2002 Covey Run Washington State Merlot: $9
2002 Foolish Oak Columbia Valley Merlot: $11
2002 Hightower Columbia Valley Merlot: $28
2001 Hogue Genesis Columbia Valley Merlot: $17
2002 Januik Columbia Valley Merlot: $25
2002 Novelty Hill Columbia Valley Merlot: $18
2002 Powers Columbia Valley Merlot: $13
2002 Snoqualmie Vineyards Reserve Columbia Valley Merlot: $23
2001 Snoqualmie Vineyards Columbia Valley Merlot: $11
2002 Sockeye Columbia Valley Merlot: $12
2002 Three Rivers Winery Columbia Valley Merlot: $19

MERLOT
2002 Beringer Founders’ Estate California Merlot ($8)
2002 Black Opal South Eastern Australia Cabernet Merlot ($7.50)
2003 Blackstone Winery California Merlot ($10)
2004 Delicato California Merlot ($7)
2003 Forestville California Merlot ($6)
NV HRM Rex Goliath California Merlot ($9)
2003 Jewel Collection Lodi Merlot ($10)
2002 Mirassou California Merlot ($10)
2003 Ravenswood California Merlot ($10)
2003 Silver Ridge Barrel Select California Merlot ($10)

Madam Geneva

From Paragon Restaurant & Bar in Portland, Ore.
INGREDIENTS:
1 oz Pimm’s No. 1
1 oz gin
6 oz San Pellegrino Aranciata soda
3 slices cucumber (garnish)

METHOD:
Mix into 16 oz ice-filled glass. Stir. Float garnishes.





Flat Frenzy

10 08 2005

It is summer in the East Bay which means more birds and Philips, Sony, and Samsung have combined with Best Buy and Circuit City to hemorrhage weekend circulars to work my friends into into a flat-panel frenzy–even people who say they watch only PBS on telly. There are two (2) kinds of flat panels and they will eventually replace tubes as the direct-view televisions of choice.

Pro: 3″ thick; very good home-theater image quality; wide viewing angle
Con: Expensive; potential for burn-in
Future: Prices falling, pictures improving, king of the flat-panel home-theater hill.

Starting at $1,500 ($45oo for 42″ flat panel LCD), price points makes it popular. More than any other type of display technology, picture quality varies greatly between different makes of plasma, so be sure to read reviews before sale. Plasma panels still can not replicate the deep blacks that tubes can but produce nearly CRT-quality images, with excellent color and viewing angles. LCDs generally have higher resolution at similar screen sizes, however, which does affect visible detail with HD and computer sources. Potentially confusing issue with plasma resolution, EDTV vs. HDTV, merits some thought. Price!

Burn-in occurs when an image–such as a stock ticker, a network logo, or letterbox bars (“crawler”)–gets etched permanently onto the screen because it sits in one place too long. This has been greatly exaggerated, and people with normal viewing habits have nothing to worry about but as its potential is greatest during the first 100 hours of use, keep contrast rather low (less than 50%) and avoid showing static images or letterbox bars on the screen for hours at a time. Thereafter, plasma should be as durable as any television technology. Newer plasmas have burn-in-reduction features (screensavers and pixel orbiting), or settings to treat burn-in once it occurs, (causing the screen to go all-white).

Plasma life span has improved dramatically over the last few generations of the technology and today claim that their 2005 models have a life span of 60,000 hours before the panel fades to half-brightness. According to a 2000 Nielsen study, the average TV in a household is on for 7 hours, 40 minutes per day. Even if the real figure is closer to 30,000 hours, that works out to more than 10.5 years before the plasma reaches half-brightness–about what you would expect from a direct-view CRT. Standard plasma displays offer around 20,000 hours, while LCD sets last for up to 50,000 hours.

Summary: Plasma is perfectly durable technology and a much better value than LCD in larger screen sizes.

Pro: Higher resolution than comparably sized plasmas; no danger of burn-in.
Con: Expensive in larger sizes; home-theater image quality not as good as plasma; narrow viewing angle.
Future: Prices should fall precipitously following the computer LCD trend. Image quality will go up.

Flat LCDs are extremely popular in screen sizes below 37 inches, thanks to their stylish looks and the fact they can fit just about anywhere. Larger LCDs (up to 57″) remain quite expensive compared to plasma and rear-projection models. Note that the smallest plasmas are 37 inches. It is a coincidence. Not!

The picture quality of LCD has historically suffered from poor black levels, but the latest versions are much improved, if not quite up to the best plasmas because LCDs cannot achieve a true black since some light leaks through the pixels. Color saturation is generally inferior to plasma, again as a result of the inability to completely blacken (turn off) the pixels. Light leakage affects the purity of the color.

Viewing angle is another weakness of LCD compared to plasma. On every LCD there is some brightness and color shift visible when watched from an angle that is far from the sweet spot right in front of the TV (to either side, and especially above or below). Plasmas look equally good from very wide angles.

LCDs have higher native resolution than plasmas of the same size, leading to better detail with HD and computer sources.

Resolution in select models is essentially LCD’s only image quality advantage over plasma, so for that reason, and because of the inherent expense of flat-panel LCDs, plasma is good for any flat-panel set above 36 inches. Most LCDs being sold are much smaller than that, making the whole LCD vs. plasma debate a waste of bandwidth here until prices for large LCDs fall.

Price-to-size ratio
Neither LCD nor plasma is a bargain but, on a price-per-square-inch basis, plasmas currently have the edge. Look at it this way: technically, a 42-inch plasma gives you almost twice as much screen real estate as a 30-inch LCD panel, but they both go for about $3,000. 22-inch LCDs and 42-inch plasmas offer the greatest value among bedroom sets, but your best bet for the living room is a 42-inch or larger plasma.

Performance
Plasmas deliver better home-theater performance than LCDs due mostly to the fact that LCD TVs typically cannot display black as well as plasmas and ends up closer to dark gray, decreasing the amount of detail you can see in the shadows and ultimately leaves the picture looking less three-dimensional.

The picture quality of both LCD and plasma panels is improving each year, but it can vary significantly from vendor to vendor if you plan on using your set for home-theater viewing. But if buying a smaller LCD (26 inches or less) for the kitchen or the bedroom, don’t agonize too much over performance.

Viewing HDTV
Most plasmas and LCDs can display a high-def signal. However, you’ll need a model with a resolution of at least 1,280×720 to enjoy full HDTV. Most 50-inch plasmas and nearly all 26-inch and larger LCDs offer this resolution. Very few 42-inch plasmas do, but when you are watching HD feeds on a lower-resolution television of that size or smaller, you have to sit very close to notice much of a difference between true HD and what you’re seeing. Panasonic’s TH-42PA20U, is arguably the best 42-inch plasma in its price range and even though the set provides only EDTV resolution (852×480), HDTV looks really good on it.

Computers and video games
Most plasma and LCD TVs can double as computer monitors; many even offer a DVI port for optimal video quality and will also hook up to a game console without any problems. So which technology is better for these purposes? From a performance standpoint, it is hard to pick a winner, but because of plasma’s burn-in risk, LCD is the safer choice for computer work and gaming.

Here are reviews for:





Projector Choices

9 08 2005

There are many ways to set up a home theater. Most of us who are into DVDs and HDTV go for a native 16:9 projector with a 16:9 screen which is great if you do not mind watching 4:3 material in the center of your 16:9 screen with black pillars on each side. For regular television viewing, if you do this on your projector, this option is usually quite acceptable but you will burn out the bulb and really how much good telly is there in America anyway?

Most classic films produced prior to the early 1950’s were done in 4:3 aspect ratio. This was the standard format in commercial movie theaters prior to the rise of television. The 4:3 television was designed to replicate the commercial movie theater format and so when I want to view historic films in their original aspect ratio and large format presentation, to reproduce as closely as possible the original theater experience, I do NOT want a small 4:3 image centered in the middle of a 16:9 screen with black bars on the sides. The ideal solution for me is to install a home theater system that will give me either 16:9 or large screen 4:3 at the flip of a switch. Two components are required: (i) a 4:3 screen, and (ii) a projector with a power zoom lens that has at least a 1.33x zoom range, such as the Optoma H79. This is an expensive proposition so I prefer watching my “classic cinema” on projection television instead of digitally projected imaging.

The idea here is quite simple: let’s say I want a 110″ diagonal 16:9 image for widescreen material. That screen would be 96″x54″. With that screen format, my 4:3 material would be displayed in the center, in 90″ diagonal, with pillars on the sides. However, if I install a screen that is 96″x72″, I can view my 16:9 material in 110″ diagonal format, but also lets me display 4:3 films in very large format 120″ diagonal. Increasing the size of the 4:3 image from 90″ to 120″ diagonal may not sound like a big change. However, a 90″ diagonal 4:3 image is 27 square feet, whereas a 120″ diagonal 4:3 image is 48 square feet—almost double the surface area, a huge difference. To accomplish this, I need a projector with a 1.33x or greater zoom lens. That zoom range lets me either fill the screen horizontally with 16:9 material, or fill the screen both vertically and horizontally with 4:3 material, without having to move the projector.

Practical installation issues

It will limit your throw distance options. If the projector has a 1.33x zoom range, there is only one throw distance at which the projector will be able to fill both the 16:9 screen with a 16:9 image, and the 4:3 screen with a 4:3 image. There is really not much leeway for error. Set it a couple of inches too close, and the images will not fill the screen. Set it a couple inches too far back, and the images will overflow the screen area onto the frame or masks. Of the two errors, the latter is usually the easier to live with, but you will be better off taking care to place the projector and screen with as much precision as possible, so that both 16:9 and 4:3 materials fit the frame perfectly. This can be tricky, especially if I am planning to ceiling mount the projector.

Consider the relative illumination of the screen when in 16:9 and 4:3 mode. Your 4:3 image at 120″ would be dimmer than if viewed without the expansion. Projectors vary in the percentage light increase to be gained by switching from standard to high lamp mode. On some projectors, the differential is as little as 10%, and 15% to 20% is a more typical average.

The “black bar” issue needs to be considered. When you are viewing 16:9 material on a 120″ diagonal 4:3 screen, you will have black bars above and below the image, just as you do when viewing widescreen movies on a standard television. This is less of an issue with large scale presentation, as the 16:9 image is plenty large enough that you perceive it as a BIG image, even when black bars are present. Meanwhile, on a 32″ television, a widescreen image with black bars just looks way too small. You can fit your screen with an (expensive) electric masking system – black retractable masks that fit along the top and bottom of the screen and are motorized so they can be opened or closed to fit the aspect ratio of the material you are viewing. The most sophisticated masking systems will let you preprogram mask settings for multiple aspect ratios like 1.33, 1.78, 1.85, and 2.35. Most of the material you view will have a solid black frame around it. This is the ultimate home theater solution, as video always looks its absolute best when framed in solid black. You will need an electric masking system that can be programmed to accommodate that shift—the top and bottom masks cannot be opened and closed equally. Control systems enable you to program the top and bottom masks independently, so the problem can be solved with the right hardware.

Though you can install it all on your own with enough time, effort, and trial and error, many people in the $10,000 budget range prefer to use professional home theater installers to ensure that everything is done right. They install the hardware, open and repair the drywall to run cables, install in-wall speakers, calibrate the video and audio systems, apply acoustical treatments, ensure the right selection of cables and interconnects, and program the control systems. And then they teach us how to use it all. Many installers are now open ot us buying whatever we want on the web and will come out and do the installation and training. They simply charge installation fees which can be a practical way to get a truly high performance home theater system installed by experts, but using cost-effective products you really want.

Your viewing preferences should determine the best solution for projector and screen formats, and just because 16:9 is a newer format does not mean that it is the best solution for everyone. If you put a premium on high quality 4:3 viewing, then make sure you take that into account as you plan your system. It is easy it is to get a high performance home theater installed when you draw upon the expertise of folks that do it for a living. Beware that the sales pitch is often not of the same high quality as the delivered project so ask for references and go check them out. I interviewed a couple of home theater installers before settling on Lloyd.





Digital Subscriber

8 08 2005

When I connect to the internet, I used to connect through a regular modem and POTS (plain old telephone service), then graduated to the local area network (LAN) at work, and now have to connect through a digital subscriber line (DSL) connection, a high speed connection using the same wires as POTS.

Advantages of DSL

  • may leave net connection open and still use phone line for voice calls
  • higher speed (1.5 MBps) than POTS (56 Kbps)
  • use the phone line existing and do not need new wiring

Disadvantages of DSL

  • works better if you are closer to the provider’s central office
  • connection faster for receiving data than for sending data
  • service is not available everywhere (you cannot be more than 18,000 ft overhead or underground from a “switching station”)

POTS installation in the US consists of a pair of copper wires that the phone company installs at home. Copper wires can handle a lot more bandwidth (range of frequencies) than that demanded for voice. DSL exploits this extra capacity to carry information on the wirew ithout disturbing the ability to carry voice conversations by matching particular frequencies to specific tasks. POTS makes the most of the company’s wires by limiting the frequencies that the switches, phones and other equipment will carry. Human voice, speaking in normal conversational tone, can be carried in a frequency range of 0 to 3400 Hz (cycles per second). This is tiny if you consider stereo speakers have a range of 20 Hz to 20,000 Hz. The wires themselves can handle frequencies up to several million Hz. By limiting the frequencies carried over the lines, the phone company can pack lots of wires into minimal space without worrying about interference between lines. Newer equipment can send digital data (rather than analog) safely and use muchmore of the phone line’s capacity.

Asymmetric DSL (ADSL)
Most homes and businesses are connected to an ADSL. ADSL divides up the available frequencies in a line on the assumption that most of us look at or download more information than we upload. Most of the time most of us will benefit if we can download 3-4 times what we can upload.

Other types of DSL include:
(i) VDSL (very high bit DSL): fast connection but works only over a short distance
(ii) SDSL (symmetric DSL): small business need equal speeds of receiving and sending data but this disallows the use of the phone at the same time.
(iii) RADSL (rate adaptive DSL): modem adjusts the speed of connection depending onthe length and quality of the line

Distance Limitations

Distance Limitations

Precisely how much benefit you see will greatly depend on how far you are from the central office of the company providing the ADSL service. ADSL is a distance-sensitive technology: As the connection’s length increases, the signal quality decreases and the connection speed goes down. The limit for ADSL service is 18,000 feet (5,460 meters), though for speed and quality of service reasons many ADSL providers place a lower limit on the distances for the service. At the extremes of the distance limits, ADSL customers may see speeds far below the promised maximums, while customers nearer the central office have faster connections and may see extremely high speeds in the future. ADSL technology can provide maximum downstream (Internet to customer) speeds of up to 8 megabits per second (Mbps) at a distance of about 6,000 feet (1,820 meters), and upstream speeds of up to 640 kilobits per second (Kbps). In practice, the best speeds widely offered today are 1.5 Mbps downstream, with upstream speeds varying between 64 and 640 Kbps.

You might wonder, if distance is a limitation for DSL, why it’s not also a limitation for voice telephone calls. The answer lies in small amplifiers called loading coils that the telephone company uses to boost voice signals. Unfortunately, these loading coils are incompatible with ADSL signals, so a voice coil in the loop between your telephone and the telephone company’s central office will disqualify you from receiving ADSL. Other factors that might disqualify you from receiving ADSL include:

  • Bridge taps – These are extensions, between you and the central office, that extend service to other customers. While you wouldn’t notice these bridge taps in normal phone service, they may take the total length of the circuit beyond the distance limits of the service provider.

  • Fiber-optic cables – ADSL signals can’t pass through the conversion from analog to digital and back to analog that occurs if a portion of your telephone circuit comes through fiber-optic cables.

  • Distance – Even if you know where your central office is (don’t be surprised if you don’t — the telephone companies don’t advertise their locations), looking at a map is no indication of the distance a signal must travel between your house and the office.

Splitting the Signal: CAP
There are two competing and incompatible standards for ADSL. The official ANSI standard for ADSL is a system called discrete multitone, or DMT. According to equipment manufacturers, most of the ADSL equipment installed today uses DMT. An earlier and more easily implemented standard was the carrierless amplitude/phase (CAP) system, which was used on many of the early installations of ADSL.

CAP operates by dividing the signals on the telephone line into three distinct bands: Voice conversations are carried in the 0 to 4 KHz (kilohertz) band, as they are in all POTS circuits. The upstream channel (from the user back to the server) is carried in a band between 25 and 160 KHz. The downstream channel (from the server to the user) begins at 240 KHz and goes up to a point that varies depending on a number of conditions (line length, line noise, number of users in a particular telephone company switch) but has a maximum of about 1.5 MHz (megahertz). This system, with the three channels widely separated, minimizes the possibility of interference between the channels on one line, or between the signals on different lines.

Splitting the Signal: DMT
DMT also divides signals into separate channels, but doesn’t use two fairly broad channels for upstream and downstream data. Instead, DMT divides the data into 247 separate channels, each 4 KHz wide.

One way to think about it is to imagine that the phone company divides your copper line into 247 different 4-KHz lines and then attaches a modem to each one. You get the equivalent of 247 modems connected to your computer at once! Each channel is monitored and, if the quality is too impaired, the signal is shifted to another channel. This system constantly shifts signals between different channels, searching for the best channels for transmission and reception. In addition, some of the lower channels (those starting at about 8 KHz), are used as bidirectional channels, for upstream and downstream information. Monitoring and sorting out the information on the bidirectional channels, and keeping up with the quality of all 247 channels, makes DMT more complex to implement than CAP, but gives it more flexibility on lines of differing quality.

Splitting the Signal: Filters
CAP and DMT are similar in one way that you can see as a DSL user.

If you have ADSL installed, you were almost certainly given small filters to attach to the outlets that don’t provide the signal to your ADSL modem. These filters are low-pass filters — simple filters that block all signals above a certain frequency. Since all voice conversations take place below 4 KHz, the low-pass (LP) filters are built to block everything above 4 KHz, preventing the data signals from interfering with standard telephone calls.

DSL Equipment
ADSL uses two pieces of equipment, one on the customer end and one at the Internet service provider, telephone company or other provider of DSL services. At the customer’s location there is a DSL transceiver, which may also provide other services. The DSL service provider has a DSL Access Multiplexer (DSLAM) to receive customer connections.

DSL Equipment: Transceiver
Most residential customers call their DSL transceiver a “DSL modem.” The engineers at the telephone company or ISP call it an ATU-R. Regardless of what it’s called, it’s the point where data from the user’s computer or network is connected to the DSL line.

The transceiver can connect to a customer’s equipment in several ways, though most residential installation uses USB or 10 base-T Ethernet connections. While most of the ADSL transceivers sold by ISPs and telephone companies are simply transceivers, the devices used by businesses may combine network routers, network switches or other networking equipment in the same platform.

DSL Equipment: DSLAM
The DSLAM at the access provider is the equipment that really allows DSL to happen. A DSLAM takes connections from many customers and aggregates them onto a single, high-capacity connection to the Internet. DSLAMs are generally flexible and able to support multiple types of DSL in a single central office, and different varieties of protocol and modulation — both CAP and DMT, for example — in the same type of DSL. In addition, the DSLAM may provide additional functions including routing or dynamic IP address assignment for the customers.The DSLAM provides one of the main differences between user service through ADSL and through cable modems. Because cable-modem users generally share a network loop that runs through a neighborhood, adding users means lowering performance in many instances. ADSL provides a dedicated connection from each user back to the DSLAM, meaning that users won’t see a performance decrease as new users are added — until the total number of users begins to saturate the single, high-speed connection to the Internet. At that point, an upgrade by the service provider can provide additional performance for all the users connected to the DSLAM.

For information on ADSL rates and availability in the United States, go to Broadband Reports. This site can provide information on ADSL service companies in your area, the rates they charge, and customer satisfaction, as well as estimating how far you are from the nearest central office.

DSL (Digital Subscriber Line) is a technology for bringing high-bandwidth information to homes and small businesses over ordinary copper telephone lines. xDSL refers to different variations of DSL, such as ADSL, HDSL, and RADSL. Assuming your home or small business is close enough to a telephone company central office that offers DSL service, you may be able to receive data at rates up to 6.1 megabits (millions of bits) per second (of a theoretical 8.448 megabits per second), enabling continuous transmission of motion video, audio, and even 3-D effects. More typically, individual connections will provide from 1.544 Mbps to 512 Kbps downstream and about 128 Kbps upstream. A DSL line can carry both data and voice signals and the data part of the line is continuously connected. DSL installations began in 1998 and will continue at a greatly increased pace through the next decade in a number of communities in the U.S. and elsewhere. Compaq, Intel, and Microsoft working with telephone companies have developed a standard and easier-to-install form of ADSL called G.lite that is accelerating deployment. DSL is expected to replace ISDN in many areas and to compete with the cable modem in bringing multimedia and 3-D to homes and small businesses.

How It Works
Traditional phone service (sometimes called POTS for “plain old telephone service”) connects your home or small business to a telephone company office over copper wires that are wound around each other and called twisted pair. Traditional phone service was created to let you exchange voice information with other phone users and the type of signal used for this kind of transmission is called an analog signal. An input device such as a phone set takes an acoustic signal (which is a natural analog signal) and converts it into an electrical equivalent in terms of volume (signal amplitude) and pitch (frequency of wave change). Since the telephone company’s signalling is already set up for this analog wave transmission, it’s easier for it to use that as the way to get information back and forth between your telephone and the telephone company. That’s why your computer has to have a modem – so that it can demodulate the analog signal and turn its values into the string of 0 and 1 values that is called digital information.

Because analog transmission only uses a small portion of the available amount of information that could be transmitted over copper wires, the maximum amount of data that you can receive using ordinary modems is about 56 Kbps (thousands of bits per second). (With ISDN, which one might think of as a limited precursor to DSL, you can receive up to 128 Kbps.) The ability of your computer to receive information is constrained by the fact that the telephone company filters information that arrives as digital data, puts it into analog form for your telephone line, and requires your modem to change it back into digital. In other words, the analog transmission between your home or business and the phone company is a bandwidth bottleneck.

Digital Subscriber Line is a technology that assumes digital data does not require change into analog form and back. Digital data is transmitted to your computer directly as digital data and this allows the phone company to use a much wider bandwidth for transmitting it to you. Meanwhile, if you choose, the signal can be separated so that some of the bandwidth is used to transmit an analog signal so that you can use your telephone and computer on the same line and at the same time.

Splitter-based vs. Splitterless DSL

Most DSL technologies require that a signal splitter be installed at a home or business, requiring the expense of a phone company visit and installation. However, it is possible to manage the splitting remotely from the central office. This is known as splitterless DSL, “DSL Lite,” G.Lite, or Universal ADSL and has recently been made a standard.

Modulation Technologies

Several modulation technologies are used by various kinds of DSL, although these are being standardized by the International Telecommunication Union (ITU). Different DSL modem makers are using either Discrete Multitone Technology (DMT) or Carrierless Amplitude Modulation (CAP). A third technology, known as Multiple Virtual Line (MVLnother possibility.

Factors Affecting the Experienced Data Rate

DSL modems follow the data rate multiples established by North American and European standards. In general, the maximum range for DSL without a repeater is 5.5 km (18,000 feet). As distance decreases toward the telephone company office, the data rate increases. Another factor is the gauge of the copper wire. The heavier 24 gauge wire carries the same data rate farther than 26 gauge wire. If you live beyond the 5.5 kilometer range, you may still be able to have DSL if your phone company has extended the local loop with optical fiber cable.

The Digital Subscriber Line Access Multiplexer (DSLAM)

To interconnect multiple DSL users to a high-speed backbone network, the telephone company uses a Digital Subscriber Line Access Multiplexer (DSLAM). Typically, the DSLAM connects to an asynchronous transfer mode (ATM) network that can aggregate data transmission at gigabit data rates. At the other end of each transmission, a DSLAM demultiplexes the signals and forwards them to appropriate individual DSL connections.

Who’s Offering It When

DSL is now offered in most parts of the United States, in the UK, and elsewhere. The availability of DSL service depends on whether a local company has made the necessary investment in equipment and line reconditioning and on your own proximity to the telephone company.

Companies offering DSL service in various parts of the United States include BellSouth, Covad, Primary Network, Qwest, SBC Communications, and Verizon. In general, a faster and more expensive is offered for business users.

Types of DSL

Unlike a similar service over your cable TV line, using ADSL, you won’t be competing for bandwidth with neighbors in your area. In many cases, your existing telephone lines will work with ADSL. In some areas, they may need upgrading.

CDSL

CDSL (Consumer DSL) is a version of DSL, trademarked by Rockwell Corp., that is somewhat slower than ADSL (1 Mbps downstream, probably less upstream) and has the advantage that a “splitter” does not need to be installed at the user’s end. Rockwell no longer provides information about CSDL at its Web site and does not appear to be marketing it.

G.Lite or DSL Lite

G.lite (also known as DSL Lite, splitterless ADSL, and Universal ADSL) is essentially a slower ADSL that doesn’t require splitting of the line at the user end but manages to split it for the user remotely at the telephone company. This saves the cost of what the phone companies call “the truck roll.” G.Lite, officially ITU-T standard G-992.2, provides a data rate from 1.544 Mbps to 6 Mpbs downstream and from 128 Kbps to 384 Kbps upstream. G.Lite is expected to become the most widely installed form of DSL.

HDSL

HDSL (High bit-rate Digital Subscriber Line), one of the earliest forms of DSL, is used for wideband digital transmission within a corporate site and between the telephone company and a customer. The main characteristic of HDSL is that it is symmetrical: an equal amount of bandwidth is available in both directions. HDSL can carry as much on a single wire of twisted-pair cable as can be carried on a T1 line (up to 1.544 Mbps) in North America or an E1 line (up to 2.048 Mbps) in Europe over a somewhat longer range and is considered an alternative to a T1 or E1 connection.

IDSL

IDSL (ISDN DSL) is somewhat of a misnomer since it’s really closer to ISDN data rates and service at 128 Kbps than to the much higher rates of ADSL.

RADSL

RADSL (Rate-Adaptive DSL) is an ADSL technology from Westell in which software is able to determine the rate at which signals can be transmitted on a given customer phone line and adjust the delivery rate accordingly. Westell’s FlexCap2 system uses RADSL to deliver from 640 Kbps to 2.2 Mbps downstream and from 272 Kbps to 1.088 Mbps upstream over an existing line.

SDSL

SDSL (Symmetric DSL) is similar to HDSL with a single twisted-pair line, carrying 1.544 Mbps (U.S. and Canada) or 2.048 Mbps (Europe) each direction on a duplex line. It’s symmetric because the data rate is the same in both directions.

UDSL

UDSL (Unidirectional DSL) is a proposal from a European company. It’s a unidirectional version of HDSL.

VDSL

VDSL (Very high data rate DSL) is a developing technology that promises much higher data rates over relatively short distances (between 51 and 55 Mbps over lines up to 1,000 feet or 300 meters in length). It’s envisioned that VDSL may emerge somewhat after ADSL is widely deployed and co-exist with it. The transmission technology (CAP, DMT, or other) and its effectiveness in some environments is not yet determined. A number of standards organizations are working on it.

x2/DSL

x2/DSL is a modem from 3Com that supports 56 Kbps modem communication but is upgradeable through new software installation to ADSL when it becomes available in the user’s area. 3Com calls it “the last modem you will ever need.”





Find Screen

7 08 2005
Every time I walk into a high end video store, I am treated like a moron if I dress for the 111 degree weather we are currently having so I want to arm myself appropriately owing to the multitude of imbecile high school students staffing Magnolia. If you look at three fixed-frame projector screens, all of them white, all of them the same size and they cost $1800, $1200, and $600, you wonder: is there really any difference between them, or is it all just marketing? Anderson’s was downright rude (“They cost thousands of dollars. They are in the back near the warehouse.” Yep, you work on the commission that you will not make tonight, buddy.). I had to wait forever at Magnolia AV, which is now shelled within Best Buy, that haven where everyone seems to be at lunch all of the time. Circuit City, a good place to buy CDs, transferred me from one ignorant person to another until I simply walked out, which may quite possibly have been the intent. The generic differences you can expect to find between screens include the following:
Resolution
I did not think that a professional white (or gray) projection screens could manifest a difference in resolution, or image detail but some screens simply produce a sharper, clearer image than others.

Brightness/reflectivity
Screens differ widely in their ability to reflect light. In theory, a screen’s gain rating should indicate something about its inherent reflectivity. Gain ratings are as notoriously unreliable as lumen ratings are on projectors. Some screens are inherently brighter than others, even when the specs say they shouldn’t be.

Contrast
Most of us are highly conscious of the contrast rating of the projector we are buying, but have no concept that the screen they use will either complement or impair their projector’s contrast performance.

Color accuracy
A screen should not put its own spin on a projector’s color. Some screens are neutral as they should be, but some impart unfortunate color biases.

Build quality
There are significant differences among the vendors in materials and workmanship, attention to detail, and product quality. Once fixed frame screens are assembled and mounted, their build quality becomes a secondary issue to the image quality they deliver. If you plan to install an electric screen with motorized drops and/or moving masking systems, build quality will be a central issue for the life of the screen. Mechanical precision, long-term reliability, and maintenance support are much more significant buying factors for screens with moving parts than they are for fixed frame installations. Remember: more moving parts, more chance of service calls. I opt for a non motorized fixed site screen for the simple reason that I will have a dedicated screening room.

What is screen gain?

Every screen product on the market has a “gain” factor – high or low. Most white home theater screens are low gain (1.0 to 1.3). Some of today’s gray screens are rated as low as 0.8 gain. On the other hand, one vendor is marketing screens with gain ratings that they claim are as high as 6.0. Unless you have gone shopping for a screen, you do not know what they mean but it is similar to the gain on a sonography machine. Gain is a measurement of the reflectivity of any screen or projection surface. The gain number represents a ratio of the light that is reflected from the screen as compared to the light reflected from a standard white (magnesium oxide) board:

  • A screen with a gain of 1.0 will reflect the same amount of light as that from a white board.
  • A white screen rated at 1.5 gain will reflect 50% more light as that from a white board
  • A gray screen with an 0.8 rating will reflect 80% of the light from a white board.

Peak Gain at Zero Degrees Viewing Axis: Gain measured from the vantage point where the screen is at its brightest, which is directly in front and perpendicular to the screen. If you move to the side and view the screen at an angle the brightness of the projected image drops. The angle at which the gain reading drops to 50% of the peak value is known as the Half Gain Viewing Angle. A person viewing the screen from this angle will see an image half as bright as the person seated at the center position. Low gain screens have wider Half Gain Viewing Angles than do high gain screens because the low gain screen diffuses light more evenly over a wider angle of view. A high gain screen is constructed to reflect more of the projector’s light energy back toward the centerline of the projection path, and less light energy to the oblique angles of view. Brightness falls off more rapidly as you move away from the zero degree viewing axis, and the Half Gain Viewing Angle is relatively narrow.

Is high gain good?

It is easy, and wrong, to jump to the conclusion that a high gain screen must be preferable to a low gain screen. Higher reflectivity means a brighter image and a brighter image seems like a good thing but there are downsides to higher gain in a home theater environment:

  1. Trade-off between gain and viewing angle. A 1.0 gain screen diffuses light evenly in all directions. Thus seating can be placed in a wide viewing angle relative to the screen and all seats will afford a similar viewing experience regardless of the angle of view. With a high gain screen the brightness of the image increases to those seated in the center, and diminishes for those seated at the outside. Furthermore once you move off center axis the relative brightness of various portions of the image can shift quite dramatically. Thus a high gain screen can put limitations on the number of optimum viewing seats you can have in your theater.

  2. A high gain screen does not typically reflect red, green, and blue equally so it can generate color shifts in the image that are noticeable as you move around the screen viewing it from different angles. The image looks different to each viewer depending on where she is seated.

  3. Any screen with a gain higher than 1.0 has some degree of hotspotting. When viewing the screen from a center position, the middle portion of the image will appear brighter than the edges. On screens under 1.3 gain, this is not very noticeable, but as gain increases beyond 1.3 it can become a real distraction. I am very sensitive to hotspotting but most people are not.

High gain screens have their place: in conference rooms where you want some lights on and most of the seats can be positioned within the screen’s narrow cone of reflectance, they can be quite effective in boosting image brightness. When looking for the optimum image quality in a home theater environment, you want to opt for a low gain screen.

Relative Brightness of Projection Screens

Projection screens are not all created equal and some are brighter than others, often by significant margins. Since vendors appear to use different procedures and equipment to derive their official gain ratings, it is not possible to tell from the gain ratings on the products’ specification sheets which are the brighter products.

Studies measure the brightness of all screens relative to the standard white board which is defined as having a brightness value of 1.00 or 100%. All screens are measured under identical conditions and procedures with the same equipment in a black room using the white board as a constant. The screens and the board are illuminated with a 100 IRE white test pattern and given a rating based on the percentage of light that the screen was able to reflect back relative to the white board. The results:

White Screens

Stewart Studiotek 130 130%
Draper M1300 125%
Da-lite CinemaVision 110%
Goo Systems CRT White 100%
Vutec BriteWhite 90%
Carada Classic Cinema White 65%

Gray Screens

Vutec SilverStar 240%
Stewart Firehawk 115%
Da-lite High Contrast CinemaVision 90%
Goo Systems Digital Grey Lite 75%
Draper HiDef Gray 70%
Carada High Contrast Gray 45%

Relative brightness is not the only factor to consider in choosing a screen. Color bias, contrast, resolution, and hotspotting are also important variables that need to be weighed.

Popular Projection Screens
Stewart Filmscreen

Stewart Filmscreen is leads in the engineering and production of high quality video and film projection screens and has held a strong market position in the high-end home theater business on the strength of its Studiotek 130 white screen, rated at 1.3 gain. With the release of the Grayhawk (0.95 gain) in 2001 the company pioneered the concept of using gray screens to enhance black levels and contrast performance. The Grayhawk was followed a year later by the Firehawk (1.35 gain), which was both darker gray than the Grayhawk, and carried a higher gain factor.

Studiotek 130
The perfect screen is entirely neutral and invisible—one that gets out of the way of the projector. The ideal screen reflects back exactly what the projector gives it, without adding textures, sheens, color shifts, or reductions in contrast, brightness, or resolution. Studiotek 130 is the closest thing to a perfect screen on the market. and is the brightest of the white screens, reflecting 130% of the light energy returned by the standard white board. Most competing screens also fell short to varying degrees in resolution, contrast, and color accuracy and none match or exceed the Studiotek 130’s performance. If there is any imperfection in the Studiotek 130 it is the mild hotspot resulting from the positive gain. All screens manifesting a real gain of greater than 1.0 have a detectable hotspot because the way they achieve increased gain is by channeling some greater portion of the incident light back toward the center of the viewing angle than would occur if it were evenly diffused. The result is that as you walk around the screen the brightest portion of the image will shift with you as you move. On low gain screens this phenomenon is not terribly exaggerated, and the benefit is that the image is brighter through most of the viewing angle than it otherwise would be. However on high gain screens the variation in light intensity from one side of the screen to the other can be quite noticeable and distracting. It is also the most expensive of the white screens. If you are investing in high resolution, high performance projectors for a totally light controlled environment, the difference in price between screen options should not be an issue. For lower budgets some realistic trade-offs must come into play and if you have ambient light issues the gray screen options will make better sense.

Grayhawk
The Grayhawk consists of a lighter gray fabric than the Firehawk, and it has a lower gain rating of 0.95.

Firehawk
The Firehawk is quite a peculiar animal. Gray screens in general vary in their grayness, from a very light gray to medium charcoal gray. The Firehawk is among the darkest of the gray screens on the market. The odd thing is that it is also the brightest of the gray screens, with the singular exception of the very high gain Vutec SilverStar. The Firehawk measured a brightness of 115% compared to the standard white board. The Firehawk has the same neutral color and high resolution as the Studiotek. The hotspot on the Firehawk is more pronounced than it is on any of the other gray screens, again with the exception of the SilverStar. For the brightest and most even illumination the Firehawk needs to be installed properly in relation to the projector and seating. Ceiling mounting of the projector is mandatory for best results, so that the projected light bounces off the screen at an angle that causes the sweet spot to hit the seating area. The projector should be mounted as far from the screen as possible to narrow the cone of projected light. Since the angle of incidence equals the angle of reflection, a narrow cone of light will cause more light to be reflected back toward the audience rather than scattered to the sides. While the set up just described is in theory the best for all front projection installations, screens will vary greatly in the range of their performance based on whether these rules are followed. With respect to the Firehawk, one simply cannot set up a short-throw projector on a coffee table and get the same results that the screen will deliver with a longer throw ceiling mounted projector. Gray screens with lower gain will tend not to manifest as much variance in image quality based upon how they are installed. This has important consequences for how the screens are reviewed. The Firehawk is capable of outperforming each of the gray screen competitors but only when it is evaluated under conditions of best installation. If one sets up side by side viewings between the Firehawk and competing screens with a coffee-table mounted projector, the Firehawk will not show as well as it could and the differences between it and its competitors become less obvious. This means if you do not intend to go for a ceiling mounted installation, consider less costly alternatives since the Firehawk’s potential will go unused. Da-lite High Contrast CinemaVision is an attractive option that sells for less. Firehawk’s dark gray fabric is particularly effective at absorbing ambient uncontrolled light and maintaining deeper black levels than other screens in the review. The screen’s proprietary optical coating gives it a special brilliance that surpasses the competition. Despite the screen’s medium gray color, whites are beautifully white and color saturation is exceptional. Firehawk is unique in the world of gray screens in that it has the potential to render bright whites and deep blacks across a dynamic range that competing gray screens have difficulty matching.

Da-lite Screen Company

Da-lite is a leading supplier of screens for both consumer and commercial applications and has developed a significant product line related to home theater that includes a variety of screen fabrics, and mounting and presentation systems including both two-way and four-way electric masking systems.

Cinema Vision rated at 1.3 gain, for the white screen category and for the gray category the High Contrast Cinema Vision (HCCV), a gray screen rated at 1.1 gain. These screens arrive ready to assemble by the consumer, packed in a long cardboard shipping container. The frame consists of four pieces that lock together in just a few minutes. The screen fabric is then unrolled and attached to the frame with snaps. The frame supplied was the Cinema Contour, which features a 45-degree beveled edge 3″ in width and comes wrapped with black, light-absorbing fabric. Unlike other snap-on screens, Da-lite incorporates a black vinyl backing on its screen fabrics to prevent light pass through. Assembly of evalution units was quick and easy, and all pieces fit with precision. Packing materials can be stored and reused if the screen needs to be broken down for relocation. Da-lite occupies the middle range of price. They are more expensive than do-it-yourself options, or even the Carada low cost products but significantly below the premium prices of Stewart and Vutec. You can find Da-lite’s screens in fixed frame for prices in the range of 30% to 40% below similar size products from Stewart and Vutec. Therefore, the most frequently asked questions pertaining to Da-lite’s products are how good they are relative to the higher priced products. For the money, Da-lite’s offerings are exceptionally good values though they do not quite match the performance of the Stewart products in a number of subtle ways, but for one-third less they are excellent price performers. The incremental investment in the Stewart will be well worth it if you can spring for the extra bucks. If you are interested in getting the best value rather than the best performance, the Da-lite offers an exceptional value.

The White Screen: Cinema Vision
Though Cinema Vision and Studiotek are both white screens rated at 1.3 gain, the Cinema Vision is not as bright. Whereas the Studiotek measured at 130% relative to our standard white board, the Cinema Vision registered 110% so it is less bright by a factor of about 15%. Cinema Vision performs reasonably well in color accuracy. There is a slight greenish bias but it is not of the magnitude of color biases observed on other products. Somewhat more noticeable is the Studiotek’s edge in color saturation. This is visible in some scenes and not visible at all in others, but overall there is a richness of color on the Studiotek that is not attributable to the incremental brightness of the image. The Cinema Vision falls a bit shy of the Studiotek in image resolution. With DVD, the difference is quite subtle, and the two screens need to be viewed together simultaneously to become aware of the difference. All black frame fabrics are not created equal. The black fabric used by Da-lite on the frame of the Cinema Vision does not absorb light nearly as efficiently as the fabric on the Studiotek. So an overscanned image that is hitting the frame will be more visible on the Cinema Vision. From the perspective of brightness, color saturation and resolution, the Studiotek 130 is capable of delivering a more satisfying image than the Cinema Vision. The Studiotek is a high performance screen for the dedicated videophile. While you will most likely upgrade projectors a number of times over the years, my screen is an investment that will last for decades, long after the price is forgotten. Cinema Vision delivers great value. For standard television, video games, DVDs to be viewed with family and kids, the subtle advantages of the Studiotek over the Cinema Vision are irrelevant. If interested in a cost-effective home entertainment system without worrying about the subtleties and finesse of high-end imagery, you will be better served by the Cinema Vision.

Low cost alternatives
The best low-budget alternative to the Cinema Vision is the Goo Systems CRT White. If you don’t want to do it yourself, you can have it built and it will probably still cost less than the Cinema Vision. The Goo CRT White is comparable in brightness and resolution and delivers more accurate color. The downsides to the Goo solution are that (a) it is a project to put it together, and (b) do-it-yourselfer’s will tend to cut corners on the frame. Though the Cinema Vision’s frame fabric is not as light-absorbing as the Studiotek, it is substantially better than the wood frame painted black with Goo. Folks who are interested in quality image presentation should use a frame of at least 3″ in width with black velvet fabric. This adds to the expense but the improved visual impact of the image presentation is well worth the effort.

The Carada Classic Cinema White is several hundred dollars less expensive than the Cinema Vision. The difference in image brightness between the two is significant. Using the Carada instead of the Cinema Vision is equivalent to cutting the lumen output of your projector by over 40%. Basically, in this trade-off you get what you pay for. Given that the screen you choose will be with you a long time, the Carada alternative is not a good way to save a few hundred dollars.

The Gray Screen: High Contrast Cinema Vision (HCCV)
Da-lite’s HCCV is quite a strong performer as well. In terms of brightness of the gray screens in the review, it ranks third behind the brilliant Vutec SilverStar and the Stewart Firehawk. It measured 90% against the standard white board compared to the Firehawk’s 115%. The remaining gray screen products from Goo, Draper, and Carada were significantly less bright than the HCCV. As SilverStar is unsuitable for home theater on other grounds, the horse race in the gray category came down to the HCCV and the Firehawk.

The Firehawk is brighter than the HCCV by about 25%. Black levels are about the same on both screens, but whites are more brilliant on the Firehawk, giving it better contrast range and color saturation. It has more neutral color while the HCCV has a bias toward a slightly cooler color temperature. However the Firehawk must be installed with a ceiling mounted projector to get the optimum results from it. If you were to set up in table-top operation, the brightness and contrast advantage of the Firehawk over the HCCV disappears. The Firehawk will also give best results with a longer-throw projector lens. So much of the question pertaining to relative value of these two screens depends on how you wish to set up your viewing area, and the projector you intend to use it with. The videophile going for best possible image quality will select the Firehawk and abide by the recommendations to ceiling mount the projector and use a longer throw lens whenever possible. The home entertainment enthusiast who is looking for a practical and quite functional screen, but who is not concerned with the making the effort and investment to create a completely optimized viewing environment will find the HCCV to be the more cost-effective solution.

Low cost alternative
In the gray screen category the best low cost alternative to the HCCV is Goo’s Digital Grey Lite (DGL). A screen made with DGL can be had for one-half to one-fourth the price depending on whether you build it yourself or have someone else do it. DGL does not match the performance of the HCCV, but for the money it is a reasonable approximation. Overall the HCCV is brighter by about 20%. It is higher in contrast and has both deeper black levels and brighter whites. Thus it has better color saturation and more overall snap. The DGL has a more neutral color temperature, matching the Firehawk almost perfectly. But its lower brightness, color saturation, and contrast are the penalty you pay for the neutral color. Goo’s DGL is a good product for the money, but it is not in the same performance league as the HCCV.

Digital projectors are evolving as rapidly as computers, getting better and cheaper with every passing Christmas. You will likely upgrade your projector from time to time, and acquire several projectors over your lifetime. This is not the case with screens. There is no rapid improvement in price/performance going on in the screen industry. Some of the popular screens have been on the market for ten years or more. You will never sense a dire need to upgrade your screen owing to obsolescence in the same way that you will with your projector. Whatever screen you select will be with you for many years.

There are two basic screen strategies for the true videophile interested in quality home theater.

  • If you have the financial resources to get the best, just do it. The screen will last you a lifetime, and you will always feel confident that you made the right decision long after you’ve forgotten the cost.
    • Best white = Stewart Studiotek 130
    • Best gray = Stewart Firehawk. This was my final choice.
  • If you have limited funds now, go for an inexpensive solution that can be temporary. An excellent product for this is the Goo CRT White. You can either do it yourself, or have it built for you, and the cost is nominal relative to the performance. If you need a low budget gray screen the Goo Digital Grey Lite will give you quite an acceptable image for the low investment. Either of these screens can serve you quite well for the present, and if you feel like upgrading to a Stewart product sometime in the future you can do so without worrying that a huge investment was lost.

If you are proud to own a Hyundai (I rented one after my December 2004 horrific car totalling accident) rather than a Maybach and want a solid practical home entertainment screen without all the expensive frills, your decision is a bit different. You are not really concerned with a dark theater and perfect video, but rather you want some low lights on and a good family entertainment solution. If so, the Da-lite High Contrast CinemaVision stands out as an exceptional value for this type of theater need. It delivers a great picture that is notably better than the Goo Digital Grey Lite, but not at the expense of the premium screens. And you can save some extra money by going with a standard frame rather than the wider deluxe version. Not that there’s anything wrong with that.

If you are a buyer who seeks practical value over perfection and have a darker light-controlled environment, the Da-lite Cinema Vision white screen is a solid performer for its price as well. The Goo CRT White can, for all practical purposes, match its image performance. But it cannot match its easy assembly and installation, and it will be difficult for most folks to build a frame that approaches the elegance of Da-lite’s Cinema Contour beveled frame in their garage.

Stewart products are simply the best performing home theater screens in both the white and gray groups.

Goo Systems offers strong solutions for the DIY audience, and Goo’s products were both perfectly matched to Stewart’s in terms of color accuracy.

Da-lite’s offerings were two excellent price/performers that will appeal to those who don’t want to suffer the price of the Stewart or the construction nuisance and home-made look of the Goo.

Four Steps to Selecting the Right Screen
  1. Pick the type of screen that best suits your particular needs. Choose from front projection screens in either portable, wall or ceiling mounted models in either manual or electric versions or rear projection screens.
    1. If your projection application is permanent, then wall and ceiling screens are your best choice.
    2. If you require moving the screen to different locations, a portable screen is a better alternative.
  2. Determine the optimum screen size based on room dimensions, planned audience seating size and arrangement. The rule of thumb is to fit the screen to the audience – not to the projector.
  • Screen height should be 1/6 the distance from the screen to the last row of seats, allowing text to be read and detail to be seen in the projected image. The first row should be two screen heights away.
  • The bottom of the screen should be 4 feet above the audience floor, allowing those seated toward the rear to see the screen which may require additional screen “drop” for ceiling hung screens.
  • Appropriate format selection for your projection application is key:
  1. Common Applications Aspect Ratio
    Width/Height
    NTSC Video 1.33
    PAL Video 1.33
    HDTV Video 1.78
    Letterbox Video 1.85
    Cinemascope 2.35
    35 MM Filmstrip 1.32
    2×2 Standard 35MM Double-Frame Slides 1.50
    SXGA 1.

Choose the screen surface that best suits your projection and viewing requirements. If the screen will be used for multiple projection methods, choose the screen surface that meets the requirements of the lesser performing projection method.

How to Calculate a Custom Screen Size

The formulas will assist you in finding the viewing area only.

NTSC (1.33) HDTV (1.78) Leterbox (1.85) SXGA (1.25)
Video Format Video Format Video Format Video Format
Diagonal/1.667 = Height Diagonal x 0.49091 = Height Diagonal x 0.4762 = Height Diagonal x 0.625 = Height
Height x 1.33 = Width Diagonal x 0.87247 = Width Diagonal x 0.88 = Width Diagonal x 0.78125 = Width
Width/1.33 = Height Height x 2.0395 = Diagonal Height x 2.10 = Diagonal Height x 1.60 = Diagonal
Height x 1.667 = Diagonal Width x 1.14585 = Diagonal Width x 1.135 = Diagonal Width x 1.28 = Diagonal
Height x 1.78 = Width Height x 1.85 = Width Height x 1.25 = Width
Width x 0.561837 = Height Width x 0.5405 = Height Width x 0.80 = Height

Screen Size Conversion Chart

Use the following chart to convert an existing NTSC video format screen size to either an HDTV or Letterbox format size.

Calculated using existing height

NTSC (1.33) Viewing Area HDTV (1.78) Viewing Area Letterbox (1.85) Viewing Area
H x W H x W H x W
43″ x 57″ 43″ x 77″ 43″ x 80″
50″ x 67″ 50″ x 89″ 50″ x 92.5″
57″ x 77″ 57″ x 102″ 57″ x 105″
60″ x 80″ 60″ x 107″ 60″ x 111″
69″ x 92″ 69″ x 123″ 69″ x 128″
87″ x 116″ 87″ x 155″ 87″ x 161″
105″ x 140″ 105″ x 187″ 105″ x 194″

Calculated using existing width

NTSC (1.33) Viewing Area HDTV (1.78) Viewing Area Letterbox (1.85) Viewing Area
H x W H x W H x W
43″ x 57″ 32″ x 57″ 31″ x 57″
50″ x 67″ 38″ x 67″ 36″ x 67″
57″ x 77″ 43″ x 77″ 42″ x 77″
60″ x 80″ 45″ x 80″ 43″ x 80″
69″ x 92″ 52″ x 92″ 50″ x 92″
87″ x 116″ 65″ x 116″ 63″ x 116″
105″ x 140″ 79″ x 140″ 76″ x 140″

Screen Borders and Drop

Black masking borders are standard on most front projection screens at no extra charge and they enhance the perceived brightness of an image on a screen. The human eye perceives the image to have more contrast and a sharper picture with brighter colors. Borders also allow the projected image to “bleed-off” the screen for professional appearing presentations. Drop is also available on most wall, ceiling and electric screens and is extra fabric added to the top or bottom of the screen to adjust the screen surface to within normal viewing heights. Drop can be specified in either black or white.





Atom Bummer

6 08 2005

On August 6 and 9, 1945, the cities of Hiroshima and Nagasaki were destroyed by the first atomic bombs used in warfare. It is felt by many that the destruction precluding an even wider destructive potential and ended the war. Documents on the decision to use the atomic bomb are in the public doman in the United States National Archives. Make up your own mind with all the facts at hand.

At the beginning of WWII, the bombing of civilians was regarded as barbaric. As the war continued, all restraints were abandoned by all people. International law has always distinguished between civilians and combatants.

In Los Alamos in May of 1945, J Robert Oppenheimer decided the best use of the “gadget” at teh second meeting of the Target Committee. James Franck on June 11 urged that the bomb be demonstrated “before the eyes of the representatives of all of the United Nations, on the desert or a barren island.” Point of pride: seven-man panel from the University of Chicago. However, a panel comprising Oppenheimer and Fermi found “no acceptable alternative to direct military use” on June 16. Ralph Bard, Undersecretary of the Navy, wrote that the use of the bomb without warnign was contrary to our position as a great humanitarian nation, especially as Japan seemed close to surrender on Jun 27. On July 2, General Groves told Oppenheimer that the test date was being set by the “upper crust”. On July 3, Leo Szilard petitioned the President to rule that the US shall not resort to the use of atomic bombs. This prompted General Groves to seek ways to take action against Szilard on July 4. On July 13, a similarly inspired petition arose from the Manhattan Project Laboratory in Oak Ridge, TN. Trinity tests were carried out in the New Mexico desert on July 16 and many eyewitness accounts are tabled. Petitions followed. On July 24, President Truman told Stalin only that the US had a new weapon of unusual destructive force. The bombing order is issued to General Spaatz on July 25, making nom ention of targetting military objectives or sparing civilians – the cities are the targets. General Groves informed Oppenheimer of the Hiroshima bombing. On August 9, Truman calls Hiroshima a military base. He did not understand. Oppenheimer was just doing his duty.

A timeline which explains further. Atomic archive has links to the Manhattan Project, the First Pile, the Trinity Test, and the Signature Facilities. There are graphic images and media you must see. It makes for a long day filled with sorrow.





Projector Resolution

5 08 2005

The first thing I noticed when I started to shop for a home theater projector is that they come in different resolutions. Which resolution is best? I need to get the best possible picture relative to the amount you pay for it. Most of us looking for home theater projectors want to go with the widescreen, 16:9 format that is the native format for HDTV. There are three popular 16:9 resolution formats at the moment. The first is 854×480, the second is 1024×576, and the third is 1280×720. Since these are all progressive scan displays, they are designated as 480p, 576p, and 720p resolutions, respectively.

Just as bigger is not always better (okay, okay, I know that it is but just saying), you need to know that higher resolution is not always the better deal! Most current 480p projectors produce outstanding results with both standard definition and HDTV signals. They are the best home theater value we’ve ever seen in the industry if you live in the world of NTSC 480-line video. Your DVDs and standard television signals all have 480 lines of active video information, and the 854×480 projectors are designed to display them line-for-line without any vertical scaling. That produces the sharpest possible image from these sources.

Stepping up in price to the next highest resolution, 1024×576, does not give you a sharper picture from DVD as you still have (source) 480 lines of video information on that DVD of yours! The projector cannot create additional picture information beyond that which it gets from the signal. So a 576p projector needs to take that 480 lines of information and redistribute it over 576 lines (scaling). You can hope it does a really good job at scaling the image, and if it does you won’t lose much sharpness but generally a picture scaled into a non-native format like this will appear a bit softer than it does when it is displayed in native 480-line format.

So why bother with a higher resolution?

  1. Since there are more pixels, there is typically somewhat reduced visible pixel structure (what we call pixelation at work; this is not a real word and I think we just sort of made it up). You can sit a bit closer to the screen without seeing the pixels.

  2. There is the possibility of getting a slightly better HDTV picture. That is because the HD signal, which is either 1920×1080 or 1280×720, is being compressed into an array of 1024×576 rather than the lower resolution 854×480 array. Since the 576p model has more pixels, it has the potential to retain a bit more detail in the HDTV image.

These two advantages are minor. Pixelation on even the 480p DLP projectors is modest at best. Stepping up to 576p reduces but does not eliminate visible pixelation. The process of compressing an HDTV signal into a lower resolution array will always cause loss of image detail. So whether it is compressed into 480 lines or 576 lines, the difference between the two is subtle – you can detect it in the lab but not with the human eye.

Do I want to lay out more money (read ‘work more nights and weekends’) to gain subtle improvements in pixelation and HDTV acuity, while compromising the sharpness of my DVD picture? Most think this is a dubious trade-off but is the value proposition being offered by the 1024×576 resolution projectors in the NTSC world. Everything changes if you live in a country where PAL or SECAM is the video standard. These systems deliver 576 lines of video per frame, rather than the 480 lines per frame of NTSC. So in this environment, the 1024×576 resolution projector is the ideal solution for DVD and standard definition video. Texas Instruments dubbed their 1024×576 DLP chip the “Matterhorn” because of its unique applicability in the European market where PAL and SECAM are established standards. This does not apply to me. Except for those living in Brazil and Argentina, nobody in the Western hemisphere has a 576-line video source. So on a 576p projector everything must be scaled in a manner that represents an unattractive compromise for both standard definition and high definition sources.

Today’s latest model 1280×720 resolution DLP projectors sell for under $3,000, and you can get the latest 1280×720 LCD projectors for under $2,000. The drop in prices of the 1280×720 models has left the 1024×576 projector aced out of the game in the western markets. There is no price point at which it would make sense to step up from 480p, but forego the incremental expense to get to 720p.

So in the NTSC world, if you want the best DVD picture quality for the money, the best 480p models deliver spectacular DVD quality and amazingly good HDTV as well, for a mere $1200 these days. If you want to allocate more in your budget for a projector to eliminate pixelation and get much sharper HDTV, there is simply no point in taking the interim step to 1024×576. The move to 1280×720 (or even higher), is the only move that makes sense.

Suggestions for Popular Projectors for Home Use
Low Cost:
Panasonic PT-AE700U, Optoma H31, InFocus ScreenPlay 4805, Sanyo PLV-Z3, NEC HT1100
Mid Range:
BenQ PE7700, Sony VPL-HS51, InFocus ScreenPlay 7205, SharpVision XV-Z2000, Optoma H57
High Performance:
Optoma H79, BenQ PE8700, Optoma H77, InFocus ScreenPlay 7210, Sony Qualia 004, Runco CL-410


Once you have your short list of projectors, you can narrow it further by checking the manufacturer’s specifications and thinking about the following items:

Zoom lens:
If you are using your projector for mobile applications, a zoom lens can be very handy. It gives you the ability to set the projector at a convenient location, and adjust the projected image size. Without a zoom lens, the only way to adjust the picture size is move the projector forward or back. Many micro-portables have zoom lenses with limited range. A unit with a zoom factor of 1.2x will only let you adjust picture size by 20%. You can often move the projector a foot or two either way and accomplish the same adjustment. Nevertheless, if you have a fixed screen size you are trying to fill, even a limited range zoom will make it easier to fine tune the image size to the screen. This is a royal pain. I have used the InFocus for nearly 8 years now and it is a hugely limiting factor when I talk to middle sized groups. They are considerably more compact.

Keystone Correction:
The keystone effect happens when you project an image from any angle except straight onto the projection surface and results in an image that is not completely square. Many projectors now include a feature that corrects horizontal keystone (when you are projecting downward or upward) and additional correction for vertical displacement (when you are projecting from either side of the screen). Beautiful!

Contrast:
Contrast is the ratio between the brightest and darkest areas of the image. Contrast ratios should be high (1000:1 or higher) to get the best video image. For computer graphics and data presentation, 400:1 is usually ample. Room light substantially impacts contrast ratios by rendering blacks less black. To compensate for this, consider projectors with higher lumen output if you plan to use your projector with the lights on, e.g., conference presentation. I insist on “killing all the lights” when I give a talk.

Rear Projection Capability:
If you want to set up your projector to shoot from behind a screen, it needs to have the ability to reverse the image so that it looks right on the screen. Most projectors have this feature today, but if you need it, you can eliminate any projector that doesn’t have this capability from your short list. This would be important for esthetics if you are building into an unstructured home and can have all of the equipment out of sight in a small “control room” behind the actual screening room. I have the ugly black cabled ceiling mounted DLP which I can see and I am fine with that.

Video Format Compatibility:
The standard video formats are NTSC, PAL, and SECAM. Are you moving to Europe?

Video Signal Standards:
Most video devices accept composite and S-video as two types of signal transmission. Almost all projectors will accept both inputs. There is a new standard known as component video. Some of the new DVD players offer a component video output signal in addition to composite and S-video. You will also be able to get component video signals from some satellite systems. Televisions and projectors that are equipped to handle the component video signal will produce a superior video image than those which cannot. If you are interested in optimizing video performance and you have a video source that offers component video output, check to see which of the projectors on your list are capable of accepting a component video signal. The spec sheet may say component video, or alternatively (Y, R-Y, B-Y) or YPbPr.

Ceiling Mountable:
If you want to mount your projector on the ceiling, it will need the capability to project the image upside down. The large majority of projectors will do this today, but verify that this feature exists. Alternatively (what I will do), mount the projector upside down. Also verify that a ceiling mount exists as an option for this product.

Multiple Computer Ports:
If you want to connect multiple computers or video sources to the projector simultaneously, you will need multiple input jacks to accommodate this. For example, you may want to connect a notebook computer and a desktop computer to support two consecutive presentations, or two different presenters. If your projector only has one computer source, you’ll have to unplug the notebook and plug in the desktop between speakers. Check to make sure the projector has enough connections to support your typical use.

Data Signal Ports:
Insure the projector you choose supports the computers you intend to use now and in the near future. This is a significant investment and the pace of change in the computer industry should be a consideration. PC and PC compatiables are nearly always supported with a direct connection, but Macintosh may be a separate connector or require an adaptor. If you are using a workstation, check that the models you intend to use are supported in the manner you intend to use them and if adaptors are needed, know whether they are included or an additional cost item.





Week in Wine

4 08 2005

Chardonnays from Sonoma County
(subappellations other than the Russian River Valley and the Sonoma Coast)
2002 Chateau St Jean Belle Terre Vnyd Alexander Vly Chardonnay: $22
2003 Kunde Estate Sonoma Valley Chardonnay: $16
2003 Rodney Strong Chalk Hill Chardonnay: $19

Professional wine tasters do not treat the process casually. Maybe it’s not even fun at times, since they have to dissect, in minutest detail, every sip of every wine. It’s their job. I am not accountable to anybody but yourself. The degree of seriousness aside, there are some key factors one looks for in assessing wine. You certainly do not have to like what is considered excellent wine, but you should have an appreciation for why it is considered such. Also, it makes drinking better wines a much deeper, richer experience.

There are several kinds of tasting. One is for people who barely know the difference between red and white – uncommon but theoretically possible. In this case, choose five bottles, a light young red, a mature red, a dry white, a sweet white, and a port or sherry. For a more discerning group, choose five different varietals, like a Zinfandel, Pinot Noir, Cabernet, Merlot and Syrah, to illuminate the distinct differences in so-called “red” wines. Another method might be to select Chardonnays from as many different growing regions as is practical (include several countries and states) to determine what the “baseline Chardonnay” taste is, and how that taste can vary depending upon where it’s grown. Explore a single varietal in depth. For the more serious taster there are horizontal (ten Cabernets from the same year but different wineries) and vertical (all the Cabernets are from different years) tastings.

You can taste blind — without seeing the labels — or in full view of the facts. Blind tasting insures you are not swayed by a wine’s reputation. You’ll detect what you’re supposed to detect, not what you think you’re supposed to detect. In blind tasting competitions, the object is to guess correctly the wine and the vintage, and the best team wins. In competitive tastings wine against wine, such as pitting Cabernets from California against Bordeaux from France, the tasting is done blind to insure a fair out come – so the more established reputation of the Bordeaux region doesn’t wield more clout than it deserves to.

When several wines are being tasted, the order should be youngest and lightest wines first followed by older more full-bodied ones. To reverse this order is to overwhelm any subtleties a younger, lighter wine might have accrued and is not a fair assessment.

And what are you looking for in evaluating wine? Appearance first, then smell, impression in the mouth, total flavor in the mouth, and aftertaste.

Appearance consists of a wine’s clarity and its color. As red wines age they fade, going from deep purple to, eventually, a brick color, whereas white wines grow darker. The best way to judge color is against a white background, a tablecloth or piece of paper, with not a lot of wine in the glass. Also part of a wine’s appearance is the wine’s viscosity or “legs,” which run down the sides of the glass when it is swirled. The more slow moving the legs, the denser the flavor. So if a red wine is pale to brickish and has slow moving legs you can expect it to be mature.

Our centers for smell are located right next to our memory centers. One good whiff of a wine that has been swirled in the glass a couple times should evoke distinct memories – of honey, flowers, mushrooms, citrus, butter, for example – it will also remind you that you’ve had this wine before, or alert you to the vinegary or moldy scent of a bad wine. First impressions are crucial here and far more reliable than subsequent sniffs. Based on appearance and smell, you now have enough information to determine a wine’s overall quality and age.

Tasting the wine fills in some blanks, mainly with regard to a wine’s “balance.” Take a generous sip and swirl it in your mouth. The weight of the wine in your mouth will tell you whether it’s light-, medium- or full-bodied. It also tells you how much sweetness, acidity, alcohol and tannin it contains. The object is for these elements to harmonize pleasantly. If one element is dominant, a proficient taster will know whether that imbalance is a flaw, or is acceptable in the wine being tasted. A young red wine might be overly tannic but with definite fruitiness, suggesting that in a few years the tannin will have been moderated by the fruit; in this case too much tannin is perfectly acceptable. The ultimate moment in tasting is just before the wine is swallowed, when the vapors hit the upper nasal cavities.

In France, the concept of aftertaste has been quantified in the form of a “caudalie.” If the flavor of the wine stays in your mouth after swallowing for one second, that wine has achieved one caudalie. The more caudalies the better, especially with the wines of Burgundy. Really good wines make the strongest impressions with their smell and their aftertaste.

If you’re a professional taster, or if the information obtained is to be used for any important purpose, like a wine review, you should spit out each sip. Not as much fun, for sure, but it does make for a clear head. It is a good idea to keep notes about the wines you taste so you can enjoy – or steer clear of – those precise wines again, or so you can get wines with similar characteristics. And feel free to develop your own rating system. Professional ratings are very helpful in a broad sense but they can’t compare to what you think about a wine. Do not waste your time on a wine tasting class — talk to your local wine shop for recommendations and save yourself some time.





Sacramento Dining

3 08 2005

Biba: 2801 Capitol Ave
916.445-2422
Italian

Centro: 2730 J Street
916.442-2552
Nuevo Latino

Chanterelle: 1300 H St
916.448-1300
Formal contemporary

Ernesto’s Mexican Food
916.441-5850
Mexican. Duh.

Firehouse: 1112 2nd Street
916.442-4772
Contemporary

L’Image: 537 Pavilions Ln
916.564-6555
Parisian. Too formal for me.

The Kitchen: 2225 Hurley Way, #101
916-568-7171
Pricey prix-fixes. Entertaining. Reserve!

Lucca: 1615 J St
916.669-5300
Lucchesi (Italian)

Paragary’s Bar & Oven
: 1401 28th St
916.457-5737
Pizza

Rio City Cafe: 1110 Front St
916.442-8226
Mediterranean

Spataro: 1415 L Street
916.440-8888
Italian. Wine list!

Tapa the World: 2125 j St
916.442-4353
Small plates. Music.

Tunel 21: 926 Second St
916.447-7577
Small plates. Lounge. Jazz Thursdays free, otherwise $10 cover

Waterboy: 2000 Capitol Ave
916.498-9891
Southern French

Zinfandel Grille: 2384 Fair Oaks Blvd (@ Fulton Ave)
916.485-7100
Zins. Californian. Reserve!





Destress Today

2 08 2005
  1. Get up 15 minutes earlier
  2. Prepare for the morning the night before
  3. Avoid tight fitting clothes
  4. Avoid relying on chemical aids
  5. Set appointments ahead
  6. Don’t rely on your memory … write it down
  7. Practice preventive maintenance
  8. Make duplicate keys
  9. Say “no” more often
  10. Set priorities in your life
  11. Avoid negative people
  12. Use time wisely
  13. Simplify meal times
  14. Always make copies of important papers
  15. Anticipate your needs
  16. Repair anything that doesn’t work properly
  17. Ask for help with the jobs you dislike
  18. Break large tasks into bite size portions
  19. Look at problems as challenges
  20. Look at challenges differently
  21. Unclutter your life
  22. Smile
  23. Be prepared for rain
  24. Tickle a baby
  25. Pet a friendly dog/cat
  26. Don’t know all the answers
  27. Look for a silver lining
  28. Say something nice to someone
  29. Teach a kid to fly a kite
  30. Walk in the rain
  31. Schedule play time into every day
  32. Take a bubble bath
  33. Be aware of the decisions you make
  34. Believe in yourself
  35. Stop saying negative things to yourself
  36. Visualize yourself winning
  37. Develop your sense of humor
  38. Stop thinking tomorrow will be a better today
  39. Have goals for yourself
  40. Dance a jig
  41. Say “hello” to a stranger
  42. Ask a friend for a hug
  43. Look up at the stars
  44. Practice breathing slowly
  45. Learn to whistle a tune
  46. Read a poem
  47. Listen to a symphony
  48. Watch a ballet
  49. Read a story curled up in bed
  50. Do a brand new thing
  51. Stop a bad habit
  52. Buy yourself a flower
  53. Take time to small the flowers
  54. Find support from others
  55. Ask someone to be your “vent-partner”
  56. Do it today
  57. Work at being cheerful and optimistic
  58. Put safety first
  59. Do everything in moderation
  60. Pay attention to your appearance
  61. Strive for Excellence NOT perfection
  62. Stretch your limits a little each day
  63. Look at a work of art
  64. Hum a jingle
  65. Maintain your weight
  66. Plant a tree
  67. Feed the birds
  68. Practice grace under pressure
  69. Stand up and stretch
  70. Always have a plan “B”
  71. Learn a new doodle
  72. Memorize a joke
  73. Be responsible for your feelings
  74. Learn to meet your own needs
  75. Become a better listener
  76. Know your limitations and let others know them, too
  77. Tell someone to have a good day in pig Latin
  78. Throw a paper airplane
  79. Exercise every day
  80. Learn the words to a new song
  81. Get to work early
  82. Clean out one closet
  83. Play patty cake with a toddler
  84. Go on a picnic
  85. Take a different route to work
  86. Leave work early (with permission)
  87. Put air freshener in your car
  88. Watch a movie and eat popcorn
  89. Write a note to a far away friend
  90. Go to a ball game and scream
  91. Cook a meal and eat it by candlelight
  92. Recognize the importance of unconditional love
  93. Remember that stress is an attitude
  94. Keep a journal
  95. Practice a monster smile
  96. Remember you always have options
  97. Have a support network of people, places and things
  98. Quit trying to fix other people
  99. Get enough sleep
  100. Talk less and listen more
  101. Freely praise other people




Pantry Lining

1 08 2005

I love to cook for friends but a suboptimal pantry is right up there with the recurrent nightmares. Some essentials:

  • Herb rack or make cupboard space for spices and herbs. Get started with: salt and pepper, chili powder, basil, oregano, rosemary, thyme, bay leaves, cayenne pepper, red pepper flakes, cumin, curry powder, ginger, nutmeg and cinnamon.
  • Keep baking supplies handy, such as flour, brown and white sugar, baking powder or soda, cornstarch and vanilla extract. Use these for creating and thickening sauces and sweetening beverages.
  • Stock your refrigerator and cupboards with condiments. You can always find uses for mayonnaise, ketchup, mustards, jams and other spreads. Good black olives, pickles, capers and other salty, tangy bites can jazz up your meals as well.
  • Refrigerate eggs and freeze butter.
  • Keep nuts and seeds around. They’re great in cookies and cakes, pastas and salads and for snacking and guests.
  • Buy a few kinds of good cheese – at least one grating cheese, like parmesan – for instant tasty protein.
  • Store dried pastas, rice, cereals, potatoes and other durable grains. Their value is limitless and you’ll never go hungry.
  • Always, always, always have garlic and onions available. Almost every type of known cuisine calls for these two items.
  • Keep oils for frying (canola and olive, at minimum) and salad dressings; store vinegars (red wine, white wine, balsamic, or all three, plus plain) for vinaigrettes and whenever a little acidity is needed.
  • Lay in one bottle of dry white wine and one bottle of red wine, for both cooking and drinking.
  • Buy canned and jarred staples for when you’re in a pinch. Canned beans and sauces can start off any kitchen creation. Canned tomatoes are indispensible for quick pasta sauces.

Quick Meal Pantry

  • Store a variety of oils and vinegars. Olive oil and vinegar are great for marinades, salad dressings, saut�s and bread dipping.
  • Keep garlic, onions and potatoes handy. Onions and garlic are used in practically every main-dish recipe, and a potato can be a meal in itself (particularly saut�ed with the onions and garlic).
  • Store rice, dried pastas and other grains. They’re great for any quick meal.
  • Have canned broths or frozen stocks handy for last-minute hearty soups.
  • Freeze meats and fish and buy frozen or canned vegetables. You’ll be ready for any craving.
  • Create a wine and spirits supply. Your surprise guests will be glad you did, and many recipes call for wine or liquors. Plus, it’s always nice to sip a glass of wine while you cook.
  • Keep maple syrup and pancake mix in your cupboards for weekend breakfasts. Store canned artichoke hearts, sun-dried tomatoes and olives. Whipping up a nice antipasto or salad will be easy.
  • Refrigerate a variety of cheeses. They’re great for snacking, toppings, salads and perking up a casserole.
  • Think about your favorite meals before you head to the market. Pick up supplies as you remember them. Your reserve pantry may create itself.
  • Buy in bulk. Anything that won’t go bad during a two-year period is the perfect bulk buy.

And now for the Advanced Pantry, you know who you are:

How to Buy Vinegar
From mildly acidic to mouth-puckeringly pungent, there’s a vast array of vinegars: apple cider, wine, champagne, rice and balsamic, to name a few. Most varieties cost just $2 to $10 for a 16-oz. bottle, but aged balsamic vinegar can get pricey–$75 to $250 for about 3.5 oz.

  • Stock your larder with workhorse vinegars such as champagne, cider, sherry and balsamic vinegar
  • Shop at a large grocery store for a variety of cooking vinegars and less-expensive balsamic vinegars.
  • Find a selection of fruit and herb-infused vinegars, and high-quality aged balsamic vinegars by shopping at gourmet food and specialty stores such as Williams-Sonoma or Sur La Table.
  • Browse Asian markets for a variety of rice-wine vinegars, sometimes blended with sake vinegar for a nice edge.
  • Let your taste buds convince you of the value of aged balsamic vinegar from Italy. Made from Trebbiano grapes, it gets its sweet rich flavor from aging 5 to 20 years in wood barrels. Just a tiny bit imparts incredible flavor. Overall Tips: For a dessert treat, roast ripe strawberries with a drizzle of balsamic vinegar. The vinegar caramelizes the berries into a syrupy liquid, delicious over vanilla ice cream. Mix together equal parts of salt and white vinegar to remove coffee and tea stains from cups and mugs.

How to Buy Cheese

Cheeses that have passed their prime may smell strongly of ammonia. I discovered last Thursday that pregnant women should not eat unpasteurized imported cheeses because of the harmful bacteria they may carry, which can cause fetal distress or miscarriage (thanks A). Cheeses made in the United States must be pasteurized, and so are considered safe.

Fresh

Feta (Greece)
Soft, crumbly; traditionally salty, tangy; sheep, goat or cow, originally from ewe’s milk.
Crumble on Greek salad, mix with orzo or bake in filo.
Ricotta (Italy)
Unripened firm mass of moist cheese; unsalted, milky; cow or sheep.
Ravioli or cannelloni filling.
Mozzarella diBufala (Italy)
Moist, milky, delicate and stringy; sweet, fresh and nutty (not like American mass-produced mozzarella used on pizza); buffalo.
Caprese salad (layers of mozzarella, ripe tomato, basil, extra virgin olive oil and salt).
Chevre(France: Loire)
Soft, but not completely smooth; nutty, tangy and aromatic; goat.
Spread on crostini as appetizer; serve lightly breaded and baked, with green salad.
Crescenza(Italy: Lombardy)
Wet and soft; rich, clean acidity; cow.
Sprinkled with herbs and spread on crusty bread.
Paneer (India)
Slightly firm, pale yellow; mild; cow or goat.
Deep-fried, barbecued in a tandoori, simmered with spinach.
Queso Fresco(Mexico)
Soft, crumbly; mild, tangy, salty; cow.
Crumbled on fresh black beans or enchiladas.

Natural Rind
Crottin deChavignol (France:Loire)
Deeply wrinkled, almost brittle interior; distinctly goaty, intense and sharp; goat.
Best enjoyed on cheese board.
Perail (France)
Thin, crusty rind with pale ivory interior; moist, young, milky and nutty; sheep.
Best enjoyed on cheese board.
Chevrefeuille(France: Perigord)
Shiny white interior; herb-infused, often wrapped in chestnut leaves; goat.
Best enjoyed on cheese board.

Soft-white Rind
Brie (France)
Slightly dry, edible white rind, with creamy, golden interior; buttery and rich; cow.
Best enjoyed at end of meal.
Camembert(France: Normandy)
Supple, creamy and smooth interior; buttery and rich; cow.
Best enjoyed at end of meal.

Semisoft
Reblochon (France)
Dark golden rind with creamy-soft interior; delicate flavor; cow.
Delicious paired with fruit for dessert.
Gouda and Edam(Holland)
Yellow or red wax rind, semisoft interior; mellow and savory; cow.
Perfect paired with dark beer.
Taleggio(Italy: Lombardy)
Pale yellow with wax coating or thin mold; rich, buttery and runny when aged; cow.
Thinly sliced on salads.

Blue
Stilton (England)
Slightly crumbly pale-yellow interior with blue-green veins and crusty brown rind; rich and creamy, slightly pungent and sharp; cow. Best on cheese board or at end of meal.
Gorgonzola (Italy)
Ivory-colored interior predominantly streaked with blue vein; savory, creamy and salty; cow.
Pair with pears and walnuts on salads or sprinkle on thin-crust pizza.
Roquefort (France)
Creamy white interior with round blue veins and white rind; pungent, strong, salty; sheep.
Creamy salad dressings or at end of meal with slightly sweet dessert wine.

Hard
Parmigiano (Italy)
Brittle and granular; salty, nutty and sharp; cow.
Thinly sliced on grilled asparagus or grated into pastas, soups and sauces.
Cheddar (England)
Firm, dry and brittle; ranging from mild and sweet to tangy and sharp; cow.
With crisp apples on cheeseboard.
Pecorino (Italy)
Smooth to brittle and granular; salty, fruity and nutty; sheep; Romano type is aged 8 to 12 months, Sardo 1 to 12 months and Toscano 1 to3 months.
Shave all three on pastas or salads.
Manchego (Spain)
Firm, smooth and golden; mellow, nutty and peppery; sheep.
Best served on cheese board.
Gruyere(Switzerland)
Golden rind and firm, golden interior; sweet, nutty and rich; cow.
Grated as topping for gratins.

How to Buy Salt and Pepper

Most of today’s table salt is mined from large deposits left by dried salt lakes. Common black pepper is made from ground-dried, unripened berries of the pepper plant.

  • Swap your iodized salt for kosher. Many chefs prefer kosher salt because of its coarse texture, lack of additives and less astringent flavor (2.5 lbs. for $4).
  • Keep sea salt on hand for finishing dishes just before serving. Coarser than kosher salt, sea salt is made from evaporated seawater. The result–especially the ultra-premium, hand-raked fleur de sel of Normandy–is delicious. Prices range from a few dollars for 26 oz. to $40 for 2.2 lbs. (1 kilo).
  • Try black salt (4 oz. for $3), a mineral compound with a sulfur taste that dissipates, in Indian masalas or seafood dishes.
  • Hawaiian pink salt (16 oz. for $4), made from sea salt that oxidizes from contact with the iron into red clay, is tasty sprinkled over mahimahi on the grill.
  • Start with premium whole black peppercorns. Invest in a pepper mill to grind pepper at home. Hand-grinding your pepper will keep it fresh longer, as ground pepper loses its flavor very quickly. Throw out that powdery pepper that makes you sneeze.
  • Broaden your taste horizons with white or green peppercorns. Mild white peppercorns are best for light-colored sauces, and green peppercorns, with their fresh and pungent flavor, are often used in brines and marinades.
  • Put pink peppercorns on your shopping list. These are actually dried berries from the Baies rose plant. Pungent and slightly sweet, they appear in gourmet stores either freeze-dried or packed in brine. They are often used along with white and black peppercorns for a splash of color and as a dusting over finished dishes.
  • Look for gourmet mixes of whole black, white, pink and green peppercorns.
  • Whole peppercorns stored in a cool dry place will last about a year; however, pink peppercorns only last about six months. It’s good etiquette to taste a dish before you add salt and pepper–you’ll be giving the chef a chance before seasoning his or her creation. Check ChefShop for black and pink salt, and Dean & DeLuca for a variety of coarse salt and sea salt.

How to Equip your Kitchen

  • Coffeemaker
  • 2 or 3 saucepans
  • Blender
  • 2 or 3 skillets
  • Small refrigerator and freezer (every time you open for milk you lose heat)
  • Electric hand mixer
  • Dutch oven with lid
  • Wine refrigerator
  • Food processor
  • Nonstick omelette pan
  • Knife set
  • Roasting pan and rack
  • Standing mixer
  • Stockpot
  • Teakettle
  • Optional: wok, fish poacher, crepepan, grill pan, double boiler, steamer
  • Toaster or toaster oven
  • Optional: immersion blender, crock pot, espresso machine, rice cooker, ice cream maker

    BAKING DISHES AND EQUIPMENT

  • 2 muffin tins
  • 2 large wooden cutting boards
  • Slotted spoons
  • 3 or 4 flexible rubber spatulas
  • Baster
  • Soup ladle
  • 3 or 4 long-handled wooden spoons
  • Bottle opener
  • Strainers
  • 8 to 12 ovenproof ramekins
  • Can opener
  • Tongs
  • Bundt pan
  • Citrus zester
  • Vegetable peeler
  • Casserole dishes
  • Coffee grinder
  • Wine opener
  • Flour sifter
  • Colander
  • Optional: waffle iron, kitchen scale, pasta maker, spice grinder
  • Half-sheet or jelly-roll pan
  • Four-sided grater
  • Measuring cups
  • Funnel
  • Measuring spoons
  • Garlic press
  • Pastry brush
  • juicer
  • Rolling pin
  • Lemon reamer
  • Sauce and balloon whisks
  • Long-handled fork or carving fork
  • Souffle dish
  • Meat pounder
  • Springform pan
  • Meat thermometer
  • Stacking mixing bowls
  • Metal skewers for kebabs or trussing meats
  • Wire rack
  • Metal spatulas
  • Optional: cookie cutters, pastry bag with decorating tips, palette knife for icing cakes, 3 cake pans(square and round), 2 fluted tart pans
  • Nutmeg grater
  • Pepper grinder
  • Potato masher or ricer
  • Salad spinner

Mexican Pantry

  • Buy fresh and dried chiles of all sorts – or, if possible, grow them. Fresh chiles to try include jalapeno and pasilla. Dried chiles include ancho, chipotle, guajillo, negro and mulato. They set off every Mexican dish. Canned chiles will work if you can’t locate dried.
  • Combine Mexican herbs with your collection: add chili powder, cayenne pepper and paprika, as well as oregano, cumin, and fresh cilantro and epazote (if you can find it).
  • Refrigerate ready-made salsa and spicy sauces. They’re great for dipping chips and accompanying fish and chicken tacos and other dishes.
  • Always have garlic and onions handy. You’ll use them all the time.
  • Keep flour and corn tortillas in your cupboard or refrigerator. You’ll need them for burritos, tacos, enchiladas and the like.
  • Buy white rice in bulk. That way you can create Spanish rice and mucho rice to accompany everything.
  • Use canned refried beans and store them along with canned black and pinto beans.
  • Keep lemons and limes in reach – especially limes. They add amazing flavor to many dishes.
  • Buy Monterey Jack, queso fresco and queso cotijo cheeses to include in enchiladas and burritos.
  • Use Tabasco or other hot sauces for added heat. Tips: To use dried chiles, rehydrate them by soaking them in hot water. (You might opt to toast the chiles first in a hot dry skillet.) Then remove the stems and seeds and puree with water.

Asian Pantry

  • Always have lots of Asian short-grain or Thai jasmine rice, dry egg noodles and/or dry rice noodles handy. Every Asian delight is accompanied by a filling starch.
  • Store a variety of sauces, such as soy sauce, tamari (Japanese soy sauce), oyster sauce, hoisin sauce, chili-garlic sauce, and black bean sauce, to name a few. These sauces are used in both marinades and stir-frying.
  • For Southeast Asian cooking, stock red or green curry pastes, coconut milk and fish sauce.
  • Keep plain or rice vinegar, dry sherry or Chinese cooking wine (Shaoxing), and sugar for stir-fry sauces.
  • Get some dried shiitake mushrooms, which add incredible depth of flavor to stir-fries and other dishes. Plus, after you soak the dried mushrooms in water, the water itself is delicious to use in your cooking.
  • Stock a block of firm tofu at all times for instant protein.
  • Refrigerate pre-prepared wonton skins and egg roll wrappers. These are readily available in most supermarkets and are great for making dim sum, spring rolls, wontons and pot stickers. 8. Keep a variety of oils for use in the wok and to flavor your creations. Vegetable oil is great for the wok; dark sesame oil provides a popular Asian taste.
  • garlic, garlic, garlic. It’s as popular as rice. Fresh ginger root is great to have around, too. 10. Keep an assortment of Asian teas handy (one green, one black, one oolong) to serve with and after food.
  • Get some cornstarch. It’s often used to thicken sauces and hold together the ingredients in wontons and dim sum.
  • Buy a wok and other Asian utensils, such as a bamboo steamer, a rice cooker and a cleaver. Tips: Prepare your mind before you begin creating your newly appointed Asian kitchen. Asian cooking is founded on the principle of yin and yang, or the balance of opposites: dark and light, soft and crunchy, sweet and sour. Some perfect examples to get you started are: ginger and sesame oil, plum sauce and vinegar, soy sauce and garlic, noodles and bean sprouts. For the simplest of stir-fry sauces, combine one part soy sauce, one part vinegar, one part sherry or Shaoxing, a pinch of sugar, a dash of chili oil or chili-garlic sauce, and one to two parts water. Whisk in a few teaspoons of cornstarch.

Middle Eastern Pantry

  • Keep lentils (green, red or brown) and canned beans (garbanzos, brown and lima) handy for quick soups and dips.
  • Always have garlic, onions and olive oil around. They are useful in every Middle Eastern dish.
  • Refrigerate goat cheese and feta as well as other dairy products such as yogurt. You’ll want them for dips, salads and sauces.
  • your spice rack with turmeric, cumin, paprika, chili powder, mustard seeds, ground ginger, curry powder, cinnamon and salt and pepper. Appropriate spices are essential for creating the perfect balance of flavors.
  • Buy tahina (a paste made from sesame seeds and found in most whole food stores and some supermarkets). It’s the secret ingredient in hummus and baba ganoush.
  • Store olives of all sorts and raisins. They are perfect for snacking, garnishes and extra flavor.
  • Have lots of couscous in your pantry. It’s a staple grain in many dishes.
  • Keep lemons around for their zest and juice.
  • Grow or buy fresh parsley and cilantro, eggplant, cucumber, bell peppers, chiles, tomatoes and spinach. These are the standard vegetables in all Middle Eastern cooking.
  • For a quick hummus, puree one can of garbanzo beans (drained and rinsed) with 1/4 c. tahina, the juice of one lemon, 1/2 tsp. salt, and 2 tbsp. olive oil. For a spicier version, add 1 clove minced garlic, 1/2 tsp. ground cumin, and 1/2 tsp. ground coriander. Garnish with a drizzle of olive oil, a few sprigs of chopped cilantro and a sprinkle of cayenne or paprika. To lower the fat, use water instead of oil. For a quick Greek salad, mix one peeled, seeded, and diced cucumber with 2 diced tomatoes, a handful of kalamata olives, and 1/4 c. cubed feta cheese. Dress with olive oil, lemon juice, and salt and pepper.

Italian Pantry

  • Have a melange of Italian herbs handy. Include basil, oregano, rosemary, thyme, red pepper flakes, salt and pepper. Invest in a nice pepper mill and whole peppercorns.
  • Store plenty of pastas, Arborio rice (for risotto), gnocchi and polenta – these are the basis for many a meal.
  • Always, always keep onions and some garlic laying around. Almost every Itailan dish includes these.
  • Buy canned tomato paste, Roma (plum) tomatoes and, for a pinch, premade sauces. But with some garlic, onions, and canned tomatoes, you can make your own sauce easily.
  • Lay in a good supply of wine, for both cooking and drinking. Pick dry white wines for cooking, tasty chianti for drinking.
  • Store canned broths, frozen stocks and/or boullion cubes for Italian stews and braises.
  • Keep at least one grating cheese on hand for pastas. Parmesan, pecorino and romano are good choices for grating. You might also stock mozzerella for melting and ricotta for baking.
  • Buy prepared pizza crusts and doughs. The wonton wrappers sold in most supermarkets are an great shortcut to quick and easy (while not entirely authentic) ravioli.
  • Use extra-virgin olive oil and balsamic vinegar for marinades, sautees and bread. Combine the olive oil, pine nuts and fresh basil for homemade pesto.
  • Store canned sardines and anchovies. They’re perfect in pastas and salads and on top of pizza. Some salty capers and good black olives never hurt either.
  • A simple sauce of sauteed onions and garlic simmered with canned tomatoes for 15 minutes or so is a great meal in a pinch. You can augment the sauce with red pepper flakes, some salty capers or olives, or sardines or anchovies. A can of good-quality tunafish, sauteed with the onions, works well too.

Herb Selection

  • Grow your own herbs, or buy fresh herbs only as you need them. (Mint and basil should almost always be bought fresh–there’s really no substitute.) Submerge stems in a small glass of water (as you would a bouquet of flowers) to keep them fresh for up to 10 days.
  • Choose fresh herbs that have a clean fragrance and a bright color without any browning or wilting.
  • Stock up on dried herbs to have on hand for impromptu cooking: oregano, thyme and tarragon
  • Look at the color of dried herbs. They should retain some of their original color and not be too brown.
  • Smell spices before buying them. They should be aromatic and pungent.
  • Buy dried herbs and spices from a busy market with a high turnaround so you know they haven’t been sitting on the shelves for six months.
  • Browse farmers’ markets for fresh seasonal herbs. You can also find vendors selling bunches of dried herbs, sometimes with more exotic offerings than the grocery store carries.
  • The more airtight your storage container, the longer your spices will last. Date spices when you buy them and don’t keep them for more than six months, after which their flavor fades. Grind whole spices, like cumin and mustard, at home in a clean coffee grinder. Mix it up with barbecue spice blends and rubs, curry spice blends, and herbes de Provence, made from a variety of ingredients.