Memorable quote (s) from the movie:
Gordon Gekko (Michael Douglas): Hiya, Buddy.
Bud Fox (Charlie Sheen): Gordon.
Gordon Gekko (Michael Douglas): Sand bagged me on Bluestar huh? I guess you think you taught the teacher a lesson that the tail can wag the dog huh? Well let me clue you in, pal. The ice is melting right underneath your feet. Did you think you could've gotten this far this fast with anyone else, huh? That you'd be out there dicking someone like Darien? Naw... you'd still be cold calling widows and dentists tryin' to sell 'em 20 shares of some dog shit stock. I took you in... a NOBODY! I opened the doors for you... showed you how the system works... the value of information... how to *get it*! Fulham oil, Brant resources, geodynamics and this is how you fucking pay me back you COCKROACH! I GAVE you Darien! I GAVE you your manhood I gave you EVERYTHING! You could've been one of the great ones Buddy. I look at you and see myself... WHY?
Bud Fox (Charlie Sheen): I don't know. I guest I realized that I'm just Bud Fox... and as much as I wanted to be Gordon Gekko, I'll always be Bud Fox.
Friday, February 16, 2007
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.22 Disclosure of treatments to gemstones.
It is unfair or deceptive to fail to disclose that a gemstone has been treated if:
(a) the treatment is not permanent. The seller should disclose that the gemstone has been treated and that the treatment is or may not be permanent;
(b) the treatment creates special care requirements for the gemstone. The seller should disclose that the gemstone has been treated and has special care requirements. It is also recommended that the seller disclose the special care requirements to the purchaser;
(c) the treatment has a significant effect on the stone’s value. The seller should disclose that the gemstone has been treated.
Note to 23.22: The disclosures outlined in this section are applicable to sellers at every level of trade, as defined in 23.0(b) of these Guides, and they may be made at the point of sale prior to sale; except that where a jewelry product can be purchased without personally viewing the product, (e.g., direct mail catalogs, online services, televised shopping programs) disclosure should be made in the solicitation for or description of the product.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.22 Disclosure of treatments to gemstones.
It is unfair or deceptive to fail to disclose that a gemstone has been treated if:
(a) the treatment is not permanent. The seller should disclose that the gemstone has been treated and that the treatment is or may not be permanent;
(b) the treatment creates special care requirements for the gemstone. The seller should disclose that the gemstone has been treated and has special care requirements. It is also recommended that the seller disclose the special care requirements to the purchaser;
(c) the treatment has a significant effect on the stone’s value. The seller should disclose that the gemstone has been treated.
Note to 23.22: The disclosures outlined in this section are applicable to sellers at every level of trade, as defined in 23.0(b) of these Guides, and they may be made at the point of sale prior to sale; except that where a jewelry product can be purchased without personally viewing the product, (e.g., direct mail catalogs, online services, televised shopping programs) disclosure should be made in the solicitation for or description of the product.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Ivory
A History and Collectors Guide
Thames and Hudson Ltd
1987 ISBN 0-500-23505-8
Thames and Hudson writes:
More than three thousand years ago, the Old Testament records, “King Solomon made a great throne of ivory….” from which he summoned to his court ‘the navy of Tarnish, bringing gold and silver, ivory and apes, and peacocks…’
Throughout history, from the ancient civilizations to the present day, the subtle glowing color and sensual tactile surface of ivory has lent a special quality to objects as diverse as religious images and thimbles, palace furniture and paper knives. Ivory is also extraordinarily tractable—it can be sliced paper thin, sawn, carved, etched, or turned on a lathe, stained or painted—and so flexible that an ivory riding whip was once described as being ‘as finely tempered as a Toledo sword blade, and as supple as a willow switch.’
The astonishing range of this remarkable substance has, for the first time, been fully described in Ivory: A History and Collector’s Guide, illustrated with copious reproductions, many in color. A team of distinguished contributors have combined their considerable expertise to unfold the story of ivory carving, from Paleolithic Europe, through the Hellenistic and Roman worlds to the Middle Ages and right up to the twentieth century Europe. There are chapters on Europe, the Near East and India, the Far East and South East Asia, North America—and Central and South America where bone was used instead of ivory. The contributors reveal the beauties of ivory—in rich patina of antique figures or the intricacies of miniature medieval plaques—and describe the different kinds of ivory that have been used.
This unparalleled survey also includes a description of the ivory trade, an illustrated glossary, sections on collecting ivory and its care and repair, a guide to collections open to the public, a bibliography and—most notably—an invaluable detailed time chart which highlights every period in the long and exotic history of ivory.
Richly documented and superbly illustrated, Ivory: A History and Collector’s Guide is not only the definitive reference work for collectors and dealers but a sumptuous source book for students of the decorative arts, ivory carvers and all who appreciate the unique beauty and fascinating history of ivory.
Thames and Hudson Ltd
1987 ISBN 0-500-23505-8
Thames and Hudson writes:
More than three thousand years ago, the Old Testament records, “King Solomon made a great throne of ivory….” from which he summoned to his court ‘the navy of Tarnish, bringing gold and silver, ivory and apes, and peacocks…’
Throughout history, from the ancient civilizations to the present day, the subtle glowing color and sensual tactile surface of ivory has lent a special quality to objects as diverse as religious images and thimbles, palace furniture and paper knives. Ivory is also extraordinarily tractable—it can be sliced paper thin, sawn, carved, etched, or turned on a lathe, stained or painted—and so flexible that an ivory riding whip was once described as being ‘as finely tempered as a Toledo sword blade, and as supple as a willow switch.’
The astonishing range of this remarkable substance has, for the first time, been fully described in Ivory: A History and Collector’s Guide, illustrated with copious reproductions, many in color. A team of distinguished contributors have combined their considerable expertise to unfold the story of ivory carving, from Paleolithic Europe, through the Hellenistic and Roman worlds to the Middle Ages and right up to the twentieth century Europe. There are chapters on Europe, the Near East and India, the Far East and South East Asia, North America—and Central and South America where bone was used instead of ivory. The contributors reveal the beauties of ivory—in rich patina of antique figures or the intricacies of miniature medieval plaques—and describe the different kinds of ivory that have been used.
This unparalleled survey also includes a description of the ivory trade, an illustrated glossary, sections on collecting ivory and its care and repair, a guide to collections open to the public, a bibliography and—most notably—an invaluable detailed time chart which highlights every period in the long and exotic history of ivory.
Richly documented and superbly illustrated, Ivory: A History and Collector’s Guide is not only the definitive reference work for collectors and dealers but a sumptuous source book for students of the decorative arts, ivory carvers and all who appreciate the unique beauty and fascinating history of ivory.
Thursday, February 15, 2007
Modified Asterism
It is possible to imitate asterism in gemstones by engraving several sets of parallel lines or grooves in flat or curved surfaces of the stones or cutting six-rayed star on the surface of a suitable cabochon, with tools such as rotating or vibrating iron rod. The technique is widely used in producing man-made asterism in rubies, sapphires and other colored stones including glass. A modified technique may be used to produce fake asterism in mainstream colored stones. The fake star stones are sold worldwide, but may be seen more frequently in Thailand, Sri Lanka, India, Burma, East Africa, Europe and United States, the colored stone centers of the world. An interesting fact is asterism in natural stones is due to the presence of needle-like inclusions, but they are not seen in these fake cabochons. In addition, the so-called called stars are not properly oriented and overall the stones look asymmetrical and lack the natural appearance.
Well informed buyers will always look carefully for the right star pattern, color, and finally, the top and base. In most cases the producers of fakes are not properly identifying the minerals before engraving, because highly radioactive crystals or crystal fragments have been used and sold with an incorrect but common mineral name. If in doubt always consult a reputed gem testing laboratory.
Well informed buyers will always look carefully for the right star pattern, color, and finally, the top and base. In most cases the producers of fakes are not properly identifying the minerals before engraving, because highly radioactive crystals or crystal fragments have been used and sold with an incorrect but common mineral name. If in doubt always consult a reputed gem testing laboratory.
Network Movie
Memorable quote (s) from the movie:
Howard Beale (Peter Finch): I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's work, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, Goddamnit! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
Howard Beale (Peter Finch): I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's work, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, Goddamnit! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.21 Misrepresentation as to cultured pearls.
It is unfair or deceptive to misrepresent the manner in which cultured pearls are produced, the size of the nucleus artificially inserted in the mollusk and included in cultured pearls, the length of time that such products remained in the mollusk, the thickness of the nacre coating, the value and quality of cultured pearls as compared with the value and quality of pearls and imitation pearls, or any other material matter relating to the formation, structure, properties, characteristics, and qualities of cultured pearls.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.21 Misrepresentation as to cultured pearls.
It is unfair or deceptive to misrepresent the manner in which cultured pearls are produced, the size of the nucleus artificially inserted in the mollusk and included in cultured pearls, the length of time that such products remained in the mollusk, the thickness of the nacre coating, the value and quality of cultured pearls as compared with the value and quality of pearls and imitation pearls, or any other material matter relating to the formation, structure, properties, characteristics, and qualities of cultured pearls.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Amber
By Patty C Rice
Van Nostrand Reinhold Company
1980 ISBN 0-442-26138-1
Van Nostrand Reinhold writes:
From history and lore to modern sources and commercial use, Amber: The Golden Gem of the Ages brings you a wealth of information on every aspect of amber. It is as completely up-to-date as it is all encompassing, and is the first definitive study of amber to be published in fifty years.
The author pinpoints the original sources of amber and its variety of colors and textures, the describes its historical usage. She recounts its use by early man during the Stone Age and Bronze Age….the ancient amber trade routes….and the use of amber in classical cultures. Dr. Rice then traces the amber industry’s growth from the guilds of the Middle Ages to current development and mining techniques in the Baltic regions. You will find interesting descriptions of archaeological finds of ancient amber…..intriguing facts on mystical beliefs and folklore associated with amber…and fascinating historical illustrations of the first fake inclusions recorded in amber.
Data on physical and chemical properties are accompanied by appropriate tests and methods for identifying genuine amber. The book features summaries of scientific studies conducted by leading researchers…..geological descriptions of regions where amber is found…and biological information on findings of fossil insects and other anthropods in amber, as well as on the use of amber as a botanical product to gain knowledge of plant evolution.
A complete review of amber’s commercial aspects includes commonly used imitations and substitutes ranging from early Bakelite jewelry to modern Bernit. Detailed methods are provided for pressing or reconstructing small amber chips and using them with plastic to make ‘polybern’ ornaments. Additional step-by-step directions tell you how to cut, drill, and polish rough amber into radiant jewelry.
When you want to know more about the Russian amber room….Chinese amber carvings or amber art from the Middle Ages….or the mythological surrounding amber in various cultures---consult Amber: The Golden Gem of the Ages. Every aspect of amber is covered in this comprehensive volume. Its beautiful illustrations include rare amber carvings, mosaics and chess produced by Lithuanian artisans. You will marvel at the wealth of new scientific knowledge gained from investigations of amber. And if gemology is your hobby or occupation, you will make good use of the charts and tabular information comparing amber with common substitutes, along with the numerous techniques for constructing amber ornaments and finished jewelry items.
About the author
Dr Patty Rice has lectured at numerous gem and mineral clubs, shows and conferences in the U.S and Canada. Her articles on amber have appeared in American Way, Gems and Minerals International, Lapidary Journal, and Rock and Minerals.
Van Nostrand Reinhold Company
1980 ISBN 0-442-26138-1
Van Nostrand Reinhold writes:
From history and lore to modern sources and commercial use, Amber: The Golden Gem of the Ages brings you a wealth of information on every aspect of amber. It is as completely up-to-date as it is all encompassing, and is the first definitive study of amber to be published in fifty years.
The author pinpoints the original sources of amber and its variety of colors and textures, the describes its historical usage. She recounts its use by early man during the Stone Age and Bronze Age….the ancient amber trade routes….and the use of amber in classical cultures. Dr. Rice then traces the amber industry’s growth from the guilds of the Middle Ages to current development and mining techniques in the Baltic regions. You will find interesting descriptions of archaeological finds of ancient amber…..intriguing facts on mystical beliefs and folklore associated with amber…and fascinating historical illustrations of the first fake inclusions recorded in amber.
Data on physical and chemical properties are accompanied by appropriate tests and methods for identifying genuine amber. The book features summaries of scientific studies conducted by leading researchers…..geological descriptions of regions where amber is found…and biological information on findings of fossil insects and other anthropods in amber, as well as on the use of amber as a botanical product to gain knowledge of plant evolution.
A complete review of amber’s commercial aspects includes commonly used imitations and substitutes ranging from early Bakelite jewelry to modern Bernit. Detailed methods are provided for pressing or reconstructing small amber chips and using them with plastic to make ‘polybern’ ornaments. Additional step-by-step directions tell you how to cut, drill, and polish rough amber into radiant jewelry.
When you want to know more about the Russian amber room….Chinese amber carvings or amber art from the Middle Ages….or the mythological surrounding amber in various cultures---consult Amber: The Golden Gem of the Ages. Every aspect of amber is covered in this comprehensive volume. Its beautiful illustrations include rare amber carvings, mosaics and chess produced by Lithuanian artisans. You will marvel at the wealth of new scientific knowledge gained from investigations of amber. And if gemology is your hobby or occupation, you will make good use of the charts and tabular information comparing amber with common substitutes, along with the numerous techniques for constructing amber ornaments and finished jewelry items.
About the author
Dr Patty Rice has lectured at numerous gem and mineral clubs, shows and conferences in the U.S and Canada. Her articles on amber have appeared in American Way, Gems and Minerals International, Lapidary Journal, and Rock and Minerals.
Wednesday, February 14, 2007
The Insider Movie
Memorable quote (s) from the movie:
Mike Wallace (Christopher Plummer): In the real world, when you get to where I am, there are other considerations.
Lowell Bergman (Al Pacino): Like what? Corporate responsibility? What, are we talking celebrity here?
Mike Wallace (Christopher Plummer): I'm not talking celebrity, vanity, CBS. I'm talking about when you're nearer the end of your life than the beginning. Now, what do you think you think about then? The future? In the future I'm going to do this? Become that? What future? No. What you think is "How will I be regarded in the end?" After I'm gone. Now, along the way I suppose I made some minor impact. I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. I've spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? Does it give someone at my time of life pause? Yeah.
Mike Wallace (Christopher Plummer): In the real world, when you get to where I am, there are other considerations.
Lowell Bergman (Al Pacino): Like what? Corporate responsibility? What, are we talking celebrity here?
Mike Wallace (Christopher Plummer): I'm not talking celebrity, vanity, CBS. I'm talking about when you're nearer the end of your life than the beginning. Now, what do you think you think about then? The future? In the future I'm going to do this? Become that? What future? No. What you think is "How will I be regarded in the end?" After I'm gone. Now, along the way I suppose I made some minor impact. I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. I've spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? Does it give someone at my time of life pause? Yeah.
Subscribe to:
Comments (Atom)