How long it takes to replace kitchen faucet ?

Did you know there are few things which look more like you need a professional specialist for the task to be finished by it also give you an opportunity to look into the matter yourself and fix it. Plumbing is a necessary need for almost in every society, and when we think about it, you have to be very patient because plumbers take the time to come down to your place and do the job. When we think of the issue, you need to master a couple of skills that can help you fix the problem faster. In this discussion, we are going to explain how you can fix your kitchen faucet properly.

To begin the process, you need to follow the instructions to change the faucet. The following steps would be DIY and easy to follow. So let’s initiate the process. If you are wondering which kitchen faucet to buy, then read this post and you’ll understand which kitchen faucet model is the best for your daily needs. You can check out recommendations for the best panini press here.

How Long It Takes To Replace Kitchen Faucet?

You may have the question in your mind that how long does it take? It depends on the size, Faucet type, and your skills. We will go through the replacing procedure then you can estimate the time consume in the process.

How Can I Replace  Kitchen Faucet?

  1. First of all, things you need to have is Tools, Location of pipelines, Turning off or cut off the water supply and measure the faucet size.
  2. Open the faucet and then relieve the pressure.
  3. The time has come to turn off the water supply and make sure to do it because while changing the water will be leaked through the open wall.
  4. By using the necessary tools you can remove the Nuts from the bottom and start disassemble it.
  5. If your sink has a hose to the faucet, then disconnect it or else leave it if your sink doesn’t have a hose.
  6. After the nuts are removed, you can take the old one out and start cleaning the surface.
  7. Remember, every faucet comes with a set of instructions, which you have to read to finish the task faster and it will be helpful if you are doing it for the first time. Measure the distance, size for the new one to fit.
  8. Plumberusethe putty to seal the base and you can use the putty to seal the base. If there are any edges exposing then you can apply some putty to the edges as well.
  9. If the water line and gasket have worn off then consider to replace them.
  10. Add some weight to the Pull-out-spray to retract
  11. Double check everything because you may have missed something during the process. Once it is done, you can reconnect the gasket, water lines and turn on the water supply.

Conclusion

usually, it takes around 15 minutes to replace the faucet but if you are doing it for the first time then you can take your own time to get it fixed. We would like to know your thoughts on how it has went for you and what are the things a starter should be taking in the comment section.…

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Smoke In The Gardens

 

THEY are playing with fire and smoke in Bournemouth this week.

The fire is courtesy the Carabosse Company, a French performance collective, which has transformed the Lower Gardens into a magical fiery landscape. They really have done that. Its cosy warm and I have not seen so many people having a wonderful time in the Gardens, ever.

And the smoke? Thats from Fuel, a fantastic group of free-runners and dancers, who are performing in a 360-degree open air theatre by the pier. I was too cheap to pay the £15 to go in, so I climbed some stairs and watched from the back of the set.

The performance was of a composition called The Roof. Lots of running around and circusy jumps across tight ledges set high on a circular set that hissed with coloured smoke. It was all astonishingly well timed and spectacularly colourful. The audience stood and watched in the middle of the set, listening to surround sound through headphones. It looked like a lot of fun.

I did go in the next day, and it was fun, which prompted me to do a bit of digging around. Fuel, I have come to know, is funded by the Arts Council England, and is London-based. Check out The Roof here. And for a glimpse of the performance, heres a video:

As for Carabosse, what they do is impressive. They take over large spaces—gardens, towns, that sort of thing—and set fire in a public space, while guaranteeing free circulation, making it vibrate with the closeness of our work to the spectator. Given the healthy and safety mania in England, how they managed to get the required permission to do something of this scale is even more impressive than their artistry. Anyway, click through to their artistic aim to know more. And heres a YouTube video I found, a reportage on how they actually go about creating their amazing show. Enjoy!

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Orwell On Writing Bad Metaphors

 

Modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing is that it is easy. It is easier — even quicker, once you have the habit.

That, from George Orwell. Much as I would like to, I can’t take credit for picking out that passage today; thanks must go to Maria Popova and brain pickings.

Have a look at her interesting analysis, George Orwell on Writing, based on his 1964 essay, Politics and the English Language.

Orwell’s thoughts on metaphors is worth re-quoting as well:

A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically “dead” (e.g., iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgels for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, Achilles’ heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a “rift,” for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying.

While on this, can’t resist posting this resource, also from brain pickings: Famous Advice on Writing: The Collected Wisdom of Great Writers.

Let me stop here, lest I end up using a deador worse still, dyingmetaphor.

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That Tweeting, Blogging, Microvideoing Meccsa Media Team!

LAST week 10 journalism students got together at  Bournemouth University and blogged the hell out of the 2014 MeCCSA Conference. They really did.

Across nine Twitter accounts and a live blog, they posted some 62,488 words: an estimated 43,000 words in 2,900 tweets, and another 18,988 by way of the live blog. That’s pretty near the wordage of a PhD thesis.

The MeCCSA coverage (#MeCCSA2014, @MeCCSA2014) was noteworthy not just in terms of the word count, but also for the spread of social media channels it utilised. Besides Twitter and the live blog, the team experimented with Vine, Tout and Vizibee to post 90-odd microvideos; engaged in realtime iPhone photography; curated social media with Storify; and created podcasts for Audioboo and iTunes (six-plus hours).

In the final 24 hours alone, as per this Hashtracking stats, the team helped create 333,065 Twitter impressions, reaching a potential audience of 85,324. Heres a snapshot of the most active Twitter accounts in the final phase.

And heres a taste of how #MeCCSA2014 played out is still playing out on Twitter (or check out https://tagboard.com/MeCCSA2014):

All in all, it was pretty much an interesting experience, and I will be back with another post on what we learnt from it later.

Could this be a first of its kind in volume of coverage? I cant swear by it, but I dont recall a student social media coverage of this nature unfolding on this side of the Atlantic. If you have done or know of something similar, do get in touch and we can hopefully compare notes.

In the meantime do meet the tweeting, blogging, videoing MeCCSA media team. In no particular order: Charlotte Gay,Ben Fisher, Polina Stoyanova, Jessica FosterPatrick Ward, Gabriela Vlahova, Tazz Gault, Rachitaa Gupta, George Underwood, and Tom Beasley.

PS: If you are into microvideos, check out Vizibee.com. Very useful tool, in development.…

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The Return Of The Natives

BEEN meaning to post this for a few weeks now, these excerpts from an interview with Edita Daniute that I did for Dance Today a couple of months ago.

Ballroom lovers around the world were happy to see the return of Mirko Gozzoli and Edita to competitive dancing at Bassano del Grappa in Italy exactly 11 months and 28 days after they split, and I had particularly wanted to explore how they got back together. Normally I hate telephone interviews if you get a sullen subject, these can be as much fun as a tooth extraction and I had cursed the editor quietly when she refused to pay my fare to Lithuania for a face-to-face.

But as things turned out, it was painless. Edita was forthcoming, talking frankly about her at times fiery relation with Mirko, and about her feelings at being compared to Mirkos former partner, Alessia Betti. Here are some excerpts some of it could not be carried in DT for want of space  that provide interesting insights into one of the most-watched ballroom partnerships in the world:

How did you and Mirko get back together again?

He came to my training camp in the summer and we practiced a bit. We still have some business that we were supposed to do together – like teaching trips. And we did a few of those and we practiced. We enjoyed that. We didn’t fight as much as before. Actually we didnt fight at all. So we kind of– we found again the joy of dancing. And that was partially to do with not competing.

Did you miss competing?

No. I was okay even without competition. Mirko was the one who wanted to compete. He never wanted to retire. He decided to split with me because I was asking him to travel more, to come more to Lithuania, and he needed to stay in Italy. This was the main disagreement.

In an earlier interview, you had said you missed competing so much that you were crying while judging, and that was why you decided to compete again after you had your daughter. But this time, you didn’t miss competing. What had changed?

Then I felt I had not competed in professionals. I hadn’t finished my career the way I wanted. Then I felt really bad. But this time, when Mirko decided to split and I retired, I didn’t feel too bad. Absolutely not.

Why was that?

Before this time, there were a lot of fights. When you are struggling to win, to get to the first place, there are many people who give their advice. Normally people try to find the person who is guilty. So my dresses were wrong, my dancing was wrong. Obviously because Mirko was a champion with Alessia [Betti] and not the champion with me, the whole world tried to improve me. I got a lot of pressure and I wasn’t enjoying my dancing. That was why I felt quite a relief, instead of sadness and missing the competition. Because my personality is very different from Mirko’s previous partner. And I am who I am. And as a dancer you have to find your own personality. You cannot copy because that will be worse.

How did the decision to compete again come about?

Mirko wanted to compete in WDC, to come back, to prove something to Arunas [Bizokas], to beat him. Since I retired, I have taken some business with WDSF. In Lithuania we have a strong WDSF federation. So I had already made a choice. It’s sad that somebody has to make a choice. I really do not think it should matter which federation you belong to, but sadly you have to choose these days. And I have chosen WDSF because I was already judging there. I suggested to him to take part in the WDSF competitions. And he agreed, and that’s how we ended up in Bassano.

*

Another aspect we spoke of was the enthusiastic support the partnership always seemed to elicit from spectators. Why, I asked Edita, did the crowd love watching them? She attributed it to the risks they take on the floor:

The ability to risk is something that is very attractive to the audience. To play with your dance and enjoy it – but you can suffer for it. Some people choose to have a safer way, and the safe way guarantees winning. But the safe way will not always guarantee the love of the crowd.

What plans for the future? On that, I am afraid I couldnt get much. Edita went all diplomatic on me. They wanted to see what everyday brings, she said, not worry about results, but focus on improving quality.

Oh well.

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The Framing Of Bradley Manning

WHILE BRADLEY MANNINGS credentials as a modern-day Daniel Ellsberg continue to be debated, heres an interesting question to throw into the mix.

How did major news organisations portray him? As a hero? A villain? Or a victim?

Looks like the Guardian, Der Spiegel and New York Times by and large preferred to sit on the fence on this. In that, their coverage attempted to present Manning predominantly do note that qualification as a whistleblower, neither praising nor condemning his action.

Full disclosure before we go any further: this is an ever-so-subtle plug for a recent study my colleagues Einar Thorsen, Stuart Allan and I undertook at Bournemouth University.

Of the 405 articles from the Guardian, Der Spiegel and NYT websites we analysed, 52% used whistleblower as the primary frame the main way of describing Manning.

 

He was also presented as a victim (in 35% of the stories), villain (2%), and hero (5%), and entertainment (6%; in stories on stage performances spurred by his story).

More stats on the sources the media used for the Manning stories, secondary frames, etc in our chapter, WikiLeaks and Whistle-blowing: The Framing of Bradley Manning, in Beyond WikiLeaks: Implications for the Future of Communications, Journalism and Society (pardon the long title folks, thats the way of academia), edited by Benedetta Brevini, Arne Hintz and Patrick McCurdy.

Given the international wave of sympathy for Manning and the view in many quarters that whistleblowers are selfless and heroic, we had expected a more pronounced hero representation. Similarly, there could have been a more powerful villain frame, in light of the staunch political rhetoric against him. But.

Then, time is often the best determinant of the legitimacy of a whistleblower as Daniel Ellsberg will happily attest.

BRADLEY MANNING ILLUSTRATION: COURTESY WWW.MASHABLE.COM
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Dateline Hastinapur

BEEN THINKING, a lot, about how the media narrate war how war stories play out on front pages and television screens.

Been thinking, a lot, also about Epicretold  suppose, just suppose, there were newspapers then, the equivalents of The Times of India and The Sun and The New York Times and the BBC. How would they have narrated the Kurukshetra war and the events that led to it?

I guess my interest in such a narrative is driven in the main by my fascination with ‘war journalism’. It is not difficult to see war coverage as serialised storytelling: episode after episode of drama, over weeks and months and years, with conflict, escalation and resolution, the same major characters weaving in and out accompanied by the same minor actors – all coming together to form an overarching narrative, which, I dare say, pretty well follows the shape of Freytag’s pyramid.

Interesting to think, then, of how the Mahabharata can be told as news. Can the story be strung together as a series of media reports? Would such storytelling make sense to a reader, particularly one not familiar with the storyline? Would it help him/her create own narrative of that reality?

Solely in the spirit of experiment, here’s a take. I see this as appearing in an ‘international’ newspaper  call it what you will (and drop me a line if you come up with an interesting name):

Pandu family returns
King welcomes Kunti, sons with open arms

By Our Royal Correspondent

HASTINAPUR:  The family of King Pandu, the renunciant royal who died in the Shatashringa forests in a mysterious accident last week, returned yesterday to a grand ceremony that spilled out on to the streets of the capital city.

The royal widow Kunti and her sons – Yudhishtira (7), Bhima (6), Arjuna (5) and the twins Nakula and Sahadeva (4) – were met at the city gates by Bhishma, the patron of the royal clan, and driven through the high street in a chariot drawn by seven horses at the head of a ceremonial procession.

Accompanied by a select group of palace officials and personal maids, Queen Gandhari welcomed Kunti at the palace gates.

“It is good to be in Hastinapur again,” Kunti said, wiping away tears. “My sons are finally back where they belong.”

At the palace, the family were taken straight to King Dhritarashtra for a private meeting. A palace official present on the occasion said the king was overcome with “tears of joy”.

“I welcome my brother’s family with open arms,” the king said in a statement released later. “This is their kingdom and I am glad they have returned. Now I have five more sons.”

While reports about the cause of Pandu’s death remain sketchy, palace sources confirmed that Madri, his second wife, had opted for the practice of Sati, stepping into his funeral pyre, as “befitting a princess and loving spouse”.

Pandu, though second in line to the Hastinapur kingdom, had ascended the throne 11 years ago, superseding his elder brother Dhritarashtra, who, owing to his blindness, had been deemed unfit by his elders. However, seven years ago, for reasons not yet clear, Pandu had renunciated the kingdom while on a hunting trip to the Shatashringa forests.

He had lived there since, fathering five sons – Yudhishtira, Bhima and Arjuna with Kunti, and Nakula and Sahadeva with the younger Madri.

The Kuru Kingdom, which lies north of the Vindhyas bordering Panchala, is one of the largest in the region, and has been traditionally ruled from Hastinapur, ‘the city of elephants’. Though under King Dhritarashtra the kingdom has seen relative stability and peace, his ability to rule has always been questioned. The king, born blind, is seen as ‘unfit to rule’ by many, including Bhishma, his grandfather. Queen Gandhari’s self-imposed blindness – since the day she found out her betrothed was blind, the former princess of Gandhara has chosen to wear a black blindfold – has not helped his case.

The death of King Pandu and the unexpected return of his family have brought a feeling of unrest in the palace. A highly-placed source, who did not want to be identified, said the king had to be persuaded by Bhishma to invite Kunti and sons to Hastinapur.

“The royal politics is likely to be murkier in the coming years, the source said.

Treat this as the equivalent of an ‘establishing’ shot, the beginning of this narrative. The next take could be from a Hastinapur-based newspaper – a human interest story perhaps, on the five little boys, the Pandavas. And, yes, there could a political commentary or a news analysis, which would expand on the last quote of the report above.

Guess I will be back with more.…

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