Wednesday, 23 October 2013

Five ways to get perfect manicure

Carla Kay shares five ways to get perfect manicure . PHOTO: FILE
LOS ANGELES: Manicure is not an easy task, especially when you choose to do it on your own. Try dry manicure, but with patience and be careful with cuticles.
Celebrity manicurist Carla Kay shares five tips for nailing the perfect manicure, reportseonline.com:
Don’t cut all of your cuticles: The cuticle protects your nails from infection. Trim the little pieces that are visibly hanging out. Then take a small amount of alcohol and swipe it on the nail bed so the natural oils from your nails are gone and you get a clean base.
Try dry manicures: Lotion and oil on hands can interfere with smooth application and also expand nail bed. Besides, it takes time to dry out.
Apply your base: Duri Rejuvacote is recommended for the base as the main ingredient is keratin. It helps with weak nails or cracks. This is your first coat which is going to penetrate through your nails to make them stronger. It will bond with the colour you apply.
Be patient: Let the base coat dry because if that canvas is dry, you are going to get a sleeker application with your colour. If you don’t wait for the nails to dry fully, you run the risk of wrinkling the polish.
Play with nail stickers: If you’re not good at painting your nails, try Incoco polish strips. There are a plenty of gorgeous colors and designs to suit your mood.

Money does not grow on trees but gold leaf does

Australian researchers have found minuscule nuggets of gold hidden inside the leaves of eucalyptus trees. PHOTO: FILE
SYDNEY: Australian researchers have found minuscule nuggets of gold hidden inside the leaves of eucalyptus trees, in a discovery they say could help prospectors discover new deposits of the precious metal.
Scientists from the Commonwealth Scientific and Industrial Research Organisation (CSIRO) made the find in the resource-rich Kalgoorlie region of Western Australia, which was the site of a major gold rush in the late 1800s.
Geochemist Mel Lintern said it appeared the trees sucked up the gold particles from 30 metres below the ground through their roots.
“The eucalypt acts as a hydraulic pump – its roots extend tens of metres into the ground and draw up water containing the gold,” he said.
“As the gold is likely to be toxic to the plant, it’s moved to the leaves and branches where it can be released or shed to the ground.”
In research published in the journal Nature Communications, the CSIRO said the leaf particles themselves would not trigger a new gold rush as they measure just a fifth the width of a human hair and are visible only through advanced X-ray imaging.
Researchers involved in the study estimated it would take the gold from 500 eucalyptus trees to make a single wedding band.
But they said the discovery presented a gilt-edged opportunity to improve the exploration methods used to search for gold, making them more efficient and environmentally friendly.
“This link between… vegetation growth and buried gold deposits could prove instrumental in developing new technologies for mineral exploration,” they said.
New discoveries of gold have fallen by 45 percent in the past decade, while prices have skyrocketed as reserves steadily dwindle – the cost of the yellow metal shot up by 482 percent between December 2000 and March this year.
The CSIRO said scientists could use a technique known as “biogeochemical sampling” to give an indication of the presence of gold.
“By sampling and analysing vegetation for traces of minerals, we may get an idea of what’s happening below the surface without the need to drill,” Lintern said.
“It’s a more targeted way of searching for minerals that reduces costs and impact on the environment.”
He said the method could also be used to find other metals such as zinc and copper.
Nigel Radford, a geochemist who has been involved in gold exploration for decades in Western Australia, said the discovery was a world-first with major implications for prospectors.
“A lot of this stuff has been speculated about for some time, but the identification of the gold particles in the leaf materials is completely convincing and very, very important for the future of mineral exploration,” he told the Australian Broadcasting Corporation.
According to the World Gold Council, more than 174,000 tonnes of gold have been extracted from Earth since the dawn of civilisation.
In 2011, the US Geological Survey estimated there were 51,000 tonnes of gold left in reserve in the world.
Radford said using biogeochemical sampling had the potential to make searching for gold deposits much easier.
“If you can sample on-surface, it saves all the cost and all the time involved in drilling holes,” he said.
Sixty percent of gold becomes jewellery, but it is also a crucial component in electronics and is used in medical technology, including for cancer treatment.

WAAR’ on terror: A story of unsung heroes

Dr Hassan Rana and Shaan in a scene from Waar PHOTO: PUBLICITY
Dr Hassan Rana and Shaan in a scene from Waar  PHOTO: PUBLICITYCrew members shoot an action sequence in the film. PHOTO: PUBLICITY
KARACHI: 
“Right now, as your readers read this article, out there somewhere an Mi-17 pilot is helping our soldiers or rescuing victims of natural disasters. Right above him will be a Cobra helicopter pilot and a gunner, both looking out for them,” says Dr Hassan Rana, the action director and writer of Waar — Pakistan’s first big-budget war film that portrays the good and the evil sides of the war on terror.
The country has lost over 7,000 security personnel, both from the armed forces and police, who have fought to save the lives of citizens and safeguard their motherland.
The talks with the Taliban are currently ‘work in progress’ – to do or not to do, that is the question. Against the backdrop of disarray and confusion regarding possible solution to terrorism in Pakistan comes Waar. It could not have been more timely.
The makers of Waar have conducted substantial research in their attempts at recreating the violent and insurgent atmosphere. The aim, they explain, is to give an accurate ‘feel’ of how Pakistan’s armed forces tackle Pakistan’s burning issue on battlefields. “The viewer shall have a pretty accurate idea of how our true heroes take the battle to the enemy,” said Rana.
Makers of the film knew that this depiction could not be sketched and coloured in without the help of Pakistan’s Armed Forces and Police Services. To get the ball rolling, the film-makers – with the blessings of the then interior minister Rehman Malik who guaranteed support of the FIA – embarked upon a journey that brought them close to the frontline forces in the war against terrorism.
“We were given the honour of meeting some of the best soldiers in our army, who fought many battles for our country. From there, we were able to understand the basic instinct of a Pakistani soldier,” says Rana.
While they were able to understand the patriotism of soldiers by engaging with officers who are drafted in the military, it was Major General Asim Bajwa who helped them truly understand the relationship of a soldier with his weapon. “He helped us understand the battlefield psychology of the soldiers and the enemy,” Rana says of Bajwa, who recently commanded an infantry division in Waziristan. “He helped us understand the weapons and why a particular weapon is used, when,” he adds.
Senior Superintendent Police (SSP) Mirvais Khan from Islamabad Police supervised the sequences pertaining to the police department in other places in the film, whereas it was SSP Malik Yousuf (now additional director, FIA, Islamabad) who supervised all the shooting inside the Police Headquarters.
“From developing uniforms to ensuring accuracy, the choice of weapons and tactics everything was as real as it actually happens in the police,” said Yousuf. One of the sequences shown in the film is inspired by an actual event whereby the Police Academy in Lahore was attacked in 2009.
About the debate on social media regarding the kind of involvement the Pakistani army had in the project, Yousuf believes that Waar has played a key role in highlighting the losses of the police. “It’s true that operations in the conflicted area are carried out by Pakistan army but the Police haven’t suffered any less,” said Yousuf. “Media has deliberately ignored the huge sacrifices made by the police in the war on terror but after watching this film the layman would recognise it.”
“Usually it’s the unprofessional people who deal with on-screen portrayal of the security forces which is why a lot of Indian films get it wrong. But I personally made sure that accuracy is not sacrificed at any cost,” he says.
It took an entire year for the crew to cast the right weapons for the film. “Most of the weapons that you shall see in the film are currently in service and are the mainstay of our security forces and likewise for terrorists,” explains Rana.
“I am pretty sure that all the viewers shall be mighty proud to see their Cobra Gunship and Mi-17 helicopters in action,” said Rana. The weapons change with the types of battle scenarios in the film such as CQB (Close Quarter Battle) to HRT (Hostage Rescue Tactics) to all out battles complete with Air support.
The pilots who flew the aircrafts couldn’t be contacted as they were busy transporting relief goods to the quake affected areas of Balochistan.
Waaring with weapons
The weapons shown being used in the film by the armed forces and terrorists are accurate and reflect the weapons actually used by both the sides.
The good guys use
AI AS .50 calibre
RPA 12.7x99mm range master
Armalite
AR-10 with Bushnell range finder
The Smith & Wesson M4 carbine with precision sighting and range finding systems, the H&K G3 with precision sighting setups.
Colt M4 carbine
Pakistan Ordnance Factory’s SMG with EOTECH precision night visioning and Target Acquisition systems
H&K MP5 submachine gun
Ordnance Factory’s assault rifles
Side arms
Glock 17, Beretta 92FS, SIG-Sauer P226 Tac Ops.
The Terrorists use
Dragunov sniper rifles
Dshk 12.7 heavy machine guns
AK-47
Handgun
Taurus P 24/7 9mm.

Pakistan bans three extremist outfits, on orders from China

East Turkemanistan Islamic Movement (ETIM), Islamic Movement of Uzbekistan (IMU) and Islamic Jihad Union (IJU) are now banned in Pakistan. PHOTO: AFP/FILE
ISLAMABAD: The Pakistani government on Wednesday decided to ban three international extremist organisations allegedly involved in insurgent activities in the Chinese province of Xinjiang, BBC Urdu reported.
The website quoted sources in the Ministry of Interior Affairs as saying that Chinese authorities and security agencies believed the three organisations were involved in extremist and insurgent activities in the Muslim-majority province of Xinjiang.
The outfits banned include the East Turkemanistan Islamic Movement (ETIM), Islamic Movement of Uzbekistan (IMU) and Islamic Jihad Union (IJU).
The said bodies have been the subject of much concern in discussions between the Chinese and Pakistani civilian and military authorities.
Ministry sources were also quoted as saying that Pakistan had been in contact with the Turkish and Uzbek governments over ETIM and IMU, and had learned that over half of the people constituting these bodies were individuals highly wanted by local authorities.
The outfits include 10 females who reportedly trained other women for suicide-bombing.
Pakistan is reported to have caught and arrested various members of these groups in operations against militants in North Waziristan and other tribal areas.
The government has enhanced security of Chinese diplomats in the country against possible attacks by these militants.
At least 50-60 organisations already exist on Pakistan’s list of banned outfits.

Masters swimming is a way of holding back the tide

Race against time … Jaring Timmerman – who is 100 years old – swims the backstroke.
Race against time … Jaring Timmerman – who is 100 years old – swims the backstroke. Photograph: Pawel Dwulit/Toronto Star
Later this week I will be taking time off work, driving approximately 170 miles to Sheffield, spending a couple of hundred pounds on a hotel and then a further 30-odd for the privilege of whiling away over 20 hours at aswimming pool over three successive days, before driving the 170 miles home. Less than a minute will be spent actually swimming. Oh – and I'll also be shaving off most of my body hair.
Why? Because this weekend is the British Gas ASA National Masters and Senior Age Group Championships and I am a masters swimmer.
That's right, I am one of those people who is only interested in racing and only interested in winning. One of the elite, driven by personal bests, juiced-up on protein shakes and desperately trying to recapture my numerous past glories. Did I mention I am 6' 4", have size 13 feet, a 6' 6" wingspan and can swim 25m in 11 seconds?
I am one of those people who absolutely hates to demean himself by swimming with members of the public (or "civilians", as we call them). I am the one who parades around in my endurance Speedos and drag pants giving you precisely the time it takes me to place down my kickboard, pullbuoy, fins, paddles and water bottle to fuck off back to the slow lanes.
I train in the fastest lane of one of the fastest masters clubs in Britain. I have won so many medals I don't bother even collecting them anymore. My tightly knit clique and I are not concerned about even looking at you, let alone taking part in a conversation, but if you want to be in our gang you had better be prepared to endlessly discuss PBs, British records, turnarounds, T20s, training cycles, lactate sets and your last visit to Club La Santa. If you're particularly lucky I might tell you about that time with Sharron Davies in Barcelona.
If you do dare to swim in the same lane as me you will be doing your main set of 20 x 100s off 1:25 with at least five seconds rest or it will be a quick grab of your ankle, a strong pull, a firm grasp of your shoulder and I will swim right over you. You will deserve it because I have been swimming competitively since I was seven and I will still be winning when I am 107. In conclusion, I am a masters swimmer and I am better than you.
Except we're really not like that – well, not all of us.
In actual fact there are innumerable reasons why masters swimmers do it, and while it is true that a tiny fraction of us are fanatically clinging on to what might have been (but never was), for the vast majority most of the time it boils down to one thing: fun.
For me it's fun even though the pool is frequently dirty (I picked a shoelace and a Starburst out of the water in the same session a few months ago), often the air quality is suffocatingly bad and it is run by people who, in their wisdom, decided that rather than fix the ceiling to stop bits of it falling into the pool, they would just put up a net to catch the bigger pieces instead.
It's fun because, despite initial appearances, few masters swimmers actually really care. What it is really about is keeping fit with your friends, doing something you enjoy and generally having a laugh. At the real elite level, swimming is a young persons' sport dominated by teenagers and people in their early 20s. Masters swimming, on the other hand, takes people of various abilities aged 18 upwards – with many inspirational role models to look up to along the way.
Admittedly I am in a fortunate position. I swim for Barnet Copthall Swimming Club in north London, where we have a very well-established masters team of over 80 people. The club provide us with exclusive access to an eight-lane, 25m pool for seven hours every week, all overseen by our own designated coach, who is both fantastic and a household name in masters swimming. Many do not have these kinds of facilities, but at the heart of all masters clubs should be an emphasis on socialising and enjoyment coupled with little in the way of pressure to actually do anything.
Yes, many of us enjoy competing, but it's by no means the be-all and end-all. Instead the real fun comes from the excuses. You see, even for those of us in our late 20s (36 if we're being completely accurate) masters swimming is actually about, to steal Sir William Armstrong's famous phrase, "the orderly management of decline", mixed with the occasional wonderful blip of happiness along the way as this otherwise inexorable trend is momentarily but quantifiably bucked.
Distractions such as work, family life, injuries and a slowing metabolism inevitably mean that you will not be able to maintain the times of years gone by. Therefore, for many of us, competitions instead tend to be an ongoing, light-hearted explanation for why we are basically past it – and this is true even at the national championships.
The egalitarian nature of masters swimming means that "I have been staying late at the office" will compete with "we've just had our third baby", "I can only swim once a week because of the dog" will take on "I don't have enough time to train while having an affair" and "I broke my pelvis skiing" will go up against "I slipped on some oil at work (and that's when I called Claims Direct)".
And of course the older you get, the better you used to be.
So now I'm off to Sheffield with hundreds of others like me. For the umpteenth year you might see me behind the blocks with goggles, hat and jammers on and Two Steps from Hell blaring out of my headphones.

A new iPad? I don't even miss my old one

Apple's new iPad range.
Keep taking the tablets: Apple's new iPad range.
The new iPad cannot move me. My old iPad was stolen a year ago and, for the life of me, I can't think why I thought I ever needed one.
One year ago this week, I was visiting London and having drinks in a bar popular with local office workers. High ceilings, ambient low lights, the jostling of besuited office workers. But in Covent Garden, there's a breed of worker who are really artists: pickpockets. Cunning and light-fingered, they create barely a breeze as they clean you out of every moderately valuable thing you own.
This pickpocket, invisible to us, lifted the flap of my closed messenger bag and took two items: my iPad and my old iPod. No common thief, he: a day later, he or one of his customers informed my friends via very polite emails that I was no longer in possession of the device. He left myiPhone in my bag, a kind of wink of both discernment and decency – a gentlemanly touch that has me, to this day, picturing him as a rather dashing, rogueish figure, like the Scarlet Pimpernel, sweeping through central London. He probably looked more like an accountant from Croydon, like everyone else in the bar, but I prefer the more romantic vision.
In any case, he helped himself to my entire life. My iPad had my credit card numbers, passport number, sensitive contact lists, work emails, and my itineraries. It had also become an alternative to my laptop, allowing me to peck out emails while at coffee shops. In fact, it made me seek out coffee shops just so I could sit with my iPad, daydreaming and looking at maps.
Its loss also made my bag quite a bit lighter. As a journalist, I had become used to toting around a satellite's worth of iDevices – mainly because anything made by Apple, while adorable, had the battery life of a potato hooked up with a wire. They were always running out of power quickly and I kept the others as backups to take photographs or record meetings.
In the end, however, the iPad figured little in my regrets.
It was the loss of the iPod that stung me more; it predated my iPhone and held more precious photos, as well as being a useful way to ignore other people on the Tube. I was also slightly embarrassed that the thief might find my eclectic choice in music – Mozart here, Flo-Rida there – perplexing. In keeping with my vision of him, I pictured him chortling with amused sophistication over my playlists at his club while swirling an amber sherry in a large glass. He would talk about erasing all of my laboriously downloaded songs, and he would consider it a mercy.
At first, I thought that losing my iPad would be painful. It held a wealth of personal information – none of it, of course, backed up to the cloud. I used it as a Kindle, reading magazines and books and using it for Twitter and Facebook. It was a laptop in a pinch, and, better than a laptop, never slowed down airport security, although the attached keyboard made it heavy and not as pleasing as it was on its own. I paid richly to keep it connected to the internet, so I didn't have to beg for Wi-Fi in strange places, as I did with the iPod and laptop. I watched movies and TV shows on it, and it was indispensable for fiddling around for boring hours on a plane.
What surprised me was that losing my iPad – or, at least, having it stolen – was actually liberating.
I no longer paid a full extra phone bill every month to keep it connected to 3G. I read books on my Kindle, which was lighter and had a battery life longer than the lifespan of a gnat. I tweeted on my iPhone and watched videos on my laptop.
But mostly, I stopped jumping to my iPad whenever I had a moment of boredom. I did other things instead of resorting to that electronic pacifier every time I wanted to block the world out or didn't want to be where I was.
After a few weeks without the iPad, I wondered why I ever thought I needed one. It seemed not only extraneous, but decadent. I went back to my laptop. Typing on a regular keyboard, as opposed to the off-brand doohickeys sold for the iPad, was a relief, and it made my reporting and writing easier. Email was not so important that I had to haul out an entire separate device to manage it: between my computers at work and home and the iPhone, communications were well handled. No one ever asked why they couldn't find me.
It's not as if I don't occasionally have pangs of nostalgia. When a colleague showed off his iPad mini a few months ago, I petted and cooed like everyone else. When Apple CEO Tim Cook bragged about selling 170m iPads – one for every two people in the US – I understood his pride.
But seeing the new iPad itself left me cold. The shiny bezel, the retina display, the apps … it was still the old iPad, albeit lighter and with a snazzier makeover. I still can't think of any reason why it's essential, or even important, to my life.
For all the uses to which I would put it, it was too expensive a toy. iPads are so common now, despite their price, that they no longer confer importance or prestige; they're about as glamorous as bluetooth headsets. And they still run out of battery life fast, keeping people tethered to their chargers or outlets. For that kind of trouble, I'd rather be fueling up an iPhone. Or better yet, reading for days and days unbothered on my Kindle.
The Scarlet Pimpernel of Covent Garden long ago sold my iPad and spent the money. He's welcome to it. I've had nothing but peace ever since.

How art and fashion became BFFs

Marina Abramovic with Riccardo TisciRiccardo Tisci, artistic director of Givenchy, with his muse Marina Abramovic. Photograph: Jamie Mccarthy/WireImage
When Jay-Z staged the Picasso Baby gallery setup for his "performance art film" (aka video) back in August, Marina Abramovic was one of the first through the door. The 66-year-old performance artist is a favourite of fashion's power players – and it's nothing to do with the episode of Sex and the City she inspired or, if we're honest, any of her art. Abramovic is one of Givenchy designer Riccardo Tisci's muses and regularly wears his clothes accessorised with red lipstick and a long plait in a rather fabulous way. And that's something fashion – and art-inclined hip-hop – can appreciate.

Chanel at Frieze

Chanel at Frieze. Pictured Nuria MenuyoChanel at Frieze: the quilted shoulderbag was the style of choice. Photograph: Graeme Robertson for the Guardian
October's Frieze is now firmly marked on fashion's annual calendar, with the art world's style a great tonic after four weeks of front rows eyeing up each other's outfits. There's one element that these two groups no doubt have in common – a penchant for Chanel's classic 2.55 handbag. At this year's Frieze, the quilted, chained shoulderbag was the style of choice in an environment where designer accessories come as standard. While the shoulderbag is currently beta in fashion circles (see the oversized clutch), the art crowd feel differently. With Karl Lagerfeld delving into art as inspiration for Chanel's spring collection, maybe they're on to something.

David Hockney and Burberry

The Hockney look on the Burberry catwalkThe Hockney look on the Burberry catwalk. Photograph: Victor Virgile/Gamma-Rapho via Getty Images
Every man can learn a lot by looking at David Hockney's wardrobe. The tousled blond hair. The owlish glasses. The hint of a dandy in primary-coloured tailoring. The Yorkshireman has long been held in esteem by fashion. Burberry's Christopher Bailey is a fan – referencing the artist in collections dating back to 2005. The brand's most recent collection hadthose brights mixed with cosy sweaters – a very Hockney outfit indeed. A notable mention here must also go to Andy Warhol – Hockney's rival for the Most Fashionable Male Artist award. His fright wig, skinny black trousers and Breton top add up to what we call a Strong Look.

Prada and the street artists

Prada's street-art designs for S/S2014.Prada's street-art designs for SS14. Photograph: Giuseppe Cacace/AFP/Getty Images
If Prada always namechecks real women – the stronger the better – the Italian brand's spring collection also delved into the world of street art. The label commissioned six young artists, whose work appeared on the walls of the show venue but also over vibrant dresses, coats and bags, sometimes with jewelled panels and always with striped legwarmers. The result? A kind of hybrid of investment pieces – bonding this season's "it" designs with what is effectively limited-edition artwork. This is a very Prada conceit – and one that will no doubt appeal to the strong women who wear the designer's clothes.

Linder Sterling and Richard Nicoll

Richard Nicoll catwalkLondon designer Richard Nicoll is influenced by Linder Sterling's provocative take on pop art. Photograph: Ian Gavan/Getty Images
The artist who made artwork for the sleeve of the Buzzcocks' 1977 single Orgasm Addict – a naked woman with an iron for a head – might not sound like the obvious candidate for a fashion collaboration but she has been partnering with London designer Richard Nicoll since 2009. It works. Linder's provocative take on pop art – collaging everything from 60s pornography to household appliances and flowers – brings an edgy kind of femininity that stands out from your average ditsy floral. A unisex line, S/He, is in the works, while the latest print features a mod-ish girl overlayed with a chrome tap. Sounds weird, looks great.

Art and pop

Lady Gaga Artpop album cover by Jeff KoonsLady Gaga's Artpop album cover by Jeff Koons
While Miley Cyrus is busy redefining sleaze with photographer Terry Richardson, other pop stars are forming brand-positioning alliances of their own, by paying artists lots of money to work with them. Katy Perry – usually more associated with hangover-inducing E-number brights – has wheeled in Ryan McGinley to shoot the cover of her new album, Prism, and it has all the hazy romance of the photographer's work. Lady Gaga – not familiar with the idea of "over-the-top" – has tapped the like-mindedJeff Koons, who made a sculpture of her for the cover of her upcoming ARTPOP. Arguably, it's a match made in heaven.

Marc Jacobs and contemporary art

Models present creation by US designer MMarc Jacobs for Louis Vuitton: based on Richard Prince's Nurses series of paintings. Photograph: Pierre Verdy/AFP/Getty Images
Leaving Louis Vuitton after 16 years will allow Marc Jacobs to concentrate on his own label – and bolster his already significant art collection. He is the proud owner of works by Richard Prince, Ed Ruscha, Damien Hirst and John Currin, and has also been a pioneer when it comes to working with artists for his clothing collections. Stephen Sprouse, Takashi Murakami and Yayoi Kusama have been among his collaborators and spring 2008's Louis Vuitton collection was based on Prince's Nurses series. In Jacobs' world, art and fashion are BFFs already.

J Crew and studio chic

J Crew splattered trousersJ Crew pays homage to painters with its splattered trousers.
Fashion's current preoccupation with art is effectively the death knell of the minimalist look – most art (Donald Judd and his ilk aside) is about getting messy. This new abandon is evident even at Céline – once home of no-spillage minimalism – where paint swooshes filled the spring collection. While a Dior campaign out now features the very-refined Marion Cotillard contrasted against drips of paint on a wall, the paint splatter of an artist's studio clothes is set to become the motif of 2014. As well as Céline, a pair of splattered trousers in the J Crew collectionalready have a buzz about them and Martin Margiela has a pair of very smart brogues covered in paint. Messy, but pleasingly so