text:
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How lovely!!!!
Amy Vangsgard replied:
Thanks Julie!
Wow, Amy. This is lovely. Almost like a watercolor. The lights and shadows are very well done.
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Thanks Carol!
Average Rating (4.68 Stars):
Anna Sheerin
October 1st, 2019
Margaret Gladstone
August 24th, 2019
This enchanting a garden pond was inspired by a recent trip to Huntington Library in California. Zoom in close and see the wonderful textures of this digital painting. http://www.arboretum.org/
VISIT MY WEBSITE & BLOG amyvangsgard.com All of my life I have loved color. Through my art, I hope to communicate the amazing feelings I have when I view the world of color around us. I am fascinated by the way light illuminates plants from behind with glowing colors, the way color changes when one color is juxtaposed against another, and the way color can take on a mood and affect the way we feel. I would like to share the great joy that color brings into my life with those who view my artwork by creating a new way of experiencing color. Please browse my site and feel the joy of color. BIO: Amy Vangsgard lives in Los Angeles, California and graduated from Art Center College of Design in 1985 with honors. For over 20 years, she has...
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Routing Information Service (RIS)
The RIPE NCC collects and stores Internet routing data from several locations around the globe, using the Routing Information Service (RIS), established in 2001.
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subset: commoncrawl


text:
can easily select an item from it , but if the item
list it too long we want that if we can start typing
any word it will autmatic be selected in combobox.
which infect is not possible as default in a combobox.
to achieve this we have to do a little bit of coding.
i will try it to explain to you my best
first of all we have to place a comboxbox in the
form combobox1. set the style property of the combobox as 0 dropdown combo
first we have to add items in the combobox for
this we have to add items in the load event of the
form .
Private Sub Form_Load() combobox1.AddItem ("Apple") combobox1.AddItem ("Banana") combobox1.AddItem ("Lemon") combobox1.AddItem ("Orange") combobox1.AddItem ("Malta") end sub
this code fill comboxbox with items
Now for combobox to autocomplete we have to code combobox for two evnet we may change the text
by typing a new one or you may delete some portion
of text
now for the text change we have to do the following coding in the change event of combobox.
the code also explain after each step what functions
it do.
Dim blnAuto As Boolean Dim strPart As String, iLoop As Integer, iStart As Integer, strItem As String 'don't do if no text or if change was made by autocomplete coding If Not blnAuto And combobox1.Text <> "" Then 'save the selection start point (cursor position) iStart = combobox1.SelStart 'get the part the user has typed (not selected) strPart = Left$(combobox1.Text, iStart) For iLoop = 0 To combobox1.ListCount - 1 'compare each item to the part the user has typed, '"complete" with the first good match strItem = UCase$(combobox1.List(iLoop)) If strItem Like UCase$(strPart & "*") And _ strItem <> UCase$(combobox1.Text) Then 'partial match but not the whole thing. '(if whole thing, nothing to complete!) blnAuto = True combobox1.SelText = Mid$(combobox1.List(iLoop), iStart + 1) 'add on the new ending combobox1.SelStart = iStart 'reset the selection combobox1.SelLength = Len(combobox1.Text) - iStart blnAuto = False Exit For End If Next iLoop End If
and coding for keydown evnet will be
'Unless we watch out for it, backspace or delete will just delete 'the selected text (the autocomplete part), so we delete it here 'first so it doesn't interfere with what the user expects If KeyCode = vbKeyBack Or KeyCode = vbKeyDelete Then blnAuto = True combobox1.SelText = "" blnAuto = False ElseIf KeyCode = vbKeyReturn Then 'Accept autocomplete on 'Enter' keypress combobox1_LostFocus 'the following causes the item to be selected and 'the cursor placed at the end: combobox1.SelStart = Len(combobox1.Text) 'This would select the whole thing instead: 'combobox1.SelLength = Len(combobox1.Text) 'alternatively, you could move the focus to the next control here End If
and on the lost evnet we have to code this,so as
if we type only first few letter of the item auto
fill the remaining.
Dim iLoop As Integer 'Match capitalization if item entered is one on the list If combobox1.Text <> "" Then For iLoop = 0 To combobox1.ListCount - 1 If UCase$(combobox1.List(iLoop)) = UCase$(combobox1.Text) Then blnAuto = True combobox1.Text = combobox1.List(iLoop) blnAuto = False Exit For End If Next iLoop End If
Now, Run the project in the combobox type letter
A.it shows you the complete item "Apple".
now delete and and change it to any other
word it will automatically selected.
for small list of items it may not look quiet good but
for a larege list of items its help a lot.


text:
This looks like a task you have been set, so shouldn't you try to answer them first?
Student or Learner
Could you, please, help me with the following
1.(definition for a musical note, e.g. "do") The first note in the musical scale "(correct/wrong)
2.She was shouting at the top of her / the voice?
3.You are too nice a person and so / so you tend to be exploited.
4.Can I use the phrase "verbs of movement" in relation to verbs such as; to plod, to trudge, to shuffle,etc
5.Can I use "brand" in relation to soap, toothpaste?
6. Computing / computer language ?
7.The economic situation of the region is rather poor. We should therefore postpone our expansion plans. (correct/ wrong)
8.(definition for "nun") "Woman religious" - why, if correct, does the adjective come after the noun?
9. He didn't get a pass mark.
10. Has any of you undertaken the course in Computer science?
11 In the dead of night / of the night?
12. She was immersed in her reading so that at first she didn't take any notice of him (correct/ wrong)
A big thanks,
This looks like a task you have been set, so shouldn't you try to answer them first?
No, I'm not supposed to answer them, it's only that I've been trying to make sure they are correct.I'm not a native speaker and some of the questions are my friends' too.
So, can you, pleeeeease, help me?
2 her
3 so, though the other is OK
4 yes
5 yes
6 Programming language? (C++, etc)
7 , therefore,
8 You can be religious without being a nun
9 I would say 'he didn't pass'
10 Possible, but why not just use 'taken'?
11 Depends on context, but more likely without


text:
Welcome! My name is Chad Goldwasser and my mission is to positively impact the lives of everyone I touch.
I live my mission every day by efficiently and effectively guiding real estate professionals through the path to success, financial freedom and a better life. I do this by empowering them with easy-to-implement methods, systems and tools that made me #1 in the real estate industry.
Here is what I have learned, and how I can help you "Unleash Your Potential!"


text:
The Wire 300: Simon Reynolds on the Hardcore Continuum #2: Ambient Jungle (1994)
February 2013
Originally published as "Above The Treeline" in The Wire #127 September 1994.
"Those looking for the next revolution would do better to watch for what crawls out of the Ardkore morass than to carry a torch for Detroit..." So I rashly prophesied in The Wire back in November 1992. Hardcore is both a scene and a sound. Subculturally, it's the hard core of rave culture, working class kids from inner city estates and suburban nowheresvilles who live for the weekend. Musically, Hardcore is a London and surrounding counties based offshoot of Techno that's defined by sped-up, looped breakbeats as opposed to the programmed rhythms of Trance and House. Always more multiracial than other post-Rave scenes, Hardcore got "blacker" as hiphop, Ragga, dub and Soul influences kicked in, and by 93 it had evolved into Jungle. By this point, Hardcore/Jungle (the terms remain interchangeable) was universally scorned by dance hipsters and banished from the media. But the scene thrived thanks to a self-sufficient network of small labels, specialist record shops, pirate radio stations and clubs.
This year, the press, record industry and legal radio stations like Kiss FM have finally woken up to Jungle. But so far the focus has been on rudeboy Ragga Jungle, while coverage has often been sensationalistic, alluding to unsubstantiated rumours of crack abuse on the scene. Certainly, Ragga Jungle is highly significant, as the musical expression of an emergent black-and-white underclass in Britain. It's this nation's equivalent to gangsta rap; the rasping insolence of the patois booyacka chants, the ruff beats and stabbing sub-bass, embody a ghettocentric survivalist toughness. But because attention has focused on the likes of M-Beat & General Levy (whose "Incredible", despite the hype, failed to become Jungle's first crossover hit), Hardcore's progressive vanguard has been neglected – artists like Metalheads, Omni Trio, Foul Play, LTJ Bukem, Neil Trix, making a sound known variously as 'Ambient', 'intelligent' or 'deep' Hardcore. Music of such undeniable beauty and innovation that even Trance-heads and Detroit-nostalgics are starting to turn on to it, while electronica units like Orbital and Bandulu are incorporating junglist elements into their sound.
First, some history. Back in late 92, the dominant Hardcore sound was still 'happy', i.e. sped-up helium-shrill voices, nutty oscillator-riffs, 150 bpm jitter-beats. But the seeds of Hardcore's future were already audible. 2 Bad Mice's "Waremouse" trailblazed the 'drum 'n' bass' sound, a minimalist, DJ-mixable mesh of breakbeats and sub-bass; Metalheads' "Terminator" invented 'dark' with its eerily processed beats and bad-trippy samples. Through the first half of 93 these overlapping sub-genres – 'dark' and 'drum 'n' bass' –increased hardcore's isolation. Alienated by the moody, loveless atmosphere the darkcore sound generated, many 'happy hardcore' fans defected to the more clement climes of progressive House and Garage, where the old-style hands in the air euphoria and togetherness of early rave survived (albeit in muted form). But in retrospect, it can be seen that dark opened up a vital space for experimentation. With its premium on headfuck weirdness and disorientating effects, darkcore was the improbable return of early 80s avant-funk. Tuning into the pirate stations, you'd be astonished by tracks that sounded uncannily like PiL's Metal Box, 23 Skidoo, early Cabaret Voltaire. As for drum 'n' bass, its multi-tiered percussion and rhythm-as-melody approach took the ideas of hiphop and dub into the 21st Century.
From mid-summer 93, there were the first glimpses of a new direction in Hardcore: away from the dark side, towards a new optimism, albeit fragile and bittersweet. From the influential Moving Shadow label came bliss-drenched, Ambient-tinged releases like Omni Trio's "Mystic Stepper (Feel Better)" and "Renegade Snares", Foul Play's "Open Your Mind" and "Finest Illusion". With tracks like "Music" and "Atlantis (I Need You)", LTJ Bukem invented oceanic Hardcore. "Atlantis" was Jungle's "1983, A Merman I Should Turn To Be": over a whispery sea of beats float languorous quiet storm-style diva "mmmm"s and moans, rippling harps and strings, scintillating motes and spangle-trails of sound. "Atlantis" showed that speeding up the beat until it bypassed the body altogether could transform hardcore into relaxing music; rhythm itself becomes a susurrating, soothing stream of ambience, a fluid medium in which you immerse yourself, while the body responds to the half-speed, heart-murmur bassline.
Perhaps even more radical than "Atlantis" was "Angel" by Metalheads. With "Terminator", Metal-man Goldie had pioneered the use of timestretching, a technique that gave breakbeats an eerie metallic crispness. Timestretching also makes it possible to stretch a sample (vocal, whatever) so that it fits any beats per minute ratio, without changing its pitch (thus avoiding the cartoon chipmunk effect that gave happy hardcore its charm but also made it easy to deride). "Angel" fused Diane Charlemagne's live, jazzy vocal with 150 bpm breaks, samples from Byrne & Eno's My Life In the Bush Of Ghosts and daemonic synth-vamps. The result – an astonishing soundclash of tenderness and terrorism – showed that Hardcore could become more conventionally 'musical' without losing its edge.
In 94, the floating ethereality of Ambient Hardcore has eclipsed the febrile frenzy of dark. Pioneers like Omni Trio and Metalheads are still at the forefront, but close behind are a legion of new contenders--artists like Roni Size, E-Z Rollers, Jo, FBD Project, DJ Crystl, Low Key Movements, Da Intellex, DJ Nut Nut & Pure Science, Peshay, Myerson. Listen to pirates like Kool FM, to Kiss FM's Wednesday 9-PM Jungle show, and every week you'll hear new twists, glimpse fresh futures.
Omni Trio is actually just the one bloke. Rob Haigh grew up on an avant-rock diet of Pere Ubu, Pop Group, The Fall, and above all the Krautrock triumvirate of Can, Faust and Neu!. "I liked the way the German bands abandoned formal song structures and experimented with sounds and textures... the repetitive nature of the music, the shifting layers and patterns..." Later Haigh was exposed to Miles Davis's Bitches Brew, the dub of King Tubby and The Upsetters, and formed an avant-funk band called The Truth Club. Like a lot of avant-funksters, Haigh turned onto House in 89 –Derrick May, early Warp, Orbital. He was even more excited by the first hardcore tracks using hiphop beats. When rave's great parting of the ways occurred (the anti-ardkore backlash of late 92), he "couldn't abandon the breakbeats, and go back to the 909 kick and hi-hat pattern of House". Haigh stuck to his guns, and thus avoided the cul-de-sac of trance and Ambient that suck(er)ed in so many avant-funk vets.
After the harrowing bliss overdose of Omni Trio's debut Vol 2 (tracks like "Mystic Stepper" and "Stronger"), Haigh's work has gotten steadily more movie-themey (John Barry is a big influence). Tracks like "Thru The Vibe", "Rollin' Heights" and "The Soundtrack" (from Vol 4) are a bit like Saint Etienne at 160 b.p.m. Haigh's songs are epic pop-as-architecture constructions that move expertly through build-up and breakdown, orgasm and afterglow. He orchestrates sampladelic symphonies out of moondust harps, seething bongos and congas, and soul-diva a capella beseechings. "Renegade Snares" (from Vol 3) is Omni's biggest tune: gushing, Ecstasy-ravaged vocals and mellotronic strings swoon over a beat that's like a cross between James Brown's "Funky Drummer" and an Uzi. Like all Haigh's breakbeats, it's an original construction, built up from 'single shot' samples – kicks, snares, hats, shakers, toms etc.
Omni Trio's latest four track EP, Vol 5: Soul Promenade showcases what Haigh sees as a crucial innovation in Jungle, the soul-step. "When a tune is rollin' at 160 bpm the first and third beats are emphasised. This gives the illusion that the tune is running at 160 bpm and 80 bpm at the same time. It gives the music room to breathe, and is much easier to dance to." Like the half-speed reggae bassline, the soul-step has made Jungle smooth-grooving, wind-your-waist music, sexy even. This change from manic to mellow accompanies a shift in patterns of drug use: because there's not so many nutters hammering the E, and more of a smoking vibe, hashed-out languor has replaced speed-freak palsy.
Another Moving Shadow act, Foul Play, has played a crucial role in the rise of Ambient Jungle. Their biggest tune, "Open Your Mind (Foul Play Remix)", wafts billowing soul harmonies (sampled from Kleer) over viciously crisp breaks, but its killer hook is a shimmery ectoplasmic sample-riff that's the closest I've ever heard to an aural simulation of a shiver-down-the-spine, a shudder of luv'd up rapture. Dominating airwaves and dancefloors in late summer 93, "Open Your Mind" signaled that darkcore's days were numbered, that Ambient was the coming thing. "Dark got silly," says Foul Play's Brad (Stephen Bradshaw). "Some of it was alright, but a lot of it was definitely rock music" (i.e. music for crackheads, people smoking rock cocaine ). "Open Your Mind" and the equally goosepimply "Finest Illusion" were like the return of Happy Hardcore, only grown up a bit – the callow euphoria now tinged with poignancy, a bittersweet foretaste of the comedown after the high.
Since then, Foul Play have kept a low profile (partly owing to the departure of founder member Steve Gurley, who's formed the more Ragga-inflected Rogue Unit), apart from their thunderquake remixes of Omni Trio's "Renegade Snares" and Hyper-On-Experience's "Lords Of The Null Lines". But now Brad and partner John Morrow have an EP, Vol 4, in the pipeline, and a long term pet project that will involve the use of real violin, flutes and harps. "We're writing a score for a performable piece involving us, a vocalist and a 20 piece orchestra," says Brad. "Hopefully it'll make people accept that what we do is music."
When Goldie from Metalheads talks about Hardcore, the word that
crops up the most is 'mature'. Goldie used to be a graffiti artist
in New York (he still daubs canvases - the above image is a detail
from his painting Wildstyle), and just as aerosol-wielding
B-boys transformed vandalistic 'I am SOMEBODY' rage into signature
and style, so he turns the delinquent aggression of Hardcore into
artcore. But there's much more to Metalheads music than Goldie's
roots in hiphop; he's a fan of David Sylvian, Brian Eno, Pat
Metheny and 80s Miles Davis. These jazz-fusion and Ambient inputs
have helped Goldie revolutionise Jungle not once but thrice. First
there was "Terminator", then "Angel"; now there's "Timeless", a
22-minute Hardcore symphony.
[page break]
Created in collaboration with engineer Rob Playford (boss of Moving Shadow and one third of 2 Bad Mice), "Timeless" is a concept track about Time, about 'inner city pressure' and the struggle to survive. Listen to Goldie describe the track's construction, and it's as though every cobra-coiled breakbeat, every swathe of morbidly angelic strings, every haunted inflection of Ms Charlemagne's jazz vocal, has some autobiographical referent. This is a man who is intimately acquainted with the dark side of urban life.
"When I was 16 I lived right next door to a gambling house. Then I lived in New York and Miami, and saw what was going down there, what's now happening here – the first generation of 'rock stars' (i.e. crackheads). Kids who are just going through the paradise state, who are going to become victims. It's alright taking these kids into euphoria, into a dream state, but you have to come back to reality. What I'm providing is that comedown. We're dealing with a subculture that's took a lot of drugs. Rob and I know how to tap into their heads. When you're on drugs, don't go near 'Timeless', 'cos it will take your soul out, take it on a fuckin' journey, and hand it back to you, smoking. We are about tapping into people's innards.
"Technically, 'Timeless' is like a Rolex," continues Goldie. "Beautiful surface, but the mechanism is a mindfuck. The loops, they've been sculpted, they're in 4D." Playford and Goldie are so far ahead they've had to coin their own private technical terminology, Eno-style: they talk of "igniting a loop", "snaking out a break", "tubing a sound", and give their pet noises and effects sci-fi/sword 'n' sorcery names like Zord, Blade, Twister, Sub-Stain.
"Timeless" may be a spooked-out terror ride, but it's also the most accomplished, undeniably musical opus that Hardcore's yet produced. Avant-Jungle, for sure, but with a crossover potential comparable to, say, Soul II Soul's "Back To Life". No wonder that major labels are competing to sign Goldie, while publishers are talking in terms of soundtracks. But while he's flirting with the majors, Goldie's also set up his own independent label, Metalheadz. Ending his long association with the influential Reinforced label, he's taken some of their roster with him – Doc Scott, Wax Doctor, Peshay, Pascal, L.Double, Low Key Movements and Dillinja. These artists, and DJ allies like Grooverider, Fabio and Randall, are Goldie's cabal, what he calls "Internal Affairs". It's for this close-knit circle of peers, as much as for the scene as a whole, that he offers "Timeless": as a challenge, something for everyone to aspire to surpass.
Two other prime movers in Ambient Jungle are Goldie associates: Neil Trix, aka Skanna and FBD Project, appeared on the Goldie-supervised Reinforced showcase Enforcers 6 & 7, while A Guy Called Gerald has entrusted the Metal-man with the task of remixing his classic "Voodoo Ray". After an unsatisfactory deal with CBS, Gerald Simpson went indie with his own label Juice Box, and went Junglist with a series of ruff ragga-tinged tracks (compiled on the album 28 Gun Bad Boy). Since then, Gerald's music has gotten more experimental and otherwordly. "Darker Than I Should Be" is languid, 21st Century jazz-funk; "Gloc", choked with spongy sound blocs that are texture as well as rhythm, is like struggling through the Cubist vegetation of a planet whose life forms are based on silicon rather than carbon. Another recent 12","Nazinji-Zaka", kicks off with the declaration "the first rhythms came from Africa"; it's a cyber-juju barrage of poly-, cross- and counter-rhythms that pull your body everywhichway, while pizzicato sound-shapes dart like birds through the digital foliage.
"I'll use about five or six drum loops, add electronic percussion, pan 'em across the speakers, feed 'em through effects," says Gerald of the insane amount of detail in his music. "If people are gonna pay five quid for a track, I'll give 'em their money's worth! If you listen in a room with your eyes closed, things should leap out at you. I create as much dynamics within the music as possible. And my personal rule is that the samples must be totally masked, beyond recognition." Look out for Gerald's forthcoming LP Black Secret Technology, and releases by Juice Box proteges The KGB and Nebula.
24 year old Neil Trix is, like most of the artists in this piece, a self-trained musician who started out as a DJ. In his Coventry studio, Trix constructs epics of atmospheric Hardcore like "Classified Listening" and "Gesture Without Motion". A 9 minute soundtrack for a non-existent film, "Gesture" starts with waves lapping a beach and musky wafts of jazzy pipe-sounds, before the entrance of the grotesquely elasticated drum-breaks, coiling and unfurling like a rattlesnake. "It reminds me of being in the jungle, being free, no one to tell you what to do," says Trix. "It starts all floating and mellow, and then the breaks hit, and that's the anger coming in." The title of the track comes from its vocal sample (Marlon Brando reading TS Eliot in Apocalypse Now). Like a lot of Ambient Jungle heads, Trix's ambition is to do soundtrack work. "I"ve got loads of little experiments already done, stuff that I just listen to myself. But I think, what market would want 'em?" In fact, the market may soon exist; some of Hardcore/Jungle's prime movers – Goldie, Omni Trio, Nookie, Hyper-On-Experience – are already at work on full-length albums geared for home listening.
There are dangers in hardcore's shift towards a slightly self-conscious 'maturity'. It's ironic that some of Jungle's experimental vanguard resort to the same rhetoric once used--by evangelists for progressive house and intelligent techno--to dismiss ardkore as juvenile and anti-musical. Usually, this progressivist discourse masks a class-based or generational struggle to seize control of a music's future direction; look at the schism between prog rock and heavy metal, between the post-punk vanguard and Oi!, between bohemian art-rap and gangsta. Often, the 'maturity' and 'intelligence' resides less in the music itself than in the context that surrounds it, the way it's used, i.e. reverent, sedentary contemplation as opposed to sweaty, boisterous physicality.
Jungle may be on the verge of a similar generationally-based schism, as older hardcore artists get frustrated by the limits of the 12" and start to make music that works better at home than on the dancefloor. But it would be a shame if the scene repeated the mistakes of so much 'electronic listening music', and, in trying to make 'armchair hardcore', ended up producing easy listening with breakbeats. Already, the more run of the mill intelligent tracks can make me feel a nostalgic pang for the days when hardcore was 'mere' trashy fun, a mad blast of squeaky voices and epileptic riffs. 4 Hero's Parallel Universe (Reinforced) is hardcore's first full-length album that isn't just a compilation of old tracks, and it illustrates some of the pitfalls of armchair hardcore. Much of it is brilliant, but some of the treatments and effects are a tad muso, a bit for fellow engineers ears only. And the deployment of genu-wine, authentically cheesy saxophone playing on a couple of tracks seems a misguided stab for 'real music' legitimacy.
"House and Jungle is a sequenced music, created on computers and work stations," says Rob Haigh, sensibly. "We are not ashamed of that. There is nothing worse than seeing House artists trying to get into that live muso vibe. The live element of our music occurs on the dancefloor. There's unlimited potential for the atmospheric, multi-textured, intelligent direction in hardcore, but – a BIG but – it must retain the ruffness of a tearing drum & bass base. To lose it would be like, say, rock music without guitars!" In other words, Ambient hardcore shouldn't sever itself completely from its delinquent cousin, ragga-Jungle, lest it lose the danger that makes it so electrifying. Right now, though, its balance between madness and musicality, between ruff and smooth, is perfectly poised. Right now, Ambient Jungle is the most exhilarating music around.
More highly recommended and recent Ambient Jungle tracks
DJ Crystl, "Warpdrive" (Deejay) Radioactive synth-drones swathe a head-cratering avalanche-breakbeat on this dark Ambient classic.
blame & Justice, "Anthemia" b/w "Essence" (Moving Shadow) Glassy melodic/rhythmic chimes and undulating-yet-angular groove recall oddballs like Thomas Leer and Arthur Russell.
MYERSON, "Find Yourself", from Enforcers 6 & 7 various artists EP (Reinforced) Like wandering in a labyrinth of mirrors, through which flickers a Bjork-a-like scat vocal (a sample of Brazilian fusion diva Flora Purim). Disturbingly beautiful.
Jo, "R-Type" (Awesome) 18-year old girl deploys disorientating drones uncannily reminiscent of My Bloody Valentine's "Glider".
Roni Size & DJ Die, "Music Box" (Full Circle/V Recordings) Bristol unit shower summer-breezy cascades of Fusion-era electric piano over roiling rare groove percussion.
E-Z ROLLERS, "Rolled Into One" (Moving Shadow) Hyper-On Experience offshoot ooze ethereal ECM-meets-garage synth-chords over epileptic beats. Sublime.


text:
Richard Easton II necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 474 diseños de 105 diseñadores freelance.
Daisyme (or DaisyMe) is an inspiring lifestyle media brand that reaches sophisticated, youthful women. The artsy, edgy, whimsical style of the content and branding require numerous hand drawn or graphic art illustrations to accompany the lighthearted, witty text. Daisyme will be a brief, daily e-newsletter similar in style to Daily Candy; however, rather than fashion and food, Daisyme will focus on lifestyle, fitness, nutrition, personal development, feng shui and astrology.
Daisyme or DaisyMe
We're looking for a hand drawn, watercolor, or graphic gerber daisy in the logo. We're also looking for at least four watercolor drawings or graphics as examples of your style to accompany the daily e-letter. This is potentially a long-term commitment: the winner will be asked to create hundreds of drawings on a contract basis for Daisyme because each daily e-letter will require a new image. Try to keep it tasteful and elegant yet a little fun too. This logo and artwork will go onto the website and e-newsletters, representing our brand.
- Item 1...One logo and at least four watercolor drawings of women, places and things that related well to lifestyle, fitness, nutrition, personal development, feng shui, and astrology. We're not looking to copy Daily Candy. We're looking for our own brand.
- Item 1...Keep it fun yet tasteful, youthful yet sophisicated, hip and cool.
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Well, I can hardly believe it. One year ago today, I wrote my first Shiksa in the Kitchen blog. I had no idea then how quickly this project would grow. Thanks to all of you wonderful readers, my hobby food blog has turned into a much bigger project than I ever could have dreamed!
Here are just a few of the amazing things that happened this year:
I converted to Judaism.
I toured Manhattan delis in search of the perfect knish.
Our first annual kosher recipe contest was a huge success.
I built a sukkah.
I traveled to Israel and learned about Biblical cuisine.
My recipes were featured on BonAppetit.com, CNN.com, and many other fabulous websites.
Wayne Brady ate my challah bread pudding.
Marley ate my birthday cake.
Many incredible Jewish families shared their family recipes and traditions with me, including Rabbi Kerry Olitsky, Etti and Bella Hadar and their Levin family memoirs, Sharone Dayan, Rachel Mandel, Farah, Rob Eshman, Gila Ronel, Dr. Tova Dickstein, Malka Clement, Talia Cohn, Bracha, Sandra Ashtamker, Susan Fedrow, Susan Yeager, and all of the other fabulous participants in my Kosher Recipe Contest. This blog couldn't happen without the selfless generosity of those who share their timeless family recipes with me. I consider a family's food heritage sacred; the fact that so many have been willing to share that heritage with me is a real honor and blessing.
To celebrate the first blog-iversary, I'd like to share with you my family's recipe for Swedish Chicken and Noodles. This is a wonderfully simple (and kosher!) dish that can be made on a shoestring budget to feed a large group people. It's sort of like a thicker and creamier version of chicken noodle soup (though it contains no cream). A pot of chicken and noodles will feed 8-10 hungry guests. You can stretch it even further by mashing up some potatoes and pouring the noodle mixture over the potatoes; doing this will nearly double the amount of servings. Chicken and Noodles is a delicious starchy carb-fest, the ultimate in comfort food. It's been a staple in my family since I was born. In these tough financial times, when we're all watching what we spend, it's an economical and delicious dinner option. It's also a fun excuse to meet with your friends or relatives and cook up something yummy together.
When I was growing up, it was an annual tradition for the women in our family to gather for a Chicken and Noodles party. It was a very social event that usually occurred during the holidays. The women would meet in the morning, make the dough and cut the noodles. As the noodle dough dried, they would go shopping at the local drugstore to check out the new Christmas decorations and displays. When they came back, the noodles would be dry and ready to cut. Then they would cook up a big batch of chicken and noodles, along with a pot of mashed potatoes to stretch out the dish. That way, there would be enough for the hungry men in the family, who would inevitably show up later in the day to feast on the finished product.
My Grandma Carolyn taught us this recipe; she learned it from her mother, who learned it from her mother, and so on as far back as we can remember. On that side of the family we descend from Swedish immigrants to Nebraska (you can learn more about my maternal ancestry here). This simple recipe has been handed down from the Swedish matriarchs in our family, so I call it Swedish Chicken and Noodles. I'm putting a picture of my grandma and great grandma here, because my mom's a little camera shy. 😉
We make these noodles the old fashioned way—rolling, drying, and cutting them with a knife. You can use a pasta cutting tool, if you want, but my mom prefers cutting them by hand. In her words, "I like cutting the noodles. It takes time, but that's the point. Making chicken and noodles is all about getting together with the girls and gabbing while you cook. If you used a pasta cutter, it would go too fast. Where's the fun in that?"
One word of warning: this is a somewhat messy project. Flour will get everywhere. Your fingers will be coated in dough. You'll want to wear an apron.
Some super exciting things are developing for 2011 on the blog. I'm looking forward to sharing more recipes and food history with you, b'li neder. Wishing you all a fabulous new year. May your wildest and most wonderful dreams be fulfilled!
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Swedish Chicken and Noodles
10 servings
5 minutes
15 minutes
20 minutes
Learn to make delicious and satisfying Chicken and Noodles from a Swedish family recipe. The ultimate comfort food. Kosher, affordable, tasty.
- 4 cups flour
- 6 large eggs
- 4 lbs whole chicken
- 4 stalks of celery, roughly chopped including leaves
- 1 onion, peeled and roughly chopped
- Salt and pepper
Optional Ingredients
- Frozen green peas
- Mashed potatoes
Recipe Notes
You will also need: Mixing bowl, sifter, rolling pin, parchment paper, large stockpot
Beat 6 eggs in a small bowl till frothy. Reserve.
Sift 2 cups of flour with 1 heaping tbsp of salt into your mixing bowl. Reserve 2 more cups of flour in another bowl.
In your mixing bowl, make a "well" in the center of the sifted flour and pour the beaten eggs in. Use a fork to mix the eggs into the flour until it is evenly moistened.
Sift more flour into the bowl, a couple of tablespoons at a time, and continue to stir until a soft dough forms.
When the dough gets too thick to stir, use your hands to knead. Stop adding flour when the dough holds together and is only slightly sticky to the touch (it will be soft). Let the dough rest uncovered for 15 minutes.
Coat your rolling surface generously with sifted flour. Scoop up a small handful of dough from the bowl (a little more than ½ cup of dough). Dip it in the flour on the board and pat it down to flatten it.
Flour your rolling pin and roll out the dough till it's very thin.
Fold the rolled dough into quarters and move it to a sheet of parchment paper.
Unfold it and leave it to dry.
Repeat this process until all of the dough has been rolled out.
Let the noodle dough dry for about 2 hours, flipping the dough pieces over once halfway through drying. This amount of time can vary based on the weather—if it's hot outside, the drying may go faster. Check the dough's texture periodically by touching it with clean fingers. The dough is ready to cut when it is dry to the touch, but not hard. If you're in a hurry you can cut the dough when it is half-dry, but it won't be as easy to cut or manage.
Slice each flattened piece of dough into three long strips. Cut those strips into noodles. We usually cut them about a centimeter wide, but you can cut them thicker or thinner depending on your personal preference.
Scoop up the noodles and scatter them on a piece of parchment paper to finish drying.
Once you have cut the noodles, you can immediately proceed with making the chicken and noodles. If you'd rather store the noodles for future use, let them dry completely (this can take 24-48 hours depending on the weather). Once the noodles are totally dry, place them in an airtight container or Ziploc bag and store them in a dark, cool place. They will last about 1 month; discard them if they start to darken or turn black.
Note: The chicken stock can actually be made while the noodles are drying, if you're running short on time. My mom prefers to make the chicken stock after the noodles are cut, because the process is more fun when you have stretches of time to sit around and chat while things are cooking.
Rinse your whole chicken (giblets removed) and place it into a large stockpot. Cover the chicken with water by about 2 inches. Bring to a boil and simmer for about 15 minutes. Skim the foam that rises to the top. Add chopped celery, onions, and black pepper to the broth. You do not need to add any salt, the noodles contain a lot of salt so it's best to hold off adding more at this point.
Let the chicken simmer for 1 ½ to 2 hours until the meat softens and begins to fall off the bone. Remove the chicken from the pot and place it on a roasting pan or platter. Strain the chicken broth, removing all the celery and onions. Return broth to the stockpot.
If you want to cut down on fat, you can let the broth cool completely and skim the fat that collects on the surface. Pull meat from the chicken in bite-sized pieces and return it to the broth; discard bones. Bring broth back to a slow boil.
Add noodles to the broth. Let them boil gently, stirring frequently, until tender. For an al dente texture, cook for 10-12 minutes. For a softer texture (which I prefer), cook 15-16 minutes. The noodles will soak up most of the broth and produce a thick, starchy, salty sauce.
If you want to add some frozen green peas, put them in during the last 10 minutes of cooking. Taste the noodles when they are completely cooked and season with additional salt and pepper, if desired.
Serve in bowls plain or over mashed potatoes (if you're keeping kosher, make sure the mashed potatoes are pareve). This, as my mother says, is the ultimate comfort food. Yum!


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White House action drama starring Channing Tatum and Jamie Foxx to be released on IMAX screens internationally.
IMAX Corporation has teamed with Sony Pictures Releasing International to digitally re-master Ronald Emmerich's White House Down and release it in IMAX theatres in the UK, Latin America and Asia-Pacific.
The image and sound of the action drama will be enhanced using proprietary IMAX DMR (Digital Re-mastering) technology.
Greg Foster, chairman and president of IMAX Entertainment, said: "We're thrilled to be working with Sony Pictures and to allow fans to be a part of Roland's next adventure through the power of The IMAX Experience."
The Columbia Pictures film stars Tatum as a policeman who steps up to protect the US President (Foxx) when the White House is overtaken by a paramilitary group.


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The leading Egyptian reformist Mohamed ElBaradei Saturday launched a new political party, which aims, according to him, to unify the Egyptian revolution and save the country from the complex transition to democracy.
The Constitution Party marked a return to public life for Mr. ElBaradei, who said in January that he would not run for the presidency and a fair vote is impossible during the troubled transition. His withdrawal four months before the presidential election was a blow to the leftist and liberal groups behind the riots of 25 January which led to the fall of Hosni Mubarak last year. These groups, many of whom had found in Mr. El-Baradei a rallying figure for their calls for democracy in Egypt, suffered a strong defeat at the polls during the first parliamentary elections after the fall of Mubarak.
Rather, the Islamist groups, including the influential Muslim Brotherhood and the ultraconservative Salafi groups were the big winners of these elections, capturing nearly 70 percent of the seats.
According to Mr. El-Baradei, a new political group was necessary to unite the Egyptians and prepare young people for a political future beyond the revolution.
Fourteen months after the departure of Mubarak, the generals who inherited the regency of power are involved in a power struggle with the Islamists. They dominate the Parliament but complain that the generals are the obstruction for transition into a civil rule. Several rival Islamists argue that the generals go beyond their powers.
Mr. ElBaradei said that his party, which is yet to be formally registered, attempts to represent a moderate Egypt, and should be ready for work in two to three months. The former head of the IAEA has often been blamed by his supporters for being too remote, and for his moderate approach to politics.
Meanwhile, the Salafist Call, an influential Egyptian Islamist movement, will support the moderate Islamist Abdel Moneim Aboul Fotouh during the presidential election on 23 and May 24, one of the founders of the movement has said.
"The Salafi Call decided by a majority to support Abdel Moneim Aboul Fotouh during the presidential election," said Yasser Borhami. "The Nour party, the political wing of the Salafist Call, also ruled in favor of Abul Fotouh," he added. Nour's party came second behind the Muslim Brotherhood in the parliamentary elections, with nearly a quarter of the votes.
The decision of the Salafist Call to support the candidacy of Aboul Fotouh follows the disqualification of the Salafist Hazem Abu Ismail, whose nomination was rejected by the electoral commission on the grounds that his mother had dual nationality (Egyptian and American), which is prohibited by the provisional constitutional document.
It is mostly a blow to the Muslim Brotherhood and the chances of their candidate, Mohamed Mursi, to win the election. Physician Abul Fotouh is himself a former member of the brotherhood, who was a leader of the reformist wing, before being expelled when he presented his candidacy.
Aboul Fotouh, who already has some support in liberal circles, particularly among young people who will not vote for Amr Moussa, former foreign minister of Hosni Mubarak, said last week he thought he could be elected in the first round.
© 2000 - 2019 Al Bawaba (www.albawaba.com)


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By John McClaughry
"While the anti-nuclear set is obsessed with the defects – mostly imagined – of forty year old light water reactors, they ought to open their eyes to the promise of new Generation 4 designs, especially the Liquid Fluoride Thorium Reactor."
For decades, the various New England anti-nuclear groups have waged incessant warfare against the Vermont Yankee nuclear plant and Entergy, which bought the plant from a coalition of Vermont utilities in 2002. The outcome of that struggle now lies in the Federal court system, where Entergy has already won one signal victory.
It's important to keep in mind that, leaving the particulars of the Vermont Yankee battle aside, the anti-nukies are fundamentally opposed to nuclear energy in any form whatever. Only old timers now remember that the Sierra Club was once pro-nuclear, which it viewed as the saving technology that would make the damming of California mountain streams unnecessary.
Interestingly, the Sierra Club, at least, does not totally slam the door on nuclear even today. In its 2006 energy policy statement it said "while it is possible that a different approach to nuclear power might substantially address these issues, the likelihood is remote given the decades of research and investment already made."
What different approach to nuclear power might conceivably avoid the environmental issues that caused the Sierra Club's opposition? To answer that question it's necessary to review the origins and development of nuclear power, dating back to the 1950s.
That story is ably told in a book published in 2011 by Richard Martin, entitled Super Fuel. Martin details the long battle between the demanding and acerbic Admiral Hyman Rickover, who wanted nuclear engines based on known technology right now to propel his fleet of submarines, and the gentle visionary Alvin Weinberg, longtime director of Oak Ridge National Laboratory, who envisioned a nationwide fleet of thorium-powered electric plants, using molten fluoride salts as moderator and coolant.
Rickover, a savage bureaucratic infighter, got what he wanted, and in 1972 Weinberg was fired. The nuclear industry put its muscle behind the hugely expensive liquid metal fast breeder reactor. It in turn was shelved in 1984 after Congress spent $8 billion on the Clinch River Breeder without turning a shovelful of dirt.
As Martin puts it, "Light water reactors and their younger cousin, the liquid metal breeder, won out because of technological intransigence rooted in the military origins of the U.S. nuclear program."
From 1965 to 1969, however, Weinberg's molten salt reactor experiment had operated successfully, in the later months with thorium-derived U-233 fuel. By 1973, with Weinberg gone, molten salt was rejected, and thorium was dead. Rickover's uranium-based industrial empire was preserved. Any cheaper, safer and environment-friendly alternative was shelved.
Now, forty years later, the liquid fluoride thorium reactor (LFTR) is again emerging as one of the six "Generation Four" nuclear power technologies now viewed as most promising alternatives to traditional light water reactors.
Without going too far into technical details, the LFTR would almost certainly produce electricity cheaper than coal, because of lower capital and fuel costs; use a fuel that is in almost inexhaustible supply, both in the U.S. and elsewhere; operate continuously, in baseload or peaking mode, for up to 30 years; be factory-built and deployed in compact 100-megawatt modules close to the end use of the power; contribute nothing to air or water pollution and need no water for operation; safely consume long-lived transuranic waste products from current nuclear fission reactors; produce high-temperature process heat that can make hydrogen fuel for vehicles; and be walkaway safe.
This is not pie in the sky. The physics is sound, and every part of the LFTR has been successfully tested. What has not been accomplished is the efficient integration of all of the technology features into a marketable product.
The reason it has not is the determined opposition of companies that offer competing nuclear technologies: either light water reactors like the current improved version of Vermont Yankee, the AP-1000, or liquid metal fast reactors like the Russian BR-600, or exotic helium cooled pebble bed reactors under development in China.
Most of the present anti-nuclear groups are so mindlessly opposed to anything nuclear that they'll probably denounce the LFTR if and when it appears. Still, more rational anti-nuclear groups like the Sierra Club, which is terrified at the menace of global warming, could possibly find in the LFTR the "different approach" that would win their support (and put coal out of business.)
– John McClaughry, formerly a nuclear reactor physicist, is vice president of the Ethan Allen Institute.


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This weekend was when I finally, finally, finally, after numerous failed attempts this year due to car problems and weather, got on a boat and went on a summer pelagic trip off the eastern tip of Long Island. I had visions of shearwaters, jaegers, phalaropes, and skuas in my head when Doug and his dad, Bob, picked me up in the pre-dawn darkness for our long drive out to Montauk. On the way we picked up a couple derelicts with degrees from Cornell named Nick and Shawn, and then Doug put the pedal down and we were out on the south fork in no time.
Brief stops at Mecox, Sagg Pond, and Deep Hollow Ranch didn't net us anything of particular note, though it was clear that the northwest wind that was still blowing hard had, overnight, encouraged the land birds to move. We did get to experience a pleasing sunrise and I had pleasant memories rekindled at Deep Hollow Ranch. But, as exciting as seeing a Merlin harass a flock of starlings was, we had not driven all the way to Montauk to muck about with land birds. No, we had journeyed far so we could spend our hard-earned dollars to go out in a boat and see great birds. We arrived at the harbor area with plenty of time to spare (it being bad form to drive to Montauk and miss the boat) so we briefly scoped the tern hordes roosting at the jetty and quickly turned up a few Roseate Terns. After that nice find we retired to a coffee shop for some last minute provisions and then got on the boat.
A brief moment, if you will allow it to me, must now be taken to explain the logistics of our trip. We were going on a whale-watching trip organized by the Coastal Research and Education Society of Long Island (CRESLI), the same organization that I joined last year for a similar trip. CRESLI partners with the Viking Fleet to do whale-watching trips every summer, a great way to spend a summer day on Long Island. For birders, the attraction is that when one is out looking for whales one often finds birds, and if the folks working for CRESLI know that you are interested in birds they will help you find them and try to get you close to them (so make sure if you go on a CRESLI trip you make your interest in birds known!). The season for whale-watching trips with CRESLI is almost over but you can always go next year…
Anyway, we were steaming out of Montauk Harbor by 9:45 AM. The sun was shining, the northwest breeze was blowing, and we were ready for birds! Out first chance at something good came as we made our way around Montauk Point. There were quite a few fishing vessels in the area and, near them, were several clouds of terns. Sorting through the terns got us two Black Terns, which were nice, but were really little more than an hors d'oeuvre for our hoped-for main course.
As we continued out to sea we five birders kept our eyes to our binoculars and scanned constantly, hoping to find our quarry. Other than three more Black Terns flying together, a bat making its way back to shore, and some Monarch Butterflies, it was quite some time before we saw something else besides water, waves, sun, and sky. The lighthouse at Montauk Point receded behind us as we made our way south, further and further from shore, and finally spotted a Cory's Shearwater and a Northern Gannet in quick succession. The looks at each were decent, as they flew from the starboard side and across the bow, and Nick and Shawn were happy because Cory's Shearwater was a lifer for Nick and a state bird for Shawn. I was happy because it is always good to see my namesake, even if it is spelled wrong on the checklists. After those two birds it was a bit of a lull again until we found dolphins. Many, many, many dolphins.
When you are on a whale-watching trip and end up in a big pod of Common Dolphins, there will be some very excited people. Try not to stand between them and the spot on the boat with the best view. You will be trampled and your pleas for help will be ignored. The high-pitched squealing and crying had me looking around for a little girl so I could share her happiness for minute. Instead I found Doug wiping his eyes, trying to pretend like it wasn't him that sounded like a preteen at a Justin Bieber concert. Not that I could really blame him, after all, dolphins are pretty cool and we were in the middle of a very large pod of dolphins that gave us great looks as they swam all around the boat.
We spent quite a bit of time with the dolphins, time that we birders enjoyed but that we also kind of resented, because we could see, not too far off, several commercial fishing boats with rather large groups of birds around them. They were very far away but if we squinted we could convince ourselves that there were, at the least, shearwaters out there, and we wanted to go see if we were right. Of course, we couldn't be upset with CRESLI, after all, we were on a boat with a whole bunch of people who had shelled out cash to see whales, and dolphins are more similar to whales than shearwaters are. But when we finally broke away from the whales and did a loop through and around the fishing boats, well, we were happy. Our first good birds were a host of Great Shearwaters Puffinus gravis.
There was the occasional Cory's Shearwater mixed in with the Great Shearwaters and, eventually, Shawn and Nick simultaneously (or at least close enough to simultaneously) spotted and called a Sooty Shearwater, another bird that was a lifer for Nick and a state bird for Shawn. It was only the second sooty I had ever seen, and much better than the look I got of the one off of Shinnecock Inlet earlier this summer. Nonetheless, the bird did not cooperate, but got off the water and flew away from us on a straight line.
Sooty Shearwater Puffinus griseus above and Cory's Shearwater Calonectris diomedea below
Despite our best efforts we would not add another species of seabird for the rest of the trip. No jaegers, no storm-petrels, no albatrosses, no nothing else. But we did see more Common Dolphins!
After several more run ins with pods of dolphins we were steaming towards shore, hot, happy, and exhausted, looking forward to land under our feet, when we saw a small yellow bird flying parallel to the boat. It took a bit, but we eventually got it identified as a Magnolia Warbler. Within the next half an hour or so we also spotted a Brown-headed Cowbird and a Cedar Waxwing. All three birds were most likely migrating when the northwest winds caught them and blew them out to sea. When we saw them they were trying to get back to land.
Not long after the unexpected warbler I spotted something dark and oddly shaped in the water ahead of us. We birders called up to the CRESLI folk on the second deck who got the boat to slow down and then everyone quickly realized we were dealing with a sea turtle, a Leatherback Sea Turtle Dermochelys coriacea to be exact! Never having seen one before, I was rather psyched, as was everyone on the boat, who quickly came forward to get looks at the largest species of turtle in the world.
The turtle then dove, and though we waited, we did not see it come back up so we resumed course for home until Bob spotted another leatherback, which also dove and did not resurface, but did lead to our tarrying at sea again. We steamed into harbor at about 4:30 in the afternoon, satisfied with our trip but wishing we could go on another. We all recommend CRESLI as a good, cheap way to get out on the water, and urge you to get out there with them.
Three things:
1 – As a German, I am always rather amused when Americans talk or write about "putting the pedal down/to the metal". So sweet.
2 – I know I should keep a low profile after my Long Beach fiddle-up, but that's a very strange Cory's Shearwater.
3 – Leatherback Sea Turtle. You've got to be kidding. This must be high on the top ten list of animal species to see before you die. In my opinion, it can hardly get any better in the animal kingdom than Leatherback Sea Turtle. And seeing two?? Is that a rather regular occurence on CRESLI pelagics?
Wow, what a great trip! Cheers, mate!
I second Jochen on the Trunk. Even though I've seen Leatherback, I've never had a view as awesome as that and I lived on an LB nesting beach for 3 years. My envy of you is actually pushing me to the dark side a little.
@Corey: it is not so much the mo(u)lt but the rather thin bill with a distinct dark tip. Look, I know I keep making a fool of myself, but judging by that picture alone, I'd just re-confirm it is indeed a Corey's ( 🙂 ) and not an extreeeemely unlikely Cape Verde, okay?
I still can't get over that Leatherback picture. If the Dark Side is what it takes to get such views, good ol' Darth will have to move and give me some space soon, it'll get crowded over in the Dark.
Shadow on the head of the Cory's makes it look odd as well.
Very jealous of the leatherback but suspect you're very jealous of the 22 White-faced Storm-Petrels my pelagic had. And I'd suggest the Red-headed Woodpecker beat your Magnolia Warbler. Of course, at 4 times the time and 5 times the cost it's probably only an even trade.
"This ain't SeaWorld, this is real as it gets"
(love the Lonely Island ref, Corey)
Being a birder just got more expensive for me. If I didn't already have to save up for new bins and a scope, now I see I have to set aside cash for boat rides too. 🙂
Glad the day was success, and as always, awesome pictures!
@Jochen- The pink part of the bill looks awfully fat to be Cape Verde. This is the time to find them though…
I was going to ask Corey if he had any apparent Scopoli's type Shearwaters. You never know what you might find out there.
Get that last shot of the Dolphin copyrighted that is BRILLIANT!!
One of the minor downsides of Montana is we are a bit short on pelagics.
That is a pretty sweet Leatherback shot, I must say.
Fantastic post. I'll have to work on uploading my pictures and posting a few, but I can't top yours. I totally saw the Sooty first, but I just stared at it for 2 seconds wondering what I was looking at, then pondering why the scientific name translates roughly as Greasy Puffin.
@Nate – oh definitely, I am not convinced in any way it is Cape Verde, but think the bill and general "feel" merits a quick check of other pictures of the bird. How is one to find a Cape Verde if one doesn't use extreme scrutiny on all Calonectris? My suggestion was in the direction of better being sure than being sorry. 🙂
On all the Caloncetris I have seen around the Canary Islands and in the Mediterranean, they always have the "feel" of the Albatrosses of the North Atlantic: heavy straight bill, big head, bulky, massive etc. And I just don't get that feel from looking at this one picture… But as I mentioned, chances are it is Cory's – of whatever form/species.
And I still haven't gotten over the Leatherback picture, guess I never will.
Check this out:
Gripping stuff from Nick too.
@tai haku: too much, definitely, too much….
@Jochen- How is one to find Cape Verde? You do what we do in NC, take photos of all your Cory's and look over them later. 😉
I've never been lucky enough to be on a boat that's seen Albatross on my side of the Atlantic, but I've seen lots of Cory's, and you're right. They seem bulky and sluggish on the water. Definitely different than the other Shearwaters. I get where you're coming from in that photo. I guess it's a photographic thing?
@Nate: Ha! The Carolina school of birding? 🙂
Yeah, I guess it is due to the light and position of the bird relative to the camera that I get more of a Puffinus feeling. And I guess that Leatherback was really a diminutively small youngster as well, ey?
Amazing what a bit of cropping can do to a picture.
© 2013 10,000 Birds. All words, images, and opinions are the property of their respective authors unless stated otherwise.


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NORTH BERWICK, Maine — Children from the North Berwick Elementary Schools recently celebrated the 100th day of classes, on Valentine's Day, with an abundance of charity for their community.
From boxes of cereal to soap and shampoo, the two elementary schools joined together to accumulate 3,400 items to donate to the New Covenant Food Pantry.
Kindergarten through fifth grade students spent the first six weeks of the New Year raising awareness and gathering donations. MSAD 60 Superintendent Steve Connolly gave a speech thanking everyone, especially the children, for their contributions.
"I've got goose bumps standing here. The volume of the collection is wonderful. What can I say? I'm extremely impressed," said Connolly, referring to the children's unique displays of donated items.
The event's co-directors, Principal Ron Robert and kindergarten teacher Sharon Beckwith, celebrated the 10th anniversary of the event.
"The creativity, the passion, the understanding the children have for what they're doing for the community, it's wonderful to be apart of," said Robert. The North Berwick Police Department was also present, donating 108 cans of soup and 108 cans of dog food, in honor of their new addition to the force, K-9, Hokey.
"It's certainly a great thing to help give back," said Sgt. Robert Kearns of the NBPD.
As Principal Robert called them up to the microphone, two children from each class presented their donations to the local pantry. Mary Craig accepted the boxed donations from the students and the police department on behalf of the food pantry, which is housed at the New Covenant Baptist Church on Maple Street.
The donations surpassed those of previous years and Principal Robert said he couldn't be more proud.


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QMobile Noir i9i features includes Dual Sim, Android v7.0 Nougat smartphone 1.3 Ghz Quad Core, 16GB Built-in, 1GB RAM, 2G, 3G, October, 2017, Features 854 Pixels x 480, 5.0 Inches, Touchscreen, 5 MP camera, 5 MP front camera, bluetooth, usb, gprs, wlan, nfc, Accelerometer, Proximity. and much more.
QMobile Noir i9i Specifications
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Disclaimer: QMobile Noir i9i price in Pakistan is updated daily from price list provided by local shops but we cannot guarantee that the above information / price of QMobile Noir i9i is 100% accurate (Human error is possible). For accurate rate of QMobile Noir i9i in Pakistan visit your local shop.
- QMobile Noir i9i best price in Pakistan is Rs. 8100 Pakistani Rupees (PKR).
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