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What do you do when your daughter's 8 year old friend challenges you to a race? In my opinion, you can do one of two things: 1. you can respectfully decline while coming up with a lame excuse of an arthritic knee, or 2. you can say yes, but concede at the finish line and let her go home with the glory.
But what do you do when her mom then taunts you by saying that she has "never been beat"?
This was the pickle I found myself in last Friday.
I had been watching my daughter play with her friend as our two families were enjoying a rare October beach day. As the girls ran around I was amazed to watch her friend put her hands on the ground and walk around on all fours like she was a cat or a gorilla. She moved with such incredible grace that it looked completely natural.
She had no difficulty walking in the normal bipedal upright position, but could easily transition to all fours and run. In this position, she could bound up and down the rocks or scamper down the beach.
Being a chiropractor, I began to study the movement of her spine and analyze the bio-dynamics that were occurring in her body as she moved. When I asked her mother about her ability to walk on all fours she said, "She started doing it out of curiosity after watching Animal Planet. She began to emulate the animals for fun and just kept doing it til she got really good at it."
She further stated that last year, when in Florida, a man had come down the beach and expected to find a monkey after watching the movement from afar and was alarmed to discover a young girl just playing.
After a few minutes of this play, she challenged me to a race… on all fours of course. Just like the carney, who was trying to tempt me to win an overstuffed pink cuddly donkey for my daughters by demonstrating how easy it is to climb up and down "The Tricky Ladder" at The Topsfield Fair, this girl had made it look easy and lured me into the belief that anyone could do it.
We lined up, I crouched down and we were off. I fell on my face and she galloped down to the finish line and back before I got the actual sand and figurative mud off my face.
Her ability to move in such a fashion was nothing short of a work of art and had such an impact on me that I thought it appropriate to write about it here. There were so many life lessons for me wrapped up in this moment of play.
Here are a few reflections:
1. There is no substitute for practice and repetition. This is true for keeping your spine in alignment, learning to ride a bike, keeping your teeth clean, and learning to run like a cheetah.
2. Ben Franklin said that necessity is the mother of invention, but I believe, that curiosity is the best soil for cultivating creativity. I think of all the things Leonardo DaVinci created, designed and built simply because he was curious about his environment.
3. Sometimes children are so over-scheduled that they rarely have the time to simply play, spontaneously create and commune with nature. This leads them susceptible to developing "Nature Deficiency Syndrome."
And lastly…
4. Like Jim Croce sang: "You don't tug on Superman's cape. You don't spit into the wind. You don't pull on the mask of the lone Lone Ranger" and you don't race on all fours against an 8 year old girl who has spent years perfecting her craft! You might end up writing a self-incriminating blog about yourself.
In good health and good humor,
Dr. Jerry
p.s. Further insult to injury occurred after the race as I tried to practice this unusual movement and accidentally kicked sand up into the eyes of the children who were watching me.


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ARTE: 'Every Curve' a ground breaking exhibition!
Artnet News lists Every Curve as one of the groundbreaking exhibitions by female artists to see!
"Zoë Buckman, "Every Curve" at PAPILLION ART, Los Angeles:
Zoë Buckman is a must-watch multimedia artist best known for hand-embroidering lyrics by rappers Biggie Smalls and Tupac Shakur on delicate pieces of vintage lingerie as a means of reconciling her feminist beliefs with her love of hip-hop music and culture, where male chauvinism often runs rampant.
Michelle Joan Papillion, an up-and-coming Los Angeles gallerist and an important art world figure in her own right, will display the entirety of Buckman's most famous body of work for the first time in one place.
"Every Curve" will be on display from March 12–April 30, 2016."

subset: commoncrawl


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etYOUTH meets on Wednesday nights at 7 p.m. in the old E.T. Sanctuary. Doors are open at 6 p.m. for games and fellowship.
Gene Riggins is our wonderful Youth Pastor & Media Pastor at Evangel Temple! Gene and his wife, Tara, have a precious son, Micah.
Gene comes from a long legacy of leadership at Evangel Temple. His grandfather was a deacon for many years, and his parents and brother serve in many capacities at the church.
Tara and Gene have a photography/video business, and are very creative.
We are BLESSED beyond measure to have them lead our youth!


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Welcome back, to the best little Monkeyhouse in Infosecurity. As always, you can download my app at the Apple App Store, for FREE!
My first link this week is about Malicious Code in Microsoft Office Documents, from Lenny Zeltser's infosec blog. This blog was only posted yesterday, and is already running up on my weekly list, so it's getting a great deal of traffic. It's informative, filled with good external links, including multiple CVEs, and is absolutely terrifying. I don't make it a habit of clicking strange office documents, but knowing that this exists, and seeing how it's accomplished are far different things.
Going back to a previous SOC Monkey blog, the Global Payments breach story still has legs as Krebs reports: Global Payments Breach Now Dates Back to Jan. 2011. So, to clarify, that means that the attackers were inside the network from January of 2011, all the way up to March of 2012, and they stole 24 million unique transactions before they were finally discovered. As Krebs first broke this story, it looks like the Monkeynauts are finding his blog to be excellent week after week, as he seems to be one of the most retweeted contacts on my list. He's a great read, on multiple fronts.
Next is an article from ZDNet, about Avira, and their latest Antivirus update. This update, earlier this week, was flagging certain Windows operating processes as malware, and blocking other programs from opening at all. As you can imagine, this had an immediate and potentially crippling effect on the businesses who pushed this update out to their entire Windows infrastructure. As of today, Avira has released some additional updates that should fix the problem, but I'm sure that was a long couple of days for those guys. It seems to be a popular link this week, but I'm not sure if it's more due to the interesting angle of the story, or of the fear of this happening or being caused by my readers. Feel free to drop me a line, or weigh in here with your opinions.
Multiple Human Rights, Foreign Policy Sites Hacked(Krebs, again! He's a machine!)
[SECURITY] [DSA 2473-1] openoffice.org security update(CVE-2012-1149 - getting a great deal of clicks this week)
HULK DDoS Tool Smash Web Server, Server Fall Down (After seeing the Avengers, anything with the Hulk on it seems to be trending.)
Popular Surveillance Cameras Open to Hackers, Researcher Says (quick shout out to Kim, as I keep linking her here. The Monkey loves you.)
Finally, as I generally do, I'd like to welcome you to the weekend with a fun link. Since a certain social network is in the news this week, (not Friendster?), I'd like to share my favorite story I've found that's somehow related: Two men rob Internet cafe, forget to log out of Facebook prior to robbery. That's it. No set up, no comments, this is truly an article that speaks for itself.
Til next time, my fabled Monkeynaughts.


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On 145MHz simplex I spoke to GI0BDX in Newtownabbey.
One signal which I'm still not sure about is an Echolink gateway on 439.100, which I can't find on any lists (unless it's in Germany, which seems unlikely). Could be in Ireland as that's where lots of other signals were coming from.
Today (Thursday) everything was back to normal, back at its usual signal strength.


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18K St. Paolo Mint Tourmaline & Tanzanite Classic Ring - Size 6.5
For a sophisticated, ring that will always be in style, try Temple St. Clair 18K St. Paolo Classic Ring. It is luxurious mint coloring paired with the 18K gold setting, will be ideal for daytime or evening wear.
- Size: 6.5.
- Mint Tourmaline: 10.60 cts.
- Tanzanite: 1.50 cts.
- Free shipping.
- Free gift wrap.
Care: The safest way to clean your jewelry is lukewarm water and a mild dish soap.
|Free Shipping
|Eligible for Free Ground Shipping on orders of $100 or more
|Allow Giftwrapper
|Short Description
Temple St. Clair Fine Jewelry was founded in 1986 in Florence, Italy by designer Temple St. Clair Carr. Her first collection debuted exclusively at Barneys New York in the fall of 1987. Temple St. Clair expanded to luxury retailers throughout the United States, becoming an essential for an in-the-know clientele. From the signature rock crystal amulets to collectible cocktail rings, Temple St. Clair is known for modern classic style, an impeccable use of fine colored gemstones and distinctive gold work.


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Two very important websites:
- THOMAS (Library of Congress) — full text of all bills, motions, and amendments in Congress along with all role-call votes.
- Project Vote Smart
— Find out how particular Senators and Representatives
voted on particular bills and motions sorted into
I have heard a bunch of mumbo-jumbo about wiretapping bills in Congress this past weekend. I am assuming that most of what I heard on NPR was related to the (ostentatiously named) Protect America Act of 2007.
From what I heard on the radio, this is somehow supposed to allow
the government to eavesdrop on foreign calls routed through United
States computers using voice-over-IP (
which is way over my
head — said the law expert interviewed on NPR yesterday
when pressed about why he was so vague on what this law actually
Maybe I'm blind and dumb, but I'm not seeing it. I've read the
full text twice and select parts of it four or five times trying
to figure out what sort of surveillance this law allows. It appears
to only allow surveillance that is not
electronic surveillance
of people who are reasonably believed to be located out of
the United States.
What's the
Gotcha? There's way too much room for the
Attorney General and the Director of National Intelligence to decide
how one defines
electronic surveillance Additionally, it is
stated mostly in terms of
You can do X,Y,Z without saying
and only X,Y,Z. One could argue that this act says we cannot
read the Pope's email, but it does not say we can't read Sean Penn's
While I am glad my representative
voted against it, the act does require that the Director of
National Intelligence and the Attorney General certify under oath
the acquisition does not constitute electronic surveillance.
Admittedly, I'm sure our Attorney General can, with a straight face,
assert that intercepting VoIP packets is not electronic. But, he
can also clearly be sanctioned for perjury for that assertion.
There is a provision whereby the Attorney General must submit to the Court (within 120 days of the act's effective date), the procedures by which the Government determines that they are not using electronic surveillance. Raise your hand if you believe that the procedures submitted on day 120 will be the same as the procedures in use on day 121. If you are raising your hand, bite down now on the cyanide capsule provided.
Beyond that, the only review the Court has is to decide whether
the above procedures for determining what constitutes electronic
surveillance are clearly erroneous. What if the procedures
are too vague to make any determination? Raise your hand if you
think that upon reading the document one will be certain that the
Government deems keyboard sniffing, email intercepting, ISP
strong-arming, Van Eck phreaking, bank transfer monitoring, and/or
cell-phone snooping as
electronic. If you have your hand
raised, I applaud your immunity to cyanide. Carbon monoxide masks
will drop from the ceiling.
And, even if the procedures are
clearly erroneous,
the Goverment can continue acquisitions under the procedures while
they appeal their case to the Supreme Court. And, the punishment
for having
clearly erroneous procedures is that you have 30
days to make new procedures (that may or may not also be
There also doesn't seem to be any oversight about the procedures
by which the Government deems a person is
reasonably believed
to be located outside the United States. The closest is a
semi-annual reporting to Congress about acquisitions during that
period. Of course, that report does not have to include any
information about who or what was acquired. That report only has
to include any incidents of non-compliance by elements of the
Intelligence Community. Non-compliance with the law? No, silly
bean. Non-compliance with Attorney General or National
Intelligence Director procedures and directives.
Oh, and the act has a life-limit of 180 days. Good luck with that semi-annual reporting to Congress or getting certiorari or anything else of use at all.
There was a suggestion on NPR that the House Democrats caved on this bill because they didn't want to adjourn, have something bad happen, then get the blame for it. I am reminded of Benjamin Franklin:
Those who would give up essential liberty, to purchase a little temporary safety, deserve neither liberty nor safety.
Here, the only safety they purchased was CYA insurance. For this, they gave six-months free-reign to the clearly erroneous Attorney General. Feh.


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Why Knorish?
We know that building a promising career involves careful mixing of several ingredients, such as the right OKRs, remuneration, continuous learning, mentoring, flexibility, feedback and the list goes on. Being a young company, we do not carry the burden of age-old HR practices and are trying to create a uniquely evolving work culture. We are building an exciting, unconventional place that respects professional and out-of-the-box thinkers. We know that education is a pending frontier that technology has to truly transform. If you like tinkering with ideas and technology, we invite you to join our team.
Our Culture
Work hard, party harder
We celebrate milestones, holidays and special occasions. And we like bowling, excursions, movies, parties and other things called Fun.
Open vacation policy
We know that despite our 5 day workweek policy, you'll still need break from work. At Knorish, you propose when do you want it and how much do you need. We'll pay for it and welcome you back with smiles.
Learn all you want
There is no better way to improve lives than investment in Learning. We have a pack of books ready for all new hires. And we'll pay for the conferences, courses and the skills you need to acquire to reach the next milestone of your career.
Twice a year appraisals
We like to appreciate our star performers more often. Unlike the traditional once a year appraisals, our incentives and salary increments happen twice a year. After all life is short!
Our Teams
Our teams come from diverse backgrounds and take up roles in several fields.
Open Positions
If you are passionate, smart and ready to work, we would love to meet you. Select a position you like. Please apply.
Are you a student?
Check out our internship program to learn more about what it's like to be an intern at Knorish. Submit your CV and we will contact you.submit


text:
Kivi felt like he was standing on stage, playing a part in some imaginary performance.
The Accord was parked on the grass near the bungalow, and Kivi sat on its hood, waiting for Leizer Klagsbrin to show up.
The sky glowed a soft blue and a lazy wind pushed the overgrown grass like a child on a swing. The weather made him feel sort of heady; he wished he were barefoot in the untidy field, running through the crocuses and dandelions with a corncob pipe in his mouth.
He briefly thought of canceling the meeting, calling Malky and asking her to do something spontaneous, anything, really. Buy a little more of what she was calling bein hazmanim, drive somewhere far from Lakewood and enjoy the beautiful day. He would do a farmer's market, or a walk by the beach — whatever she wanted — just not this, not yet.
He looked at the time on his phone — the kids were in playgroup until three — and imagined her reaction. Malky would probably have plans, she was busy decorating the house and she had an appointment with the baby, whom she thought might need physical therapy but there was no reason to panic yet, and then there was helping Chevy with the upcoming chasunah, but maybe….
He remembered hearing Hirsch, back in Eretz Yisrael, come into shul one Sunday morning and describe how he and his wife had spontaneously gone to Chevron for Shabbos.
"Just like that?" Kivi had trouble processing it.
"Yep, on Friday morning, my wife was already peeling potatoes for the cholent and we kind of looked at each other and said, 'Let's do it,' it wasn't a big deal. We just needed to breathe, you know? We took a taxi, just to be safe, and in the Jewish Quarter, we stopped some rando and asked him where we could spend Shabbos. We had a million invitations, it was awesome."
"Wait, you told your parents? In-laws?"
Hirsch laughed. "Not mamesh. Maybe today we will. We took crazy pictures. Look, it's now or never, right? This is the time to be spontaneous, later it gets complicated."
Kivi had gone home and said, "Malky, let's do something impulsive. Once the baby is born, it won't be the same. Let's do something, come on, we're so boring."
"Not true," she'd protested, "just last week we went to Mamilla, remember? Just like that, unplanned, and we ended up having a good time. That was spontaneous."
He'd nodded. "I hear." He'd been planning to tell her about Hirsch and Chevron, that he also wanted a story like that, but decided not to.
He looked back at his phone. The Leizer guy was five minutes late. Another five minutes, Kivi decided, and he would call Malky.
Wagner was chewing on a coffee stirrer, listening intently.
"He's this cute little chassidishe guy, not what I expected," Kivi was saying, "but I see what you mean. There's something about him. He's not cool, or trying to be cool. He seems really sincere, but he's definitely not typical either. He came a bit late, this tiny guy jumps out of a massive truck and says, 'Better late than never,' with this huge smile."
(Excerpted from Mishpacha, Issue 716)


text:
Corporate Candidates
Working with hand-picked clients on specialist headhunting projects, we cover an array of sectors including Cyber Security, Online Gaming and Promotions.
The positions we work on can vary according to our clients requiremnts but will ususally be positioned from middle to senoir management roles.
Please take a look at the roles advertised and contact us should they be of interest to you, in terms of either niche sector experience or more specifically according to the job description. Not all of the roles will be advertised and we are always interested in speaking to sector experienced candidates.
We offer a confidential service and for an our of hours conversation please contact Daniella Winton on 07866 733866.


text:
Unhappy? Let's Fix That
If we ever make a mistake or do something wrong, please let us know straight away so we can put things right for you as soon as possible.
First, let us know why you're not happy with us
- Email us at firstname.lastname@example.com
- Call us between 9am and 5:30pm Monday — Thursday 9am and 4:30pm Friday on 0330 058 2005
- Write to us at Avro Energy, Wheatfield House, Wheatfield Way, Hinckley, Leicestershire, LE10 1YG
We'll do our best to sort out any issues the first time you contact us, and put things right for you within 5 working days or, if its quite complicated, within 8 weeks.
If you're still not happy
We hope you'll be satisfied with our response. If not, get in touch again and tell us you want your complaint referred to our Complaints Team and they'll be in touch.
If it's been 8 weeks since you first spoke to us, or we've sent you a deadlock letter and you're still unhappy, you can refer your complaint to Citizens Advice — just go to citizensadvice.org.uk/energy or call 0345 404 0506.
You can also contact Energy Ombudsman — visit their website www.Ombudsman-Services.org/complain-now, email email@example.com, or call 0330 440 1624.


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Pearl Harbor + Dole Plantation + Polynesian Cultural Center Tour (from Maui)
( Airline seats sell out quickly and prices change throughout the day )
Tour #11MD: Pearl Habor + Dole Plantation + Polynesian Cultural Center Tour (from Maui)
Reg, Price $479.99 New Special Price $427.30
|Per Person Charges
|Special Online Price
|Child (2-12)
|Child (0-1 Free)
About Your Tour
Operates: Monday, Tuesday, Wednesday, Thursday, Saturday, (except Friday & Sundays), Tour departs: 7:00AM / Return: 8:00PM
Location: Maui, Duration: 13 hours, Departs from: Kahului, Maui
From world-famous beaches, delicious locally grown food, spectacular sandy beaches and exciting Polynesian performances, Oahu has much to offer, and you deserve to experience it all!
But a trip to paradise isnt complete without an expert guide! Youve come to the right place, because our local insight to Hawaiis culture and history is unrivaled in the islands. We know this land like no one else does.
Take in the top attractions on Oahu with discover Hawaii Tours in one incredible day. Historical Pearl Harbor and the fascinating music, dance and people of the Pacific featured at the Polynesian Cultural Center.
Begin with a stop at Pearl Harbor and the opportunity to board the USS Arizona Memorial, take in film footage of the attacks and explore the museums and memorials at the Pearl Harbor Visitor Center.
Celebrate the colorful, unique and diverse cultures of Hawaii, Tahiti, Samoa, Tonga, Figi and New Zealand at the Polynesian Cultural Center. Enter a world of Pacific traditions, featuring interactive exhibits at the islands of ancient Polynesia. Meet real-life Polynesians at Island Villages throughout the Center, each revealing unique cultural traditions, authentic demonstrations, stories, songs and dances, and much more. Enjoy a Bar B Que lunch buffet included with your tour. Discover the ideal tour for everyone and witness Pearl Harbor and the Polynesian Cultural Center on one tour. Explore paradise today!
This is a great way for you to experience the vibrant culture and history of Oahu! We want you to see Oahu at its best, so join us on this exciting tour today. Remember, seats are filling fast, and inter-island tours are among the most popular tours that we offer. Make your reservations today!
Tour Highlights
Inter-Island Airfare from Kahului, Maui
Check-in at Kahului Airport
Honolulu International Airport Pick-up
Visit Oahu's Pacific Historic Park
Historic World War II Narration
Film Footage of the Attacks
Pearl Harbor Visitor Center
USS Arizona Memorial
Dole Pineapple Pavilion
Waimea Bay
Sunset Beach
Oahu's North Shore Beaches
Byodo-In Temple
Polynesian Cultural Center Admission
Demonstrations at Island Villages
Hoku Pa'a Canoe Ride
Polynesian Canoe Pageant
Nu'uanu Pali Lookout
BBQ Lunch Buffet Included
Tropical Farms Coffee Plantation
La'ie Point Scenic Point
Tour Tips & Details
Check-in at Kahului Airport 1-hour prior to departure
Passport or U.S. Government Issue ID Required for Airline boarding
No bags of any type allowed at Pearl Harbor. Bags must be checked at Pearl Harbor entrance for $3.00 per bag
We recommend sunscreen, hat, & sunglasses
Wear comfortable shoes
Don't forget your camera! (No camera lens longer than 6 inches at Pearl Harbor)
Due to ceremonies honoring the attacks of December 7, 1941, we will not operate tours to Pearl Harbor and the USS Arizona Memorial on December 7, 2016
Meal Options
A delicious BBQ lunch buffet is included with your tour. Food and drinks are also available at Pearl Harbor and Dole Pineapple Plantation.
- Buffet
Cancellation Policy
Due to airline tickets restrictions, all tours which include airfare are non-refundable once the reservation is purchased. Airline tickets are non-changeable and non-transferable.
Tours and activity prices, departure times, departure locations, descriptions and other information on Hawaii Tour Adventures website are subject to change at any time without prior notice.
Hawaii Tour Adventures (HTA) / Discover Hawaii Tours (DHT) cannot be held responsible for and cannot extend financial reimbursement for delays caused by factors such as traffic, weather, mechanical issues, or problems concerning Navy-operated shuttle boats. Ticketed access to the Arizona Memorial is first-come first-served, HTA / DHT cannot guarantee admission and cannot issue refunds if access to any tour stop is denied for any reason.
Due to ceremonies honoring the attacks of December 7, 1941, we will not operate tours to Pearl Harbor and the USS Arizona Memorial on December 7, 2016.
Punchbowl National Cemetery closed on all Federal Holidays, except Memorial Day; tours are unable to enter cemetery on those days.
As of May 2, 2011, all passengers traveling to Ford Island (including Pacific Aviation Museum and USS Missouri) must present valid photo identification. This does not affect the Pearl Harbor Visitor's Center.
Airline flight schedule subject to change.
Because this tour involves inter-island flights, we are required by Federal law to provide the Transportation Security Administration the full names, date of birth and gender of all passengers. U.S. citizens must present a current government issued pictured ID and international visitors are required to have a valid passport. Regrettably, we are unable to refund any portion of the tour due to non-compliance of these federal regulations. For more information on what is required to fly within the United States, please visit the following website. http://www.tsa.gov/travelers/index.shtm.
Online reservations must be made at least 48 hours prior to tour departure. For reservations within 48 hours please call: (808) 371-0432


text:
Government Building in Kazan, Russia, Kazan, Russia (2015)
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text:
I have two chocolate labradors of 8 Barney and 10 Bailey.
Bailey suffered cancer at 4 and had two serious operations followed by a year of chemo & steroid treatment. This aged him earlier than he should and from the age of 7 began to stiffen seriously on his rear hip joints to the point of refusing to get out of bed to go for a walk
This worried us as not wanting to exercise was not good for his health and well-being.
Barney has a shoulder injury from 2 years ago which caused a slight limp after exercise although still very lively.
After 6 weeks on Mobile Bones Bailey is a different dog. He gets out of bed with ease and is back to jumping into the esate and trotting across the bridleway and enjoying life again.
Barneys shoulder has improved massively and the limp is barely noticable now. Mobile Bones is the best recommendation I've ever been given and much preferable to pain killers and anti-inflammatories.
I have today ordered another six packs and will recommend Mobile Bones product to anyone.
Its wonderful to see my old boy enjoying life again as there were times when he looked so very sad.
Debbie Cook


text:
Jhargram: Two elephant calves who were deserted by their herd near here two months ago were on Sunday on their way to Jaldapara Wildlife Sanctuary in North Bengal for being trained.
Range Officer, Jhargram Range, Parthasarathy Tripathi said the two elephants, christened `Raja` and `Rani` by forest workers and lodged in the mini-zoo here after they were deserted by their herd, were being sent to the sanctuary in Jalpaiguri district.
"Veterinary doctors have examined both of them, who are two year olds. Their health parameters are normal," he said.
A mahout and forest workers had arrived from Jaldapara to escort the elephants in lorries, he said.
While `Raja` was spotted by villagers at Fatikchua area under Kalaikunda Forest Range in Midnapore West district in January, `Rani` was rescued by forest workers from Keshorrekhar area near Noygram in February, he said.
They were left behind by a herd of about 100 elephants who frequented the area from Dalma Range in neighbouring Jharkhand.
They were kept in the Jhargram mini-zoo as it serves as a rescue centre, he said.
DFO Ashok Pratap Singh said the elephants were being sent to Jaldapara as Jhargram did not have the infrastructure for grooming pachyderms as `kunki`, specially trained to catch wild elephants.
The infrastructure was available only in Jaldapara and Gorumara National Park in West Bengal, he said.
After training, these two elephants would be used for forest patrolling and conducting elephant rides for tourists, he said.


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Eat Eat and Repeat! Its that time of the year when the festive bells are ringing everywhere. The excitement and glint is everyone's eyes is unparalleled. Not only because is time for merry making but also because everyone gets to eat abashedly. The kitchen is beaming with a plethora of yummy dishes each day. Some traditional and some not so traditional dishes. All diets comes to a halt because it's time to eat, enjoy and celebrate.
Today marks the auspicious start of Navratri. Brings back tons of childhood memories. The elders in the house would fast for 9 days, the entire house adorned with vibrant flowers and offer prayers to Goddess Durga. When we talk about fasting, the first dish I relate to is Sabudana (Tapioca Pearls) Khichdi. I absolutely love it, period. Mum used to make so many different dishes out of these white edible pearls like Sabudana Vada, Sabudana Kheer but I am completely smitten by my mum's Sabudana Khichdi.
The perfectly soaked tapioca pearls, the tempering from basic Indian spices and those crunchy peanuts on top – I can eat the whole thing at once and mind you anytime of the day! So whether you are fasting in the coming days or no, this dish is literally clean comfort food. Quick to make, yummy to eat!
INGREDIENTS: (For 2 – 3 people)
- 1 cup sabudana (tapioca pearls)
- 1 medium sized potato, peeled and chopped into cubes or slices
- 1/2 cup slightly crushed roasted peanuts
- 1 tsp cumin seeds
- 2 tbsp ghee
- 1 green chili, slit lengthwise
- 7 – 8 curry leaves
- 1 1/2 tsp red chili powder (you can adjust the spice level based on your tolerance)
- juice of 1 lemon
- salt, to taste
- chopped cilantro, for garnish
- Soak the tapioca pearls in a bowl of excess water overnight. Once soaked strain off the excess water and let the tapioca pearls rest for atleast 20 -25 minutes so that all the water is drained.
- Meanwhile take a saucepan and put it on medium heat. Once its heated add ghee.
- Now add cumin seeds and let the seeds crackle. Add curry leaves and green chili and saute for a few seconds.
- Add the potatoes and saute for a couple of minutes. Add salt and allow the potatoes to cook constantly stirring it to avoid it from sticking to the bottom of the pan. Add little water to avoid that.
- Once potatoes are 95% done and there is no water, add the crushed peanuts and saute it for 2 – 3 minutes.
- Add the chili powder and allow it to cook.
- Lastly add the tapioca pearls and cook for 2 – 3- minutes until the pearls are soft and almost transparent.
- Drizzle some lemon juice and stir it.
- Garnish with cilantro leaves and serve.


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ROBERT SLINGSBY: EXCESS(IVE) BAGGAGE essay by Hazel Friedman May 2007.
"Power is tolerable only on condition that it mask a substantial part of itself. Its success is proportional to its ability to hide its own mechanisms." - Michel Foucault, The History of Sexuality
"We should be willing to sacrifice liberty for freedom". These are the words, uttered without a trace of irony, by a young woman interviewed in one of the many documentaries broadcast in the aftermath of 9/11. What the interviewee possibly meant to say was that certain liberties should be sacrificed in the interests of security. While the inadvertent contradictions of her statement are unmemorable in themselves, her words nevertheless encapsulate the mindset that has prevailed in the aftermath of the terror attacks on the World Trade Centre in 2001.
Although Robert Slingsby probably hasn't watched the abovementioned documentary during which this ingenuous statement was made, beliefs such as these have formed some of the fodder feeding his current exhibition. In this exhibition, entitled 'Clearing Customs', Slingsby's iconography revolves around the trade-off between security and personal spaces. He has depicted the world as a grotesquely comical x-ray machine, a voyeuristic peep show where self-ownership and privacy have been not merely bartered, but martyred for the "greater good" of global surveillance.
Cataclysmic events and the politics of control are not subjects one would normally associate with Slingsby's iconography. South African artist Neville Dubow elegantly describes him as a new millennial "strandloper" (which translates from Afrikaans into beach-walker) "a free spirit combing the beach, marking and making, transferring meaning from detritus to jewel box." Although his early work executed during the 1970s and early 1980s fits under the rubric of social critique, one tends to associate Slingsby's subsequent iconology with "other" ancient worlds, particularly those inhabited by the Nama of the Richtersveld in the Northern Cape of South Africa. It is the jagged, desolate lunar-like contours of the Richtersveld that still serve as Slingsby's creative and spiritual loci. Inspired by the San petroglyphs produced thousands of years ago, he has made it his life's mission to record their topographical markings, to study their interconnection with ancient studies and to facilitate greater acknowledgement of their spiritual rites of passage as a means of accessing parallel realities. Part magpie, part archaeologist he has lovingly excavated, restored and transformed the fragmented residue of a neglected history into luminescent artworks spilling over with multilayered motifs, and painted with a psychedelic palette. Like the ancient alchemist Slingsby transforms trash into treasure, imbuing the most mundane bits of flotsam with an iridescent magic. In fact he seems to fit most comfortably in the world of alchemy and archetypes. Occasionally he makes a pit stop or guest appearance in the material world before returning to his inner homeland of shamans, spirits and signs.
There is something innately child-like in the symbols and causes we hold most dear to our hearts. And Slingsby's art is predominantly, pathologically, the product of an acute, almost inchoate, emotional instinct. Yet the sometimes quixotic aspects of his work camouflage a profound cognitive sensibility in which intuition and intellect converge and seamlessly merge. This makes him something of an anachronism in a post-modern world characterised by recycling, not originality; and cynicism, not faith. But he is also a humanist and cultural activist. "It is impossible not to be profoundly affected by the changes in the world since 9/11," he observes. "The way that we perceive everything has shifted dramatically through the restructuring and amalgamation of public and private space. This is most evident in the invasive tentacles of Big Brother creating the false illusion of choice".
Sure enough, nearly six years after the cataclysm, the world post 9/11 is insidiously, inexorably altered. "Everything has changed'' has become the axiomatic mantra among politicians, pundits, prophets, and profiteers. We now live in an age characterized by instant access to, and a surfeit of, information. Yet never before except, perhaps, within the vice of totalitarian societies, has the collective public mind been so malleable to manipulation and control. This is a world in which democratic lands of the free and homes of the brave have become sites of suspicion and surveillance. Ostensibly progressive societies have increasingly become paranoid control states subject to constant monitoring. Surveillance equipment and x-ray machines are now permanent fixtures on transportation systems, video cameras are stationed throughout amusement parks, CCTV systems stand positioned on every street corner and recording devices pick up even the most innocuous conversations in public spaces. This was once the stuff of sci-fi and Big Brother scenarios. Now, it is the norm. The world has become the locus of the watcher and the watched. The enemy is no longer out there, but embedded within. And nowhere is the ubiquity of surveillance more evident than in the ultimate site and metaphor of movement, namely the airport.
"I was at Heathrow, feeling weighed down, fatigued … jet lagged, and it struck me how utterly vulnerable and violated we are under this constant surveillance and how normal it has become to be constantly invaded at these places of flux" recalls Slingsby. "I also had the feeling of excess, of a surfeit of stuff that we carry with us, not only in terms of physical luggage, but of psychological baggage."
Slingsby has produced works that encapsulate this sense of excess in order to "unpack" the layers of "stuff" that seep from public places and corrode private spaces. If there exists a central metaphor for 'Clearing Customs', it is undoubtedly the suitcase. Slingsby has produced paintings and wooden and bronze sculptures depicting the suitcase as more than merely a metaphor of a journey or a mobile container of personal artifacts and fictions. The suitcase serves to contain, preserve and protect from invasion. It is both a metaphor of mobility and ownership. It contains the armoury of the researcher, conceals the arsenal of the criminal and encapsulates the identity, status and aspirations of the traveler. But Slingsby's suitcases are also multisensory skins which, when ruptured under the eye of the x-ray machine, expose the most intimate innards of the self. .
As the exhibition title 'Clearing Customs' suggests, the work evokes a site of transit. But simultaneously the double entendre of the word "customs" also suggests an exploration of mores, habits and culture and otherness - a discourse which has obsessively preoccupied Slingsby throughout his oeuvre. Loosely categorized in terms of medium, the works include wooden suitcase sculptures comprising personal artifacts; bronze suitcase sculptures featuring female nudes in provocative poses; acrylic paintings rendered in brash, garish cartoon hues; and as series of portraits resembling painterly mug shots. Themes of excess and exposure serve as recurring refrains, with canvases and sculptures alike seeming almost sag from an excess of clutter that threatens to spill into real space; as well as through the overlapping of motifs and images specifically associated with travel and technology. The wooden suitcase sculptures, for example depict suspicious items exposed by the scanning machine, such as revolvers and daggers, alongside more benign personal artifacts and objects, which recur in the paintings. Similarly the cartoon-like cyborgs interacting with the seductive nudes in bronze suitcases 'Pretexting' and 'For your protection' reappears in the paintings, in a more stylized format. And each work is depicted in cross-section, dissected like the subject of a scientific experiment, or presented from an aerial perspective, as though seen from an omniscient x-ray eye hovering overhead. This perspective serves to augment the sense of disempowerment pervading Slingsby's body of works. In this show, all is stripped bare, yet the responses provoked by these works are paradoxical, particularly towards works in which Slingsby has incorporated the female nude as subject and object. Unexpectedly, perhaps, Slingsby's inspiration for these contentious forms emanates not from the anthologies of feminist discourse but from a more traditional source; namely, the art of Auguste Rodin. "I happened to visit an exhibition of Rodin's sculptures at the Royal Academy of Arts in London, and I was touched by his genius," recalls Slingsby. "Somehow Rodin had networked into the primal core of my emotions. After seeing that exhibition my creative bucket was full."
Although seductively fleshed-out, Slingsby's nudes are depicted with astute irony. They recline or drape themselves over luggage conveyors and under scanners, as though posing with erotic props. They are sexualized genies popping out of suitcases, splaying their genitalia for the concealed cameras as though for a Hustler centrefold or a porn movie. And the ever-attentive security cameras are perfectly positioned to snap away at their private parts and violate their privacy. In these works the naked women becomes complicit with technologies of visualization, reinforcing the deeply predatory nature of a photographic consciousness. Sex, and sexuality, Slingsby confirms, are central actors in the high-tech myths structuring our imaginations. In a world dominated by artificial intelligence, the final frontier for stimulation remains the body. This is pornography's most efficacious weaponry.
Yet Slingsby's nudes evoke an ambivalent response from the viewer, one that is as covetous of their sexual allure as it is condemnatory of their subjugation. Indeed Slingsby has tapped into one of the central contradictions of post modernism: the lubricated, dotted line between pornography and aesthetic irony. Whereas postmodernism ostensibly trades in parody and metaphor, pornography delivers the reality-effect, "bringing the obscene on-scene" with as few ceremonial trappings as possible. But between the two paradigms lies a slippery slope indeed. And in many respects, Slingsby suggests, the camera has replaced the mirror as the ultimate tool (and weapon) of narcissistic self reflectivity. Be they webcams, CCTV systems or other tools and weapons of a digital age we bask in their reflected light, all the while recoiling from their implicitly violent intrusions. "The pleasure principles of the voyeur, to see everything, and the pleasure principle of the exhibitionist, to show all, have shifted from the fates of private drives to social norms," writes cultural theorist Peter Weibel . Simply put, narcissism, or being in love with one's own image means identifying with the mediated image of oneself to the extent of no longer being able to identify oneself apart from it. Men are made to look, while women are made to be looked at, or so the cliché goes. Yet we all possess an appetite for seeing or, as Jacques Lacan put it: 'appétit de l'oeil'. After all, it is through the eyes that we ingest and digest 'the other'. Slingsby articulates this axiom literally, in 'Outside-inside' by painting eyes that seem to meet the viewer's voyeuristic gaze while simultaneously surveying the antics of a child, depicted in the centre of this painting. The inference is ominous, mitigated only slightly by the brightly patterned motifs decorating the surface of the painting. In the bronze suitcase sculptures spilling their supplicating female nudes, Slingsby evokes an extreme representation of this visual appetite as it unfolds in the representation of the male gaze and the female body. The voyeurism of the former is essentially cannibalistic, while the returned gaze of the latter is one of abjectness and seductive servility. 'Pretexting', for example, depicts a semi-reclining African nude. Initially she reminds us of those "ethnic" postcards, displaying the assets of nubile, naked tribal women under the guise of "ethnography." But it's not the ethnicity of her features that serves as the dominant focus, but rather her engagement with the cyborg that sits across her lap. On one level this unexpected coupling suggests the fusions of two outsider identities; it also might denotes the convergence of western civilization and its technological tools with traditional African society, predicated on the ideology of "west is best.' Simultaneously it evokes the exploitation of women of colour as the preferred cheap labour force in science-based industries, not to mention the world-wide sexual market.. Slingsby touches on several dualisms that have been persistent in Western traditions, all of which have been systemic to the logic and practice of hegemony and subjugation. Chief among these are self/other, mind/body, culture/nature, male/female, civilized/primitive. But reducing the semantics of his imagery to an illustration of binaries does a disservice to the profundity of Slingsby's vision. Accessing the complex encryption beneath these simplistic polarities entails relocating the epistemology of control within the context of a post 9/11 era. The portal towards a greater understanding may be opened via the image of the cyborg - a hybrid of machine and organism that once belonged uniquely to the world of science fiction. But this is no longer the case. The latest arsenal of the war against terror offers an example of what machines with 'predatory capabilities' might be like. The cyborg has become a creature of social reality as well as a creature of fiction. Social reality constitutes our most important political construction. And let's examine our social reality post 9/11: ubiquitous man-less machines that record our prints, control our movement and curtail our autonomy, while governments extol the virtues of this excess of scrutiny in the form of smiley cartoon faces on airport brochures and consumer-friendly advertisements . In work 'For your protection' one of Slingsby's cartoon-like cyborgs seems to have seduced the naked buxom babe into a state of post-coital bliss. The close ties between sexuality and instrumentality, Slingsby seems to suggest, have rendered the body both as a source of private satisfaction- and as a utility-maximizing machine. The cyborg has become our ontology; and biology has been converted to cryptography. Modern states, multinational corporations, military power, welfare apparatuses, satellite systems, medical reconstructions of anatomy, commercial pornography - all of these depend intimately upon electronics. Micro-electronics is the technical basis of simulacra; that is, of copies without originals. The only means of differentiation is through bar-coding - a unique identification number assigned to each item tracked. In works such as 'Drawing the line' Slingsby depicts an effete male nude, designer luggage in hand, suspended against a backdrop of bar-codes, while the surveillance cameras discreetly snap away. Slingsby seems to be commenting on the uniform, standardised language wrought through globalization and universal systems of control, in which individual resistance to conformity disappears and heterogeneity can be disassembled, re-assembled, invested and exchanged, like commodities and pork-bell futures. Like the cyborg, the bar-code system has mediated the translation of labour into robotics, sex into genetic engineering and mind into artificial intelligence. The boundary-maintaining images of base and superstructure, public and private, material and illusory have never seemed more fragile. These mechanical simulacra imply, as US critical theorist Jo Alyson Parker observes, that we are ourselves programmed products of cultural forces and mere manifestations of the prevalent discourse that inscribes us.
But the nubile slave can assert power over her ostensible master. Although passively sexualized, Slingsby's nudes are not involuntarily submissive. In work 'A wide net', for example he depicts a nude, with stylized mask-like features. Reminiscent of Picasso's seminal painting 'Les Demoiselles d'Avignon,' she becomes a site for the interrogation of identity versus persona as well as the exploration of self and cultural division, both of which are conditions that reverberate in contemporary psychoanalytic and social theory. Slingsby's evocation of self-division and otherness is effectively suggested through the mask, which evokes a sense of entrapment and dislocation within another's discourse. The mask also serves to foreground sexual desire as a locus of power relations, thereby reinforcing Foucault's claim that "power and desire are joined to one another". It suggests the programmed nature of gender and sexuality and the social masking that give rise to all forms of conditioning - be they politically, culturally or sexually driven - that divide the authentic self from the multiplicity of cultural representations with which we are subjected from birth . Only by removing the mask and revealing the mechanisms of power do we have any hope of resisting them. But Slingsby's depictions of masks also refers to the shamanistic power that masks provide, which reinforces the continuum between the themes in this exhibition of works and his ongoing belief in the power of ancient societies to enter parallel universes and attain a higher consciousness. Access to these alternate realities is gained through structured rituals that may permit us, if only briefly, to see beyond the limits of our own perception. But Slingsby remains avowedly non-didactic in his articulation and exposition of "other" states. His sense of irony is playful as opposed to prescriptive while his creative nutrients are experiential rather than academic. In work 'Carrying every frame', for example a nude assumes the glamourised pose of a 1950s bathing suit model as she balances atop an open suitcase on a luggage conveyer. Instead of planes buzzing around her head, as in work 'Thorny issues', Slingsby has depicted robotic dragonflies, whose significance is particularly loaded within the context of military aviation history. It was, after all, the British who developed the Dragonfly HR.Mk1 - the Royal Navy's first helicopter squadron, which was also used for civilian flights and by the air forces of Japan, Iraq and France. The sense of invasion on all fronts and in all forms reinforces the terrifying ubiquity of war in the aftermath of 9/11. The frontlines are located in trenches of amusement parks and city streets, along the borders of transit lounges and in the nooks and crannies of the body. The war has become utterly normalized and we are either oblivious to it, titillated by it or cowed into passive, anaesthetised compliance, like Slingsby's nudes.
Are we programmed performers, dancing to a choreographed beat beyond our control, or have we all become professors of paranoia, dredging up conspiracy theories with an almost fundamentalist fervour? Although Slingsby doesn't ask this question directly, in many of his works the intricate clutter of objects and motifs suggests that our excessive baggage is more of the mind than the material world. This is reinforced, paradoxically by the dragonflies in work 'Carrying every frame'. Crossing and combining with that of the butterfly, the dragonfly is not merely associated with military choppers but is, in fact, an archetypal symbol of change. It signifies the transcendence of self-created illusions that limit growth. As such, it symbolizes the self-actualisation that accompanies maturity. In a sense, the dragonflies in work 'Thorny issues' subvert the ominous refrain running through 'Clearing Customs'. Not only do they infer a potential threat, but also the hope of redemption. Like the bunny in work 'Outside-inside', they suggest that a Blakean return to enlightened innocence is not impossible. Slingsby is a master at sleight of hand in his ability to subvert preconceptions and slip between the cracks of conformism. One might read this show as yet another rite of passage in a career characterised by creative initiations and rebirths. From an iconography inspired by ancient codes and engravings Slingsby appears to have shifted to the argot of contemporary encryption. Yet 'Clearing Customs' does not signify a departure from his ongoing concerns, but rather a continuum. As with his earlier output, Slingsby's artworks are the products of a meticulously crafted, obsessively ordered, labour-intensive process. He still protects and displays his precious found objects in box-like installations that sometimes resemble mounted playpens, or miniature pageants. The surfaces of his paintings and sculptures remain richly textured and his characteristically exuberant palette is more spectacular than ever. His series of portraits in this show might be read as a critique of the mugshots snapped by facial recognition systems installed in airports which are capable of culling through millions of records at high speed, in order to identify criminals or terrorists. Yet Slingsby's mugshots are also reminiscent of the portraits he has painted of the Nama in Richtersveld. The signature striations and markings on his works might refer to finger-print devices and scanners. But equally they recall engravings on the Nama petroglyphs, and the spiritual footprints of this ancient society. The spirals and other decorative doodles bursting from the surfaces of his work attest to the continuum of archetypal imagery between past, present and future, and the possibility of attaining an augmented consciousness. His use of speech bubbles in some of the paintings might imbue the paintings with contemporary comic book humour. They also provide commentary on the fact that writing has been crucial to the Western myth of the distinction between oral and written cultures. But the speech bubbles in 'Clearing Customs' are conducting a one-way conversation. They are clearly being seen, but not heard. And while the urgency of his message should not be ignored, Slingsby's humour and playful, brash cartoon strokes serve to soften some of the more sinister edges.
There might well be places where the seemingly omniscient eye of the surveillance camera cannot reach, and spaces that GPS satellite tracking systems cannot monitor. Although the mechanisms of power might appear omnipotent, Slingsby nevertheless offers the possibility for resistance. The baggage has indeed become excessive. But, as he suggests, there are creative, enriching and liberating ways of lightening the load.
UPDATED 2nd July 2016


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ICSE 10th Result 2019 Indian Certificate of Secondary Education Board 10th Class Results
ICSE 10th Result 2019 Indian Certificate of Secondary Education Board 10th Class Results
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ICSE 10th Result 2019 Indian Certificate of Secondary Education Board 10th Class Results
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|Jewelry Categories >
Money Clip with BuffaloMoney clip with silver buffalo. Money clip is fully engraved front and back. Comes in a leatherette pouch and gift box. Initials can also be engraved on back. Made to your order. Size: 1 inch wide X 2 1/4 inch long.
SKU Number: 5014


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We hope you had a great weekend! We're back today with a great project from Michelle... Let's hear from Michelle and take a look at her fun and secretive project!
Supply List for Secret Box
Featured Collection: Santa's Workshop from Doodlebug Design Inc.
Cardstock: Bazzill Basics
Patterned Papers: Doodlebug Design Inc.
Stickers: Doodlebug Design
Alphabet Stickers: Making Memories
Ink: ColorBox Chalk
Glitter Glue: Stickles by Ranger
Punches: EK Success
Other: Buttons, Card Envelope
Tutorial: http://www.splitcoaststampers.com/resources/tutorials/secretbox/
Here is the secret box in the foreground along with the envelope gift bags in the background.
The box opens up 180 degrees with both sections remaining attached to each other.
There is a written tutorial and a video tutorial in the link under my supply list for Splitcoaststampers' site. I did find the construction of this to be a bit complex and time consuming in order to be precise so everything lines up and folds evenly. If you want something quick and easy, I'd suggest the mini gift bags. If you have more time and want something with more of a wow factor, then choose this project.
Thanks, Michelle! This is a great project, what a fun way to give a gift! The box is as much of a gift as what would be inside - I know my little boy would love keeping his toys in this box all year long!
We'll see you back here tomorrow for a great stamping tutorial from Michelle!


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Director Choi Seung-ho's recently released movie "Norigae" (Plaything) is the kind of movie that should have been conscious of the voyeuristic and scopophilic quality of movie spectatorship. The film is seen widely as based on the case of actress Jang Ja-yeon, who killed herself in 2009 leaving a seven-page handwritten note claiming she had been sexually abused by high-profile media executives. And if it is our "basic human trait" to feel such pleasure in looking, and it is unavoidable by nature once we are in our theater seats, some scenes should be kept in the dark ― not marketed for public entertainment.
|Actress Min Ji-hyun stars as an abused actress in director Choi Seung-ho's "Norigae." (Joy n Contents Group)
It follows the tragic life of Ji-hee (played by Min Ji-hyun), an up-and-coming actress, who commits suicide after being forced by her boss to have sex with filmmakers and the owner of a major newspaper. At a recent press conference, director Choi said he chose to include the sex-crime scenes to reveal the cruelty of the offenders. Yet, the multiple nude scenes where Ji-hee is abused ― including the one where she endures bondage-discipline-sadomasochism in tears ― are overly graphic and visually stylized.
What we know is Jang wanted the offenders to be punished ― which did not quite happen in real-life ― but we certainly don't know if this was what she ever wanted: having people watch an actress playing her being sexually abused and naked on screen. The scenes, whether or not they are accurate representations of what actually occurred, are insensitive to the late victim's sufferings, and disrespectful to her short-lived life.
We pay to go to theaters and watch people die and suffer in movies. We get entertained by war movies and their violence, as well as disaster flicks. "Norigae," however, should have been more selective with its scenes. It's hard to imagine any victim wanting the sex-crime scene to be graphically reconstructed in a commercial film, which inevitably serves as a form of visual entertainment.
Some things should be kept private and unseen, in spite of and because of our basic human trait.
By Claire Lee (email@example.com)


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|Series Name
|Series Description
|The Woodwright's Shop
|When it comes to carving your niche in the new millennium, come to the man who knows what it takes to survive!
|Income Property
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|This Old House
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|All American Handyman
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|Yard Crashers
|Contractor Josh Temple stalks home improvement stores looking for unsuspecting weekend warriors; he then turns their small project into an eye-popping remodel.
|House Crashers
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|Color Splash
|David Bromstad hosts Color Splash, transforming tired rooms into vibrant, unforgettable spaces. Along with his Miami-based team, David creates beautiful, unique designs that play off of color. Humor, teamwork, and passion make this show entertaining and informative.
|Chopped is a cooking competition show that's all about skill, speed and ingenuity where four up-and-coming chefs compete before a panel of three expert judges and take everyday items and turn them into an extraordinary three-course meal. Course by course, the chefs will be "chopped" from the competition until only one winner remains. The challenge? They have seconds to plan and 30 minutes to cook an amazing course with the basket of mystery ingredients given to them moments before the clock starts ticking! And the pressure doesn't stop there. Once they've completed their dish, they've got to survive the Chopping Block where our three judges are waiting to be wowed and not shy about voicing their culinary criticisms! Our host, Ted Allen, leads this high energy, high-pressure show which will have viewers rooting for a winner and cheering for the losers. CHOPPED is a game of passion, expertise and skill - and in the end, only one chef will survive the Chopping Block. Who will make the cut? The answer is on Chopped!
|Designed To Sell
|HGTV's real-estate experts show novice home sellers how to turn their tired house into a market-ready showplace – all on a budget of just $2000.
|The Stagers
|Follow professional home stagers as they rush to transform problem homes into showroom-ready masterpieces!
|Property Virgins
|Follow actual first-time home buyers, filled with hopes of finding their dream home, as they take on the challenge house hunting, with all of its potential pitfalls and rewards.
|The Antonio Treatment
|Design Star winner Antonio Ballatore transforms lackluster spaces into radically original and functional rooms.
|For Rent
|Host Jodi Gilmour helps desperate but hopeful renters find a home that fits their lifestyle and budget.
|The Outdoor Room with Jamie Durie
|Award-winning landscape designer Jamie Durie and his top-notch team use custom design elements to create beautiful outdoor rooms.
|Carter Can
|Carter comes to rescue homeowners who think that their home improvement project can't be done.
|Holmes on Homes
|Renovation expert Mike Holmes saves homeowners from renovation disasters caused by shoddy contractors.
|Selling New York
|Go behind the scenes in the country's most competitive real-estate market as New York's top agents show what it takes to finesse and close the deal.
|Giada at Home
|On her new show, Giada at Home, Giada De Laurentiis shares her love for entertaining California-style. Be Giada's guest as she puts together unique meals for gatherings with friends and family. Whether it's a festive bash or an intimate meal, in her own kitchen or at the beach, it's a day of memorable food and fun with Giada at Home.
|$250k Challenge
|In HGTV's $250,000 Challenge, five families living in the same neighborhood share a dream: to improve their homes and win $250,000. The families compete in weekly home improvement and design challenges, each based on one of HGTV's most popular shows. A panel of judges including HGTV hosts and designers sends the families who did the best work on to the next challenge and toward the ultimate goal of earning a newly renovated home and a $250,000 cash prize.
|House Hunters on Vacation
|Host Taniya Nayak whisks families off to their dream getaways, where they get the chance to stay in incredible vacation homes for a week.
|Deserving Design
|Designer Vern Yip hosts a feel-good design show that gives a break to the people who need it the most.
|Hidden Potential
|Hidden Potential shows homebuyers (and our viewers) what their dream home could look like before they buy it.
|HGTV Showdown
|HGTV's hottest designers and carpenters pair up to compete in the most intense design competition yet!
|Bang for your Buck
|Granite countertops or a custom, mosaic backsplash? Hardwood floors or stone tiles? We are bombarded with so many beautiful home renovation ideas, not only is it difficult to decide what we want, but it's hard to determine which choices provide the greatest return on investment. Bang For Your Buck has the concrete answers on remodeling value and how to get the most out of any renovation budget. In each episode, three homeowners from the same city renovate the same room of the house with the same budget. After the renovation, experts determine the value of each home, dramatically revealing whose remodeling choices were good investment decisions.
|The Victory Garden
|A unique fusion of garden design, earth-to-table cooking, and eco-conscious how-to tips.
|My Yard Goes Disney
|Disney Parks and HGTV join forces and transform an ordinary backyard into a dream-worthy children's fantasy playground.
|My First Place
|Follow the trials and tribulations of first-time homebuyers finding and financing their first place.
|Myles of Style
|Design Star winner Kim Myles helps homeowners turn their homes from drab to fab.
|Spice Up My Kitchen
|When a kitchen is this dysfunctional, every night is take-out. Enter Lauren Lake and team to the rescue.
|Hammer Heads
|Hammer Heads finds our team of three builders, led by Steve Hanneman, helping homeowners in need.
|The Carol Duvall Show
|Get craft projects and tips from host Carol Duvall, the Queen of Crafts.
|HGTV Green Home
|We take green mainstream! Watch full episodes of HGTV Green Home specials and revisit these eco-friendly homes.
|Curb Appeal: The Block
|In each episode the dramatic exterior makeover of one home and smaller-scale projects on nearby properties enhance the entire block.
|Ground Breakers
|Ground Breakers follows the spectacular transformation of ordinary yards into magnificent outdoor living spaces. Shot documentary-style, each episode is a guided tour of a landscaping project that can take four to six months to complete. Hosts are Joe Washington (100s-900s) and Justin Cave (1000s and up).
|An HGTV star arrives at the home of a viewer, surprising them with jaw-dropping makeovers and over-the-top design transformations.
|Home Rules
|Home Rules gives frazzled homeowners a chance at a better life with home makeovers and help from life coach Fran Harris.
|Simply Quilts
|Calling all quilters! Host Alex Anderson offers projects and tips for quilters of all levels.
|Gardening by the Yard
|Make your yard look great without spending a lot of time.
|My House is Worth What?
|Watch as three homeowners in three different parts of the country strategize on maximizing their homes' value.
|Over Your Head
|Ever felt totally over your head? Eric Stromer helps homeowners complete those hard-to-finish projects.
|Rate My Space
|Angelo Surmelis transforms rooms in need for the Rate My Space community!
|Sarah Summer House
|Designer Sarah Richardson transforms her home away from home, a tiny island cottage, into a relaxing space with rustic charm.
|Sleep On It
|Potential homebuyers spend a whole night in a house they might buy.
|Curb Appeal
|Get great ideas for how to make the most of your home's appearance! Curb Appeal will help you look at your home with a fresh eye and offers up tips for turning great ideas into reality. Each episode features a real house and homeowner with guest experts who discuss the owner's needs and propose projects to improve the home's appearance. Then the crew goes to work, transforming outdated and boring homes with stunning makeovers.
|Professional Grade
|Savvy DIYers attempt to pull off a remodel with high ROI. If judges are impressed, the homeowners win cash.
|Restaurant: Impossible
|Turning around a failing restaurant is a daunting challenge under the best of circumstances. Attempting to do it in just two days with only $10,000 may be impossible. But Chef Robert Irvine is ready to take on the challenge. He'll channel MacGyver and use a lot of muscle to rescue these desperate places from complete collapse. Can one man, in two days, with just $10,000, turn the tide of a failing restaurant and pave the road to a successful future? Find out as Robert Irvine takes on Restaurant: Impossible.
|My First Sale
|Witness what it's like to delve into the real-estate market for the first time – from the perspective of real life first-time sellers.
|Good Eats
|Pop culture, comedy, and plain good eating: Host Alton Brown explores the origins of ingredients, decodes culinary customs and presents food and equipment trends. Punctuated by unusual interludes, simple preparations and unconventional discussions, he'll bring you food in its finest and funniest form.
|Sarah's House
|Follow Sarah Richardson through the entire process of renovating her house room by room.
|Trisha's Southern Kitchen
|Music superstar and best-selling cookbook author Trisha Yearwood welcomes you into her Southern kitchen to share in some of her favorite family recipes, both old and new. Trisha shows off her genuine Southern hospitality as she puts together meals with friends and family. Whether it's for a family reunion, a party for one of her bandmates, or just a day hanging out with her girlfriends, Trisha's recipes are fun and easy to make and always have a story to tell.


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There are several opportunities for artists to participate in PhotoNOLA, from taking part in our two day portfolio review, to exhibiting work in solo, group and juried exhibitions during the festival.
Attend the Portfolio Review
The PhotoNOLA Portfolio Review is open to seventy photographers on a first come, first served basis. PhotoNOLA is not a juried review, however participants should be emerging to mid-career level photographers, with a solid body of work and a history of exhibitions and/or publications. Reviewers are typically announced in August, and registration typically opens in the first week of September.
Submit an Exhibition Proposal
Each year PhotoNOLA partners with various venues throughout New Orleans to mount photography exhibitions in conjunction with the festival. If you are interested in participating as an exhibiting artist, please complete our Exhibitions Proposal Form. If we find a space that seems an appropriate fit for your work we will put you in touch with that venue.*** Festival dates are December 12 – 15, 2018, with most exhibits running the entire month of December. Submission Deadline: August 1, 2018.
Submit an Exhibition Listing
If you've organized a photo-based exhibition in conjunction with PhotoNOLA please submit the information using our Exhibitions Listings Form for inclusion on website and printed guide. Deadline: September 15, 2018
Juried Exhibitions
For juried show opportunities please check our Calls for Entries page. When exhibition calls related to the festival become available we will share them there.
***Please note that PhotoNOLA (coordinated by the New Orleans Photo Alliance) does not have a budget for producing, traveling or installing exhibitions.***


text: WhatsApp Kaju Uttapam Recipe Author: EasyRecipes . Recipe type: Breakfast Cuisine: Indian Serves: 4 Prep time: 180 mins Cook time: 15 mins Total time: 3 hours 15 mins Print Here's a tempting, scrumptious uttapam recipe. Learn how to make kaju uttapam. Ingredients 2 cup rice (chawal) 1 cup split black gram lentil (urad ki dhuli dal) 2 onion ...Read More »


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It is soft and white
and often settles on the ground.
(From Oxford Wordpower Dictionary, Oxford UP 1993.)
sleet celebrating
the global warming -
1st of May
Here is definition for snow
from Webster's Third New International Dictionary, page 2158:
I prefer that one from small Oxford more poetical one ?-)


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source: African Heritage City
Her hair style is called chuku (pronounced shookoo) by the Yoruba people of Western Nigeria.
Oh, I think it's shuku (shh) ;)
and thanks for following my blog ;)
That style is very pretty.ReplyDelete
Thanks for the correction Curious Kinks and i hope to learn alot from you:)
Hi Jen! The style is pretty but I'm not sure I'll be caught with it on my head at this age:)
Lovely pic! I used to love shuku as a child and still do but the style doesn't look so good like it used to on me anymore


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Tag Archives: district of columbia
Paint the Music Show Next Friday
Like Music? Like Art? I'll be creating art (live) at a concert of local singer-songwriters next Friday, July 20th: Doors open at 7! Ebenezers 201 F Street NE Washington, DC 20002 Each musician is paired with an artist to create … Continue reading
European (dis)Union: Rebellion Series #2
Another work of altered currency from my Rebellion series to be exhibited at the Museo del Brigantaggioin August with the Ali Ribelli art collective. This conceptual piece, provides a commentary on the divisive politics of the European Union and is produced … Continue reading
Book Covers: Lost Tribe of the Alleghenies
When I have a break from my day job and art creations, I take on side projects to do illustrations and designs for fellow artists and writers like a flyer for a show by local sculptor Mike Sirvet or contributing … Continue reading
Margaret Thatcher
Last night I was playing around on Illustrator and did a portrait of "Iron Lady" Margaret Thatcher! I guess I was thinking of her because of the new movie with Meryl Streep. I seem to have an odd penchant for … Continue reading
Self Portrait
Self Portrait Acrylic & Ink on Canvas & Found Crate 33.5 x 33.5 x 4.5 inches I wish I had something enlightening to say. This was a piece for the art show back in October that I never took the … Continue reading
Final Week of Of Refuge, Of Home
Hello everyone! "Of Refuge, Of Home" closes this Friday, November 4th at the Jerusalem Fund Gallery. It has been a fantastic experience with great feedback and support! Thanks for everyone who has made it out. For those of you who … Continue reading
Title: Sitti Size: 22 x 40 x 19 Medium: Acrylic, beads, paper, found objects, lights on trunk & wood Sitti refers grandmother in Palestinian Arabic but more literally means "my lady". And without a doubt my grandmother was some lady. … Continue reading


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Dilvish Great Kraken
Talk about anything and everything related or unrelated to the FreeOrion project, especially Strategy Games.
Post Reply
4 posts • Page 1 of 1
Dilvish Great Kraken
My first tamed Great Kraken is named Dilvish. I think it is a so appropriate name for it LOL.
Re: Dilvish Great Kraken
May he serve you well!
If I provided any code, scripts or other content here, it's released under GPL 2.0 and CC-BY-SA 3.0
Re: Dilvish Great Kraken
Last game. Played with big amount of monsters. Exploring new space.
A system with Sentinel named Dilvish. Ok. Sorry, not this way (I had no any gravi-hulls this time).
Another system near. Sentry Vezzra.
Guys, what do you planning to do... I'm scared.
Pfyaking lynx :3
Re: Dilvish Great Kraken
Our sinister schemes will all be revealed in due time...
Post Reply
4 posts • Page 1 of 1


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In the latest hammer blow to any hopes that negotiations between Israel and the Palestinians can be revived, the Donald Trump administration has announced it will shutter the de facto Palestinian embassy in the U.S.
In a speech criticizing the International Criminal Court, Trump's national security adviser, John Bolton, said the Washington mission of the Palestine Liberation Organization will be closed because of Palestinian calls for the ICC to investigate Israel's conduct in the occupied Palestinian territories.
This is the latest in a series of aggressive moves designed to foreclose all Palestinian options other than whatever might be in a forthcoming "peace proposal" to be presented by Donald Trump's son-in-law and senior adviser on Middle East affairs, Jared Kushner.
Kushner and his team have vowed to think outside the box, and to come up with a new formula "based on realities." In other words, they are ditching the existing framework for peace talks, which is based on the permanent status issues — borders, settlements, security, refugees and Jerusalem — that were mutually agreed back in 1993 and supposed to be resolved only through negotiations and not any unilateral action.
Through all the tensions and turmoil of the past 15 years, that framework somehow survived.
But soon after taking office, Trump signaled he was moving on, especially by refusing to reiterate the long-standing U.S. commitment to a two-state outcome. Instead, Trump has said he would accept any formula the two parties agree to, a position previously embraced only by Iran.
When Trump recognized Jerusalem as the capital of Israel last December and repeatedly insisted the issue is now "off the table," the existing framework for talks disintegrated. Since then, the administration has waged a relentless war on both Palestinian interests and existing understandings in the negotiating process. Kushner has pressed to redefine almost all the Palestinian refugees out of existence and effectively remove that issue from the table as well.
The White House also cut all U.S. funding for the United Nations agency that delivers humanitarian assistance the 5 million Palestinian refugees, and seems determined to eliminate the organization entirely.
Most recently, the Trump administration has slashed and frozen U.S. funding for humanitarian and educational projects in the occupied West Bank and for Palestinian hospitals in occupied East Jerusalem.
Trump has reportedly said that the purpose of these cuts is to further pressure Palestinians to make a deal with Israel. "I told them, we're not paying you until we make a deal. If we don't make a deal, we're not paying," he told a group of Jewish leaders, according to Haaretz.
All this supposed pressure, though, is taking place in a diplomatic vacuum. When demanding Palestinians return to talks with Israel, the obvious retort is, "What talks?" It's not just that the Trump administration has systematically dismantled the existing framework for negotiations; it hasn't put anything else in its place.
The White House's real purpose here isn't to pressure the Palestinians to concede to any existing process or demands. Rather, it is to foreclose all their other plausible options — including international forums such as the ICC or the UN — before the administration rolls out a proposal that falls far short of the minimal Palestinian expectation of an independent state.
Indeed, Kushner has strongly signaled that Palestinians can primarily look forward to economic inducements and benefits rather than political freedom and national independence.
The administration acts as if Palestinians didn't have domestic politics of their own, and can be coerced into total submission. But this relentless pressure isn't going to make Palestinians more willing or able to accept outrageous demands from Kushner and Israeli Prime Minister Benjamin Netanyahu.
To the contrary, it's certain to render it politically impossible for Palestinian leaders to rejoin a U.S.-brokered process or make any concessions, at least during the Trump era. With a U.S. embassy in Jerusalem opened and the PLO mission in Washington closed, and all that this grim symmetry so bluntly signifies, such moves would be widely viewed as craven capitulation. Palestinian moderates will be undermined and even humiliated, and extremists on the left and right will be emboldened and empowered.
With each U.S. move, there is less chance that any Palestinians will be ready, willing or able to take a serious look at anything Kushner proposes and try to find in it something they can work with. And the administration is fast running out of anything left that it can inflict on, or take away from, the Palestinians to pressure them further, short of bombing Ramallah.
Bolton's announcement isn't just a nifty Rosh Hashanah gift for Netanyahu. It's also a huge victory for a rogue's gallery of bad actors.
One of the biggest winners in all of this is Hamas. Palestinian President Mahmoud Abbas, who has based his whole term in office around achieving a negotiated agreement with Israel in a U.S.-led process, now looks like the biggest dupe in the Middle East.
Hamas's leaders will be as incorrect as ever when they insist that Palestinians can achieve their rights only through armed struggle, but after the past year and a half of Trumpian diplomacy, such sophistry and radicalism is going to be a lot more appealing and much harder to refute.
Iran, too, will be utterly delighted to see the U.S.-led process finally crumbling, especially since it is Washington itself, supposedly to be the guarantor of the process, that is suddenly the gleeful executioner.
Another obvious big winner from Bolton's announcement is everyone who has been indicted by the ICC, including Sudanese President Omar Bashir, and anyone who ever feared such an indictment.
During the presidential campaign, Trump vowed to be "neutral" between Israel and the Palestinians. And after the Jerusalem recognition and embassy move, he promised that it would be the Palestinians' turn to "get something very good" from Washington. But all his administration has done is to shower Israel with carrots and flail the Palestinians with sticks.
This may be good politics within the Republican right wing. But it's disastrous diplomacy.
Many critics of Washington have wanted to break the U.S. stranglehold on the peace process, which will someday have to resume. They can relax. Trump, Bolton and Kushner have done their work for them.
It's hard to imagine how a future administration could repair all the damage that's being done by the application of what Jeffrey Goldberg identified as Trump and Bolton's "We're America, bitch" attitude. Or by this White House's disdain for international law and a rules-based order to the delicate and crucial work of peacemaking. It is even harder to imagine that the result of this diplomatic malpractice won't be another explosion of Middle East violence.


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If you have decided not to reconstruct your breast after mastectomy and opt for prostheses, the next step is to choose your new lingerie, your new bras. Once you've chosen the right you'll be amazed that looks natural and as well that can move with him.
It took approximately 8 weeks after surgery until you are able to measure you for a new bra. Even if you find yourself tempted, do not buy immediately. After any operation, but in particular in a big, tissues will be very swollen and it will take a time return to standard measures. The medical staff will guide you about the different options of prostheses and where you can find your new lingerie. Also, today there are many houses of lingerie that specialize in lingerie after a mastectomy and well-known brands include these lines in their annual collections.
The bras for mastectomy are specially designed to meet the needs of women who have undergone this type of operation and have not had their breasts reconstructed, by firmly holding the or prostheses and generating benefits ranging from the physical aspects to the State of mind of women.
Prostheses consist of small pockets of soft material (e.g. silicone gel) which is manufactured in different sizes, double thick, weights and shapes and seeks to resemble as much as possible to the natural shape of the breast of the woman. Protect scars covering them, help correct posture problems and, of course, improve the mood upon return of the female forms after the operation.
For women who have removed one of her breasts in mastectomy, the challenge is to find (or make) the form or prosthesis that most resembles your healthy breast for a balanced and natural look. In the case of women who have had to remove her two breasts, they have the possibility of choosing the model and size that is to your liking. The medical team will accompany this process and will advise on the different options.
Thanks to the taking of conscience by designers of underwear, a bra for mastectomy does not differ at first sight of any other type of support. The differentiating factor is the presence of a small pocket in each cup, where you can install the prosthesis, keeping it in place and giving security to the user.
Fortunately, support models are so many or almost as much as the regular. There are strapless or without bretel, seamless, with pronounced cleavage or plunge, with details of lace, prints, etc. The options are many.
You can find bras with pocket in one of the cups or both. The material is elastic and soft (usually of cotton and cotton blends) especially in the part of the band, which is more in touch with the areas most affected by the surgery and therefore, more sensitive. Usually the straps have a portion with extra pad so they do not hurt your shoulders.
As to the form of the BRA, it is recommended that you choose a full coverage bra that it completely covers breast providing the security that the prosthesis will not move from the place. At the time of choosing keep in mind the activities that you perform and the style of dress that you like to use.
Remember at all times that finding the right bra size is basic and fundamental. Get to measure yourself a professional with your prosthesis. First measure the circumference of your chest to determine the extent of your band. Then he measured the circumference of the breasts. The chest measurement should be subtracted from the measurement of the circumference of the breasts to know the size of the cup.
Once you have your size, choose the model that pleases you and try it. Salta, raise your arms, move as you move ever. Apart from the design, make sure that it is suitable and comfortable for you and your lifestyle.
Redefining Mastectomy Bras to Meet Breast Cancer Patient …
Source: www.thebreastlife.com
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5 Treatment Options for Hip Arthritis in New Orleans
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The Prevalence of Cultural Diversity in Saudi Arabian Schools
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AmeliaGrace Lingerie
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46 best Tummy tuck tattoo cover up images on Pinterest …
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Amoena 2862, 2751, 2750
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With the end of the Second World War, and the terrifying demonstration of the power of atomic weapons at Hiroshima and Nagasaki, the world's great powers fell over themselves to ensure they wouldn't be left bringing up the rear in the nuclear arms race.
The Soviet Union tested its first bomb in August of 1949. The UK came next in 1952. With the advent of the H-bomb later the same year, weapons were getting bigger and dirtier. The world was fast becoming a very dangerous place.
The Cold War was developing, the US and USSR were engaged in a game of macho posturing, each backed by a nuclear arsenal capable of destroying life on Earth many times over on the whim of a few overfed, pampered, Alpha-idiots. Understandably, people started to get nervous.
In January 1958, prompted by a letter to the New Statesman by the writer JB Priestly, calling for unilateral nuclear disarmament, the magazine's editor, Kingsley Martin, convened a meeting, where the Campaign for Nuclear Disarmament was born.
And on this day in 1958, CND was publicly launched at a meeting in Westminster's Central Hall. Although there had been little advance publicity, 5,000 people turned up to support the campaign.
That same month, graphic designer Gerald Holtom presented preliminary sketches of a symbol to represent the campaign – a circle bearing a symbol formed from the semaphore signs for N and D.
On Good Friday, CND held its first march on the Atomic Weapons Establishment at Aldermaston, proudly displaying the symbol that would be adopted by peaceniks and protestors around the world.
Membership boomed as more countries joined the arms race and the counterculture of peace and love encircled the word in the 1960s. The campaign faded away somewhat in the 1970s, but returned with a vengeance in the 1980s as the Cold War hotted up again. The US deployed cruise missiles to its bases in Europe, the UK government embarked on its farcical campaign of "Protect and Survive", printing booklets exhorting citizens to paint the windows white and, effectively, hide under the bed to escape a horrible, lingering death from radiation poisoning.
After the fall of the Soviet Union, membership shrank, but in the wake of Jeremy Corbyn becoming leader of the Labour Party, and the discussions surrounding the replacement of Trident, it is on the rise once again.
Also on this day
17 February 2003: London introduces the Congestion Charge
In a bid to reduce the amount of traffic entering central London, the city unveiled its Congestion Charge on this day in 2003. Read more here.


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NYC Independent Film Festival
Monday, May 7, 2018 to Sunday, May 13, 2018
- Film Festival
The NYC Indie Film Festival provides a showcase for the best in independent cinema, including short films, feature films, music videos, and animated works.
Contact Info
NYC Independent Film Fest
NYC Independent Film Fest
358 West 44th Street, 2 Floor
New York, NY 10036United States
(917) 608-47
DISCLAIMER: All SHOOT Bulletin Boards published event names, dates, contact info, logos, hyperlinks, etc. are subject to change without notice. Please check back periodically for most up-to-date information or check the specific events website for more information.