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This product is eligible for size exchange. The charges for reverse pickup and re-shipping of the product are to be borne by the customer.
Outlander is the perfect wedding mule made using ivory and silver brocade jacquard. The ornate damask repeats pop beautifully against the stark base. There is a vegan leather beige insole complementing the ivory and silver and a tan stacked heel outsole creating some much-needed depth and dimension. This open-back slip-on is finely constructed and ensures ultimate comfort.
Each pair is uniquely handcrafted hence no 2 shoes will be 100% alike. Embellishments are delicate and may fall off with wear & tear. All Coral Haze designs are created from scratch with the utmost originality, authenticity and love. Imitations are unavoidable, but also a form of flattery.
BRAND : Coral Haze
MANUFACTURER : Rida International, D-42, 3rd Floor, Chattarpur Enclave, Phase-1, New Delhi - 110074
COUNTRY OF ORIGIN : India
GENERIC NAME : Footwear
MARKETED BY : Rida International, D-42, 3rd Floor, Chattarpur Enclave, Phase-1, New Delhi - 110074
- Outer Material: Brocade
- Inner Material: Leatherite
- Color: Ivory
- Care: Dry Clean only.If the shoe gets wet, remember to first dry in the sun before putting it back in the closet.
Coral Haze allows product exchange for the same or above the amount of the purchased order. We help you pick the perfect shoe size by following universally prevalent size standards.
If you would still like to exchange your pair for a different size or pair, please inform us within 48 hours from the time of the product delivery.
We offer a free, one-time-only reverse pick-up service within India for all exchange items.
In case of any further issues/exchanges, or if the reverse pick-up facility is not available on your pin code, you will be required to ship the shoes back to our warehouse, on the following address:
Coral Haze, D-42, 4th floor, Chattarpur Enclave Phase 1, New Delhi -110074, Ph: +91 7827390499
The product should reach us in its original shape and packaging.
Your exchange request will not be entertained in case the product is damaged, torn or used.
We do not allow refunds of orders once placed. However, we can offer store credits that can be redeemed within 90 days of returning the shoes.
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About us
Welcome to Coral Haze, where craftsmanship and elegance converge. Founded by Manhar Oberoi, Vidushi Mallick, and Divvya Mallick Oberoi, it's a labor of love born from a shared passion for handcrafted footwear. Our journey began with traditional Indian juttis, and as our commitment to quality flourished, so did our range. Read more


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State Senate Erases Websites Of Leland Yee, Other Suspended Lawmakers
SACRAMENTO (CBS / AP) -- The California Senate has erased the names and online archives of three suspended lawmakers entangled in criminal cases.
The Senate removed pictures, video clips and legislative archives over the weekend involving Democratic Sens. Rod Wright of Los Angeles, Ron Calderon of Montebello and Leland Yee of San Francisco.
Read More:
Complete Coverage Of The Leland Yee Scandal
Download the 137-page Criminal Complaint (.pdf)
All that remains on the websites is information about their Senate districts.
The three men have lost the rights and privileges of a senator, which include having a Senate-maintained website, said Mark Hedlund, a spokesman for Senate President Pro Tem Darrell Steinberg.
Hedlund said Monday that the removal was consistent with steps that would be taken if a lawmaker lost an election or left office through resignation or term limits. He said the voting records of Wright, Calderon and Yee can still be researched through the Legislature's website, but their press releases and statements are gone.
Wright was convicted for lying about living inside his district. Calderon faces federal corruption charges after authorities said he accepted $100,000 in bribes for friends and family in exchange for legislation, and Yee was charged with accepting bribes and orchestrating weapons and drug trafficking to help pay off campaign debts.
Last month, the Senate voted to suspend the lawmakers. Gov. Jerry Brown has called on them to resign.
The three continue to receive their $95,291 annual salaries but are not collecting a daily expense allowance.
Lawmakers have been trying to distance themselves from the three suspended senators, and several have proposed legislation aiming to restore public trust in government by untangling the web of money and politics.
Last week Steinberg canceled a high-profile golf fundraiser at Torrey Pines Golf Course in San Diego, saying it would be inappropriate in the wake of the criminal charges. Ticket packages ranged from $15,000 to $65,000.
The deleting of the lawmakers' information was initially reported by CalNewsroom.com on Sunday.
© Copyright 2014 The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed.

subset: commoncrawl


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14.01.11. Copenhagen, Denmark. Crown Prince Frederik and Crown Princess Mary with the twins leave the Copenhagen University Hospital. Mary arrived at the hospital on Saturday 8 at 7.30 am, the first born was a boy weighs 2,674 grammes. The boy is 47 centimetres and the girl is 46 centimetres. The first birth took place at 10.30 a.m. The twins are the first twins born into the direct line of succession to the Danish monarchy since 1660 when the laws of succession were introduced.Photo: © Ricardo Ramirez
- Copyright
- Ricardo Ramirez
- Image Size
- 4256x2832 / 2.6MB
- Contained in galleries
- Royal Twins Born


text:
- BioOne works safely, effectively and economically.
- Ready- to-use tip and pour bottle.
- BioOne reduces the organic buildup and odorous residue in residential and commercial plumbing and septic systems.
- BioOne contains NO harmful chemicals or emulsiers.
- With regular use, BioOne will maintain free-flowing systems and remedy sluggish systems.
- BioOne will not clear a completely clogged system, repair broken pipes and mechanical defects or degrade inorganic materials. Individual results may vary.
BioOne is available exclusively through your plumbing professional. Not available online or in store.
Call Us Today for more information! 336-676-5544


text:
With over 21 persons with albinism killed over the past two years, authorities in Malawi have been urged to overhaul the criminal justice system to protect people with albinism.
Amnesty International has made the call after persons with albinism continue to face persistent threat of being killed for their body parts in the southern African nation where the vast majority of such horrific crimes remain unresolved and unpunished.
Since November 2014, the number of reported crimes against people with albinism in Malawi has risen to 148 cases, including 14 murders and seven attempted murders, according to police figures.
However, Amnesty International has established that at least 21 people with albinism have been killed since 2014.
"People with albinism deserve to see justice for these vile, hateful crimes against them. That it takes so long for cases to be investigated or heard in court is a sobering indictment of the systematic failures in Malawi's criminal justice system," said Deprose Muchena, Amnesty International's Regional Director for Southern Africa.
"The authorities must end impunity for these crimes immediately. As a first step, they must ensure all pending cases are dealt with without undue delay, and in line with international standards of fairness."
In its new briefing, "End violence against people with albinism: Towards effective criminal justice for people with albinism in Malawi",Amnesty International has found that people with albinism face long delays in getting justice.
The rate at which their cases are concluded is slow compared to other criminal investigations. Only 30 percent of the 148 reported cases against people with albinism have been concluded, according to the latest sstatistics from the Malawi Police Service and the Ministry of Justice and Constitutional Affairs. To date only one murder and one attempted murder cases have been successfully prosecuted.
Even the police have raised concerns with Amnesty International about delays in concluding trials due to the limited number of senior magistrates qualified to deal with cases relating to people with albinism.
In its 2016 report, Amnesty International found that attacks against people with albinism are fuelled by stereotypical beliefs that their body parts bring wealth and good luck.
Latest killings
Among the latest victims is Mark Masambuka, a 22-year-old man from Nakawa village, in Machinga district, southern Malawi, who disappeared on 9 March. He left his home to buy a mat in a company of a friend. His body was found buried in a shallow grave on 1 April.
On 7 December 2017, a two-year-old girl, Jean Ngwedula, went missing. Her father reportedly sold the child to a traditional doctor for ritual purposes in neighbouring Mozambique, which has been identified along with Democratic Republic of Congo, South Africa, Swaziland and Tanzania as markets for the cross-border trade in body parts.
Jean's father was later arrested on charges of murder and investigations were continuing at the time of the publication of this briefing.
Criminal justice failings
The biggest challenges facing the judiciary, prosecutors and police in Malawi include a lack of financial resources and qualified personnel to handle crimes against people with albinism, which has resulted in a backlog of cases.
Although serious cases are dealt with in magistrates' courts, most prosecutors are police officers with no legal training.
According to a senior magistrate interviewed by Amnesty International, most police prosecutors struggle to make sound legal submissions, resulting in either acquittals or convictions on lesser charges.
Ending the cycle of killings
Amnesty International has noted as a positive step forward government's recommitment to protect the rights of people with albinism during a commemoration of International Albinism Awareness Day on 13 June 2018 in Kasungu.
However, the organisation believes that a human rights strategy, including through human rights education and awareness raising, is needed to address the root causes of crimes against people with albinism and to stop further attacks.
The strategy should also include tracing and identifying the source of demand for body parts, as well as enlisting the cooperation of Malawi's neighbouring countries to stamp out the cross-border trafficking of people with albinism and their body parts.
"The Malawian authorities must ensure that people with albinism no longer live in fear of organized criminal gangs who prey on their body parts. The government must overhaul the judicial system to guarantee the security and safety of people with albinism, who are some of society's most vulnerable," said Deprose Muchena.
Since November 2014, an unprecedented wave of killings and other human rights abuses including abductions and robberies against people with albinism has swept through Malawi. Similar attacks have occurred in neighbouring countries such as Mozambique, Tanzania and South Africa.
People with albinism are targeted for their body parts in the belief that they contain magical powers. The current population of people with albinism in Malawi is estimated at between 7,000 and 10,000, representing a ratio of 1 in every 1,800 persons.


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The Polish ministry of defense has gathered a special task force together after George W. Bush ordered a crippled US spy satellite be shot down. The resulting toxic fumes will rain down on central Poland. Are Poles in danger? Hmm...
The TVN Fakt news program, which ran the story first item on Friday evening, said the resulting fumes from the fuel onboard could be a threat to our health! So the government is getting organized - just in case.
A satellite launched in 2006 by the US immediately mis-functioned and has been staggering around in a wobbly orbit ever since.
The Whitehouse finally ordered it be shot down sometime next week, so worried are they, apparently, that the lemon satellite will have an 'unpredictable re-entry' next month and come crashing down on someone's house, or head, and unleash kiloliters of the dangerous, 'highly toxic' rocket fuel hydrazine.
Blimey! Worse – experts in this type of thing have worked out that after the US zaps the satellite the resulting vapor trail of scary hydrazine will be sprayed over an area covering central Poland.
Don't p..p..panic!
So how lethal is hydrazine? The Theoretical and Physical Chemistry Lab says on its web site that it is "Harmful if inhaled or swallowed." Wikipedia, via the Technology Transfer Network Air Toxics Web Site (for it is they) says:
Individuals may be exposed to hydrazine in the workplace or to small amounts in tobacco smoke. Symptoms of acute (short-term) exposure to high levels of hydrazine may include irritation of the eyes, nose, and throat, dizziness, headache, nausea, pulmonary edema, seizures, and coma in humans. Acute exposure can also damage the liver, kidneys, and central nervous system in humans. The liquid is corrosive and may produce dermatitis from skin contact in humans and animals. Effects to the lungs, liver, spleen, and thyroid have been reported in animals chronically (long-term) exposed to hydrazine via inhalation. Increased incidences of lung, nasal cavity, and liver tumors have been observed in rodents exposed to hydrazine. EPA has classified hydrazine as a Group B2, probable human carcinogen.
Crumbs! That's scary!
But wait a minute. The US government's Air Toxics Index notes that:
Accidental discharge into water, air, and soil may occur during storage, handling, transport, and improper waste disposal. However, hydrazine rapidly degrades in the environment and is rarely encountered.
"Rapidly degrades..."? And the World Health Organization says:
Hydrazine is degraded rapidly in the air, through reactions with ozone, hydroxyl radicals, or nitrogen dioxide. In polluted air, the life-time will be approximately 1 hour.
Rapidly degrades? In one hour?
So if the US blows up the satellite as planned at 250 kilometers above the Earth's surface, the resulting vapor is going to be extremely dispersed and 'rapidly degrades' anyway. By the time any of it gets down to Earth it won't be any danger to anyone - except, maybe, a very small beetle, with an asthma complaint and nervous rash.
So why exactly has the Polish defense ministry got together an emergency task force to plan for the end of Poland as we know her on March 16?
And why, for that matter, is the Bush administration ordering shot down the old banger of a satellite in the first place?
The Whitehouse has been 'shocked' that many are saying the orbiter is not really any danger to anyone, and that the Pentagon is simply doing what the Chinese did last year when they tested out a missile system especially designed to shoot down spy satellites.
"But it's a health and safety issue," the Pentagon bleats, lamely. But few believe them. Few believe anything the Whitehouse says anymore, somewhat wisely.
And the 'emergency task force' scrambled together by the Tusk government? Another sign, if we needed it – which we most certainly don't – that maybe they have too much idle time on their hands.


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To use a cheat code in most versions of Doom, one simply types the code while playing (this also applies while in automap mode). In the iPhone version of the game, touch the screen with four fingers at any time to bring up the keyboard. After the last letter has been entered, a message of acknowledgment will appear on the top of the screen. The status bar, face, and in-game view may also change, depending on the effects of the code.
Cheat codes are disabled on the "Nightmare!" skill level, except for the idclev and iddt cheats.
Cheat codes may be different on non-QWERTY keyboards. For example, in France, idkfa may be idkfq, because of the AZERTY keyboard layout commonly used there.
All Doom engine versions (for computers)[]
# |
When # is one of the letters below, this gives the powers of an item:
idchoppers | Gives the option to select the chainsaw and 1 tick of invulnerability[2] |
idclip | Identical to idspispopd, except that it is for all other Doom games. Some source ports require this cheat code instead of idspispopd. |
##[3] |
Warps to level E#M# or MAP##. This may have certain side effects (see IDCLEV idiosyncrasies). |
iddqd | Sets health to 100% and makes player immune to damage ("god mode", "degreelessness"). If the player is currently standing on or subsequently enters a damaging floor of type 11, the invulnerability effect is nullified. The invulnerable player can also be killed by a telefrag, and projectiles with extremely high damage ratings (such as from a DeHackEd modification) can also kill a player in god mode.[5] |
iddt | This cheat reveals information if used while in automap mode, showing additional data the second time it is used:
idfa | This is the same as idkfa below, but excludes the keys. |
idkfa | Grants full megaarmor protection (200%), all weapons, full ammo, and all the keys.[9] |
idmus##[10] | Plays music from level MAP## in Doom II or Doom, and E#M# in The Ultimate Doom. Using this cheat code will make the player change weapons in hand if the numbers pressed correspond to available weapons. |
idmypos | Shows the player's coordinates and compass direction (note that these numbers are hexadecimal, and may require some practice to interpret quickly). |
idspispopd | No clipping (the player can walk through walls, monsters, and obstacles, climb high ledges instantly, and pass through items and across all tagged linedefs with no effect. This works only in Doom and The Ultimate Doom (see above for the equivalent idclip for Doom II). |
The FH prefix in Doom95 cheat codes stands for the initials of Fred Hommel, the programmer who created the cheat codes.
fhhall1 | Kills all monsters in the level, excepting Lost Souls. (Pain Elementals killed in this manner will still generate extra Lost Souls as normal). |
fhshh2 | Monsters do not notice players unless they are hurt or hear a shot. |
- HALL refers to Jason Hall, CEO of Monolith, who requested that particular cheat (hence the "BY REQUEST..." message that displays when the code is executed). The actual damage done to each monster is 10,000 hit points.
- Upon typing the fhshh cheat the message "be vewy vewy quiet..." is displayed. This is a reference to Elmer Fudd's catchphrase "Be vewy vewy quiet, I'm hunting wabbits!", in the beginning of a Looney Tunes or Merrie Melodies animated short. Disabling the cheat will display the message "Achoo!" (the joke being you sneezed, and the monsters heard you).
Console version cheat codes[]
Cheat codes in the console versions are different due to the lack of a keyboard.
Press P while holding B to go to the map. Press the following key combinations to access the corresponding cheat:
- A, Left, A, B, A, Right, A, C, A - All weapons and keys
- Up, Right, L, Up, Right, Right, R, A, Left - Additional screen sizes
- Up, Right, A, B, A, Down, A, L, L - Toggle god mode
- Up, Right, A, B, A, Down, A, LS (2X) - Toggle invincibility power-up
- L, R, R, Right, Up, B, B, Left, R - Show items on map
- L, Up, C, C, R, Down, A, Left, Left - Unlock all levels
- L, R, R, A, Left, Left, Up, A, C - Show entire map
- LS, RS (2X), A, Left (2X), Up, A, C - Show walls on map
Atari Jaguar[]
- Pause, * + Pause - Toggle invincibility
- Pause, 9, 4, 7, 4, 9, 2, 1, 0 - Toggle invincibility
- Pause, # + Pause - All weapons and keys
Levels can be selected via the following key combinations:
- 1: 1 + Pause
- 2: 2 + Pause
- 3: 3 + Pause
- 4: 4 + Pause
- 5: 5 + Pause
- 6: 6 + Pause
- 7: 7 + Pause
- 8: 8 + Pause
- 9: 9 + Pause
- 10: A + Pause
- 11: 1 + A + Pause
- 12: 2 + A + Pause
- 13: 3 + A + Pause
- 14: 4 + A + Pause
- 15: 5 + A + Pause
- 16: 6 + A + Pause
- 17: 7 + A + Pause
- 18: 8 + A + Pause
- 19: 9 + A + Pause
- 20: B + Pause
- 21: 1 + B + Pause
- 22: 2 + B + Pause
- 23: 3 + B + Pause
- 24: 4 + B + Pause
Game Boy Advance[]
Enter the following codes to get the corresponding effects:
- A, B, B, A, A, A, A, A - All weapons
- B, A, B, A, A, A, A, A - Berserker pack
- B, A, A, A, A, A, A, A - Computer map
- A, A, B, A, A, A, A, A - God mode
- A, A, B, A, B, B, B, B - Disable god mode
- B, B, B, A, A, A, A, A - Invulnerability power-up
- B, B, A, A, A, A, A, A - Radiation suit
- A, B, A, A, B, B, B, A - Skip level
- A, B, A, A, B, B, A, A - Skip 10 levels
Super Nintendo[]
- There are no cheat codes in the SNES version. The only way to cheat is to use a Game Genie or an Action Replay device.
Xbox 360[]
- There are no cheat codes in the Xbox 360 version.
- ↑ Prints the message "Doesn't suck - GM". Taylor's explanation for this message: "Choppers is a State Programming Contest game that a friend of mine named Guy Maor (GM) helped write. He's a little defensive of it 'cause it wasn't *quite* finished on the release day. Was a cool two-player Rescue Raiders rip-off. He was drunk and talked to me one night, and I thought I'd put it in."
- ↑ st_stuff.c, line 660:
plyr->powers[pw_invulnerability] = true;
- ↑ CLEV stands for "change level"; it could also be interpereted as "see (C) level."
- ↑ Taylor and two fellow hackers made up an informal fraternity called Delta-Q-Delta (hence the DQD) during their college days. The "Q" stands for "quit", and represents the grade members should strive to receive in their classes.
- ↑ According to the function P_DamageMobj in p_inter.c, "invulnerability" only protects the player from attacks doing less than 1000 points of damage. There is no form of attack in the game that does more damage than this number, except one: a telefrag, which inflicts 10000 points on the target. This is why a player in God mode can still be killed by telefragging. This also means that DeHackEd can be used to circumvent god mode by creating incredibly powerful weapons; some examples of this effect can be found in The Sky May Be.
- ↑ DT stands for "Dave Taylor". The code can be used in cooperative multiplayer games by first pressing T and then typing the code while holding ALT.
- ↑ FA stands for "full ammo". This cheat code is not present in versions prior to 1.666.
- ↑ KFA stands for "keys & full ammo", but is often paraphrased as "kick fucking ass" or "killer fucking arsenal".
- ↑ The cheat code puts skull keys on top of keycards, making it easier to detect if it was a cheat code if the level has keycard pickups.
- ↑ MUS stands for "music". Certain selections may call for invalid music lumps (see IDMUS requests invalid music). In The Ultimate Doom, idmus40 will play the same music as idmus39 (D_E3M9) and idmus41 to idmus45 will play music from the intermission, main, and end screens. In Doom II, the non-level tracks are idmus33 to idmus35.
- ↑ MYPOS stands for "my position".
- ↑ SPISPOPD stands for "Smashing Pumpkins Into Small Piles Of Putrid Debris". See more in SPISPOPD article.
See also[]
- ClassicDOOM.com's cheats guide
- The etymology of Doom cheat codes, from Lee Killough's archive
- alt.games.doom post about creating weapons that can kill invulnerable players, via Google Groups
- rec.games.computer.doom.editing post about creating weapons that can kill invulnerable players, via Google Groups
- 3DO cheat codes from GameFAQs


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WASHINGTON, D.C. – With Joe Biden projected to become the 46th president of the United States, both the former vice president and President Donald Trump are reacting.
Shortly after The Associated Press called the race for Biden, he released a short statement, calling for unity now that he is the president-elect.
Read Biden's full statement below:
"My fellow Americans —
I am honored and humbled by the trust the American people have placed in me and in Vice President-elect Harris.
In the face of unprecedented obstacles, a record number of Americans voted. Proving once again, that democracy beats deep in the heart of America.
With the campaign over, it's time to put the anger and the harsh rhetoric behind us and come together as a nation.
It's time for America to unite. And to heal.
We are the United States of America. And there's nothing we can't do, if we do it together."
As he has suggested in the weeks leading up to Election Day, Trump is signaling that he won't quickly concede or leave the White House without a fight.
In a statement released soon after the race was called for Biden, the president claimed that the election is "far from over" and said his team will continue its legal fight.
Read Trumps' full statement below:
"We all know why Joe Biden is rushing to falsely pose as the winner, and why his media allies are trying so hard to help him: they don't want the truth to be exposed. The simple fact is this election is far from over. Joe Biden has not been certified as the winner of any states, let alone any of the highly contested states headed for mandatory recounts, or states where our campaign has valid and legitimate legal challenges that could determine the ultimate victor. In Pennsylvania, for example, our legal observers were not permitted meaningful access to watch the counting process. Legal votes decide who is president, not the news media.
Beginning Monday, our campaign will start prosecuting our case in court to ensure election laws are fully upheld and the rightful winner is seated. The American People are entitled to an honest election: that means counting all legal ballots, and not counting any illegal ballots. This is the only way to ensure the public has full confidence in our election. It remains shocking that the Biden campaign refuses to agree with this basic principle and wants ballots counted even if they are fraudulent, manufactured, or cast by ineligible or deceased voters. Only a party engaged in wrongdoing would unlawfully keep observers out of the count room – and then fight in court to block their access.
So what is Biden hiding? I will not rest until the American People have the honest vote count they deserve and that Democracy demands."


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It is that time of year again where your children are headed back to school with their new backpacks, notepads and pencils! If they have braces, they will need some extra items in their backpack and locker. Our team wants to make sure your children are equipped with the tools they need to have a healthy and strong smile, so it's important they have them available when they're away from home.
Orthodontic Tools
Here is a list of cleaning and protection tools your child with braces will want to keep on hand:
– Individual case: This is for orthodontic tools and keeps them clean from other objects in their backpack or locker.
– Toothbrush: Purchase an extra one so there is no need to worry about losing the one from home.
– Toothpaste: Pick a travel-sized tube in case their backpack gets squished.
– Floss: This is an important tool for removing debris between the teeth and gums.
– Flossing threads: With a full set of metal braces, it is sometimes difficult to get between metal wires and teeth. This tool helps floss underneath braces and between the teeth to clean the gums.
– Interdental cleaning brush: Metal braces can get food stuck underneath the wires and corners of brackets, so this tool brushes between nooks and crannies to remove debris.
– Extra elastic or rubber bands: If needed, these help align the bite. Keep extra at the ready when it's time to replace dirty or broken elastics.
– Rubber band hook: This assists in hooking rubber bands to braces.
– Wax: If your child's gums and oral tissues need protection from sharp edges, broken wires or brackets, then wax can cover those spots on their braces. They can even help prevent extensive mouth sores.
– Mouthwash: As an added defense against bacteria, this is a quick way to kill bacteria while your child is busy in school. We recommend a travel-sized bottle.
– Chapstick: Sometimes newly applied braces or new elastics can cause chapped or irritated lips.
– Pain relievers: In case your child's teeth and gums get sore, a pain reliever can help alleviate the pain or discomfort.
– Orthodontist information: For emergency care, have our information on hand in case of an emergency.
– Pocket mirror: Sometimes a mirror is needed to clean out food debris and put in rubber bands, so a small compact mirror can be handy.
– Mouthguard: If your child is active in sports or other physical activities, we strongly recommend purchasing a mouthguard to protect their teeth and gums. This is a safeguard against impact and deep cuts in their mouth.
By having these items on hand, you can help your child have a great orthodontic experience as school begins. A few other tips we have for your child wearing braces include eating soft foods, avoiding sticky and hard foods with high amounts of sugar, brushing and flossing each day, and seeing our team regularly.
Give us a call today if you have questions on what to store in your child's backpack and how they can take extra preventative steps in their orthodontic care today. We are always happy to help!


text:
Compliance with anti-bribery laws challenges organisations to put appropriate mechanisms in place to guard against the risk of engaging in bribery. With anti-bribery laws in 46 jurisdictions, governments are taking a more aggressive approach to enforcement for such offences.
ISO 37001:2016 specifies the requirements and provides guidance for an anti-bribery management system (ABMS) for organisations of any size, type and location. The Standard gives organisations the opportunity to put in place a culture of integrity, transparency and compliance, led by committed top management and board members. For these organisations, putting in place an ABMS will significantly simplify the process of compliance.
ISO 37001 covers international best practice to help transform legislation into practical policies, processes and procedures. It is designed to help organisations in any jurisdiction put the correct anti-bribery practices in place and ensure that they are being implemented adequately.
The scope of implementing an ISO 37001:2016 ABMS requires organisations to consider:
Appropriate mechanisms have been devised in ISO 37001 to guard the organisation and its staff from engaging in bribery if implemented effectively. Engaging in bribery does not have to be premeditated and the person responsible may be unaware that their actions constitute bribery (or acceptance of bribery), which is why it is important to create and maintain staff awareness. Complying with ISO 37001 requires organisations to have effective procedures in place, which detail how to deal appropriately with, and respond to, the offer of a bribe and policies in place to ensure a bribe is not offered.
ISO 37001 specifies a number of anti-bribery policies and procedures that an organisation should implement to assist in the prevention of bribery, and identify and deal with any bribery that does occur. It can assist in promoting and maintaining a compliance approach from top management down, and establishes an anti-bribery compliance function appropriate to the size of the organisation and the corruption risks it faces.
An ABMS provides a framework for top management and other leadership elements to decide upon risk-based objectives. In essence – as with all management systems – leadership sets the tone. An ABMS shows that an organisation is serious about legal compliance and is doing all it reasonably can to prevent itself becoming involved in corrupt practices. This is an ongoing journey of commitment and process evolution.
An ABMS also mitigates reputational risk. In essence, the greater the organisation's public profile, the more it needs to avoid being associated with anything that might be seen as questionable by the law and, perhaps, most importantly, by its customers and other stakeholders.
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text:
For the past year Yahaira Perez has led a group called Proyecto Mariposa, or Project Butterfly, that helps provide life skills to Latina girls and their mothers while ensuring they do not forget their Latin roots.
Proyecto Mariposa is made up of 16 mothers and their daughters, ages 2 to 13. They meet weekly at a church in Columbus to make crafts, read in Spanish and receive guidance on issues such as personal health and proper nutrition.
Yahaira, who moved from Puerto Rico to attend The Ohio State University, has gotten many people involved — including her family.
Brian Starner is a long-time friend of Yahaira and a WBCE listener.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


text:
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text:
I wrote a web app, using java + spring+ PostgreSQL, which I have up and running.
I have a tester for my system and I want him to be able to connect to my database directly to check the result of interaction with application. As always, the web is littered with articles on how to connect, but one simple thing they don't mention is whether a client should install some app to connect to the database? I get the bit about making correct settings for the database, but if a mere mortal enters the following in their windows console:
psql -h <host> -p <port> -u <database>
they will get 'psql' is not recognized as an internal or external command, operable program or batch file. I understand I don't get that error because I operate via shell and my home path is set to psql.exe, but again the client doesn't need to install PostgreSQL to access remote a PostgreSQL database. It just doesn't click in my head.
How can a client connect to database via command prompt without installing anything?


text:
CHEWING IS THE FIRST STEP in digestion! But chewing our food only enough to swallow it down doesn't count. If you're rushing proper chewing—especially if it's due to dental distress—you're robbing yourself of some important benefits!
Chewing Helps Retain Energy And Absorb Nutrients
Chewing our food does more than simply give us time to taste flavors. The more we chew our food, the more it's broken down into elements we can absorb and use. When we swallow minimally chewed food, some of the nutrients and energy remains locked in—making it more difficult to enter our bodies.
Chewing Aids Digestion
When saliva mixes with the foods we eat, we begin to digest it before we even swallow it. This is because saliva contains digestive enzymes that begin breaking our food down right away. In addition, un-chewed pieces of food can cause digestive discomfort.
Chewing Gives Us Time To Notice We're Full
Often, especially when we're wolfing down our food, we eat more than we should before our body is able to give us the "full" notification. Eating slower can help us control our portions and feel more satisfied.
If you're not chewing your food properly, are your teeth to blame? Malocclusion (an uneven bite), tooth sensitivity, missing teeth, or poorly fitting dentures can all cause minimal chewing. You might swallow food down earlier because chewing is uncomfortable. You might even avoid certain healthy foods just because they require more chewing. https://youtu.be/hYdZd_UKT-o?t=14s Breakdowns in our oral health start to affect our overall health. If your teeth aren't doing their job helping you chew, digest, and absorb nutrition from your food, don't ignore the problem. Talk with us about it. We can get your teeth back into shape so they can better do their job.


text:
An ongoing series of articles on songs & performances of the early Grateful Dead.
April 23, 2010
March 1970
March was a very light month for the Dead, with only a few shows played - fortunately, we have tapes of all but two of them! (The Dead were probably using the weeks off in the studio to finish the Workingman's Dead album.)
Since Bear couldn't leave California, you might expect that there would be no SBD tapes from the band's shows elsewhere. But actually, there are quite a few from this period - from 2/23, 3/8, 3/20, 3/24, and 4/3/70 - as well as the missing shows and AUD tapes. It's possible these were 'outside' taping jobs done by people patching into the SBD - but given that there are almost no such tapes from the summer & fall of 1970, I think it's more likely that the band was still taping their own shows as usual (as we know they did in the May tour), and some tape holocaust or mass theft happened to the early 1970 reels.
(More speculation here:
http://deadessays.blogspot.com/2009/08/strange-case-of-1970.html )
We'll start with the three-day Family Dog run (with Commander Cody) at the end of February. These are pretty mellow shows, and it's notable that they ignore the Dark Star>Stephen>Eleven medley in each show.
This is a decent show that never quite takes off. (There are a few monitor complaints between songs.)
The show's first highlight comes with a long Dancin' in the Streets - the jam is slow, steamy, laid-back. Garcia drops out for a while midway (a broken string?), so Weir and Lesh carry the jam. It finally heats up near the end, as Garcia gets going and they wrap up the jam with big, clanging chords. Weir says afterwards, "Someone who's in charge ought to open the door so we can get a little fresh air in here."
They continue with a very hot Easy Wind, and after cooling things down with a slow Black Peter, they go right into Good Lovin'. The Good Lovin's this month are not as extended as they would soon become - the jams tend to be not much longer than the drum solos - here it's mostly an Other One-style duet between Lesh and Garcia, with Weir jabbing in rhythmic stabs, that doesn't really get going. The China>Rider>High Time is standard, but Hard to Handle rocks out with a long, ambling Garcia solo. (Pigpen complains, "The monitors over here are not working. That means I can't hear nothing.")
They keep up the pace with Casey Jones and a nice Cumberland. Then it's time for the finish as the drums & bass beat out the intro to Not Fade Away - a rather short, restrained version, as Garcia takes it into Lovelight. Lovelight starts out snappy, but can't keep up the momentum for a half-hour and loses steam midway...there's a long percussion interlude, where Pigpen slips into a verse of Two Trains Running; and after a brief space they start the finale.
The tape cuts in during Lovelight, an unusual opening song for 1970 - as if in a flashback to mid-1969, it segues smoothly into Me & My Uncle while Pigpen's still singing his "all I need" rap. (Other examples of this were on 4/27/69 and 6/14/69.)
After Cumberland Blues, Garcia announces, "We're gonna take everybody back about sixty billion notches and play some acoustic guitars for a little spell, if it's all the same to you." Weir starts the acoustic set with a long introduction to Jesse Fuller, until an impatient Garcia interrupts him. They play three quiet songs, but seem to have some trouble - Garcia complains to Weir after Black Peter. Weir replies, "Yeah, I can't get this in tune either...can't hear what I'm playing." Garcia says to everyone, "OK, it's back to the electric world, so everybody can get back up again."
They give us a standard Garcia-led sequence of China>Rider>High Time>Dire Wolf. (China>Riders of this time aren't very satisfying for me since Garcia hardly plays in the bridge jam - once Weir finishes his solo, it's straight into Rider.) Then it's time for some Pigpen with a bouncy Good Lovin' and Big Boss Man. (Afterwards, someone requests Not Fade Away - Garcia says, "We'll get to it." This seems to have been his standard reply to requests.)
The "big jam" part of the show starts with a sleepy Alligator. A long drums winds its way to the Other One beat, and the band slips quietly into the Other One. The jam gradually heats up, but never takes off - at the end, they go into Mason's Children. This would be the last Mason's - it's a short one, as the second solo slides into Caution for a bit - but they quickly change direction and head back into the Lovelight finale instead, which ends the show. (This is nowhere near as intense as the similar 2/14/70 medley - though that may be an unfair comparison! But the Dead's Family Dog shows do tend to be pretty low-key in general.)
This is perhaps the best show of the run. The SBD from this night is incomplete; fortunately there was an intrepid taper onhand (Harry Ely) to capture most of the show in a pretty good-sounding (though bassy) tape. (He was also the one who taped 12/5/69.) His AUD tape isn't complete on the Archive, but just used to patch the beginning and end of the show.
As the AUD tape starts, Weir is playing the New Speedway Boogie shuffle while the rest of the band sets up. (They'd dropped New Speedway since December, and wouldn't pick it up again til May.) As deadlists says, "This tape cuts in during the 'New Speedway Boogie Jam,' which sounds like Bobby playing the comp to this song over & over while the audience claps along and the equipment crew tries to get the rest of the band up & running. After 4:15 this cuts to another couple minutes of tuning, soundcheck activity and bitching about the sound system." The audience laughs and claps, quite entertained by something onstage despite the long adjustments and tuning. As the band tries to get rid of the feedback, Weir complains about getting shocked by the mics: "You people don't know what it's like...you step up to the microphone, and the microphone greets you with a big blue spark..." (Meanwhile the others hoot loudly into the mics in a strange sonic exorcism.)
After the Casey Jones intro, they give us a rare, somewhat sloppy Big Boy Pete (only four known versions from this period), which is where the SBD cuts in - then they get down to business with Morning Dew.
The Other One is much more energized than the night before. They charge into it, though dogged by feedback, and the jam peaks, ebbs, and climbs again - it rolls into a strong, thunderous Cryptical reprise which quiets down and ends with chiming harmonics that slide into Black Peter. Then they change the pace with a raucous Beat It On Down the Line.
The following songs are standard, not too notable - there's a smoky King Bee - a nice solo in Cumberland - a typically short Good Lovin' and China>Rider. The SBD ends with a slow Uncle John's Band.
From the AUD, the Dancin' in the Streets is a highlight of the show, featuring the first time the Tighten Up jam was played in Dancin'. (The sound quality is a bit murky, though.) Our tape ends with another rarity, Baby Blue (last played on 12/5/69, there are only three versions from 1970) - here the AUD tape cuts off.
http://www.archive.org/details/gd70-03-01.sbd.hanno.4641.sbefail.shnf (SBD+AUD)
This is a very hot show, which would be more acclaimed if it were complete, or if an SBD existed. The AUD tape we have has pretty good sound, fairly boomy, though it has some bad cuts, constant mic clunks & tape warbles, and some other glitches. Unfortunately, the taper was in the middle of a bunch of talkers, who are very distracting (especially in the quiet songs)...
Our tape starts with a guy shouting, "Get it on!" - the band gets it on with a slow, heartfelt Black Peter, while folks in the audience have a conversation. (It would be surprising if this were the first song of the show!) After another China>Rider>High Time, the tape cuts off in Dire Wolf, and drops us in the middle of an awesome Not Fade Away. Even though only five minutes of it are left, they're incendiary.
This gives way to a drum solo...generally I'm not noting the drum solos since the ones from this time aren't very exciting - sometimes they just seem to putter around aimlessly. But it's a different experience on this AUD tape: the audience loves the drums, and cheers them on, making it more engaging. Out of drums comes Good Lovin', which goes right into a hot jam - but they quickly sputter out for some reason, and head into a short but very hot Other One. This burns its way to a Not Fade Away reprise, and from there they fly into Lovelight, the crowd shrieking. This is a good Lovelight - again, the AUD tape definitely enhances the experience, as the excited audience claps and screams all the way through. One guy in the crowd even recites the "get your hands out of your pockets" speech before Pigpen does! The tape cuts off in the finale, with perhaps a few minutes left to go.
Our tape cuts in during the Cold Rain & Snow solo - things immediately hit a snag once the song ends and Weir announces, "We gotta do an equipment change-around, so I'm gonna take this opportunity to tell y'all a story...." The dreaded yellow dog story follows - Garcia loses no time in starting China Cat as soon as Weir finishes! After the usual China>Rider>High Time, Garcia makes a public service announcement: "Jennifer Riley, you're supposed to call your mother for an emergency."
Pigpen tests the mike before Hard to Handle - "Seems to work...you folks seem to be going around." He's referring to the revolving stage the band was on - Weir comments: "Hey, this is a miserable situation...on account of the fact that we can't really get to know you out there..."
Hard to Handle, though brief, is the highpoint of the show. Then Garcia says, "We're gonna bring out some acoustical instruments, play some acoustical music here for a little while, then we're gonna come back with some electric stuff, if it's all the same to you."
There's some banter while they're setting up, including this exchange:
Garcia: "Everybody who's breathing in here, we just had a word from the breathing marshal." [applause]
Weir: "He said it ought to be against the law, breathing, cause it's so..."
Garcia: "Obscene somehow."
Weir: "It just seems wrong."
Garcia: "I don't know what it is."
(I can't make out all of it - there's lots of band chatter between songs that's almost audible.)
Finally Weir gets around to introducing the set as they adjust the mikes: "We're gonna regale your jaded ears with a song that was written by a guy who's a one-man band, and quite a monument to one-man banditry."
Later in the set, Me & My Uncle and Black Peter are played by Weir on acoustic and Garcia on electric, an interesting combination they hardly ever tried in these early acoustic sets, but it hints at the acoustic/electric blends they'd start doing in May.
Pigpen comes out for Katie Mae: "Here I am, stuck once again. Before I do anything, I want this thing to start turning around.... Can you hear this guitar?"
Disaster strikes when a guest comes onstage, inspired by Pigpen's blues (and apparently with Pig's blessing), and starts improvising bluesy lyrics while Pig keeps playing acoustic. Nobody seems to mind, the crowd claps along, and he tries to get them to sing along as he sings, "Wake me, shake me, baby." He's an atrocious singer (it really puts Pigpen in perspective), but like Pigpen, he urges everyone to stand up: "Come on, get up...there's still people sitting down!" The rest of the band gradually joins in this blues improv, and the mystery singer continues his horrible screeching. Finally, it ends, and the band starts Not Fade Away - unfortunately, the guest stays onstage and sings along - not only that, but he's joined by some awful, tuneless harmonica bleating. It sounds like a hot NFA behind them, as the band completely ignores the disruption. By Lovelight it's mostly just the band again, except for some more dreadful harmonica - mercifully, this cuts off. In the end, this is a show to be avoided.
This show is famous for being unavailable, and perhaps nonexistent. Many have doubted that it was played; but I think there are enough reviews and memories to show it did happen. There's actually quite a bit of information about this show.
McNally mentions it in his book: "On St Patrick's Day the band played a benefit for the Buffalo Philharmonic, which was directed by Phil's acquaintance, a colleague of Luciano Berio's, Lukas Foss. The Dead, a local rock band, and members of the orchestra played an improvisational piece that involved having the orchestra members stand up, flap their arms, and make strange noises." (This seems to be the kind of tall tale that would only come from a band member....)
Lesh also has a brief, indirect mention in his book: sometime in '62, he's talking about Luciano Berio & the Ojai Festival - "The highlight for me was an outdoor performance of Mozart's Piano Concerto no. 25, conducted by Berio and played by Lucas Foss (who later would invite the Dead to perform improvisations with his orchestra, the Buffalo Philharmonic)."
It's unclear whether the Dead played one or two sets, but they were scheduled for two. Their show included Dark Star>drums, with percussionist Lynn Harbold joining them during drums, and apparently ended with Lovelight. The orchestra played Foss's composition "Geod", and John Cage pieces, accompanied by a primitive laser-light show. Foss also played on piano a Bach concerto, to which the Dead and local band the Road added freeform electronic noise. Both bands then played in a kind of organized improvisation with the orchestra, directed by Foss.
A few memories from audience members:
One describes a three set show, with material from Live Dead and Aoxomoxoa in the first two sets (Saint Stephen and Dark Star in the first) and an improvisation with the orchestra in the third, which included a passage of "call and response". He says that during this portion of the show the Dead played on top of a lift platform, which rose when they played and dropped when the symphony played. The symphony played a program featuring the work of John Cage "complete with laser-light show."
Another: "They also played St. Stephen. The set wasn't all that long because they were sharing the stage with the Philharmonic and [the band] Yellow Brick Road (which later became just The Road). I remember TC throwing a couple of timed firecrackers into the air during the pause in St. Stephen. During Lovelight, Pigpen was singin' "take your hands out of yer pockets... and stop actin' like a fool"."
And another witness remembers the audience trying to boo opening band The Road offstage! "The stage was a hydraulic platform that was down and all you could see was a few red lights from the amps... They started with "Feedback" before the stage slowly rose out of the ground with the band on it running right into the next song. I also remember a laser light show of some type, just a green squiggly line, moving to the music at some point in the concert."
This website has two newspaper reviews and a long deadbase review of the show, which provide a lot more detail:
This was the Dead's first evening at the Capitol Theater in Port Chester (with Catfish opening). The early show is sadly not available, though it should be - Ken Lee was presumably taping, and the second show was taped in both SBD and AUD. (Perhaps the early show will surface someday. The old tape with this label is now thought to be the 6-24-70 early show.)
The late show exists in a buzzy mono SBD. Ken Lee's AUD is only available as a patch at the start - it would be nice to have the complete AUD, since it is excellent quality. Aside from someone drumming on the balcony railing, it sounds as good as the next night's tapes, and the power of the band and excitement of the audience really come through (which you don't really get on the SBD). Even a 'little' song like Me & My Uncle shines; so if the full AUD ever comes out, we can hear the show in a new light.
The AUD tape catches the opening songs, the SBD tape not coming in until the middle of Know You Rider. The band is in a good mood - there's lots of laughter and inaudible chatter between songs, and Garcia even jokes with the audience, introducing Uncle as "a little spring song". From Casey Jones on, the rowdy Capitol crowd shouts at the band, full of song requests, any random song. (One forlorn soul even requests Rosemary!) Before Hard to Handle, Garcia says, "This isn't New York City. Shit. It's cool, we're not going anywhere." Then he mocks Weir: "White Rabbit, goddammit!"
After an unremarkable China>Rider, the show continues with a ramshackle Hard to Handle - Garcia breaks a string, so Weir has to carry the solo himself. Pigpen says to the crowd afterward, "Hey, I'm missing somebody by the name of Annette, where is she? I want to see her now."
Then it's time for the acoustic set -
Weir: "We're gonna waste some more time."
Garcia: "We're gonna slow you down. I can see things are getting out of hand, as usual. Oh man, that was a long time ago. [calls for Alligator] Relax, relax, we'll do that."
Weir: "We're gonna waste a bunch of time and re-set up and slow you all down. You'll hate it and we'll love it, but we got lots of time."
They start the acoustic set with three 1970 debuts in a row - the first Deep Elem Blues and Don't Ease Me In since 1966, and the first-ever live Friend of the Devil. (This song has some different lyrics, also sung the next night - Hunter had written it for the New Riders back in '69, but Garcia liked it enough to snatch it for the Dead.) A tape cut wipes out the end of Black Peter and most of Uncle John's Band. Pigpen comes back out for Katie Mae, worrying, "I might make a lot of mistakes..."
The electric set resumes with Good Lovin', but after a brief drums they fall into the Not Fade Away beat; Weir starts singing it, and they detour for a short throwaway version of NFA. The drums continue, and they go back into Good Lovin' with hardly any jamming. They make up for it by following with a sharp Viola Lee Blues, which was quite a rarity by then. (It's the first we have since 4/26/69, though I suspect they'd played others since then.) Pigpen is playing with them on organ - the jam quickly picks up speed and hurtles into an explosive, crackling meltdown. The re-entry jam into the last verse is relaxed, and there's a nice feedback ending. Then they calm things down with a wispy High Time, before embarking on the show-closing Lovelight.
Pigpen takes his usual rap, with advice to the lonely souls in the crowd: "The first thing you got to do is get your hands out of your pockets, and play with something that's better than that. Pocket pool is a long time ago, man, ain't no way to do. So what you got to do now, fellows, you find yourself standing next to a young lady, turn over to your side - 'excuse me ma'am, my name is so and so, what's yours?' And while you're doing that, you reach in her pocketbook, take a look at her wallet, and find out if she's 18. After you get all that business straight, all you got to do is find a place to go. And if you can do that, good luck!"
After Lovelight, the crowd is all worked-up and demands more. The announcer gasps, "Far-out...outrageous evening...unreal... I don't know - I think they're kind of tired - I don't think they have the energy to do another one - one second, we'll find out... Get a light over here - we just spoke to them, they did work very very hard for all of us, they're very very exhausted, they'll be here tomorrow night, come back tomorrow." The band starts singing We Bid You Goodnight to soothe the crowd's disappointment.
After that's over, new road-manager Sam Cutler has an announcement: "There's a chick in the audience called Annette - Pigpen wants to see you at the back of the stage. If anybody else is pretty, you can come too."
No doubt, a night of debauchery ensued....
By the way, this was Blair Jackson's first Dead show - he wrote an essay describing his experience.
The Capitol "was about one-third full, in a place that only seated about 2000 to begin with. Because the word wasn't out about the Capitol yet, a lot of people probably didn't even know about the shows. By the next time they played the Capitol, the place was packed for every show.... The acoustics were tremendous - better even than the Fillmore East - and every seat in the place was great.... The first act that night was an annoying blues-rock band called Catfish....nobody seemed to like them very much, and everyone got fed up with Catfish's constant pleas for us to get out of our seats and boogie.... When the Dead hit the stage, everyone in the place leaped to their feet and started dancing. (At most other rock shows, everyone sat in their seats until the last song...even at the Fillmore West, most people sat on the ground or stood immobile in front of the stage.) So a few seconds into the first Dead song, I notice that half the people in the small crowd are flailing.... A very attractive girl who'd been dancing wildly in the front row suddenly took off all her clothes, jumped onstage and started dancing wildly next to Garcia, who looked amused.... After half a minute or so, a member of the Dead's road crew carried her offstage... [In Viola Lee] the crescendo was so loud and long and intense I thought my brain was dissolving. They hit a peak that seemed to go on forever; it was easily the weirdest music I'd ever heard.... The Dead wrapped things up with Lovelight...Pigpen got everyone to go absolutely crazy. He had us screamin' and hollerin' and carryin' on. He even got the few Deadheads who weren't dancing to get up and join the fun... A different naked girl danced in the aisle next to us...until an usher eventually asked her to put on some clothes."
We have both shows from Ken Lee's excellent AUD tapes - the sound is clear, though the early-show tape has some channel wobble which can be distracting.
The band's playing sparkles, and they pull out a few rarities for this show. They start the show with a slinky Walkin' the Dog. (This is the first known live version, aside from a 1966 demo - we have just one other version this year, from 11/9/70.)
Within a couple songs the audience is already hollering non-stop at the band between songs, so naturally Garcia decides to give them a slow, chilly Death Don't Have No Mercy. (Death had become somewhat rare, last played on 1/16/70 - this would be the last version until 1989.) Death quiets down the audience for a while, but they soon revive with noisy song requests.
So Weir gives a speech: "While you're shouting out requests, I want you to bear in mind...when we made up the songs we made up no names for the songs, and we had a friend of ours make up names for the songs and submit 'em to the president of the record company to put on the album, and we never even learned the names to all our songs. So you're shouting a bunch of meaningless words to us, and I swear it's true..." This doesn't satisfy the crowd, and they impatiently slow-clap...
Pigpen appears for a brisk Good Lovin', in which the jam ends all too soon, and an excellent Big Boss Man. After this there's a long pause while the band deliberates, and the audience calls for Alligator and Lovelight. Weir responds, "Boy, are you ever going to like this," as the band starts a slow, mellow He Was A Friend of Mine. (This was another uncommon song, last played on 12/12/69 - this would be its last performance.) The crowd takes it well, and Garcia's second solo is a spellbinding wonder.
At end they barely pause before blasting into Viola Lee - a surprising choice considering they'd done it the night before. The jam starts almost introspectively - prolonged longer than on the 20th - then speeds like a runaway train into a beautiful chaotic meltdown. Coming back to the groove, they fall naturally into a loose Seven jam, which was quite rare. (They'd hinted at it during the 4/26/69 Viola Lee, of which Lesh says, "We later expanded and used this riff extensively - unfortunately, none of those performances seem to have survived." The one exception seems to be the full-blown 9/29/69 version.) On top of the Seven, Lesh slips the Cumberland riff, and the others fall in. Under the circumstances this Cumberland is quite relaxed, and not very fiery. It closes the show, much to the crowd's disappointment.
http://www.archive.org/details/gd70-03-21.early.lee.pcrp.20184.sbeok.shnf (early show)
The late show also finds the band much more laid-back than their hyper audience - Garcia's playing is very calm and deliberate in the jams. After a standard Casey Jones opener, the show gets exciting right away with an excellent Dancin' in the Streets. The jam is extremely graceful, with Lesh and Garcia playing off each other beautifully - again they easily slip into a stomping Tighten Up jam, then subside into a quiet, reflective passage as the audience claps the beat - then Garcia winds up the tension for a grand re-entry into the verse. After this, people in the crowd ask for St Stephen, but the band heads into Easy Wind (Pigpen seems to be caught unprepared, as he starts out singing the wrong verse). This cuts at the end, but the tape resumes as the band gets ready for the acoustic set.
The audience is quite noisy, shouting at the band and at each other. Weir says, "You're too kind... Let's hear some insults - why doesn't everybody turn to their neighbor and insult him as worst as you possibly can." The crowd obliges by hollering even louder, prompting Garcia to ask, "Take it easy out there, you unruly pigs."
The acoustic set is somewhat marred by audience noise - in fact, you can hear the taper keep going "shhh!" to clappers throughout the set. On top of that, the microphones were on the balcony railing, and people were tapping time on the railing, especially in the quiet parts. Since this was a seated venue, some of the crowd seems to have been disturbed by all the dancers, and lots of shouting is directed at them. During the Friend of the Devil intro, someone yells "Sit down!" and Garcia mutters, "Shut the fuck up." (But in Deep Elem we still get cries of "Sit down!")
Surprisingly, the band takes a request - after Black Peter, someone requests Wake Up Little Susie, and Garcia replies, "Yeah, we'll try that one." After Uncle John, Weir asks the crowd, "You guys wanna hear Pigpen? (cheers) Well let him know about it! (cheers) I don't think he hears you, maybe you ought to shout a little louder! (cheers) Here he is now folks, Pigpen!" Pigpen comes on for his one song to much acclaim: "You probably heard this one last night because it's the only one I know... Yeah, you can't hear the mistakes unless you shut up." He gives us a very nice Katie Mae.
The acoustic set over, people shout for St Stephen, the Other One, etc, and applaud and holler at each other, while the Dead tease Cosmic Charlie endlessly. Charlie is smooth and standard (not the 3/1/69-type blowout you'd expect); once it comes to a stop, there's lots more random yelling.
Finally the band obliges with "the hits" - St Stephen is received rapturously, and as usual segues into a fine Not Fade Away. Garcia spins out melodic riffs, circling around the rhythm - he takes the band back to the Stephen riff, then into an unexpected China Cat jam. Unusually, NFA comes to a stop, and the Dead take a while to figure out the next tune, while Weir riffs around.
Next up is a mighty Midnight Hour - this one has a hypnotic vibe, as the audience claps all the way through. Once Pigpen stops rapping, Garcia lets loose the sweetest, most delicate solo imaginable - then Pigpen raps some more, similar to a Good Lovin' rap of a year later ("she calls me daddy!"), while Garcia darts in little fills around him. Suddenly they switch to the Lovelight finale in a unique segue, and the audience goes into hysterics.
The announcer exclaims, "Incredible set by the Grateful Dead!" (Crowd: "More!") "Stand by..." (Crowd chants, "More, more!") Pigpen comes out and says brusquely, "All right you guys, it's your show, see you later," and again the Dead close with We Bid You Goodnight.
http://www.archive.org/details/gd1970-03-21.late.aud.lee.pcrp.21779.shnf (complete late show - avoid the other Archive copy)
Periodically the band would play isolated shows in distant Florida - 12/29/68, 12/28/69, the May '69 Big Rock Pow Wow shows - and they tended to play very enthusiastically there. This is a fast-paced show - as the Compendium says, "The Dead are given only a ninety-minute set to work their magic. They come out high-spirited and really go for it... There's a feeling of haste...as they quickly cram in their 'hits' to beat the clock."
(Deadlists shows a ticket for different dates, which raises a mystery, but for now I'll accept this show as the 24th. This tape is also unusual for the month in being in wide stereo - the other SBDs we've heard have mostly been in mono.)
Our tape cuts in during a rushed Morning Dew. Weir says, "At the risk of being repetitious, we're gonna do another song in the same key." (This turns out to be Mama Tried.)
Good Lovin' is the best of the month - it has a short drum solo, then Garcia jams with the drums for a while (like an Alligator) before the others come back. Weir & Lesh take over the jam while Garcia sits out (changing a string?) - this part is unique, Weir really churns away on rhythm; then Garcia comes back in a torrent - after teasing the riff a while, they build up to a Hard to Handle-style chordal climax. After a few more songs (including a rousing electric Don't Ease Me In), it's time for the big medley.
This Dark Star is notable for being entirely instrumental - a tapecut wipes out the first verse, and the band bails out before the second verse. It's also a fast, streamlined version (kind of '68ish in that way), making it easy to hear how the band work together in the jam. The intro jam is swift and focused - it soon cuts off, and the tape picks up again deep in the post-verse space. Things don't sound too scary - the band throws out a few hints of melody - a jam rapidly materializes - and soon the music is flying in streams of ecstasy. They drop in a quick Feelin' Groovy jam - but Garcia keeps pushing onward, his guitar lines turning into molten gold, cascading through the Dark Star riff, then pausing & trying out a new jam. For a moment before the end it reminds me of the end of that 3/21/72 Star, til Garcia sounds like he's heading for a Sputnik jam. But Lesh is in a hurry to move on, and before they can return to the verse, he starts pounding out the Other One riff.
This is a very fast version, they speed right through it - Garcia jumps into a quick St Stephen - the drums beat out an intro to a chunky NFA without much jamming - and they soon hop over into a customary Lovelight, with Pigpen working his usual rap. Lovelight would seem like the natural closer, but Weir abruptly takes it into Me & My Uncle (as on 2/28), and the show ends there. Garcia says, "Our time's up, see you later."
7 comments:
For anyone suspicious about the Blackdog site with newspaper clips of the 3/17/70 show - I've checked Lukas Foss's bio-bibliography (by Karen Perone, 1991), and it confirms that the newspaper reviews are genuine.
For Foss's composition "Geod", it notes that 3/17/70 was the American premiere, and that the show involved the Road, the Grateful Dead, and the BPO along with four other conductors. "The performance also included Sonovision's laser-beam and prism light show."
Several reviews are noted:
Buffalo Evening News 3/18/70 - John Dwyer, "New World of Music for a Young Audience"
and James Brennan, "Orchestra's Rapport with Rock Bands Electrifies Audience" (this article is on the Blackdog site)
Buffalo Courier Express 3/18/70 - Thomas Putnam, "Marathon" (a review, also on the Blackdog site)
High Fidelity/Musical America journal 20:18 (June 1970) - Thomas Putnam, "Foss Premiere" (another review, mentioning the "unprepared and unspontaneous" jam-session with the Road and the Dead)
The book also indexes Foss's "Non-Improvisation", a 1967 composition that "exists only in chart form for planned improvisations; no score." It was for four players (clarinet, violincello, piano & percussion), and was based on the first movement of Bach's concerto for harpsichord in D minor. This is the composition that the Road and the Dead added freeform sounds to. (Foss also played this with an unidentified rock band at the Temple University Music Festival on 7/29/71, which was another attempt to join orchestral & rock music.)- AnonymousMay 15, 2010 at 11:22 PM
I haven't read everything in this essay yet but I want to thank you for this focus on '70. Very recently I heard the MIT May 6, 1970 show on the radio.
At first I didn't know what year the show I was hearing was from. I was hearing the very end of Dancin. I was thinking I was hearing a '68 or earlier show. Eventually I realized it was 5-6-70.
When I realized it was a '70 show, I was thinking, "damn, the shit they were doing in '70 was incredibly powerful, much more so than '71."
Now I haven't heard a lot of '70 but have heard three shows from May of '70 (5/2, 5/6, and 5/15) and all three are exceptionally powerful. After hearing the May 6th show on the radio, I was really thinking they were really hitting a peak of sorts in that month (maybe a topic you'd get off on exploring).
Anyway reading your essay about the time period just before May '70 is especially interesting to me after hearing that May 6th show and having a whole new appreciation for '70 Dead. So thanks for it.
It's too bad to read there's not many tapes (if any) from the summer or fall of '70 since, as I said, they seemed to really be on a roll and that's some of the period I want to explore more (there's some from early June at the Fillmore West available I believe).
You mention in the 2-28 review that the China Riders don't do much to you from this time period. Ironically when I heard the china rider from that May 6th show, I was especially impressed (I rec you listen to it to see if it does anything to you).
Anyway thanks again and I look forward to reading the rest.
Longtime Head I agree, the '70 Dead jams are much more powerful than in '71 - that's one reason I'm going through the year, because it deserves it.
I'm working on my April '70 essay, though it won't be up for a while - but I do think spring '70 is a peak for the Dead. 5/6 is an exceptional show (as is 5/2) - be assured, I've heard all these shows, and will cover them at some point.
The Fillmore West shows from June 6 & 7 have some good stuff, they're very loose "home turf" shows. If you want the REALLY impressive shows, check out almost any of the Port Chester audience tapes (covered in my November '70 post) - I also did a writeup of the Fillmore East shows from September, of which 9/19 is the shining star.- AnonymousAugust 25, 2011 at 9:01 AM
Better late than never....I just heard 3/1/70 for the first time, and I'm thinking that Bobby's "New Minglewood Jam" is providing the soundtrack to a silent film that's being shown to the crowd. Notice how they all laugh at the same time? Certainly, something's going on on stage, and I'd bet dollars to donuts it was a movie, shown in between bands. Thoughts?
ReplyDelete It's possible, though I don't know whether they showed movies between sets at the Family Dog. (Sounds more like a Fillmore thing to me.) My take was that Weir just started the New Speedway Boogie riff to keep the audience amused while the rest of the band dealt with some equipment problem. I'm also not sure if the band ever started playing while an intermission movie was still showing.


text:
Royal Commonwealth Society
Dates and places
1868: Established as the Colonial Institute 1882: Secured a royal charter to become the Royal Colonial Institute 1928: Name changed to the Royal Empire Society 1958: Current name adopted on the 7 May
Found in 1 Collection or Record:
Commonwealth in Focus Slides
Reference Code: GBR/0115/RCS/Y3011GGG
Scope and Contents
Collection of 35mm colour slides of countries of the Commonwealth. When the 'Commonwealth in Focus' exhibition was being prepared it was felt that the strong emphasis on the historical aspect, and the fact that the only section on the contemporary Commonwealth dealt with broad issues and organisations rather than individual countries, made some additional material on contemporary developments desirable. Accordingly it was decided to have a continuous slide projection of contemporary...
Conditions Governing Access:
Unless restrictions apply, the collection is open for consultation by researchers using the Manuscripts Reading Room at Cambridge University Library. For further details on conditions governing access please contact email@example.com. Information about opening hours and obtaining a Cambridge University Library reader's ticket is available from the Library's website (www.lib.cam.ac.uk).
Found in:
Cambridge University Library


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EA-7914D4 – 4 Thread Pneumatic Overlock
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A series of high-level meetings between The Church of Jesus Christ of Latter-day Saints (Mormon) and an official from the People's Republic of China is expected to lead to "regularized" operations for the Church in China.
A statement from the First Presidency of the Church disclosed today that a senior representative of the People's Republic of China – the highest ranking representative from Beijing to meet with Church leaders – has visited with the First Presidency.
That meeting in the Church Administration Building in Salt Lake City on Tuesday, August 24, followed meetings in February and May in Beijing, attended by Church apostle Elder Dallin H. Oaks and Elder Donald L. Hallstrom, who are responsible for overseeing the Church in Asia, on assignment from the First Presidency. These meetings were initiated by the Chinese representative.
Elders Oaks and Hallstrom represent two of the most senior councils of the Church — Elder Oaks, of the Twelve Apostles, and Elder Hallstrom of the Presidency of the Seventy.
"It is important to understand what the term regularizing means, and what it does not mean," Church spokesman Michael Otterson said. "It does not mean that we anticipate sending missionaries to China. That issue is not even under consideration.
"The Church deeply appreciates the courtesy of the Chinese leadership in opening up a way to better define how the Church and its members can proceed with daily activities, all in harmony with Chinese law."
Otterson said that many details need to be worked out in further discussions with Chinese officials, but that the pending developments were the result of 30 years of building mutual trust with the Chinese.
"They have become thoroughly familiar with us through numerous contacts, and they have seen how we and our members operate in China. They know that we are people of our word when it comes to respecting Chinese law and cultural expectations," he said.
The formal, brief statement from the First Presidency said that they and other senior leaders at Church headquarters in Salt Lake City "have had discussions with a senior official of the People's Republic of China from Beijing, and have established a relationship which we expect will lead to regularizing the activities of The Church of Jesus Christ of Latter-day Saints in China."
Otterson said that given the importance of understanding and complying with various Chinese laws and the need for ongoing cooperative efforts, the Church does not plan to comment further on the discussions for the time being.
"At the conclusion of the meeting in Salt Lake City, it was agreed that it would be appropriate for this information to be announced publicly," Otterson said.


text:
The suicide rate for young people in First Nation communities is of catastrophic proportions, but there is so little discussion and attention given to it by government's, the media and mainstream Australia
Gerry Georgatos The Stringer 28 February 2015
According to the World Health Organisation Global Health Estimates, there were reportedly 804,000 deaths by suicide in 2012. In my estimates, if we are to factor in unreported and unclassified suicides the suicide toll is more than likely at least double the report numbers. The highest suicide trends are disproportionately prevalent in western nations, in developed nations, in nations with relatively recent colonial oppressor histories where today the descendants of their First Peoples are discriminated minorities.
An aggregation of only high-income nations comprising only 18 per cent of the world's total population are responsible for one quarter of the world's reported suicides – nearly 200,000 deaths by suicide. Suicide in high income nations takes on average three times as many males as it does females. But in poor nations this ratio is less, with less than 2 males suiciding for every female life lost to suicide. In general, suicide rates are highest in the 70 years and older age categories, and suicide rates are lowest among those aged less than 16 years of age. But if in the high-income nations with colonial oppressor histories when we disaggregate statistical narratives to the descendants of their First Peoples we find that they have much higher suicide trends than the rest of the population. The majority of their suicides are below the age of 35 years, with the highest risk category of those aged in their twenties.
(Photo: Ingetje Tadros)
Globally, suicides constitute 56 per cent of all violent deaths. In the aggregation of high-income nations, 81 per cent of all violent deaths are by suicide. Suicide is evidencing itself in high-income nations as demonstrative that social cohesion is fallacious. There is much mention in the media of 'violence', especially of gun-related violence, drug-related violence, of the social fabric threatened by such various violence culminating in death, but the media fails to disaggregate and discuss the leading cause of lethal violence – suicide. In these nations where suicide is the leading cause of violent deaths, suicide prevention should be prioritised in the nation's social agenda.
In order to develop a comprehensive suicide prevention strategy we must explore why life stresses in some cultural settings can culminate in high rates of reported depressions, self-harm and suicide while in other settings they do not culminate in high rates of reported depressions, self-harm and suicide.
However we also need to look at high-income nations with colonial oppressor histories. We need to look at the depression rates, self-harm and suicide rates among the descendants of their First Peoples, who in many of these high-income nations have now become minorities. The majority of the world's high-income nations have minorities of First Peoples with among the world's highest depression, self-harm and suicide rates. Oppression continues as an ongoing trauma manifest from the effects of racialised marginalisation. Identity, historical and contemporary, has become a liability for far too many – with constant attacks on their identity – on who they are or should be. These attacks are made on a daily basis by politicians, journalists, social commentators, people in general. Race, racialization, racism become troubling issues – psychologically and emotionally abusive washes of sweeping generalisations, prejudices, biases.
For every suicide it is estimated there are 30 to 40 suicide attempts – an obvious significant impact on communities. According to the many research bodies, a suicide attempt is a powerful predictor. Individuals who have made suicide attempts are at higher risk of suicide than those who do not have such a history. This predictor can measure community distress. In terms of preventing suicides, immediate and longer term follow up care are critical for those who have attempted suicide and for those who have admitted to suicidal ideation. It is a dangerous myth for anyone to suggest that anyone who talks about taking their life is not serious. In reality they are screaming for help. People need people – this must always be understood as an imperative if there is to be genuine suicide prevention.
Each year in Australia, tens of thousands are admitted to hospital for reported self-harm. This should be seen as a high-needs group and while hospitalised an opportunity for more to be done psychosocially to help them.
It is a myth to presume that the majority of suicides occur without warning. In fact, the majority of suicides have a significant period preceding them where there have been warning signs – verbal and/or behavioural. People need people – and these warning signs should never be dismissed. Prevention strategies must include response systems and task forces who are accessible 24/7 to assist people – in reality these response systems should be set up in ways that if necessary people can be assisted psychosocially and empowered, from a very young age and to as old as. Governments should pay attention in many different ways to warning signs – where these warnings bespeak of a troubled community, regions, clusters, contagion effect, then socioeconomics factors may need to be addressed, or the empowerment of communities long denied this natural right in terms of their right to manage their own affairs and the right to advance their unfolding within their own terms.
Suicide is heading to a humanitarian crisis, but there is very little discussion and attention given to it, despite it being a leading cause of death. But for many minorities it is already a humanitarian crisis – of catastrophic proportions.
The Stringer:
Suicides are preventable – here is what we must begin to do | The Stringer
The extensiveness of Aboriginal & Torres Strait Islander suicides – 1 in 20 | The Stringer
Preventing suicide – "no greater legacy" | The Stringer
Understanding Australia's suicide crises
Suicides, high among overseas born and second generation Australians
Child suicidal ideation on the increase
It is racism killing our people – suicides born of racism
Kimberley suicide rate – one of the world's highest – Yiriman is the way to go
My Country – But look how I am forced to live
What will it take to end Aboriginal disadvantage, the inequalities and the various crises?
What sort of Australia is this? Seven homeless children in an asbestos slum
Six homeless children fighting for a better tomorrow
Quality of life for Australians 2nd only to Norway but for Aboriginal Peoples 122nd
Dumbartung convenes suicide crisis summit
Suicide attempts among women on the rise
Australia's Aboriginal children detained at the world's highest rates
Culture should not be denied – change needs unfolding, not impost
Everyone in the Territory doing well, except for Aboriginal Peoples
Australia's Aboriginal children, the world's highest suicide rate
Wes Morris slams government suicide prevention programs
How many more suicides will it take? How many more deaths?
Hopelessness in suicide riddled communities
More government neglect of Aboriginal children
In identity lay the answers – ATSI suicides
$25.4 billion spent on Aboriginal disadvantage is a lie
Beagle Bay to State Parliament – Farrer speaks out on suicides
Government to address Aboriginal suicides
996 Aboriginal deaths by suicide – another shameful Australian record
996 deaths by suicide – one in 24 die by suicide
Australia's Aboriginal suicide epidemic – whose child will be the next to die?
77 Aboriginal suicides in South Australia alone
Kimberley's Aboriginal peoples old at 45 years
Australia, the mother of all jailers of Aboriginal people
Tumult of death – 400 suicides in last three years
30 suicides in the last three months as we wait for promises to be kept
Suicide crisis – genocidal numbers
Suicide crisis – from tragic to catastrophic
Suicide crisis needs real funding and actions
Hundreds more will suicide if we wait for 2015
Nothing will be done about suicides crisis
Elders across Australia say governments need to listen to them on how to address youth suicide
Suicides – western society and ancient cultures clash
If we are serious about suicide prevention
Australia's suicide crisis should not be played down – the media must highlight it
From my father's death bed to the must-do to end the suicides
Governments promise on ending suicides must come good now
More confirmation of what everyone knows, was suicide prevention inadequate
The must-do need to listen and trust if suicides crisis is to end
Working together – mental health and suicide prevention roundtable
Break the taboo around suicides, we reduce suicides
Suicide crises born of Australia's inhumanity
Suicides crisis linked to incarceration
Wes Morris urges funding for cultural methodologies
The betrayal of our children – the Northern Territory
New project offers hope to reduce Aboriginal and Torres Strait Islander suicides
Depression and suicide prevention must be top of the agenda this century
World Suicide Prevention Day – suicide takes more lives than war
Western Australia – 1 in 13 in a jail, a bullshit state of affairs
Yiriman saving lives in the midst of the Kimberley's suicide crises
The smaller a community, the less likely a suicide
Overcoming disadvantage report shows disadvantage not overcome
600 Black deaths in custody by 2025 – jail numbers to soar
Get out of the way – Aboriginal suicide rates will drop
A nation shamed when the solution for its children is homelessness
Christmas, a period of vulnerability for many
Stop peddling lies $30 billion spent on Indigenous disadvantage is a lie
To end our trauma government must stop the assault on our people and our culture
In Australia there is the Aboriginal rights struggle
Kirstie Parker, Mick Gooda say enough of fine words – close the gap a big fat lie
Highest child removal rates in the world worse than Stolen Generations
Other media:
A nation shamed when child sees suicide as the solution
Families urged to look after each other as suicide rates soar
Response to rash of suicides in remote WA regions
ABC 7:30 Report – Deaths in custody and jail rates


text:
By the end of the week my cinnamon swirl bread was no longer as fresh as it had once been and that meant that it was time for French toast. French toast is a dish where bread is dipped in an egg mixture and then fried until golden brown. It can be a savoury dish but more commonly it is served as a sweet dish and I enjoy smothering it in maple syrup. French toast is super easy to make and it takes almost no time at all. You simply mix some eggs and milk, dip the toast in, fry it up and then top as you like. This cinnamon swirl French toast was the perfect end to an amazing cinnamon swirl bread!
Cinnamon Swirl French Toast
Cinnamon swirl bread dipped in batter, fried until golden brown and served smothered in maple syrup.
- 1/4 cup milk
- 2 eggs
- 1/2 teaspoon vanilla
- 4 slices cinnamon swirl bread
- butter
- maple syrup
- Mix the milk, eggs and vanilla in a wide dish.
- Dip the bread into the egg mixture to coat on both sides.
- Melt some butter in a pan and fry the slices of bread until golden brown, about 3-4 minutes per side.


text:
While federally-run parks get most of the attention, state parks are an abundant and hidden gem in most locales. Visit on days where the entrance fee is waived to make an inexpensive visit a free one.
Photo by Simon Hua.
The entrance fees charged for state parks vary from no fee, to a flat fee per vehicle, to a per-head fee for adults and children. Compared to the cost of a few hours at the cinema a trip to a state park is a veritable bargain. You can, however, make it even more economical by taking advantage of free days. At the debt reduction blog No Credit Needed they've cataloged the fees and discount days for all US states, so whether you're looking for a free day or just to see if you live in one of the states where park access is free all the time you'll find what you're looking for. Here is the listing for Georgia:
Georgia State Parks
– Georgia has 64 state parks. The parks charge a flat $5 per vehicle daily-use [fee]. Georgia has two pretty awesome ways to enjoy its parks – for free! Each Wednesday, the daily-use fee is waived. That's right. [Wednesdays] are "free days" at Georgia State Parks. Also, if you have a
valid library card in the state of Georgia
(link opens pdf file) – you can "check out" a park pass, and visit any Georgia State Park – for free!
If that last part about checking out park passes from the library caught your eye you'll definitely want to check out how you can use your local library for free museum, concert, and event tickets. Visit the link below to see what the fee structure and free days are in your state. Have a tip or trick for saving money on recreation? Let's hear about it in the comments.
Daily Use Fees and Free Days for State Parks [No Credit Needed via Five Cent Nickel]


text:
boiled potato 2-3,peeled and cubed
onion 1 medium sized thin sliced
green peas 1 cup (I used frozen packet)
ginger -garlic paste 1 tsp
coriander seeds crushed 1 1/2 tsp
chilly powder 1 tsp or as per spice needed
garam masala 1/2 tsp
cumin powder/cumin seeds crushed 1/3 tsp
turmeric powder 1/4 tsp
amchur powder 1/2 tsp
garam masala 1/2 tsp
cilantro 4 sprigs chopped
for the cover /wrap
all purpose flour 1.5 cups
wheat flour 1/2 cup
oil /ghee 2tsp
ajwain/carom seeds/ ayamodkam 1/2 tsp
salt to taste
cold water 7-8 tbsp
oil for deep frying
for the filling preparation-
- Heat oil in a pan and saute onions for 2 minutes.
- Saute ginger garlic paste, and then add the spice powders,crushed spices and toss.
- In the meantime,add the potatoes cube in a microwave safe bowl .Microwave high on 10minutes.OR Pressure cook the potatoes for 3 whistles,peel the skin and cube them.
- Add the semi cooked potato cubes and green peas.Cook on low-medium heat till its completely cooked(takes about 15 minutes).Add in amchur powder and switch off flame
- It takes about 10-15 minutes and the filling is ready.Cool down completely before filling.
(the filling and the prepared traingles) |
for the wrap/ cover-
- Sift the flours and mix salt,oil,ajwain and water.Knead the dough as like chapati for 5 minutes,cover and keep aside for an hour.(Keep the dough firm)
- Divide the dough into small balls slightly bigger than that of poori and roll it using a rolling pin and dust with flour if required.
- Cut the formed circle into 2 semicircles.Make 2 triangular cones and stick at the joints by pressing gently.
- Take a spoon and fill the filling in the cones without disturbing the shape of cones.
- Repeat the same till the dough or filling gets over.
- Place the prepared cones in a tray greased with oil.
- Heat oil in a non stick pan or wok and wait till oil is hot enough.Slide in the filled traingles,deep fry till golden brown on both sides.Place on medium heat and turn frequently so that you get a even color.Remove from oil and place on a paper towel.
- Serve hot with tamarind chutney /green mint chutney /tomato ketchup.We had with green mint chutney and tamarind dates chutney !!
* You can dry roast the coriander seeds and cumin seeds and lightly crush them and add.
* Adding onions to the filling is optional.I generally love to add.You can even add green chillies and reduce the chilly powder.
* You can add dried anardana(pomegranate seeds) too to the filling.
* The dough should be firm and not very elastic. You can use maida alone to make the dough which yields more crispier version of samosas.
* The rolled discs shouldn't be very thick or very thin.
* Make a thin paste with all purpose flour and water.Apply it on the sides to seal carefully if the dough is not sticky enough.Else they tend to open up when fried in oil.
* You can use all purpose flour alone to make the cover.
* Don't keep the flame on high or too low.Too high brown it up fast and the inside doesn't cook and too low absorbs more oil.


text:
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von Wettberg, E J B and Chang, P L and Başdemir, F and Carrasquila-Garcia, N and Korbu, L B and Moenga, S M and Bedada, G and Greenlon, A and Moriuchi, K S and Singh, V and Cordeiro, M A and Noujdina, N V and Dinegde, K N and Shah Sani, S G A and Getahun, T and Vance, L and Bergmann, E and Lindsay, D and Mamo, B E and Warschefsky, E J and Dacosta-Calheiros, E and Marques, E and Yilmaz, M A and Cakmak, A and Rose, J and Migneault, A and Krieg, C P and Saylak, S and Temel, H and Friesen, M L and Siler, E and Akhmetov, Z and Ozcelik, H and Kholova, J and Can, C and Gaur, P M and Yildirim, M and Sharma, H and Vadez, V and Tesfaye, K and Woldemedhin, A F and Tar'an, B and Aydogan, A and Bukun, B and Penmetsa, R V and Berger, J and Kahraman, A and Nuzhdin, S V and Cook, D R (2018) Ecology and genomics of an important crop wild relative as a prelude to agricultural innovation. Nature Communications (TSI), 9 (1) (649). pp. 1-13. ISSN 2041-1723