text:
Spanish IGCSE (Distance Learning) at National Extension College *Fees Payable*
Course description
As the second-most widely spoken language in the world, the advantages of being able to speak Spanish are clear. With more than 350 million native speakers, an understanding of the language carries benefits for both business and social applications. Learning Spanish will give you a better understanding of the way other Latin languages such as French are structured, and is also considered to be one of the easiest languages for English speakers to learn. If you wish to study a foreign language at a more advanced level or are simply interested in learning Spanish for pleasure, this IGCSE forms the perfect introduction.
You should allow for between 120 and 150 hours' study time, plus additional time for completing assignments. You will have tutor support for a period of up to 18 months from the date of enrolment.
Course content
Module 1: Introductory skills
- Studying a foreign language
- Vocabulary
- Listening and pronunciation
- Grammar
- Talking about yourself
- Talking about family and friends
- Finding holiday accommodation
- Ordering drinks and snacks
- Directions
- Telling the time
- Shopping for food
- Getting what you want
- Travel and transport
- Enjoy your meal!
- Interests, hobbies and healthy living
- Town and country – holiday activities
- The environment
- School, work and getting a job
- Home life
- People and relationships
- Future plans – careers and holidays
- Talking about past events
Entry requirements
No previous knowledge is required for this course.
This course follows specification 4SP0 from the awarding organisation Edexcel. Full details of the specification can be obtained from Edexcel's website.
Three exams: 1hr30m (50% of marks), 40m (25% of marks) and 10m (25% of marks)
Sixteen assignments
No coursework
All exams must be taken in the same session
From 2014 an oral exam will be compulsory. We understand that this can be difficult to arrange as a private candidate, so to try and make things easier NEC students can enter for their written exams at one of our partnership centres, and then sit the oral exam here at NEC in Cambridge.
Financial information
It's your choice: pay in full and discount your course fees, or spread the cost with our finance offer. To pay in instalments, you will need to enrol by telephone.
Representative example:
Deposit: £39.50
Amount of credit: £355.50
Monthly payment: £59.25
Duration of agreement: 6 months
Total repayable: £395
Rate of interest: 0% (fixed)
0% APR representative.
For enrolments in the UK there are no additional postage and packing charges. For enrolments outside of the UK the following postage and packing charges apply:
- EU – £75 for the first course and £40 for second and subsequent courses
- Rest of the world – £130 for the first course and £70 for second and subsequent courses
Further information
This course is entirely self-contained so no additional textbooks are required.
This course comes with the Palgrave Macmillan Breakthrough Spanish 1, Euro edition book and accompanying CDs.
How to apply
If you want to apply for this course, you will need to contact National Extension College *Fees Payable* directly.


text:
About MisterHux
Saturday Delivery is awesome. As a small business owner I actually need it, since it effects when I send out invoices and such (some companies require ACTUAL mailed invoices before they will pay, ludites)
I think it might easy to "remember" real history in Turtledove's case considering that his 2 more famous series deal with Aliens during WW2 and the South winning the American Civil War.
1TB - 2GB is 998GB not 98GB
It's actually 998GB
There is also this little thing called health insurance. Canada has it and we don't. Down here in 'merica we usually get it through employers, and the health insurance companies don't deal with small companies. Since they don't its really expensive to get it. There was actually an article in Inc. about this a few months ago, but the example they used was Finland.
Sueing before the deadline, the only innovative thing to come out of Lodsys.
If we don't have the machines then the terrorists win.
NPR is only "Liberal" because it makes you think.
Conservatives don't like that cause they would rather tell you want to think.
Actually, there is a precedent that they will be quite successful. WAAAAAAY back in 2003 Half-Life 2 was leaked to the internet. At first the dev's were worried that they were done, but in the end they ended up selling 12 million copies.
I bring this up cause there was a recent article about the whole issue in eurogamer.

subset: commoncrawl


text:
Paul Revere pottery was made at several locations in and around Boston, Massachusetts, between 1906 and 1942. The pottery was operated as a settlement house program for teenage girls. Many pieces were signed S.E.G. for Saturday Evening Girls. The artists concentrated on children's dishes and tiles. Decorations were outlined in black and filled with color. Glazes were solid colors with a matte or glossy finish.
Enter your email below to receive Kovels Komments for the latest antiques & collectibles news, answers to readers questions, marks and tips. In your inbox every Wednesday.
Current & Past Issues
Buyer's Price Guide
Words of Wisdom (Letter to Lee)


text:
Pages: 1
Hey fellas! My name is Tyff I'm kinda new here.. well, I joined yesterday Uhh, I've already posted one drawing and so far I have noticed that everyone here is so nice and friendly I hope to get along with everyone here!!
Anyway, I am an amateur artist. I used to watch anime when I was young, and so my fascination with those kinds of drawings lead me to my usual drawing style today. But I loooove all kinds of arts though. From classing cartoon drawings to oil paintings (I especially love how the artists play with the colors), to digital arts. I appreciate every kind of art that's shown to me. And, even though I didn't take the course to enhance my skills in this field, I still continue on being as creative as I can be everyday )
Pages: 1
About RateMyDrawings Terms & Conditions Advertise on RMD Privacy Policy Donate Behavior Guide
Mixart New Media LLC. Online Art Communities
As creators of drawings, you own the rights to your own drawings. Respect copyright protected artwork.
More information in our Terms and Copyright Policy.


text:
Paul and I went Christmas shopping at the weekend to our local shopping "mall". We figured it would be sensible to go early and avoid large crowds but we forgot that there's one thing that malls attract at any time of the year and that's large crowds. No matter. We had lunch at Yo! Sushi, a rather overrated fast food Sushi Bar that promises far more than it can offer, particularly on a Sunday lunchtime. Our fast sushi was followed rather curiously by some Krispy Kreme donuts which do not taste the same over here as they do in the US. Why is that?
Anyway, to cut a long, tedious story slightly shorter, we popped into Hotel Chocolat. I am already a member of their tasting club and often spend many a lustful lunch hour drooling over their expensive looking chocolates, which are actually quite reasonably priced, considering their admirable ethical policies, which can often price other chocolate brands out of the "normal" buyers market.
After 10 minutes spent running around like a child in a candy store (that would be an oversized grown up in a posh chocolate store then), we purchased a gift for one of Paul's employees, an advent calendar for me and several of their mini slabs of chocolate. At this point, Paul is trying frantically to usher me over to the cashier when I spot a selection of rather unusual cooking ingredients. Chocolate Balsamic Vinegar? Cocoa Pasta? Cocoa Bean and Chilli Olive oil? These guys really are putting their neck out selling this kind of artisinal (read: slow selling) ingredient.Never did this seem truer than when the cashier asked me to let him know how the pasta tastes as they "don't seem to sell a lot of it".
So, I picked up a packet of the cocoa pasta, intruiged by its rich colour and £5.00 price tag (possibly what puts other customers off). Would it really taste of cocoa or just dye all my other food brown? I couldn't wait to try it and find out.
I was tempted with a savoury sauce but Paul wanted Macaroni Cheese for tea. OK, so we'll have Macaroni Cheese followed by Cocoa Pasta Pudding for dessert.
He set to work on the Mac and Cheese and I pondered the Chocolate Pasta sitting in front of me. I have always had a soft spot for my mum's baked Macaroni Pudding which is a derivition of Rice Pudding, which is to say, rice (or pasta) baked in milk with sugar in the oven over a low heat. Sounds plain and I suppose it is, but it's good plain. Comforting, nursery food.
So, to keep things simple (and dodge the flying pans and flecks of grated cheese as Paul prepared his meal), I simply poured the dried Cocoa Pasta into a baking dish and covered it with a mixture of cream and milk, then sprinkled it with some soft brown sugar. I cooked it in the oven at a low temperature (150c) and checked after 30 minutes to see if it needed any more milk. It did.
After a little while in the oven, the kitchen was filled with a rich aroma of chocolate. Imagine if you were baking a chocolate cake – this is exactly how the pasta smells. Intruiged at how deeply chocolately it promised to be, I managed to eat a large plateful of Mac N Cheese and then wondered at how I could possibly eat yet another pasta dish that night.
But in the spirit of the experiment, I managed to dish some up and try it. As you can see from the picture below, it looks a little gruesome, a little gungy and a lot unappetising (and this was one of the better shots of it), and I felt that it needed an extra chocolatey hit to make it "pop!" flavourwise, so I added a sprinkling of choco-caramel chips and these melted quite delectably over the pasta, adding a further dimension to the dish.
My opinion of the pasta served as a pudding is somewhat mixed. The pasta didn't taste strongly enough of the cocoa to flavour the dish discernably and this was my reasoning behind using a fairly bland, creamy sauce. I wanted to taste the pasta and to be knocked out by it. Unfortunately this didn't happen. However, I suspect that it may work better with a spicy tomato sauce, something that the cocoa can enhance rather than be the main ingredient.
So, stay tuned for Part 2 of our Cocoa Pasta Experiment – The Savoury Course and, if you've tried Cocoa Pasta, I'd love to know what you thought of it and how you prepared it!
Cocoa Pasta is available via Mail Order or instore from Hotel Chocolat.


text:
Take action!
Submit a paper:
The deadline for submissions is 18th of January, 2013. Accepted presenters will be informed by February 1st, 2013.
The form of submission is either full paper (maximum 25 pages) or extended abstract (6 pages). The submissions should be sent to the following email address: firstname.lastname@example.com
Participate in the online community:
You can share your knowledge about RTI related matters in our online community here.
Sign up for the conference:
You can sign up for the conference and upload your submission here. You can also participate as an observer, without submitting a project or a paper.
The workshop will be organized at Stanford University in March 11-12, 2013. The workshop is being organized by the Program on Liberation Technology at Stanford University, an interdisciplinary program at the intersection of political science, computer science and design engineering.
There is no fee for participating in the conference, and participants are expected to make their own travel and lodging arrangements.
Contact Information:
Tanja Aitamurto
Vivek Srinivasan


text:
Dhanush Best HD Photos (1080p)
Download photo as Android/iPhone Wallpaper
Download this "Dhanush Best HD Photos (1080p)" to use as your Android Wallpaper, iPhone Wallpaper or iPad/Tablet Wallpapers in HD Quality. As well as you can use this image as your WhatsApp DP or Facebook profile picture and cover photo.
- 1737
- 178
- 558x558


text:
Michael Lucker Returns to Atlanta with Screenwriter School/
2013 festivalgoers may remember Michael Lucker from our "Succinct Seduction" panel on the Art and Science of Oneliners and Elevator Pitches. A one-time assistant to Steven Spielberg, Lucker has written more than twenty feature screenplays for studios such as Paramount, Disney, DreamWorks, Fox, and Universal (including "Vampire in Brooklyn," "Home on the Range," and the Academy Award-nominated "Spirit: Stallion of the Cimarron"). He is offering a unique opportunity to share his expertise with local writers by hosting a session of his renowned Screenwriter School on March 8th and 9th. Over the course of two seven-hour days, aspiring writers will be guided from the germ of an idea to the final pitch, learning everything they need to know about crafting a successful screenplay.
A lot of screenwriting teachers claim to teach what you need to make it in the movie biz – but how many of them have actually done it? At Screenwriter School, Michael will teach you how to go from first idea to first sale – the way only an experienced screenwriter can do it.
Learn more about the Writer's Weekend here, or register now.
ATLFF members should watch for an email with a discount code coming to your inbox soon.


text:
Teacher resources and professional development across the curriculum
Teacher professional development and classroom resources across the curriculum
Author: The Last Poets
Works: "On the Subway" and "Jones Comin' Down" from The Last Poets' self-titled CD (1970).
Cathie Wright-Lewis uses critical pedagogy to help students understand the political underpinnings of Abiodun Oyewole's spoken word poetry, and to learn how to express their own political beliefs. Her lesson teaches students how poetic language can create emotional and rational arguments.
To prepare for the lesson, view The Expanding Canon video program 8, Part I. Online, review the Session 8 theory overview, strategies, information about the authors and literature, resources, and the downloadable print guide. Review "On the Subway" and "Jones Comin' Down" from The Last Poets' self-titled CD (1970) -- "On the Subway" transcript available in the print guide.
Teachers will need the following supplies:
Standards for the English Language Arts
Day 1
1. After Cathie Wright-Lewis writes the word "griot" on the board, she and her students discuss the West African griot tradition, that includes questions such as:
3. Wright-Lewis urges the students to become griots by observing and writing poetry about their own environment. She asks them to be descriptive in their observations of their surroundings. The students discuss how clothing and style can define a particular time, answering questions such as:
6. Wright-Lewis tells the students that they will have an opportunity to write a poem similar to the poems they have just heard. She divides students into three groups and asks students to imagine themselves in a different place in their neighborhoods -- on the bus, in the hallway, on the street. Using The Last Poets' work as a model, the students craft poems -- either individually or collectively in their small groups -- that reflect the politics of the times.
7. After students share these poems aloud, others in the class comment on the language that they hear in the poems.
8. Wright-Lewis tells students that they will have a chance, at a local poetry workshop, to speak with poet Abiodun Oyewole. She asks the students to prepare questions and to bring any poem they might like to share.
1. Wright-Lewis introduces poet Abiodun Oyewole to the students attending the poetry workshop. Oyewole performs his poem "Jones Comin' Down" and answers students' questions. (Teachers may want to show students a clip from The Expanding Canon video program 8, Part I, featuring Abiodun Oyewole and/or a video of other spoken word artists.)
2. The students read their poetry to Abiodun Oyewole, who then provides feedback.
© Annenberg Foundation 2017. All rights reserved. Legal Policy


text:
Deciding to sell your home is a crucial decision and the selling process can be quite demanding. At Coldwell Banker Residential Brokerage, we are committed to making the sale of your home quick, easy, and profitable. Here's a checklist to help you get started:
Hire a Sales Associate
Contact one of our sales associates directly. Use the Sales Associates Search to locate a particular agent or the Office Search to locate a regional office in the area in which you're looking to buy. Look for a sales associate that utilizes tools and communications techniques you are comfortable with:
Start planning early
Start weeding out your current possessions. Throw out, give away, or sell the things that you don't want to move at a yard sale.
Start packing early
Anything that you are sure you will not be using before moving day should get boxed.
Identify your home's flaws or problems Sellers are obligated to disclose any major problems or flaws in the structure or property, including things like dry rot, termites, asbestos, or a new highway slated to run nearby. The disclosure requirements vary by state, but if you fail to mention the leaky roof or flooding basement, you could be sued for fraud.
Decide what goes and what stays
Before you start showing your home, you need to decide what will be included in the sale. If you want to take your washer and dryer with you, tell serious buyers before negotiations start.
Get the house in "showcase" condition
Small cosmetic touches can increase your home's value by thousands.
Suggested Exterior Improvements
Suggested Interior Improvements
Suggested Staging Tips
Here are some staging tips that you can use to increase your house's emotional appeal.


text:
Ryan Madry is in his sixth season as a UC Santa Barbara assistant coach. He is one of the staff's primary recruiters and he also handles numerous on-court duties.
Madry spent the 2010-11 season as the Director of Basketball Operations at Cal State Fullerton before joining the Gauchos' staff.
Before his one year stint as the Director of Operations for Bob Burton at Fullerton, Madry spent two years (2008-10) as the Video Coordinator at the University of San Francisco. In 2007-08, he was the co-Head Coach at West Valley College, where he also played for two seasons, and in 2006-07 he assisted former UCSB assistant coach Danny Yoshikawa at West Valley. Madry's first coaching experience came in 2005-06 at his alma mater, the University of West Georgia, where he was a graduate assistant.
A native of the Bay Area, Madry played two seasons at the University of West Georgia and was co-captain his senior season. He earned his BS in Sports Management from West Georgia in 2006. Madry also played a pair of years at West Valley and, like his predecessor Jono Metzger-Jones and former Gaucho great Brian Shaw, he is a product of Oakland's Bishop O'Dowd High School.


text:
Today I was lucky enough to visit the Pier 24 exhibit A Sense of Place before it closes at the end of May. Pier 24 is an amazing, free photography museum right under the Bay Bridge. Only 20 people are allowed in at a time to view an amazing selection of photos. This exhibit explores how photographs shape our perception of environments. I really enjoyed seeing work by Paul Graham, Stephen Shore, Robert Adams, Edward Burtynsky, Todd Hido, and Rinko Kawauchi. The absolute highlight was an entire room full of Lee Friedlander's America by Car series. Unfortunately this book is currently out of print. And speaking of print, Pier 24 has exhibition catalogs from some of their previous shows available at very reasonable prices. The next exhibit is scheduled to open in August of 2014.
Time-lapse technical details: The time-lapse was shot with a Ricoh GR camera on a strap around my neck. The exposures were 1/30 at f/4, ISO 800. The camera was set to shoot small jpegs every 2 seconds. The resulting 1,425 images were minimally processed and then cropped to 1280x720 in Lightroom. The time-lapse was assembled and output in Photoshop. Titles and music were added in iMovie. The music is Perfect Dream from the 2006 self-titled album by Natural Dreamers.


text:
Mafia port in Italy will host transfer of Syria's chemical weapons
A couple of months back, the drugs and weapons found beneath a thicket of red and white cranes in the mountains of shipping containers at Italy's port in Gioia Tauro led U.S. and Italian law enforcement to arrest 26 members of the Gambino and 'Ndrangheta crime families.
It's the sort of thing expected of a port nicknamed "The Cathedral of the Mafia," the place through which an estimated 80 percent of Europe's cocaine flows.
Later this spring, though, Danish and Norwegian sailors will transfer the worst bits of Syria's chemical weapons arsenal onto the American MV Cape Ray, and U.S. sailors will take it out to sea for destruction. Experts excitedly note that this will make the world a safer place.
Making the world safer isn't the sort of thing commonly associated with this port, found about where the laces would begin near the toe of the boot of Italy.
"At first there was worry that we wouldn't be safe with the chemicals here, but this is our chance to play a role in world peace," resident Antonio Forelli said as he stood near the port in February. "We like that. It's different for us."
The nearby coastline is dramatic, with orange and olive groves rolling down steep hills toward sharp cliffs or sandy beaches. Medieval towns dot the landscape. The always active Stromboli island volcano is occasionally visible on the western horizon.
The port is considered one of the foundations of the wealth of the 'Ndrangheta crime family, a Mafia clan that accounts for an estimated 3.5 percent of Italy's annual gross domestic product and is said to make more money in a year than McDonald's.
If destroying a massive and lethal chemical-weapons arsenal is a dangerous road-trip movie, this is the sort of block they'd pick in Hollywood as a location for the story.
And make no mistake: What will happen here once the ships arrive is of an epic scale.
"I think the importance of eliminating Syrian chemical weapons has been underestimated by politicians and journalists alike," Greg Thielmann, a senior fellow and chemical weapons expert with the Arms Control Association, wrote in an email answer to questions. "The elimination of Syrian chemical weapons is an historic and critical milestone in the international community's 90-year effort to end the scourge of chemical weapons – a pariah even among the awful tools of war."
Right now Danish and Norwegian ships are loaded with all of Syria's mustard gas, according to the Organization for the Prohibition of Chemical Weapons, and something short of half of the most dangerous precursor chemicals for mixing into the deadly sarin and VX gases. Once they have all of those dangerous precursors, a load expected to total about 617 tons, they'll steam away from Syria. To meet them, the MV Cape Ray will leave its spot along the Spanish Atlantic coast. Gioia Tauro is about halfway across the Mediterranean Sea.
When they meet here, the port – one of Europe's busiest – will shut down for 48 hours. The crane thicket will pull the containers of dangerous chemicals from the Danish and Norwegian ships, and load them straight onto the Cape Ray. A U.S. defense official, who spoke only on the condition of anonymity because she wasn't authorized to talk to journalists, said the transfer would be ship to ship, that the chemicals wouldn't set down even temporarily on Italian docks.
With that cargo, the massive Cape Ray will push off into the Mediterranean, where its two Field Deployable Hydrolysis Systems will be used to neutralize the chemicals. It will be the coda to the Syrian chemical weapons story that's gripped much of the world since last August, when missiles carrying deadly sarin rained down on two Damascus suburbs, killing hundreds.
But for those who work in the field, there have been few arsenals more troubling than Syria's for more than a decade. Until recently, the size and lethality of the stockpile could only be guessed. The stockpile was secret, kind of. Unofficially it was a Syrian answer to Israel's equally almost-secret nuclear and chemical weapons programs. Neither nation's stockpile could be completely secret, in order to work as a threat, but mystery shrouded both.
Since the Syrian civil war broke out in 2011, concern about the country's weapons had been growing fast, as experts wondered whether it was truly secret, truly safe. Among the resistance to the government of Bashar Assad, there's a sizable contingent of fighters who are tied to groups that either are associated with or in competition with al Qaida.
Many think that a fear of terrorists obtaining such a sizable chemical weapons stockpile has shaped international, and certainly Western, reaction to the war. An estimated 150,000 people are estimated to have died in that conflict.
Jean Pascal Zanders, one of the world's leading experts on chemical weapons policy, said the savagery of that war should never be overlooked. At the same time, eliminating the Syrian arsenal is a sign of global hope.
Syria's arsenal is something of a white whale in the anti-chemical-weapons world, in recent years perhaps trailing only the stockpiles in Russia and the United States, both of which are in the process of a decade-long destruction program.
Syria was one of seven nations that hadn't signed the Chemical Weapons Convention but were thought to possess such weapons. The others are Angola, Egypt, Israel, Myanmar, North Korea and South Sudan. Experts question the size and age, and even existence, of several of those arsenals. And while North Korea is always a wild card, Syria was thought to be the greatest threat to use or lose its weapons. The desire to convince Assad to destroy the stockpile was high.
"The hope is that the progress in Syria will lead to progress elsewhere, at least in the region," Zanders said. "What's happened to date is very good news for the rest of the world. What is expected to come soon is even better."
Michael Luhan, the spokesman for the Organization for the Prohibition of Chemical Weapons, noted that the international deadline agreed to with Syria for the destruction to be complete is June 30, and that "We're not at all on track, according to the original plan."
Even an amended deadline for removing all the most dangerous chemicals, those that the Cape Ray will destroy, by the end of this month looks a bit dicey, as the Syrian pace for delivering chemicals to the boats waiting at Latakia appears to have slowed. The last delivery was on April 4, and the one before that was March 20. At this point, less than half of the most dangerous (Schedule 1) chemicals have been loaded.
However, while past chemical weapons-destruction programs have taken many years, the Organization for the Prohibition of Chemical Weapons has accomplished quite a bit in Syria in seven months. All of Syria's manufacturing, mixing and chemical loading equipment has been destroyed, the organization says. With the removal of all the mustard gas, no chemical weapons remain in Syria today, according to the organization, though there are chemicals that can be mixed to form them (the group says 86 percent of the Schedule 2 chemicals needed for that process are on shipboard at this point, however).
Richard Guthrie, a former project leader of the Chemical and Biological Warfare Project at the Stockholm International Peace Research Institute, said the progress would have been a dream scenario a year ago.
"In five years, we won't look back and be disappointed that deadlines weren't met," he said. "If we'd followed normal process, we'd still be in the middle of the planning stage. But this wasn't a normal situation, and I believe that when we look back, we'll be thrilled that a serious threat was eliminated so quickly. That's how we should define success."
Email: firstname.lastname@example.com
Twitter: @mattschodcnews


text:
Mid Wales Highlights & Brecon Beacons - Sun 2nd June 2019
- Duración: 5 Días
- Código de producto: PWPBJS
Boasting some of the most spectacular scenery in the UK, this holiday includes views of the Brecon Beacons and the Cambrian Mountains. Based in mid Wales - our hotel is the superb 4* Metropole Hotel in the Victorian Spa town of Llandrindod Wells - a lovely little town to explore. Its also an ideal base to explore the area, and there is much to see. A very popular holiday. Holiday includes an excursion to the amazing Powis Castle.
Also included is a lovely steam train ride through the picturesque Rheidol Valley from Aberystwyth and a canal boat trip in the Brecon Beacons.
After being collected from your home (approx 8.00am) we have refreshment stops as required before arriving in Llandrindod Wells late afternoon.
In the morning we head north with a lovely drive through winding A roads to Powis Castle. One of the real treasures of the National Trust, this imposing medieval castle enjoys panoramic views and has extraordinary terraced gardens. Price including entrance. NT Member discount - £10
Today we head West in to the mountains - enjoying the wild mountains and scenic Elan Valley From here we have a fantastic journey to Aberystwyth on the coast where we board the steam train which winds it's way through the Vale of Rheidol to Devils Bridge.
Another lovely day today as we head to the charming town of Brecon where we join our canal boat for a memorable journey through the splendid Brecon Beacons. Canal cruise included.
We head home with comfort stops as required - returned to your home via our home collection service around 5.00pm.
Meal plan - Dinner Bed & Breakfast
4* Metropole Hotel
This privately run luxury hotel enjoys an excellent reputation and is ideally located in the elegant town of Llandrindod Wells. This traditional Victorian hotel enjoys modern comforts with a lovely atmosphere - there are lounges that you can relax in, enjoy a coffee or why not enjoy a drink in the stylish bar.
The award winning restaurant is a particular highlight of the hotel - choice of menu for your evening dinner and a lovely Full 'Welsh' breakfast. All the hotel bedrooms are comfortably furnished with en-suite private bathrooms, Flatscreen TV, hair dryer and tea/coffee making facilities and WiFi. Passenger lift to all floors.
Hotel images - Metropole Hotel


text:
Twilight Producers Sue To Stop Fashion Design Firm From Pointing Out That 'Bella' Wore Its Jacket
from the factual? deptAs recently mentioned, we've been seeing more and more "publicity rights" type claims, that seem pretty problematic from a basic free speech standpoint. Take, for example, this new lawsuit, filed by Summit Entertainment, the studio that produces the Twilight movies, against fashion designer B.B. Dakota. The backstory here is that, apparently, the character of "Bella" in the Twilight movies was supposed to wear a brown hoodie, but it didn't look right:
'I was planning to use the brown hoodie for that sequence, but the director of photography hated the fact that her hair and the jacket were both brown and felt she got lost in it,'' says Chuck, who then made a last-minute run to outlet store Nordstrom Rack to hunt for a replacement. ''I literally brought that blue one on set just before they rolled cameras. Then Catherine said, 'Wendy saved the day!' That made me a hero.''Sensing an opportunity, B.B. Dakota reissued the jacket with an advertising campaign around the fact that it was worn by Bella in the movie. That's a factual statement. But, of course, Summit doesn't want anyone profiting from what it's done without paying them first, so it's suing. This isn't new for Summit, of course. It's sued to stop a documentary about the town where the Twilight movies take place, as well as shut down a Twilight fanzine. Now, to be fair, B.B. Dakota did rename the jacket the "Twilight Jacket." So, yes, it's clearly trying to capitalize on the association. But, it's a factual association. Why should that be illegal?
Filed Under: bella, branding, facts, jackets, twilight
Companies: b.b. dakota, summit entertainment


text:
Free Office Finder
Free Office Finder Ltd represent a wide network of office space providers and the unique way in which we are funded by the providers and independently operated ensures that the service we deliver is completely impartial and driven by the needs of our clients.
Within 1 mile
Within 3 miles
Within 5 miles
Within 10 miles
Within 15 miles
Within 20 miles
Within 30 miles
Within 40 miles
© 2019 Commercial Property Now!
Commercial Property Now! is a trading name of Hypergalaxy Ltd


text:
On a sultry morning in early August, the sculptor Andy Goldsworthy stood in a quarry in Stony Creek, Connecticut, watching the heart being burned out of a ten-ton granite boulder. Eighteen of these tawny-gray brutes, varying between three and fifteen tons, are to be scattered around a space measuring a hundred and twenty feet by thirty-five on the second-story roof terrace of the new extension of the Museum of Jewish Heritage, in Battery Park City. The hollowed rocks will then be filled with soil, and, on September 16th, Holocaust survivors will plant a dwarf chestnut-oak sapling in each one, creating a memorial Garden of Stones.
Ten feet away from Goldsworthy, the stonecutter, Ed Monti (who is the son of an Italian immigrant quarryman), stood on an upended milk crate, draped in a yellow safety coat, his head masked by a black welder's helmet, pointing a six-foot shoulder-mounted lance at the half-eaten core of the lichen-webbed rock. From the nozzle of the lance a propane-ignited mixture of kerosene and oxygen hit the stone at around four thousand degrees Fahrenheit, generating a jet-engine roar. Sprays of sparks erupted about Monti's cowled head as the granite slowly yielded to his gouging flame. It can take twenty-two hours of this relentless attack to turn the largest boulders into scooped eggs.
Amid the din, Goldsworthy, a wiry Englishman in his forties with a habitually frank and friendly expression, observed the burning intently. The rock surrenders to the fire, he said, because fire created it in the first place. But fire cleans as well as sculpts. Shooting flames at granite not only reënacts primordial geology but converts the incinerations of genocide into the flames of sanctification.
Monti, a short, stocky man in his seventies, with a creased, nut-brown face, was unconcerned with these grand meditations. After about half an hour of concentrated fire, he descended from the milk crate and emerged from the helmet, haloed by clouds of steam produced by the cooling spray he runs at the same time as the fire-lance. He is more at home fashioning birdbaths and big neoclassical fountains, one of which was standing behind Goldsworthy's boulders like a duchess stranded in low company. Monti, who drives to the quarry every day from Quincy, south of Boston, made no secret of the fact that the job is more perseverance than pleasure, since kerosene fumes got inside his mask and red-hot splinters of flying rock sometimes burned through his protective clothing. Goldsworthy, too, who has been often scarred, frozen, and lacerated while making his strenuously wrought pieces, showed off fresh burn marks acquired on the job. "Dangerous work—can get nasty," Monti said in his flat Massachusetts accent, with a rueful smile. Jacob Ehrenberg, Goldsworthy's imperturbable young project manager, has had to deal with operatic Monti specials: tantrums over pay; impromptu walkouts. But on this morning Monti went at it with a will, looking, with his helm and spear, decidedly archaic, like a warrior on an Attic vase.
During a break from the burning, Goldsworthy, Ehrenberg, and I peered into the opened belly of the rock. The interior was speckled gray, with shreds of stone flaking away from the walls or pulverized into a granular silica, like sand on a beach, some of the grains glassily fused. John Ruskin's feverishly beautiful passages on "Compact Crystallines," in "Modern Painters," came to mind, in which he describes the glitter of granite as looking "somewhat like that of a coarse piece of freshly broken loaf sugar."
The cavity is conical, a form that much preoccupies Goldsworthy, who often declares a debt to Brancusi. Monti was working from the opened base and down the narrowing funnel. Once hollowed, the rocks are inverted, so that the saplings can sit at the neck of the boulder, atop their bed of earth. The disproportion between the hefty stones and the tiny, six-inch plants may risk looking absurd, but it will at least preclude any possibility of the stones' resembling the oversized planters commonplace in corporate atriums. Instead, a mysterious hatching will be inaugurated: the sprig from the rock.
The growth process of the sprouting menhirs, standing between the Hudson and Ground Zero, will not, however, be risk-free. Tom Whitlow, a Cornell plant ecologist whom Goldsworthy consulted, warned that if the growing tree should press against its unyielding stone girdle it could crush the living cambium immediately beneath the bark. In that case, the root system would atrophy and die. But unlike many contemporary artists, fretful about their posterity, Goldsworthy incorporates the indeterminate outcomes of natural processes into most of his work. Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.
Sometimes misread as a placid pastoralist, Goldsworthy is in fact a dramaturge of nature's temper, often fickle, often foul. A recent, very beautiful film of his work, "Rivers and Tides: Andy Goldsworthy Working with Time," must be one of the few documentaries in which an artist is seen enduring, repeatedly, the collapse of his own creation, as he attempts to build a cone of dark seashore stones. The idea, a dream of every seven-year-old sandcastle engineer, was that the cone should stand sentinel, almost submerged in the high tide, yet survive intact to reappear as the water receded. (After multiple failures, he finally pulls it off.) Similarly, Goldsworthy relishes the embattled growth of his dwarf chestnut oaks, contending with the jackhammer shaking of downtown construction, the judder of helicopter rotors on the riverbank, sudden gusts of estuarine winds, and the murky air of lower Manhattan. The plants' fight for survival against the odds is meant as an emblem of the Jewish experience they memorialize. "The trees I wanted couldn't be decorative," he says. "They needed to be tough little S.O.B.s."
On August 22nd, three weeks before the inauguration of the Garden of Stones, the last boulders were hoisted into their positions on the museum roof, and it was already apparent that Goldsworthy's sculpture would be one of the most powerful monuments in a city still struggling to find visual expressions for the tug between the perishable and the imperishable.
"Land art"—the genre in which Goldsworthy works—began in the nineteen-sixties, as an attack on the embalming of raw nature by the aesthetics of landscape. Of all the genres of painting, landscape, with its window view of the world, its dependence on the illusion of depth, was arguably the one furthest from two-dimensional abstraction. Even flattened out, its pastoral lyricism was at the opposite pole from the street-smart edginess that agitated New York Abstract Expressionism. But some sort of modernist encounter with nature was still possible. The founders of American land art—Robert Smithson, Nancy Holt, and Michael Heizer—aimed for an engagement with the outdoors that would break from the confinement of the rectangular frame; from freestanding sculpture that used a park or a landscape as an ornamental setting; and, above all, from the decorum of the gallery or the apartment wall. Instead of being a decorative placebo for urban angst, land art would, if anything, aggravate it, by frankly displaying what had become of the natural world in the age of industrial junk. The scenery—whether desert wilderness or the parking lots recorded in Smithson's "Monuments of Passaic"—would, photographically, at least, call the shots.
Land art was to be landscape's come-uppance. The place would own the beholder, not the other way around, since to experience Smithson's "Spiral Jetty," at the Great Salt Lake, or the earthworks that Heizer cut into the desert one had to travel a very long way from Madison Avenue. What was left for the dealers to display and sell was nothing more than the secondhand trace of the authentic work out there in the wilderness: a photographic or cartographic record. Galleries dutifully filled up with lists, journal pages, rambling manifestos on entropy, and studiously amateurish photographs. The unreproducibility of the original epiphany was precisely the point.
The response of British land artists to all these Big Sky-Bad Boy backhoe heroics was creative understatement laced with a smidgin of polite distaste. Trucking through the desert and shifting the dirt was fine for a country with millions of acres of unpopulated wilderness, but Britain was the opposite kind of place. Not an inch of its crowded landscape was unmarked by human occupation. So its land art needed to be practiced as though Wordsworth were still with us: it had to be respectful of ancient rights of way, reverently self-effacing. In 1967, Richard Long created "A Line Made by Walking"—a photograph of the darkened trail made by his tromping back and forth over the grass. The integrity of the piece assumed that Long's line would be temporary and that, by the time most viewers saw the record, the bruising inflicted on the landscape would have been naturally repaired. Instead of nature brushworked into art, British land art proposed a brush with nature, its materials discovered rather than appropriated. Although nature, however fleeting the visitation, cannot, of course, take its own likeness, and although Long's austere images were necessarily framed and staged, they rapidly acquired canonical status.
In the late nineteen-seventies, Andy Goldsworthy, then a student at Preston Polytechnic, in Lancaster, went to hear a "lecture" by Long that turned out to be a slide show accompanied only by country-and-Western music. Asked if he would comment on the images, Long, in keeping with his reputation as a monkish pilgrim traipsing the upland, declined. Despite—or possibly because of—the performance, Goldsworthy, who had worked as a farm laborer just outside Leeds since he was thirteen, responded to the appeal, mutely offered by the slides, of making art outside with found materials. Most promising young artists would have made a beeline for London. But Goldsworthy, upon escaping the claustrophobia of the drawing cubicle, headed for the sweeping shore of the Lancashire coast at Morecambe Bay, and there made his first constructions in stone.
Immediately, he encountered land art's Catch-22: the need for a record. The record might be photographic, or it could consist of allusions to the real thing—circles of slate laid on the floor, for example. But as soon as the stones entered the gallery space, not to mention the inventory of dealers and the collections of patrons, they lost the flinty integrity that came with their "on site" isolation. Even the Zen-Puritan Long understood that his gnomic trails—map coördinates, numeric and textual itineraries—were too arid to hold the viewer's interest, and he took to bringing into the gallery shorthand versions of his original experience. Whenever possible, the floor, rather than the wall—the conventional plane of display—was to be used, or, if the walls were covered, it was with exhibitions of thinly laid-on mud, not paint. The idea was to rough up museum manners by importing the raw fabric of outside work. Even so, when land art surrendered to the wine-and-cheese gallery opening, it had, by its purest lights, surrendered.
Goldsworthy, however, believes—as a matter of historical fact and his own individual taste—that the social and the natural are not mutually exclusive. Making a virtue of a dilemma, he co-opts gallery space as a collaborator in natural process: covering the floor with clay taken from a construction site on the grounds and letting it harden and split into craquelure, outside and inside joined in an unhappy marriage; bringing in giant snowballs, stained with the natural dirt or dye of their origins, and allowing the melt to make an image on large sheets of paper, a visual history of self-dissolution.
Alternatively, he makes the suburbs do unsuburban things, obliging them to remember the harder rural history over which they have been comfortably laid. A road-facing stone wall, built for a Westchester client, has embedded at its center a huge boulder that looks like an invader from glacial prehistory; another wall has a fallen tree trunk laid horizontally within the stones, guaranteeing, at some point, the wall's collapse. Goldsworthy is drawn to social landscapes. Not for him the epic remoteness of Michael Heizer excavating a cut in the Nevada desert, or the solitary, imperially guilt-burdened peregrinations of Richard Long in the Andes or the Himalayas. Goldsworthy welcomes collaborations with wallers and shepherds (including neighbors in Dumfriesshire, in southern Scotland), pulling into his art the densely packed memories of human and animal occupation, limned through old hedges, cart tracks, and sheepfolds.
One of Goldsworthy's most spectacular and popular works is "The Storm King Wall," built in 1997-98 for the Storm King sculpture park, in the Hudson Valley. It was made possible by an encounter with the debris of an old drystone wall, overrun, like most such walls in the valley, with second-growth forest when farming was abandoned. In contrast to most of the contemporary sculptures at Storm King, which are simply set in the landscape, Goldsworthy's is of it. His snaking, 2,278-foot drystone line was built by wallers imported from the North of England, where curved walls are called "crinkle-crankle." It reverses expectations in that the stones appear to move, while the stands of maple, shagbark hickory, and oak through which it travels resist their encroachment. (With time, root systems and wall foundations will conduct a pushing and shoving match.) Emerging from the woods, the line descends giddily into a pond and seems to resurface before climbing the far bank and getting itself straightened out, American fashion, as it heads directly for the perimeter highway.
But there is "Wall," the book, as well as wall, the work: one in a series of large-format volumes, published by Abrams, packed with dazzling photographs documenting Goldsworthy's ephemeral works. There are pools dyed blood red with pigment rubbed from on-site iron-oxide rocks; translucent arches of ice destined to self-destruct in the winter sun; rocks smeared with peat to coal black; thrown clouds of sand or snow, photographed at the sprayed arc of their ascent; coronas of bracken stalks fastened with thorns and hung from trees; delicate strings of pale-green rush threaded about a mossy trunk. These high-color glossy images are the antithesis of the self-consciously primitive, grainy prints favored by the founders of land art, and they have been taken by Goldsworthy's critics to be evidence that he is, at heart, an ornamentalist, a glamorist of nature who has made the mistake, serious in a contemporary artist, of hunting beauty. "Fiddling around with nature" was one such verdict. While Goldsworthy concedes that the books may have contributed to misunderstanding, he does not apologize for working with color, using it to load his work with emblematic and poetic allusion. A drape of autumnal elm leaves about a rock documents, through the belying brilliance of its yellow, the doom of the diseased species of tree; a line of fleece laid atop a Dumfriesshire drystone wall invokes a sorry history, when entire rural populations were cleared to make way for sheep.
Goldsworthy's work has been widely exhibited and praised on three continents, but it has yet to be acquired by the Tate Collection, the pantheon of British modernism. The omission is predictable, for the work's peculiar virtues—its moral intensity; its Ruskinian devotion to work and craft; its scientific curiosity; its intelligent engagement with the long history of land use; its keen instinct for the baroque hyperbole of the natural world (all those mottlings and juttings and peelings and stainings)—are precisely what is least likely to recommend it to the contemporary canon. Yet it could be argued that Goldsworthy's work is at least as conceptually rich as Smithson's; his compressions of space and water as metaphysically suggestive as the sculpture of Anish Kapoor; his use of found materials as inflected with past use and future alteration as the wood pieces of his friend David Nash; and his meditations on decay, mortality, and generation as smart as Damien Hirst's.
But the connoisseurs of decomposition are overwhelmingly urban, and walls generally capture their interest only when scrawled with graffiti. Goldsworthy, too, plays in the junk yards of the world, but his are strewn with the rubble of the eons, not last night's Chinese take-away. And then he is obstinately indifferent to cool, impervious to the laconic game-playing required for certification in conceptual subtlety. He has never made a secret of valuing clarity over irony and northern plainness over metropolitan chic. When, in the late eighties, his former dealer, Fabian Carlsson, offered him a long-term contract on condition that he move to London, the price was too high.
What is he doing, then, in downtown Manhattan? The commission from the Museum of Jewish Heritage (in collaboration with the Public Art Fund) is in essence an attempt to realize a natural process of catastrophe and redemption. No one encountering the stone garden will think it the work of a decorative artist. It is, instead, an encounter with the elemental. The benches are made of granite.
This is not to say that Goldsworthy wants the boulders to look as though they had just dropped in from the cosmos. The white scuff marks he has left on them testify to their many migrations: from fields near Barre, Vermont, where Goldsworthy and Ehrenberg discovered them, to the Connecticut quarry where they were hollowed, and thence to a Brooklyn holding yard, from which, finally, they were moved to Battery Park City and crane-lifted, gingerly, onto the roof of the museum. The fact that the stones had long ago been cleared from their original geological site by farmers needing agricultural land was a plus for Goldsworthy, though he had to convince one incensed member of a local commune that he was not uprooting the rocks from an ancestral resting place. But wandering stones seem right for a Jewish memorial garden, especially one that faces outward across the broad slate-green river to merciful stopping places: Ellis Island and the Statue of Liberty. Goldsworthy, who has himself travelled a good deal in the making of his work, felt the weight of impending repose as the last boulders were moved onto the roof.
Much was still to be done. The concrete plinths on which the boulders are settled needed to be covered, along with the rest of the garden bed, with the gold-brown gravel that Goldsworthy had chosen to set off his gray monoliths. A watering system for the trees had to be installed and tested. The garden space is contained on two sides by five-foot walls made of granite panels. Atop one wall is a planter running the length of the space, which is to be filled with flowers and shrubs, and Goldsworthy worries that this will prettify the meditative austerity of the site. Worse still, as rock No. 15 was lowered to the roof terrace, Goldsworthy learned that a corner jutting over the garden, and in the view of anyone looking toward the harbor, might be covered by a trellis. The coming of creepers does not make him happy. But for the moment the work seems wonderfully well done, a poignant metaphysical conceit strongly realized, the crush and mass of history penetrated by the germination of hope.
The derrick men, led by their athletic crew boss, J. B. Jones, from Blakely, Georgia, sporting a nifty head scarf and with more graceful moves than Alvin Ailey, have got into the spirit of the thing. As one of the last of the boulders drifts, seemingly weightless, onto its receiving plinth, J.B. talks the rock down, shouting, "Whoa! Treat the lady nice and easy," and yells to Goldsworthy as the titan settles, "You like? You like?" He does. ♦


text:
Structuring and Managing the Interactive Class Session
The fourth step to providing an interactive lecture is to determine how to structure and manage the interactive class period. There are as many ways to structure an interactive class session as there are interactive techniques. Instructors might add an occasional activity to a regular lecture class, or include several activities in every class period. Some interactive techniques, such as think-pair-share or ConcepTests, can be repeated several times within one class period while others, such as extended simulations, may be the focus of an entire period.
Many instructors use a combination of different activities; for example, one could use a few quick individual ConcepTests primarily for assessment, to see if the students understand and can apply the lecture material to simple problems, and then get them working in groups on a more complicated problem that has them synthesize the current material within the content of previous lessons.
The class starts with a 5-minute think-pair-share activity: "Summarize the main points of the reading assigned for this class." The discussion will focus them on the material, a good thing to do before lecture starts. It may be helpful to have them turn in their summaries on index cards for a minor grade, to discourage tardiness (especially in students who are trying to avoid this activity).
Lecture for about 10-12 minutes, then ask a ConcepTest question to determine if they understand the topic and can apply the ideas in it to simple problems. Evaluate the responses. If the class adequately mastered the concept, repeat the process with a new topic. If not, continue your lecture by reinforcing the topics.
For the last part of the class, perform a simulation that asks the students to apply all the concepts that have been presented in the class period up to that point. Finish the class period with a one-minute-write activity to be turned in on an index card: "What are two questions that you still have on today's topic?" The instructor will review the most representative of these in the last lecture segment of the next class.
However the class session is structured, effective classroom management skills are essential for ensuring the session goes smoothly and the activities are effective. Instructors must establish a comfortable and safe classroom atmosphere and tone conducive to interactive learning must be established, be aware of their role as classroom managers as they consider all aspects of the course, and manage the class during activities in ways that foster interaction.
Create a Classroom Atmosphere Conducive to Interactive Learning
If the classroom atmosphere is comfortable and nonthreatening to students, they will be more inclined to participate in interactive lecture segments. Instructors can enhance the overall tone in the classroom by making themselves approachable to students, knowing their audience, and helping students feel comfortable working with each other.
- Instructors must help students feel that they are approachable so students are comfortable interacting with them. First, the instructor must actually BE approachable. Many instructors think they are, but upon careful self-reflection, may not come across to students as being approachable as they might like. Instructors should reveal enough about themselves so that they seem like real people to students -obviously without going overboard. Instructors can emphasize the different ways they are available to their students - office hours, phone, email, chatroom, etc. Instructors can come early to classto allow for time to mingle with students. Moving around the classroom during class and not just staying in one place toward the front of the room will also make the instructor more accessible to students. (And don't forget to smile!)
- Instructors must know their audience and demonstrate interest in their information set and experience. Instructors should learn student names to the extent that class size allows and use names frequently throughout the class period when asking questions, responding to answers, and offering examples. Learning about students' interest, backgrounds, majors, and hobbies allows the instructor to select examples relevant to the student information set and makes them feel more comfortable in the classroom as they feel that their experience and opinions are valued. Instructors might consider having students complete information questionnaires early in the semester to acquire some of this information. This sample information sheet is designed for an economics course, but can easily be adjusted for any discipline.
- Instructors must help students feel comfortable working with each other. One possibility is to conduct an ice breaking activity on the first day of class. Allowing students to tell about themselves and get to know each other helps students relax and initiates the process of them becoming acquainted with each other. On the first day of class instructors should discuss their expectations that students show respect for one another. A classroom climate of mutual respect is vital when incorparting interactive learning techniques.
Be an Effective Classroom Manager GenerallyInstructors must carefully manage the classroom for effective interactive lectures. This includes laying out expectations, coping with physical space, maintaining control, and determine how to disseminate information.
- Lay out expectations for how students should behave and interact in the syllabus, on the first day of class, and when conducting activities. Instructors should emphasize good attendance, preparation, attentiveness, thoroughness and participation.
- Cope with physical space. Evaluate the seating and layout of the classroom. The ability of students to move around and work in groups will impact the effectiveness of interactive learning techniques. Instructors must take these constraints into account when designing segmented lectures.
- Maintain control of the classroom, but don't be a tyrant. This is a difficult balance to strike, but one the instructor should always keep in mind. If real interaction is taking place the room is likely to be abuzz. Instructors should expect the classroom to be noisy when students are discussing their work.
- Determine best ways to disseminate information. For providing guidelines to students for interactive segments the instructor might consider using handouts, power points slides, or verbal cues. Particular methods may be more appropriate for some techniques and tasks than others.
Be an Effective Classroom Manager During Interactive SegmentsThe instructor must manage the classroom during interactive segments. This includes providing clear instructions, definite time constraints, monitoring and responding to students, and monitoring activities.
- Provide very clear instructions for activities.
- Set definite time constraints on group activities.
- Visit a few groups and make sure that they are on track.
- Be sensitive when responding to student input. The ability to offer appropriate and productive feedback is a skill the instructor must develop.
- Monitor activities to make sure you have allotted an appropriate amount of time.
- Determine how to bring the class back together. Some instructors flick the lights on and off. Some raise their hand, after explaining that when students see a raised hand, they should raise their hand, finish their sentence, and stop talking.


text:
We here at 10,000 Birds are VERY pleased to announce that we have procured a place on a two-week, all-inclusive birding tour of Thailand for January of next year that will be guided by field guide authors David Allen Sibley and Richard Crossley and American Birding Association President Jeff Gordon! Rather then take the trip ourselves we figured that we would share it with one lucky reader who wins a little competition we have cooked up.* Just imagine looking at a Spoon-billed Sandpiper with three of the foremost birders in the world at your side explaining field marks and behavior. If you go on this trip your mind will be absolutely blown, we promise!
To enter the contest you merely have to guess the number of gulls in the picture below and put your answer in the comments (make sure to use your real name and email or you will feel really stupid when we can't verify that you left the winning guess). The closest without going over will win and GO TO THAILAND FOR TWO WEEKS FOR FREE! Comments will be closed at midnight tonight (Eastern Standard Time), 1 April, and the winner will be contacted via email within 48 hours of the end of the contest.
So, how many gulls are in the picture? You can click for a bigger version.
gulls at Breezy Point, Queens, after a clam die-off, by Seth Ausubel (used with permission)
How cool is this? More details about the trip will be forthcoming but in the meantime you can get more information about it here. Are you excited? We are!!!!!!!!!
*Actually, we were given the trip specifically to give away but we figured we would look like nicer people if we pretended we could have taken the trip ourselves and decided to share it.
7.234 gulls, 1.022 terns, 8 black-bellied plovers, 1 dunlin.
Rough ratio amongst the gulls:
8 Herring to 15 ring-billed to 5 Bonies to 2 Great Black-backed. One 2nd winter might be a Lesser Black-backed.
Terns roughly 3 Foster to 5 Common.
Off I go to the Tropics, bird's the word.
Duncan, that is a very rough and inaccurate "guesstimate". You should really download BirdAlird to enhance your observational powers. 😉 Look what I came up with using BirdAlird. See the difference?
I reckon 2794 …. but I could be wrong!
10,735 I'd guess.
I'm betting it's 4,111
since it's april 1st i'm going with the trick question theory. There are 0 gulls in this picture; they're probably some other species of aquatic bird other than a gull.
There are three. gbbg, hegu, rbgu.
Thailand here I come!
I need to check my calendar before I count.
I'd go with 4,111~ but in the end I think you aren't getting me to spend my hard earned April 1st looking the fool to try to count! Nice try! Haha!!
Crazy picture. I quess about 19154 birds…
It's my photo, so do I get to compete?????
Oh, and another thought Corey: This is not as bad as the pileated woodpecker in Forest Park brouhaha.
Easy. There are 10,000 gulls in the photo. Plus I think there's a Yellow-crowned Night-Heron. Now where's my trip?
9243 birds. Mostly gulls (mostly herring). Other players: willets, least terns, semi-palmated sandpipers.
6,502 gulls.
Who dreamt up this April Fool's joke??
11,000 gulls
I'm guessing 2010.
2580 my guess.
And what Seth said.
One million. No, wait. One… Hundred… BILLION
10,000 birds.
its………. 7313
Approximately 3773
there are 10,000 seagulls. =)
Fly me to thailand birdies. I need to get out of this place.
Around 7,000 birds
I think there are…
how do u know ho many there are anyway?
There are roughly around 1,896 gulls both on air & sea.
its 10000 aquatic birds
its 10000 gulls
I would say 6700
The answer is = 10000 gulls
© 2013 10,000 Birds. All words, images, and opinions are the property of their respective authors unless stated otherwise.


text:
Recorded in August 2007 at Southern Studios, engineered by Harvey Birrell. Limited pressing of 1000 hand-numbered, rubber stamped CDs and 1000 vinyl (700 black, 300 white).
Gang Gang Dance define the ultimate 'world music' for the now, and possibly for an unknown tomorrow. Utilizing avant garde sensibilities and cut-and-paste assemblies, they approach music as pure sound. Lizzie Bougatsos' vocals are often non-verbal communications – words as sound rather than any immediate apparent linear meaning or message.
As interest grows in the indigenous music of many cultures of the Far and Middle East, especially in hybridized fusions of the familiar Western forms with local historical folk forms, so Gang Gang Dance are the logical product of an outward looking NYC in the global age: Middle Eastern percussion and keyboard stabs collide with Far Eastern instrumentation, and elements of Western pop and dance. The inclusion of grime and dubstep elements are of particular interest here since Gang Gang Dance are approaching these genres, familiar to anyone in the UK, from the position of outsiders, and thus treating these genres as indigenous folk music, as exotic as gamelan or throat singing to anyone who has not heard them. The polyrhythms and vocal styling of these British urban genres stands here as another part of Gang Gang Dance's vision of music in the 21st century, combining the musical idioms of the world we inhabit to create music that suggests a world we have yet to discover.
In many ways this recording, tracked prior to the release of the 'St. Dymphna' album bridges the gap between the rawer, almost cut-up approach to their earlier albums and their more polished and highly-evolved present sound.
- Andrew Hartwell
Nadja - Sky Burial
In September 2009, the prolific duo made their way to Southern Studios to record their spontaneous session for our Latitudes series. The result was Sky Burial, two lengthy slabs of crushing yet ethereal instrumental material. Limited to 1000 vinyl and 1000 hand-numbered, rubber stamped CDs.
Having been an enormous fan of Nadja for the past couple of years, when I was given the chance to approach an artist for the Latitudes series, they were a complete no-brainer. Their highly unique strain of doom-infused shoegaze sends shivers throughout my body whenever I've seen them live, and this was a perfect chance to be able to capture that magic in the legendary Southern Studios.
After first approaching them in February 2009, we finally managed to make it happen the following September, and I've never experienced a smoother and simpler sessions than this. Crafting two lengthy slabs of crushing yet ethereal instrumental material, Aidan and Leah have once again upped my expectations of them. Seeing them play live the following night, where they gave one of these tracks an airing, was an inspiring experience in itself and the article you hold here is about as close as you're going to get to the all-encompassing and trance-like beauty of seeing them play in front of you. If this is anything to go by, then there is plenty more special music to come from this talented duo and it has been a pleasure to have them be a part of the Latitudes series.
-Freddy Palmer


text:
On 21 August 2009, the Montara offshore oil platform in the Timor Sea (a large sea bordering the Indian Ocean, to the northeast of Australia) started leaking oil. Over a period of ten weeks, more than two million litres of oil were lost into the sea, forming a 2000 square kilometre slick. The German radar satellite TerraSAR-X followed the growth of the slick as it occurred. The picture shows the platform and the slick spreading out from it, visible as a dark area. The picture was taken on 21 September 2009 in ScanSAR mode with a resolution of 18 metres and covers an area of 100 by 150 kilometres. The oil well was closed at the beginning of November, stopping the flow of oil into the sea.
The active microwave sensors that are used in radar systems can give a two-dimensional representation of the reflection of radar waves from the surface of the water. The reflections are dependent on the roughness of the surface and thus enable the extent of an oil slick to be seen. The smooth surface of an oil slick does not reflect the incident radar waves back to the satellite and so it appears as a dark area in the radar image, surrounded by lighter, oil-free areas. Oil suppresses the short ocean waves (with wavelengths in the centimetre range) that reflect the electromagnetic signal. This means that in radar images, such as those created with the Synthetic Aperture Radars (SARs) on board the TerraSAR-X satellite, areas of oil appear dark.
Offshore oil exploration
About one third of world crude oil production comes from offshore oil fields – in other words, from drilling platforms in the open sea. The drilling reaches depths of several hundred metres beneath the sea floor. A combination of unfortunate events can lead to an environmental catastrophe, as happened with the Montara offshore platform in August 2009. Due to its low density, oil floats on the surface of the sea and forms slicks. These slicks are highly toxic and wreak havoc with the environment. The oil slick in the Timor Sea is a threat to one of the most species-rich marine environments in the Australian ecosphere.
The TerraSAR-X mission
TerraSAR-X is the first German satellite that has been manufactured under what is known as a Public-Private Partnership (PPP) between the German Aerospace Center (Deutsches Zentrum für Luft- und Raumfahrt; DLR) and Astrium GmbH in Friedrichshafen. The satellite travels around Earth in a polar orbit and records unique, high-quality X-band radar data about the entire planet using its active antenna. TerraSAR-X works regardless of weather conditions, cloud cover or the absence of daylight and is able to provide radar data with a resolution of down to one metre.
DLR is responsible for using TerraSAR-X data for scientific purposes. It is also responsible for planning and implementing the mission as well as controlling the satellite. Astrium built the satellite and shares the costs of developing and using it. Infoterra GmbH, a subsidiary company founded specifically for this purpose by Astrium, is responsible for marketing the data commercially.


text:
Other available options
Rugged and sporty, your new Roadster timepiece on the wrist will make you feel like you're ready for action. You will have the choice between several dynamic looks, whether in 3-hands or chronograph versions, black PVD or stainless steel cases, equipped with a great variety of leather straps and bracelets. Watch hands, numerals and markers are coated with Superluminova, glowing in the dark. The Wenger Roadster collection is declined in Ø45mm cases Tachymeter or Divers' bezels. 100m water resistant.
A Swiss company since 1893. Wenger is for those who appreciate the value of looking good and who like to put their trust in top quality at a reasonable price.
- Brand
- Wenger
- Case material
- Stainless Steel
- Face colour
- Black
- Face diameter
- 4.5 cm
- Face shape
- Round
- Model number
- 01.1841.101
- Movement
- Quartz
- Strap colour
- Black
- Strap material
- Leather
- Strap style
- Strap
- Warranty
- 3 Years
- Watch feature
- Swiss Made
- Water resistant
- To 100m
Delivery & Returns
At H.Samuel we offer a range of delivery options to suit you:
- Free Standard Delivery available on orders of £49 or more
- Free Express Delivery available on orders of £500 or more
- Free Click & Collect to over 300 H.Samuel stores in the UK
For more Delivery Information click here
Returns policy: you can return items to us by post or in store within 30 days for a full refund or exchange.*
*We cannot refund or exchange pierced jewellery, e.g. earrings, if they have been removed from the original sealed packaging due to hygiene reasons.
For our full returns policy click here.
Help Centre
For assistance with your purchase, visit our help centre for advice & tips so you can buy confidently with H.Samuel.


text:
Computers PrestaShop Themes
We have a collection of 12 designs in this area!
Do you own a local computer shop, do computer repair, love to keep up with the latest and greatest computer parts and technology? It doesn't matter if you're a hardware or software person, these computer prestashop themes can work for you! Programmers, computer repair technicians, even hobbyists find that using these computer prestashop themes frees up a lot of time for them to get back to doing what they love, computers. So get with the program and put these modern high-tech computer prestashop themes to work for you!
Our computers PrestaShop themes are HTML/CSS validated, optimized for fast page loading, built-in jQuery for for many dynamic effects and features, and support for all major browsers. PrestaShop is a professional e-commerce shopping cart software that is full-featured, cross-platform, and an open sourced solution. It is scalable, modular, light, fast, sleek and has an intuitive interface to take full advantage of Web 2.0 innovations such as dynamically powered AJAX features and next generation ergonomy. Thanks to its use of CSS and transplantable module blocks, developers can appreciate the clean structure of the backend code so they can easily adapt to their client's needs. Developed using PHP and MySQL, our Computers PrestaShop templates have numerous features including setting up your catalog, working with customers, managing orders, accepting numerous payment types such as Paypal, Moneybookers, Hipay, and Google Checkout. Also our computers PrestaShop templates have shipping features with unlimited carriers and destinations, statistics which show online vistors, orders and sales, and product statistics, translations into three standard languages of English, French, and Spanish, but also more than 38 other languages are available. Localization is available so that you can use unlimited currencies, and have exchange rates synchronized automatically. Computers PrestaShop themes are built with SEO in mind using Google Sitemaps, URL rewriting for friendly URLs, and meta tags. Security as a high priority as it is PCI DSS compliant, has full SSL compatibility, and a secure back-office access with a login and password. Finally PrestaShop has a full administration area with a WYSIWYG editor, affiliation progam, SMS alerts, and a modular front-office system for easy template customization, featured products on the homepage, and ability to integrate Google Adsense, as well as a multi recipient contact form.


text:
This question already has an answer here:
How to prove $\text{Rank}(AB)\leq \min(\text{Rank}(A), \text{Rank}(B))$?
Stack Exchange network consists of 175 Q&A communities including Stack Overflow, the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.Visit Stack Exchange
Mathematics Stack Exchange is a question and answer site for people studying math at any level and professionals in related fields. It only takes a minute to sign up.Sign up to join this community
This question already has an answer here:
How to prove $\text{Rank}(AB)\leq \min(\text{Rank}(A), \text{Rank}(B))$?
This question has been asked before and already has an answer. If those answers do not fully address your question, please ask a new question.
I used a way to prove this, which I thought may not be the most concise way but it feels very intuitive to me. The matrix $AB$ is actually a matrix that consist the linear combination of $A$ with $B$ the multipliers. So it looks like... $$\boldsymbol{AB}=\begin{bmatrix} & & & \\ a_1 & a_2 & ... & a_n\\ & & & \end{bmatrix} \begin{bmatrix} & & & \\ b_1 & b_2 & ... & b_n\\ & & & \end{bmatrix} = \begin{bmatrix} & & & \\ \boldsymbol{A}b_1 & \boldsymbol{A}b_2 & ... & \boldsymbol{A}b_n\\ & & & \end{bmatrix}$$ Suppose if $B$ is singular, then when $B$, being the multipliers of $A$, will naturally obtain another singular matrix of $AB$. Similarly, if $B$ is non-singular, then $AB$ will be non-singular. Therefore, the $rank(AB) \leq rank(B)$.
Then now if $A$ is singular, then clearly, no matter what $B$ is, the $rank(AB)\leq rank(A)$. The $rank(AB)$ is immediately capped by the rank of $A$ unless the the rank of $B$ is even smaller.
Put these two ideas together, the rank of $AB$ must have been capped the rank of $A$ or $B$, which ever is smaller. Therefore, $rank(AB) \leq min(rank(A), rank(B))$.
Hope this helps you!
Hint: Show that rows of $AB$ are linear combinations of rows of $B$. Transpose this hint.
Since we have $\text{Col }AB \subseteq \text{Col }A$ and $\text{Row }AB \subseteq \text{Row }B$, therefore $\text{Rank }AB \leq \text{Rank }A$ and $\text{Rank }AB \leq \text{Rank }B$, then the result follows.
You know that a linear transformation cannot increase the dimension of its domain; i.e. If $T: V\rightarrow W$ is a linear transformation, $$\dim(T(V))\le \dim(V).$$
Surely vectors that are in the kernel of $B$ are also in the kernel of $AB$. Vectors that are in the kernel of $A^t$ are also in the kernel of $(AB)^t=B^tA^t$ therefore with the fact that Rank(A)=Rank($A^t$) and the knowledge that the rank gives you the size of the kernel of a Matrix you are done.


text:
Published May 30, 2018
It's no secret that the Sacramento area is home to some great food trucks. Everything from authentic tacos and gourmet sandwiches to succulent hot dogs and finger-licking-good BBQ. We need you to help settle one question: which food truck produces the best food around?
Ketchup, mustard, sauerkraut, relish or…gasp…chili, everyone has a... see the Top 5 →
Deep dish, thin crust. Pepperoni, mushroom. Friday night takeout, or... see the Top 5 →
Whether you call them hoagies, grinders, subs, or heroes, who's got the... see the Top 5 →
Spicy or sweet? Tangy or hot? Fried or not? Who's the best? see the Top 5 →
When your jeans need a hem or your favorite sweater needs patching, who do... see the Top 5 →
They may be little, but they matter a lot! Who dresses your children to... see the Top 5 →
The 2018 Sacramento A-List awards are based on more than 85,000 votes from local Sacramento-area experts.


text:
Welcome to kitchen heaven. Here you'll find over 50 stylish kitchen ranges in every style, colour and finish.
If you would like to see the latest edition of our Kitchen or Kitchen and Joinery brochures, just click here.
We've got scores of doors. Internal, external, sliding, folding, they're all here. So whatever doors you're looking for, you'll find them here.
We're Britain's best-known kitchen brand and we also sell doors, flooring, appliances and much, much more. Whatever your projects, whether you already have a kitchen fitter or would like help finding one, we can help.
Magnet | C704_STGWTE_REG_WTESLV_H1C3
incl. VAT
Login to get trade prices
Change store


text:
The University of Arizona College of Science brings together globally prominent faculty in disciplines at the core of scientific inquiry and education. One of the largest colleges at the University of Arizona, we are a nexus of award-winning programs that encourage both independent and collaborative-driven research. Our academic departments, schools and research units encompass the range of physical, mathematical, environmental, cognitive and life sciences. UA Science is among the most powerful and prolific academic research centers in the world, recognized and rewarded for the unparalleled caliber of our achievements. With over 7,500 undergraduate and graduate students, we are an integrative learning institution, where accomplished faculty and next-generation scientists engage side-by-side in groundbreaking research. Our scientists and students also share their knowledge with the local and broader community through extensive outreach and public service initiatives. Our mission is to encourage the aggressive pursuit of research excellence, to support novel teaching and outreach programs and to create economic opportunities for our community.
Joaquin Ruiz, Dean


text:
The Accuride DZLADD ladder bracket allows quick and easy adjustment of the working height of any bayonet-fit slide without the need for tools. - Ideal for installing bayonet slides into wooden cabinets- Kit consists of one front and one rear strip- Customer cuts strip to required length- Compatible with [....]
Total Hits: 1
Established in 1977, JET PRESS is now positioned as a market leader in providing you with engineered fastening products and components.
We have a vast range of off-the-shelf proven products with expertise in developing bespoke prototypes and tooling to deliver solutions that you need.
JET PRESS Limited
Nunn Close, Huthwaite
Nottinghamshire, NG17 2HW, UK
Order on-line at Components Direct, part of the JET PRESS Group.
Privacy and Cookie Policy | Terms of Use | Terms of Sale
© 2019 JET PRESS Limited. Registered in the UK, Company nr 1884896, VAT nr GB 509 4994 09.


text: Tariffs/Products Will there be any exit penalties on this tariff? If you choose to switch tariff or supplier, you will be charged a £50 per fuel cancellation fee. You can request to leave or switch to another provider without incurring a cancellation charge on or within 49 days before your fixed term supply contract end date. Did you find this information useful? Yes No


text:
Black Earth, Wisconsin, pastor Philip Caminiti, 55, has been sentenced to two years in prison for preaching a message that was not well-received by some members of the community. The message that landed Caminiti in prison is that parents should be spanking their children when they misbehave, even those as young as two months old, with wooden spoons and rods.
To be clear, Caminiti, pastor of Aleitheia Bible Church, was not accused of physically hurting anyone, or of spanking children himself; he simply preached a message that some found disagreeable.
Prosecutors went after the pastor, asking for five years in prison and 15 years of extended supervision, claiming he was "the spoke in the wheel of this conspiracy."
Dane County Circuit Judge Maryann Sumi was astounded and offended by the message that parents should be spanking their children. She so much as admitted that she was making an example of Caminiti, emphasizing that "child abuse" will not be tolerated.
"What is important to me," Sumi commented, "is there was and continues to this day no expression of remorse or repentance for the consequences of those actions, or what the whole chain of events has led the family and the community through."
While on the stand in his own defense, Caminiti pointed out, "Proverbs 13:24 says, and here's the strong language, 'He who spares his rod hates his son.'"
Defense attorney Yolanda Lehner asked, "Did you ever tell any of the congregation that they had to spank their children?" Caminiti replied, "No."
Lehner pressed, "Did you tell any of them that they had to use a rod?" "No, I didn't," said Caminiti.
Caminiti did, however, reportedly demonstrate to parents how to use the rod.
"The rod can be somewhat new and unfamiliar," said Caminiti, "And so, it's just a way of showing, teaching, explaining how practicing on oneself can just be helpful."
During cross-examination, prosecutors questioned Caminiti on his biblical beliefs.
"And the purpose of the use of the rod is to cause pain, is that correct?" asked Dane County District Assistant Attorney Shelly Rusch.
"Yes," replied Caminiti.
The jury found Caminiti guilty of eight counts of conspiracy to commit child abuse for teaching church members what he said was a literal interpretation of biblical discipline.
The Wisconsin State Journal reports:
Caminiti will be on extended supervision for six years after his release from prison. Despite objections on constitutional grounds by Caminiti's lawyers, Sumi ordered that he not have any contact with the Aleitheia Bible Church and have no leadership role in any church.
That order prevents Caminiti from having contact with some of his extended family who are members of the church he pastored; however, Sumi ruled that he may be with his wife, children, and grandchildren. She also refused a request to delay his prison sentence until after he appealed his case.
Caminiti's lawyer, Yolanda Lehner, remains shocked that her client was even charged with a crime. She said, "The whole thing has become much more flammable than I anticipated. I really do feel like I've stepped into the Spanish Inquisition."
Caminiti's case raises serious constitutional questions, particularly as related to the First Amendment. As recently as last year, the U.S. Supreme Court ruled that virtually all speech should be protected, regardless of its content.
In the now infamous case of the Westboro Baptist Church, which conducted angry, anti-gay protests at the funerals of U.S. military members, the Supreme Court ruled 8 to 1 in favor of free speech. The case forced the Supreme Court to closely examine the First Amendment to determine if the right to free speech is truly fundamental, or if exceptions should be made. Ultimately, the judges determined that there are extremely rare causes for the limiting of free speech, and that the effect of speech on one's emotions or level of comfort is not one of them.
Chief Justice John Roberts wrote of the Westboro Baptist Church case, "Speech is powerful. It can stir people to action, move them to tears of both joy and sorrow, and — as it did here — inflict great pain. On the facts before us, we cannot react to that pain by punishing the speaker."
Whether one agrees with what is being said by a speaker, constitutionalists recognize the slippery slope of setting standards and limitations on free speech.
Twenty-one news organizations joined the brief defending Westboro Baptist Church, though in that case the groups admitted that the church's behavior was "inexplicable and hateful." However, the organizations noted that a ruling against the church could stifle anyone who wishes to speak out on controversial issues, and could potentially "threaten to expand dramatically the risk of liability for news media coverage and commentary."
Americans are beginning to see the stifling effects that such policies have on their personal rights. In New York, for example, bills were recently introduced in both the Senate and the Assembly to ban all "mean-spirited and baseless political attacks." Both proposals would impact "any other discussion site where people can hold conversations in the form of posted languages," and mandate that websites post email addresses for "removal requests, clearly visible in any sections where comments are posted."
As free speech is increasingly under attack, it is well to remember Voltaire's famous quote — "I do not approve of what you say, but I will defend to the death your right to say it." Constitutionalists today understand, as did America's Founders, that recognizing free speech as an inalienable right is one of the keys to a free society.
Photos above: (Left) Judge Maryann Sumi: Clerk of Courts, Dane County, Wisconsin; (right) Pastor Philip Caminiti: Dane County Sheriff's Office


text:
New York (Reuters Health) - Uninsured Americans were less likely to get the best treatment for heart troubles than those with insurance in a new study that hints the blame may lie with the quality of physicians who typically treat the uninsured.
In a group of about 61,000 Americans, researchers found that those without any health insurance were between 6 percent and 12 percent less likely than people with either public or private insurance to be prescribed drugs that are considered standard care for heart disease.
"There is some difference of treatment. It only applies - interestingly enough - to uninsured patients," said the study's senior author Dr. Paul Chan, of Saint Luke's Mid America Heart Institute in Kansas City, Missouri.
In the past, studies found uninsured Americans have worse health outcomes, compared to the insured. They're also less likely to get screenings and preventive care - possibly because they don't often go to a doctor.
Less is known, though, about uninsured people who do go to doctors and whether they receive worse care than insured people.
For the new study, Chan and his colleagues used data from 2009 on 60,814 heart patients at 30 doctors' offices around the U.S.
Of those patients, about 9 percent were uninsured, 71 percent had private insurance, and 20 percent had public insurance, such as Medicare or Medicaid.
The researchers, who published their findings in the Journal of the American College of Cardiology, looked to see which patients received the recommended medications for their heart conditions and whether the treatment they got was linked to their insurance status.
Overall, patients with public or private insurance received about the same number of prescriptions, but the uninsured patients were less likely to be prescribed drugs, compared to the insured patients.
For example, about 73 percent of uninsured patients were prescribed beta-blockers after a heart attack, compared to about 81 percent of privately insured patients. And about 89 percent of uninsured patients received medication for high cholesterol, compared to about 95 percent of privately insured patients.
But those differences seemed to disappear when the researchers took into account where the patients were being treated.
"That seems to suggest that at lot of this is being mediated by the clinics that are seeing lots of uninsured patients. They're underperforming compared to clinics that are seeing insured patients," said Chan.
"It speaks to the idea that the higher the number of uninsured patients in your practice, the more financially unstable it is... and quality goes down," said Dr. Ed Havranek, a cardiologist at the Denver Health Medical Center in Colorado.
Havranek, who wrote a commentary accompanying the new study, told Reuters Health, "If it's just the lack of insurance, it should not affect the physicians' decisions to sit down and prescribe (a drug)." It could be driven by doctors' perceptions of their patients, he said.
Chan added that uninsured people tend to be sicker and their other conditions may take priority over their heart problems.
"Truth be told, when many of these patients come in it's not just cardiovascular disease. It's diabetes, obesity and smoking too," Chan said.
Havranek said the first step to solving the problem is doing what Chan and his colleagues did by shining a light on it, and then finding a practical solution.
"You have to be open to the possibility that you're not doing things accurately or fairly across patient populations," he said.
SOURCE: bit.ly/WHGbw0 Journal of the American College of Cardiology, January 2013.


text:
These Puff Pastries with the varieties of accompaniments that I have included here are the perfect way to kick start the weekend!
The recipe for Puff Pastry Samosa is very simple. If you wanted to make this for lunch,say on Saturday or Sunday, make the filling the night before, while defrosting the Puff Pastries overnight and you'll have a meal ready in a short time.
Here is the Basic Filling Recipe:
- 4- large Potatoes- boiled and cut into large pieces.
- 1.5- cup - frozen Peas
- 1- large Onion- chopped
- 1-large Jalapeño- chopped
- 1 small piece of Ginger- chopped
- 1 tbsp- your favorite Masala powder
- 1 tbsp- Oil
- Turmeric, Asafoetida, Salt, Sugar, Lemon Juice - to taste
- 1 small bunch Cilantro - chopped
When they turn soft, add the potatoes and the peas with the seasonings. Cook until the Peas are done. Cool and set aside.
For the Puffs: Defrost the Pastry according to package directions and cut into small squares or triangles and fill with the potato-pea filling.
See Picture on right.
Bake at 350F for 30-35 minutes or until its lightly browned. Serve hot with any chutneys or dips.
Now on to the some Dips that makes these Pastry Samosas so much fun to eat! These dips are perfect for get-togethers and small parties.
Roasted Red Pepper Dip with Yogurt:
- 1 cup roasted red peppers- ( I used jarred ones)
- ½ cup plain yogurt
- 1 tbsp. olive oil
- 1 tbsp. red wine vinegar
- 3 garlic cloves, chopped, 1 medium onion, chopped
- salt, pepper and red pepper flakes to taste
The color is gorgeous and it goes really well with the Puff Samosas.
Spinach-Artichoke and Cheese Dip:
Alton Brown's Classic Recipe! Courtesy Food Network.
You will need:
1 cup thawed, chopped frozen spinach
11/2 cups thawed, chopped frozen artichoke hearts
6 ounces cream cheese
1/4 cup sour cream
1/4 cup mayonnaise
1/3 cup grated Parmesan
1/2 teaspoon red pepper flakes
1/4 teaspoon salt
1/4 teaspoon garlic powder
Boil spinach and artichokes in 1 cup of water until tender and drain. Discard liquid. Heat cream cheese in microwave for 1 minute or until hot and soft. Stir in rest of ingredients and serve hot. This dip is a hit!
The Classic Cilantro- Jalapeno Chutney:
You will need:
2 bunches of Cilantro- chopped coarsely
1 tsp - Cumin Seeds
1 small piece of Ginger- chopped
1-2 large Jalapeños- to your taste, chopped
Fresh Lime Juice, Salt, Sugar - to taste
Blend all the ingredients in a food processor and serve. I add Cumin seeds in this chutney for a lovely taste and texture...!
Winner of the Spring Fling contest and roundup coming next month. Enjoy the weekend.
Upcoming Recipe Preview: Gujarati Series: " Turia-Tameta nu Shaak"- Ridgegourd and Tomato Curry.


text:
Unity is strength! Create a buying group and make free shopping !!
February 26, 2016 at 6pm to February 25, 2017 at 7pm – New York, NY Buy viagra online We are talking about Viagra – a highly effective medication putting an end to the problem of erectile dysfunction as the doctors name impotence. Taken within 30-60 minutes before it… Organized by mikle | Type: ed, treatment
March 30, 2016 at 6pm to March 15, 2017 at 7pm – Thane, MH Established in the year 2011, Simons Holidays, a division of Simons Shipping Pvt. Ltd., is a leading tours and travel company engaged in providing International holidays, domestic tours, and cruise h… Organized by Neeraj Shah | Type: hongkong
April 22, 2016 at 6pm to April 20, 2017 at 7pm – newyork College becomes the ultimate place to rebrand. People back in your hood may know you as the everyday guy who keeps things to himself and does not entertain any deal that does not benefit them academi… Organized by jany watson | Type: service, guidance
April 26, 2016 at 6pm to April 25, 2017 at 7pm – newyork Writing a college essay can sometimes turn out to be a nerve-wracking ordeal. A student is expected to do extensive research on the essay topic, analyze the findings and then write a compelling essay… Organized by jany watson | Type: service, guidance
June 16, 2016 to November 30, 2016 – USA Commemorations resemble the ideal points of reference which are secured and esteemed after some time. In the event that you have overlooked your anniversary you can send a marriage anniversary gifts… Organized by soniya | Type: online, shopping
June 23, 2016 at 6pm to May 9, 2017 at 7pm – united states There are many ways online in which you can make money online. Though some of them result in small amount amount of amount. So i usually prefer paypal money adder for generation of cash online. This… Organized by jenny watson | Type: fund, raising
July 13, 2016 at 6pm to July 12, 2017 at 7pm – New York, NY The loan amount that is guaranteed: Based on the information you provide in your application, the lending company can offer you a loan amount from $ 100 to $ 2000. You may be eligible for larger 100… Organized by alice stern | Type: general
July 15, 2016 at 6:15am to December 7, 2016 at 9pm – New York Cure Care is providing the best ever ED medication to those men suffering from DE problem. Those ED Pills we provide are Cheap ED Pills Online. Please get back to us if you are interested Organized by Tina Toy | Type: health
August 5, 2016 at 10am to August 31, 2016 at 12pm – Buffalo Buy-genericviagra.com is an online pharmaceutical store that caters high quality medicinal drugs like Tadalafil, Generic Cialis, Lovegra, Generic Viagra Online etc at cost-effective prices. One can l… Organized by Kevin Bradley | Type: healthcare
August 6, 2016 at 12am to September 20, 2016 at 11pm – Mumbai Thailand is magical & mystic, bewitching in character with the most flourishing coastline, deep underwater adventures, dramatic limestone mountains appointed as sentinels, exotic platter to mouth… Organized by Gargi Kale | Type: group tour
August 15, 2016 at 6pm to August 14, 2017 at 7pm – newyork Paper writing service websites tend to be extremely essential within our normal existence. These people assist all of us through several factors associated with look at. Most of all, the assignment a… Organized by kathybrunt | Type: concert
August 26, 2016 from 6pm to 7pm – 3272 Kessla Way Charleston, If you are here in college, university or somewhere else surrounded by your educational occupation you force to write many essays in the variety of articles. These normally get put at the period in… Organized by Yvette R. Johnson | Type: service