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Star Jones Will Walk the Red Rug for E!
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Hi! Yes, its the Beer month again, and yeah, my month too!
Here's the list of the movies, as far as i know, and I would like to watch most of them.
I'm excited to see RED! Old people kicking ass, haha!
FYI, Let Me In is based from the Swedish book Let the right one in. It also has a movie in Swedish starring Kåre Hedebrant as Oskar and Lina Leandersson as Eli, this was released in Sweden in year 2008. I already saw this Swedish version and it's good, dark but good.
October 01 – movie: Let me in
October 02 – Sis Jaira Tanada's birthday
October 08 – movie: Life as we know it
October 10 – 101010 Run for Pasig
October 13 – movie: Petrang Kabayo
October 15 – Kat Simbulan's birthday; movie: RED; The girl who kicked the hornet's nest; Eat, Pray, Love
October 16 – Edward Valeza's birthday
October 20 – Kambal's 14th birthday (Trisha and Chabel Virtucio)
October 21 – MY 25th BIRTHDAY;
October 22 – movie: Paranormal activity 2
October 23 – Tito Gerry Ansay's birthday;
October 24 – Sir Junney Martinez' birthday
October 29 – Saw 3D
October 30 – Sir Alvin Gamboa's birthday
October 31 – Eunice Caymo's birthday;
To ctoyski, it's my birthday! it's my birthday! it's my birthday! hahaha!
To my family, friends and people who shares this month with me, Happy Birthday!

subset: commoncrawl


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Do Not Stand at My Grave and Weep
It was an early autumn Florentine afternoon – fragrantly warm, gloriously sunny, the air sparkling with freshness born out of yesterday's rain. We had climbed the steep streets of Oltrarno, the less noble but dignified Florence neighborhood on the other side of the Arno River. We took a roundabout way that led us up, then down, past the stone wall surrounding the southwest side of Forte Belvedere. Just as we were descending the narrow, olive-tree-lined road, church bells spilled their music into the air. Our eyes followed it to the distant sight of the Romanesque façade of the San Miniato al Monte basilica, residing gracefully atop a hill across from where we had stopped in our tracks, quieted by this sudden bel canto.
We promptly made our way to what turned out to be a most remarkable vantage point for anyone lucky enough to escape the nauseating sight of the tourist-bus-infested Piazzale Michelangelo in search of a more private opportunity to take in Florence's beauty from above. We spent time in the church, cooling off by the columns in the dark nave and admiring the pagan Zodiac inlay. Then the awareness of the sun-filled day drew us back outside and we discovered the Porte Sante cemetery, tucked inside the defending walls, built by Michelangelo to protect the church during the 1530 siege of Florence.
As I child, I had a controversial relationship with graveyards. One of my earliest memories is of my grandmother taking me to the cemetery in my hometown on the right bank of the Danube River in Bulgaria. She said she needed to tend to her mother's grave and brought a small hoe with her. My young imagination did not realize she meant weeding the flowers, surrounding the grave. I thought she wanted to dig out the coffin with her mother's dead body. I must have been five or six and I remember how equally horrified and fascinated I was, and ultimately disappointed when all Grandma did was spruce things up on the surface.
On this warm September day, Cimitero Delle Porte Sante was elegant and inviting, without a hint of the somber finality associated with life's end. Tombstones were adorned with pictures and graceful statues. The many rains had streaked the monuments with delicate patina. Moss had lent its velvety cover to tombstones. Black, white and grey were interlaced in a nearly art deco pattern. The obligatory cemetery cat was strolling haughtily among the graves, stopping here and there to bask in the late afternoon sun.
I wanted to have known the people resting under the tombstones. I could imagine their unapologetically bourgeois lives where elegance and indulgence were a required element of social form. In their lifetime, the crude art of poisoning of the Medici clan had given way to the less lethal weapons of gossip, melodrama, and scandal. Before settling in for eternity in this beautiful piece of prime Florentine real estate, they had spent their mornings reading Corriere della Sera over a cup of espresso at Caffé Gilli, offering a polite nod to Maestro Boccioni and Maestro Severini at the next table. At night, they had shared boisterous laughs and succulent bistecca alla fiorentina with friends. The men had kept mistresses with sultry looks and sinful minds. The women had carefully sidestepped their husbands' affairs with their elegant narrow feet, clad in Ferragamo shoes. Was the handsome American, smiling so boyishly from his tombstone picture, a journalist or a diplomat, who first visited Florence as a post-war twenty-something, fell in love with the city and his future beautiful dark-haired wife, and never ever left? I thought that maybe if we hung around long enough to await dusk, we'd catch a glimpse of a couple of slender signori, heading down to Via Calzaiuoli for an early evening aperitivo before the premiere of Mascagni's I Rantzau at Teatro della Pergola.
In one corner, a modernistic rendition of the crucifixion stood tall. The larger than life body, made of metal, seemed to be slowly melting, streaming down toward the earth in wide, flowing patches. Only the year of birth was recorded at the feet of the statue: 1968. I hoped it was just a case of long-term planning.
Later I learned that among Porte Sante's occupants for eternity was Carlo Colodi, the father of Pinocchio. I still have not found confirmation that the chapel with the "Fam. Franco Zeffirelli" inscription is the burial place of the family of the famous Italian director of the same name.
* Do not stand at my grave and weep is a poem by Mary Elizabeth Frye


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Our Programs > Therapy Group for Pregnant Women
Meets weekly on Wednesdays 6:15 pm-7:30 pm
Led by Courtney Dowdell, MA, RDT, LCAT with nutritional guidance from Melainie Rogers, MS, RDN, CDN, CEDRD
This group is being offered for women going through all stages of pregnancy. The group will center on exploring one's relationship with food and body image during this time of profound transition in a woman's life. The group will address the importance of nutrition and self-care during pregnancy and will focus on some of the unique stressors pregnant women face. Issues discussed will include relationships with partner and family, self-esteem and one's identity as a mother, balancing work/career with upcoming parenting responsibilities and other issues identified by group members for discussion. There will be a focus for women currently struggling with eating disorders including anorexia, bulimia, binge eating disorder, compulsive overeating and other disordered eating and body image issues. The group will integrate both psychological/relational concerns with biological/nutritional considerations during pregnancy. Both group leaders are mothers themselves and thus will bring their professional and personal experience in providing guidance to the group.


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Pardelhas reacted to a post in a topic: HpH de Havilland Hornet – Sea Hornet F Mk22 TT202
Hi Cees - I just use thin CA and a pin to apply it - a bit of careful handling and mostly it ends up without disasters little more done - the cockpit needs bulkheads so I started with frame 10 which is one I had the lining etched as part of the set as it has a load of equally spaced holes.. I cut out some sides from litho and put a bit of plastic between them to space them.. This set the scene for a lot of repetative bending, folding, cutting and filing to make many of these kinds of structures.. ..in this case I folded the sides of the etched part and then annealed it to try and shape it around an aerosol can as it is curved in cross section.. ..then went on to add other bulkhead parts and lateral stiffeners - the ones with small fasteners were little sods and I almost wished I didn't try and make them like that as they took ages to get the fasteners made and fixed.. ..same sort of activity to get the parts done on the top half, except here for a bit of variety I could at least start to make the box section where the canopy winding handle and chain guard will go... ..the key here is get the groundwork done on which to build all the interesting details... ..lastly, I want to try and match the sidewall I am making to the bulkhead and then adapt the cockpit 'pod' I cut away from the fuselage to fit, To do this, I have made the jig to hold the sidewall match the shape of frame 11 - sort of like this... ..the problem I haven't solved yet is matching the walls to the floor as the cockpit is quite open and all those half bulkheads on the sidewall need to somehow be continuous across the floor later.. one for a bit of headscratching... TTFN Peter
evening folks umm - there is a big hole in my aeroplane... ..I cut the cockpit away with a slitting tool in a dremel for a nice clean cut - the fuselage & wings are still very rigid so no worries about compromising strength.. the first thing I wanted to do was check the PE against the inner dimensions - in places the walls of this 'kit' are pretty thick fiberglass, plusI designed the PE from the Monforton book so thought they may not match... started with the seat bulkhead (Frame 11) and the Instrument panel.. ..thankfully both fitted really well - I thinned the walls of the 'pod' but was pretty careful as the glass mat gives the shape strength and I worried if I went too hard it would just crumble in my hands.. no issues though and it turned out ok.. certainly good enough for government work... ..with frame 11 off the fret I started to fiddle about with some assembly to make a change from the hackathon I have been on... the frame starts with a main part and a rivet outline... ..with a strip of card added around the inner circumference to give depth and some brackets or fishplates found on the real thing.. made up the seat mountings from brass stock and more PE parts - there are a couple of seat quick release latches that figure on the horizontal cross brace so included them.. now I have figured out my dremel workstation I also drilled all the parts to bolt together... ..and the two main sub-assemblies start to come together.. ..and dry fitted,, ..couldn't resist trying it with the seat.. ..much more to do, but this is turning out to be a very rewarding build - just hope it stays that way.. TTFN Peter
morning all ... hot tip time... yesterday I told the family it was International Mens Day - that got me a good solid day at the bench without chores or disturbance so I got the control column nearly finished... surprised they didn't google it, but hey... ..I started with making the pressing that shrouds the control chains that go from the grip to the base of the stick and all the control wires - it's a complicated shape and I pondered how to do it - I tried grinding from solid stock but that failed - in the end I tried emulating the original as a sheet pressing... again, a paper template to get the original, I added the two sides I would fold up, and here I am trying to cut out the centre for where the column itself will go.. ..this part has about 2 hours in it - all the time I was terrified I would slip and bend it as it is quite fragile - once you do that it's terminal... ..the final part with the column itself - I used reference pics to make exactly what I see... ..and the sub-assemblies ready to come together - one fake mini-bolt holds it all together... ..it was fiddly, but once together, I just put a drop of CA on the retaining nut and it was done.. ..as a bolt was used it moves freely, here we are rolling to the right ..I still need to add the back plate and some gubbins at the rear of the grip mounting and then top it off with a curved pressing that rounds off the big lower plate and then it really will be finished.. TTFN Peter
evening folks kit has not arrived yet so I have had to busy myself with some other parts.. ..today is about learning and experimenting and that the first solution is not always the best option.. it also seems some crap has got into my camera so sorry about the black smudges here & there.. ..I started with the control column - I scaled a drawing and found an appropriate diameter rod to start trying to form the very distinctive loop shape.. ..it was actually a really hard shape to make - I also turned a brass spigot on my dremel (must get a lathe..) to mount it into.. ..the real one has two rings on either side to give better grip I guess, so I made these too.. ..I tried getting the rubber effect by using heat shrink tubing - it took ages to slide the tubing over the rings and around the circumference - the first one is on the right below - I wasn't happy as it looked too clunky and not textured. This gave me the idea to use guitar string so I made one from that... with this one I just could NOT get the tubing around it and over the rings so I tried others where I put the tubing on first and bent the shape... ..many attempts later.. ..I also tried to make the part the grip actually sits on - I made a paper template and then folded it up from brass sheet - on the left the first attempt - totally fried by my mini blowtorch - I am still a serious learner when it comes to soldering.... on the right take two when I used a soldering iron ..another in the long line of trial and error was the gun button - I figured an air racer wouldn't have one, but actually the mounting is part of the casting of the grip so I thought I would leave it on .. again, at the top the first attempt was to scribe lines into soft ali pipe which I thought I would section and bend around to give the grooved button... fail... at the bottom a section of X-acto handle I worked up which worked out much better.. ..the finished front of the button and it's housing.. ..and all the parts combined,,, ..it's a really iconic part so I hope I captured it.. TTFN Peter
1/18 Spitfire Mk. XIVe - Race #80
airscale posted a topic in LSM Work In ProgressSo, this is the picture that changed everything… This is a Spitfire Mk. XiVe (ex TZ138) being raced in Tinnerman Air Races at Cleveland, Ohio piloted by James McArthur placing 3rd on September 4th 1949. The next day McArthur left the airfield at 6:00 am with the winnings and the aircraft leaving no trace of his destination. As soon as I saw it, I couldn't stop thinking about it – bare metal, civilian not military, beautiful lines and right up my street. I had been struggling with fatigue on my F7F and after a bit of soul searching decided why not do both? I found a few more pics, and in fact she is still flying as C-GSPT in Canada.. I looked at the Airfix 1/24 Spitfire Mk. 1a kit and what might be involved in converting it to a Griffon, low back Mk. XiVe, certainly a possibility, but through a culmination of events I went for this… ..it's a 1/18 Seafire FR47 available by order from HpH at 450 Euros without shipping and is being sent on Monday J. I went for it as it's bigger and needs less outline work to correct this to a Mk. XIV than taking a Mk. 1 all way up to the later marks.. I have the Monforton book which while it doesn't cover the Griffon versions it has remarkable detail & drawings on everything Spitfire, so I am already part way through drawing up some bespoke PE for it which is scaled up from what I have pending for the 1/24 kit.. ..I also couldn't wait while it was being prepared so thought I would get started on something, and thanks to Tony Taylor's exceptional pics of the seat (I found them on a forum so I do hope he doesn't mind me re-posting..) I decided to start here.. ..so first up I prepared the rear braces by scaling the drawings and using them as templates to form & bend up the parts.. ..made up a kit of parts either turning on a dremel, forming from litho or using RB Motion car parts.. ..assembled the parts and made up pistons etc from tube & rod.. ..added the start of the seat mounting & adjustment frame – working from such accurate scaled drawings is an amazing bonus as it fits like watch parts and lines up properly provided care is taken.. ..onto the seat itself – I decided to make this from litho even though it is a resin/paper moulding, just because I like to work with it.. ..I annealed a part of it so I could shape the sort of 'pocket' thing on the side – as I was working I also referred to David Glens book on his incredible 1/5 scale version… ..there is a uniquely shaped depression in the seat bottom for the parachute pack, so I made a plastic card 'plug', fixed it to a thick base and worked annealed litho around it with a coffee stirrer stick.. ..again, making up a kit of parts, including folding a lip at the back of the seat so it will meet and support the seat back.. ..a dry fit of the parts so far.. ..making the seat back – I drilled it so I could use micro rivets to fix it together.. ..used the Monforton drawings to scale templates for all the parts, here I am starting on the fittings related to the seat height adjustment lever.. ..and the finished adjustment lever bits & bobs.. .. I was quite impressed to find with careful assembly it actually works! ..lowest position.. ..highest position.. After a week, that bit is finished and I like how it has turned out.. - this is assembly number one of what will be a long term project.. I hope you will join me on the journey.. ..also, as it's a Spitfire I am looking forward to getting a lot of advice as I go, as I learn about the airframe and the long list of subtle differences between Marks, versions and variants – I only wish Edgar Brooks was around to keep me straight – in a way I hope this becomes my tribute to him See you soon folks.. TTFN Peter
evening folks it's been a while and things have moved on a bit, so here is the latest on the big cat.. ..I set myself goals to move through the stages needed to get a bird like this done - "make the nacelles, so you can skin the wing", "sort the landing gear geometry out so you can detail the nacelles", "skin the lower wings so you can build the nacelle internals" - I have to discipline myself to do these steps so there is some order to the approach and things don't clash with each other.. ..the current goal is to get the lower wings skinned so I can get the nacelle structure built, so I thought as it is the lower wing just go for it in one big sheet.. ..I marked out rivets, panels and use colours to tell myself whether to rivet from the back (so domed rivets) or stop points so I don't rivet through a panel etc.. restoration photos are great for this as you can see panel & rivet details - unfortunately it is much more difficult with a Dark Blue GSB F7F sitting in a hangar which is what most of my reference is - but I think this is near enough... ..then after at least an hour's work the panel is fully detailed - here is the template being peeled off.. ..I also masked and wire woolled the roof of the U/C bay as the litho plate has a sort of coating I am not sure will take paint, so I stripped it down & will metal prime it.. ..I will be cheating as this will need to pretend to be the wing top skin, as I don't want to go chopping the wing about ..and fixed it in place.. ..another little challenge on some of the top wing skinning are some vents in what is the U/C bay roof - they literally are just holes I think to maybe let hot air created by the engine out of the U/C bay.. I cut some thin slits in the panel and tried making a shaped punch to indent them, after experimenting I had to make a female part to stop the vent mishaping or becoming too big - better to find that out on a test part than a panel you just spent time on.. ..they turned out ok though.. ..and thats it - stage complete - the undersides are done and I can start on the U/C bays... ..and to give a sense of scale, here it is with a 1/32 Sea Fury - the only other model I have completed since I re-started in 2010... ahem... TTFN Peter
HK Models 1/32 HK Models Mosquito B Mk.IV
airscale replied to JeroenPeters's topic in LSM Work In Progressboy that is one nice paint job.. ..I want to paint like that when I grow up.. stuning build Jeroen Peter
evening folks ..thanks for stopping by.. so, it's engineering time - some serious structural work to sort out wing spars and mountings for the main undercarriage.. first I thought about how to mount the U/C in the wings - the answer was a chunky brass plate that also could be used to tie in the wing spars as one unit and allow me to slide them in and out of the stub spars while I build the wings.. ..I clamped it all up and fearful of burning the whole thing to the ground soldered together with a torch - I put some metal clamps on the spars before they go inside the airframe as I hoped they would act as a heat sink and not cause any disturbance to the fuselage... ..cleaned up the joints and it is rock solid.. ..made up the other side.. ..the main gear leg is perpendicular to the spar, but is canted at an angle to the wing chord...it is also a solid leg until it gets in the nacelle then it is a mass of rods & arms. I can't model it like that, I need a rigid mounting so will have a mounting tube to slide the leg into... ..the geometry is complicated so I mocked up a nacelle and the gear door openings (the cut-out at the front) with an old spray can lid so I could work out where to put the mount.. ..I also don't trust my eye as the whole airframe has been built away from jigs or any kind of traditional keel so I hung the plan over my kitchen table and worked out where on the mounting plates the fittings should be by working from the wing leading edge so they are correctly positioned... ..and with some careful setting up was able to solder on the mounting lugs... ..the structure seems to look ok and equal, and importantly if I balance it where the gear will be it is not a tail sitter (by quite some way) so the resin nose & lead weight worked... ..the 3mm card wing cores sit above these and have cutouts for the air intakes - I also made a wing root rib which along with a few more half ribs along the wing will be the points to sand the balsa down to to get the core right... ..lots more to go, but it's a start... TTFN Peter
evening folks ..just a few quick snaps now the U/C is pretty much finished.. ..added the gubbins to the retraction arm which must be part of the actuator - there is also a little junction box like thing that has a pipe coming out of it that runs along the arm and back up into the bay via the noseleg.. ..added the actuator arm and taped up a spacer to protect it.. ..calling this done.. TTFN Peter
evening folks been beavering away and now on torque links.. the rusted to hell bits on the right in this pic from Chino - note they seem handed so not just two simple triangles, plus they have a flat centre with sides so are likely a casting, and have lightening holes... ..so where to start... measured off my plans and marked out some sheet - always drill any holes etc first it is much easier when you have something to hold on to rather than do it afterwards when it is a fiddly little bit... ..worked up the parts and scored and bent off a very thin strip for the sides... ..added some tube to each end and started to add the walls from strip.. all this is CA'd together - I was too scared to try soldering it.. ..used tiny bolts to assemble them and the main parts are nearly complete - just the retraction arm to go... ..thats it for now.. TTFN Peter
Hi Cees - not for the tailplane, no but I think I will need to for the wings...
evening folks thanks for stopping by ...back with a bit more F7F madness... ..so todays challenge is not mission impossible, but it is mission difficult... - I need to make this... ..it's the nosegear leg I took some photo's of at Chino - note the crazy geometry and different shapes in the casting.. ..I traced out the structure from the plan I have and checked it - I started with one part in appropriate diameter tube I had which turns out is copper (I think..) ..I have no lathe, or milling machine or any of the tools needed to do this properly so I just used a big household drill chuck as the 'vice' and various drills and tools in a dremel to work holes and shapes - first up was the angled central casting... ..for the yoke i put some steel rod into brass tube and bent it - I left some sticking out so I could bend it to get an axle for the wheel.. ..seemed to work.. ..now to fix the yoke to the casting I needed a pin or rod and this needed to be strong - I had no alternative but to try and learn a new skill - soldering... ..I watched Paul Budziks really helpful video and got myself some kit.. £30 GBP all in.. ..this was my first go and no you should not learn on the parts you are making, you should learn on practice parts ..the top image is it after soldering - a bit of a mess, the bottom image is after clean up and actually it worked out pretty well.. ..after a fair few hours I had made a fair few interlocking parts to make the basic leg structure.. ..they dry fit together and I need a LOT more practice soldering before I try and assemble it together (I also can't seem to solder to the copper I used when practicing?) .then I got some shiny new kit - this is a combined soldering iron & blowtorch as I was struggling to get the gun to heat the parts enough to do a good job.. ..I tried the first part and soldered the rings to the copper core - seemed to work... ..and then to the leg itself - this is when what Tim said would happen, happened - some of the other parts went out of alignment as the whole thing heated up... ..I tried to correct it but it started to make it worse so left it... ..then made up a bracket for the retraction arm and held the parts in tweezers... ..cut some thin slivers of solder and rested them where the joints were - a few seconds blast with the blowtorch and capillary action ran it into the joints... ...I use a fibre brush type thing in a dremel to clean off the flux and oxidation - quite pleased with how it came out... ...still many more parts to make, but the basics are coming together.. ..I know it is more like engineering than modelling so not too dull I hope - but I need to do a fair bit of this so the big old bird doesn't collapse on her belly the first time I set her down TTFN Peter
woohoo - tailplanes are done.... ...just dry-fitted and need to finesse the little flared tips a bit and fill them with thick CA to keep their shape, but other wise happy with how they turned out... ..more importantly, the experiment worked - I now know I can do the wings this way TTFN Peter
Thanks Cees pretty sure it won't be a tailsitter - I made the nose from solid resin and cast it around a massive lead fishing weight - if anything it will be a belly-sitter as the gear collapses worryingly I have been crazy busy with real life lately - got a lot going on in the day job and have been away a bit so time at the bench has been limited.. ..I did carry on with the tailplane and added the rear skin - this was not annealed as it was flat which means the trailing edge is stiff to shroud the elevator. I also started to work some pewter into the radiused tips of the tailplane.. ..same process - a tape template, I thought I could do this rear part in one piece and left the rear edge a bit longer to shape the curved shroud.. ..more burnishing to get the compound curves - the front parts had to be two part as I couldn't get it to form as one.. ..not much to say about the rest, but it seems to be going ok and the tip is now complete.. ..and in place on the airframe - there is a gap where it meets the fuselage as it is a loose push fit, when fixed later on it should be fine.. ..gotta do the other side next.. TTFN Peter
evening folks thanks guys for stopping by and your advice - I know having watched me make multiple balls ups in the past you have my best interests at heart ..this is new to me so thought I would give it a go.. ..first I shaped the tailplanes by rough sanding - the finish doesn't really matter as it will be skinned. I primed a couple of times so I could get a sense of the shape and to try and impart some rigidity I coated them with future... ..this seemed to work - they certainly didn't deform when I squashed them between my finger and thumb, but would scar if I dug a nail into them.. ..I thought the easiest way to skin would be bending the litho around the leading edge, so I tried it with some scrap.. ..marked out the panel lines to trace onto the tape template I was going to add.. ..covered in tape and drew out the panels.. ..tried to get a clean fit where it will meet the fuselage.. ..peeled it off and marked out where to rivet and score panel lines - I should have scored last as adding rivets makes the litho bend slightly along each row so it starts to curl up - in straightening it out I nearly broke the scored lines and ended up with lots of small panels instead of one big one... ..put the adhesive on both sides and after fitting to one face quickly covered the panel in tape so I could burnish down on the leading edge and fold it over without kinking... the tape helpfully held it all down until the glue started to go off.. ..and the finished panel.. ..so, it seems to work and is pretty resilient which bodes well for the wings - my worry now is the stub spars for the wings won't be man enough as everything is getting pretty heavy now - will have to think on that one ..one last photo of the airframe so far to remind me I am building an aeroplane not lots of little bits of one.. TTFN Peter


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The Government Childhood Obesity Plan has set out the ambition for all children to achieve one hour of physical activity every day, with schools being responsible for delivering 30 of these active minutes.
Active 30:30 is our response to this ambition, and has been developed to help schools reduce sedentary behavior and increase physical activity in young people outside of timetabled curriculum PE. It also addresses how to help influence the remaining 30 active minutes to be achieved outside of school by engaging families, clubs and community groups.
Made up of ten sequential steps, the Active 30:30 Resource aims to support practitioners to create an active school which supports the principles of learning already established.
Included in the resource is a step by step practitioner resource, providing a robust evidence base with guidance and tips to maximise the opportunities within the resource and achieve optimal impact. You'll also receive sample resource cards, review templates, planning documents, certificates and a variety of free downloadable resources to support the delivery of daily physical activity within school.
You can also access our 'Active 30:30 Champions' athlete mentor programme; where one of our team of world class athletes will help bring the resources to life and further embed 30 daily active minutes into the school.


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Lindsay Lohan is to reteam with pal Charlie Sheen on the set of his new TV sitcom Anger Management.
The actress will play herself on an upcoming episode, according to TVGuide.com. She'll romance Sheen's character after becoming one of his therapy patients.
The two stars recently worked together on the set of Scary Movie 5, and they appear to have become friends - he reportedly gave Lohan a $100,000 loan last year (12) to help her pay off an ongoing tax debt. He also offered to pay for her to be fitted for a designer gown to attend an AIDS benefit earlier this month (Feb13).


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Wednesday, May 28, 2014
Goya, Francisco de
Maria Teresa de Borbon y Vallabriga, later Condesa de Chinchon (Maria Teresa Carolina)
oil on canvas
134.5 x 117.5 cm
National Gallery of Art, Washington, D.C., USA
Teresa stands at the edge of the terrace of her father's country palace near Avila, in the mountains west of Madrid. She gazes out at the viewer with an innocence very much in contrast with her adult costume and mature stance. Teresa was four and a half years old.
Francisco Jose de Goya y Lucientes (1746-1828), began his painting career just after the late Baroque period, is considered one of the last of the Old Masters of painting, as well as the first of the moderns who is considered to be "the Father of Modern Art".
He began his apprenticeship in painting at the age of 14, but his genius was slow in maturing and he was well into his thirties before he began producing work that set him apart from his contemporaries. In 1779, he won an appointment as a painter to the royal court and became friendly with the crown prince of Spain, spending two summers with him and his family, paintings portraits, and expanding his circle of royal patrons. He was given a salaried position as a court painter in 1786, and in 1799 was made the first court painter, painting for the king and his family, as well as the Spanish nobility.
Between the years of 1792 and 1793, he suffered from a mysterious illness, which made him deaf, and affected his mental behavior. Some current medical scientists believe that his deafness was a result of the lead in which he used in his paints, whereas others believe it may have been some sort of viral encephalitis. Either way, its effect on Goya cannot be understated. After his illness, he became withdrawn and introspective, and began painting a series of disturbing paintings on the walls of his house in Quinta del Sordo. His earlier themes of merry festivals and cartoons changed into depictions of war and corpses, representing a darkening of his mood. Whether this has more to do with the French declaration of war on Spain or some medical problem leading to mental disturbance is up to debate.
He completed some 500 oil paintings and murals, about 300 etchings and lithographs, and many hundreds of drawings. He was exceptionally versatile and his work expresses a very wide range of emotion. In his own day he was chiefly celebrated for his portraits, of which he painted more than 200; but his fame now rests equally on his other work. As such, his legacy ranges from simple portraits of the royal family to devilish portrayals of demons eating their young. His legacy also has inspired several operas, a piano suite, and a number of feature films.
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Ripley St Thomas is the lead school in the Ripley Teaching School Alliance, and our school centred initial teacher training programme (SCITT) has recently been graded as Outstanding in every category by Ofsted.
The inspection was carried out in two parts - one focusing on training and the other visiting the trainees in their first jobs as teachers.
The four key areas: - how well the partnership secures consistently high-quality outcomes for trainees; the outcomes for trainees; the quality of training across the partnership; and the quality of leadership and management across the partnership were all graded outstanding.
Ofsted highlighted a host of qualities and director of the Teaching School, Julie Bostock, was praised. The report said: "Julie is relentless in her pursuit of excellence. The positive impact of her outstanding leadership is tangible across all aspects of the partnership."
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After three short months in Berlin I will soon head off to the next stop of my dissertation project. From August on I will be associated with the Department of City and Regional Planning at Cornell University for nine months….


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Roman de Salvo considers himself a sculptor, but to be more specific, a conceptual artist who works well with his hands. As a sculptor, conceptual and installation artist, he works with the ordinary and familiar in an infusion of surprise, intrigue, and visual poetry. He makes generic and vernacular objects into peculiar and often humorous sculptures. Employing materials normally associated with prosaic domestic construction and decoration, de Salvo fashions art and anti-art objects that continually question the meaning of things. Fireplaces made of combustible wood, electrified conduit power puzzles, home furnishings altered slightly and hilariously; all these describe a restless, curious intellect, fused with impeccable craft and technical skill.
A large part of de Salvo's work is site-specific, often found in places of little fanfare where it announces itself with startling yet tactful poignancy. He has a knack for integrating his work well with the character of the hosting venue. These venues include the San Francisco Art Commission Gallery, inSITE'94 at the San Diego Natural History Museum, 96 Containers in Copenhagen, Caltrans District 11 Headquarters, San Diego, the Children's Museum/Museo de los Ninos, San Diego, and the Museum of Contemporary Art, San Diego.
In the publication Roman de Salvo: Fun Follows Function from 2000, Sally Yard writes in her essay about the artist, "Flint and Follies":
"Laying low, in the guise of one thing or another, de Salvo's usually hybrid objects and covert interventions operate as mechanisms, deploying the physical, metaphorical and metaphysical forces that they delineate. And nestled within that deft and delicate discourse is finally the force of consciousness prevailing in complicity with the raw power of the material world, as dumb artifacts are made to become articulate exposés of the peculiar meanings of particular forms."


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Tom Grummett Goes Exclusive With Marvel
Marvel Comics announced today that artist Tom Grummett has signed an exclusive contract with the publisher. This follows the announcement earlier this week that artist Mark Bagley has extended his exclusive with Marvel. The full text of the press release follows.
Official Press Release
"Tom Grummett is one of the most underrated artists working in comics today, and a real trooper. Its about time he got his due," said Marvel Editor-in-Chief Joe Quesada upon signing Tom to an exclusive contract. "Tom's from that great Jack Kirby school; solid figures, explosive action, and one heckuva professional work ethic. That's why we want him here at Marvel…oh, and rubble! He draws great rubble!"
The artist, a mainstay of the industry since the late 80s, is best known for his work on such DC Comics titles as Superboy, Robin, Teen Titans, and more recently, Power Company. He was also a co-founder of Gorilla Comics. At Marvel Comics Grummett's action-packed pencils have been seen on Avengers/Thunderbolts, Generation X, Silver Surfer, X-Men Unlimited, and assorted Spider-Man books. He is presently providing the art for New Thunderbolts.
Grummett anticipates cooking up a storm with the heroes and villains of the Marvel Universe. "I'm really looking forward to the opportunity of working with these great Marvel characters…it's like a whole new toy box to play around in," he said when approached about his exclusive contract. "I'm particularly excited with my current gig on the New Thunderbolts, and proud to be working with such a great team." Grummett is joined by Fabian Nicieza on the current Thunderbolts title.
Superstar writer Kurt Busiek, longtime collaborator of Grummett's, was quick with reminisces and high praise for his artistic compatriot. "I've been a huge fan of Tom Grummett's work ever since I first saw his stuff on a Canadian-published small-press book called Privateers. Back then, I was editing Open Space for Marvel, and tracked him down to offer him work – but that bastard Mark Waid had tracked him down like two weeks earlier, and he was already working for DC. I got a couple of stories out of him at least. Since then, I've always been eager to work with him, and jumped at the chance to offer him both Power Company and Thunderbolts. He's a terrific penciller — great page design, energetic storytelling, terrific draftsmanship — he just makes it all come to life so well. Plus, you know, he's got that cool signature. Who could ask for more?"
Grummett is not pausing long to look back at his career or rest on his laurels. He's viewing the future with a gleam of inspiration in his eye. "I've enjoyed working on all my past projects for different reasons…why else would I be in this biz? I'll be concentrating on the Thunderbolts for the immediate future, with a few little side dishes that may crop up from time to time."
With a library of over 5,000 proprietary characters, Marvel Enterprises, Inc. is one of the world's most prominent character-based entertainment companies. Marvel's operations are focused in four areas: entertainment (Marvel Studios), licensing, comic book publishing and toys (Toy Biz). Marvel facilitates the creation of entertainment projects, including feature films, DVD/home video, video games and television based on its characters and also licenses its characters for use in a wide range of consumer products and services including apparel, collectibles, snack foods and promotions. Marvel's characters and plot lines are created by its comic book division which continues to expand its leadership position in the U.S. and worldwide while also serving as an invaluable source of intellectual property.
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Personal insolvency agreement definition
If you have more liabilities than your assets or debts that you cannot afford to settle, you should consider looking up what personal insolvency agreement definition is. To some people especially businesspeople, debt is inevitable. Hence, personal insolvency agreement was designed to assist debtors and creditors come into an amicable debt settlement agreement that favors both parties.
A personal insolvency agreement is a way for debtors to come into agreement with creditors and settle their debts without going bankrupt. It entails; lump sum debt payments from a debtor's or third party resources, asset transfer to creditors, payment of assets sale proceed to creditors or repayment arrangements with creditors which could include deferral of some repayments.
Who is eligible to apply for a personal insolvency agreement?
You are allowed to apply for a personal insolvency agreement if you meet the following conditions.
– You are insolvent.
– You have Australian connections like a business operating in Australia or present in Australia.
– Unless you have permitted by the court, you must not have applied for a personal insolvency agreement within six months.
Personal insolvency agreements do not recognize asset, income or debt limits. It is a debt repayment plan that aims at ensuring you repay all your creditors.
How personal insolvency agreements work
You start by soliciting a trustee that should include, a registered trustee, official trustees and a qualified solicitor. The trustee will go through your PIA proposal, enquires about your financial situation and presents their findings to the creditors. The findings advise your creditors about the monetary compensation they can expect if your proposal goes through vis-a-vis the amount they could expect if you are declared bankrupt. Trustees also recommend whether it would be in the creditors' best interest to accept or reject the PIA proposal.
Creditors are allowed to interact with the controlling trustee and ask questions regarding your financial status before making their decision. You must attend a creditors' meeting that is held 25 days after the controlling trustee is formed. You respond to creditors' concerns, and they vote at the end of the meeting. Your proposal is accepted when a majority of creditors representing at least 75 percent of your debts vote in your favor.
Consequences of a PIA
Once you appoint a controlling trustee, you commit an act of bankruptcy. A creditor can use that action to make a court application to declare you bankrupt is the personal insolvency agreement fails to substantiate. Any petition to declare you bankrupt cannot proceed until the creditors meeting is held to discuss your proposal.
After applying for a PIA, you are automatically disqualified from managing a corporation until its terms are determined. You are not allowed to manage your property without consent from your controlling trustee. The application also appears on your credit report for at least five years. Check out Debt Mediators
Bottom Line
Though your debt standing may be dire, it is crucial to understand personal insolvency agreement definition and consequences before committing. Seek advice from your personal financial advisor before resulting to a legal insolvency agreement.
For more information, visit at https://www.debtmediators.com.au/personal-debt-solutions/personal-insolvency-agreements/


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In case you needed further proof that Rihanna's life is cooler than yours, here are some awesome vacation photos she shared on Twitter on Aug. 28 that will leave you with zero doubt.
Here she is making history for being the first person to make binoculars look cool:
0_0 pic.twitter.com/Wwz11ISvFn
— Rihanna (@rihanna) August 28, 2014
Then, when that got old, she chilled out with a glass of wine on her yacht because she's fabulous:
— Rihanna (@rihanna) August 28, 2014
Later, Rihanna slipped into a yellow bikini and casually mentioned snorkeling in pirate caves:
Went snorkeling by old pirate caves pic.twitter.com/IWRhkUf4xF
— Rihanna (@rihanna) August 28, 2014
Rihanna just wrapped up her Monster Tour with Eminem and is clearly taking some time to relax. We'd be lying if we said we weren't jealous!


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The Amsterdam Historical Museum is a much underrated museum which has interesting displays detailing the city's history. The adjoining Schuttersgallerij (Civic Guards Gallery) is one of the surprises in the Amsterdams Historisch Museum. In a passage-way between the Kalverstraat and the Begijnhof it is possible to admire fifteen enormous paintings – portraits of the Amsterdam Civic Guards from the 17th Century. This is probably the only place in the world where paintings are simply hanging on display in the street. (They are of course protected by a glass roof.) The most famous painting of the Civic Guard is of course the Nightwatch by Rembrandt which can be admired in the Rijksmuseum. The Schuttersgallerij from the Amsterdams Historisch Museum can be reached via the beautiful gateway on the Kalverstraat.
Amsterdams Historisch Museum
Our address
- Address:
- Kalverstraat 92, Amsterdam
- Trams 1, 2, 5 (stop: Spui-Nieuwezijds Voorburgwal); 4, 9, 14, 16, 24, 25 (stop: Spui-Rokin)
- Telephone (020) 523 1822
- Website www.amsterdammuseum.nl
- Admission €11 (child: €5)
- Open Mon-Sun 10am-5pm


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Recent Posts
CopyrightAll text and photos ©Parsley, Sage and Sweet 2008-present except where otherwise noted. If you want to republish or feature any of my recipes, you may post the ingredients and a photo you like with a link back to the page it was taken from, but please do not republish my written post or the written directions to said recipe.
Category Archives: Amuse Bouche
Peanut Butter is not the only Nut Butter! Homemade Nut Butters + 4 Recipes Using Them!
It's two weeks before I will be posting this entry, and I'm about to mutilate my fingertips. I'm talking rip them to pieces, tear my nails, all in the name of turning out a pistachio butter, one of four nut … Continue reading
Posted in Amuse Bouche, Appetizers, Beef, Daring Cooks, Dinner, Hors d'oeuvres, Lunch, Pasta, Poultry, Salads, Vegetables Tagged beef kofta, beef kofte, Cashew Butter, cucumber cups, Daring Cooks, Egg Noodles, Kofte, Mushrooms, Noodles, Nut Butters, nuts, Peanut Butter, Pecan Butter, pecan cream, Pistachio Butter, rice paper rolls, Spring Rolls, summer rolls, Vietnamese spring rolls, yogurt dip 52 Comments
Look Ma, I Made Sushi!
How To Make Sushi 101 There are very few things I'm really good at in life, and naturally, I feed those things and try to improve on them. Sushi rolling is NOT one of them. How do I know this? … Continue reading
Posted in Amuse Bouche, Appetizers, Daring Cooks, Dinner, Lunch, Seafood Tagged California Roll, club sandwich sushi, cold-cut sushi, deli meat sushi, Dragon Roll, fish-free sushi, Japanese, Nigiri, Nori, Sushi, Tuna 54 Comments
Homemade Puff Pastry and Vols-Au-Vents
How to Make Puff Pastry The real Puff Daddy, right? "You're tall, do your exercises by the window where the ledge you can hold onto is higher"; "You're tall, can you grab that off the shelf for me?". HUH? This is … Continue reading
Posted in Amuse Bouche, Appetizers, Beef, Breakfast, Daring Bakers, Dessert, Dinner, Hors d'oeuvres, Lunch, Pastry, Pies/Tarts, Seafood, Vegetables Tagged beurrage, BUTTER, detrempe, Julia Child, Michel Richard, Pate feuilletee, Puff Pastry, vols-au-vent 91 Comments
Homemade Ricotta Cheese – Eating my Curds and Ditching the Whey
I've always wanted to dabble a bit in cheese making, and after seeing a recipe for homemade ricotta cheese, I knew I had to try it! In the end, it not only worked out beautifully, but it served another purpose, … Continue reading
Posted in Amuse Bouche, Appetizers, Cheese, Dinner, Gluten Free, Lunch Tagged Cream, Homemade Ricotta Cheese, Itallian, Lemon Juice, Milk, Ricotta, Ricotta Cheese, Salt, Whey 96 Comments


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View all our featured authors
A Featured Author
After being told not to waste her professor's time with anymore writing, Cindy pursued a career in marketing, got married, had a family and worked in an art gallery where she could put her creative talents to work.
But she always wanted to write. It got to the point in her life where she couldn't stand not to write. God kept putting angels in her path to nudge her in that direction. She sat down one weekend when the family was out of town and started her first book, Chase the Wind. It was if a dam had opened, she could not get the words out fast enough. She quit her job at the art gallery and decided to pursue writing on a full time basis.
What started as one book quickly became a multi book series. The Wind series follows the Duncan family throughout several generations of the family. She also has the Star series, which is a Futuristic Action Romance starting next year. But that's not all. She's writing a baseball contemporary and has plans also for a Romantic Suspense.
When she is not writing you can usually find Cindy at a baseball game with a pair of knitting needles working on a project and goosing unruly fans. She lives in Winston Salem, NC with her handsome husband of twenty six years and has two college age sons. The nest remains full however with two cats, a bird, a pond full of fish, an elderly cocker spaniel and a daschund puppy named Cody.
from author's web site.
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Dates of existence: In A.D. 1325 Aztecs settle in Tenochtitlan. In A.D. 1521 Aztecs Surrender to Hernando Cortes
All Locations of Aztecs: Mexico, Veracruz, Puebla, Oaxaca, Guerrero, and Hidalgo
What happened to them?
Tribes just wanted to get rid of the awful Aztecs
But it was disease that actually defeated the Aztecs
They had no protection against simple childhood diseases like measles that the Spanish brought with them.
The Aztec Empire collapsed.
believed that gods needed rest, just like people
believed that different gods watched over their seeds and plants
believed their gods had families
The Aztecs believed in an afterlife
after they died they believed they would be assigned a job to do that helped their gods
Gods worshipped
-Huitzilopochtli -Chiuhnauhyoteuctli
-Painal -Cipactonal
-Ehecatl -Citlalicue
-Quetzalcoatl -Citlalatonac
-Atlacoaya -Cituateteo
-Atlatonan -Coatlicue
-Atlaua -Colhuacatzincatl
-Camaxtli -Ometecuhtli
-Centeotl -Omecihuatl
-Chalchihuitlicue - Xochiquezal
-Chiconquiahuit -Huitzilopochtli
-Chimalmam -Tláloc
-Chimamatl -Xipe Totec
-Chiuacoatl -Oxomoco
- Mixcoatl -Patecatl
The Aztec religion included bloodletting and human sacrifice, including the offering of living hearts
Every month had at least one major religious ceremony honoring a god or gods.
In almost all major ceremonies an individual was chosen to impersonate the god, dressing as him or her.
This person would be coddled as if he was the god until the time of sacrifice
By: Madysen Thomas
Map of Aztec Locations
Corn right off the cob
Fruits and Vegetables
Dogs, turkeys, and the Musovy duck
chillies, tomatoes, limes, cashews, potatoes, sweet potatoes, and peanuts
Fish and shrimp for food. Even insects, such as grasshoppers and worms were harvested
cocoa beans (which made chocalate)
roasted squash seeds
pecans, pimentos, and spices
Clothing was generally loose fitting and did not completely cover the body
Aztec clothes were generally made of cotton (which was imported) or ayate fiber, made from the Maguey Cactus (also called the Century Plant or American Aloe)
Women would weave the fibers into clothing, a task girls were taught as young teenagers
Because of their vast trading network, the Aztecs were able to make use of a beautiful array of dyes, creating the brilliant colours still seen in Mexico today
Children wore similar clothes as their parents wore.
The men would wear a cloak made from a triangular cloth known as a tilmatli or tilma. It could be used like an apron to carry things, or worn as a cloak
Embroidery or decorative fringe on his loincloth
The women would wear skirts, and a sleeve less blouse or short sleeved shirt
As women moved up the social scale, their clothing became more decorated and dyed to show their status
Women of different regions might choose to pleat their skirts in different fashions to create a garment that had a different look or drape, or they might simply let it fall in a cylinder to the ground
Spinning, weaving and dyeing were all important crafts to the Aztecs, but unlike Europeans, they did not take the wool from sheep to do their spinning.
Instead, they might make clothes from imported cotton fibres or from ayate fibre, which is derived from the maguey cactus.
These fibres could be pulled from the plant and then spun into thread or yarn.
This yarn could then be set on a loom and woven with.
Aztec houses could be made of adobe
Aztecs homes where mainly influenced by their climate
Most houses only had one room and a flat roof for the heated seasons
The main areas of the Aztec shelter was one room split up equally into four areas
There was an area for the whole family to sleep in, a family shrine where gods would be kept, a place where meals would be prepared, and then the eating area
Roles of men
Men were trained from a young age to fight and protect their people. Sometimes they would get hurt and need medical care
While men weren't fighting and training to be warriors, they were out hunting and gathering food for their people
A father was responsible for putting food on the table and keeping order in his family as well as holding it all together!
Women played a major part in Aztec society. Women were responsible for cooking, cleaning, and taking care of young children
Women were allowed to own land, run a business, and they were also allowed to obtain divorce for cruelty
The women were also responsible for weaving for rulers as a tax payment
Children played with bows and arrows, marbles and stones. For the adults, dances and ritual battles were often considered a form of entertainment. Music was, of course, very popular
Totoloque was a gambling game popular in Mexico at the time. The object of the game was to hit a target with gold pellets
Girls played with dolls
One of the most popular Aztec games was Tlachtli
Another of the popular Aztec games was Patolli
Every child in the Aztec empire had to go to school. That included boys, girls, and slaves. There were different schools for different classes of people. The rich went to one school, the poor another. Boys and girls did not go to the same school. But whatever school they attended, school was tough. There was no recess and no time to relax
For their time Aztecs had a very good education system in which boys and girls had to go to schools. There were three different schools for children, a noble boys school, a middle class and commoner boys school and a girls school
Aztec farming was the primary component of the Aztec economy
To make the land suitable for agriculture, the Aztecs developed extensive irrigation systems and formed terraces on the hill sides. They even used fertilizer to improve the content of the soil. Aztec chinampas, however, were the most important development in Aztec farming
In order to create the chinampas, the Aztecs dugs canals and piled the mud from the canals onto large mats, which they made from woven reeds. These mats tied to posts in order to be held in place. The Aztecs had driven these posts into the bed of the lake ahead of time.
More beliefs
Believed their gods would punish them if they did not worship their gods every day
They believed they would be punished if they worshipped their gods every day, but somehow, in spite in their best efforts, did not worship them enough in the eyes of their gods
Aztecs believed it was necessary to keep their gods happy
They truly believed if they did not keep their gods happy, the world would end
The priesthood organized and guided all the religious ceremonies, arranging for every necessary component and making sure they ran smoothly
Not every great ceremony or ritual required human sacrifice
In some rituals, priests and laymen would cut themselves and offer their blood to the gods
In others, small birds or other creatures were sacrificed. Nevertheless, many Aztec ceremonies required human victims.
There would be thatched roofs, or even terraced roofs
It was here that the people stood to attack the Spaniards, a last stand against the conquering army
It took a while to get the materials due to amount of sunlight because Adobe needs sunlight
At the noble boys school they learned about law, hieroglyphics, medicine, engineering, building, dreams and omen interpretation. They also learned about their history and religious beliefs
At the commoner boys school were taught mostly how to be warriors or farmers
At the age of fifteen all boys went to school which was called a telpuchcalli ("house of youth").
At the age of fifteen all boys went to school which was called a telpuchcalli ("house of youth").
The boys attended either a calmecac or a cuicacalli. The cuicacalli was more of a military school. Children of the noble class attended a calmecac, a school for noble children that was connected to the temples
At school girls learned about religion, cooking, sewing, weaving, childcare and religious dances and songs
Girls went to school between the ages of 12-13 and boys 10-15
All the schools taught proper behavior
Some schools trained kids in specialized professions
If you had talent, school was a chance to move up in the world
The Aztecs believed in giving everyone a chance, even if it was a slim one
They then planted trees in the corners of the mats to hold them permanently in place. Extensive Aztec farming activities took place on the chinampas, including the growing of squash, corn, flowers, and vegetables for which the climate was ideal
They used pointed sticks to dig holes into the soft soil in order to plant seeds. Aztec farming also employed slash-and-burn techniques, which called for chopping down and burning sections of the forests, then planting in the cleared land
However, Aztec men spent most of their time at war but when they were not, they were usually farming or doing some crafts work For example, making weapons!
Men were also known for disciplining their children with various methods like stabbing with a spike to tying them hands and feet, to a wet mat!
They had to work - girls help mothers and sons help fathers
All older children were expected to help with chores around the house and in the garden in addition to attending school
They began learning to weave at age four and to cook at age 12
Carrying water, collecting firewood, carrying bundles to the market, fishing and collecting maize grains from the floor of the marketplace
At the noble boys school they learned about law, hieroglyphics, medicine, engineering, building, dreams and omen interpretation. They also learned about their history and religious beliefs
At the commoner boys school were taught mostly how to be warriors or farmers
Trading was in Aztec times a very important act, that kept society moving and pushing forward
Aztec people would trade daily, visit the marketplace and use the various forms of accepted currency to make their purchases
Gold and silver were traded. Feathers were also a frequent commodity. Obsidian, used for tools and weapons. Foodstuffs: corn, beans, squash, and cacao
The Aztec government was unlike other systems of government during the time
Was more of a system of tribute in which conquered cities paid respect to the Aztec empire
The ancient Aztec government did not rule an empire in the way we often think of the word. The control didn't stretch into every corner of life - rather, conquered lands were forced to pay tribute, but left a certain amount of freedom
The Aztec government was well organized, but both the emperor and the nobles had their hands full with the problems of a growing population. They needed to grow more food, to build more schools, to fill more storehouses, and to create more temples. They also needed more captives, people they could sacrifice to feed their hungry god
However, the laws of the Aztec people were for all people, in all cities. These laws were written down. If you broke the law, your punishment was listed, along with the law. Everybody knew what would happen to you if you broke a particular law. Many of the laws included a punishment of death if you broke the law. The laws were very harsh
Aztecs had very few ways of transportation
Aztecs transported themselves was by canoes through canals
Transported themselves was by causeways with moveable bridges
Arts and crafts
Art was an important part of Aztec life. They used some forms of art such as music, poetry, and sculpture to honor and praise their gods. Other forms of art, such as jewelry and feather-work, were worn by the Aztec nobility to set them apart from the commoners
What they did:
Templo Mayor
The Pyramids of the Sun and Moon
Great Pyramid of Cholula
Banks, James A., et al. Latin America and Canada. New York: Macmillian/Mcgraw, n.d. Print
McKissack, Patricia. The Aztec. Chicago: Childrens Press, n.d. Print
Owens, L. L. The Great Aztecs. Iowa: Perfection Learning, 2002. Print
Ken, Nelson, trans. "Aztecs." Ducksters. (Technological Solutions, Inc.,, n.d. Web. 19 May 2015. <http://www.ducksters.com/history/
"Acient Aztec." Aztec-History.com. N.p., n.d. Web. 19 May 2015.
Hunter, Scott, ed. "Aztec." Aztec Civilization Website. Aztec Systems Corp.,, 2010. Web. 19 May 2015. <http://aztec.com/page.php?>.
Aztec-Indians.com. N.p., 2010. Web. 19 May 2015. <http://www.aztec-indians.com/aztec-html>.
About.com Education. 2015 About.com, n.d. Web. 19 May 2015. <http://archaeology.about.com/od/aztecarchaeology/tp/Aztec.htm>.
Harris, Marvin, and Michael Harner. "Aztec Civilization." New World Encyclopedia. Ed. Miguel León-Portilla and José Jorge Klor de Alva, ed.
N.p.: n.p., 2015. 1-12. Print.
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