text:
Physiotherapy students seek alternative options as job opportunities prove slim
A pioneering physiotherapy project in Nepal offering practical work experience is highlighting the importance of volunteers.
The Self Help Group for Cerebral Palsy in Nepal is a non-governmental, non-profit organisation which is fully committed to helping children and adults with Cerebral Palsy and to providing emotional and practical support to their parents.
The centre aims to provide counselling, emotional support and practical advice to the parents of children with Cerebral Palsy. Every effort is made to fully involve the parents in their child's rehabilitation on a long-term basis. The centre's therapists create a treatment plan for each child; from this plan the parents can learn how to help their children with the exercises which help to keep the body flexible and prevent secondary disabilities.
In an industry where 68% of UK physiotherapy students failed to secure employment in 2007, this placement offers vital work experience for those looking to boost their CV.
Recent graduate Kerrie Roberts volunteered with Projects Abroad, the gap year organisation arranging the physiotherapy placements. She said "The physiotherapy project in Nepal was just fantastic! I had an amazing time, met some fantastic people and made friends for life during my two months volunteering. The staff at the hospital let me get really involved with the running of the department, and I gained experience to help me secure a job back in the UK. At weekends we also had the chance to explore what the country had to offer, too much for our short stay! A truly amazing two months!".
Projects Abroad's Director in Nepal, Sajani Amatya, is responsible for overseeing all projects in Kathmandu. She said "Projects Abroad volunteers are proving an extremely valuable resource for our partner organisations. There is a real shortage of physiotherapy skills and qualifications in Nepal, so each volunteer is able to help in a practical way. Some of the patients conditions can be quite shocking to volunteers but it provides them with a first rate physiotherapy experience".
Set up in 1992, Projects broad specialises in offering school leavers, undergraduates and career breakers a diverse range of projects and destinations throughout Asia, Africa, Eastern Europe and Latin America and the Caribbean. Projects Abroad offers 100 different placements in areas such as medicine, sport, teaching, conservation, journalism, business and community development.
For further information about this and other Gap Year projects contact Projects Aboard on 01273 007230 or visit www.projects-abroad.co.uk.
Notes to Editors
Photographs and interviews with Kerrie or Sajani are available upon request.
Please contact Scott McQuarrie on 07789990005 or at firstname.lastname@example.com
Go to the Recent Press Releases page.
Thank you!
One of our Programme Advisors will get back to you as soon as possible with an answer to your question.


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Sacriphyx Interview for NWN site
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Posted: Mon Apr 14, 2008 2:38 pm
Post subject: Sacriphyx Interview for NWN site
This will be posted on the NWN! interviews page soon.
Having only heard three tracks by Australias Sacriphyx, I cannot say that I can yet fully understand their mission. What is immediately apparent, however, is that Sacriphyx play a more dynamic and emotive strain of metal than I have heard in years. The lyrics of the first demo are devoted to articulating the intricate and complex state of the mind of the soldier in combat at the battle of Lone Pine. The music accentuates this endeavor as it evokes all at once the glory and anguish of war. Melodies that rise to triumphant heights then crash despairingly make up the fabric of their long and precisely crafted songs. Intending to uncover more about this heretofore virtually unknown two-man project, I summoned drummer and lyricist Neil Dyer to provide new insight. Prior to making contact with Neil, I partially expected another self-important musician type who takes his work overly serious and tries to insist that the listener approach the music with a particularly serious mindset. I was pleasantly surprised to find that Neil, while clearly articulate and intelligent, also provided some of the most level headed and genuinely metal responses that Ive heard in while and without a trace of pretentiousness
J.C.: Hails Neil As Sacriphyx is still in its primordial stages, perhaps you can discuss the formation of this project.
N.D.: Sacriphyx was formed in early 07. Like many other bands it was created during a drinking session.
J.C.: Can you explain the meaning of the name Sacriphyx and from where it is derived?
N.D.: The word Sacriphyx has no meaning. The word came about with us being dickheads joining names together and chopping words in half etc: Fuck there was some shit names thrown about ha-ha. Then we landed on Sacriphyx by chopping sacrifice and asphyx. Looks tough and sounds mean! Also I hear the name was also used in a movie. Must be a classic..
J.C.: In a scene that sometimes walks a line precariously close to fantasy-role-playing-game-like aesthetics, it is refreshing to see a band whose imagery and content seem more grounded in reality. Was there a conscious decision on the part of yourself or Anthony Till to avoid many of the common visual and lyrical trappings of metal? Or do you feel that this is a mischaracterization of your imagery and aesthetics?
N.D.: I had called Anthony about what path he wanted to follow lyric wise as I had myself an idea. I had not written lyrics before but wanted to try writing about a passion of mine. Tales of the Australian soldier, the triumphs, the pride, the horror and the loss. He like me thought it was different and should pursue it.
J.C.: Can you describe the source of the logo? It is certainly a departure from the usual metal imagery. Explain the significance of the musket and sword.
N.D.: I created the logo but fail to see both the musket and sword ha-ha! There is a .303 Lee-Enfield rifle and an 18 Australian issue bayonet of cold hard steel. This rifle was used by most commonwealth forces during WW1 and to a lesser extent WW2. A fine accurate rifle by all accounts and an evil looking foot and a half of steel that put terror in the hearts of their foes.
The way I see it, the logo has old English font, weapons and droopy parts. What do you mean not the usual metal imagery? (I guess you have a point there, Neil.-J.C.)
J.C.: The band photo you used for the CDr demo were taken in front of a war memorial and the recording itself is dedicated to those that fell at Gallipoli. What is the importance of this to you? (I should admit here that I am no student of history. A quick search reveals, however, that Gallipoli was a WWI battle at which many Australians sacrificed their lives in the course of war. I should simply let you explain further .)
N.D.: We dedicated the demo to those that fell at Gallipoli as the lyrics were about a battle there and the withdrawal, it was a sign of respect for those brave men who fell.
In Australia we have ANZAC Day, a public holiday to commemorate the dead (and living) from all wars past and present that Australians have been involved in. This day falls on the 25th of April which signifies the date which Australians landed at Gallipoli back in 1915.
It was Australians baptism of fire. Australia proved to the world this day they were a fighting force to be reckoned with, further more they were, being volunteers, a unique army. Some fought for defense of the mother country England, some because of the eight bob a day pay but most to see a bit of the world. I will quit here as I have already summarized a great deal and if I go further I will write a novel.
The band photo has the Australian War Memorial in the background, it was here I had to get permission to use the new cover for the demo 7.
J.C.: Do you have any formal education or training in history or is this merely a passion you have cultivated on your own?
N.D.: I have no formal education on Australian history, only from the books I read. The passion I have for Australians at war and Australian history as a whole would have come from my father who ever since I was a young fella dragged my brother and I to ANZAC Day dawn services followed by the march. Id have to say it wasnt til the last of the original ANZACs started to die off around 6 or 7 years ago that my interest really took off and now as a consequence I have trouble finding enough books on the subject to fill my need.
My old man has been over to the fields of France and Belgium on a few occasions to do a bit of amateur archaeology, bringing back bits and pieces of war. On the last occasion he found (near Pozierres I believe) a rising sun badge that adorned the Australian slouch hat. Perfect condition and a remarkable find.
J.C.: Both of the songs are lyrically devoted to the scene of this battle. Is this going to be a pattern for future Sacriphyx releases? By this I mean, do you intend to focus on war and conflict and do you intend to specifically focus on particular wars and battles?
N.D.: All lyrics for upcoming releases are about battles involving Australians in WW1, the lyrics for the demo and awaiting press releases, split 7 with Stargazer and split LP with Resuscitator all deal with Gallipoli with one song on the 12 being an exception. Lyrics for the full length will be all upon The Western Front. From there we will enter WW2.
J.C.: Clearly the scene you set in these songs is one that pertains in large measure to your homeland, Australia. What is your perspective on your heritage and your culture? Is nationalism important to you as an individual or to the creativity of Sacriphyx?
N.D.: Australia has, though a short history, a rich one. From convict settlers, to exploration, to gold rushes, bushrangers and war. All these are packed with incredible stories that put phantasy novels to shame. It is a great country (or was?) and am proud to call myself Australian. Being so far from Europe we have to make do with what we have hear and you wont find me complaining about that, we have killer bands, past and present and a free going attitude to most things in life. We tend to take the piss out of everything and hope there is no such thing as karma.
I was bought up to be proud of my Australian heritage and its a shame to see our unique culture turn to shit, what was once the lucky country is slowly drowning in a sea of shit. Is it the failings of school teachers to teach Australian history? or is it just that the youth of today couldnt give a fuck. There is nothing I hate more than seeing our flag being burnt for political reasons when the only reason they have there freedom is because of the diggers in WW2 who fought for flag and country. I will stop here, I get too worked up.
J.C.: Is your reverence for war and battle politically significant, and, in your opinion, is metal an appropriate vehicle for politics?
N.D.: Sacriphyx is not a political band, I will try to leave politics out of my lyrics though in some battles it is of vital importance. I have no ill feeling towards those the Australians fought against in WW1; my lyrics are mainly about the soldier and not the reasons for the war. Anthony himself is of German stock but he finds no difficulty in singing about these topics because of the nature of the lyrics.
People will use any tool for politics, metal is just one. Do I believe metal is an appropriate tool? Depends of what nature the politics is about.
J.C.: Obviously, war has always been a recurrent theme in metal. However, these days, the term war metal is often applied to bands that simply have album covers depicting goats riding in tanks wearing gas masks and holding grenade launchers. (Dont get me wrong, I appreciate so-called war metal and delve into this genre of music regularly.) Do you feel that you are presenting a more sincerely realistic variety of war metal?
N.D.: I see where you are going with this question and it has been discussed whilst on the turps. The way I see it, war is war. Wether it is a world war, war against religion, war against poofters, if you sing about war you have the right to call yourself war metal. But in saying this War Metal is now a term for a style of death metal. So for us to call ourselves war metal it would lead people to believe our music is something it is not.
Sacriphyx plays death metal with war themes.
J.C.: Musically, Sacriphyx seems most closely akin to the early 1990s Greek sound (i.e. His Majesty and the Swamp, Thy Mighty Contract, etc). Much of the Greek sound seems similarly to evoke scenes of conquest and noble pride in the warrior heritage. Were you drawn to this sound because it suited your needs thematically? Were you heavily influenced by that Greek sound or did you arrive at a similar style by some other means?
N.D.: When writing began it was some death metal with tinges of thrash. Greek sounding riffs just started to creep in here and there and worked well. Both Anthony and myself love the old Greek albums, it really is some powerful stuff, so mixed with classic death metal riffs as well as some slow heaviness it has created something unique. I agree very much with your thoughts on what the old Greek riffing style conjures up in ones mind. It is much needed when dealing with the lyrical themes.
J.C.: The music you play is powerful and monumental, but also highly emotive. The solo at the beginning of Victory of Withdrawl is remarkable simple, yet simultaneously full of glory and despair. And you flow seamlessly into triumphant passages that sound of the conquest and victory. I have heard one other track that I understand is going to be part of a new album and it has a similar style. Blending slow and melodious passages with faster and more triumphant parts. Is this what we should expect from the new recordings?
N.D.: Anthony is a genius when it comes to the way he can change the feeling of a song with a solo or lead and the way he places them in the song after a certain lyric to add power and meaning. Its a bloody honour to be in a band with him.
Songs recorded for the next two releases are along the structure already shown on the demo, but not all. There are songs that do not hint of any Greek influence then there are others that reek of it! Expect some death/thrash and also some slow heaviness. What will be will be in the bunker of Sacriphyx.
J.C.: Do you derive any influence from genres of music other than metal?
N.D.: If I do get influence from another type of music it would have to be folk music, both Australian and English. I grew up in a house where it was played often. Some lyrics are patriotic, some are depressing as all fuck and others are uplifting. The music catches the feeling of the lyrics in most cases. Hopefully one day when Im an old geezer with a beard to put Ned Kelly to shame Ill take some Sacriphyx lyrics and put it to folk.
Anthony has discussed an idea of doing a folk like song (acoustic guitar and clean vocals) when we write the rest of the forthcoming album.
J.C.: Aside from historical texts, do you turn to other literary sources for inspiration either musically or lyrically?
N.D.: I use to read a lot of Phantasy novels and some macabre horror but now only read these for a breather between history books. I do not believe I get inspiration from these besides perhaps The Silmarrilion which is a book filled with tales of dread, woe and an odd victory here and there, very much like war I suppose. This is one book I tend to find myself reading again and again.
J.C.: How is your relationship with the Australian scene? Does Sacriphyx perform live? Are either you or Anthony members of other bands?
N.D.: Ive been playing live in bands for over a decade now and played in most states, same deal with Anthony. In a scene as small as Australia you pretty much get to know most people and bands from interstate. They look after you when youre interstate and vice versa. It does not take long to get the name of a new band out across Australia because of this.
Sacriphyx is pretty much confined to a studio band for two reasons. One being we live close to 4hrs drive from one another and the second being there are only the two of us. We have not ruled out the possibility of playing live but will need a session musician. Anthony has a great deal of contacts overseas as he toured some years ago playing drums in Ghastly. His wish is to tour overseas again when Sacriphyxs name spreads.
Other bands I am involved in are Stone Wings, Innsmouth and Crone. Anthony is involved in Miserys Omen, Demons Gate, Ghastly, and probably a dozen more that I am unaware of ha-ha.
J.C.: You play drums and write the lyrics, but Anthony supplies the vocals. Is it difficult to write lyrics and yet permit someone else to utter them? Is this because his vocals are superior (indeed, Anthonys vocals are exceptionally well-suited to the music of Sacriphyx) or because it is difficult for you to sing and play drums simultaneously?
N.D.: Ive never tried to do vocals and have no problem writing lyrics for Anthony to sing. He puts the lyrics well to the music and I cant ask for much more then that. I reckon if I tried to do vocals my lungs would collapse and Id keel over and die. Being both an asthmatic and a smoker may seem extremely tough but it does make me somewhat short of breath.
J.C.: The demo recording was, according to the insert, recorded in a studio yet the sound is a bit murky. While this does not in any way detract from the effect of the music, I am curious to know what type of equipment you used. Analog? Cassette? Digital?
N.D.: The demo was recorded at Anthonys home studio using digital equipment. All pretty complicated stuff if you ask me so I couldnt give you much more details concerning this. Give me the old brown two track tape recorder any day.
J.C.: What lies ahead for the Sacriphyx batallion?
N.D.: For the moment well be rehearsing and concentrating on recording material for a full length album and make sure its ready to go once the next two releases are out later this year. I do not remember what we have discussed past this point for when we catch up we tend to hit the piss, next thing you know is you are waking up feeling shit and forgetting all that was discussed. I reckon there could have been some killer ideas unfortunately. But I can assure you Sacriphyx will not lay wounded calling for the stretcher bearer but will charge ahead with bayonet held high.
J.C.: Any final words?
N.D.: First a mighty thanks to both yourself and Yosuke, if I ever find myself in America be not surprised when I come a knocking with a slab of Fosters tinnies on me shoulder and a pack of Winnie reds up me sleeve. Cheers to those who have supported Sacriphyxs short journey this far. Over and out.
Last edited by illomen on Mon Apr 21, 2008 2:33 pm; edited 1 time in total
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Posted: Tue Apr 15, 2008 8:30 am
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Posted: Tue Apr 15, 2008 10:03 pm
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Great work on all sides.
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Posted: Sat Apr 19, 2008 10:51 pm
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this is up in the interviews section now.
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Come join me for a casual conversation at my next "Office Hours" event.
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Phoenix, AZ : Wednesday September 14th, 3pm – 5pm, Starbucks at Park Central Mall


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Service Engineer (Electrical Bias)
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Service Engineer (Electrical Bias)
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Do you have experience with control panels, motors and actuators?
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THE CANDIDATE: The ideal candidate will come from a ventilation background ideally within a field service environment. You should be electrically biased with basic mechanical knowledge/experience. You must have a driving licence and have experience single and 3 phase systems. To be successful in this role you should have some experience with control panels, motors, actuators and invertors. My client is open to looking at people from a variety of industries including ventilation, extractor fans, door controls, powered windows or a production maintenance background.
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Art.Nr. 19372
Microfibers are fibers that have filaments finer than 1 dtex which is finer than silk. Microfibers are light - 10.000 m weigh max. 1 gram - soft and form stable. They offer the best assets to be used for functional sportswear.The extremely fine fibers can be processed into a very dense but still light material which is wind-repellent, water-repellent, highly breathable and easy-care.


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I've been talking to you about how to find what others say is impossible; we're looking for unicorns. So how CAN you find what is hard to be certain actually exists? You start to learn how to discern your environment different than usual. Here are some ways to begin to practice this amazing craft.
On a trail or at a park:
- sudden lull in sounds (birds and young children, if present, startled by unicorns)
- a healed gash in a tree truck (old horn would – unis have been known to be a bit clumsy about this)
- faint unaccounted for noises (whip your head around – one's following you!)
- a weird –but not creepy– sensation that you're being watched (you are, you are)
In an urban setting
- anywhere there are sparkles – sidewalks in front of old movie theaters, fountain splashes on the sidewalk, near little girls
- the sudden flight of pigeons unassociated with loose dogs, loose boys or loud noises.
- carved graffiti tags of a vaguely positive nature
- outposts of hope (those Salvation Army holiday bell ringers are always surrounded by unicorns for starters)
- soup kitchens
- groovy coffee shops in blighted areas
- artists' spaces anywhere
- planted plots
- rescue facilities of any brand
- poles with flyers attached to them
"Whoa! Hang on there. We thought you were going to show us how to find unicorns. You know, equine thingies with the one horn in the middle of the forehead sort of creature."
Yeah, ok, you're right. What we're going for here are ways to find their habitats, the places they hang out; the intersections of hope and the will to be, to thrive, to grow. Once there, you see, the unicorns find us! When we come at this search sideways like we are, our luck increases exponentially because now we're not seeking the physical embodiment of a being but it's far more influential essence. So here's the thing; unicorns as literal interpretations of themselves are at the very least impractical and at the most just some sort of equines with pointy sticks coming out of their foreheads. Kind of a one trick pony if you know what I mean. Not very interesting after a minute or two, and pretty dangerous almost immediately!
We're going for something larger. Much larger.
Creating Unicorns
When we expect we will find unicorns we become surrounded by them wherever we are. We create unicorns by seeking them. That is the magic, the alchemy of hope. In its elemental forms optimism inspires possibilities of grand and enduring scale. It reaches depths of existence right into the quantum of what connects us to each other and everything else.
Habitats of Hope Reflect on places in your own experience that could well be the natural habitat of hope and hence unicorns. List as many as you can. You don't have to do this all in one sitting. Come back and add new thoughts as you go. See above for inspiration as to where to get started looking.
Acquire a unicorn charm object of one kind or another that is pleasing to you. Put the desire to find it 'out there' and see what shows up for you. This is applied unicorn thinking in action. You're looking for the perfect symbol, so believe it will show up. Make notes of this process. Put it someplace you're bound to see it every day to remind you of your success in finding unicorns and to get you thinking about finding more!
Collage-a-corn Using your super powers as a unicorn creator you will now turn ordinary equines into unicorns!
(Note: there is no such thing as an ordinary equine – that was a test). Oh and one more thing: Horses that are descended from unicorn lineage will have a whorl pattern on their forehead where a horn would be. Now you can spot true unis wherever you find horses!
You'll need:
- horse magazine(s)
- paper – something nice and stiff
- scissors
- glue stick
- optional – glitter!
Cut out regular horses and stick them to your nice stiff piece of paper. Then cut out separate horn shapes for each head and glue that in place. >viola!< instant unicorns! Add glitter as you see fit. Now put that baby somewhere you'll notice it so you can remember how awesome you are – awesome enough to be able to transform the ordinary into the extraordinary. Now go out and do that in your head to everything around you that needs some magic.


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I'm excited to make this one! It's not a traditional pizza. Have you made it? What do we need to know?
101 thoughts on "P & Q: Pizza Rustica"
Is anyone else planning to make the crust with a stand mixer (or pastry blender and fork/spoon) instead of a food processor? The recipe specifies food processor, but mine is tiny. I'm sure it will turn out okay without the food processor and normally I wouldn't even bat an eye, but I'm trying to follow the recipes in this book closely rather than tweaking them (which is my usual approach to cooking). Regardless, I'm hoping to make the pizza this weekend :)
I'm in the same boat. My food processor is small. I usually always use a pastry blender (Its a really nice Pampered Chef one) and the dough turns out fine. In my opinion, the food processor just makes it easier and quicker.
I've always had luck making pastry dough in my KitchenAid with the wire whisk attachment. Chill the bowl, flour and cubed butter together and then just let it run until you have "flakes". Add the beaten eggs and it should come together fairly well with a bit of hand-kneading at the end.
I've used both pastry blender and food processor and both work well. I'm intrigued by using the wire whisk in the kitchen aid! That's a new one for me.
My food processor is small too, I'm planning to make the dough in two batches and then knead them together.
I think I'm going to try it with the stand mixer, at least for the part where the fat is cut into the flour. Then add the wet ingredients by hand since there's more control that way. Hadn't thought of trying the whisk attachment, whenever I cut fat into flour using the mixer I always use the flat one.
I don't have a food processor or stand mixer, so pastry blender it is for me! I am also planning to try making this over the weekend!
Me too. I'll be curious to know how yours turns out. I guess it will just be a bit more rustic ;)
I made this over the weekend and the jury is still out. Stuck to the basic recipe. Used homemade ricotta made from goat milk. Had to use my 8″ tart pan because I don't have a 9″ pie plate. There was some leftover dough and filling. I made a small calzone with the leftover dough, but still have some filling. I'm just not sure if I liked the sweet dough. There was not enough taste contrast like in a salted caramel, etc. The pie was essentially a baking success, but I think it could have used some add-ins, so I will make again and add some things to the filling.
I have to thank everyone who has posted comments and questions already. You've addressed some questions that I had about this recipe. I think I'll be making this to take to an event next Saturday afternoon for which I need to provide lunch for a small group. Here's one small auxiliary question: Would this be good served with a side or garnish of tomato sauce (marinara-type sauce)?
No tomato sauce just plain with a salad
I don't think it needs tomato sauce. It would probably overwhelm the filling. I think the salty filling, sweet crust dynamic is really good. I served ours with steamed asparagus.
I ended up serving it with no side anything, and it got raves. I was a little skeptical about it before I got going, but have to say that I was happy to be proved wrong.
Any idea what to use in place of ricotta? My husband hates anything curdy so I need a sub.
If you use half ricotta and half sour cream it makes for a smoother filling.
I just pulled mine out of the oven – smells delicious! I am actually looking forward to the sweet crust and savory filling so I left the recipe as is for the first time around! I made no substitutions so mine is not runny at all…. the only problem is my crust didn't brown too well even though I had it in the oven for 40 minutes. Contemplating whether I should throw it back in for 5-10 minutes or not…
Made the Pizza Rustica and my family loved it. I used Prosciutto which lended a mild ham taste. Loved the taste of the sweet dough against the salty prosciutto. I did add a few spices…garlic, pepper and oregano.
I will be making it for Easter…it's worth the time.
~ Carmen
I made mine at the weekend and it's definitely more of a quiche than a pizza. My daughter loved it, I wasn't as keen, prefer my usual quiche recipe.
I'm in the process of making this now. It says to cool completely. Is this meant to be served at room temp? Has anyone tried it warm or cold?
I ate my first piece when it was too hot. Wait until it cools to room temp.
I made it on Monday. We ate it at room temperature. It was tasty. I heated it up in the toaster oven at work today. The top crust browns really fast. I should've put some foil over it. I liked it warm better.
This was way easier to make than I was expecting, except rolling out the dough – I can't believe the book doesn't say to chill it first! Am I the only one that was underwhelmed with this recipe?
It was an easy recipe! I had issues with the dough. I was thinking it should have been chilled or worked more. Glad it was an easy one though. The lemon loaf will be an easy one too.
I made the lemon loaf the other day, it was easy! One thing I'd do differently if I ever made it again would be to use oranic lemons; I used regular supermarket lemons and the finished cake smelled kind of waxy, like a weird lemon-scented candle or something (if that makes sense). A little vanilla never hurt anybody either ;)
Made this last night. Turned out beautiful. The pics… we'll see.
Next time I need to remember to add some salt since I omitted the prosciutto.
I made this Monday night & have been eating it for lunch the past couple of days – it has held up really well.
Everyone in my house is calling it a ricotta pie – and I kindof agree….
We found it kept very nicely for several days in the frig! And it was quite tasty.
what about adding chopped roasted green chilies?? would this work or is it totally out there?
Last month I bought myself a food processor and I was sooo glad I did it!
Today for the first time it left its new box, was cleaned and used for the crust: A NEW WORLD OPENED UP IN FRONT OF MY EYES! Never ever has making crust from scratch been that easy and quick! Wow! What an amazing step forward :-)
The crust is now resting in the fridge. I'm preparing the filling and to the original recipe I'll add some carrots, spinach and onions to it (this veg will be cooked first in a bit of oil) and some italian spices.
Sooo looking forward to our dinner tonight.
PS: I've used 1 cup wholemeat flour and 1 cup all purpose flour.
Congratulations! I think you are really going to enjoy it.
I made this for company Sunday, using diced fully cooked ham in place of the prosciutto the grocery store hid from me…
My food processor is fairly small (7 cups? Maybe only 5?) but I love it. I have Julie Child's cookbook The Way to Cook, and in it she raves about the convenience of the food processor – she says even if you have to do two batches to mix and then combine on a final mix or knead, it's worth it. Have to say I agree wholeheartedly. I made the rugelach dough in it as well as the dough for the pizza rustica, and they turned out wonderful. You just need to go light on the pulses, so you don't overwork it.
So very many uses for the food processor (I bought mine specifically to mix cookie dough!).
I just made my pizza rustica. I used low fat ricotta cheese and sliced up canadian bacon. It looks and tastes wonderful! I didn't have any issues other then I added 2 tbsp. of water to my dough(it was a little dry).
Just made my pizza rustica tonight. I kept the entire recipe the same but I added sundried tomato sausage that I cooked up a bit before adding it to the filling. So yummy :)
Is this the same as an Easter pie? Keep hearing people talk about Easter pies this week.
I made this for yesterday's dinner! I only have an itty bitty food processor, so I cut in the butter by hand. I also ran out of AP flour, so I used 1/2 cup whole wheat flour and the rest AP. I loved the texture of the crust! It baked fine on the bottom and was flaky, though I had to bake longer than the recommended time. I used my stoneware pie pan, so I'm sure that's why.
I followed the filling recipe according to the recipe, and while it was good, next time I make it I'll add some different veggies, and definitely some garlic.
I like it okay, I just wanted more flavor and pizzazz. My husband really liked it! :)
We just finished off our pizza. I also made it with spinach, but add some corn also. It is a really nice recipe and easy to make. The dough was a bit sticky, but after the rugelach I was prepared. :))) Footnote: For us it looked like a French quiche rather than a pizza.
loved it… sun-dried tomatoes, spinach, roasted red peppers. Followed recipe concerning crust except I always use some whole grain when I can. I really liked the sweetness of the crust against the savory inside. I think I would make this again… and I think the green chilies would have been wonderful in it. Next time!!
I made the Pizza Rustica for dinner tonight. One of my pet bunnies died unexpectedly yesterday and I've been really upset about it, but making this recipe helped distract me. My crust needed a couple teaspoons of water to bring it together (and could have used a tiny bit more), and I used shaved ham from the deli because prosciutto is SO pricy, and I used parmesan because I can't stand romano. So only a couple of little changes. It turned out really well though! Very easy to cut and remove pretty slices from the pie pan, sturdy and golden bottom crust, great flavor all around. I liked the juxtaposition of the savory filling and sweet crust. Never would have guessed the filling ingredients. I was quite impressed with this recipe!


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Description: Single shoe of tan damask weave cloth and black leather. Shoe designed with pointed toe, the toebox and heel of black leather, the rest of the upper in textured tan cloth. Across instep is wide strap with flaring ends to which is applied an ornate cut/stamped steel simulated buckle. Strap secures with buttons. Modified stacked Louis heel. Stamped inside: "The H&S. Pogue Co. / Cincinnati"
Date: 1916?
Partner: UNT College of Visual Arts + Design


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Vermont Notary Supplies FAQs
We have listed questions that are frequently asked by Vermont notaries public. If you have any question on a notary topic or issue email us at firstname.lastname@example.com.
Should I mail or fax a copy of my Vermont notary commission certificate before ordering a notary seal or stamp or notary supplies?
What should I do if I encounter a problem while placing an order online, or if I cant access the check out page?


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What is "Spiritual Formation"? Is it scriptural?
It's my opinion that there is no reliable answer to your question.
The PCUSA has what is called "The Office of Spiritual Formation," but I wouldn't recommend it! I also note (on Wikipedia) that a certain Dallas Willard says that "spiritual formation for the Christian basically refers to the Spirit-driven process of forming the inner world of the human self in such a way that it becomes like the inner being of Christ himself."
All I'm saying is that, like so many other things in modern America, "Spiritual Formation" ends up being whatever a sovereign individual says it is. And that is the same as saying it doesn't have a clear definition.
"Questions and Answers" is a weekly feature of the OPC website. The answers come from individual ministers in the Orthodox Presbyterian Church expressing their own convictions and do not necessarily represent an "official" position of the Church, especially in areas where the Standards of the Church (the Scriptures and the Westminster Confession of Faith and Catechisms) are silent.
The questions come from individuals like yourself. If you have questions about biblical and theological matters, you are invited to send them by e-mail by using the "Pose a Question" link on the OPC home page or by clicking here.
At least one new question is posted each week, so there should always be something new here for you to read. (For those people who would like to look at previous questions and answers, they will continue to be available as well.)
The purpose of the OPC website's "Questions and Answers" is to respond to biblical and theological questions. Matters of church discipline, disputes, or debates go beyond the scope of our work. We recommend that you present your concerns in these areas to the appropriate judicatory. In most cases this will be to a local pastor, elder, or session. We do not want the website to replace personal involvement in, or commitment to, the local, visible church.
While we will respond to every serious questioner, we are not bound to give a substantive answer to every question, should we deem the question to be beyond the scope of our purpose or our own ability to answer.
You will receive an answer by e-mail. Please be patient as many of our respondents are busy pastors. The response to your question may take up to two (2) weeks. Some of the questions submitted will be chosen to be posted here, along with the corresponding answers.
Note that the "Questions and Answers" posted on the site have been editedall personal references are removed, Scripture references or from some source may be added, and sometimes portions are expandedto make the questions and answers more useful to a larger audience.
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Chaplains and Military Personnel


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A few responses to my mention yesterday of the new House rule requiring each introduced bill to cite a specific constitutional provision for Congress's authority to pass it asked me to elaborate on what this would mean in practice. Well, this is apparently a new thing so nobody knows exactly, but the Republican leadership has provided a fascinating memo providing guidance to all (not just GOP) lawmakers.
First of all, the Constitution has to be cited "as specifically as practicable." For example: "The constitutional authority on which this bill rests is the power of Congress to make rules for the government and regulation of the land and naval forces, as enumerated in Article I, Section 8, Clause 14 of the United States Constitution." That's pretty good and specific.
But try this one: "The Congress enacts this bill pursuant to Clause 1 of Section 8 of Article I of the United States Constitution and Amendment XVI of the United States Constitution." It looks specific – lots of numbers – but the first clause of Article I, Section 8 is a biggie: "The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States." So let's say you have a tax bill: do you just cite that? Well, that shouldn't be enough because, as we've learned with the Obamacare litigation, even if something is a tax – highly questionable in the individual mandate context – it needs to be attached to an enumerated power because the general welfare is not infinitely elastic (instead limiting Congress's exercise of its enumerated powers to ends that are truly for the national – as opposed to particular, or local – good).
And we haven't even gotten to the Fourteenth Amendment, about whose meaning several libraries of books, law review articles, and judicial opinions have been written.
Luckily, the memo provides a list of resources members can consult, including the Federalist Papers, the online Founders' Constitution, and the following list of "think-tanks and associations": Brookings, Cato, the Federalist Society, and the American Constitution Society (and Heritage is mentioned earlier in the document, particularly its excellent Heritage Guide to the Constitution, which contains entries by several Cato-affiliated folks).
So, yeah, congressional staff, if you have any questions, feel free to drop me a line for the true meaning of the Tonnage Clause (ok, maybe not that one, but I'm pretty good with, for example, the Commerce Clause and Priviliges or Immunities Clause).
Which raises another question, even if the would-be bill sponsor meets the "specificity" requirement: Who gets to determine whether the cited provision indeed provides the authority claimed? On what standard? Well: "The adequacy and accuracy of the citation of constitutional authority is matter for debate in the committee and in the House."
That sounds great: Congress will actually be debating whether it has the authority to do something! Kickin' it 19th-century style! The Congressional Record might now be as interesting reading as the transcripts of Supreme Court arguments, but more so because the debates there will almost certainly be less abstruse and designed to appeal to (and satisfy) constituents.
Finally, the memo has a relatively long FAQ section, including my personal favorite:
Q. Isn't it the courts' duty to determine whether a law is constitutional and thus doesn't this rule infringe on the power of the courts?
A. No. While the courts have the power to overturn an Act of Congress on the basis that it is unconstitutional, Members of Congress have a responsibility, as clearly indicated by the oath of office each Members takes, to adhere to the Constitution.
Yes! Congressmen and senators (and the president) take an oath to "support and defend the Constitution" so they are derelict in their duty if they don't consider a proposed bill's constitutionality – in contradistinction to Nancy Pelosi's "are you serious?" position and George W. Bush's "let the Supremes sort it out" view (with respect to the McCain-Feingold campaign finance law, for example). This may be one of the few things on which I agree with former Delaware senatorial candidate Christine O'Donnell (who now faces allegations of having violated campaign finance rules, but perhaps that's just, um, a witch-hunt).
As for what role these new constitutional citations will play in any future litigation, well, jurists use legislative history in various ways – some, like Justice Scalia, not at all – and this would become one more piece of evidence elucidating congressional intent or justification (which, as we also know from the Obamacare lawsuits, courts are powerless to look behind to, for example, transform a regulation into a tax). Ultimately, of course, Congress's final vote on the proposed bill will incorporate each member's constitutional judgment. But courts won't uphold a law just because Congress thinks it's kosher.
So why have the rule at all?
A. Just as a cost estimate from the Congressional Budget Office informs the debate on a proposed bill, a statement outlining the power under the Constitution that Congress has to enact a proposed bill will inform and provide the basis for debate. It also demonstrates to the American people that we in Congress understand that we have an obligation under our founding document to stay within the role established therein for the legislative branch.
Sounds good – great, actually – to me. But the proof will be in the pudding of how and what the 112th Congress legislates.
H/T: Josh Blackman


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Digitalgypsy66 wrote:Hey now, PS3 owners: BF3 is one of the free games of the month if you're a Playstation Plus subscriber.
Also, in sad Wii related news, a recent thunderstorm killed our Wii. Since it was long out of warranty, we had to pay $81 to have it repaired. There was some discussion about upgrading to a Wii U, but with the kids getting older, I think we'll hold out for a PS4 (eventually) and get the Wii repaired.
Anyone have any experience with Nintendo repair services?
you can buy a used one for under $81. I see a few on Craigslist right now for under that, some with games.
if you're cool with the idea of spending $81 (probably plus shipping?) id definitely spring for the U.


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Van Gogh Oil Colors have been developed for artists who are searching for quality and exceptional value. These paints are particularly easy to mix and work with because all colors in the range have virtually the same degree of gloss and viscosity.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
copper phthalocyanine
Phthalo Blues are pure and clean primary blues with superior covering power. They have a very high tinting strength and tend to overwhelm other pigments, but if color strength can be controlled, they make predictable mixed colors. In oil form, blues are very deep and slow drying. When mixed with other colors or if chlorine is added, Phthalo Blue quickly tends towards green. When using alone, mix with some white, as Phthalo Blue can be semi-transparent and almost black on its own. It is among the most compatible of modern colors with mineral colors and is considered more reliable than Prussian Blue, while sharing the same physical and color properties. Phthalo Blue is a good color for glazing.
Phthalo Blues are completely lightfast and stable and are permanent for all paint uses. They are currently used in inks, coatings, and many plastics due to their stability and are considered a standard pigment in printing ink and the packaging industry.
Phthalo Blues have no significant hazards, although those made before 1982 contained some PCBs (polychlorinated biphenyls).
Developed by chemists using the trade name Monastral Blue, the organic blue dyestuff now known as Phthalo Blue was presented as a pigment in November 1935 in London. Its discovery was accidental. The dark color was observed in a kettle where a dye was being made from a British dyestuff plant. The demand for such a pigment came from commercial printers who wanted a cyan to replace Prussian Blue.
Bocour Blue, Cyan Blue, Helio Blue, Heliogen Blue, Intense Blue, Monastral Blue, Phthalocyanine Blue, Rembrandt Blue, Thalo Blue, Winsor Blue.
Zinc White is the coolest white, and it has a cold, clean masstone and a slightly bluish tint. It has less hiding power and is more transparent than other whites. It dries slowly and is good for painting wet into wet and for glazing and scumbling. Zinc White is neither as opaque nor as heavy as Lead White, its covering power is not as good, and it takes much longer to dry. However, it does not blacken when exposed to sulfur in the air as Lead White does. It is very valuable for making tints with other colors. Unmixed Zinc White dries to a brittle and dry paint film that may crack over the years, so it is not good for frescoing. It is more transparent in acrylic form than Titanium White and is the most commonly used white with gouache. Chinese White is a version of Zinc White appropriate for opaque watercolor techniques.
Zinc White has great permanence and lightfastness.
Zinc White is moderately toxic if ingested and slightly toxic if inhaled.
Though historians are divided on who first isolated the element zinc, they agree that it was first suggested as a white pigment in 1782. Zinc White was accepted as a watercolor in 1834 and was called Chinese White due to the popularity of oriental porcelain in Europe at the time. Ten years later, a suitable oil form was produced. By the early 20th century, it had improved to the point where it was an acceptable alternative to Flake White.
Chinese White, French White, Permanent White, Silver White, Snow White, Zinc Oxide.
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System Strategic Plan
- 2025 System Strategic Plan (Amended Mar. 2016) [571.1 KB PDF]
The State University System 2025 Strategic Plan strengthens the Board of Governors commitment to achieving excellence in the tripartite mission of its state universities – teaching, research, and public service – for the benefit of Florida's citizens, their communities, and the state economy. The Strategic Plan is a living document that helps align the State University System's goals with Florida's highest economic, workforce, and research needs. As such, the Strategic Plan frames the university's tripartite mission around three key themes – Excellence, Productivity, and Strategic Priorities for a Knowledge Economy.
The State University System of Florida has experienced extraordinary changes and shifts in recent years, as economic challenges in Florida have compelled state universities to implement innovative strategies and efficiencies to respond to both increased enrollment demands and budget constraints. These changes are reflected in the 2014 update of the State University System 2025 Strategic Plan, which was originally approved in November of 2011. Among the most notable changes, the System's 12th university–Florida Polytechnic University–was created to focus on the production of graduates in science, technology, engineering, and mathematics. The Board's Access and Attainment Commission conducted a supply–demand study of the State's projected occupations and current baccalaureate degree production, and was rewarded with a legislative appropriation to close those gaps in degree production. The Board's list of Programs of Strategic Emphasis was also revised in November 2013 to reflect changes in workforce demands. Two additional Board committees–the Innovation and Online Committee and the Health Initiatives Committee–were created to assist in System strategic planning. The University of Florida and Florida State University were designated as Preeminent Universities and rewarded with additional funding to raise their national rankings. And perhaps most importantly, the Board of Governors worked with the Florida Legislature and the Governor to implement a Performance–Based Funding Model that is a dramatic change to how the System will receive funding. The Performance–Based Funding Model provides incentives to universities to meet the Board's benchmarks – which are largely based on the 2025 goals in this Strategic Plan.
The changes to this updated Strategic Plan, which the Board approved in 2014, demonstrates the Board's commitment to the kind of strategic planning that truly helps steer the State University System in the direction of Florida's highest priorities. Every five years, the Board will review the Strategic Plan, assess the State University System's progress on the 28 goals in the Plan, and make adjustments, as necessary. The Board's continued close attention to the accuracy and credibility of its Strategic Plan will focus the State University System to help Florida find solutions to the educational, economic, and societal challenges of the coming decades.


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Missouri Arrives in North Texas for the 78th AT&T Cotton Bowl Classic
The tale of the 2013 season for the No. 8 Missouri Tigers begins its final chapter as the team descended on North Texas today for the 78th AT&T Cotton Bowl Classic.
Mizzou's official travel party, including approximately 50 players, coaches, support staff, athletic administrators and their families, arrived mid-afternoon at the Hilton Anatole Hotel in Dallas after flying from Columbia on a charter flight. The remaining 70-plus players met the team at the hotel, arriving individually via private vehicles.
"We're really excited to be here, said head coach Gary Pinkel. "We know from first-hand experience just how special the Cotton Bowl is and everything they do to make it a memorable experience for the players and our entire program. We had a great trip in today and we'll enjoy some R&R tonight and then get back to the grind in the morning with our first practice."
Mizzou (11-2, 7-1 Southeastern Conference) is scheduled for four practices at AT&T Stadium in Arlington in preparation for its matchup with the No. 13 Oklahoma State Cowboys (10-2, 7-2 Big 12 Conference). The former Big 8/Big 12 foes are set to collide on the gridiron for the 53rd time but for the first time in the postseason and for the first time with the Tigers donning slightly different stripes as a member of the SEC.
"We've had a few days off with the holiday, so it will be important to get things cranked up real quick, because before you know it we'll be at game day," said Pinkel. "We have a lot of respect for Coach (Mike) Gundy and the program he's built at Oklahoma State. They are just a couple plays away from having won the Big 12 this year. We know just how strong that conference is, so we'll have to have some great preparation this week to get ready to play."
The team's first practice will be open for the first hour to media representatives covering the 78th Classic. Pinkel and senior captains QB James Franklin, WR L'Damian Washington, CB E.J. Gaines and LB Andrew Wilson will be available for interviews immediately following practice. The Tigers will take the day off on Sunday and then will resume with three-straight workouts before enjoying a day of rest the day before making its third AT&T Cotton Bowl Classic appearance.
Off the field, the team will get its first official dose of Classic hospitality on Saturday evening with a welcome dinner and party, courtesy of the Dallas Cowboys, at AT&T Stadium.
The 78th AT&T Cotton Bowl Classic is Friday, Jan. 3 on FOX. Airtime is set for 6:30 p.m. CST with kickoff scheduled for 7:10 p.m. Making their fourth appearances as members of FOX's broadcast crew, Gus Johnson and Charles Davis will describe all the action and will be joined by Kristina Pink reporting from the sideline. FOX is broadcasting the Classic for the 16th consecutive year.
ESPN Radio returns as the Classic's national radio partner for a second-straight year. Brad Sham, the "Voice of the Dallas Cowboys," will partner with Ed Cunningham offering color commentary and Ian Fitzsimmons adding analysis from the sideline to provide the call of the 78th Classic to hundreds of affiliate stations around the country.


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(9 items)London–The following links showed up in our daily search for news on the web. Readers might be interested to read these news stories.
ERJ editorial staff strongly advises readers to heed the warning below, these stories are not confirmed, and may contain mistakes.
This is an external link and should open in a new window. If the window does not appear, please check your pop-up blocking software. ERJ is not responsible for the content of external sites.
Technical and Sentiment Analysis of Goodyear…


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Translation Disclaimer
The Landmarks Preservation Commission (LPC) oversees the initiation, designation and/or alteration of properties or structures that it deems worthy of preservation for a variety of reasons, including, but not limited to architectural merit and historic or cultural significance. The LPC has the responsibility for design review of projects that involve landmarks, structures of merit or buildings within an historic district.
Click to see a list of designated landmarks. Note the date on the pdf. If it is older than one month old, the property you are researching is not listed, and you have reason to be concerned that the property may be a landmark, please check with the zoning staff or the Landmarks Preservation Commission secretary on the status of the property.
When is an Alteration Permit required?
Approval of an Alteration Permit by the LPC is required for any exterior construction, alteration, or demolition for which a City permit is required on a designated landmark, in a designated historic district or structure of merit. Interior alterations of landmarked public buildings are also regulated.
How are neighbors involved?
The LPC holds public hearings on applications for Alteration Permits. The public hearing notice is posted at least ten days before the hearing and is mailed to all property owners and residents within 300 feet of the project site. Neighbors are welcome to submit written comments to staff at any point during the process. Written comments provided prior to the public hearing will be distributed to Commission members. Verbal testimony can be provided at the meeting.
How does LPC decide whether to approve an Alteration Permit?
When reviewing a project, the LPC considers how findings can be made so that the project will not conflict with the provisions of the Landmarks Preservation Ordinance and the applicable Standards as set forth in the Secretary of the Interior's Standards for the Treatment of Historic Properties:
Standards for Preservation
Standards for Reconstruction
Standards for Rehabilitation
Standards for Restoration
How do I apply for an Alteration Permit?
Applications must be filed in person at the Permit Service Center , and must include all of the applicable requirements listed in the "LPC Structural Alteration Permit & Design Review Submittal Requirements". Minimum requirements include (but are not limited to):
How long does it take?
Alteration Permit applications that are complete when submitted and do not require environmental review, major revisions or mediation are typically processed in 3 to 12 months, depending on the complexity of the application.
What is the process?
All Alteration Permits require a public hearing at the LPC. When staff analysis has been completed, a public hearing notice is distributed. A staff report, including a recommendation for action, is provided prior to the meeting.
If an Alteration Permit also requires a Use Permit or an Administrative Use Permit, a separate application must be submitted. Staff will coordinate review to ensure that necessary information is available for all decision-makers.
Following the LPC decision, staff will mail a Notice of Decision, which starts a 15-day appeal period. If appealed, City Council consideration is scheduled within two or three months. The City Council has the following options:
The City Council will receive the entire record for the project. Additional written information may be submitted and will be provided to the Council, however, public testimony is not taken at the meeting when the City Council decides between these options.


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Hyperinflationary Depression
. . Hyperinflationary Depression I consider it very beneficial for the subscribers/readers of EconomicTheology.com to recommend an article published very recently by GoldSwitzerland.com regarding the economy and outlook for investments. It was written by Egon von Greyerz in English, French, … Continue reading
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In 2007, the last horse slaughterhouse in the U.S. was shut down, the end result of a campaign by horse lovers and animal rights organizations to stop the killing of horses for human food consumption.
It was a fight based on emotional appeal and on the part of the non-affiliated and bona fide horse lovers it was made, from their viewpoint, with all of the best intentions.
Opponents argue that domestic horses shouldn't be used to satisfy foreign palates. Horses played a special role in U.S. history, they say, helping conquer the West, providing the sinews of early commerce and serving as majestic friends — but not food animals.
It was also a perfect battle for animal rights groups who would like to see all slaughterhouses shut down but are quite happy to take what they can get, one step at a time.
"It's a step closer to the long-term goal of banning slaughter in North America," said Wayne Pacelle, chief executive of the Humane Society of the United States. "There are fewer horses slaughtered."
Like so many laws that are passed based on passion and pandering to a narrow vision, this one had its own set of unintended consequences.
No one disputes that slaughter-bound horses have it far worse today than before U.S. courts, upholding state bans, ended horse slaughter at two plants in Texas earlier this year and at the nation's single remaining one in Illinois on Sept. 21.
The forced closure of the last horse-killing facilities in the USA, done at the urging of animal rights activists, has caused a herd of unwanted horses in animal shelters nationwide, according to breeders, ranchers and horse rescuers.The surplus threatens to worsen if Congress passes a bill to ban the selling of unwanted horses to slaughterhouses in Canada and Mexico.
The fact is that although the law shutting down the slaughterhouses in the US may give a warm glow to those who see horses as an icon animal and may satisfy the animal rights groups ongoing agenda, those horses that have outlived their time will still be dead, although not eaten – and maybe that is what this is all about. You can kill them when they become redundant but for God's sake, you can't eat them!
I would guess that very few horse owners have the facilities or the finances to maintain an animal once it has gone lame or simply aged beyond its useful days. As sad as that may be, it is just a fact of life. Those animals will be disposed of one way or another.
Where prior to the legislation they would have been sold to a US slaughterhouse where the methods used can be monitored and controlled, now there is no control.
The American slaughterhouses killed horses quickly by driving steel pins into their brains, a method the American Veterinary Medical Association considers humane. Workers in some Mexican plants, by contrast, disable them by stabbing them with knives to sever their spinal cords, said Temple Grandin, a professor of animal science at Colorado State University.
"My worst nightmare has happened," Dr. Grandin said. "This is an example of well-intentioned but very bad unintended consequences."
It isn't the first time that misguided laws have been passed and it certainly won't be the last. Politicians have a strong tendency to vote where the noise comes from.
All of this could easily lead me into a rant about Canadian gun laws, but I will forego that indulgence.


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- "I'm rubbish at Gobstones! I spent hours in the Transfiguration Courtyard playing and lost every game!"
- —Patrick in the second floor stairs.[src]
Patrick Bagby was a Hufflepuff student at Hogwarts School of Witchcraft and Wizardry in the 1990s. He could usually be found wandering around the second-floor stairs during the 1996–1997 school year.
Patrick doesn't like Quidditch, but his mother does. She says that if he worked harder he would be a good seeker. But Patrick is more interested in chess.
- "I hate Potions. Professor Slughorn's only interested in famous people. Like you, Harry."
- —Patrick talking with Harry about Horace Slughorn[src]
He hates Potions, because Professor Slughorn's only interested in famous people.
Patrick is from the Latin name Patricius, which meant "nobleman". This name was adopted in the 5th-century by Saint Patrick, whose birth name was Sucat. He was a Romanized Briton who was captured and enslaved in his youth by Irish raiders. After six years of servitude he escaped home, but he eventually became a bishop and went back to Ireland as a missionary. He is traditionally credited with Christianizing the island, and is regarded as Ireland's patron saint.
- Harry Potter and the Prisoner of Azkaban (video game) (PS2 version only)
- Harry Potter and the Half-Blood Prince (video game) (NDS version only)
Notes and references
- ↑ He was at least in his first year at Hogwarts during the 1993-1994 school year.


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Staff writers
Although federal guidelines for handling bomb threats in schools recommend that local media be involved in planning how information is released, reporters learned about a bomb threat only by hearing rumors from parents who had received a letter from the district.
Sheriff Rob Craft was notified but didn't include information about the threat on the activity log that state law requires him to make available for inspection by the press and public.
"I'm not going to dictate to them who they notify," Craft said. "It wasn't my place; it wasn't my case."
Peabody Police Chief Bruce Burke defended his decision not to inform the public or the media.
"To my knowledge, we do not include the media during an active investigation," Burke said. "I believe that the gas company, fire department, and the people living in the houses adjacent to the school property were made aware of the situation."
Peabody Fire Chief Mark Penner said he didn't receive any notification other than the letter to parents of students. He said he could have arranged for extra hands on duty if he had been kept up to speed on the situation.
"We are pretty short-handed during the day now, because so many of our firefighters also work out of town," Penner said. "Anytime we have advance notice about something happening, it is always helpful."
A spokesman for Atmos Energy denied being informed.
"The short answer is, no, we were not contacted about the bomb threat," said Jim Bartling, public relations officer for the gas company.
However, in all fairness, he said, notification really wouldn't have made much difference.
Terry Eberhard, president of the Peabody-Burns school board, said he was unsure who had been notified.
"I didn't ask, and no one volunteered that information," he said.
Unlike Chief Burke, Superintendent Ron Traxson had had second thoughts about whether the public should have been notified.
"In retrospect, I think we should have issued a statement when we sent letters to the parents," he said. "First, we wanted to find the responsible student without advertising the situation.
"We were trying to assist law enforcement with a criminal investigation, assess the threat, and inform parents and staff. And then toss four snow days into the mix, we were more focused on what was going on internally."
Not only were the media and public kept in the dark. Marion County commissioners were not informed.
"We have no knowledge about it except what we hear on the street," Commission Chairman Randy Dallke said.
Dallke said the commissioners have long hoped for better communication about situations like this.
"It is not that we need to know names or all the details of an investigation. It is just that we would like to be informed when something like this happens on our watch," he said. "We don't need to be called first, but we would appreciate not finding out last."
Ken Willard, the state board of education member whose district includes Marion County, also was not notified.
"It would seem to me that there is some responsibility on the part of the school to inform the general public about incidents like the one you described," Willard said. "It would be interesting to know why the school and law enforcement officials deemed it appropriate to withhold the information from the public."
Burke, Craft, and Eberhard all declined to comment on persistent rumors that the suspended student suspected of writing the threatening graffiti had a connection to school or law enforcement personnel.
Requests to review the official criminal incident report, portions of which are required by state law to be made available publicly, were denied.
Although Craft had said it was "not my case," Burke referred reporters to Craft. After consulting with County Attorney Susan Robson, Craft declined to release anything on grounds that it was an ongoing investigation and involved a juvenile.
To avoid rewarding pranks with undue publicity, this newspaper's longstanding policy calls for reporting threats of this nature only when they result in noticeable disruption of public routines.


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GUEST OPINION: Kulluk grounding has lessons for oil tankers
The grounding of Shell Oil's Kulluk drill rig reminds us again of Alaska's tough maritime conditions and our vulnerability from coastal shipping and oil activities in Alaskan waters.
Rescue vessel crews persevered through a tough response to save the Kulluk. We Alaskans owe a huge vote of thanks to responders who risked lives and equipment to save the rig.
The Kulluk isn't the first vessel to lose power or a tow and be blown ashore in Alaska. It won't be the last.
We have to prevent accidents, including additional oversight. Citizen advisory groups like ours could be an important part of that oversight.
The Kulluk incident is an object lesson in the need for best available technology in towing operations and equipment, a lesson that should be applied in Prince William Sound and elsewhere.
Our council, working with the internationally respected naval architecture firm of Robert Allan Limited, completed a study last fall that recommended, among other things, installation of the best available towing technology on the tugs that escort loaded oil tankers through Prince William Sound.
Specifically, the study called for more modern winches that can automatically pay out and reel in tow lines under full load. The winches now on the Sound's tugs represent 15-year-old technology and they lack this capability.
The modern winches recommended by the Allan study permit tugs to apply full towing force and reduce or eliminate the huge tow line surges that come from vessels getting thrown around in big seas. These new winches are designed to help prevent tow line failure by reducing shock loading on the system.
Most towing exercises in the Sound happen in relatively calm weather. The advantages of the new winches do not become apparent until the weather gets rough. With so many successful escorts and exercises behind them, industry and its regulators have grown comfortable with the old-style winches, and they declined to act on our towing equipment study recommendations. Similar recommendations from a study by the international ship classification society Det Norske Veritas a year earlier were similarly dismissed as unnecessary by the industry and the state.
Now, however, we have seen a real-world heavy-weather towing emergency unfold and the results were not reassuring. The Kulluk incident involved a brand new tug with over twice the horsepower of the Prince William Sound tanker escort tugs, yet it lost its tow line no fewer than five times before the Kulluk grounded near Kodiak. This demonstrates just how difficult towing is in severe Alaskan weather.
The questions raised are obvious: What if the Kulluk had been a loaded oil tanker experiencing a loss of power in a storm or a barrier jet along the rugged coast just outside Hinchinbrook? Would a rescue have been possible? What happens around the rest of coastal Alaska when a large vessel loses power and no suitable rescue tug is around?
We don't have answers to those questions, but the Kulluk incident makes a few things clear about what's needed: An ample supply of equipment—with backups—for preventing accidents, meaningful oversight of maritime risks, and the use of best available technology—such as towing winches that automatically pay out and retrieve—in our rough Alaskan waters.
(The Prince William Sound Regional Citizens' Advisory Council is an independent non-profit corporation whose mission is to promote environmentally safe operation of the Valdez Marine Terminal and the oil tankers that use it.)


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Yesterday I was the most productive I may have ever been. Got my weeklies cooked and 2 entrees! I think I love daylight savings time, at least in the fall when we get that 'extra' hour.
I'm obviously obsessed with orange veggies – especially pumpkin. Yum!
Muffin of the week: Fat Free Pumpkin Raisin Biscuits
Sweet of the week: Pumpkin Black Bottom Cupcakes
Lunch Soup of the week: Sweet Potato Chickpea Gumbo with Brown Rice
Monday: Vegetable Pot Pie
Tuesday: Slow cooker Polenta with marinara sauce
Wednesday: Wine-Braised Lentils with Garlic Sautéed Spinach
Thursday: Make up jewelry class – bring gumbo for dinner
Friday: Veggie burgers and Fries with broccoli slaw
Saturday: Veggie Chili with Cornbread
Sunday: Use leftovers in a soup or a pot pie
Filed under: budget friendly, comfort food, food, healthy eating, heart healthy, menu plan, vegan, vegetarian | Tagged: budget friendly, food budget, healthy eating, heart healthy, menu monday, menu plan, menu planning, menu planning monday, vegan, vegetarian, weekly menu, weekly menu plan | 1 Comment »


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I also made the first pot roast of my life.
But wait, there's more.
I plan to do both again.
Thanks for the encouragement.
But wait, there's more.
Here's my boys. Remember them? One is really enjoying himself and one is really restraining himself.
Here's my other boy. This photo was taken by Max as part of a two-part series called "Happy Dad, Abstract Dad." I accidentally deleted "Abstract Dad." Oops.
But wait, there's more.
Do you need anything texted for you? I know a guy. He's very good at it. Quite proficient. Quite prolific. Quite protextual.
I hire most of my texting out to him.


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Intern training began at the Counseling Center in 1969 when doctoral students from the Department of Counseling Psychology were recruited to work in the center. Our program has evolved to provide training for master's and doctoral students at Ball State University and to host an APA accredited psychology internship program for doctoral students from programs across the United States.
Our trainees are intricately involved in the service aspects of our center. Trainees see individual clients, help facilitate group counseling and work on our outreach teams. Trainees are supervised by the HSPP staff working in our center. (HSPP stands for Health Service Provider in Psychology.)
Our training programs incorporate the theoretical and research foundations of practice and integrate multicultural knowledge and experience. While working from a developmental/mentoring model, staff members are able to assess the needs of different trainees, to assist them in building their clinical skills and to mentor them into the profession.
For more information about each of our specific training programs, please click on the links at the right under Training Programs.


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Dose Dense Chemotherapy for Lymphoma
Dear OncoLink "Ask The Experts,"
I have heard that giving CHOP chemotherapy every 2 weeks may be more effective than every 3 weeks (the standard). Can you provide any details?
Babis (Charalambos) Andreadis, MD, Assistant Professor in Medicine in the Division of Hematology/Oncology at the Abramson Cancer Center and an Associate Scholar in the Center for Clinical Epidemiology and Biostatistics at the University of Pennsylvania, responds:
This technique is often called dose-dense chemotherapy. The doses of chemotherapy are the same in both regimens, but the dose dense regimen is given at shorter intervals, the goal being to not allow the cancer cells to have enough time between cycles to start growing again. By using growth factors to support the patient during dose-dense chemo, the most common side effect of neutropenia can be avoided. This schedule also allows the patient to complete treatment about 1 month sooner. See our article explaining dose dense in detail. Let's review the studies of this therapy done in lymphoma.
Attempts have been made to improve first-line therapy of diffuse large B-cell lymphoma by delivering CHOP chemotherapy on a two-week rather than three-week schedule, with growth-factor support to prevent neutropenia. Two multi-institution phase II studies (one from Italy 1 and one from the southwest oncology group 2 ) have shown reasonable response rates, short-term progression-free survival, and overall survival utilizing CHOP-14 (every 14 days) or R-CHOP-14 (including Rituxan) with Neulasta (growth factor) support. There were no significant unexpected side-effects, with the exception of a high rate of interstitial pneumonitis seen in the Italian study (14%) associated with pneumocystis carinii in 6% (a type of pneumonia).
A large, randomized, phase III study completed by the German High-Grade Non-Hodgkin's Lymphoma Study Group (DSHNHL) 3 in young patients with good-prognosis, aggressive non-Hodgkin lymphoma, directly compared CHOP-21 (every 21 days) with CHOP-14 (every 14 days). Chemotherapy dose delivery was not compromised by the dose-dense schedule (meaning doses did not need to be changed or delayed due to severe side effects), and patients were able to complete treatment on the average at 76 days on CHOP-14 and 106 days on CHOP-21. Toxicity and secondary malignancies (cancers caused by the chemotherapy) were not significantly different between the two groups. The study observed statistically significantly higher complete response rates for CHOP-14 vs. CHOP-21 (76.1% vs. 60.1% respectively), as well as better 5-year event-free survival (survival with no relapses) and overall survival (survival despite relapses) rates (43.8% vs. 32.5%, and 53.3% vs. 40.6% respectively).
Even though the results of this study are significant, they were derived in the pre-rituximab era and may not hold for the combination of rituximab with CHOP. A randomized phase III study is underway by the GELA to directly compare R-CHOP-21 (every 3 weeks with Rituxan) with R-CHOP-14 (every 2 weeks with Rituxan) and address the issue of pulmonary toxicity seen in the prior phase II study.
Brusamolino E, Rusconi C, Montalbetti L, Gargantini L, Uziel L, Pinotti G, Fava S, Rigacci L, Pagnucco G, Pascutto C, Morra E, Lazzarino M. Dose-dense R-CHOP-14 supported by pegfilgrastim in patients with diffuse large B-cell lymphoma: a phase II study of feasibility and toxicity. Haematologica. 2006 Apr; 91(4):496-502.
Blayney DW, LeBlanc ML, Grogan T, Gaynor ER, Chapman RA, Spiridonidis CH, Taylor SA, Bearman SI, Miller TP, Fisher RI; Southwest Oncology Group. Dose-intense chemotherapy every 2 weeks with dose-intense cyclophosphamide, doxorubicin, vincristine, and prednisone may improve survival in intermediate- and high-grade lymphoma: a phase II study of the Southwest Oncology Group (SWOG 9349). J Clin Oncol. 2003 Jul 1; 21(13):2466-73.
Pfreundschuh M, Trumper L, Kloess M, Schmits R, Feller AC, Rudolph C, Reiser M, Hossfeld DK, Metzner B, Hasenclever D, Schmitz N, Glass B, Rube C, Loeffler M. Two-weekly or 3-weekly CHOP chemotherapy with or without etoposide for the treatment of young patients with good-prognosis (normal LDH) aggressive lymphomas: results of the NHL -B1 trial of the DSHNHL. Blood. 2004 Aug 1; 104(3):626-33.


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Disability Analyst, RGN, RMN,RNLD, PHYSIO
£35K - £37K + Benefits
Permanent Manchester
On behalf of our Disability & Unemployment Assessments client, Global4Health is recruiting Registered Nurses to work within the exciting and challenging area of Disability & Unemployment Assessment. Our client is a well-established international company who run healthcare programmes in the US, Canada, Australia, Saudi Arabia and the UK.
This is a really exciting time to be joining the service with new opportunities nationwide as they are employing additional clinicians to undertake functional assessment of those in receipt of or claiming benefits on behalf of the DWP.
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Global4HealthGlobal Studios20 Barnes High StreetLondonSW13 9LWUnited Kingdom
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Youve been so busy being a princess, you havent learned how to be a woman. I could have helped you!
You don't go back and tweak "Potemkin" or "Citizen Kane" just because you can. SW is no different, Lucas be damned. Just my two cents~
If Lucas wants to keep tinkering with the old movies, why not just do a modern reboot with Zac Efron or whoever's popular with the teen girls these days.
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Sunday, September 25, 2011
Smart Beads!
13 comments:
- Lauren said...
Fun! I will definitely try this. Thanks and we still miss you! ;)
- September 26, 2011 at 3:43 AM
- YearntoLearn said...
What a great motivator.
- October 12, 2011 at 8:46 PM
- ARowland said...
LOVE this Smart Beads idea! :) Thank you!
- October 16, 2011 at 5:12 PM
- Mrs. B said...
Great idea! Thanks for sharing - I am your newest follower :)
- November 14, 2011 at 2:29 PM
- srich said...
How did you do the lettering on your "Smart Beads" bins and your buckets with pencils, sharpies, etc...I LOVE your classroom!
Sherry Rich
- January 17, 2012 at 3:39 PM
- srich said...
How did you do the lettering for your "Smart Beads" bins and your buckets for pencils, Sharpies, etc... I LOVE your classroom!
~Sherry Rich
- January 17, 2012 at 3:39 PM
- Dandelions and Dragonflies said...
The letters were cut with my Cricut....I used self adhesive vinyl and layered the white and black.
- January 17, 2012 at 5:06 PM
- Angela said...
Thanks for sharing this! I pinned it, and then forgot about it until a few students made fab predictions during a totally non-reading instruction time today. I gave them beads to wear the rest of the day, but had to send them home with a (lame) post-it note. Now I will use your adorable notes!
- February 20, 2012 at 1:03 PM
Thank you so much for sharing this idea. I have a K/1 class this year and there are so many behaviour challenges that this is a refreshing way to focus on the positive!
- April 1, 2012 at 5:50 PM
- Carolyn said...
I love this idea ~ a simple but powerful way to share successes. I will definitely share this with my teachers!
- May 6, 2012 at 5:04 AM
Thanks for sharing.....I was looking for some kind of reward for my class.... I think this is a nice way of doing it...
- October 22, 2013 at 10:45 PM
Did you use this idea with your 5th grade students? How do the boys like the beads? Are they allowed to wear the necklace in class?
- July 20, 2014 at 8:46 PM
- Dandelions and Dragonflies said...
I did not do it this past year, but I did use them with my fifth grade two years ago. All my students loved them, including the boys. They could wear them all day in class, and would take them off for lunch, recess, and specials (mostly so they wouldn't break). They especially loved it when a teacher would ask them what they did to earn them. They could also trade them in at the end of the day for a prize as well as the note home.
- July 22, 2014 at 7:55 AM


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On Friday, I accompanied my friend to the DAAP fashion show again to see her sister's collection. It was a fun night out, and I got to wear a dress, which is something I haven't been doing a lot of during the long hard winter we just had.
Yellow silk "butterfly petals" dress - Leifsdottir, Anthropologie
Black leather jacket - Elevensees, Anthropologie
"Everly" ankle boots - Jeffrey Campbell
Quilted bunny bag - Asos
Dinosaur bone ribcage cuff bracelet - Noir


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Updated: July 28, 2009
By Allan Kozinn
John Cage was a prolific and influential composer whose work influenced the Minimalist movement in art and music. He died on Aug. 12, 1992. From 1970 until his death at 79, he lived with the choreographer Merce Cunningham in their home in New York. Mr. Cunningham died on July 27, 2009.
Mr. Cage, who was also a writer and philosopher, had an impact far beyond the musical world. He was a central influence on the work of the choreography of Mr. Cunningham, whom he had known since they were students at the Cornish School of the Arts in Seattle. It was Mr. Cage who persuaded Mr. Cunningham to start his own dance company, with which Mr. Cage toured as composer, accompanist and music director. He was also an influence on the artists Jasper Johns and Robert Rauschenberg, who were his friends, and on several generations of performance artists.
In 1989, when the Anthony d'Offay Gallery in London brought together pages from Mr. Cage's 1958 "Concert for Piano and Orchestra," videotape of Mr. Cunningham's choreography and a collection of Mr. Johns's works in a show called "Dancers on a Plane: Cage, Cunningham, Johns," John Russell wrote in The New York Times about Mr. Cage's centrality in this constellation: "There was never a manifesto, a statement of position, a 'momentous' interview. He just does it, and the others do what they do, and in ways that everybody can sense and nobody can quite explain, the interaction of these three has consistently brought about astonishing results."
In the music world, of course, Mr. Cage's influence was extremely far-reaching. He started a revolution by proposing that composers could jettison the musical language that had evolved over the last seven centuries, and in doing so he opened the door to Minimalism, performance art and virtually every other branch of the musical avant-garde. Composers as different in style from one another -- and from Mr. Cage -- as Philip Glass, Morton Feldman, Earle Brown and Frederic Rzewski have cited Mr. Cage as a beacon that helped light their own paths.
In a career that began in the 1930's, Mr. Cage composed hundreds of works, ranging from early pieces that were organized according to the conventional rules of harmony and thematic development, to late pieces that defied those rules and were composed using what he called "chance" processes.
Not surprisingly, Mr. Cage, his music and his theories of composition have always inspired debate. Traditionalists have dismissed him as a prankster, a charlatan or an anarchist, and although performances of his music take place uneventfully today, there were times in the 1960's when his works evoked angry responses. At a New York Philharmonic performance of "Eclipticalis With Winter Music," in 1964, for example, a third of the audience walked out and members of the orchestra hissed the composer.
"I do what I feel it is necessary to do," he told an interviewer. "My necessity comes from my sense of invention, and I try not to repeat the things I already know about."
Mr. Cage was, in fact, the son of an inventor, and if there is a single thread running through his compositions and books, it is a sense of constant innovation, improvisation and exploration. Arnold Schoenberg, with whom he studied and whose rigorous 12-tone style inhabits an end of the contemporary music continuum opposite the place occupied by Mr. Cage, once described him as "not a composer but an inventor of genius," a quotation that Mr. Cage always said pleased him.
John Milton Cage Jr. was born on Sept. 5, 1912, in Los Angeles, and spent part of his childhood in Detroit and Ann Arbor, Mich., before moving back to California. An entrepreneur from the start, he had his own weekly radio show on KNX in Los Angeles when he was 12 years old. He had started to study the piano by then, and his programs featured his own performances and those by other musicians in his Boy Scout troop. He graduated from Los Angeles High School as class valedictorian.
In 1930, after two years at Pomona College, Mr. Cage went to Paris where he briefly worked for Erno Goldfinger, an architect with ties to Marcel Duschamp and other Dadaists whose work would later influence him. He also threw himself into the study of contemporary piano works he had heard at a performance by the American pianist John Kirkpatrick. He painted and wrote poetry, and it was during a visit to Majorca during this first European sojourn that he composed his first piano pieces.
Eventually, Mr. Cage drifted toward the world of dance. In 1937, he joined the modern dance ensemble at the University of California at Los Angeles as an accompanist and composer, and he formed his own ensemble to play his early percussion works. In 1937, he moved to Seattle, where he worked as composer and accompanist for Bonnie Baird's dance classes at the Cornish School. While in Seattle, he organized another percussion band, collected unusual instruments and toured the Northwest. It was also at this time that he met and began his lifelong collaboration with Mr. Cunningham.
He returned to California in 1938 to join the faculty of Mills College. His works of this period were still fairly conventional, at least by his later standards. But Mr. Cage was also beginning to explore new territory. His "Imaginary Landscape No. 1," composed in 1939, used variable-speed turntables, a muted piano and a cymbal. The next year he wrote his first piece for prepared piano, "Bacchanale."
In 1942, Mr. Cage moved to New York City, which remained his home base thereafter. Soon after he arrived, he undertook his first collaboration with Mr. Cunningham, "Credo in Us," and in the mid-1940's they toured extensively together. In 1947, Mr. Cage was commissioned to write "The Seasons" for the Ballet Society. A graceful, consonant work with a pronounced Indian influence that reflected Mr. Cage's growing interest in Eastern philosophy, "The Seasons" is one of his few scores for traditional symphony orchestra.
His attraction to Eastern philosophy began around 1945, when he began an extensive study of Zen Buddhism at Columbia University, which had a profound and lasting effect on his work.
In 1950, after returning to the United States from a tour of Europe with Mr. Cunningham, Mr. Cage discovered the "I Ching," the Chinese "book of changes" that one consults after tossing a set of coins. This method gave Mr. Cage the idea that lies at the heart of his "chance" compositions.
His major works since the late 1960's include "Hpschd" (1969), a collaboration with Lejaren Hiller for 7 harpsichords, 51 tapes, films, slides and colored lights; "Cheap Imitation" (1969, orchestrated 1972), based on a piece by Satie, which keeps the original rhythmic patterns but replaces this French composer's pitches with notes selected through chance procedures; "Etudes Australes" (1974-5), a virtuoso piano work with a score based on astronomical charts; "Roaratorio" (1979), an electronic piece containing thousands of sounds mentioned in James Joyce's novel "Finnegans Wake," and the five "Europera" works, composed from 1987 to 1991.
Mr. Cage's books include "Virgil Thomson: His Life and Music" (1959), written in collaboration with Kathleen O'Donnell Hoover; "Silence" (1961); "A Year From Monday" (1967); "M" (1973); "Empty Words" (1979), which he also regarded as a performance piece, and read from at this year's Summergarden concerts; "Theme and Variations" (1982); "X" (1983), and "I-IV," a collection of the Charles Eliot Norton Lectures he delivered at Harvard in 1988-89.
He also amassed a sizable catalogue of visual works -- photography, monotypes, prints, etchings, paintings and some of his more graphic scores -- from 1969 to 1992.