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South Wales Electric Bikes at Bridgend Cycle Centre
Bridgend Cycle Centre – Bridgend
Unit 1
Five Bells Road
Call: 0800 355 1000 (free from all UK mobiles and landlines)
Opening hours:
- Monday:
- 9:00am – 5:30pm
- Tuesday:
- 9:00am – 5:30pm
- Wednesday:
- 9:00am – 12:30pm
- Thursday:
- 9:00am – 5:30pm
- Friday:
- 9:00am – 5:30pm
- Saturday:
- 9:00am – 4:00pm
- Sunday:
- Closed
South Wales Electric Bikes and Electric Bicycles – Electric Bike Store
South Wales Electric Bikes! Electric Bike Store sells it's range of electric bikes for South Wales through Bridgend Cycle Centre. Book a demo and test ride by clicking the button below and Electric Bike Store will arrange an electric bike test ride for you in South Wales at your convenience.
Why not see for yourself Arrange a test ride today

subset: commoncrawl


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Event Description
Join us on leisurely guided rides around Edinburgh.
Edinburgh Family Rides is a cycling group organised by Sustrans Scotland aimed at families around Edinburgh. Our rides are open to all and organised to be suitable for families and children.
Further information:
- The rides are family friendly.
- All children need to be accompanied by parent or carer.
- You will need to bring your own bike and make sure it is in good working order.
- Please make sure you are suitably dressed for the weather.
- It is a good idea to bring a drink, snacks, and sunscreen (in case we are lucky enough to have sunny weather!)
- Please be prompt at the start so we can get going on time.
- Start and finished times include time to have an ice cream, coffee, or play on the beach in Portobello.
We will meet at the junction of Middle Meadow Walk and East Meadow Walk at 11am. If you are early then please feel free to join me for a coffee and a biscuit at Peter's Yard café just up from here, where I will be waiting beforehand.
From the corner of Middle Meadow Walk we will travel along NCN-1 eastbound through the Meadows, through some quiet side roads around St Leonard's eventually joining the Innocent Railway cycle path towards Portobello. At the Magdalene's we will leave the Innocent Cycle Path (NCN-1) and work our way through the side streets towards Milton Road (A1). We will cross this at the crossing before joining a local cycle path which will take us up Hope Lane towards Portobello High Street. After crossing Portobello High Street we will turn down Bellfield Street and finally turn left onto Portobello Promenade, finally ending at The Beach House café for an ice cream and a play on the beach! We aim to be eating ice cream by 1pm


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photograph by Amit Geron
Open House Tel-Aviv - or "Batim Mibifnim" (Houses from Within) as it's called in Hebrew - will take place over the weekend of September 19-21, 2019, at the height of the spring season when it's pleasant to walk around the city and Tel-Aviv invites you to discover its distinctive architecture.
Similar to its predecessors, Open House Tel-Aviv in 2019 will showcase hundreds of interesting homes, unique apartments and public buildings, all distinct in their architectural design. Dozens of architectural tours will also be offered throughout the city - all free-of-charge and open to the public at large.
Open House Tel-Aviv, which started in 2007, was inspired by the Open Houses held in London and in New York. Tel-Aviv, which was declared a World Heritage Site by UNESCO thanks to its concentration of buildings designed in the International Style, is a city that possesses many other architectural qualities as well, in addition to its spirited urban energy. The combination between Jaffa, one of the oldest cities in the world, and Tel-Aviv, which celebrated its first centennial 3 years ago, produces a unique urban fabric. It is a rich program which, on the one hand, includes an archaeological tour of Jaffa's Lower City, whose ruins were uncovered during subterranean excavations and, on the other hand, tours with architects who are engaged in planning the trendiest buildings in the city: residential hi-rises, upscale apartments and projects for public use.
The event also affords initial exposure to scores of young architects and designers whose projects are characterized by original thinking, innovative use of raw materials and/or a commitment to preserving the environment.
The program for children consists of construction-related activities and workshops that seek to connect the younger generation to the built-up environment. For example, a workshop is held every year at which children build a mud shack in the yard of a kindergarten located in downtown Tel-Aviv. The shack they make during the Houses from Within weekend is later used by the kindergarten pupils throughout the entire summer. Another activity deals with architecture's graphical language and aims to teach the children how to read blueprints, understand what a cross-section is, and invent their own graphical symbols for articles comprising their world that can be added to architectural plans (such as a Sony Playstation).
Approximately 150 open houses, tours, activities for children, and bike rides are planned for the next event. The event's brochure and website cite to what extent the different houses and activities are accessible to persons with disabilities and whether a particular tour is offered in English.
To join the mailing list or any other inquiries: firstname.lastname@example.com
Open House Tel Aviv Website
15 September 2019: Impact Study
10 September 2019: Worldwide Map
9 September 2019: Cities of Naples & Osaka join the 'family' list of dates


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The governing body of amateur lacrosse in the U.S. has recognized 40 high school boys' lacrosse players as regional All-Americans, and seven local players made the cut.
St. Andrew's senior defender Quinn Cade and sophomore attack Conor Whipple, Benjamin senior attack Josh Stauffer and junior defender Evan Wesselman, Jupiter Christian senior goalkeeper Ryan Powers, Boca Raton junior defenseman Kyle Dingle and Cardinal Newman senior midfielder Brendon Walker were named regional All-Americans.
U.S. Lacrosse also named its regional academic All-Americans. Boca Raton defender Andrew Denkler, Pope John Paul midfielder Kyle Crooke and Jupiter Christian defender Matthew Dillon, all seniors, were named to the list.
Because Southern lacrosse seasons run earlier than those in the Northern part of the country, regional All-Americans from other states will be announced in June. From there, U.S. Lacrosse will select 24 players as first team national All-Americans and an additional 24 boys as US Lacrosse second team national All-Americans.
The first round of 2011 US Lacrosse Boys' High School Regional All-Americans:
Region – Player, Position, High School (Graduation Year), College Attending
Arizona – Phillip Coogan, M, Tucson Tanque Verde (2011), University of Colorado
Florida-Central – Will Rotatori, A, Lake Higland Prep (2011)
Florida-Central – Jake Rooney, A, Timber Creek (2012)
Florida-Central – Nick St. Laurent, M, Lake Higland Prep (2011)
Florida-Central – Andrew Conley, M, Boone (2011)
Florida-Central – Will Goodman, A, Oviedo (2011)
Florida-Central – Jack Pease, D, Lake Mary (2011)
Florida-North – Mike Power, M, Ponte Vedra High School (2011), University of Pennsylvania
Florida-North – Brendan Francis, A, Ponte Vedra High School (2012), United States Naval Academy (Prep)
Florida-North – Chad Kehoe, LSM, The Bolles School (2011), SMU
Florida-North – Teddy Powell, A, The Bolles School (2011), Denison University
Florida-North – Erik Carson, G, Allen D. Nease High School (2011), Shorter University
Louisiana – Saban Sellers, A, St. Thomas Moore (2011)
Louisiana – Austin Mathias, A, Loyola College Prep (2011)
Nevada – Michael Morse, D, Centennial (2011), High Point University
Nevada – Halston Jet Harding, M, Coronado (2011)
South Florida – Quinn Cade, D, St. Andrew's (2011), Brown University
South Florida – Conor Whipple, A, St. Andrew's (2013)
South Florida – Chris Selva, G, St. Thomas (2011), Hofstra University
South Florida – Josh Stauffer, A, Benjamin (2011), Post Grad – Lawrenceville, NJ
South Florida – Jacob Werman, M, Pinecrest (2011), Siena College
South Florida – Brendon Walker, M, Cardinal Newman (2011), Jacksonville University
South Florida – Evan Wesselman, D, Benjamin (2012)
South Florida – Ryan Powers, G, Jupiter Christian (2011), Proctor Academy
South Florida – Kyle Dingle, D, Boca Raton (2012)
South Florida – Max Van de Put, M, Gulliver Prep (2011), Connecticut College
South Carolina – Carson Barefoot, M, Mauldin High School (2011)
South Carolina – Clayton Reed, G, Hilton Head High School (2011), Mars Hill
South Carolina – Parker Thomas, A, Fort Mill High School (2011),
Tennessee Wesleyan South Carolina – Adam Lorenzen, D, Greenville High School (2011)
South Carolina – Steven Blanchard, A, Fort Mill High School (2011), Piedmont College
Texas – Brandon Mullins, D, Coppell High School (2011), Syracuse
Texas – Buck McClure, A, Dallas Jesuit (2011), Air Force Prep
Texas – Campbell Sode, A, Highland Park (2011), Rutgers
Texas – Tyler Landis, M, Coppell High School (2011), Brown Texas – Chase Rogers, M, Woodlands (2011), Nazareth College
Texas – Hunter Hendrick, D, Kingwood (2011), Quinnipiac
Texas – Nate Hruby, M, Coppell High School (2011), Air Force
Texas – Will Merritt, M, Austin High (2011), Roanoke
West Virginia – Kris Lankford, M, University High (2011), West Virginia University
The first round of 2011 US Lacrosse Boys' High School All-Academic:
Region – Player, Position, High School, (Graduation Year), College Attending
Alabama/Mississippi – Albert Jordan, G, Briarwood (2011), University of Georgia
Arizona – Ryan Maples, D, Saguaro (2011), University of California, Berkley
Florida-Central – Jarod Forehand, A, Lake Mary
Florida-Central – Kyle McDavid, M, University
Florida-North – Austen deRoziere, A, Ponte Vedra High School (2011), Vanderbilt University
Florida-North – Jake McVeagh, D, Allen D. Nease High School (2011), University of Florida
Louisiana – Tyler Hood, M, Catholic High School (2011)
Nevada – Rudy Jacob Todd Gerson, M, Coronado (2011), Cornell University
South Carolina – Jonathon Bailey, A, JL Mann High School (2011), Clemson University South Carolina – Tripp McKemey, A/M, Fort Mill High School (2011), University of Mississippi South Florida – Drew Anderson, M, Calvary Christian Academy (2011), Liberty University
South Florida – Kyle Crooke, M, Pope John Paul II (2011), University of Florida South Florida – Andrew Denkler, D, Boca Raton (2011), University of Florida
South Florida – Matthew Dillon, D, Jupiter Christian (2011), University of Florida
South Florida – Dylan Flinchum, D, Vero Beach (2011), University of Florida
Texas – Brent Phelps, G, Katy Morton Ranch High School (2011), Texas A&M University
Texas – Grant Fitts, G, Episcopal School of Dallas (2011), Johns Hopkins
Texas – Jimmy Nawalaniec, M, Dallas Jesuit (2011), St. Louis University
Texas – Jordan Schochet, M, Plano West (2011), Brown University
West Virginia – Steven Cox, M, Fairmont Senior (2011), West Virginia University


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text: Expeditionary Learning partners with school districts and charter boards to open new schools and transform existing schools at all levels, pre-K-12, and in all settings – urban, rural, and suburban. The EL model challenges students to think critically and to take active roles in their classrooms and communities, resulting in higher achievement and greater engagement in school. EL provides schools with professional development, coaching, and on-line tools to improve curriculum design, instruction, school culture, leadership, and assessment practices. The national network of EL schools and professional colleagues includes 165 schools, 4,000 teachers, and 45,000 students.


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2013 Round Up – Abstraction's Re-invention
The most recent "rebirth" of painting, has been defined, in large part, by various modes of abstract painting. These modes are not homogenous, but are linked by a common enthusiasm and a shared belief in abstract painting as a realm of renewed possibility. This feeling of possibility no longer derives from abstraction's "newness", but rather from a century of proof that abstract painting is capable of an ever widening range of expression. Artists, curators, and critics are all re-examining the history of abstraction with the contemporary benefit of instant information, and they are finding it richer and more diverse than they once imagined.
There were over 600 posts about abstract painting featured on Painters' Table in 2013. Rather than distill these into a general "Top 10" list, I have chosen to highlight fifteen posts that are representative of ways abstraction is being re-examined. These include the re-evaluation of the origins and canon of modernism, fresh investigations of the expressive potential of color, technique, and materials, a questioning of the boundaries of painting, and reflections on the capability of abstraction to carry meaning.
It is a pleasure to have this list published on abstract critical, a platform dedicated to in-depth discussion and debate about abstraction year-round.
Re-examining the Origins and Canon of Abstraction
1. Inventing Abstraction: Soil and Air
Viewing the exhibition Inventing Abstraction: 1910-1925 at the Museum of Modern Art, New York, Viktor Witkowski found that the show captured the common excitement about the possibilities of abstraction shared by artists in the early 20th century, a excitement that might energize contemporary artists. He concluded that early abstraction was "not about arriving at a final state or drawing a conclusion. Abstraction was never meant to be finished or concluded. Abstraction (hopefully) resonates with a part of us that welcomes all suspension of ideologies and beliefs. Abstraction is a long-term project, acutely relevant and still nourishing today's paintings."
2. Inventing Abstraction: Exhilarating & Wrong
Reviewing the same show, Jed Perl also saw an energy and openness in the work but found the curatorial definition of abstraction too narrow, giving the impression that abstraction is "a prescription rather than a permission." Banished from the exhibition, Perl noted were "Paul Klee and Joan Miró, two seminal figures whose profoundly abstract visions did not exclude 'recognizable subject matter.'" He argues that "abstraction in fact released painters to approach experience in an extraordinarily wide variety of ways."
3. Hilma Af Klint: 'Interview'
Another artist omitted from Inventing Abstraction was Hilma Af Klint, a painter who developed her own abstract painting language independent of the early 20th century avant-garde. Af Klint's reemergence as an abstract pioneer has generated much excitement, yet Matthew Collings, in the guise of a clever "faux interview" asserted that Af Klint's current popularity as an outsider and a pioneering female artist overshadows a rigorous consideration of her significant visual achievements as a painter.
4. To Be a Lady: Forty-five Women in the Arts
James Panero wrote about another show, To Be a Lady, curated by Jason Andrew, that focused on the significant, yet overlooked contributions of female artists to the story of abstraction. "With its concentration of abstract artists," Panero wrote, the show "suggests, in particular, why women's voices have been essential to the evolution of modernism."
5. Raphael Rubinstein on NY Painting in the 80s
The show of the summer in New York was Reinventing Abstraction: New York Painting in the 1980s at Cheim & Read, curated by Raphael Rubinstein. In a conversation with the Brooklyn Rail's Joan Waltemath, Rubinstein described how he was inspired by painter "David Reed's notion that there's a 'street history' of painting that painters share with each other, a set of references and concerns, and a sense of where they've come from and where they're going. This street history almost never gets into official versions… Even though most of the painters in my show are quite well known, they've largely been left out of the official histories of the 1980s because they don't fit into Neo-Expressionism or Appropriation Art or Neo-Geo."
Embracing Color, Technique, and Materials
6. Who's Afraid of Hot Pink, Canary Yellow, and Midnight Blue?
Hyperallergic's John Yau writes frequently about artists who have been excluded from the mainstream of art history, but in this post he described with delight a cluster of shows defined by an unabashed immersion in color. "For a few days it seemed as if New York was awash with color," he wrote, "and that both the scientific and improvisational sides of the conversation were ably represented, perhaps for the first time in many years… For these artists, color is a palpable thing and an abstract event… each of them offers us a different pleasure, a different kind of looking, and a different, optically rich space in which to reflect upon that act."
7. Poured Painting: Oil as Water
In Artcritical, Franklin Einspruch reviewed the two-venue exhibition Pour at Asya Geisberg Gallery and Lesley Heller Workspace. For Einspruch, the works on view "established that the desire for good abstract form, achievable by way of liquid paint, is a perennial concern."
8. Improvisation in Abstraction
Robert Linsley explored the idea of improvisation in relation to abstract painting. He wrote: "Improvisation does not mean pulling art out of thin air. It is a congerie of techniques that enable the possibility that the new will appear, the foremost of which is repetition—at least that's what we can learn from Jazz. The Jazz musician/composer aims to create a music, and it is built gradually, over time, by constantly working through a set of motifs, repertoires, devices, mannerisms, techniques, so that the relation between the elements is incrementally changed until the whole edifice, a life's work, stands apart—a unique construction…. It turns out that skills are best learned in the act of creation."
"Provisional" and "casual" painting (an approach and an aesthetic) was a highly visible and influential mode of abstraction in 2013, particularly in New York. Painter Brian Dupont penned an impassioned explanation of the "provisional" noting that "artists today are confronting an increasingly ramshackle future where aesthetic, political, economic, and ecological promises have been revealed as failures. If they are seeing a future where issues of scarcity become more urgent, materials must be recycled or scavenged from surplus, and long-held political standards become increasingly irrelevant, it would seem natural to see trends in painting (re) emerge that question formal equivalents of these standards."
The Boundaries of Abstraction
10. The Edge And A Little Beyond
An interview with painter Julie Alexander, curator of the show The Edge and a Little Beyond at SOIL Gallery, Seattle. In her curatorial statement, she noted that the exhibition "brings together six abstract artists whose work pushes out the edge of the painting, playing with the basic structure of wood supports and stretched canvas… The work, verging on sculpture, clearly comes from a painter's mind. These six artists, through abstraction, both work within and challenge the perimeter of the painting, pushing beyond the boundary and entering the viewer's space. They do it with a personal mark-making that values joy and uncertainty."
11. Paint Things – Beyond the Stretcher
Reviewing the exhibition Paint Things: Beyond The Stretcher at the deCordova Sculpture Park and Museum, Robert Moeller wrote that the "increasingly heated oscillation between the two mediums of painting and sculpture grapples less with answers but rather more with questions… the assemblage of work is a smartly executed foray into the blurred and frenzied and ever-shifting world of contemporary practices. Looking backward in time, too, the exhibition pays homage, directly and indirectly, to the work of a host of artists whose presence is keenly felt, making the balance struck seem remarkably current."
12. Painting in the 2.5th Dimension
In his review of Painting in the 2.5th Dimension at the Zabludowicz Collection, John Bunker wrote that "the extra 0.5 of a dimension we get in this show is not so much about the protrusions of the paintings from their surfaces or the wall. Instead it's an historical dimension and concerned with how other media (mostly photography and the impact of context and site) rebounds on the painting process here in the 21st century. I guess the question has always been this: Are these direct references to the past of the medium and importation of other media into its facture a crutch or new point of departure for abstract painting?"
Re-examination of Meaning
13. Kazimir Malevich: Becoming Revolutionary
In e-flux, Boris Groys re-examined the political significance of Malevich's Suprematist paintings. Groys writes that "the suspicion arises that Malevich's famous Black Square is unrelated to any political and social revolution—that it is an artistic gesture that ultimately has relevance only inside artistic space. However, I would argue that if Malevich's Black Square was not an active revolutionary gesture in the sense that it criticized the political status quo or advertised a coming revolution, it was revolutionary in a much deeper sense. … Malevich shows us what it means to be a revolutionary artist. It means joining the universal material flow that destroys all temporary political and aesthetic orders. Here, the goal is not change—understood as change from an existing, 'bad' order to a new, 'good' order. Rather, revolutionary art abandons all goals—and enters the non-teleological, potentially infinite process which the artist cannot and does not want to bring to an end."
14. Kazimir Malevich: Untethered – Spirit
At Henri Art Magazine, Mark Stone offered another reading of the same body of work by Malevich. Stone wrote that "Malevich wanted a kind of direct optical language that would cut through the blur of lived experience and bring one straight to a meaningful encounter with purity… In these 'Supreme' paintings there is no visual time, no sequence or event, no viewpoint, no figure ground relationship, no dimension. One would simply encounter, all at once, always already, the immaculate." He concludes "For me this kind of massively reductive visual nihilism directed at the history of painting leaves out so much… But still I'm drawn to the inevitable presence of this Square black thing and the direct confrontation it evokes in the face of an elusive, evocative idea."
15. Painting and Reality: Art as Analogy
In his article which won the 2013 abstract critical Writer's Prize, James Hassall argued that "the role of abstraction, in its infinite plasticity, is as relevant as ever. We just need to keep making new analogies that reveal both the minutiae and the majesty of our present… abstract art can be an important means of understanding the implications and machinations of our present: the role of the subject amidst complex hyper-connectivity, the massiveness of data networks, the ideological stranglehold of capitalism, the absurdity of the Internet. Abstraction can operate in that space where the sensible exceeds the conceivable."
words as definition can be misleading. abstraction in painting does not imply derivation, and the representational painting is not what it may appear to be: paintings of animals do not bite!
perhaps representation is the more abstract, and abstraction is purely presentational.
Robin- yes, I thought, now that it's the New Year, it's time for a new scrap.
Sorry to have misread you; your phrase, as you say, was about 'representational illusion'. I suppose I'm still having some difficulty understanding, in this context, what unrepresentational illusion might be, if space in painting is considered to be representional.
I was being a bit disingenuous about the sculpture of the past- I can see your point that freedom from figuration might have more liberating potential for sculpture than painting.
Well, yes, I think that is my point, that (even) in abstract painting the illusion of space is some kind of representation of it; whereas in abstract sculpture, space is space, and the illusion is to do with how that space is manipulated, heightened, controlled etc. by the material.
I'm unconvinced that there is such a thing as 'abstract' space. Happy New Year.
Seems like this is a catch 22 for abstract painting ! I would be interested in your views around thinking about 'light' rather than 'space' for abstract painting.
I guess it is a catch, but perhaps no more so than the configuration of the body was a catch to figurative sculpture, which didn't stop some good stuff being made, despite generally constraining it. So, yes, light could be an interesting thing to think about, as could many peoples' notion of what is central to abstract painting, namely colour. And I guess you would deal with light through colour…? But I personally find difficulty in divorcing either of those things from spatial structure.
Can you point us at some work where you think this is happening? Poons I think you mentioned before…?
I think I was struck by Poons' comments about light always being surprising and a new experience when seen in a painting. Looking back at the Brancaster painters I feel that the works that resonate for me have a 'light' quality, or radiance of some kind, namely Hilde and Emyr. ( I know it's bad to judge art on the screen ) I do get your point, though, about dealing with light through colour.
ps. the above is not a rule because I am sure Fred Pollock's work is amazing.
And now for the 2014 round up of abstraction's re-invention: "It's figuration"…
This is the fundamental danger for the Critic; that she /he 'looks' a lot but doesn't see anything. Decisions have already been made, criteria of what is good has been pre-set. Clique, peer pressure and their prejudices etc- the list of potential blocks to the recognition of something 'new' (I'd call it 'liberation') goes on, does it not? But the idea that criticism, theory and history have suddenly taken some disastrous wrong turn in their development just rings hollow to me and somewhat tastes of sour grapes. Post-Colonial studies in these subjects highlights this dilemma. Ben W Kaufmann has raised the problem of how to value art made outside of, or in the shadow of, the Western Canon. What 'rules' if any apply to studying art now? If the rules you use are based upon the prejudices and preoccupations of self serving elites defined by class, gender and race- what use will these rules have in the future?
I've noticed that art historians (old and young) have a general scepticism toward artists who have become successful at an early stage in their career. Some try to put such success down solely to Art World hyperbole mobilised to inflate prices by constantly defining the next big thing, just as the music industry did in its hey day etc. But as the big players in commercial music are losing their grip on their target markets, I hope the big players in the art world will lose theirs. Fragmentation on a scale that only the keenest of Cubists could have imagined is upon us. In contrary fashion the very same technologies are bringing disparate individuals and groups together, who a few years ago would not have known each other had existed. Conversely 'taste makers' and Corporate strangle holds are weakening- gradually. I think watching and learning from younger artists is important in this respect.
New alliances are being forged and detailed information is being exchanged on a level unheard of before (between the generations of artists, critics and historians across cultures worldwide). What this will do to the future of art and it's making can only be guessed at right now. Abstract Critical is playing its part in this process, but should be aware of alienating potential readers and participants from debate whether they see themselves as a sculptors or a painters…..Or whatever……..
Here's to the future!
Of course there is a risk to a critical viewpoint. But there is at least an equal risk (greater, in my opinion, though I don't know how one would evaluate it) from a non-critical one. We might agree that the aim is "liberation", but from what, and to what? If it is liberation of form, I'm with you. If it is liberation from form, I'm against. I know you think my criteria are "pre-set", but I think the same of you. I think my insistence upon new form is a radical stance, artistically and politically. Blurring boundaries and whipping up a hype about everything that has a novelty value is not helpful to the task of discriminating what is genuinely new.
The thing about this particular future, though, is that it's essentially the same hyper-consumerist model that applies to everything else.
There is a process of de-centralisation, of growing multiplicities of perspectives and voices, and this is inevitable and often a good thing, but it's all part, ultimately, of the universal commodification of experience. All things as mere choices amongst other choices, as the things that are considered, in conventional 'left-wing' thought to be oppressive and hierarchical- exclusion, judgement, a 'canon'- are also the enemy of the new hyper-consumerist utopia.
Consumption of things and activities and information must, above all, grow, regardless of where, how, or why. Anything is good, whether it's chocolate-flavoured cheese or exhibitions of radical environmental art. The only thing we will NOT do, is do less.
I am yet to be convinced that we have proof positive of abstract art's capability for "an ever widening range of expression", though I too remain optimistic. But it seems to me that, taken as a generalised whole across all practitioners, abstract painting's expressive capacity is presently rather constrained – certainly compared with the imaginative variety that figurative painting has historically offered. I don't think it can be truly said, as Brett does, that abstract painting has been "re-invented". Again and again we see the same mannerisms and tropes re-used and recycled, any semblance of "newness" dependent often upon a philosophical or conceptual twist rather than a genuine invention of new content. "Casualist" painting, for example, is a rather typical example of conceptual art of a particularly weak strain masking its intellectual shortcomings by mimicking clichéd trappings and traits of previous formalist abstract painting, whilst resolutely denying the need for hard-won structural originality. But Casualism or Provisionalism are not the only postures in painting guilty of this basic dishonesty about their own achievements. The exhibition "The Show is Over" at Gagosian, reviewed on this site, was an exhibition full of so-called abstract painting comprised almost entirely of yet more weak and pretentious conceptual art. Far from being optimistic, such exhibitions generate despondency.
I think, as I have said before, that what optimism I harbour stems from signs that the "widening range" will emerge in sculpture rather than painting, and that it will leave most abstract painters rather stumped in its wake. I realise the conceit of this claim; but it derives from the contradictory nature of space in abstract painting, and the constraint therein. I can see no way to make space anything other than representational in painting, which is why, I think, the "materiality" thing so frequently rears its corny old head, in an effort to mimic the natural "reality" of sculpture; whereas in abstract sculpture, real space is real space, and the sculpture can up the stakes by making that space more and more extreme and more and more real, without in the least having to resort to representational illusion of any sort. In sculpture, even the illusions can be dealt with in real space – and indeed in real time.
My only doubt about this theory is that there are very few abstract sculptors and very, very many abstract painters. But I would still put my money on it. The apparent ease of abstract painting, the ubiquity of it, and the similarity of much of it, will in the end count against it. It is for the most part just too familiar, unchallenging and self-perpetuating. Abstract art needs more than anything a bolt from the blue, something entirely new and unexpected… something that will turn inside out our understanding of how to build expressive content in abstract art.
Then again, we are going to see 120 of Matisse's late cut-outs at Tate in April, so that might shred my theories. Or are they figurative?
Just watched a video where Larry Poons talks about light in paintings. He felt that one couldn't remember light and so it was a fresh experience every time one found it in a good painting. Perhaps this is the key to finding something new in abstract painting. Space is an obvious avenue for sculpture but light would be something to strive for in painting.
Thoughtful response.I believe that many of the names we hear about fit into a sort of intellectual trope that was started many years ago and seems to be pushing the limits of abstraction's origins in either materiality(Colen) or cool flatness(Guyton).It may be that this is the endgame and there is nothing beyond but just bumping its head against the limits.See my take on these artists on Painters Table:http://painters-table.com/blog-roll/painting-martin-mugar
Well said. Undoubtedly there has been a revival of sorts with regards to abstract painting, but the elephant in the room is that much of it is pure garbage. Despite is past revolutionary glories, contemporary abstraction has been "re-invented" as the default choice of both bankers looking to decorate million dollar condos and academicians keen on justifying their conceptual practice with a token object.
It's become all too common to see can't fail canvas's laden with the correct proportion of disparate touch mined from the rich seams of art's past, sprinkled with a healthy dose of the latest buzzwords. Good art is hard, and this stuff is just to easy.
One of the most important shows of abstract art in NYC this past year? Larry Poons' early
paintings at Loretta Howard. Just closed. In '58, '59, so many artists could not figure out how
to make abstract paintings, much less great ones. Just look at the careers of Donald Judd, Sol
LeWitt, Dan Flavin, Robert Morris. They all solved their problem by working in three-dimensions.
Not Poons! Like Stella, knew what to do. This exhibition was exhilarating. Poons doesn't get
credit he deserves. What a master!
I guess there weren't any notable articles or reviews written by women this year? This testosterone-rich list is yet another reminder why we need more women in the blogosphere.
I'm interested to know, Robin, why you say 'illusion' is Bad. Is it a religious or ethical sort of thing, like the Budhist attitude, or is it more phenomenological and qualitative, to do with a quest for precision or intensisty of experience?
And does it mean the greatest art of the past is, by definition, sculpture?
Where have I said illusion is bad? I haven't.
What I've said somewhere up near the top of the page is that the illusion of space in abstract painting is representational. For the record, I think illusion in both painting and sculpture is of the essence. And I also think that figurative sculpture taken as a whole is vastly inferior to figurative painting, for reasons I've dealt with elsewhere. And I also think that positions may be reversed in abstract painting and sculpture, with the former being at a disadvantage. I would have though I had made that pretty clear by now, but obviously not.
Not quite sure where your question came from… Not trying to pick a quarrel with me now, are you?


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25 Years of PC Magazine: Year Twenty-Two 2003
- Innovators
- Product Flashback
- Falling For the Net
- Readers Respond
Readers Respond: Tandy Was Dandy
I have seen little mention of the early computers made by RadioShack. I was the proud owner of their Color Computer [the TRS-80, known to some users as the CoCoEd.];. I think I got mine in the early 1980s. Amazing for its time. The highlight came when a unit running a 5.25-inch disk appeared for storage. This unit deserves some mention in "history."Hilary W. Szymanowski, Philadelphia


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The following article is from the book Uncle John's True Crime: A Classic Collection of Crooks, Cops, and Capers.
Here's proof that stupidity is timeless (and sometimes deadly).
In the little town of Coffeyville, Kansas, in 1890, Bob, Emmett, and Gratton Dalton, along with two other men, formed a gang of outlaws. Inspired by the exploits of their cousins the Younger Brothers -who 15 years earlier had stolen nearly a half million dollars from trains and banks with the James Gang- the Daltons pulled a few small-time robberies. But they wanted a big payoff and the fame that goes with it -and that could only come from a legendary bank heist. So they planned it all out …all wrong.
1. The Daltons aimed to rob two banks at once: Two men would rob the First National Bank, while the other three hit Condon & Co. across the street. They thought they'd get double the loot, but they only doubled the chances of getting caught.
2. Instead of traveling to another town where no one knew them, they chose Coffeyville -where everyone knew them.
3. The street in front of the banks was being repaired the day of the heist. They could have postponed it, but went ahead anyway. Now, they had to hitch their horses a block away, making a clean getaway that much more difficult.
4. Smart: They wore disguises. Dumb: The disguises were wispy stage mustaches and goatees. Locals saw right through them.
The bank robberies were a disaster. The townsfolk saw the Dalton boys coming and armed themselves. The Daltons did get $20,000 from First National, but came up empty at the other bank when the teller said she couldn't open the safe.
When they emerged from the banks, an angry mob was waiting for them in the street. A hail of bullets followed, killing every member except Emmett Dalton, who spent the next 15 years in prison. He emerged from the penitentiary to discover that the Dalton gang's story had indeed been immortalized, but not as legendary outlaws …only as hapless screwups.
The article above was reprinted with permission from Uncle John's True Crime: A Classic Collection of Crooks, Cops, and Capers.
Since 1988, the Bathroom Reader Institute had published a series of popular books containing irresistible bits of trivia and obscure yet fascinating facts. If you like Neatorama, you'll love the Bathroom Reader Institute's books - go ahead and check 'em out!


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Mercury Fingerprint
Did you know that even if a fluorescent lamp is labeled "green" it may still contain some mercury? We used a Vernier Spectrometer to study the emission spectrum of a modern fluorescent tube. It had a very strong peak at 546 nm, one of the characteristic emission wavelengths of mercury. Dispose of your old lamps properly, even if they are marked as "green."
You can also use a cool new Logger Pro feature to compare spectra. There is a mercury spectrum in the Sample Data folder. If you collect an unknown spectrum and want to compare it to a known mercury spectrum, just superimpose the reference mercury data from the Sample Data folder using the new Import from Logger Pro file feature. Do the peaks line up?
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You are currently browsing the monthly archive for December 2014.
All good things must come to an end…
But such a sweet end! Our Best Recipes of 2014 series concludes with an unassuming-looking, crumbly, unadorned cake of a modest chestnut hue. Don't be fooled by appearances.
The book: Bitter, by Jennifer McLagan (10 Speed Press, $29.99)
The recipe: Walnut cake
Why I tried it: It was just one of those synesthetic moments you get with cookbooks: I saw the word "bitter" (referring, in this case, to the walnuts). I saw the word "orange". I saw the faintly blue gleam of the steel dessert plates in the photograph, which I found devastatingly chic. In my mouth, I tasted butter. Out came the Post-Its!
Why I loved it: Oranges and walnuts! a match made in heaven. That plus a faintly chewy, profoundly buttery crumb. It was like the darker and more glamorous cousin of a financier. Eat it forkful by dense and tender forkful with completely unsweetened whipped cream or crème fraîche. Sip a little coffee, and wish – not for the the first time – that you had a nice big 4-chambered stomach, like a cow's, instead of the one you've got.
Estimated preparation time: About 1 1/2 hours: A leisurely 40 minutes to toast and grind the nuts, prepare the yolk/butter mix, prepare the whites, and fold them together. Another 50 minutes for the baking.
Walnut Cake
5 1⁄2 ounces walnut halves
2 slices white bread
2⁄3 cup / 5¼ ounces unsalted butter, diced
2⁄3 cup / 4 1⁄2 ounces sugar
4 eggs, separated
¾ teaspoon ground cardamom
A pinch of fine sea salt
1 Seville or regular orange
A pinch of cream of tartar
Cocoa powder
1. Preheat the oven to 350°F / 180°C. Butter a 9-inch / 23-cm springform cake pan and line the bottom with a round of parchment paper.
2. Spread the walnuts and bread slices on a baking sheet and place in the oven for 10 minutes or until the bread is dry and the nuts are lightly toasted. Let cool slightly. Lower the oven temperature to 325°F / 160°C.
3. Put the butter in the bowl of a stand mixer with the paddle attachment. Set 3 tablespoons of the sugar aside and add the remaining sugar to the butter. Cream the butter and sugar until they are light and fluffy. Meanwhile, place the walnuts and toasted bread in a food processor and pulse until finely ground.
4. Add the egg yolks, one at a time, to the creamed butter and sugar, beating well after each addition. Stir in the ground walnut and bread mixture, then add the cardamom and salt. Finely grate the zest from the orange and add to the mixture; set the orange aside for another use.
5. In a clean bowl, whisk the egg whites until frothy; add the cream of tartar, and continue to whisk until white. Add the reserved 3 tablespoons of sugar, 1 tablespoon at a time, whisking until the whites are glossy and resemble whipped cream. Add a large spoonful of the egg whites to the walnut batter and stir to lighten. Tip the batter onto the egg whites and fold lightly until mixed.
6. Pour the batter into the prepared pan and smooth the top. Bake for about 50 minutes or until dark golden and a skewer inserted into the middle of the cake comes out dry. Let the cake cool for 5 minutes, then run a knife around the edge of the cake and unmold onto a cooling rack. Let cool completely, then dust with cocoa powder.
Reprinted from Bitter by Jennifer McLagan. Copyright (c) 2014. Published by 10 Speed Press
Don't tell your family about this dish, or you'll have to make enough for 4, which means two batches, which means having to clean out the wok in between.
The book: Simple Thai Food, by Leela Punyaratabandhu (10 Speed Press, $24.99 – here's my complete review)
The recipe: Rice noodles "drunkard's style" with chicken
Why I tried it: I don't know about you, but I've never had a Thai noodle dish I didn't like. Over many years and many tweaks, I've gotten to be pretty happy with my pad thai. But I was still on the hunt for a wide-rice-noodle dish I could make at home that would satisfy me as much as the ones I had out. This was simply the next station on that quest.
Why I loved it: The sauce! This. Is. The. Sauce. You know how you go to a noodle place, and your soul is basically enslaved to that place forever because you don't think you can reproduce the sauce at home? Well, this was the Sauce of Freedom for me. It's just thin soy + dark sweet soy [kecap manis] + oyster sauce + fish sauce, it turns out. But combined with the garlic and Thai basil, the onion wedges and with maybe an assist from the tomato, it's got that upfront caramel, the anisey top notes, and the forever-umami finish that had me plonking down $7.95 a pop for I don't know how many years. Free at last!
Estimated preparation time: 40-45 minutes max if you're using fresh noodles, a little more if you have to boil some dried noodles (but not much, because you're efficient and you ALWAYS chop stuff when your water's busy getting to a boil).
Rice Noodles "Drunkard's Style" with Chicken
Two things you should know: 1) if for whatever reason, you can't quite mash the aromatics into a paste and you've got little bits of garlic flying around asking to get burnt, then lessen both time and temperature in that first frying step. 2) Read the author's extensive endnote on boiling wide rice noodles, in case you've been soaking them in warm water your whole life and you don't believe you should do it any different now.
2 fresh bird's eye chiles, or fewer or more
1 large shallot, about 1 ounce
2 large cloves garlic
1 pound fresh wide rice noodles, or 8 ounces dried wide rice noodles, prepared according to instructions below*
8 ounces boneless, skinless chicken breasts
2 tablespoons vegetable oil
1 yellow or white onion, cut into 1-inch-wide wedges
1 tablespoon fish sauce
2 tablespoons oyster sauce
2 tablespoons thin soy sauce
2 tablespoons sweet dark soy sauce
2 teaspoons packed grated palm sugar, or 1 teaspoon packed light or brown sugar
1 fresh large red or green Thai long chile, cut lengthwise on the diagonal into 1/4-inch wide strips
1 Roma tomato, quartered lengthwise, then quarters halved crosswise
1 cup loosely packed fresh holy basil leaves
In a mortar or a mini chopper, combine the bird's eye chiles, garlic, and shallot and grind to a fine paste. Set aside.
If the noodles are in sheet form, rather than pre-cut, cut them lengthwise into 1-inch-wide strips and separate the layers into singles. Cut the chicken against the grain and on the diagonal into thin, bite-sized strips.
Heat the oil in a wok or a 14-inch skillet set over medium-high heat. When the oil is hot, add the prepared paste and stir until fragrant and slightly thickened, about 1 minute. Turn up the heat to high, add the onion wedges and let them brown on the underside, undisturbed, for 2 minutes. Flip them and brown the second side for 2 minutes. Add the chicken and fish sauce and stir until the chicken is cooked through, about 2 to 3 minutes.
Heat the oil in a wok or a 14-inch skillet set over medium-high heat. When the oil is hot, add the prepared paste and stir until fragrant and slightly thickened, about 1 minute. Turn up the heat to high, add the onion wedges and let them brown on the underside, undisturbed, for 2 minutes. Flip them and brown the second side for 2 minutes. Add the chicken and fish sauce and stir until the chicken is cooked through, about 2 to 3 minutes.
Add the noodles, oyster sauce, thin soy sauce, sweet soy sauce, sugar, long chile, and tomato and stir to mix. Cook, stirring occasionally, until the noodles soften and the sauce is absorbed, about 5 minutes. Remove the pan from the heat, add the basil, and stir just until wilted. Serve immediately.
They often come in several oil-lubricated layers of thin sheets, stacked together, packed in a disposable tray, and covered with plastic wrap. You can find them in the refrigerated section of most well-stocked Asian grocery stores. To prepare them for cooking, you need to cut the whole stack into strips about 1 inch wide and then carefully separate the layers into thin, wide ribbons. Sometimes the noodles come precut and require only that you separate them gently so as not to break them.Purchase fresh rice noodles in small batches and use them right away, as they lose their suppleness and flexibility quickly on refrigeration. They must never be frozen. If you are ever stuck with old, doughy, hard fresh rice noodles, cut them into strips and separate them into strands as instructed above, then blanch them for no more than 10 seconds in boiling water before cooking.
If you cannot find fresh rice noodles, buy the widest dried rice sticks (9 millimeters/about 1 wide) you can find. It is important to remember that you cannot simply soak these wide dried rice noodles until pliable in the same way you prepare thinner dried rice sticks for pad thai . You need to boil them in a large amount of water, as you would dried Italian pasta, and then drain them, rinse off any excess starch, drain them again, and use them like fresh rice noodles. Once cooked, dried wide rice noodles double in volume. Therefore, if a recipe calls for 1 pound of fresh wide rice noodles, you need 8 ounces of dried wide rice noodles to yield 1 pound of cooked noodles, which can be used the same way as fresh wide rice noodles.
Reprinted from Simple Thai Food by Leela Punyaratabandhu. (10 Speed Press, 2014).
The book: The Banh Mi Handbook, by Andrea Nguyen (10 Speed Press, $16.99) – which, if you've been following my roundup coverage, you know is a total winner.
The recipe: Viet home-style doner kebab.
Why I tried it: I never used to know what people were talking about when they said "doner kebab," but eventually I realized it was the same thing as the shawarma I ate from sidewalk carts back home in New York, and the gyro sandwich I ate for lunch every single day across the street from the darkroom where I worked in Boston. From that point on, all 3 terms induced the same Pavlovian response in me. So when one of my favorite authors interpreted one of my favorite foods through the palate of one of my favorite national cuisines, there was no question – I had to try it
Why I loved it: This slab of protein has all the things I love about meatloaf, all the things I love about pork, and all the things I love about gyros/shawarma/whatever you call it. It's got a glistening soy-painted crust. It's easy, because you just throw it together in the Cuisinart. You can eat it in a banh mi or on anything else, or all by itself. The absolute worst thing about it is having to wait for hours till it's cold enough to slice and eat, so when it comes out from the oven you'd better have another favorite food out on standby, ready to distract you and your greedy little fingers.
Estimated preparation time: About 1 hour, plus cooling time (if you can stand to wait that long)
Viet Home-Style Doner Kebab
2 cloves garlic, coarsely chopped
⅔ cup (3 oz / 90 g) coarsely chopped yellow onion
¼ teaspoon black pepper
¼ teaspoon cayenne
¾ teaspoon salt
2 teaspoons ground cumin
generous 1 teaspoon cornstarch
1½ tablespoons all-purpose flour, rice flour (brown or white), or almond meal flour
1 large egg
2 tablespoons canola or olive oil
1¼ pounds (565 g) ground pork, about 85 percent lean
1 teaspoon regular soy sauce mixed with ½ teaspoon water
1. Position a rack in the middle of the oven and preheat to 425°F (220°C / gas mark 7). Line a baking sheet with foil and set aside.
2. Place the garlic, onion, pepper, cayenne, salt, cumin, cornstarch, flour, egg, and oil in the bowl of a food processor and whirl to create a finely textured, soupy mix- ture. Scrape down the sides, then add the pork, dropping it in as large chunks. Restart the processor to combine, letting it run for about 5 seconds after the meat begins gathering around the blade. Aim to mix things as if you were making a meatloaf. Visible bits of pork are good!
3. Use a spatula to scrape and mix in seasonings clinging to the processor walls. Transfer the meat to the prepared baking sheet and shape it into a slab, about 11⁄4 inches (3 cm) thick, 5 inches (12.5 cm) wide, and 8 inches (20 cm) long. For a lovely brown crust, use your fingers to paint the top and sides with the diluted soy mixture.
4. Bake for 35 to 40 minutes, until the top is redwood tree brown and small sizzling bubbles appear. The meat will puff and maybe bend upward slightly. Cool completely before thinly slicing, or better yet, cool, wrap, and chill overnight or for as long as 3 days.
5. Cut the meat cold, then warm in a microwave oven or in a skillet over medium heat. Don't fret if the meat slices break, just slide it all into your sandwich.
From The Banh Mi Handbook, by Andrea Nguyen. (10 Speed Press, 2014)
The book: Fresh from the Farm, by Susie Middleton (Taunton Press, $28.00 – here's my complete review)
The recipe: Roasted Parmesan-crusted cod with baby potatoes
Why I tried it: I love cod – the silky, dense, smooth, thick, moist flakes and subtle scent of the sea. But since it's become endangered, cod has been a rare treat for me. When I do get it, I want a recipe that's worth it. And if I'm substituting halibut, I want a recipe that's worth it.
There are two things I love about Susie Middleton recipes: 1) They always work. And 2) They have flavor in places other recipes don't even have places. They're like that stylish person you glimpse at a party who has actually taken the trouble to wear a hair accessory, and probably a scarf too, in a color that complements her shoes. Truly amazing, people like that. But I digress. The point is, I thought this recipe would be worth it.
Why I loved it: Here are some details you and I might not have thought of: whizzing an English muffin in the blender for easy, tender bread crumbs. Gluing the crumbs to the fish with mayo that's been doctored with mustard for more flavor. Roasting the veg not just with oil, but balsamic and honey! When it's done, a dizzy flavor spins up out of the pan, like you've just walked across your herb garden, crushing the thyme underfoot.
Estimated preparation time:Just over 1 hour: 20 minutes of prep, 25 minutes of inital roasting while you do a litle more prep, 20 minutes of final roasting.
Roasted Parmesan-Crusted Cod with Baby Potatoes, Bell Peppers, Onions & Thyme
Serves 4
8 ounces small fingerling or baby red potatoes(smallest size you can find), cut in half lengthwise
1⁄2 medium bell pepper, cut into 1-inch pieces
1 small or medium onion, cut into 1-inch pieces
10 to 12 pitted Kalamata olives, cut in half
3 tablespoons plus 2 teaspoons extra-virgin olive oil
1 tablespoon plus 1 teaspoon coarsely chopped fresh thyme leaves
2 teaspoons balsamic vinegar
1 teaspoon honey
Kosher salt
Big pinch of crushed red pepper flakes
6 ounces firm-ripe cherry tomatoes (about 20) cut in half
3⁄4 cup fresh breadcrumbs (from 1 English muffin, blitzed in a food processor; a little extra is fine)
1⁄4 cup coarsely grated Parmigiano-Reggiano
2 tablespoons mayonnaise
1 teaspoon Dijon mustard
1 1⁄2 pounds cod (or other firm white fish fillet like striped bass or halibut), cut into a few pieces to fit more easily into the pan
Heat the oven to 425°F. Combine the potatoes, peppers, onions, olives, 3 tablespoons olive oil, 1 tablespoon thyme, the balsamic vinegar, honey, 3⁄4 teaspoon salt, and crushed red pepper in a mixing bowl and toss well. Spread in one layer in a 9- x 13-inch baking pan. Roast for 25 minutes. Reserve the bowl that the veggies were in and add the cherry tomatoes, 1 teaspoon oil, 1⁄2 teaspoon thyme, and a pinch of salt. Toss well.
In a small bowl, combine the breadcrumbs, Parmigiano, the remaining 1 teaspoon olive oil, the remaining 1⁄2 tea-spoon thyme, and a big pinch of salt. In another small bowl, stir together the mayonnaise and mustard. Lay the fish on a plastic cutting board and season with salt. Spread the mayo-mustard mixture over the top of the fish and along the sides. Add the cherry tomatoes to the pan of roasted vegetables and stir to combine.
Push the veggies to the edges of the pan to make room for the fish. Nestle the fish amongst the veggies; then pat the breadcrumb mixture over the fish pieces. Return the pan to the oven and roast for 20 to 22 minutes, until the potatoes are tender and the crust on the fish is golden. Cut the fish into serving pieces with a metal spatula and arrange on four plates. Spoon the veggies, along with the pan juices, around the fish. Serve right away.
Reprinted from Fresh from the Farm by Susie Middleton. Copyright (c) 2014 by Taunton Press.
The book: Caribbean Potluck, by Suzanne and Michelle Rousseau (Kyle Books, $24.95 – here's my complete review)
The recipe: Red, Green, and Gold Salad with Toasted Almonds
Why I tried it: I don't test a ton of many-ingredient salads – unless the ingredients list allows me to claim it's a "dinner salad". If it's a one-pot meal, I can justify spending most of my 1.5 hours of prep time on a salad. Here the chickpeas were the clincher – "Protein!" I exclaimed, and promptly excused myself from rummaging in the freezer for some meat to defrost.
Why I loved it: This one's for everyone who eats with their eyes. It's a riot of color and flavor – bright and tropical in the summer, when I made it, and festive on the holiday table. Thanks to the smooth avocado, slithery mangoes, velvety beets, crisp almonds, and crunchy onions, every bite has some kind of interesting texture effect. You'll probably still be experimenting and trying to decide whether you like velvety/crisp or slithery/crunchy better by the time you get to the bottom of your bowl.
Estimated preparation time: If you've already pickled the beets and you're not too fussy about chopping vegetables into matchsticks, you can do this in under 45 minutes. Otherwise, give yourself an hour and a quarter.
Red, Green and Gold Salad with Toasted Almonds
The only real issue you may run into making this salad at this time of year is sourcing fresh mangoes. Don't sweat it – you can use frozen mangoes for the vinaigrette (or just buy a mango dressing if you can't deal with that). You can leave out the fresh mangoes, or sub in another ripe, sweet fruit that's more available, like pears. It won't be the same, but it will still be great.
Serves 6
For the Pickled Beets
1⁄2 cup fresh lime juice
1⁄4 cup distilled white vinegar
2 tablespoons sugar
1⁄2 cup olive oil
1 tablespoon chopped garlic
1 tablespoon Dijon mustard
sea salt and freshly ground black pepper
6 small boiled beets, peeled and sliced
1 medium red onion, thinly sliced
1 bunch fresh cilantro, chopped
For the Mango Vinaigrette (makes about 1 cup)
1⁄2 cup mango puree, preferably fresh
1⁄3 cup distilled white wine vinegar
2 cloves garlic, diced
1 teaspoon Dijon mustard
1 cup extra-virgin olive oil
sea salt and ground white pepper
For the Salad:
8 ounces mixed greens
1 medium mango, sliced
1 (15-ounce) can chickpeas
1⁄4 medium red onion, thinly sliced
1⁄2 cucumber, cut into matchsticks
1⁄2 red bell pepper, cut into matchsticks
1 medium ripe avocado, sliced
4 ounces feta, crumbled (about 1 cup)
sea salt and freshly ground black pepper
3 tablespoons sliced almonds, toasted
1. To make the marinade for the beets, in a small bowl, whisk together the lime juice, vinegar, sugar, oil, garlic and mustard until blended. Season with salt and pepper. In a medium bowl, combine the beets and onion, pour the dressing over the beet mixture and season again with salt and pepper. Stir in the cilantro and let sit for at least 30 minutes or refrigerate for up to 1 week.
2 To make the mango vinaigrette, in a small bowl, whisk together the mango puree, vinegar, garlic and mustard. Gradually add the oil, whisking steadily until the vinaigrette thickens. Season with salt and white pepper.
3. To assemble the salad, place the greens in a large salad bowl. Add the mango, chickpeas, red onion, cucumber, bell pepper and avocado. Add half the feta and season with salt and pepper. Drizzle with a liberal amount of mango vinaigrette and toss. Top with the beets, toasted almonds and the rest of the feta and serve immediately.
Caribbean Potluck by Suzanne and Michelle Rousseau is published by Kyle Books, priced $24.95. Photography by Ellen Silverman.
This year's most VIRTUOUS Best Recipe.
The book: Recipes from my French Grandmother, by Carole Clements and Elizabeth Wolf-Cohen (Lorenz Books, $18.99)
The recipe: Provençal vegetable soup with basil pistou
Why I tried it: This is a "little of this, little of that" soup I tested in August, and I had lots of odd leftover vegetables and basil from the garden. Even though it was still pretty warm out and I am usually only a soup-eater in cold weather, it seemed like a good way to use what I had on hand. Also, I was Setting an Example for the children by trying to prove you can make something nice out of practically nothing.
Why I loved it: I had a lot of faith in my vegetables coming together and behaving themselves, with a little careful chopping and sweating, but I didn't expect them to sing. That was before I even dolloped on the pistou. The pistou added a nimbus of spicy basil fragrance you could drown in, and it's the reason I had seconds – and thirds – and even, to be honest, a tiny bit of fourths too.
Estimated preparation time: Put on some music and give yourself a good hour for chopping (this can happen while the beans are cooking), followed by an hour of simmering. The good news is, this makes a lot, you can store it/freeze it, and it gets better every day.
Provençal Vegetable Soup with Pistou
Serves 6–8
There's no need to be overly literal about the ingredients list. If you don't have fava or navy beans, it's OK to use other small beans – flageolets would be nice. (Bigger beans will need longer.) You could use even canned beans in a pinch, though the flavor isn't as fine. You could use different vegetables. But do take the trouble to chop small dice – it makes a difference. You can skip the pistou if you're vegan, but otherwise definitely don't.
1 1⁄2 cups fresh fava beans, shelled, or 3⁄4 cup dried haricot (navy) beans, soaked overnight
1⁄2 tsp dried herbes de Provence
2 garlic cloves, finely chopped
1 tbsp olive oil
1 onion, finely chopped
2 small or 1 large leek, finely sliced
1 celery stick, finely sliced
2 carrots, finely diced
2 small potatoes, finely diced
4oz green beans
5 cups water
1 cup shelled peas, fresh or frozen
2 small zucchini, finely chopped
3 medium tomatoes, peeled, seeded and finely chopped
Handful of spinach leaves, cut into thin ribbons
Sprigs of fresh basil, to garnish
For the pistou
1 or 2 garlic cloves, finely chopped
1⁄2 cup (packed) basil leaves
4 tbsp grated Parmesan cheese
4 tbsp extra virgin olive oil
1. To make the pistou, put the garlic, basil and Parmesan cheese in a food processor and process until smooth, scraping down the sides once. With the machine running, slowly add the olive oil through the feed tube. Or, alternatively, pound the garlic, basil and cheese in a mortar and pestle and stir in the oil.
2. To make the soup, if using dried haricot beans, place them in a pan and cover with water. Boil vigorously for 10 minutes and drain. Place the par-boiled beans, or fresh beans if using, in a pan with the herbes de Provence and one of the garlic cloves. Add water to cover by 1 inch. Bring to the boil, reduce the heat and simmer over a medium-low heat until tender, about 10 minutes for fresh beans and about 1 hour for dried beans. Set aside in the cooking liquid.
3. Heat the oil in a large pan or flameproof casserole. Add the onion and leeks, and cook for 5 minutes, stirring occasionally, until the onion just softens.
4. Add the celery, carrots and the other garlic clove and cook, covered, for 10 minutes, stirring.
5. Add the potatoes, green beans and water, then season lightly with salt and pepper. Bring to the boil, skimming any foam that rises to the surface, then reduce the heat, cover and simmer gently for 10 minutes
6. Add the zucchini, tomatoes and peas together with the reserved beans and their cooking liquid and simmer for 25–30 minutes, or until all the vegetables are tender. Add the spinach and simmer for 5 minutes. Season the soup and swirl a spoonful of pistou into each bowl. Garnish with basil and serve
If you deep-fry just ONE THING this year….
The book: Fried & True, by Lee Brian Schrager and Adeena Sussman (Clarkson Potter, $22.50 – here's my complete review)
The recipe: Keralan fried chicken – recipe actually by Atlanta chef Asha Gomez
Why I tried it: I can't even begin to describe to you the mixed pleasure and pain of recipe-testing a fried-chicken book in the middle of summer. I saw the picture of the chicken atop the waffles, and then I read the bold, unstinting ingredients list (one bunch of mint! one bunch of cilantro!), and I thought "Maybe this will make it all worthwhile…"
Why I loved it: The waffles may have sold me on trying this recipe, but they weren't the clincher when I made it. No, the clincher was two-part: 1) Boneless pieces! It was a pain boning all that chicken, but it was totally worth it. The marinade penetrated from both sides, and the chicken cooked up fast & juicy, and you could eat it with a knife and fork. 2) Cilantro-mint flavor + crisp skin crust + spicy maple syrup! This is what a chef would call a nice move, and what I would call a close-your-eyes-and-thank-your-god-you're-alive-to-taste-this moment.
Which is why, having eaten more fried chicken that any sane person would want to over the summer, I made it again for my birthday at the end of August, and made my friends eat it with me. I skipped the waffles, thereby leaving more room for chicken.
Estimated preparation time: 24 hour marinade, followed by about 1 hour prep & fry. Add a half hour if you're boning the chicken yourself, and you're pretty fast at it. (And add more time yet if you're making your own waffles to go with it.)
Keralan Fried Chicken and Spicy Maple Syrup (plus Insert Your Favorite Waffle Here)
This recipe originally included these cardamom waffles – a great idea, but I found the waffle recipe a little lackluster for the effort. You could use your own favorite waffle, or a frozen Eggo, or no waffle at all. But even if you do without the waffle, don't skip the spicy maple syrup, because it's incredible on that chicken skin. Oh – be sure to use skin-on boneless. The skin is important, and so is the lack of bone.
Serves 8
For the spicy maple syrup:
2 teaspoons whole cumin seeds, coarsely ground
2 teaspoons whole coriander seeds, coarsely ground
1 teaspoon crushed red pepper flakes
2 cups maple syrup
For the chicken:
2 cups buttermilk
10 garlic cloves
1 2-inch piece fresh ginger, peeled
6 whole serrano (or 3 large jalapeño) peppers, seeded if desired
Bunch of fresh cilantro
Bunch of fresh mint
2 tablespoons kosher salt
8 boneless, skin-on chicken thighs (about 3 pounds)
Vegetable oil, for frying
4 cups all-purpose flour
2 stems fresh curry leaves
2 tablespoons coconut oil, melted
1) Marinate the chicken: In a blender, purée the buttermilk, garlic, ginger, peppers, cilantro, mint, and salt until smooth. Place the chicken in a large glass dish or bowl, pour the buttermilk purée over the chicken, toss to coat, and marinate for 24 hours.
2) Make the syrup: Toast the cumin seeds, coriander seeds, and red pepper flakes in a dry, hot medium skillet until fragrant and the seeds begin to pop, 1 to 2 minutes. Whisk the toasted spices into the maple syrup and let the syrup infuse at room temperature for 24 hours.
3) Fry the chicken: Fill a large (12-inch) cast-iron skillet with 1⁄3 inch oil and gently heat to 300°F. Set a wire rack on top of a rimmed baking sheet and set aside. While the oil is heating, remove the chicken from the buttermilk purée, gently shake off excess, and dredge each piece in flour. Place the chicken in the skillet, skin side down; the oil should come halfway up the pan. Cook the chicken until it turns golden brown, 10 to 12 minutes per side. Drain the chicken on the rack and drizzle with the melted coconut oil. While the chicken is draining, crisp the curry leaves by frying in the oil until crisp, 10 to 15 seconds.
4) Serve the chicken on top of the waffles and drizzle with the spiced syrup. Garnish with the fried curry leaves.
Reprinted from Fried & True by Lee Schrager with Adeena Sussman. Copyright (c) 2014 by Lee Schrager. Published by Clarkson Potter/Publishers, a division of Random House, LLC.
Welcome, NPR listeners, chowhounds and recipe hunters, and newcomers to my blog! Whether you're here because you've just heard the NPR cookbooks segment on your local public radio affiliate or because you heard there's a "Best Recipes of 2014" countdown going on, you've come to the right place.
- Click here for the official NPR 2014 cookbooks roundup.
- Click here for NPR's Holiday Book Concierge (which includes an overlapping selection of cookbooks and food books).
- Click here to check out my Best Recipes of 2014 series.
Just want the list? OK! NPR's Top 11 Cookbooks of 2014 (in no particular order)
- Shroom
- My Perfect Pantry
- Cooking Light Global Kitchen
- Apples of Uncommon Character
- Baking Chez Moi
- The Banh Mi Handbook
- Persiana
- World Spice at Home
- My Paris Kitchen
- Mastering My Mistakes in the Kitchen
- Fresh from the Farm
Of course, the cookbooks that made the roundup are just a small selection of the many wonderful titles published in 2014.
What follows is my shortlist of titles equally notable in one way or another:
Best Actually Pretty Easy, Actually Thai Book Ever
Simple Thai Food, by Leela Punyaratabandhu
Generous Compendium From A Much-Missed Culinary Ambassador for Spain
1000 Spanish Recipes, by Penelope Casas
For Those Who Wonder What It's Like Cooking in a Restaurant, Complete with No Handholding Whatsoever
Prune, by Gabrielle Hamilton
This Year's "You Know You're a New Yorker When…" Shibboleth
Eating Delancey, by Aaron Rezny and Jordan Schaps
This Year's Convert-a-Carnivore Choice
Vegan Without Borders, by Robin Robertson
For Those Who Hate Wasting Food More Than Anything Else In the Whole World
The Kitchen Ecosystem, by Eugenia Bone
For Ambitious DIY-er's Who Know No Fear
Mrs. Wheelbarrow's Practical Pantry, by Cathy Barrow
For DIY-ers Who Are Fine With Just the One Food Group, Thanks
Fermented Vegetables, by Kirsten K. Shockey & Christopher Shockey
For Very Ambitious Pasta Lovers
Flour & Water, by Thomas McNaughton
For Pasta Lovers Who Just Want Something New In Their Pasta In 45 Minutes Flat
The Best Pasta Sauces, by Micol Negrin
For Bakers Who Own a Scale, and Are Proud Of It
The Baking Bible, by Rose Levy Beranbaum
Find a good place to hide the leftovers NOW.
The book: Cooking Light Global Kitchen: The World's Most Delicious Food Made Easy, by David Joachim (Oxmoor House, $29.95 – here's my complete review)
The recipe: Chocolate baklava
Why I tried it: To be honest, I think it was just because I already had the phyllo in the freezer, as well as a wide selection of nuts. It's possible I also wanted an excuse to buy some Nutella, which for me falls firmly in the want-to rather than the have-to shopping-list category.
Why I loved it: I like baklava, but I've never been an addict. This recipe changed everything. The baklava looked perfectly OK when it went into the oven. But when it came out: Oh. My. God. Those crumbly layers of glistening phyllo. That subtle crunch. The chocolate. The butter!!
I made this recipe twice. The first time, I hid the leftovers so I could have them for "lunch dessert" (which is a very special time of the day for me). I tried to eat each piece only with my incisors, so it would last as long as humanly possible.
The second time, we had company. There were, I think, 10 people. There weren't any leftovers, but I did manage to sneak 4 "servings" before it was gone.
Estimated preparation time: According to the book, "Hands-On Time: 25 min. Total Time: 1 hr. 21 min." This is true if you already toasted the nuts and remembered to thaw the phyllo last night.
Another great recipe from this book: Indonesian vegetable salad with peanut sauce ("Shortcut gado-gado")
Serves 24 (serving size: "1 piece." HA!)
3/4 cup honey
1/2 cup water
1 (3-inch) cinnamon stick
1 cup hazelnut-chocolate spread (such as Nutella)
1/2 cup toasted hazelnuts, coarsely chopped
1/2 cup roasted pistachios, coarsely chopped
1/3 cup blanched toasted almonds, coarsely chopped
1/3 cup toasted walnuts, coarsely chopped
1/2 teaspoon ground cinnamon
1/8 teaspoon salt
Cooking spray
24 (14 x 9–inch) sheets frozen phyllo dough, thawed
1/2 cup butter, melted
1. Combine first 3 ingredients in a medium saucepan over low heat; stir until honey dissolves. Increase heat to medium; cook, without stirring, until a candy thermometer registers 230° (about 10 minutes). Remove from heat; keep warm. Discard cinnamon stick.
2. Preheat oven to 350°.
3. Place hazelnut-chocolate spread in a microwave-safe bowl; microwave on high 30 seconds or until melted. Combine hazelnuts and next 5 ingredients (through salt).
Lightly coat a 13 x 9–inch glass or ceramic baking dish with cooking spray. Working with 1 phyllo sheet at a time (cover remaining dough to prevent drying), place 1 phyllo sheet lengthwise in bottom of prepared pan, allowing ends of sheet to extend over edges of dish; lightly brush with butter. Repeat procedure with 5 phyllo sheets and butter. Drizzle about 1/3 cup melted hazelnut-chocolate spread over phyllo.
Sprinkle evenly with one-third of nut mixture (about 1/2 cup). Repeat procedure twice with phyllo, butter, hazelnut-chocolate spread, and nut mixture. Top last layer of nut mixture with remaining 6 sheets phyllo, each lightly brushed with butter. Press gently into pan.
4. Make 3 lengthwise cuts and 5 crosswise cuts to form 24 portions using a sharp knife. Bake at 350° for 35 minutes or until phyllo is golden. Remove from oven. Drizzle honey mixture over baklava. Cool in pan on a wire rack. Cover; store at room temperature.
From Cooking Light Global Kitchen by David Joachim (Oxmoor House)
"What on earth is poudre de Colombo!?"
The book: World Spice at Home by Amanda Bevill and Julie Kramis Hearne (Sasquatch Books, $24.95 – here's my complete review)
The recipe: Skillet prawns* with "poudre de Colombo"
*but go ahead and use big shrimp, because what's the difference?!
Why I tried it: This was one of those serendipitous finds that turned up during recipe-testing. I loved exploring the different spice mixes in this book, which allowed me to make full use of my Devastatingly Awesome Spice System. But this night I was in a bit of a hurry and between the relatively quick spice mix (only 8 ingredients!) and the quick-cooking shrimp, I figured I could close the deal in 45 minutes max.
Why I loved it: I doubt Columbus himself ever tasted it, but poudre de Colombo is a jewel of a seasoning from the French West Indies (proving that good things can come from disastrous colonial events). It's a warm, dusty mild curry; its hardest-to-get component is fenugreek, and its most unexpected one is raw rice. Once the seasoning hits the warm butter, it's magic – a huge, woodsy-spice-chest aroma blossoms into the air. And then – between their own natural pigment and the turmeric – the shrimp turn a fiery coral, and you end up using them as daubs to scrape up any spice residue left in the corners of the pan.
Estimated preparation time: 45 minutes; but if your shrimp are already de-veined and shelled and you've made up the spice mix or bought it in advance, you could do it in 30 minutes flat.
Another great recipe from this book: Amanda's cumin-crusted cornbread: here are the ingredients, but you'll have to buy the book for the recipe!
Skillet Prawns (Shrimp!) with Poudre de Colombo
Serves 4
If you can get true prawns, great! If not, use biggish shrimp (say, at least 21/25's). If you can only get small-to-medium shrimp, work as quickly as you can at the end so they don't overcook.
For the vegetables:
2 tablespoons butter
2 fennel bulbs, trimmed, halved, and cut into 1⁄2-inch slices
1 large yellow onion, halved and cut into 1⁄2-inch slices
1 cup chicken broth
1 tablespoon Pernod, or 1⁄2 teaspoon fennel seed, smashed
For the shrimp/prawns:
2 teaspoons ground poudre de Colombo (see below for recipe)
1 teaspoon paprika
2 teaspoons lemon zest
1 teaspoon fresh thyme leaves
1 teaspoon brown sugar
1⁄8 teaspoon kosher salt
2 tablespoons butter
2 tablespoons extra-virgin olive oil
2 cloves garlic, minced
1 pound medium prawns (about 18-24), peeled and deveined, tails intact
2 tablespoons freshly squeezed lemon juice
Chopped fresh parsley, for garnish
To prepare the vegetables, in a 12-inch stainless steel skillet, melt the butter. Add the fennel and onion and cook for 4 minutes, flip, and cook for 4 minutes more. Add the chicken broth and Pernod; cover and cook for about 15 minutes, or until the onion is soft.
Uncover and cook until all of the liquid has evaporated and the fennel and onion begin to brown. Remove from the heat and cover to keep warm.
Meanwhile, to prepare the prawns, in a small bowl, mix together the poudre de Colombo, paprika, lemon zest, thyme, sugar, and salt. In a 10- to 12-inch skillet, melt the butter and olive oil over medium-low heat. Add the garlic and cook for 1 minute. Add the spice mixture and the prawns and cook for 2 to 3 minutes; flip over and cook for 2 minutes more.
Rewarm the fennel mixture over medium-low heat. Spoon one-quarter of the mixture onto each plate and top with 4 to 5 prawns. Sprinkle over the lemon juice, garnish with the parsley, and serve.
Can't be bothered with grinding your own spices? Here's where to buy poudre de Colombo. Making your own poudre de Colombo? Good on you! Here's the recipe.
1 whole clove
Scant ½ teaspoon cumin seed
¼ teaspoon coriander seed
Scant ¼ teaspoon black peppercorns
Scant ¼ teaspoon fenugreek seed
⅛ teaspoon black mustard seed
Scant ½ teaspoon ground turmeric
Scant ½ teaspoon uncooked rice
1. In a dry pan over medium heat, toast the clove, cumin, coriander, peppercorns, fenugreek, and mustard seed, shaking the pan, for 3 minutes or until fragrant. Transfer to a bowl and sprinkle the turmeric over the warm spices.
2. In the same skillet, toast the rice for 2 minutes, shaking the pan. Add it to the other spices while hot (the heat from the spices and rice lightly toasts the turmeric). In a spice grinder, grind the mixture to a powder.


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How to design your Destiny
"It is not in the stars to hold our destiny but in ourselves."
― William Shakespeare
"One love, one heart, one destiny."
― Bob Marley
"There's nowhere you can be that isn't where you're meant to be..."
― John Lennon
"The only person you are destined to become is the person you decide to be."
― Ralph Waldo Emerson
"Destiny is not a matter of chance; it is a matter of choice. It is not a thing to be waited for, it is a thing to be achieved."
― William Jennings Bryan
"There are winds of destiny that blow when we least expect them. Sometimes they gust with the fury of a hurricane, sometimes they barely fan one's cheek. But the winds cannot be denied, bringing as they often do a future that is impossible to ignore."
― Nicholas Sparks, Message in a Bottle
"Destiny is usually just around the corner. Like a thief, a hooker, or a lottery vendor: its three most common personifications. But what destiny does not do is home visits. You have to go for it."
― Carlos Ruiz Zafón, The Shadow of the Wind
How to escape the daily grind
If we are on this planet, we have a life. Now, we always take life to be miserable for the major part of our years, thus are always on the look out to find ways to improve it.
We look forward to something new, something exciting and something that will give us a break from the daily grind and make us happy and content.
With that thought, we seek out for a person who can help us, guide us or even give us a ray of hope that our tomorrow will be brighter.
We want to know our future with the thought that it will be a good one, and that gives us hope to battle our present.
Head to a fortune teller
We head to the fortune teller with so much confidence and pay her by the minute.
I am sure some adults wait up anxiously for a sale sign to come up inorder to make their purchases. However, when it comes to going to a fortune teller, you just gotta part with your cash with a heavy heart. The inner urge to know our future, and also the confidence that our future is clearly better than what it is right now.
We do our research about a particular one and when we feel that she has a reputation for being genuine. We pay her a visit.
We sit in her office with anticipation and anxiety. She finally arrives. The person who is like our God, will tell us what our future will be, is sitting right in front of us.
We would tend to miss a heart beat and get conscious. We would blabber a little and then come to the point of our interest since each second is costing money. She uses her expertise and comes out with the result. Now, we would have never been so anxious, as in that moment.
She comes around with her explanation of the ruling of planets and some numbers which are missing. We want her to come to the point and use plain good English. She finally does, and our future is not as bright as it was anticipated by us.
So, by the end of our conversation, are we happy? Are we satisfied?
We do not believe her. We start heading out with the aim of looking into another fortune teller who could actually read our mind and tell us that this is what we desire, and this can be our future.
Wow, now aren't we being dramatic. As if, what we DESIRE can be our DESTINY.
What we DESIRE is what we want
We want what we desire, but ultimately we will get what is written in our destiny.
Our Destiny was written before we came on this planet.
However, we can change our destiny by designing it according to our desires.
Our Actions!
They speak louder than words and can help shape our destiny to our desires.
Point to ponder upon:-
So, what is the use of knowing what lies ahead of us. Let the clock tick, let our cells divide and grow, let our body get old.
We should continue to act and not react with minor things.
The kind of actions we perform will help us design our destiny!
Do you believe in Destiny
want to no about my life thanks
Hello Ruchira, I sometimes think I want to know the future, but it can't be bright for everyone and when you already know the outcome, what's the use in striving. Better to set our goals, and try to take each day as it comes remembering to be kind to others and try to do good things along the way. Voted up.
I strongly believe in the philosophy "What goes around comes around"
If we think good, speak good and act good our destiny reciprocates positively
Wonderful hub!
Thanks for SHARING:)
Voting up and interesting.
It is true that we always want to hear what we desire then why go to a fortune teller? We can work hard to achieve our desire but sometimes I feel there are some remedies which they suggest to overcome the obstructions are quite useful. I believe, in that way the positive energy flows in. From my personal experience I can say that I have seen some dear ones face various difficulties without any genuine reason and standing at the dead end. Every door seemed to be closed. Prayers and some simple remedies for the flow of positive energy gradually worked wonders and obstructions got cleared. You may not agree with me but I have witnessed it. I personally feel that we should be positive and work hard but still if results are negative then what one should do because you need a ray of hope to remain motivated.
I love building my karma bank!! Good Hub.
I want to live in the present and do everything I can to have a better future. What ever the fortune teller will tell you wont happen if you dont exert enough effort to what it.
hey i love to know my future and infact, when ever i wanna venture out into something new i like to know if my timing is gonna be correct. so far my fortune teller has been telling me what i want to know :) loved reading ur hub.


text:
Permanent Makeup Lip
Lip color can make a big difference in your appearance since it enhances your smile.
The shape, size and color of the lips are a focal point of the face. The tiring experience of lipstick rubbing off, smearing onto the fine lines around the mouth or onto your teeth! you can now have permanent lip color or lip liner that compliments your natural skin tone! We can help you choose either a liner, the entire lip to be colored or both!
Lip liner can be implanted as either definition around the mouth making it appear the entire lip has color by gradually transitioning the lip liner color so that it doesn't appear as a line but as a natural definition around the mouth.
Lining the lips is paramount to creating shape and balance to lips that either need reshaping or women who desire a fuller, more sensual mouth. Another wonderful benefit to permanent lip color is that it can alleviate the look of fine lines around the mouth. When permanent color is implanted properly it can take years off of one's face.


text:
http://blog.atlantafalcons.com/jayadams ... -olympics/
Published June 19, 2012 at 1:09 PM
Rookie Falcons cheerleader Kat M. will be spending her summer doing more than just learning choreography for the upcoming season. This week, she'll be traveling to Eugene, Ore., to hopeful fulfill what has been a lifelong dream of hers.
Kat is participating in the USA Track and Field Olympic Team Trials this week at the University of Oregon and is hoping to earn a spot on Team USA for the Summer Games in London later this summer. A pole vaulter with just three years of experience in the event, Kat is one of the best in the country and primed to make a run at a Team USA spot.
"It has been a dream of mine to go to the Olympics since I was little, but I just never thought that my best chance at that would be in pole vault," Kat said. "I wanted to be an Olympic gymnast since I started at age 4. It wasnt until I transfered to UGA and qualified for the NCAA National championships that I realized it was a possibility in track and field. I know that this week the odds of me finishing top three are slim since I am far less experienced than any other girl out there."
The top three finishers in the event will get that coveted spot on the team for the London games, and Kat is currently ranked in the late teens. Not bad for just a handful of years experience.
Kat discovered pole vaulting when she was cheerleading at Clemson. When the Tigers scored during a game, Kat was doing back flips in the endzone. She caught the eye of the assistant track coach at the time and decided she looked relatively athletic and taller than most of the other cheerleaders.
Running into him one day, a conversation was struck about Kat's background in gymnastics (she was a Level 10 gymnast by the age of 11) and the topic switched to pole vaulting. She came to the track for a tryout and the rest is what she hops to be Olympic history.
"It's going to be one of the best experiences of my life and I just want to go out, do my best and hopefully make it to Finals," Kat said. "As of now, I'm planning on hanging up the spikes after trials, but who knows? I might change my mind. There's always Rio."
Did you know Kat Majester is a Falcons Cheerleader?
News about Elite US pole vaulters and elite competitions that occur on US soil.
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It has been quite a while since I have posted something. No, I have not forgotten to cook or experiment. I have not forgotten to take pictures of my cooking either, just that most of those pictures are taken by phone and uploaded on facebook. Ha ha I have become so typical. But then there has been quite big , BIG changes. I, moa, who used to freak out at the idea of baking have become quite addicted to it. AND my latest obsession has been with cookies. So, today I am making my comeback with a cookie that melts in mouth, soft and crumbly at the same time and is just deliciously lemony. Here are my little lemony cookies smothered in icing sugar to give them the look of covered in snow.
Servings: Yields about 36 cookies
Plain flour - 1.5 cup
Egg - 1
Butter - 125gms
Caster Sugar - 2/3 cup
Lemon Juice - 2 tbsp freshly squeezed
Zest of 1 large lemon
Icing sugar - about 1/2 cup, for dusting
1. In a mixing bowl, mix in the sugar with the butter with a electric mixer.
2. Softly mix in the egg followed by lemon juice and the lemon zest.
3. Now slowly add the flour. It will form a soft sticky dough. Wrap it up in some cling wrap and refrigerate for 2 hours. (You can even chill it overnight and just get it out when you want to bake it.)
4. When the time is up, preheat the oven to 200C. Take the dough out of the fridge and softly knead it for a min. This is just to get the dough pliable. Take little portions( you can use a scoop or a spoon to make even sizes, I just eyeball it.) and roll it out into little balls. The recipe yields about 36 cookies. You can of course make them larger and that will yield fewer cookies.
5. Once you have rolled out little balls out of all the dough, dunk them in the icing sugar to cover them fully. Do not dust off any extra sugar. Place them on baking tray lined with a baking paper and bake for about 12 min. The cookies will flatten and crack up a little but that will give them that covered in snow look, a bit like crinkle cookies( that recipe is for another day :P ).
6. If you make larger cookies you might need to bake for couple more min, but make sure you watch them carefully not to over cook them. They will be soft and will look a little under done while they are warm. But trust me all will be okay when they are cooled down.
7. Now go make yourself a cup of coffee or tea or even a glass of milk and devour the cookies. Yum yum yum.


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Which will be the most popular remote control car?
The fastest and most exciting category, gas powered remote control cars can go as fast as 50 - 60+ miles per hour. The 1/8 gas cars go 70 - 80 mph in racing competitions. Also called nitro Remote Control Car because the hobby fuel used contains nitro methane to increase speed and power. Popular are the 1/10 on-road nitro touring cars. For beginners, electric remote control cars are the best... easier to control, build, and maintain. There are even ready to run (rtr) models that sell for less than 0. But I would recommend better models such as the HPI Sprint RTR and Associated TC3 RTR. Great reviews have been posted in rc car forums. If you prefer playing or racing indoors or have limited space to play, there are small but fast micro and mini remote control cars. Popular models are the 1/28 Kyosho Mini-Z and the 1/18 HPI Micro RS4. One of the hottest segment of the hobby, and companies are scrambling to produce their own mini remote control cars and trucks. For exciting dirt action, the 1/8 off-road gas remote control buggies are the fastest around an off road track. These 4x4 machines reach speeds of 40+ mph.
About the Author: Randell Rogfend is an established writer and newspaper columnist with a distinguished career. His passion is writing and he covers many topics with a view to educating the public. To read more about his latest interest, please visit www.remotecontrolcar.ixvv.com.


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Get ready to ring them bells, blow those whistles, and sound the hypocrisy alarms—cause this next item, courtesy of Legal Pad, (a blog by the editors of The Recorder), is a real doozy!
Fred Hiestand, the general counsel for the ironically-named, fiercely anti-civil justice group, Civil Justice Association of California (CJAC) and an enthusiastic backer of consumer rights crusher, Proposition 64, has joined the ThePopTort's Hypocrite Hall of Shame!
Freddy boy has filed a lawsuit. But not just any lawsuit—the kind that generally makes the anti-civil justice crowd break into hives—a class action!!! Why? Because his car was towed after he illegally parked it while slipping into a fast food joint.
According to Hiestand, he saw the "no parking" sign and knew he was risking a ticket by parking there. But there were no signs indicating that illegally parked vehicles might be towed—which Hiestand said was tantamount to the city of Sacramento "thumbing [its] nose at the law."
So Hiesatnd is doing what any self-respecting, anti-civil justice hypocrite would do. He's suing "the city of Sacramento, the city's police chief, city police officers," and in an especially audacious bit of hypocritical jujitsu, the company that towed him—i.e., the very sort of "small business" Prop. 64 was supposedly going to "protect."
Presumably, to establish that he's not completely defected to the other side, Hiestand has promised to donate any money he might be awarded (sans legal costs) to "fighting frivolous class action lawsuits."
Meanwhile, Hiestand's boss, CJAC President John Sullivan, characterized his colleague's actions as a kind of occupational hazard. "I was concerned this might happen," said Sullivan. "Fred has been fighting against frivolous lawsuits for decades, and like a doctor fighting malaria, he's become infected himself—and with the worst strain of the disease—class actions."
To our knowledge, Sullivan has yet to alert OSHA or the CDC to Hiestand's malaria-like, job-related affliction—but we'll definitely keep you posted!