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Following the success of my cranberry pumpkin bread the other day (it was sooo good!), I had some leftover pumpkin puree sitting in the fridge. For a while I was at a loss as what to make with it, there are just too many tempting options – pumpkin cookies, pumpkin pancakes, pumpkin pie, pumpkin ice cream, pumpkin cake, pumpkin muffins…are just some of the things that crossed my mind (while I salivated), but then I thought of something that I hadn't baked in far too long – cinnamon rolls!
Cinnamon rolls (and other kinds of sweet, sticky yeast bun) are one of my favourite baked goods, and just the kind of thing you want to eat on chilly autumn mornings. But these are not just cinnamon rolls, these are pumpkin cinnamon rolls, filled with gooey brown sugar, butter, spices and chunks of white chocolate. And as if that isn't enough sweet, sticky goo, I coated them (liberally) with a so-good-I-could-drink-it-from-the-bowl white chocolate and cream cheese glaze. These are worth getting sticky fingers for!
The recipe below makes a fairly generous quantity of glaze (in the photos I hadn't used all of it), so if you prefer more of a light drizzle than a drenching you may want to halve the quantities (it is really good though…). And this is one of the very few occasions where I will concede that it is ok to use light cream cheese if you wish – icing usually ends up too runny when reduced fat cream cheese is used, but runny is what we are going for here. I do still recommend using Philadelphia though.
These are a great thing to make ahead, if you want them for breakfast or brunch you can make the dough and assemble them in the evening, leave them in the fridge overnight then let them rise in a warm place for 1-1 1/2 hours in the morning then bake, glaze and devour.
I've made a relatively small batch of rolls here, six large or eight small, as I find that most cinnamon roll recipes yield far too many for just two people, but it is easy to double the quantities to make two pans worth if you want.
It is fine to use either canned or homemade pumpkin puree for these, to make your own simply heat the oven to 190°C/375°F/gas mark 5, slice a small pumpkin or butternut squash in half lengthwise and scoop out the seeds, place face down in a roasting tin and bake for about 45 minutes until fork tender. Remove from the oven and allow to cool a little then peel off the skin and puree the flesh in a food processor/with a hand blender/potato ricer until smooth. Don't use the large carving pumpkins as they are stringy and don't have much flavour, any variety of small pumpkin or squash is fine, I use butternut squash as it is easy to get hold of and is less stringy than pumpkin (I also read that most canned pumpkin puree is actually butternut squash anyway).
Place the flour in a large bowl, add the yeast to one side and the salt, sugar and spices to the other, add the pumpkin puree, egg, melted butter and milk and mix it all together into a sticky dough ( it will be very sticky!). Knead for 5-10 minutes, this is best done using a stand mixer but can be done by hand; the best way to knead a wet dough by hand is to pull sections of the dough up to stretch them.
Scrape the mixture into a lightly oiled bowl and cover with clingfilm, set aside to rise for 1-2 hours until pretty much doubled in size, meanwhile, line the base of a 20cm round cake tin with greaseproof paper and stir together the sugar and spices for the filling.
When the dough is risen, turn it out onto a well-floured surface and fold it in on itself a couple of times then roll it out into an approximately 25x35cm rectangle. Brush the melted butter all over the surface then sprinkle over the sugar and spice mixture and scatter over the chocolate.
Roll the dough up into a tight spiral. Using a very sharp knife, slice the roll into 6-8 pieces, arrange them in the prepared tin then loosely cover, you don't want the cover to touch the rolls, I like to put the pan inside a clean plastic bag.
At this point you can either let the rolls rise for about an hour in a warm place until puffy, then bake, or place them in the fridge overnight, then the following morning take them out of the fridge and let them rise for about 1 and a half hours at room temperature before baking.
15 minutes before baking, preheat the oven to 180°C/350°F/gas mark 4, place the tin in the centre of the oven and bake for 25 minutes until they are puffed and golden and smell amazing, I had to cover mine with tin foil after about 15 minutes – keep an eye on them. When they are baked, place the tin on a wire rack while you make the glaze.
Melt the white chocolate, either in a heatproof bowl over a pan of simmering water (don't let the base of the bowl touch the water), or in 10 second bursts in the microwave. Lightly beat the cream cheese until smooth then stir in the melted chocolate, add the milk until the glaze is a drizzling consistency then drizzle/pour/slather it over the rolls and have at them!
I love pumpkin, and using it in these cinnamon rolls is just so decadent! Pinned!
These look so very good! Inspiring!
Oh my goodness these look like heaven! I love cinnamon rolls and they are on my list of things to try and make gluten and dairy free! A bit of a challenge but one I am up for, perhaps for Christmas breakfast!! Thanks for sharing.
That sounds like quite a challenge indeed!
Sweet rolls are a huge favorite of mine. I like a heavy drizzle too!


Tournament Games Add something unique and fun to your tournament with these fun on course games. Pink Ball Challenge Pink, Yellow, Orange, Green it can be any color, the gist of the game is each team begins to play using a color ball, which is rotated between players for each hole. Any team that loses the ball is eliminated. If more than one team manages not to lose the ball, then the winner is decided by the teams' scores for the pink ball.
Let us take stress out of the tournament process  we will print your hole signs for you!. Only $15 a sign!! Call Arwen at 915821-2122 to find out more.
NEW to Painted Dunes BOTTOMS UP DISPENSER The only golf course in El Paso to host a Bottoms Up Beer dispenser. This technology allows for a more accurate pour with less foam, to satisfy customer's taste. Not only does this provide better tasting beer it is also a great way for a tournament to raise more funds. Sell sponsorships to your tournaments with this unique advertising. Each glass has the option to add a magnet to the bottom of cup, perfect for a company logo or coupon. Ask Arwen about this opportunity at 915-821-2122.
Featured Golf Tournament Our featured tournament raised funds for the El Paso Diabetes Association, organized by Sandra Gonzalez, Executive Director at EPDA. It was a great turn out with over 20 teams. El Afan Tequila did a tasting on the course along with Estrella Jalasico and Ultra. Dixon Golf set-up on a Par 3 and Par 5 for fun golf games. Photo credit to El Paso Diabetes volunteer, Ruben Marez.


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Home Arts & Culture The gift of God's calling
The gift of God's calling
Daughters in the House of Jacob: A Memoir of Migration
Dorothy M. Peters with Christine S. Kampen
Kindred Productions
Daughters in the House of Jacob begins with the stories of Dorothy Peters, a professor of Bible, and Christine Kampen, a Mennonite Brethren pastor. The two cousins set out to explore the "legacy of faith" and "migration of a vocation across generations and gender" in their family. Both authors note that they consciously trace their vocational calling back to their grandfather Jacob J. Doerksen, himself a pastor who had died while his children were still young and whom the authors had never met.
Peters and Kampen begin by sharing their own stories, before tracing themes of family, faith, vocation and storytelling back through the generations of their family, from Peters' father Leonard and Kampen's mother Betty to grandparents Jacob and Anna, and all the way back to great-grandparents Agatha and Jacob F. Doerksen.
Drawing on stories shared by "elder-storytellers," Peters and Kamp capture the family's oral histories in this memoir. The authors carefully incorporate diverse narratives, allowing divergent viewpoints to be heard, and do not shy away from presenting even some of the painful aspects of the family's history. The resulting memoir is both generous and honest, and offers a gift not only in capturing the legacy of this particular family for generations to come, but also in contributing to the larger Mennonite church a rich reflection on our shared history.
As a first-generation Mennonite, I appreciated the insights this work offers. The Mennonite history I was taught in seminary took on flesh in the stories of this family's migration from South Russia to Canada. History comes alive and is given richness and dimension as the authors share the way that events like the Russian Revolution and subsequent wave of migration to Canada shaped this family's stories.
I must confess that I wrestled with what the authors refer to as "the family mantle of pastoral ministry" or "the legacy of pastoring, preaching and teaching the Bible." This is less a critique of this particular memoir as it is a caution to all of us to remember that as the Mennonite Brethren continue to follow God's call to evangelism and church planting, with each generation we graft new members into our collective family tree. Increasingly, Mennonite Brethren are a global people, with diverse stories and cultural backgrounds that reflect the grace of God at work in a multitude of ways in individuals and families.
As I did thesis research listening to the call stories of Mennonite Brethren women, it was my experience that no two call stories are alike. A rich tapestry emerges when we attend to the many different ways God calls his people to particular vocations.
As we embrace this story of God's faithfulness to successive generations of this family, let's not forget the many other ways that God's faithfulness takes expression. Vocation, ultimately, isn't hereditary: it is always a gift from God, however that gift is received.
—Kathy McCamis is community pastor for House Blend Ministries, Winnipeg. Her MA thesis at MB Seminary was entitled The Mennonite Brethren Practice of Discerning a "Call To Ministry" : Learning from the Experiences of Mennonite Brethren Women.
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redpajama_set_name: RedPajamaCommonCrawl


Six years ago, the Business and Civic Council of Oak Park urged voters to reject a school District 97 referendum asking for $45 million in additional property tax revenue through 2018. We acknowledged that school performance was instrumental to the quality of life in Oak Park and a magnet for families moving here.
We also warned that ever-higher property tax bills were rendering Oak Park increasingly unaffordable for families with school-age children and risking its enviable progress in racial and economic diversity. D97 is the biggest consumer of property taxes paid by village residents and commercial interests.
The referendum question passed, and since then, families with school-age children have hardly been deterred. Average daily attendance in Oak Park's elementary and middle schools has swelled by more than 10 percent, to a projected 5,700 this year. Fall enrollment surpassed 6,000 for the first time in 40 years.
On April 4, voters will consider a property tax extension providing an additional $13.3 million per year and, separately, whether to authorize issuance of up to $57.5 million in capital infrastructure bonds. Together, they would effectively increase a $10,000 property tax bill by $740 — double the impact forecast in the 2011 referendum.
This time, the Business and Civic Council supports passage of both referendum questions. There simply isn't an alternative. The district warns that rejection threatens a 20 percent reduction in teaching staff, a 25 percent increase in class size and other draconian measures.
D97 has suffered (as all districts have) from a state budget stalemate it says cost it $9 million. All-day kindergarten has added pupils and more costs.
The school board itself is not blameless. It has repeatedly approved budgets with significant deficits and severely compromised financial flexibility by spending down the operating fund balance, from $36 million two years ago to a projected $7.1 million deficit in two years, despite brakes on per-pupil expenditure growth.
Going forward, the community needs a board committed to balancing its budget and living within its means.
The 2011 referendum was sold, in part, as a bridge to 2018, when bonds issued in 1999 for construction of middle schools and renovation of elementary schools would expire, extinguishing their debt payments and offsetting the added tax burden of the operating referendum.
Instead, enrollment-driven expansion also is advanced as a rationale, along with facility upgrades, for the new capital referendum. Barring passage, the district forecasts cancellation of new classrooms planned for Holmes and other radical fixes, such as temporary classrooms on playgrounds or segregating grades by schools.
But before setting out on an expensive expansion of select schools, the board should consider redrawing attendance boundaries. If done in a thoughtful way, it can be accomplished with minimal disruption and meaningful savings, we believe.
A 2013 study by an outside consultant concluded that only Longfellow and Beye schools would exceed capacity by 2018.
Meanwhile, escalating taxes, besides imperiling diversity and home ownership, threaten commercial development, just as new rental towers downtown bring sorely needed diversification to the village's tax base. Our concerns haven't changed since 2011.
Our "yes" vote recommendation this time around reflects another concern: the current framework of school funding in Illinois, which ranks last among the 50 states in support of public education. Placing the burden on property taxes to fund schools leads to appalling inequities and isn't sustainable.
Until that's solved, property taxpayers are on the hook.
Members of the Business and Civic Council are Frank Pellegrini, president; Marty Noll, treasurer; Willis Johnson; Tom Gallagher; John Hedges; and Greg Melnyk.


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Collage: images of Schenker
Schenker Documents Online
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Work by Schenker
Die letzten fünf Sonaten von Beethoven (Erläuterungsausgabe)
Musical Composition
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The Last Five Sonatas of Beethoven (Elucidatory Edition)
Documents associated with this entity:
Schenker's edition of four of the last five piano sonatas of Beethoven, published separately, and based in each case on surviving autograph manuscripts and early editions, and drawing on Gustav Nottebohm's publications and private notes. This edition is in each case accompanied by Schenker's elucidations (Erläuterungen); these describe the sources, analyze structure and thematic content (with copious music examples, and in the case of Op. 101 Urlinien), provide detailed guidelines for performance, and encompass a survey of the previous secondary literature and editions. The four volumes were published by Universal Edition of Vienna between 1913 and 1921.
The format of each volume is the same:
— Vorwort: a short, dated foreword
— Schenker's edition of the sonata
— Vorbemerkung zur Einführung: preliminary remarks, often polemical in character
— Einführung: an analysis of the sonata, section by section, along with detailed discussion of the autograph score, early editions, and, for Op. 110 and Op. 111, Beethoven's sketches
— Literatur: extracts from writings about the sonata by A. B. Marx, Wilhelm von Lenz, Willibald Nagel, Paul Bekker, and others, together with Schenker's dismissive remarks about them; for Op. 101, Schenker also quotes from and comments on Nottebohm's account of the sketches.
The motivation for this edition was to discredit the 19th-century editions, not only of these works but of those of the German and Austrian classical composers in general, against which Schenker had for many years polemicized; to show that with the exception of fingerings little or no editorial intervention was usually required ‒ i.e. that Beethoven's orthography, when correctly understood and explained, provided all that was needed for understanding a work's structure and performing it according to his wishes; and ultimately to reveal the processes of mind of a supreme "master" of musical composition ‒ to uncover the workings of genius.
To underscore a novel approach to editing, which seeks to understand the composer's intentions through his orthography, Schenker planned to begin each volume with a "Vorrede," a general introduction to the series. This does not survive; and it is possible that Schenker was not intending to write it until he had received assurance from Emil Hertzka, director of Universal Edition, that such an essay could be included. Hertzka, ever mindful of the negative impact that Schenker's polemical tone could have not only upon the project but also on his publishing house, evidently objected to the "Vorrede"; and it was abandoned shortly before the first volume (Op. 109) went into production. (Schenker sent Hertzka a revised version of the "Vorbemerkung zur Einführung" for Op. 109, to compensate for the loss of the "Vorrede.")
Because these volumes were prepared for the most part during World War I, they served also as a principal vehicle for Schenker's German nationalist feelings, and his intense antipathy toward the nations of the West, and this polemical stratum of the work relates directly to the leading article "Von der Sendung des deutschen Genies," in the first issue of Der Tonwille (1921), and his Preface to Kontrapunkt 2 (1922). (Indeed, Schenker told Hertzka that his "Vorrede" was addressed to the "youth," i.e. a new generation of musicians; this word appears in the subtitle of the Tonwille pamphlets.)
The five volumes of the work, which were to have been published one per year (contract: OC 52/494, August 25, 1912) but for the impact of the war upon both Schenker's research and the commerce of publishing, were:
Die letzten fünf Sonaten von Beethoven ... op. 109 (1913)
Because he was unable to locate the autograph score of Op. 106 (the manuscript is presumed lost), Schenker did not complete the last number in the series, though he left voluminous notes on the sonata. (See under "English Translation and Study," below.)
A new edition was produced in four separate, smaller-format volumes in 1971–72 by Oswald Jonas, pupil of Schenker and Hans Weisse. Jonas excised from Schenker's original all the polemical material and the entire discussion of the secondary literature, and also replaced Schenker's editions of the sonatas by Erwin Ratz's edition of 1945 with the effect that the scores contradict some of the textual argument in Schenker's elucidations.
English Translation and Study
The recent English translation by John Rothgeb is likewise in four separate, small-format volumes and a website:
Beethoven's Last Piano Sonatas: An Edition with Elucidation, transl., ed. and annotated by John Rothgeb (New York: Oxford University Press, 2015)
Piano Sonata in E major, Op. 109
Piano Sonata in A-flat major, Op. 110
Piano Sonata in C minor, Op. 111
Piano Sonata in A major, Op. 101
http://www.oup.com/us/beethovenslastpianosonatas [secondary literature only]
This edition follows the text of Schenker's original, thereby restoring all the material excised by Jonas in his 1970‒71 edition. Significantly, it incorporates numerous annotations made by Schenker in his personal copies of the volumes (now in the Oster Collection). There are, in addition, explanatory and citational footnotes by Rothgeb, some of which incorporate observations made by Jonas. Schenker's surveys of the secondary literature appear not in the print volumes but on the website. The scores of the sonatas, however, appear neither in the print volume nor on the website.
Complementary to this edition is the study by Nicholas Marston of Schenker's unpublished draft texts and sketches (now in the Oster Collection, OC 65) concerning Op. 106:
Marston, Nicholas, Heinrich Schenker and Beethoven's 'Hammerklavier' Sonata, Royal Music Association Monographs 23 (Farnham, Surrey: Ashgate, with the Royal Musical Association, 1913).
Bent, Ian, "'That Bright New Light': Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910," Journal of the American Musicological Society LVIII/1 (Spring 2005), 69–138
Drabkin, William, "The New Erläuterungsausgabe," Perspectives of New Music 12 (1971–72), 319–30
Note: Much of the evidence for the genesis and publication history of this work is contained in the correspondence between Schenker and Universal Edition and in Schenker's diaries in the period 1913‒16 and 1919‒21. The correspondence for January to July 1913 is at present available on the old SDO website (http://mt-extra.ccnmtl.columbia.edu/cgi-bin/mt-search.cgi?tag=UE%20~%20HSchenker&Template=schenker&SearchResultDisplay=ascend&limit=500&blog_id=28), and will be transferred to the current website. The diaries for 1919‒21 are already on the current site, and those for 1913‒14 will appear there within the next two years from the time of writing (March 2016).
Ian Bent and William Drabkin
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Where appropriate save: English and German versions German version only English version only
WSLB 9 Handwritten letter from Schenker to Hertzka (UE), dated June 23, 1908
Schenker promises a list of people in German to receive complimentary copies of Ornamentik, and a new proposal.
OC 1A/1-2 Handwritten letter from Schenker to Wilhelm Bopp (Akademie für Musik), dated May 30, 1911
Schenker has been unable to elicit any response from President [von Wiener].
OJ 13/37, 14 Handwritten letter from Rudorff to Schenker, dated July 18, 1912
Rudorff writes admiringly of Schenker's new book, Beethovens Neunte Sinfonie; — He responds to Schenker's question about the whereabouts of the autograph manuscript of Beethoven's Piano Sonata in E major, Op. 109, speaking also of his own former editorial work.
OJ 11/35, [0] Handwritten letter from Halm to Schenker, undated, probably November or December 1916]
Halm praises Schenker's Erläuterungsausgabe, and asks for a recommendation to Universal Edition.
OJ 11/35, 4 Handwritten letter from Halm to Schenker, dated March 18, 1917
Halm attempts to identify the fundamental differences between their two views, with reference to Beethoven, Bruckner and Brahms. He and Karl Grunsky have been estranged for some years.
OJ 11/35, 5 Handwritten letter from Halm to Schenker, dated July 2, 1917
Halm seeks advice on choice of edition for the Beethoven variations, and offers advice in negotiating with publishers.
DLA 69.930/1 Handwritten letter from Schenker to Halm, July 8, 1917
Schenker acknowledges Halm's letter; he discusses the relative merits of editions of Beethoven variations, and looks forward to seeing Halm's review of his "Beethoven editions"; he is putting the finishing touches to Kontrapunkt 2.
WSLB 295 Handwritten postcard from Schenker to Hertzka (UE), dated March 3, 1918
Schenker notifies Hertzka of an unfavorable review of the Beethoven edition in Lausanne, and asks to see it.
OC 1 B/35-40 Handwritten draft letter, in Jeanette Kornfeld/Schenker's hand, from Schenker to Hertzka (UE), undated [June 10, 1919]
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven ... op. 111 be discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his writings, contending that art and all manifestations of human life are inextricably interconnected. He claims that his pronouncements on politics now will prove correct in the long run. His sole concern is with the truth; he is not interested in pandering to his readers.
WSLB 303 Handwritten letter from Schenker to Hertzka (UE), dated June 12, 1919
Schenker promises to send Hans Weisse to see Hertzka. In reacting unfavorably to Hertzka's suggestions that the Foreword to Die letzten fünf Sonaten von Beethoven, Op. 111 be discarded for its second edition, Schenker puts up a stout defense of his use of polemic in his writings, contending that art, life, and politics are inextricably interconnected. He claims that his pronouncements on politics now will prove correct in the long run. His sole concern is with the truth; he is not interested in pandering to his readers.
OJ 13/10, [7] Handwritten letter from Oppel to Schenker, dated September 7, 1919
Oppel expresses his pessimism in the aftermath of the war and the prospects for his generation. He sends a chaconne for Schenker's comment, and reports his appointment as a teacher in theory and composition at the Kiel Conservatory. Alfred Einstein asked him for a review of the Erläuterungsausgabe, but he declined.
OJ 15/5, [4] Handwritten letter from Eberhard von Waechter to Schenker, dated October 1, 1919
Waechter asks for an article on performance for Der Merker, remarking that analysis takes the performer only so far, after which the latter's feelings must take over. He praises Schenker's prowess in analysis, and asks again if he may send the manuscript of his latest book for Schenker's appraisal.
OC 52/212-213 Typed letter from Hertzka (UE) to Schenker, dated December 1, 1919
Hertzka is pleased to hear that the availability of the autograph manuscript of Op. 101 means that the series Die letzten fünf Sonaten von Beethoven can go forward, and is in agreement with Schenker's proposal to edit the remaining twenty-seven Beethoven sonatas. He asks for a meeting to discuss the honorarium.
OC 52/447 Draft Contract between UE and Schenker for the Beethoven Sonatas edition, dated March 23, 1920
Draft contract for the Beethoven Sonatas edition.
OJ 10/1, [51] Handwritten letter from Dahms to Schenker, dated May 7, 1920
OC 52/448 Typed contract between UE and Schenker for the Beethoven sonatas edition, dated July 10, 1920
Contract between UE and Schenker for the Beethoven sonatas collected edition.
OC 52/449 Typed letter from Hertzka (UE) to Schenker, dated August 21, 1920
Hertzka confirms receipt of the manuscript of the Op. 101 monograph and of Opp. 109-111 for the collected Beethoven edition. There will be no proofs of the Kleine Bibliothek for some time. He is departing overseas and commends Schenker to Alfrd Kalmus's attentions.
OJ 11/35, 19 Handwritten letter from Halm to Schenker, dated July 28, 1921
Halm discusses an "intended gift," and the merits of Matthäus Hentz and K. T. Schmid to receive it. Halm reports that he has moved from Esslingen to Wickersdorf, and that his Concerto for Large Orchestra has been performed by Fritz Busch in Stuttgart, and comments on Cotta's hand-over of Kontrapunkt.
OJ 11/2, [1] Handwritten letter from Emma Fischer to Schenker, dated February 15, 1923
Baroness Fischer responds to Schenker's plan for distribution of issues of Der Tonwille by suggesting contacts in the Vienna music schools and professional association.
OC 12/10-12 Handwritten letter from Halm to Schenker dated dated February 1–6, 1924
Halm offers to send two of his books in return for Schenker's Opp. 109, 110, 111; he discusses the role of improvisation in his own music; he seeks "corporeality" in music, and its absence in Brahms troubles him; argues the case for Bruckner; asks Schenker to choose a passage exhibiting non-genius in his or Oppel's music and discuss it in Der Tonwille.
OC 54/16-18 Draft letter from Schenker to Drei Masken Verlag, dated January 28, 1925
Schenker agrees to the idea of a yearbook, entitled "Das Meisterwerk in der Musik," as put forward by Drei Masken Verlag, and now asks for a draft contract to be sent, and for them to typeset some of his work so that he has an idea how long the manuscript for the yearbook should be. He also vents his hostility towards Emil Hertzka at Universal Edition.
OC 54/132 Typed letter from Otto Vrieslander to Schenker, dated February 15, 1927
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors.
OJ 11/54, [18] Handwritten letter from van Hoboken to Schenker, dated September 18, 1927
Van Hoboken reports on his visit to John Petrie Dunn: his career, his grasp of Schenker's theory, his situation at Edinburgh University, his publications. — Tomorrow he is to visit C. S. Terry.
OJ 5/7a, [14] (formerly vC 14) Handwritten letter from Schenker to Cube, dated April 29, 1928
Schenker sympathizes with Cube over the hostilities he faces; contrasts his own theory to the approach of Riemann. Has arranged for Hammer portraits to be sent to Cube [for bookshop exhibits], and directs him to biographical information about himself. Describes the trials of his 20s, which were surpassed by the difficulties he faced later with publishers and organizations. Upholds Joachim and Messchaert as models of performance art, and speaks of his contact with Brahms. Asks whether Cube will be joining him in Galtür in the summer.
OJ 5/18, 11 Handwritten letter from Schenker to Jonas, dated July 18, 1932
Schenker tries to account for Furtwängler's unavailability for a conference over the Handel Saul score. — He does not need the copy of [Beethoven] Op. 109 offered by Mr. Kromer. — An introduction to his theory would be "in order," but its marketing might be problematic and require a benefactor; he regrets that Anthony van Hoboken is not such a person.
Diary entry by Schenker for 3 February 1913
Diary entry by Schenker for 14 February 1913
Diary entry by Schenker for 2 March 1913
Diary entry by Schenker for 10 March 1913
Diary entry by Schenker for 3 April 1913
Diary entry by Schenker for 17 April 1913
Diary entry by Schenker for 13 July 1913
Diary entry by Schenker for 2 August 1913
Diary entry by Schenker for 22 August 1913
Diary entry by Schenker for 28 May 1914
Diary entry by Schenker for 29 December 1914
Diary entry by Schenker for 21 January 1931
ML100 .R52 1919, [1] Schenker entry in Hugo Riemanns Musiklexikon, 9th edition, ed. Alfred Einstein (1919)
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Freeskiing is one of the newer competitive disciplines in winter sports, and involves tricks, jumps, half-pipe and terrain park features (rails, boxes, jibs or other obstacles). Athletes not interested in the restrictive rules required in traditional freestyle skiing, led a movement that brought them to adapt their skiing in a more free-form way to half-pipe and other terrain parks, as well as all over the mountain. The development and popularity of this discipline was propelled and expanded by many skiing film products, the Winter X Games, and the Olympic Winter Games.
The SSWSC has offered Freeskiing training options since 2000. Competitive Freeskiing venues include Halfpipe, Slopestyle and Big Mountain. SSWSC Freeskiing offers training and competitive options from beginner freeskiers with a skiing competency on black diamond rated terrain through to the Revolution Tour level athlete, with a pipeline to any level of competition.
The Freeskiing winter program starts in September with pre-season training after school with a fun fitness based program. We start heading to Summit County for camps at the start of November, weather permitting. Our main contest season starts in January and we train through to the end of Nationals in April.
Summer is a chance for the Freeskiing athlete make additional fitness and air awareness gains, with our on snow, water ramp, trampoline, and strength and conditioning programs. We break our Freeskiing specific training into a few camps throughout the summer. Any foundation for athletics must be well rounded and the mind and body need times of focus and conditioning and times of recovery. We schedule our camps with plenty of time to participate in spring and summer sports, or just get out and do a kick flip, while still taking advantage of the great opportunities and facilities here in Steamboat.
SSWSC Freeskiing works hard to produce a culture of fun and growth. Our focus is on creating athletes who enjoy skiing—from cruising groomers to gnarly "hike-to" terrain, from powder runs to bumps, and all the way through to the pipe rails and jumps at the bottom of the hill. Our job is to pass on the joy of working and progression. We believe that growth is rewarding for our athletes, technically, scholastically and personally.
Our coaching staff is passionate about creating a rewarding experience centered around both personal and technical growth. All of our athletes will work on fundamental skiing skill sets, with the ability to choose a specific discipline as they grow within the sport. Our coaching staff have experience with IFSA, USASA, U.S. Ski & Snowboard competition, and Media Production. Our staff regularly attends coach education, including U.S. Ski & Snowboard Gold camps, working with US Freeskiing athletes and coaches to improve our programs. We are lucky to also have additional progressions and facilities available to us, including trampolines, water ramps, and our airbag.
SSWSC Freeskiing understands that Freeskiing athletes may have a wide variety of goals; we strive to create an environment that fosters growth within all visions of success, from creating a great media product, to competitive paths and a love of skiing. Our holistic look at the sport includes a deep rooted belief that great skiers ski all zones on the hill, and that a wide variety of skills can work together to create something larger than the sum of its parts. This allows any freeskier to define success on their own terms, and then work towards that goal.


text:
Meet Joe Shaw of The DTALKS Podcast in Bedford
Today we'd like to introduce you to Joe Shaw.
Joe, can you briefly walk us through your story – how you started and how you got to where you are today.
Back in late 2014 when my daughter was set to be born, I looked everywhere for a community of dads to join; a place to get advice on what to expect, to share triumphs and failures, and to build a rapport with fellow dads as we go through this parenting journey. However, I quickly learned while there were excellent resources for mothers and parents in general, there were very few resources for fathers, so I had to do the best I could with what I had available. About a year and a half passed and a good friend of mine, who was expecting his first kid, asked me for some of the same resources and community questions I had encountered earlier. This made me realize there really was a need and want for some type of resource for dads. My good friend and fellow dad, Galan Aldaco, had previous experience with running a podcast, so I asked him to help me get started putting together a parenting podcast. He not only brought in John Laird to help co-host but also came up with the name "DTALKS" which stands for "Dads Talk About Life, Kids, and Stuff." The idea behind the name is that the listener is hopefully able to "detox" from some of their parenting frustrations by listening to "DTALKS." Although John and Galan have since stepped away as Co-Hosts (Galan is still on as a producer for the show), they helped me structure the show and allow it to be the success it is today.
While the show started out as a resource-only type of show, providing advice to typical parenting questions such as teething and sleep issues, it quickly evolved into bringing other guest dads on the show to share their parenting journey and what lessons they have learned along the way. We've been able to bring on guests such as WFAA Sportscaster Dale Hansen, Olympian and American Ninja Warrior contestant Jonathan Horton, and FWISD School Board member Jacinto Ramos Jr. among others as we made this transformation. Now that I am running the show solo, I have evolved the format again into a podcast that interviews people across the spectrum of life to draw lessons out of their experiences that we can teach our children.
Of note, while the show started out as an unaffiliated parenting podcast, the show is now a proud member of the Vokal Now community and is their only parenting-related programming.
There have been, and continue to be, many struggles along the way, the biggest of which are scheduling a recording time. The biggest challenge for me in that regard is that if I'm going to be on a parenting podcast helping dole out advice on how to #beabetterdad (the motto of our podcast), I need to walk the walk. There have been multiple times where recording sessions have either had to be delayed or rescheduled because my kids or my wife need me for one reason or another. Family always comes first and I want our listeners to remember that.
As far as maintaining motivation, there have been many times where I've thought to myself "does any of this matter? Is this show reaching anybody?" Then, I'll get an email or a private message from a listener, like one I received recently that let me know how much the show means to them and how our show allows them to smile, laugh and feel connected to this "community of dads", which keeps me convinced that the mission of the podcast is working.
In this day and age when everybody feels so divided, my show is committed to bringing people together through shared experiences.
Alright – so let's talk business. Tell us about The DTALKS Podcast – what should we know?
I am the host, promoter, editor, etc. of The DTALKS Podcast. The podcast is a primary parenting resource for the community of dads that we are building. I'm proud that DTALKS has been named one of the "9 podcasts in Dallas you need to listen to" by the Dallas Observer back in June 2018.
I feel proud that we are able to provide funny and authentic conversations about life, kids and stuff to our listeners and that we can help them get through their day and parenting journey a little easier.
What I feel truly sets us apart from other dad or fatherhood-based podcasts that I've come across is that I refuse to play the "dumb dad". So many fathers are actively engaged in their kids' lives and are looking for validation and a community to belong to, but are turned off by stereotypes that fathers are either:
1. Not engaged.
2. An overgrown child.
I have fun on the show because a lot of parenting is humorous, but I still provide authenticity and truth which I feel empowers our listeners to be the best dads and parents they can be. I hope DTALKS shows actively engaged dads that they are not unique; rather, they represent a new normal for fatherhood and there is a place for dads to express themselves as a parent outside of the "dumb dad" stereotype.
Is there a characteristic or quality that you feel is essential to success?
My success is built on my authenticity, earnestness, and hustle.
Whenever I interact with a guest or the listener, I am providing the most honest side of me. I have no need to lie or B.S. anyone because people can see through a lack of authenticity and will never give you the time of day.
Some people may call it naivety but I genuinely get excited anytime I am interacting with someone about the podcast. I am always doing my best to convey my excitement for the show and what lessons I feel can be learned from people either coming on the show or listening to it.
Everything I've gotten in my life is a direct result of hustle and hard work. Whenever I'm trying to accomplish a goal for the show I always approach it from the "I've got nothing to lose" perspective, and it's allowed me the confidence to email guests, publishers, even contact Vokal and pitch them on why I felt "The DTALKS Podcast" would be perfect programming for them. While I may not have the local name recognition of some other shows on their programming slate, I doubt anyone would question the amount of hustle I bring to the table every day. At the end of the day, I look at it like this: no one can sell your show better than you, so why wait around?
I would like to point out that I could not get through this interview without thanking a few people:
– My beautiful wife Amanda and our lovely kids Sylvie and Bennett. They're the entire reason I do this show and I'm thankful for them every day.
– My producers Ben Leiwant and Galan Aldaco. They're perfect sounding boards for the show and help me realize how each episode will be structured (Ben) and how each episode will sound (Galan). If I didn't have them, I would be stuck in an echo chamber.
– My other former co-host John Laird. He became one of my very close friends through this process and without him, I wouldn't have the show I have today.
– My good friends Tyler Watson and Matt Brooks who helped anchor me when I was unsure of whether or not to keep the show running solo
– My Vokal family who helps keep this show top tier: John Ritchie, Ted Price, Devin Pike, and Jimmy Ryan
– Various family and friends who put up with all of my droning on and on about the podcast; it is hard to keep my ideas and thoughts from spilling out at times and they graciously let me talk through the thoughts that keep pinging around in my head.
Bottom line: Every successful show has a vast and wide support system behind it, and that is the fourth quality that I find most important to the podcast's success.
Website: http://www.dtalkspodcast.com
Email: dtalkspodcast@gmail.com
Instagram: http://www.instagram.com/dtalkspodcast
Facebook: http://www.facebook.com/dtalkspodcast
Twitter: http://www.twitter.com/dtalkspodcast
Other: https://vokalnow.com/show/d-talks
Alex J. Martin (for photos of Joe), Erik Reichenbach (for the logo design)


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Little Paddington fans will be certain to love this ride on Trunki, just don't forget to pack your marmalade sandwiches! Designed for travelling tots - so, grab your duffle coat and red wellington boots and ride off with your Paddington Trunki to the capital!
Blue in colour, with a Paddington Bear on the side raising his hat 'hello' and iconic London landmarks This new Paddington Trunki will be certain to have little Paddington fans excited to ride around exploring the sights of London.
What should I complement my Paddington Trunki Ride-On Suitcase with?


text:
Sonerai Has Arrived: Plans and Parts Now Available!
Published: Jul 10, 2020
Categorized: Homepage - Main Column, Press Releases, Product News, Sonerai News, Sonex News, Sonex Press Releases
The Sonerai has come back home to Oshkosh! Sonex Aircraft is pleased to announce that Plans and parts are now available for Sonerai I, Sonerai II and Sonerai IIS aircraft. The Sonerai is John Monnett's original plans-build sport aircraft design. Available since 1972, thousands of Sonerai aircraft have been built over the past 40+ years. Supported most-recently by Fred Keip, Sonerai Newsletter editor for many years, John Monnett and Sonex Aircraft, LLC are now selling and supporting Sonerai aircraft directly as a plans-build only aircraft project.
The Sonerai is the aircraft that started it all for John Monnett. Sonerai I was designed by John for competition in the newly-conceived Formula Vee air racing class and made it's first flights in 1971. After people began requesting plans for the aircraft, John was in-business. The Sonerai was eventually offered in several configurations including 2-seat variants, mid-wings, low-wings and a stretched fuselage variant, and continues to be a popular homebuilt aircraft design with many examples still flying and new projects currently under construction.
Learn More About Sonerai Aircraft!


text:
Casa Babylon è un album dei Mano Negra pubblicato nel 1994. Per forma, struttura e varietà è considerato il "Sandinista!" della band capitanata dal leader carismatico Manu Chao. Per come è stato concepito, inoltre, Casa Babylon è indicato dai critici come primo disco solista di Manu Chao. È stato interamente prodotto e  mixato a Napoli dal gruppo di produzione Kwaanza Posse (Nuccio Tortora - Angelo Tardio - Enzo Rizzo).

Tracce

Formazione
 Manu Chao - voce, chitarra ritmica
 Daniel Jamet - chitarra solista, cori
 Antoine Chao - tromba, cori
 Pierre Gauthé - trombone, cori
 Nuccio Tortora - tastiere
 Thomas Darnal - tastiere, cori
 Joseph Dahan - basso, cori
 Santiago Casariego - batteria, cori
 Philippe Teboul - percussioni, cori

Classifiche

Note

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Demi Lovato's Fight With the Bigg Chill Frozen Yogurt Shop
Tom Bergeron's cryptic tweet… A new "Celebrity Dating Game"… Doja Cat is taking on NFTs… Elton John's first-ever virtual Oscars party… and Demi Lovato's fight with the Bigg Chill frozen yogurt shop
Even though she took a social media beating for firing Tom Bergeron and Erin Andrews, Tyra Banks announced last month that she will be back to host Season 30 of "Dancing With the Stars." But! Will she be alone……? Tom Bergeron posted on Instagram yesterday, "Stay tuned…(side-smile emoji)" And he added, "Just when I thought I was out, they pull me back in." After his fans went a little crazy assuming that means he's coming back to DWTS, Tom posted, "I have to say, your response to my admittedly cryptic [post] has been very flattering, very heartwarming. I promise I will let you know what I'm really talking about by next week at the latest."
Stay tuned… https://t.co/OwsHRrPJwV— Tom Bergeron (@Tom_Bergeron) April 19, 2021
Where have I been that I'm just now hearing about THIS! ABC is launching a new game show this summer called "The Celebrity Dating Game." The show will be hosted by Zooey Deschanel and Michael Bolton — could that BE any more random?? And among the first celebrity contestants are Hannah Brown, Iggy Azalea and Taye Diggs. The show will kick off with 8 one-hour episodes and in the press release, ABC explains, "…Each episode follows two celebrities who each pick one lucky suitor from a hidden panel of three bachelors and/or bachelorettes based on answers to a variety of questions. But there's a twist! The celebrity identities will remain a mystery to their suitors, who are given clues via hilarious parody song performances by host Michael Bolton." WHAT???? "The Celebrity Dating Game" premieres on Monday, June 14, on ABC.
Hannah Brown, Iggy Azalea and Taye Diggs Will Play for Love on The Celebrity Dating Game https://t.co/JURAIU9NFl— E! News (@enews) April 22, 2021
Doja Cat is getting in on this NFT thing by launching her own curated NFT marketplace called Juicy Drops, and she will drop her first collection on Friday. Doja explained a press release, "I'm helping to launch my NFT company so that I can actually own and control my art. I want to be able to make all decisions related to my creative vision and help other artists do the same. My ownership also allows me to direct how we can give back to causes that I truly believe in." Her first Juicy Drops collection of NFTs is made in collaboration with a toy designer called BOOMTRONIC and is inspired by her look from her Grammy performance last month. In the press release it explains that this collection of 3-D digital graphics includes a spinning, metallic Doja image in a gilded frame, as well as an image of her cat Raymus. The collection comes in six different colors with varying tiers of available quantities and price points. You could buy the very rare "Metallic" tier which offers three different rarities. There's also a "Flavored" tier with three additional rarities. Buyers who collect all six will earn a chance to be rewarded with a very rare "Mystery" tier that will not be for sale. And I still have no idea what any of this means.
Doja Cat is taking on the red-hot market for NFTs with the launch of her own marketplace, and debuting her first collection this Friday https://t.co/qJMN1CbmuI— billboard (@billboard) April 21, 2021
Elton John has been hosting his infamous Oscars viewing parties since 1992. He also uses it as a fundraiser, and over the years has raised $6.4M for his Elton John AIDS Foundation. Elton's party is basically a Who's Who of celebrities who didn't get invited to the actual Oscars. Well, this year, Elton wants YOU to come….virtually, of course. For $19.99 you can join the fun on TikTok Sunday night. There will be four separate viewings wth a maximum of 100K people in each. Potentially, Elton could raise $8M from the virtual parties, with all that money going to his charity. Elton announced that his party will be hosted this year by Neil Patrick Harris and Dua Lipa will entertain with a stripped-down performance. Expect more names to be added.
#EJAFOscars NEWS! We're so excited to announce more incredible names who will be joining us next weekend for our first-ever virtual #Oscars party.
Don't miss this iconic party for only $19.99/£14.99!
https://t.co/cIpQ2zThCh@ladygaga @alexander_olly @EricMcCormack + more… pic.twitter.com/zoqvGbfQ9W— Elton John AIDS Fdn (@ejaf) April 19, 2021
Over the weekend, Demi Lovato said she was triggered when she walked into an LA yogurt shop called The Bigg Chill and was inundated with sugar-free and guilt-free options. Because she's struggled with an eating disorder, Demi said she shouldn't have to feel guilty for indulging in a sugary froyo. After blasting the shop on social media, Demi received a lot of blowback and issued a half-hearted attempt at an apology, but said she's not sorry for being passionate about this issue and will continue to call out "Diet Culture Vultures." Meantime, there was a rumor that Demi reached out to the yogurt shop privately to apologize, give them a check for $100K and discuss collaborating on some non-triggering menu options. The Bigg Chill says none of that is true. In a DM to a private message, The Bigg Chill said, "To those of you asking, we have not received any donations from Demi's team, nor do we want one. We have not made any changes to our menu. We have not heard anything from Demi since her 'sorry, not sorry' apology on Monday. We have not heard from her team. These are photoshopped images. Thanks again for all of your support." And the shop's co-owner told the LA Times that the was shocked and hurt by Demi's remarks, saying, "All she had to do is pick up the phone and call me. I would have had a conversation with her and probably handled it and felt differently about it. But I felt like she just came at us and wanted to fight and accused us of things that weren't right."
The Bigg Chill debunks rumors started by Demi Lovato's fans, that she had donated 100K to their company along with an apology note:
"Demi Lovato and her team have been anything but nice to us." pic.twitter.com/6bAQZJmva4— Pop Faction (@PopFactions) April 21, 2021
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Bath Novel Award. 5,000 words and synopsis. Fee: £22. Prize: £2,000 plus trophy. See www,bathnovelaward.co.uk for full details. Deadline April 10 (so, SOON).
Bath Short Story Award. 2,200 words. Fee: £8. Prizes: £1,000, £200, £100. £50 Acorn Award for unpublished writer. Deadline April 25. Details from: bathstoryaward.co.uk.
Deadlines and details can change, so please double-check the websites before entering anything.
Remember all those New Year Resolutions about writing more…?
The Brentwood Writers' Circle competition only needs 75 words – you could dash those off while chomping down your final Easter egg, surely?
My Approach to Short Story Competitions by Author Nick Sweeney.
I'm afraid I don't have time to fiddle with providing a link, but if you Google Christopher Fielden and get onto his excellent site you will easily find it (and much else besides).
Please put down that chocolate egg and read it as soon as you can!
Exclamation marks have become newsworthy! New official guidance to schools states that 7-year-old children ought to avoid ending sentences with exclamation marks unless the sentences begin with "What" or "How". The concern presumably is that in texts, tweets and social media generally the young are overusing this punctuation mark, devaluing its currency and, of course, doing what the young always do, which is to bring about a decline in the standard of English as it [used to be][ought to be].
Where do you stand on the exclamation mark?
According to his ex-wife, apparently even Sir Salman Rushdie, author of Midnight's Children, 'needed consoling every time he failed to win the Nobel Prize'.
Somehow I don't feel so bad now about being rejected by Woman's Weekly.


text:
Foods of the Columbian Exchange
How did the Columbian Exchange shape food culture in the modern world?
Sarah Peters Kernan
Theodor de Bry, India occidentalis (1590), Plate XXI. Full excerpt below.
Can you imagine Kansas without wheat fields, Italy without marinara sauce, or Spain without gazpacho? Wheat, tomatoes, chili peppers, and many other foods were transferred between the Old and New Worlds, the Eastern and Western Hemispheres, following Christopher Columbus's first voyage to the Americas in 1492. This transfer of foods, as well as other plants, animals, humans, and diseases, is now known as the Columbian Exchange. Contact between Europe and the Americas resulted in a fantastic array of foods available globally. Cows, for example, were introduced to the Americas by Europeans. Conversely, turkeys were transported to Europe from the Americas. The exchange brought potatoes from South America to Ireland and tomatoes from the Americas to Italy. And while the exchange initially affected European and American ways of life, the peoples of Africa and Asia were soon impacted too. The Portuguese provided two of many examples: they introduced the chili to India from South America and maize to Africa by the turn of the sixteenth century. In less than a century, global food production and transportation was radically transformed. With the discovery of the New World, Europe secured enormous tracts of fertile land suited for the cultivation of popular crops such as sugar, coffee, soybeans, oranges, and bananas. Upon introduction of these crops, the Americas quickly became the main suppliers of these foods to most of the world.
Richard Ligon, A true & exact history of the island of Barbados (1657), diagram of a banana tree. Full excerpt below.
Plants and animals were not the only biological matter transferred between continents. The increased interactions between Europeans and indigenous Americans also facilitated a rapid exchange of diseases. Outbreaks of new diseases like syphilis occurred beyond the Americas for the first time. Smallpox, among other diseases, ravaged indigenous populations in the New World, killing at least half the population in the 150 years following Columbus's first voyage.
The desire to control these newly-discovered foods and other natural resources led to dramatic human consequences. In an effort to produce and transport new edibles, European empires scrambled to claim land in the New World, impacting the culture, language, religion, and politics in the Americas for centuries. Furthermore, the desire to grow valuable crops, procure prized resources, and transport them globally resulted in the rapid spread and transportation of enslaved populations from Africa to the Americas.
In what ways did Europeans view native and introduced New World foods? How did these views shape the social and economic structure of the Americas?
How did the Columbian Exchange affect people in the Americas? In Europe? What accounts for the differences?
European Impressions of New World Foods
European explorers wrote extensive descriptions of their travels and impressions of their new surroundings in the Americas. Hardly any detail was too small; they described people, environments, customs, manners, events, clothing, foods, and much more. As more people traversed the Atlantic Ocean, more accounts of the New World became available to European readers in a variety of formats. Artists also traveled to the Americas and were employed to create artistic renderings of explorers' accounts.
Selection: Thomas Hariot, A briefe and true report of the new found land of Virginia (1590), Plates XIII, XIIII, and XVI.
Thomas Hariot, A briefe and true report of the new found land of Virginia (1590), Plate XIII.
Thomas Hariot, A briefe and true report of the new found land of Virginia (1590), Plate XIIII.
Thomas Hariot, A briefe and true report of the new found land of Virginia (1590), Plate XVI.
Food, in particular, was fascinating to Europeans in the New World, and descriptions of food, as well as indigenous cooking and eating practices, formed a large portion of travel accounts. While many plants and animals were recognizable, Europeans often noted that they seemed bigger and more vigorous in the Americas. Many victuals, however, were completely new to the explorers and later, the colonists. The exoticism of foods like corn and bananas was further heightened by the ways in which indigenous peoples prepared and consumed their food. Scores of accounts, both text and image, describe foods with which we are now familiar, like corn, potatoes, chili peppers, pumpkins, cassava, prickly pear, banana, cacao, turkey, and a wide variety of fish.
Selection: Theodor de Bry, India occidentalis (Francoforti ad Moenum, 1590), frontispiece; Vol. 2, Plate VIII; Vol. 2, Plate XXI; Vol. 2, Plate XXIIII; Vol. 2, Plate XXV.
Theodor de Bry, India occidentalis (1590), frontispiece.
Theodor de Bry, India occidentalis (1590), Plate VIII.
Theodor de Bry, India occidentalis (1590), Plate XXI.
Theodor de Bry, India occidentalis (1590), Plate XXIII.
Theodor de Bry, India occidentalis (1590), Plate XXV.
The excerpts from travelers' accounts in this section show the fascination with the Americas. Thomas Hariot, Theodor de Bry, and Samuel Purchas were all well known for their published accounts, despite the fact that Hariot was the only one who had traveled to the New World, while De Bry and Purchas based their descriptions and images from first-hand accounts of expeditions across the Americas, from the Strait of Magellan to Newfoundland and everything in between. Hariot's book focused on his remembrances from his trip to Virginia beginning in 1585. The author describes natural commodities profitable for the British and curious plants and animals like the openauk (potato) and coscushaw (cassava). The book contains detailed illustrations of food production and consumption by Theodor de Bry. De Bry was an engraver who produced the above illustrations from a nine-volume set of books about European expeditions to the Americas. Note the abundant edible resources in the images, as well as efficient Native American farming practices.
Pvrchas His Pilgrimes in Five Bookes is a collection of travel accounts complied by an English cleric. The first excerpt describes the exotic fruits of Puerto Rico based on the Earl of Cumberland's 1586 voyage, while the second describes the abundance of corn in Virginia.
Selection: Samuel Purchas, Pvrchas His Pilgrimes in Five Bookes (vol. 4) (1625), 1172-1173, 1669.
Samuel Purchas, Pvrchas His Pilgrimes in Five Bookes (vol. 4) (1625), 1172-1173.
Samuel Purchas, Pvrchas His Pilgrimes in Five Bookes (vol. 4) (1625), 1669.
What aspect of foods are emphasized in these excerpts? Do the authors and engravers feature specific qualities of foods, or is the abundance and variety more important? Why would the authors and engravers choose to highlight certain qualities over others?
What foods in these sources are familiar to you? Which foods are not? What are possible explanations for some American foods remaining in our diets to the present day, while others did not?
How are the foods presented in the engravings? Do the prepared foods appear to be a part of modest meals, or more elaborate dining? Are Europeans or indigenous Americans depicted with the foods? Does the presentation of food change depending upon who else is in the image?
The books which contain these excerpts are quite large, and both de Bry and Purchas's books are part of multi-volume works. At the time these books were printed, size and length were important contributors to the book's cost; an illustrated volume also added to its expense. These travel accounts, then, were expensive at the time of printing. Furthermore, de Bry's book includes text in Latin, a language taught to the best educated Europeans during this period, and not in English (or another vernacular language, like German, French, Spanish, etc.). What can you infer about the readership of these travel accounts? Why were these kinds of books produced and purchased?
How do the Europeans describe indigenous Americans? What characteristics are praised? Which are criticized? Is there a difference in how Hariot, who visited the New World, described his experiences and de Bry and Purchas, who did not?
Europeans Adopt and Adapt New Foods
The Americas are a vast quantity of land. The climate and environment varies dramatically depending upon location; consequently, the plants and animals available for human consumption also vary. Since explorers and travelers to the New World were affiliated with specific European kingdoms and staked claim to lands on behalf of these kingdoms, they brought back differing information to Europe about the peoples and foods of their new-found land. Consequently, adoption of New World foods into European cuisines was uneven.
Selection: Charles Estienne, Maison rustique, or, The countrey farme (1616), title page, 83.
Charles Estienne, Maison rustique, or, The countrey farme (1616), title page.
Charles Estienne, Maison rustique, or, The countrey farme (1616), 83.
Seventeenth-century texts reveal much about this complicated interweaving of foods and their origins, as well as praise and criticism of these foods in contemporary diets. Maison rustique, above, originally printed in France as a guide for running an estate, was translated into English in 1600. The author advised readers on raising crops and livestock. He includes some New World foods like this excerpt on the turkey. William Wood's New Englands prospect, excerpted below, compares the colony to England, making strange North American foods seem more familiar. Here, Wood describes fish unknown to Europeans, including seal, halibut, and bass. Wood lived among the Massachusetts Puritans prior to writing this book. William Hughes also provides an introduction to new foods from the Americas, offering brief descriptions and cooking recommendations of foods like potato, watermelon, sugar, corn, and prickly pear. The selection below experts his comments on the potato, watermelon, and corn.
William Wood, New Englands prospect (1634), 33-34.
Selection: William Hughes, The American physitian, or, A treatise of the roots, plants, trees, shrubs, fruit, herbs, &c. growing in the English plantations in America (1672), title page, 12-13, 22-24.
William Hughes, The American physitian (1672), title page.
William Hughes, The American physitian (1672), 12-13.
Philippe Sylvestre Dufour, Traitez nouveaux & curieux du café, du thé et du chocolate (1688), frontispiece.
Some foods became wildly popular and spread quickly throughout Europe, like chocolate, the product of cacao, and tobacco, sometimes considered a food or medicine at this time. In this image from Traitez nouveaux & curieux du café, du thé et du chocolate, three drinks recently introduced to Europe (coffee, tea, and chocolate) are represented by people symbolizing the regions which first produced the beverages. Each person holds their respective drink and is posed with implements to make or serve it. Other foods, like potatoes, took a long time to gain popularity in the Old World. Some kingdoms adopted foods more readily than others at first, like tomatoes in Spain and Italy and turkey in France and England. Still other New World foods were embraced by non-Westerners as a result of trading and colonization efforts elsewhere on the globe. For example, chili peppers were transported to India and corn and cassava in Africa through these methods. Finally, many Old World foods were brought to the Americas by explorers and colonists, either for the necessity of consumption or the desire to profit from crop production. These crops and animals flourished in the New World and are still embedded in modern food cultures of the Americas. Beef, touted as one of the most iconic American foods, is not native to the New World. Introduced to the Americas by Europeans, cattle thrived in its new surroundings, growing in population to remarkable numbers. This growth, combined with the European introduction of horses, led to not only modern cowboy cultures North and South America, but contributed to deforestation and the destruction of indigenous crops. The introduction of other crops to the Americas, like wheat, rice, sugar, and coffee, had similarly dramatic results and mixed benefits in the New World.
What are the benefits and problems with these foods, based on the assessments of the authors and engraver?
Do you think the authors and engraver were accurate? Explain why or why not.
How are New World foods compared to Old World foods in these excerpts? Are the American foods compared directly to known European foods, or are the comments more general?
What information can we get about European bias from the image which may not immediately be apparent in the texts?
Do these New World foods appear assimilated into European diets, or are these items still seen as exotic and unusual additions to a meal? Do the dates of these sources change your assessment?
Exploitation of Resources and Labor
The exchange of food between continents enriched diets and cuisines world-wide. Diets became more varied, and thus more nutritious, cuisines benefited from the exploration of new ingredients. However, the Columbian Exchange was not without its drawbacks. One great stain on this food exchange was slavery. All food production, from growing crops to processing and cooking food, requires labor. As explorers and missionaries made trips to the New World, they identified resources which would be profitable in the Old World, like cacao, coffee, sugar, rice, and tobacco. Later, colonists made use of these resources and introduced new crops which were valuable throughout Europe. In order to sustain such a large-scale effort, Europeans instituted slavery in the New World, capturing and enslaving millions of indigenous Americans and West Africans over several centuries. The institution of slavery became so ingrained in New World cultures that slave labor remained a critical component of American economies long after colonies gave way to independently governed countries.
Richard Ligon, A true & exact history of the island of Barbados (1657), title page, "A topographical Description and Admeasurement of the Yland of Barbados in the West Indyaes," diagram of banana tree, diagram of curing house, 116.
Richard Ligon, A true & exact history of the island of Barbados (1657), title page.
Richard Ligon, A true & exact history of the island of Barbados (1657), map.
Richard Ligon, A true & exact history of the island of Barbados (1657), diagram of a banana tree.
Richard Ligon, A true & exact history of the island of Barbados (1657), diagram of a curing house.
Richard Ligon, A true & exact history of the island of Barbados (1657), 116.
Books were printed to convince Europeans to become investors and plantation owners. The above excerpt is from one of those texts. Ligon's treatise enticing people to participate in the sugar industry of Barbados touted the virtues of specific area and outlined the financial incentives. The author describes the beautiful land and exotic foods, details modern technologies for processing sugar, and outlines expenses and profits. The English colonized Barbados, as well as other Caribbean islands; planters and investors made fortunes from growing and processing sugar in this region. Sugar was not native to the Caribbean. Europeans brought sugar to the Americas because of the ideal growing conditions. While Europeans had long admired and consumed sugar, the Age of Exploration was the first time they were able to have control of the entire production and sale of this commodity. Sugar was incredibly valuable; not only was it important as part of edible foodstuffs, but was a necessary accompaniment to drinking tea, chocolate, and coffee, all of which rose in popularity during the same period. The successful planting and processing of sugar cane, like many other New World cash crops, was possible only because of slave labor.
Examining the map, how many sugar plantations are on Barbados? Can you deduce the importance of the sugar trade to the island, and consequently to their ruling country, England? There are also numerous images on the map; what can these vignettes tell us about life on Barbados?
Why would the author include engravings like the banana tree in this book? There are several other similar engravings in a section on fruits from the island. Does this complement Ligon's message in the book, or does it seem out of place?
Examine the diagram of a sugar curing house (a structure for one of the steps in processing sugar). How large was this structure? What can you tell about the way in which sugar was processed from any of the text or drawings? Does it appear to be organized and thought out? Is it mechanized, or would human labor be required?
In the account on page 116, the column labelled "l." indicates prices in English pounds (£). What sort of expense is required to start a plantation in Barbados in the 1650s? What are the profits? Since the average laborer or craftsman in London at this time made £10–15 annually, who could afford to start a sugar plantation?
Also on the account on page 116, what types of expenses are listed for starting and maintaining a plantation? Slaves are identified as "slaves" and "Negres" in this account. Are their expenses classified with other servants, or with another type of expense? What does this reveal about the different types of labor on cash crop plantations and how society viewed slaves? Who on the sugar plantations actually made money from their work?
Alfred Crosby, The Columbian Exchange: Biological and Cultural Consequences of 1492 (Westport, CT: Greenwood Press, 1972).
Rebecca Earle, "Columbian Exchange," in The Oxford Handbook of Food History, ed. Jeffrey Pilcher (New York: Oxford University Press, 2012), 341–357.
Nelson Foster and Linda Cordell, eds. Chilies to Chocolate: Food the Americas Gave the World (Tucson: University of Arizona Press, 1992).
Sucheta Mazumdar, "The Impact of New World Food Crops on the Diet and Economy of China and India, 1600-1900," in Food in Global History, ed. Raymond Grew (Boulder, CO: Westview Press, 1999), 58–78.
Redcliffe Salaman, The History and Social Influence of the Potato (Cambridge: Cambridge University Press, 1949).


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