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<TITLE>Review for "Hitchhiker's Guide to the Galaxy, The" (1981) (mini)</TITLE>
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"Hitchhiker's Guide to the Galaxy, The" (1981) (mini)

reviewed by
Chris Casino

The Hitchhiker's Guide to the Galaxy (1981)

a TV movie review by Chris Casino

My ratings scale

**** - Excellent
*** - Good
** - Fair, but don't go out of your way
* - Don't say I didn't warn you

*** out of ****

Written by Douglas Adams, produced and directed by Alan
Bell, Executive producer John Lloyd, Music by Paddy Kingsland.

Cast: Simon Jones (Arthur Dent), David Dixon (Ford Prefect),
Mark Wing-Davey (Zaphod Beeblebrox), Sandra Dickinson (Trillian),
Martin Benson (Vogon Captain), Stephen Moore (voice of Marvin),
Richard Vernon (Slartibartfast), David Learner (Marvin), David
Prowse (Bodyguard).

This started out as a radio series, then it became two novels,
then this six episode TV series came out, then it became three
more books, a play, a computer game, (appropriately) a bath
towel, all of which was done by creator Adams, and now a film version
will be out in 2000 (and you can all bet your bottom dollar that I will
be the first one to post a review on this newsgroup of that
movie), and the plot will follow in a second.

When I was thirteen, I went over to my aunt
Beth's house, and she had a copy of this book. She suggested
I might enjoy it. I doubted it, but out of curiousity
I picked it up and read it. Five years later, I'm hooked
on this quirky but lovable British piece, and I've become
quite a fan of creator Douglas Adams. In fact, find
me one novel of his I haven't read five thousand times,
I will find a medal for you.

Arthur Dent, a perfectly ordinary Earth man (played
quite well by Simon Jones, whom this role was written
for) discovers after his home is demolished to make
way for a bypass, that his best friend Ford Prefect
(Dixon, who has the right look for Ford) is
not from Earth, and together they hitchhike aboard
a Vogon ship shortly before the green, slimy Vogons
destroy the planet Earth to make way for a hyperspace
bypass. Anyway, after they are read some awful poetry,
they are thrown off into deep space and rescued
by Ford's semicousin, Zaphod Beeblebrox (an
appealing Wing-Davey), the two-headed, three
armed hippy President of the galaxy, his human
girlfriend, Tricia "Trillian" McMillan (Dickinson,
who is appealing to look at, but has a voice worse than
Fran Drescher, which is why I wish Adams had stuck
with his instincts and let her do English Rose),
and the depressed, hilarious cyborg, Marvin
the Paranoid Android ("Life, don't talk to me about
life!"). All five of them meet Slartibartfast (A
funny role for the late Vernon), a planet maker
on the planet of Magreathea (forgive the spelling),
and stop by the Restaurant at the End of the Universe
for dinner as they try to find the question to the
ultimate answer, which is 42.
        This has something for everyone. It's
sci-fi, and if you don't like that (which I do),
it's funny, and it even has amusing little
jokes about stuff like digital watches, towels,
inteligent supercomputers, etc., that Adams
has said to've picked up from personal experiences.
        The miniseries rates lower than four stars
simply because the movie version in 2000 will obviously
have so much more computer generated technology
to make it look more realistic (which this, sadly, does
not most of the time) and it will make the effects here look like
absolute rubbish, which they weren't at the time. This
is going to look like crap compaired to the film.
But that's okay, I'll still love it anyway.

The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).

The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.

Please direct comments/criticisms of the review to relevant newsgroups.

Broken URLs inthe reviews are the responsibility of the author.

The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.

Related links: index of all rec.arts.movies.reviews reviews

redpajama_set_name: RedPajamaGithub


text:
package com.amazonaws.services.iotevents.model;

import java.io.Serializable;
import javax.annotation.Generated;

/**
 *
 * @see AWS API
 *      Documentation
 */
@Generated("com.amazonaws:aws-java-sdk-code-generator")
public class ListInputRoutingsResult extends com.amazonaws.AmazonWebServiceResult<com.amazonaws.ResponseMetadata> implements Serializable, Cloneable {

    /**
     *

     * Summary information about the routed resources.
     *

     */
    private java.util.List<RoutedResource> routedResources;
    /**
     *

     * The token that you can use to return the next set of results, or null if there are no more results.
     *

     */
    private String nextToken;

    /**
     *

     * Summary information about the routed resources.
     *

     *
     * @return Summary information about the routed resources.
     */

    public java.util.List<RoutedResource> getRoutedResources() {
        return routedResources;
    }

    /**
     *

     * Summary information about the routed resources.
     *

     *
     * @param routedResources
     *        Summary information about the routed resources.
     */

    public void setRoutedResources(java.util.Collection<RoutedResource> routedResources) {
        if (routedResources == null) {
            this.routedResources = null;
            return;
        }

        this.routedResources = new java.util.ArrayList<RoutedResource>(routedResources);
    }

    /**
     *

     * Summary information about the routed resources.
     *

     *

     * NOTE: This method appends the values to the existing list (if any). Use
     * {@link #setRoutedResources(java.util.Collection)} or {@link #withRoutedResources(java.util.Collection)} if you
     * want to override the existing values.
     *

     *
     * @param routedResources
     *        Summary information about the routed resources.
     * @return Returns a reference to this object so that method calls can be chained together.
     */

    public ListInputRoutingsResult withRoutedResources(RoutedResource... routedResources) {
        if (this.routedResources == null) {
            setRoutedResources(new java.util.ArrayList<RoutedResource>(routedResources.length));
        }
        for (RoutedResource ele : routedResources) {
            this.routedResources.add(ele);
        }
        return this;
    }

    /**
     *

     * Summary information about the routed resources.
     *

     *
     * @param routedResources
     *        Summary information about the routed resources.
     * @return Returns a reference to this object so that method calls can be chained together.
     */

    public ListInputRoutingsResult withRoutedResources(java.util.Collection<RoutedResource> routedResources) {
        setRoutedResources(routedResources);
        return this;
    }

    /**
     *

     * The token that you can use to return the next set of results, or null if there are no more results.
     *

     *
     * @param nextToken
     *        The token that you can use to return the next set of results, or null if there are no more
     *        results.
     */

    public void setNextToken(String nextToken) {
        this.nextToken = nextToken;
    }

    /**
     *

     * The token that you can use to return the next set of results, or null if there are no more results.
     *

     *
     * @return The token that you can use to return the next set of results, or null if there are no more
     *         results.
     */

    public String getNextToken() {
        return this.nextToken;
    }

    /**
     *

     * The token that you can use to return the next set of results, or null if there are no more results.
     *

     *
     * @param nextToken
     *        The token that you can use to return the next set of results, or null if there are no more
     *        results.
     * @return Returns a reference to this object so that method calls can be chained together.
     */

    public ListInputRoutingsResult withNextToken(String nextToken) {
        setNextToken(nextToken);
        return this;
    }

    /**
     * Returns a string representation of this object. This is useful for testing and debugging. Sensitive data will be
     * redacted from this string using a placeholder value.
     *
     * @return A string representation of this object.
     *
     * @see java.lang.Object#toString()
     */
    @Override
    public String toString() {
        StringBuilder sb = new StringBuilder();
        sb.append("{");
        if (getRoutedResources() != null)
            sb.append("RoutedResources: ").append(getRoutedResources()).append(",");
        if (getNextToken() != null)
            sb.append("NextToken: ").append(getNextToken());
        sb.append("}");
        return sb.toString();
    }

    @Override
    public boolean equals(Object obj) {
        if (this == obj)
            return true;
        if (obj == null)
            return false;

        if (obj instanceof ListInputRoutingsResult == false)
            return false;
        ListInputRoutingsResult other = (ListInputRoutingsResult) obj;
        if (other.getRoutedResources() == null ^ this.getRoutedResources() == null)
            return false;
        if (other.getRoutedResources() != null && other.getRoutedResources().equals(this.getRoutedResources()) == false)
            return false;
        if (other.getNextToken() == null ^ this.getNextToken() == null)
            return false;
        if (other.getNextToken() != null && other.getNextToken().equals(this.getNextToken()) == false)
            return false;
        return true;
    }

    @Override
    public int hashCode() {
        final int prime = 31;
        int hashCode = 1;

        hashCode = prime * hashCode + ((getRoutedResources() == null) ? 0 : getRoutedResources().hashCode());
        hashCode = prime * hashCode + ((getNextToken() == null) ? 0 : getNextToken().hashCode());
        return hashCode;
    }

    @Override
    public ListInputRoutingsResult clone() {
        try {
            return (ListInputRoutingsResult) super.clone();
        } catch (CloneNotSupportedException e) {
            throw new IllegalStateException("Got a CloneNotSupportedException from Object.clone() " + "even though we're Cloneable!", e);
        }
    }

}


I have literally spent more than six months trying to get this working, but to no avail. The support people at the VPN provider are completely incompetent (better add a "in my opinion" there for legal reasons), but I am wondering if something in Gentoo (particularly the setup scripts) is contributing to the problem.
Don't understand the purpose of the 128.0.0.0 route, and why are there two default gateways - that doesn't look right? Also, 45.74.63.3 is not in the same subnet as 45.74.63.133 (with a 255.255.255.192 netmask).
Any ideas that would get this working would be greatly appreciated. Thank you in advance.
Please post the log afterwards again.
Your last routing tables looks reasonably.
I'd try switching from TUN to TAP first You may find some hints in logs.
This wont help fixing this issue. According to a lot of google entries, comp-lzo is the problem.
and try again. Also check for the permissions on /dev/tun. Sometimes they can be the problem as well.
I'd try switching from TUN to TAP first :) You may find some hints in logs.
That was not particularly successful. I guess I need to recompile openvpn.
EDIT: Do not use the tap interface. Use the tun interface!
Recompiled. Yes, the provide is PureVPN (I do not recommend them). Saw that guide Do not have Gnome. Do not want Gnome. Do not have networkmanager. Do not want networkmanager.
I have all of the external files inline (embedded in the configuration file) per the openvpn man page.
Side question - are inet and destination supposed to be the same? Looks wrong to me.
That still looks wrong (45.74.61.2 is not on the same subnet as 45.74.61.192/255.255.255.224).
Is there any reason for making two routes (0.0.0.0/128.0.0.0 and 128.0.0.0/128.0.0.0) instead of just 0.0.0.0/0.0.0.0?
One more question here - what is supposed to happen with DNS? I see the push option for it in the log, but it is not taking effect. Is the script supposed to reset resolv.conf (like dhcp does)?
you dont need gnome or even like in the guide unity. It just for picking the correct options for your config file. You could try using traceroute instead of ping for checking, if your traffic is going through the tunnel instead of your normal interface.
according to your inet/destination output. im not really sure, whether its correct or not. im checking when im home, i can try out with a connection there.
for dns check /etc/resolv.conf. maybe its modified by openvpn.
I am more convinced than ever that there is some problem on their end.
I found the option (in /etc/conf.d/openvpn) to conrol whether or not openvpn updates resolv.conf.
As you can see with the different provider, you only have one default-route instead of two. have you checked the trafficway via traceroute already? this should show you, which hops/gateways are used for accessing the destination server.
As you can see, it uses different gateways (please ignore that one is ipv4 and one is ipv6, its just for demontration).


The corporate world can be tough. With conflicting demands, excessive workloads, and distracting coworkers, it's no wonder many employees are stressed out. In fact, a recent poll shows 46 percent of office workers think their job is bad for stress levels. For those working more than forty hours a week, it can be even worse.
One strategy for combatting stress is to schedule short breaks throughout the day to recharge and refuel. Mounting empirical evidence supporting the benefits of mental downtime that suggests this method replenishes attention, improves productivity, and can even enhances creativity. Cal Newport, author of the bestselling book Deep Work, extolls the virtues of taking periodic deep breaks to prevent mental burnout. He suggests short walks, daydreaming, and reading as examples of good activities for recharging.
How can businesses encourage employees to step away from their harried schedules and take these regenerative breaks? One strategy is to design spaces for introspection within the work environment. This can be accomplished leveraging two different approaches.
The first approach is a "remove and recharge" strategy. The focus here is to create a quiet, meditative environment that gives workers a breather from the chaos of the workplace. Below are some examples of these spaces.
A component of the recent focus on work environment wellness, biophilia is an effective strategy to improve mental wellbeing.
Within a work environment, this benefit can be achieved in a number of ways: provide views to the outdoors; bring plant life into the environment; and incorporate naturally-occurring patterns and materials into the design. Sapphire Systems' office in London applies all three of these features and, in doing so, creates an immersive biophilic experience.
Sapphire Systems in London. Photo by Alex Franklin Photography.
At the other end of the spectrum, virtual reality applications can provide a technological approach to recharging. The New York Times VR app offers Meditation Journeys, which transport users to a variety of peaceful settings, such as a forest of redwood trees or a cliff overlooking the Pacific Ocean.
What would a space for virtual reality escapism look like? It might resemble Hubspot's Cambridge headquarters, which includes a private room for relaxation. Resting in a gently swinging hammock, users are transported to a meditative world, far away from the stresses of the workplace.
Another approach takes office workers out of the typical work environment and provides a new immersive setting with the opportunity for a mental shift. This approach takes its cues from the art world, creating unique experiences through the use of light, sound, touch, or even space.
The work of artist James Turrell provides a great example. His Projection Pieces installation throws a single beam of light to create glowing geometric shapes that appear to be floating in space. These installations have a haunting quality that promotes introspection.
This same concept can be applied to a work setting. In SapientNitro's Toronto office, color-changing LED lights surround the elevator lobby, bouncing off corners and changing directions. This immersive installation signals to employees and visitors that they are embarking on a new experience.
The second approach for introspective spaces aims to engage workers in an activity that promotes mindfulness. Generally, these are considered activities that keep the body occupied, while allowing the mind to wander.
Physical activity can be used as a tool for introspection through something as simple as leaving one's desk and taking a short walk. The challenge is providing the right cues to encourage this behavior.
A number of work environments encourage movement by providing access to walking paths. These can be located outside, with access to fresh air, or indoor tracks for colder climates.
Building on this concept, the American Psychological Association (APA) created a rooftop garden and labyrinth at its Washington, DC office. The labyrinth, with its meandering paths, is an ideal conduit for self-reflection through movement. This concept can also be applied to an office interior, as shown in the sketch below.
The growing popularity of adult coloring books is a great example of active distraction. It frees up the mind, while keeping hands engaged in a simple activity. Employing this approach on a large scale, IA's Chicago office created a full-size coloring wall to engage the entire office. A few months later, the same space was transformed into an origami wall, allowing staff to fold and mount colored papers to create a large interactive art display.
Taking time for mental breaks during the workday is a great way to fight stress and burnout. By encouraging people to pause for introspection, work environments can promote healthier, happier, and more productive employees.
Then be sure to check out our blog post on Designing for the Upskilled Worker, where we discuss how building with another employee perk in mind can be impactful.
Why the creation of introspective space is an absolute must in today's multi-tasking world.


Many designers might cringe at the mention of Ikea in conversation about design.
'Fact is that Ikea introduced, to the North American mass market, an entire concept of interior decorating—a concept that was not invented by Ikea, but made affordable and easily available by Ikea. Spare, simple designs, uncomplicated materials, and splashes of colour among natural tones: this, to those who haven't studied art history, is Scandinavian design.
The concept of Scandinavian design refers to a particularly simplified subdivision of modern design. Characteristic features emphasize practicality, freedom from pretension and controlled use of materials. Lightness and clarity are common denominators. Timelessness and a thorough familiarity with materials bind the creations with modernism.
Design experts will tell you that Scandinavian design is a way of life, at once urban and close to nature. Many Scandinavians spend a good chunk of their lives close to woods and water, hiking in the wilderness or at summer cottages. This sounds a lot like life in Canada, except that, the experts say, Scandinavians spend nine months indoors—presumably, their winters are colder. It is said that, in the Scandinavian world, home and public interiors play a larger role, and that design is a question of survival—the farther north one goes, the harsher the conditions and the scarcer the materials. Long distances enhance the importance of using local materials, local technologies and local energy. 'Sound familiar? Then why doesn't Canadian design look the same as Scandinavian design?
Perhaps it's a difference in attitude. In the Scandinavian countries, design has always been approached as competitively as sports. Nuances arise from each country's culture, industry, politics, education and economy. Several generations of architects and designers have regarded themselves as part of a political movement. There is huge public support for design, and it's the subject of investment by Scandinavian governments, all of which have produced national programs to support and develop design.
Young Nordic Design: Generation X surveys the achievements and experiments of 50 young designers and design teams from Denmark, Finland, Iceland, Norway and Sweden, and includes 60 works presented in furniture, industrial, textile, graphic and fashion design. Unusual pieces include Cyberia, a jacket that includes a built-in location system, a communication system, electrical heating, a first-aid kit, a hypothermia bag, ice picks and a water-heating pocket. There's a coffee mug whose handle is also a spout, a portable sofa, a lamp whose shade collapses when it's turned off, an elegant cabinet handle whose actual purpose is to prevent shoplifting, a chandelier made for swinging from, a blade-like, high-speed kayak made of molded carbon fibre, and a road-racing bicycle made of carbon fibre.
Forget Mona. The genius of Leonardo da Vinci (b. 1452) manifested itself in many other ways. He was one of the greatest painters the world has ever produced, but he was also a scientist and an inventor. His paintings are perfect representations because he was a dedicated botanist and student of human anatomy. He was one of the Milan Cathedral architects. King Louis 1 popped his wig when Leo confronted him with a marching robot lion. He studied aerodynamics and hydraulics and, though he hated war, he became a military engineer, inventing the tank, the machine gun, the steam cannon and the parachute — all this while Italians were figuring out what to do with the newly-introduced tomato plant and Christopher Columbus was bobbing in the Atlantic.
Leo was an odd guy. His students were not allowed to use brushes or colours until age 20 — the number of years it took, he calculated, to learn how to draw perfectly. And he kept most of his ideas secret, going so far as to write his notes in mirror-image. Now, however, an exhibit brings those notes to life, making the Codex look, well, a little lame.
Leonardo da Vinci, Scientist – Inventor – Artist, which runs at the Royal British Columbia Museum from October 1st to February 28th, explores Leo's artistic and scientific contributions, and their significance to the modern world. The exhibit consists of 230 objects, including 150 sketches and drawings, a multi-media display with 8,000 photographs and 25 models which the RBCM made using his drawings — of, among other inventions, his helicopter, spring-driven automobile, swivel bridge, paddle boat, chain-link bicycle and a full-size flying machine complete with 30-ft wing span.
To demonstrate his theories about 'how to paint', the exhibit also holds 20 original paintings and sculptures, by Leo (The Kissing Infants, Virgin of the Rocks, Virgin with Child, The Infant St. John, Mary Magdalene, Bust of Christ as a Youth) and by his pupils and contemporaries, including Giampietrino, Bramantino, Raphael (The Young John the Baptist), and Salai (Monna Vanna).
Canada is not beautiful in detail, but by the immensities of its proportions…This rudeness…one tries to express it in extreme simplicity of composition, form, strength, obvious contrast in light and shade. One is not looking for gloom, but rather dramatic strength…for the forms, contrasts, proportions and designs which belong to Canada and to no other country.
John Vanderpant arrived in Alberta in 1911. A photo-journalist, he was on assignment for a Dutch newspaper. He stayed. In 1919, he moved to New Westminster, BC and, by the mid-1920s, he was (along with other West Coast photographers like Johan Helders, Harold Mortimer Lamb and Harry Upperton Knight) an acclaimed figure within the international circuit of Pictorialist salons.
However, speaking about Vanderpant's 1925 solo exhibition at the Royal Photographic Society in London, a critic noted that his work reflected little of the Canadian spirit. Vanderpant resolved to "unlearn the Old World concept of beauty in relation to its environment," and turned away from the aesthetics of Pictorialism, adopting a simplified graphic economy in his photography, emphasizing rhythmic pattern and simplicity.
Vanderpant and his colleagues–Frederick Varley, Vera Weatherbie, Beatrice Lennie and Jock Macdonald, among others, formed a group which resolved to combine, in their paintings and photography, Utopian ideals with a modernist approach. The idea was to create new ways of viewing the interaction between nature and technology. These artists believed in the power of art to shift patterns of thought and lead away from the social conflicts that reigned over the Depression Era. They broke with traditional photography and painting to challenge the British colonial mentality which dominated Canadian culture at the beginning of the century. And their approach was to combine European Modernism with an enthusiasm for British Columbia as the frontier between East and West, the natural and the urban.
Meanwhile, the architecture of the grain elevator had been recognized by modernist European architects as a symbol of the dynamism of North American culture, and its ability to progress rapidly by breaking with archaic European traditions. Le Corbusier extolled the virtues of the engineer who was able to create structures that combine form and function, and identified the terminal grain elevator as one of North America's most significant contributions to architecture. Really? Well, yes. Grain elevators were seen to emphasize the potential for social harmony, rather than to represent social struggle.
In Canada, the elevator was an important emblem of the vitality of the Canadian economy, and the prosperity that Vancouver's middle class was enjoying in the 1920s, as the country captured an increasing share of the international grain trade.
Yeah, well it's important to appreciate your subject matter.
He also wrote about the abstract patterns found in vegetables; we can assume that he was an interesting dinner guest.


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text:
La Tombe maudite est un roman de Christian Jacq publié en 2014.

Résumé
Setna, deuxième fils de Ramsès II, rencontre Sekhet, servante de Sekhmet, fille de Kekou, superviseur des greniers royaux, et thérapeute.

Un vase scellé dans la tombe d'Osiris est volé.

Setna et Sekhet font l'amour. Ramésou, frère ainé de Setna la demande en mariage mais elle refuse.

Ched, ami de Setna, trouve une bague marquée Irosu sur le lieu du vol. Setna est intronisé ritualiste. Avant de mourir, son maitre lui dit que le livre indiquant les trésors des tombes a été volé et lui dit de retrouver le voleur.

Un autre nom syrien, Kalash, est trouvé chez Irosu. Kekou dit à Sekhet qu'il est le voleur et qu'il veut renverser Ramsès. Son intendant, le Vieux, sauve Sekhet d'un attentat. Elle fuit et le Vieux prévient Setna...

Roman français paru en 2014
Christian Jacq
Roman historique se déroulant dans l'Égypte antique

redpajama_set_name: RedPajamaWikipedia


Daily Dip: Share Your Favorite Summer Memory Photo!
Re: Daily Dip: Share Your Favorite Summer Memory Photo!
Oh those beach sunsets! Oh those beach sunsets!
Thanks for sharing such great summer memories. We loved looking through your awesome Summer photos.
Thanks again, @allendouglas. We enjoyed your Summer memory!
Re: Re: Daily Dip: Share Your Favorite Summer Memory Photo!
Hi @Watchman626, this is a great photo! Thanks for sharing.
2015 Summer in Shetland. Saw this little guy just abount 20 feet from us. Visited Shetland as part of our cruise to Norway and Scotland.
Great picture, @winedoc! Thanks for sharing Puffin with the Community.


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George Harrison Sanford King Card File Susan B. Chiarello, abs.
George Harrison Sanford King's Card File (continued from Vol 46, No. 2) Susan B. Chiarello, abs.
George Harrison Sanford King's Card File (continued from Vol 48, No. 4) Susan B. Chiarello, abs.
(continued from Vol 47, No. 1) Susan B. Chiarello, abs.
(continued from Vol 47, No. 4) Susan B. Chiarello, abs.
(continued from Vol. 46, No. 4) Susan B. Chiarello, abs.
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0 (continued from Vol 47, No. 2) Susan B. Chiarello, abs.


I'm a big fan of Nick Nolte – both on the screen and in life; politically he's a 'leftie', professionally he's constantly at odds with the Hollywood system – a true maverick spirit. An Observer interview reminds me that he is now 71 (my age). I wonder if he still 'walks on the wild side'. Nolte says "Everyone chases a bit of what they believe life's about – money, power, desire, whatever. But when you stop chasing, you realise that life's a rhythm and is very peaceful – very quiet".
I sometimes glimpse this 'quiet rhythm' in the garden – where I was this week for the first time in ages – almost time to get the mower out again! Along with the spring bulbs – moles have erupted all over our hamlet (the mild winter?); plenty wind damage, but the frost didn't get much. Big news, in the parallel world of nature around my cottage – is the arrival of a nuthatch to the bird table. Blue/grey and rust – black eye band – it's a wee miracle of a thing – with plenty attitude.
TENDERS: Future Options and Opportunities for Aspire2gether, Support to Social Enterprise in Fife, Graphic Design and Installation for a Series of Commissions for Riverside Inverclyde and Sub-Contractor Packages for Time Capsule. For more, see http://www.readyforbusiness.org.
Nick Nolte talking about his mother.
"My mother, Helen, was a plain unsentimental speaker – she once said of me 'I like Nick – I always have' I liked her too – a lot. I got much of my rebellious streak from her. She had a battle with society about the role of women. Before it was acceptable she insisted on going out to work. She told all the neighbours, 'If you see my kids coming home from school for lunch; they make their own food. I am Helen Nolte and I work.' My mother chose me to sit with her while she died. I was with her for four days. I was 60. It wasn't as mother and son, that goes right out of the window. It's just soul to soul, you're there as a witness. You can't sit there as the son and go, 'Gee, don't die, this is hurting!' You're there to help her let go. Am I scared of my death? No. My mother didn't look scared at all. She was conscious until the end. She showed me how to die. That experience was beyond description."


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Home » InterFest 2000
InterFest 2000
by Chicago Reader April 13, 2000 August 19, 2021
Chicago theater is as racially and culturally varied as the city itself, yet to actor-director Stephan Turner–and many others–it often seems that off-Loop theater is still fragmented in terms of the work companies present and the audiences they target. "We live together, we work together, and then when we get ready to do theater we all go into our separate microcosms," says Turner, artistic director of the Lakeview-based Stage Actors Ensemble of Chicago. That's what has prompted the SAEC to present what Turner hopes will be the first annual edition of a theater festival specifically devoted to work that addresses issues of racial, ethnic, and cultural diversity. The event, which runs through April 29, features work by local and out-of-town artists, including solo performers Ryan Anglin and Miriam Lewis and the Excaliber Shakespeare Company of Chicago. All shows take place at the Performance Loft, located in the Second Unitarian Church of Chicago, 656 W. Barry. Prices range from $5 to $8; call 773-529-8337 for reservations and information.
Festival listings run on a week-by-week basis; following is the schedule for April 13 through 20.
The Valerie of Now
Miriam Lewis performs Peter Hedges's monologue about a teenage girl facing her first menstrual period. 7 PM; $5.
Tom Small directs his own adaptation of folktales from Japanese, Polynesian, Tibetan, Kenyan, Native American, and Maori cultures. 7:30 PM; $8.
See listing for Thursday, April 13. 9:30 PM; $8.
The Zoo Story
Edward Albee's early one-act, about a desperate young drifter and a prissy executive who meet on a park bench, is presented by the Excaliber Shakespeare Company of Chicago. "Albee's . . . characters still fascinate. . . . And so does his story, with its undercurrents of sex, violence, and class warfare. Even when its presentation is flawed, as it is in this . . . production, Albee's script is strong enough to prevail. But just barely. Darryl Maximilian Robinson's direction is eccentric to say the least. . . . And for some reason Robinson has chosen to double cast both roles, . . . mixing and matching his players so that the audience might catch any one of four possible combinations. This trick may work for improv comedy, but in a play this dependent on subtext and the chemistry between two people, it seems to ensure that even the best night will seem vaguely amateurish," says Reader critic Jack Helbig. 8 PM; $8.
See listing for Thursday, April 13. 2 PM; $5.
See listing for Saturday, April 15. 5 PM; $5.
Swacko in America
Ryan Anglin portrays multiple characters in this one-man show, which examines the "common reality that America, 'the land of opportunity,' is also the land of crazy people, phonies, and those who have been left behind during these prosperous times." 8 PM; $8.
Art accompanying story in printed newspaper (not available in this archive): photo/Andy Carlson.
Tagged: Vol. 29 No. 28

redpajama_set_name: RedPajamaCommonCrawl


M i John Martin "Johnny" Stowers Jr was born on 17 Aug 1918. He died on 30 May 1993.
Harry Armonstrong Jeffries was born in 1926 in Iaeger, McDowell Co, WV. He married Johnanna Barron on 28 Jun 1947 in Newhall, McDowell Co, WV.
Johnanna Barron [Parents] was born in 1929 in Uniontown, Perry Co, AL. She married Harry Armonstrong Jeffries on 28 Jun 1947 in Newhall, McDowell Co, WV.
Regis Jeffries [Parents] was born in 1922 in Yukon, McDowell Co, WV. He married Catherine Louise Stone on 1 Nov 1944 in Welch, McDowell Co, WV.
Catherine Louise Stone was born in 1921 in Gary, McDowell Co, WV. She married Regis Jeffries on 1 Nov 1944 in Welch, McDowell Co, WV.
Zack Stone was born in 1853 in VA. He married Agness Saunders.
Agness Saunders was born in 1855 in VA. She married Zack Stone.
M i Thomas "Tom" Stone was born on 20 May 1874. He died on 9 Dec 1924.
Larry D. Mullins.Larry married Mary Marie Jenks.
Mary Marie Jenks [Parents] was born on 14 May 1965 in Welch, McDowell Co, WV. She died on 30 Sep 2017 in Iaeger, McDowell Co, WV. She was buried in Cremated. She married Larry D. Mullins.
McKinley Hopson.McKinley married Okie V. Lockhart.
Okie V. Lockhart [Parents] was born on 4 Feb 1935. She married McKinley Hopson.
F i Wanda Gay Hopson was born on 18 Dec 1946.
Gene Edward O'Bryan was born in 1924 in Jenkinjones, McDowell Co, WV. He married Helen Louise Lockhart on 24 Apr 1950 in Welch, McDowell Co, WV.
Helen Louise Lockhart [Parents] was born in 1927 in Panther, McDowell Co, WV. She married Gene Edward O'Bryan on 24 Apr 1950 in Welch, McDowell Co, WV.
Thomas Perry Jenks Sr [Parents] was born in 1943 in Bradshaw, McDowell Co, WV. He married Barbara Ellen Christian on 9 Jul 1962 in Bradshaw, McDowell Co, WV.
Barbara Ellen Christian [Parents] was born in 1946 in Jesse, Wyoming Co, WV. She married Thomas Perry Jenks Sr on 9 Jul 1962 in Bradshaw, McDowell Co, WV.
F i Mary Marie Jenks was born on 14 May 1965. She died on 30 Sep 2017.
Tommy Vance.Tommy married Sherry Lockhart.
Sherry Lockhart [Parents].Sherry married Tommy Vance.
Thomas Jefferson Stone was born on 8 Mar 1898 in VA. He died on 9 Oct 1972 in Welch, McDowell Co, WV. He married Sadie Vanover in 1918.
Sadie Vanover was born on 12 Jun 1905 in VA. She died in Mar 1974 in Caretta, McDowell Co, WV. She married Thomas Jefferson Stone in 1918.
M iv Nile Stone was born in 1927.


On Center Software is a construction industry software provider with headquarters a short distance from Houston in The Woodlands, Texas. Founded in 1988 by construction industry professionals, On Center Software's driving goal is to help customers increase bid-win rates through the use of fast and accurate takeoff and bidding software. On Center Software's goal is to transform the takeoff and estimating experience through software designed to propel winning bids into profitable projects.


What Does John 2:4 Mean?
Throughout His life Jesus increasingly found favor with God and man.. and He grew in stature and grace.. and He became strong and was filled with wisdom and understanding.
During His early life Jesus submitted to His earthly parents in humble, obedience- but at the start of His God-appointed ministry to a lost and dying world - Jesus had to make it plain to all people, that His divine mission was not to be influenced by the whims or the demands of fallen man - including His own dear mother, who was equally in need of His redemptive blood as you and me.
Woman, what have I to do with thee? were words that sound harsh and unloving to our ears, and yet while dying on the cross only a few years later the Son of God demonstrated His love and deep compassion for the woman who gave Him birth - as He lovingly handed her into the care of His beloved disciple.
The apparently cool and distant response to His mother was far from disrespectful, but she too had to recognize that He must increase and she must decrease. He was to be the Redeemer for she was in need of redemption. He was her God and He was her Saviour and she needed forgiveness of sins and life everlasting- just like you and me.
For over thirty years Mary had pondered the wonders of her eldest Son's birth and no doubt she too wanted Him to demonstrate to a waiting world Who He was and what HE had come to achieve. No doubt she too wanted to see her son scatter the proud in the imagination of their heart. No doubt she also longed to see the Roman rulers dethroned by her Son, the humble exalted, the hungry filled with good things and the rich sent empty away.
But Jesus had to remind her that He was about His Heavenly Father's business, Who alone would dictate the hour that all things were to be accomplished.
When His hour finally would arrive the heart of His mother would indeed be pierced with a sword, as prophesized, by the aged Simeon.. but in the meantime Jesus would do only those things that he heard from His heavenly Father.


text:
Q: What creatures can apparate? It's known that House elves can apparate without a wand. Wizards can do it but usually with a wand. Are there any other creatures able to apparate?

A: Phoenixes and Diricawls can vanish and reappear at will, which may or may not count as Apparition.  Both of these are mentioned in the Fantastic Beasts and Where to Find Them book.  Professor Dumbledore's Phoenix Fawkes is even shown to vanish together with the Professor in Harry Potter and the Order of the Phoenix.  I don't have the book at hand, but I don't think any other creature is mentioned with similar abilities.

redpajama_set_name: RedPajamaStackExchange


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Decoration as Trespass? @ the Werkbundarchiv – Museum der Dinge, Berlin
For all the popular associations of the inter-War years with the reduced and the paired down, with objects whose value was deemed inherent rather than something one added, one must remember that the inter-War years were also a period that brought forth the colours and confusions of Surrealism and the glitz and glamour of Art Déco: The Roaring of the Twenties being as much about a self-confidence of expression as a joyous relief that the war years were, once and for all, over.
And thus that both the reserved and the ornate existed side by side in the inter-War years, if not necessarily comfortably; and this tension between decorative ornamentation and a more reserved understanding of design are explored in the Werkbundarchiv – Museum der Dinge's exhibition Decoration as Trespass?
Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Completing the Werkbundarchiv – Museum der Dinge's trio of exhibitions exploring developments in design understanding(s), the development of design vocabularies, in the early decades of the 20th century through the twin perspectives of the Deutsche Werkbund and Bauhaus: an, if you will, exhibition triangle as opposed to cycle, that began with Commercial Design instead of Applied Art? and its explorations of inter-War commercial graphic, typographic, design; moved over Unique Piece or Mass Product? and the associated questions of production, form, aesthetics; and which culminates in Dekor als Übergriff? – Decoration as Trespass? – and a discussion on the, relatively, short lived, but both influential and instructive, genre of spray decorated stoneware: a genre that arose in the 1920s and a genre introduced in Decoration as Trespass? by a truly outrageous, thunderous, wall of …….. cake platters! No honest. And as glorious a sight as you'll see in a museum, a genuine Übergiff, as in assault, on the senses, in a positive, joyous sense one understands.
Created around 1930 and originating from seven manufacturers from across Germany, a distribution which tends to underscore the popularity, or at least size of the (perceived) market for such products, the abstract, geometric decoration of the cake platters allows for an unequivocal illustration of a genre of spray decorated stoneware, but for all provides a clue as to one of the reasons why inter-War manufacturers were keen on the genre: variety. Scanning the platters one quickly identifies repeating patterns, or more accurately, the same patterns in different colours and/or combinations, while in a nearby cabinet a wider array of objects, for all cocoa jugs, very satisfyingly elucidates not only the process of applying spray decoration, and the role of templates in applying such designs, but also illustrates how any given template functioned differently depending on the form of the object and that in the course of a production run the colours could be changed: thereby allowing for easy variety within mass, industrial, production. A principle which not only nicely reflects one of the advantages of 3D printing in contemporary industrial production, but also the post-War position of a Rudolf Horn and his opinion that in order to respond to the needs of a diverse society the furniture industry should offer "weniger Typen mit mehr Varianten" "less types with more variants"
Spray decorated stoneware allowed just that in context of ceramics, allowed for the production of affordable, mass market, ceramic goods, in a variety that met the varying demands of varied consumers, and that not just ceramics, but was also a process utilised, for example, by Marianne Brandt for many of her early 1930s metal products for Ruppelwerk Gotha, and, and just as importantly, allowed for a move away from the handcraft exclusivity of the conventional porcelain industry, was a process that, and much like Michael Thonet's wood bending process, could be run on an industrial scale with suitably trained, but not necessarily highly qualified, workers, and thus stands as a very neat example of the understanding of machine production for the benefit of the masses, for the democratisation of design for a new democratic age, as advanced in the inter-War years.
And advanced for all by the likes of the Deutsche Werkbund………
…………..if it wasn't for the ornamentation and decoration.
The Deutsche Werkbund weren't keen on ornamentation and decoration.
Or at least not officially, amongst Werkbund members there was however an attraction to ornamentation and decoration.
And such differences in understandings of the value, or not, of ornamentation and decoration form a central pillar of Decoration as Trespass?, the conflicting attitudes towards ornamentation and decoration, for all within the ranks of the Deutsche Werkbund.
In addition to the anonymous cake platter artists Decoration as Trespass? also features works by three named designers: Martha Katzer, who in the inter-War years was particularly associated with the Majolika ceramic works in Karlsruhe and where she is popularly credited with introducing and advancing spray decoration; Artur Hennig who aside from his own work is also presented through his teaching at the State Ceramics College Bunzlau and mention of the developments of the spray decoration process and spray pistol aesthetics he and his students developed; and Margarete Heymann through examples of her work for her Haël-Werkstätten für Künstlerische Keramik in Marwitz, work which reminds of the exhibition Bauhaus in Brandenburg at the Dieselkraftwerk Cottbus, which in addition to objects by Margarete Heymann also features brightly coloured, hand-painted, works by Werner Burri and Theodor Bogler for the Steingutfabriken Velten-Vordamm.
Margarete Heymann, Artur Hennig and Hermann Harkort, who established the aformentioned Steingutfabriken Velten-Vordamm, were Deutsche Werkbund members, and that their work went against established Werkbund conventions is very neatly explained through examples of the Werkbund's conventions, including a copy of the catalogue from the Werkbund's, somewhat programmatically titled, 1924 exhibition Die Form ohne Ornament – Form with Ornamentation; the Staatliche Porzellan-Manufaktur Berlin's 1930 Porcelain for the New Home collection by Marguerite Friedlaender-Wildenhain and Gerhard Marcks, very sober if expressive, organic, objects, which, we learn, were inspired and informed by the company's laboratory division and was described as "vorbildlich" "exemplary" by the Deutsche Werkbund; and a discussion on the Werkbund's 1932 Wohnbedarf exhibition in Stuttgart, including reserved, undecorated, objects by Hermann Gretsch for Arzberg porcelain or Wilhelm Wagenfeld for Schott & Gen. Jena, and the exhibition's position that consumers had to move away from an understanding that "a plate with floral decoration or a gold rim is more valuable and more beautiful than an exclusvely white plate".
And thus positions which in discourse with works by Heymann, Hennig et al underscore the different understandings of decoration in context of household goods that existed in the inter-War years.
A much more direct, brutal, illustration of the tensions of the period being found in the 1931 painting Escape from the land of kitsch by Staatliche Porzellan Manufaktur Berlin porcelain painter Willy Papenfuss depicting the company's new managing director, and Werkbund member, Günther Freiherr von Pechmann sailing away from a land of colour and flowers to a monotone industrial landscape; from a now of painted, decorated, ornamental porcelain to a future of functional, rational porcelain. And no, Willy Papenfuss wasn't/isn't wishing Günther Freiherr von Pechmann a bon voyage.
Porcelain for the New Home by Marguerite Friedlaender-Wildenhain & Gerhard Marcks for the Staatliche Porzellan-Manufaktur Berlin, in front of cake platters, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Complimenting the objects, both ornamented and not, Decoration as Trespass? also presents numerous quotes from early 20th century protagonist such as, and amongst others, the Austrian architect and designer Adolf Loos, (against ornamentation, very, very, much against) or Bauhaus Meister László Moholy-Nagy, (in favour of spray decoration), and quotes which indicate the nature of the debate and underscore the positions represented; and which above all indicate how far removed the two sides were from another. We're not saying the spray decoration conflict was as fundamental as the 1914 typology dispute, or would have led to such a split in the Werkbund, but it was an issue, and would arguably have continued to be so, were it not for the fact, as the curators note, that as quickly as it arose in the mid 1920s, spray decorated stoneware quickly faded in the early 1930s: a large part of the suspicion in the exhibition falling on the NSDAP and their preference on a more traditional aesthetic and craft over machine production.
Yet, and, as we noted from Design of the Third Reich at the Design Museum Den Bosch, the NSDAP weren't adverse to appropriating modernist practices and ideas when it suited their malevolent, nefarious, needs; and arguably affordable, mass market, stoneware with reinforcing, normalising, NSDAP imagery would, one imagine, have done just that, arguably such could have been an interesting tool, for example, in context of the works canteen crockery developed by Schöheit der Arbeit. And so while the, let's call it, for the purposes of brevity, "traditionalist" position of the NSDAP unquestionably played an important role in the move away from spray decorated stoneware. Other factors may also have played a supporting role.
A clue as to possibly other factors being found in the 1933 book Gutes und Böses in der Wohnung – Good and Bad in the Home – by Carl Burchard, a book very much in tune with the position of the NSDAP, the sort of exhibit one could expect to find in Design of the Third Reich, unquestionably would hope to find in any future exhibition of Domestic Design of the Third Reich, and a work which not only criticised spray decorated works but also took issue with decoration and ornamentation on home crockery in general, be that abstracted or naturalistic images, and a book which, in many regards, urged consumers to move away from an understanding that "a plate with floral decoration or a gold rim is more valuable and more beautiful than a exclusively white plate". And thus a book which indicates the NSDAP appropriated the (more or less) ornament-free position of the Deutsche Werkbund.
And thus, thus a book which neatly demonstrates that the NSDAP weren't adverse to appropriating modernist practices and ideas when it suited their malevolent, nefarious, needs.
Which isn't to say the Werkbund assisted the NSDAP, it isn't, even if the history of the Werkbund in the 1930s is relatively complicated – dissolved by the NSDAP in 1934 and then, effectively, reformed in 1935 in line with the positions of the NSDAP, and with very little internal resistance to the new NSDAP line, under the leadership of the aforementioned Hermann Gretsch; is however to say that, and as we opined from Den Bosch, that properly understanding the use of design by the NSDAP means moving away from understanding it only as the folkloric and classic and understanding it more as a component of inter-War modernism. Or put another way, the question as to why the Schönheit der Arbeit crockery on display in Den Bosch is, essentially, undecorated is (potentially) important. Certainly interesting. To decorate or not was an argument that had been bubbling along for most of the 1920s, and in 1933 was, as Decoration as Trespass? clearly explains, a position one took as a porcelain designer. The canteen crockery in Den Bosch was, in all probability, designed by Heinrich Löffelhardt, who in 1937 left Schönheit der Arbeit and joined, the aforementioned, Wilhelm Wagenfeld in Weisswaßer and later succeeded Gretsch at Arzberg. Which isn't the career of someone keen on decoration.
And in context of Decoration as Trespass? could lead one to understand the NSDAP taking on, appropriating, the ornament-free position of the Werkund as a means to erasing the abstract, expressionist, entartet, Roaring, decoration of the 1920s; if you will, to completely misappropriate the position of Adolf Loos that "evolution of culture is synonymous with removing the ornament from the objects of daily use." And the NSDAP have a well recorded history of cultural and symbolic misappropriation.
But we're hypothesising, and far, far out our depths………..
Spray decorated jugs, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
……..what is much more certain is that without the rise of the NSDAP, the war and subsequent evolutions in needs, requirements, understandings of consumer and household goods, spray decorated stoneware would have remained an important market throughout the 1930s and into the 1940s. For as Decoration as Trespass? makes clear, consumers were buying spray decorated stoneware, thus neatly underscoring the understanding from SPACES. Interior design evolution at ADAM Brussels Design Museum, or Moderne am Main 1919-1933 at the Museum Angewandte Kunst Frankfurt that in terms of understanding developments in design it is just as important to consider what consumers actually bought as much as what architects, designers, magazines, museums and/or institutions such as Bauhaus or the Deutsche Werkbund were promoting and propagating. The two are/were rarely the same. Alone dictatorships have the power to enforce what is consumed. And Instagram.
Beyond the stoneware and the arguments Decoration as Trespass? pleasingly expands its narrative to also include a collection of early 20th century expressionist, cubist and related, prints by the likes of Josef Čapek, August Macke, Piet Mondrain or Juan Gris, prints in which one can find reflected the forms, colours, expressions on the cake platters and which in doing so provides a little artistic context; and also, and a regular and very pleasing feature of Werkbundarchiv exhibitions, a reading corner with examples of early 20th century magazines, exhibition catalogues, books and newspaper articles, including Adolf Loos's 1908 polemic Ornament and Crime, and which all aids and abets the deepening of the understanding, and thereby nicely deepens and expands a concise but very satisfying exploration of spray decorated stoneware as both a product genre but for all as a conduit for approaching a better understanding of the debates and discussions surrounding ornamentation in the early decades of the 20th century.
For all the understanding that there were discussions.
Decoration as Trespass? runs at the Werkbundarchiv – Museum der Dinge, Oranienstraße 25, 10999 Berlin until Monday February 10th
Full details can be found at www.museumderdinge.org
Porcelain for the New Home by Marguerite Friedlaender-Wildenhauin & Gerhard Marck for the Staatliche Porzellan-Manufaktur Berlin, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Cake platter, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Works by Martha Katzer, Artur Hennig & Margarete Heymann, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Spray pistol and spray decorators, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Various spray decorated objects, as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
Prints by August Macke (l) & Josef Čapek (r), as seen at Decoration as Trespass?, Werkbundarchiv, Museum der Dinge, Berlin
…kitsch can also be sprayed….
Tagged with: Berlin, cake platter, ceramic, Decoration as Trespass?, Deutsche Werkbund, spray decoration, stoneware, Werkbundarchiv – Museum der Dinge
Radio smow: 89 from '89
Inspired by Bauhaus – Gotha Experiences Modernity @ The KunstForum Gotha


a day (a little high for me). I regulated the watch myself and now am +_ 3 - 5 sec, more than accurate enough for a mechanical watch.
- The watch has the same fun quirks as other Vostoks (Bi-directional bezel, wobbly stem, no fast date option, case back retainer ring, and sharp edges) but in my opinion these just add to the uniqueness of these pieces) This definitely looks and feels like a tool watch and that has its own charm.

If you are looking for an inexpensive automatic with a great story behind it you should definitely give this one a try.
at midnight (zero-hour or H-Hour) on day 1. It's a useful idea, although it takes getting used to as one must learn to read a 24 hour dial, where 12:00 noon would be 6:00 on a traditional 12 hour watch face, and where extra hour marks can lead to mistakes (every odd-numbered hour is at 2 1/2 minutes, half way between every even numbered hour, and the extra pip can be confusing).

However, this particular watch by Vostok suffers from some problems. The biggest problems are that the bezel rotates freely rather than clicking from position to position, so it can easily be moved by mistake, making it unreliable. And the date in the date window is not aligned making it difficult to read for dates greater than the 9th day of the month. The acrylic crystal scratches easily. My watch ran slow out of the box, losing about 20 seconds/day brand new, whereas most mechanical watches run fast when new and slowly lose time as they require maintenance. And, setting the time is a pain because there's a lot of loose play with the stem, on top of the fact that the movement is non-hacking (i.e., the second hand does not stop when you pull out the crown). Setting the date requires moving the hands past midnight -- there's no way to quickly set the date directly like on most contemporary watches.

At this point I was fairly unhappy with this watch. But then I did some research into its history. In 1967, the Soviet government requested that Vostok design a diver's watch that was comparable to Western makes like Rolex, Omega and Seiko, in that it could operate at depths up to 200 meters. They could not make use of existing patents because of Soviet policy not to pay Western patent licensing fees; so they had to start from scratch. Two designers at Vostok, Mikhail Novikov (their chief of design) and Vera Belova (a female engineer), analyzed various Western watch designs to see how they worked and to come up with novel solutions to create a watch that could withstand extreme pressure and shock. They made three basic innovations, with the crystal, the caseback, and the crown. Using a curved Lucite plastic crystal, they used the flexibility of the plastic to create a seal in which compression causes the crystal to expand in diameter and actually strengthen the seal, eliminating the need for special rubber seals. They developed a two-piece steal caseback that does not stretch out the O-ring when it's tightened, and that compresses under pressure providing a better seal. Finally, the crown screws on like a cap on a bottle, and is loose when unscrewed, by design, so that shock to the case won't bend or break the stem. The resulting production watch was tested in the North Sea during a simulated submarine rescue in the late '60s, with no problems.

At this point, my respect for Vostok watches increased dramatically. For under $100, you get a unique watch with an interesting history and some great design features. Also, there's a big modding community of people who replace parts of the watch to create unique watches, and who post on YouTube (just search for "Vostok watch" and you'll find many how-to videos for all aspects of watch assembly and maintenance). It's got problems, too, as I've mentioned above. But I've increased my review from two to four stars. Cheers!


text:
A Sophisticated Version Of Guess The Grape — But Is It A Sport? : NPR Ed For a half-century, Oxford and Cambridge have competed against each other in blind wine tasting. The big match is this week.
nprEd
A Sophisticated Version Of Guess The Grape — But Is It A Sport?
February 18, 20153:06 PM ET
Gabrielle Emanuel
An Oxford student practices for the upcoming wine-tasting match with the University of Cambridge. Gabrielle Emanuel/NPR hide caption
Gabrielle Emanuel/NPR
An Oxford student practices for the upcoming wine-tasting match with the University of Cambridge.
As the 500-year-old bell tower tolls, about 25 students from the University of Oxford cross a medieval cobblestone street. They duck under a stone archway and slip into a room named after T.S. Eliot, who studied here a century ago.
The students drop their backpacks and get ready for practice. They're here to hone their tongues. This week, an elite team of Oxford's six best tasters will battle the University of Cambridge to see which group has the most refined palate.
In the back of the Oxford practice room, the coach, Hanneke Wilson, is setting things up. She's published a book about wine. She oversees a wine cellar. And right now, she's struggling to uncork a few bottles.
"Corks can be very recalcitrant," she mutters to herself. Moments later, she succeeds and slips the bottles into cloth sleeves that disguise their labels.
Oxford and Cambridge have academic awards to see which school is smarter, and boat races to determine which is stronger. And for the past half-century, their blind wine tasting societies have held competitions. It's all part of an epic rivalry that dates back to the 13th century.
Now, these tasting teams are hoping to be recognized as an official sport.
As practice gets underway, wine is the only topic of conversation. Students list the regions they've visited: Bordeaux, Champagne, Alsace.
"I basically plan my holidays around vineyards," says Yee Chuin Lim, a master's student in development studies. Other students confess they do the same.
Soon the room is quiet and tense. One student makes his way around the long table, setting out wine glasses. Another student pours. Then, they start a sophisticated version of "guess the grape."
They study the color. They swirl the glass and take a big sniff. Eventually, they sip it and swish it, constantly jotting down what they notice. Finally, they spit it out; there is no drunkenness allowed. And, before the clock runs out, they guess.
Coach Wilson explains: "You get five points for the predominant grape variety, five for the country of origin, two points for the main viticulture region, three for the subdistrict, two for the vintage and then five points for your tasting note."
Basically, you need to know what grape, from when and from where — the more specific, the better. This means your tongue needs to have a database of wine. Plus, it helps to have a good working knowledge of agricultural practices and winemaking techniques.
"Wine tasting, as you will by now have realized, is very difficult," coach Wilson says.
Oxford's ultimate goal is, of course, beating Cambridge. Historically, Oxford has the edge, but Cambridge is the defending champion.
"It's very tense. People get jolly nervous. We go to the Oxford and Cambridge Club in London, so it's on neutral territory," Wilson says. "And the match happens in total silence."
Early in the morning on their big day, the team will head over to the train station. Ren Lim, a doctoral student in biophysics, has made this trip three times to represent Oxford. He says that on the train there is a scramble to find seats together. Then they pop open a bottle, cover the label and do a quick practice session right there.
"When you start dishing out glasses," Lim remembers, "you get funny looks."
Most Of Us Just Can't Taste The Nuances In High-Priced Wines
When people ask him about why he devotes so much time to blind wine tasting, Ren Lim says, "I still struggle to find why."
Wine Wisdom With A Wink: A Slacker's Guide To Selecting Vino
It is fun and challenging, he admits. And of course, college kids will be college kids.
Remember how you have to spit out the wine after you taste it? Well, you spit into a black spittoon that students from the two teams are supposed to share. But Ren Lim says that when you've got a mouth full of wine, sometimes your archrival will "hog onto the spittoon and deprive you of the privilege to use it."
Coach Wilson says that in more than 20 years of coaching, she's noticed that "Cambridge always makes more noise slurping and spitting than we do. We think they do this to put us off our stride."
But there's one thing both of these teams agree on.
"We treat wine tasting as a sport," Wilson says. "We train for it, the way we train for a competitive sports match."
She says both Oxford and Cambridge have petitioned to become officially recognized as sports teams. After all, it worked for chess. But so far, the powers that be haven't been persuaded.
"They think that sport involves running around and kicking or hitting things. We disagree, but there you are," Wilson says with a sigh.
Still, other universities are catching on. Blind tasting has spread around the U.K., and it's even crossed the pond. Both Harvard and the University of Pennsylvania's business schools have teams, among others. They let spectators watch — and taste for themselves.
Here in Oxford, competitions still happen behind closed doors.
So do the practices. As this one winds down, the team captain calls on Mateusz Tarkowski to guess the last pair of red wines. Tarkowski studies computer science, and he's hoping to make Oxford's wine team.
"Cherries on the palate. Of course it's a dry wine," Tarkowski looks down at his notes. "I definitely thought it was Italian." Then, he decides to hazard a guess.
When the sock comes off, Tarkowski has guessed right — full marks. It's been a good practice.


text:
package org.docksidestage.compatible10x.dbflute.allcommon;

import org.dbflute.Entity;
import org.dbflute.bhv.BehaviorReadable;
import org.dbflute.bhv.BehaviorSelector;
import org.dbflute.cbean.ConditionBean;
import org.dbflute.cbean.result.ListResultBean;
import org.dbflute.dbmeta.DBMeta;
import org.docksidestage.compatible10x.dbflute.bsentity.dbmeta.MemberDbm;
import org.docksidestage.compatible10x.dbflute.cbean.MemberCB;
import org.docksidestage.compatible10x.dbflute.exbhv.MemberBhv;
import org.docksidestage.compatible10x.dbflute.exentity.Member;
import org.docksidestage.compatible10x.unit.UnitContainerTestCase;

/**
 * The test of behaviorSelector.
 * @author jflute
 * @since 0.5.8 (2007/11/28 Wednesday)
 */
public class BehaviorSelectorTest extends UnitContainerTestCase {

    // ===================================================================================
    //                                                                           Attribute
    //                                                                           =========
    private BehaviorSelector behaviorSelector;
    private MemberBhv memberBhv;

    // ===================================================================================
    //                                                                              byName
    //                                                                              ======
    public void test_BehaviorSelector_byName_and_getTablePropertyName() {
        // ## Arrange ##
        final String tableDbName = "MEMBER";

        // ## Act ##
        final BehaviorReadable bhv = behaviorSelector.byName(tableDbName);
        final DBMeta dbmeta = bhv.asDBMeta();
        final String tablePropertyName = dbmeta.getTablePropertyName();

        // ## Assert ##
        assertNotNull(tablePropertyName);
        log("/********************************");
        log("tablePropertyName=" + tablePropertyName);
        log("**********/");
        assertNotNull(MemberDbm.getInstance().getTablePropertyName(), tablePropertyName);
    }

    public void test_BehaviorSelector_byName_and_readCount() {
        // ## Arrange ##
        final String tableDbName = "MEMBER";

        // ## Act ##
        final BehaviorReadable bhv = behaviorSelector.byName(tableDbName);
        final ConditionBean cb = bhv.newConditionBean();
        final int count = bhv.readCount(cb);

        // ## Assert ##
        log("/********************************");
        log("count=" + count);
        log("**********/");
        assertEquals(memberBhv.selectCount(new MemberCB()), count);
    }

    public void test_BehaviorSelector_byName_and_readList() {
        // ## Arrange ##
        final String tableDbName = "MEMBER";

        // ## Act ##
        final BehaviorReadable bhv = behaviorSelector.byName(tableDbName);
        final ConditionBean cb = bhv.newConditionBean();
        cb.addOrderBy_PK_Desc();
        final ListResultBean<? extends Entity> entityList = bhv.readList(cb);

        // ## Assert ##
        assertNotNull(entityList);
        log("/********************************");
        for (Entity entity : entityList) {
            log("entity=" + entity);
        }
        log("**********/");
        final MemberCB expectedCB = new MemberCB();
        expectedCB.addOrderBy_PK_Desc();
        final ListResultBean<Member> expectedList = memberBhv.selectList(expectedCB);
        assertEquals(expectedList, entityList);
    }
}


we hold before you those who are homeless and cold especially in this bitter weather.
Draw near and comfort them in spirit and bless those who work to provide them with shelter, food and friendship. We ask this in Jesus' name.


While the norm of many posts of this nature is to rip Turbine and the Devs a new one. this is not one of those posts. Now I admit I have been party to "those" posts in the past and may very well be again in the future. For now, however, I would simply like to give some feedback and tips to Turbine and welcome my fellow DDOers to add in their comments as well. Lets, at least, try and keep this constructive.
There is a ton of content. Nowhere near what some games have but there is plenty of variety for anyone starting the game new. The addition of the "Wilderness" zones was a nice concept and a fairly well executed idea. Please continue adding more, and higher level, versions of this idea.
At high levels the game has become nothing more then Favor grinding (which can only be done for so many characters before it becomes monotonous), Loot wh*ring, and an endless raid reflagging process. While this has worked up until now it is going to eventually come to a head.
There is an excellent amount of quest material from levels 1-8 maby even upwards of 10. Beyond that it becomes a problem. Not that there is a massive lack in content. Just the opposite. There is a wealth of content. But this content can only be run so many times before it becomes a waste of time. For example. Once you have attained the favor and flag from the desert quests there is no longer a need to run them. Loot is far superior in the Gianthold quests due to their higher level chests. So other then being required to run these quests for a flag ever few days they are no longer of any use. My point is that the Dungeon developing needs to begin to look at alternative ways to make these quests interesting again. Also. Stop adding low level content for awhile. There is so much now that you can level past the content without having ever done it all. Please keep focusing on longevity of the high end players. Level 1-9 has plenty of things to do that are productive for them.
Introduce more favor rewards. Perhaps a favor tree much like enhancements. Choose a path of favor in a particular house and get different rewards in the branch of the favor tree. Perhaps allow us to "double up" on favor for houses. Once we've completed a tree the favor sort of resets or restarts (saving our favor for the overall whole but resetting the individual so we can work on a second branch of favor for that house which maby doesn't count towards the whole the second time around). Expand the higher end game. When you introduce new content which has level 14 (16 on elite) quests than perhaps you also add a few quests in older zones. For example: Adding in a "Raiyum's Revenge" quest as a 2nd tier of the Raiyum quest that can only be accessed once you have favor or have completed the first Raiyum quest. This also furthers story lines in many quests when we know the end boss cannot be completely destroyed. As well as adding in new high end content which doesn't need much changing since the templates for some are already in place. long story short. Increase the frequency of new high end content please.
The reward system is flawed in DDO. I do like the end rewards and being able to chose from a list. However I think that every single quest should have a pool, no matter how small, of named specific items. A couple unique items to each quest to add to the flavor of that quest. As an example: Hiding in plane Sight could have a unique item as an end reward of an equipable item which has some type of stat or effect and one charge of Otto's Sphere of Dancing (if you've run the quest this item should make sense to you). This would give players more reasons to run these quests. Making the items bind on aquire will also help avoid flooding the market with them. You can also make them the kind of unique items which only allow you to have one on your person at a time.
It has been said repeatedly by numerous players that the raid loot system is poorly thought out. I understand you want us to feel the need to run the raids over and over and over again to get what we're after but there has to be a better way. I saw one suggestion that made sense and would help prevent raid loot from rotting. Put 5-6 raid items in every warded chest but still only have two stones. Yes this will not increase the number of items able to be taken from the chest on raids but what it does do is allow chances for more items that may actually be taken. As an example from Velah: Docent, Belt, Helm, Eye, Delving Suit are the choices. No longer will one of the warded rewards be wasted if there is no Warforge in the group.
Stop compensating us with +1 loot weekends. I know this is not going to be a popular suggestion amongst all players but hear me out first please. The economy in DDO is way out of whack. Flooding the market with Vorpals, Paralyzers, Banishers, Smiters, Disruptors and the like is only going to worsen an already struggling economy. In many economies it's all about Supply and Demand. Unfortunately, if you continue throwing out loot weekends as you have we will be an economy not of have's and have nots but of have's and have mores. Trading in game is a fun past time and allows people to further tweak their toons or plan for new toons. In a market where the rare becomes the common... what then are we to look forward to? Please find some other way to compensate us for issues on your end. Or better yet... maby just be honest with us in the first place BEFORE something bad happens. We might surprise you with how understanding we can be if we're not treated like ignorant children.
Lets talk about the compendium of monsters in DDO. While it seems, if you count them up, to be quite allot of monsters in DDO there really isn't. What about some of the simplest monsters that never seem to be used. Basalisk? Now we have a use for the Stone to Flesh spell. Owl Bears? Soomething new for low level wilderness areas. Gryphons? Wyrms? there's such a massive list in the compendiums it's a little frustrating that we're limited, primarily, to Huminoid (2 arms, 2 legs) monsters and a variety of dogs and insects for the most part.
I am sure I have more and will likely add to this as time goes on but I just fealt like putting some thoughts down while I had the time.
I have to agree with almost every point here except that there is enough high level content.
Turbine could flood the servers with content, if they could expand and do some return to type quests ala invaders.
Return to StormCleave was an example I just posted about, but there are many quests that deserve this same treatment.
Could you imagine a level 14 Gwylans?
Why has nothing invaded Tangleroot Gorge since level 5?
Yeah I could see some people whining about a lack of new maps but you know I think the player base would be happy with only 1 or 2 new original maps and a few reused maps made into updated quests. I personally believe that the developers here could push out alot more content because they wouldn't have to do all the art work for zones and stuff.
On this point we do actually agree completely. I guess I didn't elaborate or at least did not represent myself clearly. I do not think there is enough high level content to keep the top tier players entertained long enough to wait between content updates. Gianthold was the best yet for amount of high end content but still has trouble picking up the slack from previous updates.
As for upgrading and doing further "Return to" quests? H. E. Double Hockey Sticks yeah!!! Tangleroot Gorge: The Revolt!! Stormcleave: The Rise of Helos!! Gwylans Stand: Onslaught!! The list is endless.
I don't agree with every solution but I think all of the points you raise are absolutely true. They all deserve serious consideration and I hope Turbine takes your post seriously.
I would add to your list some effort to take such plat out of the economy by finding additional FUN uses for plat (like titles and special privileges and such).


text:
56 teams prepare for Du Football Champions semi-finals
Choueifat, DESC Under-16s face stiff competitions
Published: March 05, 2019 16:02 Staff Report
Image Credit: Supplied
Dubai: The International School of Choueifat and DESC pummelled their opponents at the Dubai knockout round of the Du Football Champions, in partnership with La Liga.
Both Dubai schools, undefeated in all age groups and categories, now must prove themselves against top schools across the UAE, in the nationwide semi-finals. In the Schools Under-16 category, Choueifat and DESC will be up against Abu Dhabi's British School Al Khubairat (BSAK), Sharjah's Al Maarifa School, Hatta's Rashid Bin Saeed school, Abu Dhabi's Al Raha International School and Emirates Private School, Al Ain's Our Own Indian School and Dubai's New Academy School.
The field looks just as fierce for U12s and U14s.
"Aside from the usual suspects, we're seeing new teams coming through to the du Football Champions UAE semi-finals this year," said Fernando Sanz, General Director for La Liga in Mena. "Teams that have been competing in the tournament for years and have now, through hard work and lots of practice, earned a place at the semi-finals with a real chance to claim the title. That's exactly the mission of this platform, to inspire more and more children to play, and through healthy competition, to raise the level of play across the UAE and give top talent a chance to get discovered and scouted for a career in professional football."
Next week's semi-finals will be played at the Sevens in Dubai.
Expert warns against blaming runaway teen
New programmes at Emirates Soil Museum in Dubai
Growing interest among children spurred the expansion of educational programmes
Six missing after Nigeria ambush
FAB's FOL move seen driving foreign flows


These days a lot has been spoken about colon hydrotherapy. Many do wonder what is so different about this form of colon cleansing treatment. Basically, it is nothing but an internal bath which helps in cleaning the mucus deposits and other waste in the body. Up until recently, many hospitals in the UK were using this form of treatment, which seemed a bit expensive due to the high priced medicines used during the process.
Enema is basically a mix of different herbs which and is introduced to support the colonic hydrotherapy. This is done so because it effects to faster cleaning and the process of detoxification is also done quicker. The Associated Registered Colon Hydrotherapists has a set of expert therapists use enema based on the client's requirements to deal with the colon. One can also add different herbs in order to promote the treatment better. Especially for those who are undergoing this treatment for the first time, the combined treatment works beneficial.
To know better about colon, it about reabsorbing salts, digestive juices and sending it back to the bloodstream which eventually reaches the liver. Considering it gets accumulated in the body, it becomes more like a bacterial infection. If not dealt with, it may also lead to colon cancer.
Colon Hydrotherapy is a well known treatment. It does not take more than an hour and fifteen minutes and as the sessions progress the time reduces. However, before beginning with the treatment, the doctors always look deep into the case history. It helps in understanding the condition better and to choose the right means to deal with the problem. The complete procedure related to colon hydrotherapy is explained to the patient.
Post all that, once the patient is ready to proceed with it, the doctors ask the patient to relax and lie down. The hydrotherapy equipment is used to operate on the colon. Completely monitoring is done, the filling and releasing process is done at least 3 to 5 times. More so, the doctors try to massage the abdominal area so that the toxic waste along the walls comes out along with the gas.
After the first session, the patient is prescribed with a certain diet that will be beneficial. Also, it is determined whether the patient requires additional sessions, how many and when.


text:
Fort Smith - February 2017
[Back to Fort Smith]
Fort Smith — Extension Recommended
A planning consultant is suggesting improvements for downtown Fort Smith and one of the ideas for the Arkansas city is expanding the half-mile Fort Smith Trolley Museum car line which is operated by restored four-wheel Birney car Number 224. It is a restored original Fort Smith streetcar from the first generation line abandoned in November 1933. The planning proposal was posted by the suntimes.com site.
Wikipedia has an article about the trolley museum. Here is an excerpt:
Streetcar operation at the museum was inaugurated on May 19, 1991, using ex-Fort Smith Light and Traction Company car 224, a Birney-type streetcar built in 1926 by the American Car Company. In the first seven months of operation, though the end of 1991 (in which five months had daily operation), more than 10,000 rides were given. The initial line was about one-quarter mile long, using ex-Frisco freight tracks, along which FSSRA volunteers had installed trolley wire and support poles. It connected the carbarn, at 100 S. 4th Street, with
the Fort Smith National Historic Site.
Downtown should have more of a regional emphasis to support
businesses and entrepreneurs," Kelsey Berry of Gateway Planning said. She recommended expanding the trolley into the Belle Grove area.
"The trolley would come down Second Street and here you have H Street going toward Riverfront Drive," Berry said.
People could get off there and easily be able to go to the Marshals
Museum, shops and restaurants, she said.


Experiência de ensino: I have been teaching English and Social Studies for the last 11 years at a variety of schools.
Interesses: I love to read, cook, bake, take walks outside, spend time with my family, watch Netflix, sing, and go to the theatre.
Educação: I attended Newberry College to obtain a Bachelor of Science in Elementary Education. I also have a Master of Arts degree in Educational Technology, and I am currently working on my Master of Education degree in Educational Leadership from Coastal Carolina University.


May we have a fanfare of pinards please?! The revised, lengthened and shinier-than-ever edition of the new book on induction that I have written for AIMS is now available for purchase.
Written by myself and retitled Inducing Labour: making informed decisions, the book is designed to help women make decisions about induction of labour, and the last edition was not only popular amongst women, but also midwives, birth workers and students who wanted to get updated on the evidence and be able to lend out copies to women at the crucial time. The latest version has been written with all of these groups in mind.
To order your copy, visit AIMS website.
And, if you haven't yet bought your ticket for the book's launch event in Bristol on the evening of May 1st, you might want to do it soon as I understand that there are only a handful of seats left.
← Yikes, I'm on facebook!
Thank you for all your publishing and researches. It supportas me very well in my midwife work!


Think SD-WAN is the panacea for modern networking?
While there's no doubt that SD-WAN technology is absolutely necessary to support the rapid innovation required by today's cloud-first enterprise, it is just one of many capabilities that make next-generation networking possible.
• Cloud-grade SD-WAN to automate connectivity and orchestration across hybrid WANs, cloud networks, and remote branch LANs/WLANs.
• Rich visibility into heavily-encrypted environments for an end-to-end view of performance and fast resolution of problems.
• Built-in optimization that unifies application acceleration and SD-WAN network services for complete control over application performance.


So you have the divorce decree. Now what? Just because you signed the papers, your divorce may not necessarily be over. Therefore, you should follow the steps in this post-divorce checklist.
But first, take a breath. Congratulations on getting this far! Enjoy a nice glass of wine, and take a day or two to relax. But do not get too comfortable. You still have a lot of work to do.
Even though you have come to a settlement, a judge has to sign off and officially declare you divorced. Depending on where you live, this process may take several months. Just about anything involving the court tends to take much longer than you would expect.
1. Ensure you get (and give up) everything you agreed to.
2. Update all of your accounts, in order to ensure they reflect your new reality.
The first step is to gather your final divorce settlement, a notepad, and your calendar. You should read—and take notes about—everything in the divorce settlement that either you or your ex-spouse need to complete. This step may involve transferring money or assets, setting up custody schedules, or completing a QDRO.
Hopefully, there are no surprises when you read the final settlement. That said, you need to make sure nothing falls through the cracks. In other words, you need to take a complete inventory of everything you need to do.
Most divorce settlements have many, many dates. Some dates may occur annually over the next ten years, while others may occur over the next ten days. It may be a challenge to stay on top of all the various dates, so it is essential to stay organized.
If you do not have a great calendar system yet, now is the time to develop one. Each one of these items needs to be clearly documented now. For instance, you need to make sure that accounts are transferred to daily custody, and that final payments are made years down the line.
Many people fail to properly set up their new life, because it requires a lot of elements that most people do not think about. And to be quite honest, most of the things I am going to discuss below are pretty tedious.
However, they are also very, very important to complete. As you work through these documents, you may need two glasses of wine. (Hey, you might need a bottle).
Always review your credit report, and ensure that everything makes sense on it. If there is an issue, get on it right away.
Close any joint accounts that are open, EVEN IF they have a $0 balance. Many years later, joint accounts can come back to haunt you. If a joint account cannot be closed due to an outstanding balance, see if you can freeze it. Most lenders are pretty willing to help when you have a divorce settlement in hand.
After your divorce, it is wise to set up new bank accounts and other financial accounts. Your ex-spouse may have access to all of your existing account numbers, social security number, favorite pet's name, and all the traditional security questions that most financial institutions ask.
A vindictive (or a financially strapped) ex-spouse may try to access those prior accounts. You may not think it would ever happen to you—until it does.
Estate planning is the process for understanding what you want to happen if a) you die or b) you are incapacitated. It is not a lot of fun to think about, but where do you want your assets to end up if something happens to you? Do you want to leave everything to your ex-spouse, or do you want a random judge making decisions for you?
You may have a will, a healthcare proxy, powers of attorney, trusts, and other documents related to your assets and wishes. Everyone is unique. You should review whatever plans you have any time you have a major life event, such as getting divorced. It is not fun, but you need to find a local estate planning attorney who can help you.
Check the beneficiary on EVERY financial account.
Your bank account, retirement account, insurance policies, and pension plans have a beneficiary attached to it. The beneficiary is simply the person (or people) who would receive the funds in those accounts, should you pass away.
By default, when you are married, that beneficiary is usually your spouse. Now that your spouse is your ex-spouse, you should change your beneficiaries. It could be your children, siblings, friends, charities, or anyone else. It is up to you.
For every account you have, check to see who the beneficiaries are. Have your documents updated if they do not meet your wishes. Usually, it is not a very difficult process. It just involves calling up the institutions and filling out the forms they provide. Nonetheless, it has to be done.
Now is a good time to make a financial plan. If you already have one, you should update it. You are probably living on a lower income than you had before the divorce, so you need to plan for retirement, your kid's college tuition, the purchase of a new home, and other life events.
The year you are considered divorced for tax purposes, your taxes will change. To ensure you do not miss anything major, determine your plans from a tax perspective. Even if you file your taxes by using the major software programs, it is worth at least consulting with an accountant to ensure that you are on the right path.
Most importantly, try to enjoy your new life.


Even adults and children who usually give fruit a wide berth, will drink it down happily in a smoothie. Easy to prepare - and even easier to drink - these foods in a glass can kick-start your day or be enjoyed for lunch or supper or anytime you feel hungry or thirsty. The recipes will help meet the requirements for protein, fruits and dairy foods that are part of a healthy daily diet and the combinations are endless.
Fruit is naturally high in carbohydrates, but the calories from these are easier to burn off, unlike those from fat. Because fruit is the main ingredient, smoothie recipes are generally very low in fat and high in fibre, leaving you feeling full and energised.
If you are liable to become hooked on these delicious concoctions you may want to buy extra fruits in season and to freeze them for use in your drinks. Straight from the freezer they make a deliciously cold drink in the summer months, although this isn't necessary if you have a ready supply of fruit.
Simple, and full of Vitamin C and potassium, this is a popular, low calorie smoothie.
Pour orange juice into the blender. Add the strawberries and bananas and blend until smooth.
Orange juice is also the basis for this delicious smoothie of summer fruits.
Pour the juice and fruits into the blender and blend until smooth.
This very low calorie smoothie recipe is refreshing for a warm summer day. It combines honeydew melon and mint and is full of flavour.
Looking and tasting like a latte coffee, this smoothie is an indulgent, yet low calorie mix.
Add coffee, milk and then bananas to the blender. Blend until smooth. While the blender is running add the ice cubes and blend until smooth. Pour into glasses and sprinkle with cocoa and cinnamon to garnish.
Apples are a year-round fruit and are the basis for many fibre-rich, low calorie smoothie recipes like this one.
Combine the yogurt, apple sauce and apple in the blender. Add the fresh apple and spices and blend until smooth.
In a small saucepan combine 1 cup of chopped, peeled apple and 1 cup of water. Bring to the boil, reduce the heat and simmer for ten minutes or for as long as it takes for the apples to become tender and the water to evaporate. Mash and with a spoon or fork and cool before using. Cover and refrigerate any unused sauce. This recipe makes roughly 1 cup.
This smoothie is rich in nutrients from the brazil nuts and apricots.
Slice the peeled banana and, if using fresh apricots, halve them and remove the stones. Add the fruit to the blender with the remaining ingredients and blend until smooth. You could use a little sugar or honey in this recipe as an alternative to maple syrup, but the syrup works well with the nuts to absorb the selenium, a powerful, healthy antioxidant.
Don't forget you can also freeze smoothies and take them to work or on picnics. Use strong, self-seal freezer bags and they will thaw by the time you need them.