Rehab loans can get you into trouble. It is important to understand the dangers of these loans so that you can avoid the damage that they can cause to your credit and personal finances. Consider these five dangers of rehab loans before you decide to borrow.
Financial institutions consider rehabilitation loans a higher risk than conventional mortgages. This is due to the fact that rehab loans are based on the projected value of the property after the renovations are complete. It is for this reason that rehabilitation loans have higher interest rates than conventional loans.
If you are flipping a property (buying and fixing up a place for resale), or you plan to sell your home after the upgrades and repairs are made, you may be required to pay the loan in full upon selling the property. If the house sits on the market for a long time, you may be stuck with carrying costs which will reduce your profit on the sale. If you sell the property and it does not cover the projected value, you will have to pay the balance of the rehab loan out of your own pocket.
It is the borrower's responsibility to cover many of the related costs at closing, including inspections, permits, and appraisals. These fees can sometimes be factored into the total loan amount, but you are still responsible for paying them, either upfront or under repayment terms.
While a rehabilitation loan will normally cover costs of repairs and renovations, there may be unexpected expenses that arise during the course of the project. Pest control, electrical problems, plumbing, or rotten flooring are among some of the costly problems that can surface during a renovation. If the loan amount does not cover these unforeseen issues, you will have to pay out of pocket to complete the work. If you have to borrow more money, you are only perpetuating a debt cycle that could be harmful.
Again, your loan amount will be based on a projected value that is not necessarily guaranteed. Should depreciation occur in the general neighborhood of your project, you may not be able to sell the property for the amount of your loan. You could lose money rather than gain money, as you will still be responsible for settling the full amount of your rehab loan.


Funny memory from my first marriage…As a newlyweds, we both worked outside the home and I was tired of having to keep everything tidy! I went on strike for 2 weeks while the newspapers, tash, and Housework is for women who don't know how to quilt shirt. I only washed enough dishes for myself and cookware so after 2 weeks of this in a small one bedroom apartment it was a disaster area! I answered a knock at the door only to find a neighbor needing our help with cat sitting. She came into our tiny apartment with her request and before leaving announced she would help us clean up as payment for taking care of her cat!!!
My 20 year old granddaughter lives with us. She has been commenting on how nice the house looks and Housework is for women who don't know how to quilt shirt. I had just finished loading the dishwasher when she put her breakfast dishes on the counter. I told her she needed to put them in the dishwasher. Her response? But, you are doing such a nice job of housekeeping and the house looks so nice, I didn't want to disturb your "flow".
I stopped doing housework when hubby retired 2 years ago. I mean, I just totally lost interest in it…cooking too. I did just what absolutely had to be done, and Housework is for women who don't know how to quilt shirt. About a month ago, I started following a couple YouTubers and bloggers and was inspired to get back to work! My house looks sparkling clean now, I visit Goodwill almost every day with clutter I've moved out of the house.


Domestic production of television will be boosted with the government\'s announcement to reduce customs duty on a key component used in low-end models and LED/LCD panels.
NEW DELHI: Domestic production of television will be boosted with the government's announcement to reduce customs duty on a key component used in low-end models and LED/LCD panels.
In the Budget for 2014-15, Finance Minister Arun Jaitley proposed to exempt colour picture tubes from basic customs duty to make cathode ray TVs cheaper, while reducing it to zero from 10 per cent on LCD and LED TV panels of below 19 inches.
Besides, in a move to encourage manufacture of LCD and LED TV panels, Jaitley proposed to exempt specified inputs used in their manufacture from basic customs duty.
Commenting on the announcement, Consumer Electronics and Appliances Manufacturers' Association (CEAMA) said it would help in indigenous manufacturing of panels.
"The Minister has taken steps to boost domestic production of electronic items and reduce our dependence on imports," said CEAMA President Anirudh Dhoot, who is also a director in Videocon Industries.
CEAMA General Secretary Suresh Khanna said removal of duty on import of picture tubes of CRT TV would help small manufacturers.
"CRT TV, which is manufactured by the small players and sold mostly in rural areas would get a new life as its market was declining rapidly. It would make CRT TV cheaper by Rs 150 to Rs 300," he added.
At present, only a handful of manufacturers make CRT TVs. Videocon is one of the branded nationwide players in the segment selling its products at a price starting from Rs 4,990 for 14 inches screen.
Big manufacturers such as Samsung, Sony, Panasonic have stopped selling CRT TVs and are also not present in the LED/LCD segment below 19 inches.
Haier India President Eric Braganza said the exemption of basic custom duty on panel components will further push manufacturing of flat panels in India thereby helping it to become a hub.
"Overall we feel that the Budget will have a positive impact on the industry and help it grow further," he said.
Low cost LED/LCD TV maker Arise also said that the Budget has signaled encouragement to production of LCD and LED TVs in the country and will be much beneficial to domestic manufacturers.
"We welcome the proposals set forth in the Budget and welcome the policy measures," said Arise India Managing Director Avinash Jain.
Panasonic India MD Manish Sharma said the extension in the time period of reduced excise duty and exemption of flat copper wires from excise duty will further boost the future growth and the economy overall.


Take the right step to ensure your iPhone lasts as long as you need it to with the impossibly slim, protective Survivor Endurance - tested proof that bulk doesn't mean protection.
Survivor Endurance debuts a specially developed shock-absorption material which provides more protection in an extraordinarily slim profile - proving that thin cases can withstand higher impact drops than their bulky competitors, defying what is commonly known about protective cases.
Survivor Endurance was built to be extremely thin and practically weightless so that your iPhone maintains its sleek profile while still being protected from harm. And the case's translucent back shows off your iPhone.


How to Manage WordPress Admin Menu?
The admin menu is what logged-in users can see from the left sidebar of WordPress dashboard, and you can leverage more control over the backend menu to improve the experience for users and yourself. In addition to the inbuilt menu functions, it is also possible to reorder the menu items, create custom menus and even hide certain menus for specific users.
Note that, this beginners' guide will mainly explain how you can take advantage of a plugin named as Admin Menu Editor to customize and improve the admin sidebar. Now, let's scroll down and get straight to the point.
In a nutshell, this "Admin Menu Editor" would make managing and improving your backend menu an absolute cinch. To be fair, this WP plugin is quite useful especially when you're running a multi-author website but don't have a good command of development skills to create custom menus.
In the further, "Admin Menu Editor" can make your unwieldy admin menu much cleaner with a rich set of features included. For instance, you are empowered to rearrange menu items through the drag-and-drop and set menu permissions for specified users. Beware that, this well-maintained plugin requires WordPress 3.8v or higher versions, and it is free to download via the following URL.
How to Manage Your WordPress Admin Sidebar Menu?
In this section, we'd like to illustrate how to make good use of the "Admin Menu Editor" to set up a more streamlined user interface that makes sense to your own way of thinking. As this WP plugin is totally free to use, you can get it installed directly from your WordPress plugin directory. Below are more installation and customization details.
As usual, the first important thing that you must implement is to enable the mentioned "Admin Menu Editor." As is discussed in this plugin installation tutorial, there are a couple of ways you can go about achieving this objective. Perhaps the most simple and effective way is to "Install" and "Activate" this plugin from the plugin repository.
Assuming that you've logged into the admin area and planned to add it through dashboard, all you need to do is follow the given instructions. If implemented properly, this newly-added plugin will show up within this "Installed Plugins" tab.
To proceed, navigate to "Settings" > "Menu Editor" as follows. From the following screencast, you are provided with the ability to personalize the current menu layout for your WordPress website. Throughout the interface, you can simply drag and drop any menu items to new locations as you wish. If you make a hit on any menu item, there will be a sub-item in the column.
Taking the example of "Dashboard" here, there are several options within the expanded column, including "Menu Title", "Target Page", "URL" and "Required Capability." Note that, all those offered options can be edited to your liking except the URL. By clicking this "See advanced options" link, you will be able to create window title and re-configure CSS classes, hook name and icon URL for this individual "Dashboard" menu.
Meanwhile, it is also possible to add custom menu items by clicking this "New Menu" icon at the top. If you are dissatisfied with one menu, then you can hit the next "Delete Menu" button. Beware that, the default menus cannot be removed even if you've saved all changes. It is not a bad idea to hide certain menus for some users.
As is noted, you can also decide who would see a menu item by adjusting the required capability. The good thing of this plugin is that you can restrict visibility by "Roles" or "Capabilities." If you prefer to hide the comments menu from "Roles", you can choose "Editor" from the drop-down list.
Apart from that, this powerful admin menu plugin also allows you to show or hide menu items for whatever reasons. To do so, click on the top "Show/Hide" button and a grey icon will appear on the menu that you're editing. Just double-click this button will make this menu item visible again.
If you wrongly delete an important menu or make serious mistakes, then you can quickly restore to the default admin menu by clicking on this "Load Default Menu" button. If you are disallowed to enter the plugin settings page, you can still reset the default menu items by typing in http://www.yourdomainname.com/wp-admin/?reset_admin_menu=1 in any web browser.
Important to Note: If needed, you can get a hold of the premium version of this "Admin Menu Editor" plugin. The biggest joy in this Pro version is exporting and importing custom menu configurations between multiple websites. Other provided features enable you to use shortcodes in menu fields and create menus that are only available to certain users. Pay attention that, there are three optional commercial plans, which are starting at 19 bucks.
The instanced "Admin Menu Editor" plugin is indeed a simple-yet-effective tool to reorganize and manage WordPress admin menus. To be frank, there are various admin menu plugins in the online market, and below are some recommendable alternatives that help you build a far more navigable admin menu. Note that, all those listed solutions are available for free download through www.wordpress.org.
Notifications for Collapsed Admin Menu – It enables you to highlight the plugin icons and comments in your collapsed WordPress sidebar. In the further, its enhanced sidebar menu makes use of different coloured background as well as a visual indication where the comments are still in moderation.
Admin Menu Tree Page View– It enables you to have a tree view of all posts/pages directly from the admin menu. More than that, you can also add links to all posts/pages and change the display order of them with built-in drag-and-drop.
Ultimate Admin Bar – It enables you to move the existing admin menu from the left sidebar to be incorporated with your admin bar. As the admin menu is set to be fixed, it will always stay in your view no matter how far you've scrolled down.
Remove Tools Menu – It enables you to remove the unused Tools menu from your WordPress admin. If you want to export, import or have the bookmarklet once more, you can simply deactivate and re-enable this plugin as is required.


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DARK WHISPERS VOL. 1
A SPOOKY ANTHOLOGY FROM AUSTRALIA'S FEMALE HORROR DIRECTORS
MONSTER FEST REVIEW
By Jake Watt
Back in 2007, a Guardian article by Emine Saner entitled 'Everything but the Ghoul' argued that "there just aren't enough female directors in any genre, but especially in horror."
In 2019, 'Dark Whispers Vol. 1', an anthology of short films from 11 Australian female horror directors, offers a robust rebuttal to that notion. Curated by Megan Riakos and producer Leonie Marsh, with associate producer Briony Kidd and executive producer Enzo Tedeschi on board, the shorts date back to 2005 and cohere according to the inherent themes and similarities that the films share. Not just killers, ghouls and ghosts... but longing, grief, regret, family, kinship and motherhood.
Women have been creating horror movies since the early days of cinema, including films such as 'Faust et Méphistophélès' (1903), directed by filmmaking pioneer Alice Guy, and the thriller 'Suspense' (1913), directed by Lois Weber. 1978's 'Halloween', inarguably the most influential modern slasher flick, was co-written and produced by Debra Hill; feminist author Rita Mae Brown penned 1982's gorefest 'The Slumber-Party Massacre', which was directed by Amy Haden Jones; and future Oscar winner Kathryn Bigelow cut her teeth on the 1987 vampire-film classic 'Near Dark'.
Women continue to be instrumental in the horror industry not only as directors, but also as actors, writers, and producers. Female characters are prominent in scary movies, and not always as helpless victims. Think about the Final Girl, without whom slasher films would not exist, or other kick-arse heroines, like Ripley from 'Alien'.
Behind the camera, though, the numbers don't add up. You'll still find way more male writers and directors. Even the canon's essentially feminine narratives, like 'Rosemary's Baby', 'The Descent', 'Let the Right One In' and 'Misery' come from the minds of men. "There are not a lot of female directors period, and even less who are inclined to do horror," Jason Blum, the head of Blumhouse Productions, said in a 2018 interview with Polygon before immediately offering a swift apology on social media.
Female directors are so glaringly absent from the mainstream because the industry is stacked against them in every conceivable way. As Amy Adrion highlighted in her documentary 'Half the Picture', female directors have to contend with scant funding and a one-strike industry that only allows them to produce a single dud before they're lowballed for life. Attitudes like Blum's are why new horror movies directed by women are worthy of extra celebration.
'DARK WHISPERS VOL. 1' TRAILER
Against the odds, the past few years have brought us a new generation of horror classics about women, by women. Films like 'Raw', 'Prevenge', 'The Lure', 'The Love Witch', 'The Babadook', 'The Wind', 'Satanic Panic', 'Braid' and 'XX', a female-helmed horror anthology described by one of its makers, Jovanka Vuckovic, as a "historic moment... created in direct response to the lack of opportunities for women in film, particularly in the horror genre," which, she argues, was "badly in need of new perspectives."
As 'Dark Whispers Vol. 1' opens, we are introduced to Clara (Andrea Demetriades, 'Alex & Eve'), a young woman whose mother has recently passed away. She inherits a creepy-looking tome, The Book of Dark Whispers, filled with morality tales and warnings for women. Directed by Megan Riakos, Clara's story acts as the film's wraparound segment. As she reads the stories, which become steadily more horrifying, she notices various motifs materialising into the real world. When she tries to put the book down or destroy it, she is urged by a mysterious force to continue turning its pages...
"I don't think a lot of the filmmakers making horror now know its worth, or realise the potential of the genre," 'Babadook' director Jennifer Kent told New York magazine back in 2014. "Just because it's a horror film doesn't mean it can't be deep." Horror has always had an easy relationship with allegory and, at their best, horror films invite self-examination and interpretation, which is a huge part of the appeal for any director. Sometimes they are just plain brutal to look at, but don't go deeper than the first cut. There isn't much in the way of blood, guts and gore in 'Dark Whispers Vol. 1' - these stories are largely of the subtle and psychological variety, searching for a deeper meaning or a timely message and allowing the female directors to explore every type of terror, from body horror to extreme paranoia.
Set in an elevator in a hospital during the night, Angie Black's 'Birthday Girl' tells a bittersweet ghost story that reconnects a mother with her young daughter. Isabel Peppard's surreal 'Gloomy Valentine' is an emotionally disturbing exploration of heartbreak through some nightmarish Bolexbrothers-style stop-motion animation. Madeleine Purdy's fun 'Little Sharehouse of Horrors' brings to mind Edgar Wright's 'Spaced' if it was invaded by the carnivorous plants from Sam Raimi's 'Evil Dead'. Lucy Gouldthorpe's 'Grillz', an odd but amusing story about vampires, kinks and matchmaking apps, recalls Michael Almereyda's 'Nadja', another black and white film that handles the legendary bloodsuckers in an understated arthouse style.
These stories are largely of the subtle and psychological variety, searching for a deeper meaning or a timely message and allowing the female directors to explore every type of terror, from body horror to extreme paranoia.
'The Ride', directed by Marion Pilowsky, follows a student (Ed Speleers, 'The House That Jack Built', 'Zoo') on his way to meet his girlfriend, who accepts a lift across the English countryside from a random driver (a thuggish Anthony LaPaglia, 'Annabelle: Creation') whose misogynistic and racist chit-chat eventually strides into 'Wolf Creek' territory.
In Briony Kidd's 'Watch Me', a famous actress (Astrid Wells Cooper) is addicted to receiving attention. Out for dinner with her boyfriend (Tosh Greenslade), she waves at the fans ogling her before ducking off to the loo for a quick fix, whipping out a camera phone on the toilet to indulge her craving for an audience. She even blackmails her personal assistant (Jazz Yap) into watching her while she sleeps, like Van Helsing sitting beside a snoozing victim to ward off Dracula. Similar in tone to a Peter Strickland film, it mixes wit and the absurd with sadomasochism, ambiguity and unusual psychology.
Home invasion movies are driven by a universal fear: who hasn't worried about someone breaking into their home with malicious intent? It's why creaks and bumps scare you when you're home alone. It's why wind chimes become instruments of terror when the sun goes down. Janine Hewitt's 'The Intruder' stars a pre-fame Asher Keddie (TV's 'Offspring') as Zoe, a young woman hiding from an ominous figure in her front yard on a dark and stormy night, only to instead encounter her worse-for-wear former best friend, Angela (Bree Desborough).
Kaitlin Tinker's terrific 'The Man who Caught a Mermaid' starts off like a whimsical riff on Agnieszka Smoczyńska's 'The Lure' before moving into the more sinister territory of Lucky McKee's 'The Woman'. Not only does it boast some impressive monster effects, but there is also a sharp twist that makes an old fisherman's quest to capture a nubile young mermaid even more creepy. A mix of blunt sexual politics and luridness, Tinker's segment is an all-out assault on the fraternity of men and the outrageous lengths they go to in order to fulfill their desires and keep women in line.
Like all horror movie anthologies, it comes down to a personal taste. For me, the standout entries include 'White Song' from Katrina Irawati, an Indonesian ghost story told from the perspective of the Kuntil Anak, the spectre of a woman who was brutalised by her husband and died while pregnant. Raesita, a batik artist, loses her own husband in a car accident and the ghost is drawn to her inconsolable grief. Beautiful to look at, strangely haunting and a distant relative of Kiki Sugino's 'Snow Woman', Irawati's lyrical segment ebbs back and forth between the two tragic women via some dreamy editing. Another highlight is Jub Clerc's 'Storytime' which follows a couple of adventurous Indigenous kids, Jhi (Jhi Clarke) and Cecilia (Verna Lawson), in the Kimberley region as they wander deep into the mangrove swamp at sunset and encounter the terrifying Gooynbooyn Woman. This segment has atmosphere to spare via the shadow-dappled, maze-like scenery and the solemn acting of Sylvia Clarke as Gran. It's a reminder that, while there are about four trillion things in Australia than can kill you in a second, our myths and legends are just as dark.
After flicking through every page and chapter of 'Dark Whispers Vol. 1' and watching the eerie stories brought to life by 11 talented Australian female filmmakers, you'll quickly decide on your own favourites and be left wanting more. Here's hoping that 'Dark Whispers Vol. 2' appears sooner rather than later to continue to showcase the talent this country has in abundance.
RELEASE DATE: TBA
CAST: Andrea Demetriades
Asher Keddie
Bree Desborough
DIRECTORS: Megan Riakos
Jub Clerc
Lucy Gouldthorpe
WRITERS: Warwick Burton, Sylvia Clarke, Claire D'este, Katrina Irawati Graham
Janine Hewitt, Jean-Philippe Lopez, Isabel Peppard, Joel Perlgut
Michael Harden, Marion Pilowsky
Madeleine Purdy, Megan Riakos, Kaitlin Tinker
PRODUCERS: Briony Kidd
Leonie Mansfield
Megan Riakos
Enzo Tedeschi
SCORE: Pru Montin
www.DarkWhispersAnthology.com
DarkWhispersAnthology
DarkWhispers_AU
Looking for more Monster Fest reviews? Click here to check out our collection of this year's highlights.
RELATEDDARK PLACEAn unsettling Indigenous horror anthology
RELATEDSATANIC PANICDemons, dildos and deep dish pizza
RELATEDBRAIDA dark and unhinged fairytale
RELATEDZOOToothless and shambling
RELATEDTHE WINDA paranoid Western nightmare
RELATEDTHE FIELD GUIDE TO EVILAn uneven assortment of international terrors

redpajama_set_name: RedPajamaCommonCrawl


When a megayacht owner recently approached Rokoat it was with a mixture of pride, alarm and desperation. He had always dreamed of owning a luxurious 40 metre ship with breathtaking ocean views from each stateroom and was thrilled with his new asset. He hadn't, however, considered quite how complicated and expensive it would be to keep those spectacular windows perfectly clean and gleaming.
His charter clients were, naturally, expecting perfection on board, but his captain and crew were receiving complaints about window and glass smears and impaired visibility. Despite the crew working around the clock, an ineffective harness system meant that cleaning the windows was highly time consuming and sometimes perilous.
It isn't a secret in the yachting industry that crewing can be taxing and treacherous. But what isn't so well known, yet, is that Rokoat offers unique tried and tested coatings that substantially reduce costs as well as safety risks on board.
This particular owner came to Rokoat when he was considering retrofitting a trackway harness, a huge expense that would improve safety, but substantially degrade the aesthetic beauty of the ship. One of Rokoat's existing customers had recommended he try their SecuraKoat Glass Protect product. "The SecuraKoat Glass Protect has become one of our best sellers," says Wayne Berry, a specialist yacht painter with 25 years' experience and co-owner of Rokoat with Rebecca Capel Berry, a former yacht crew member.
Using the most up to date hydrophobic technology, the non-stick, clear coating creates a protective barrier for any glass surface. "From watermarks, to saltwater, dirt, algae and bird droppings, virtually nothing can adhere to a surface coated in SecuraKoat Glass Protect," he says.
The benefits are considerable and immediate. "During the charter season it makes turnovers far easier as the crew don't have to spend hours putting the harness on and scrubbing the windows in any dangerous situations," he explains, adding that one professionally applied coating can last up to four years reducing overall costs significantly.
Rokoat's Glass Protect product can also be used inside. A favourite application is on glass shower cubicles, which can drastically reduce the cleaning time between charters. In fact, the company has products for interior and exterior use. From paintwork to windows, glass elevators, varnish, marble, exhaust towers and stainless steel, Rokoat's environmentally-friendly products are original and uniquely formulated to protect and revive even the most troublesome surfaces so that they stay clean and shiny.
"Using our products means no more wasted time trying to remove watermarks, toothpaste and lemon juice stains on marble, often to no avail," says Wayne. He explains that Rokoat's products can easily halve the time deck hands spend polishing stainless steel on board.
What makes Rokoat's products stand out is that each is an original formulation that was born to provide a specific solution. "That's why they work," says Wayne.
Rokoat is the only solutions-based coatings company in the yachting industry. The company can provide fast and effective solutions with their range of existing products or invent something new if the problem requires a tailor made solution.


If you have been reading my blog for any amount of time, you will know that I love to teach students about different kind of music. We do tons of listening activities with music from all different places. This is partially because of my personal teaching philosophy, and aided by the program that my students do called Musical Explorers. There are now three of four places that do the Musical Explorers programs. Basically, we learn about six different styles of music and go to two different concerts every year. This year, one of our styles is soul music!
I was really excited about the soul music style, because it is really great for beginning of the year, because it is very accessible (more accessible than the music from Mali, which is definitely my favorite for this semester). And what are we talking about at the beginning of the year?
Now, I used variations of this lesson with my kids from kindergarten to third grade. Obviously, we didn't do exactly the same thing with my kindergarteners and my third graders, but we did parts of it. This version of the lesson will focus on what I did with kindergarten and first grade.
We start working on steady beat as soon as the school year starts with my kindergarteners. We don't name it right away of course. By the time we get to October, they get the concept pretty well (most of my students can keep a decent steady beat the first week!), so we start talking about rhythm.
This lesson is just to prep students for the concept of rhythm. We did not actually learn ta and titi yet, we are just getting used to the idea that the beat is steady and rhythm is not.
Also, in this lesson we use beat charts. I have a free beat chart (in 4/4, 3/4, and 2/4) available in my free resource library. This is a new thing I am rolling out to help you get free stuff! Sign up for my email list and I will send you the password to the library. Once a member, always a member. More things are being added every few weeks, so check back to see what is new. Sign up here.
If you already have the password, then you can click on the picture above or the "free resource library" tag at the top of the page to get it!
Listen to the song, I Feel Good and have students follow you by keeping the steady beat. Switch where you are keeping the steady beat while listening.
Tell the students that this is the beat. Tell them the beat is steady, which means that is stays the same. Another thing that has a steady beat is your heart beat. Have them try to find their heartbeat.
Give them a page with heartbeats on it to track. Students can point to the steady beat while listening. You can get a FREE one in my resource library here!
Show them the Musical Explorer page here. It has the rhythm for the song along with the heartbeat. Have students walk up and point to the steady beat on the board while the others are keeping it at their seats.
Afterwards, ask the kids if the beat changed. (They should say no!) Then ask them to look at the rhythm. I tell my students that rhythm is the long and short notes that do change. Even though I have not showed them ta or titi in kindergarten (although first grade has a handle on this), I will show them the rhythm of the song. Then I ask, "Does the rhythm look the same?" I will point to some of the extra weird looking ones. Then I will say some of the words and have students play the rhythm (one tap for every sound). on their legs.
Then we listened to I Heard it Through the Grapevine. I had students keep the steady beat by holding up their right hand, then their left hand, and back an forth. This prepped us so that we could play tambourines on the backbeat! We love our blue star tambourines, and the kids are excited for any chance to use them.
Usually on the next day or a different day, I will pull in beat and rhythm with a song they have already learned to focus on ta and titi. In this case, I am using 2, 4, 6, 8 Meet Me at the Garden Gate, which you can check out here.
I like to have students use the popsicle sticks to make rhythms almost immediately after showing them what they look like. I talk a lot about popsicle stick rhythms in this post.
Have the students learn the dance to I Heard it Through the Grapevine. It is pretty simple- step out, step across, step out, together. Then you go the other way. With the littles, I just taught it as step, together, step, together until they got it.
Have students write or draw a picture of something that makes them feel good.
I hope that is helpful! It is really just an introduction to the concept of having beat and having rhythm. I did not use this to introduce rhythm (I saved that for 2, 4, 6, 8) but this helped students realize the difference between the two. Plus, it was fun! I mean, who doesn't love soul music?
If you liked this post, make sure that you share it so more people can enjoy it too! You can get access to my FREE RESOURCE LIBRARY (which includes the beat charts I talked about here) by signing up for my email list here. I only send out two emails per month, usually announcing some free stuff!


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Yoruba deities as movie superheroes
"Oya: Rise of the Orisha" is an upcoming feature film that blends the Western superhero genre with Yoruba mythology. The film garnered internet attention following their Indiegogo crowd-funding campaign.
Cosmic Yoruba
To find out more about the importance of retelling Yoruba mythology on a global stage, and about the strong female character of Oya, we sat down with director Nosa Igbenidion.
[vimeo id="60218094″ mode="normal" maxwidth="760″]
What is Oya: Rise of the Orisha about?
Oya: Rise of the Orisha focuses on a young woman named Adesuwa who has the unique ability to transform into the fearsome warrior goddess, Oya, the Orisha of change. When she changes, she gains amazing abilities. We follow Adesuwa as she goes on a head-stomping mission to keep the doorway between the Orisha and humanity closed. It's an action packed, mystical adventure as we explore the world of the Orisha.
What kind of world is the film set in?
The basic premise of the story is to take a pantheon of gods, originating from Nigeria and to re-present them as modern day superheroes. The movie is set in the near future. It is a superhero movie, hence it is a hyper-realization of our contemporary world. The idea is to take reality and turn it up a little more.
The themes dealt with in the film relate to concepts that are inherent within the Ifa tradition as well as many other practices, themes such as the nature of reality, fate, evolution and identity. Orisha worship is quite a philosophical system, so it's a great opportunity to explore those ideas.
What are the major influences behind the film?
The influences are varied, and from a wide range. I have been making films for the past 6 years and have been creative for my whole life, so all these personal experiences are coalescing into one film. As young boy born to Nigerian parents, I grew up on stories of ancient Oba's (Kings) of Benin city, and had always wanted to see those stories realized in all their glory. Speaking of the past, there is already so much to draw upon, from pre-colonial oral tradition to post-colonial literature. From masks to books, stories to painting, the influences are wide and varied.
At this point in time, I feel there is almost an African renaissance when it comes to the arts. The music, fashion etc…. are redefining Africans in the 21st century. Although there are various movements, theories and fashion centred on Africa, i.e. Afro-punk, Afro-futurism, etc., I don't think there is a film or work of art that fully captures that zeitgeist. That is what I aim to do. In some ways it's a celebration of (West) African culture in the 21st century.
Do you feel any pressure or sense of responsibility for this being possibly the first feature film with Yoruba mythology as a major theme, as Shadow and Act suggests?
To make a clear distinction, Yoruba mythology has occasionally been dealt with in Nollywood films. This film is planning to take Yoruba mythology/spirituality worldwide. The thought of this being the first superhero film based upon Yoruba mythology to be brought to audiences worldwide fills me with great excitement. The world is so rich and varied that, for me, it's a no-brainer. The beings such as Shango (God of Fire), Ogun (God of Iron), Oshun (Goddess of Love) are such amazing characters that the world needs to see them in all their glory.
It could have been overwhelming, considering this is the first movie of its kind, but I have received so much positive energy and support that I am free of all apprehension. Whereas I have heard that some black filmmakers are concerned about "only making black/African films", I have a mass of stories to tell about African history and mythology.
It is such an untapped well of creativity that I think it has to be done. I think we filmmakers all want creative freedom, but at the same time we are always trying to appease somebody so our films can be shown/funded/distributed. I said to myself, "screw that!" I want to make the films I want to make about the people I want to make them about. I chose what was close to my heart.
Is there any reason why you chose to portray the Orisha in general, or Oya in particular?
I am from Benin City in Nigeria, and Benin shares its origin with the Yoruba, lots of cultural practices and many of our gods as well. So, first of all, I had a personal connection to the roots of the spirituality itself. Then just looking at the Orisha themselves made me realize that they are the basis for many common archetypes (i.e. warrior goddesses, chief of the gods, etc.) of mythology worldwide. The continuation of those archetypes is superheroes, so it worked perfectly to join this ancient archetypal structure to its modern component.
There are 401 Orisha, so there were many to choose from. There are several reason why I initially focused on Oya. First, she is the symbol of the warrior woman. As I have so many of this type of woman in my life, I thought it was essential to represent them on screen. Also many actress friends have long complained about the lack of roles for them outside the narrow parameters of passive mother/girlfriend/sex object. I wanted to do my own small part to address that.
I have a young niece and I would love for her to identify with such an empowered figure as Oya. Also Oya is the Orisha of Change (destructive change). In these times of social, technological and spiritual upheaval, I felt it apt to choose her as the Orisha to focus on.
How true will Oya: Rise of the Orisha be to the Yoruba spiritual system?
I believe filmmaking has to be authentic; I live by the mantra that art is truth. Thus the film will draw heavily upon the Yoruba traditional spiritual system. Visually I want to submerge people in this world, taking cues from the culture itself. There will be things that people who know about the culture will understand, but those who don't will learn something new.
It is important that people understand the complexity and nuances of this belief system. To be a babalowo (diviner) of the system, for instance, takes immense dedication and decades of study. Having said that, I am not looking at the spiritual system as a static thing. I am interested in seeing how it resonates with or diverges from modern day cultural values such as capitalism and pop culture, and seeing how it reconciles with sciences like quantum physics.
This is a spiritual system that spread to various parts of the world via slavery, and when it did, its practitioners, while maintaining the core concepts, found a way to morph the practice and merge it with the dominant society's belief system. They did this for it to survive. This resilience has allowed the Orisha belief system to grow, through telling and retelling. I aim to be part of this tapestry, and in the process add to the preservation, but I aim to do it in a way that is stylish, entertaining and exciting.
Follow Nosa Igbenidion on Twitter, Facebook and keep checking his website for the latest on "Oya: Rise of the Orisha".


text:
Q: I want pre-selected option in the update form already I am using array of mat-select to display array of object contains some set like:
typesOfAccess = [{1 : 'View Image'},{2 : 'Tag MPxN'},
{3 : 'Configure User'},{4 : 'Assign UserGroup'},
{5:.......},{6:..........}]

I am subscribing data from API who having numbers saved in array with their string value.
like below:
this.UserEditForm = this.formBuilder.group({
      is2FAEnabled:[''],
      AccessRights : ['',Validators.required]
    });

I want to display number of  the array which i get from api to be pre-selected in HTML.
<mat-selection-list formControlName="AccessRights" (ngModelChange)="onNgModelChange($event)" required>
    <mat-list-option *ngFor="let tta of typesOfAccess; let i = index" [value]="i+1" [selected]="AccessRights.option">
      {{tta[i+1]}}
   </mat-list-option>
 </mat-selection-list>

Please help here.

A: According to the documentation:

The value for each control name is an array containing the initial value as the first item in the array.

The initial value in your component is ''. Change it to whatever you want the initial value to be:
AccessRights : [initialValue ,Validators.required]

A: remove the selection property binding and just update the form control value this will reflect to the html element
<mat-selection-list formControlName="AccessRights" >
    <mat-list-option *ngFor="let tta of typesOfAccess; let i = index" [value]="i+1">
      {{tta[i+1]}}
     </mat-list-option>
</mat-selection-list>

set the AccessRights value when create the form group
this.UserEditForm = this.formBuilder.group({
      is2FAEnabled:[''],
      AccessRights : ['2',Validators.required]
    });

or set the value manually like this
this.UserEditForm.get('AccessRights').setValue('2'); // will select Tag MPxN

Updated
you need to send an array base of the selected items like [1,3]
this.UserEditForm.get('AccessRights').setValue([1,3]); //

if you want to select a single value justlike this
this.UserEditForm.get('AccessRights').setValue([3]); //

demo

redpajama_set_name: RedPajamaStackExchange


An Emeritus Professor Robert HT Smith Professor and Personal Chair appointment will be by invitation only and made to research distinguished members of the University's Professoriate (i.e. full Professors) who are full-time employees of the University. The purpose of an Emeritus Professor Robert HT Smith Professor and Personal Chair is to recognise the research achievements and excellence of a Professor and, accordingly, to provide an opportunity for the holder of a Personal Chair to be devoted full-time to research and publication for the period they hold a Personal Chair.
The University recognises that a Personal Chair is extremely prestigious and accords a high level of recognition on an individual staff member.
This policy applies to the selection and appointment, by invitation, of an Emeritus Professor Robert HT Smith Professor and Personal Chair from amongst the University's Professoriate.
Formal nominations are to include a statement indicating the reasons for supporting the nomination. In addition, a brief curriculum vitae of the nominee, including evidence of distinction and international standing in scholarship and/or research, is to be provided.
The title of Emeritus Professor Robert HT Smith Professor and Personal Chair is awarded by invitation only and no application is required nor will be applications be considered.
the Dean of the relevant School in which the nominee is currently a staff member.
Prior to the assembly of the Committee, the Committee Chair will consult with the Professor for whom nomination to an Emeritus Professor Robert HT Smith Professor and Personal Chair is being considered and will seek consent from the person to have the nomination progressed.
The Committee will consider whether, having regard to the nomination material submitted, that a prima facie case has been made for appointment to an Emeritus Professor Robert HT Smith Professor and Personal Chair. The Committee may consult external experts of high standing in the nominee's discipline, if and where desired.
If the Committee adjudges that a nomination is to be progressed, it will then make a recommendation to the Vice-Chancellor, in writing, outlining the terms and conditions of the appointment.
The Committee may make recommendations including the provision of assistance and resources to be made available towards the research activities of the nominee, as well as the length of appointment to a Personal Chair (this would normally be for three (3) years and only whilst the Professor remains an employee of the University).
The Vice-Chancellor will consider the recommendation made by the Committee and, if the recommendation is approved by the Vice-Chancellor, the nominee will be invited to accept an offer of an Emeritus Professor Robert HT Smith Professor and Personal Chair. If accepted, the Vice-Chancellor will send advice to the University Council, at its next regular meeting, noting the appointment of an Emeritus Professor Robert HT Smith Professor and Personal Chair.
The Vice Chancellor is ultimately responsible for the implementation of the policy and procedure.
The Deputy Vice-Chancellor (Research), as Chair of the Committee, is responsible for ensuring both the policy and procedure for the appointment is consistently implemented.
documentation distribution, eg. posters, brochures.


A blustery blast of gales, heavy rain and snow will sweep across the country when high pressure from Scandinavia lures the Beast from the East Mark II to Britain.
Latest forecasts indicate an accumulation of snow across most of England and Wales when a bone-chilling Siberian wind blows the cocktail of chaos towards the UK. But the bitter snap is set to be short-lived with temperatures rising next week.
The Met Office and Public Health England have issued a level 3 cold alert urging the elderly and vulnerable to take extra care during the cold snap.
Weather warnings for snow are in force for Sunday across the East Midlands, eastern England, London and the south-east, north-east England, north-west England, south-west England, Wales, the West Midlands and the Yorkshire & Humber region.
Rain in the north and east will fall as snow on higher ground in Scotland and northern England before the Beast really starts to bite later on Saturday and Sunday.
Some places could avoid the snow, but falls are expected almost anywhere during the weekend with up to 30cms predicted on exposed higher ground.
It will turn noticeably chillier on Saturday in the biting easterly wind before it gets even colder on Sunday with the mercury struggling to climb above freezing in much of England, Wales and eastern Ireland.
There will be frequent snow showers, potentially disruptive in the south and east.
Forecaster Dr Claire Kennedy-Edwards, of The Weather Channel, said: "A cold front will move south-westwards across the UK.
"Rain will turn to snow when conditions will start to deteriorate with showers feeding in from the north-east across central and eastern regions.
"Snow showers will become more organised during Saturday, sweeping in from north-east England to the Midlands, with falls of 2-3cm possible.
"Other significant snowfall is predicted in south-east England, East Sussex and Kent with between 3-5cms in 12 hours overnight into Sunday.
Temperatures are expected to recover through Monday as high pressure drifts towards the UK, bringing settled conditions on Tuesday.


I have put off writing to you in the hope that I would get time to write you a good long letter but it seems as if every day brings its own work. Besides my absence from home for five weeks caused a great accumulation of work and I have not yet overtaken it all. Since our return my wife and I have often talked over with pleasure our hasty trip through Canada and we almost always fix upon the brief visit in your hospitable home as the most pleasant part of it and it would be a matter of great delight to us if you would place us in a position to reciprocate your kind attentions. It may be in the kind Providence of God that you and your dear wife will step in upon us some fine day next summer. How kind it is of our Father that the future is hid from us--it leaves us to enjoy a great deal in hope and anticipation that will never be realized--I think one half of the pleasures of life consist in looking forward to the enjoyments of "tomorrow." Fortunately we are so constituted that we rarely look forward to the ills and discomforts of the future.
I was in [?] a few days ago and spent a few hours with my brother in law Isaac [McLandry?]. He was delighted to hear from you and I was glad to be able to gratify him. He is hale and active altho' his hair is whitened by some 75 winters.
You would learn from my wife's letter to your wife written shortly after our return home that we had a pleasant journey after we left you and arrived home safely--our stay at Niagara was specially delightful--I could not help feeling when I looked upon that wonderful water fall how beautifully it represented the majesty and eternity of its glorious Creator. That vast sheet of water which no Earthly power could control flowing for all ages without any apparent diminution in volume in the heat of summer or any excess in autumn or winter rains apparently always and ever the same.
Mrs. B. joins me in kindest love to you and Mrs. McQuesten and we are now enjoying our long [?] good health.


Overcast weather free of rain made for a turnout of 13921 at Beueler Schanze today. was the appointed referee with assistance provided by Dominik Dulski and . After thorough analysis and consultation of astrological charts, Combahn decided to go with a 4-3-3 formation. The following players had been selected: Kulick - Boso, Scherhaufer, Querhammer, Raul - Pollmann, Jensterle, Gehlhaar - Kronsbein, Bransky, Riewerts.
The head coach flashed hand signals from the sideline and München formed up in a 3-5-2 combination. Let's hope the opposing sideline wasn't filming that. Lineup: Noppel - Kohlheck, Feinlich, Gerhardus - Filzek, Peskoller, Branca, Kunerl, Andrian - Otaviović, Englert.
Like the adage "bend but don't break", Combahn will rely on their outstanding ability to counter-attack today. After a fine move down the middle Marvin Jensterle nearly put the home side one up with 2 minutes played. His final touch escaped him though and the keeper smothered the ball. München's Ernst Kohlheck was shown a yellow card after 4 minutes for slicing down an opponent. Wulfram Andrian came close to putting the visiting team one up 15 minutes into the match, following a solo raid down the middle, but Karl Ludwig Kulick managed to tip the ball over. Combahn almost scored after a counter-attack 16 minutes into the match, but Jan Hinnerk Riewerts took a shot from the left that landed harmlessly in the side netting. The guests almost went up by a goal with 19 minutes elapsed when Sandro Otaviović came through from the right. The shot bounced harmlessly off the post, though. The teams went for the halftime break at 0 - 0. The forty-five minutes were dominated by München, with an impressive 73 percent possession of the ball.
This was a good period for the visitors, with several opportunities to take the lead, particularly when Yannic Gerhardus slipped through the left defense to come up alone against Karl Ludwig Kulick, but the home side's keeper showed his lightning-fast reflexes. With 49 minutes gone, a long pass from the defense of Combahn resulted in a counter-attack that set Cedric Bransky free through the middle, but the keeper made a spectacular diving save. With 51 minutes played, München's Yannic Gerhardus received a yellow card for challenging a play with his cleats first. Parents shielded their children's eyes as Combahn's Jan Hinnerk Riewerts left the field on a stretcher from a studs-first challenge. Oh good night - his thigh is ripped open! It looks like a pack of zombies got a hold of him! Luka Waldhof took his place on the pitch. Karl Ludwig Kulick looked great 86 minutes in after stopping a shot by the visitors' Martin Sigismund Peskoller. With the clock showing 87 minutes played, a great pass from the defensive line of Combahn resulted in a counter-attack that was smoothly brought under control by Zacharias Querhammer in the center of the opposition's penalty area, but his finish went high. Looks like Nate Silver was right again - his prediction that München would have 74 percent possession in this half was spot on!
As neither team had managed to win, 30 minutes of extra time was called. Joachim Englert let loose a good shot after 92 minutes, coming in on a fine move from the left, but the ball went wide. Down the middle came Sandro Otaviović, making a fantastic play that nearly saw München take the lead after 100 minutes, but Karl Ludwig Kulick preserved the tie. Still tied after extra time, the crowd was buzzing as the teams prepared for a penalty kick shootout to determine the winner.
Combahn's Till Kronsbein kept his cool as he went up against Kai Noppel. His composure paid off as he scored easily for 1 - 0. München's Sandro Otaviović proved he has nerves of steel from the penalty spot, changing the score to 1 - 1. Combahn's Luka Waldhof didn't look like he was confident as he stepped up, and produced a badly struck penalty - right into the arms of Kai Noppel. The score remained 1 - 1. Ernst Kohlheck had a lot to say to the keeper before taking his penalty, but he was all sound and no fury as he launched his shot straight down the middle - right into the arms of Karl Ludwig Kulick. The scores remains the same: 1 - 1. Combahn's Thorsten Pollmann looked nervous on his walk from the center circle. He didn't take much of a run up, and his weak shot was easily saved by the keeper. München's Niklas Feinlich was relaxed as he smoothly put the ball into the net. 1 - 2! Combahn's Karl Ludwig Kulick didn't hesitate but Kai Noppel managed the save, resulting in an unchanged 1 - 2 score. München's Marvin Alexander Filzek made no mistake. Karl Ludwig Kulick didn't have a chance. 1 - 3. Combahn's top performer was clearly Cedric Bransky. Even six year old fans were wincing at the poor play by Marvin Jensterle today. Most important München player was Martin Sigismund Peskoller. Speaking of stinking up the place, Ernst Kohlheck sure smelled like the bottom of Batman's shoe after a night of crimefighting in Gotham. The match ends 1 - 3.


There's something about the promise of treasure that keeps us digging. When I was a child, the digging was literal. My younger brother and I were certain of it, that somewhere in that crack of a cove between the Fourth of July Rocks and Sister Point, the one on our coastal Maine property that was called Deadman's Cove, there was a treasure buried under the rocks and shells and piles of blown-in seaweed. Although we didn't flesh out the details of the before-story, it had something to do with pirates and the dead man who we imagined was the namesake for the tiny inlet and a classic fairy-tale chest of riches stashed ashore for safe-keeping. So, on many a summer morning, as we made our way out for a picnic lunch on Pretty Rock and an exploration of the tide pools at Sister Point's tip, we clamored down the granite ledge to the shell-strewn bit of beach at Deadman's Cove in the hopes that this would be the lucky one, the summer day when we would uncover it, our personal treasure.
And fifty years later, I guess I'm still digging for tangible hands-on riches, this time for treasure I think might be buried in my very own house. When our two boys were toddlers, they inherited from their dad a gold mine of miniature toy cars from the sixties, the kind of cars that grandparents buy you for Christmas, fancier, sturdier and far more cool than the Matchbox set that I carefully tucked in my little plastic case. There was an MG, an ambulance with doors that opened, station wagons and trucks and sport cars — and there was a Batmobile, my husband's favorite, one he had purchased himself when the television show Batman hit the airways. Our boys adored this canvas bag of cars. As tiny toddlers, they lined them up on their grandparents' patio wall in Grand Rapids, and, later, when the cars traveled north with us to our home in Michigan's Upper Peninsula, the boys played with them for hours on the imaginary highways and farmlands and neighborhood streets of our living room carpet. These cars were a treasure, a treasure I intended to pass down to the next generation. And, it was when our older son and his wife announced that they were going to have baby, our first grandchild, that I remembered my stashed treasure and started digging for what I thought would be an easy jackpot. That was six years ago this autumn, and, alas, I am still digging and they have remained as elusive as the pirate chest of riches in Deadman's Cove. I have looked all over this house for these gems from the sixties, in the obvious places, and, in the dark corners of the basement, have dug through boxes and pried open suitcases. I am almost positive that I did not give these cars away — why would I?!? — and I remain hopeful that I will retrieve my pirate's bounty.
In fact, a week ago, I dreamed of the cars. I think it was because Viren, our five-year-old grandson, and a passionate lover of cool-driving vehicles and everything Batman, was visiting. I told him about my dream, how I woke up happy and filled with wonderment. You see, in the dream, I found the cars, all of them, including the Batmobile, hauled them out of their hiding place and into the light of day and play. It was a moment to behold. And although my waking self could not remember the X that had marked the treasure's spot, the dream had brought them alive for me again, so vividly alive that I resumed the search that next evening. It was after Grandpa Cam had gone to bed that Viren and I plopped ourselves down on the carpeted floor of the upstair's hall closet, a small walk-in where we keep our linens and suitcases and a few stray boxes. I knew from past searches that the bag of cars was not among these items, but I was holding out hope for the Batmobile — and so was Viren. I remembered that there was a box pushed underneath the shelving that was labeled with Viren's father's name, and perhaps, just perhaps, that treasure among treasures, the Batmobile, was tucked inside it among the other artifacts from our son's youth. So the two of us dragged the dusty treasure box out from its hiding place and into the middle of the closet floor, opened its lid, and began our exploration.
The box was filled to the brim, with a plastic bag of copper coins and another of shells from Florida, with a pottery mug that was once a Christmas present and another smaller wooden box that Viren's dad had made in school, with a metal turkey won in a Thanksgiving Day running race and a fossil discovered on a family trip out west, all treasures, I'm sure, to a younger version of Viren's dad — and treasures to us too as we examined each item during our archeological dig. And when we reached to the bottom of the box, there was no Batmobile in sight. But there was something else, something intriguing, a stack of about fifteen handmade books, lying there waiting for this moment, a gift from the past, from Viren's dad at eight-years-old to his son crouched now beside me. We laughed out loud as we perused these books, admiring the art, reading the stories. Some were books that he had written at school, probably in second grade, and others he had created at home on recycled paper, bound with masking tape. For Viren, it must have been pure wonderment, to witness his father as a boy not much older than himself, a boy who loved monsters and superheroes as much as he does now, a boy who created a giant cat named Cathra with powers strong enough to ward off Godzilla and a punk-haired alien who managed to get along just fine without a Batmobile or canvas bag of awesome cars. And for me, it was pure preciousness, to giggle along with my grandson who was lit up with it all, and to see, with fresh eyes and a huge dose of admiration, the creativity and humor and charm of his wonderful father.
I think that I was the one who suggested making the phone call, but it was Viren who exclaimed that the car was the perfect place for us to talk to his dad who was miles and miles away in Idaho. And he was right. Under a nighttime of stars, after a five-year-old's usual bedtime, with the car turned on in the driveway, and both of us sitting unbuckled in the front seats, we talked right into Grandma's car's marvelous speaker system, right through the miles and through the years to Viren's dad about this treasure we had discovered from his childhood. Viren's enthusiasm filled the airwaves and his dad's laughter responded as he remembered the books that he had written and illustrated so long ago . . . Our hands were never empty as my brother and I traipsed back over the rocks and through the huckleberry and balsam paths toward the cottage after our jaunts to the point. There were stray buoys some days and long strands of dried kelp. There were tiny orange and yellow periwinkles and sea moss for our mother's pudding recipe. There were treasures to behold and memories to hold onto and the deliciousness of the possibility that maybe, just maybe, there really was a treasure chest in Deadman's Cove. I haven't given up on the cars, am still holding onto the possibility that I will find this canvas bag some day, and yet, in this moment, my hands are full, full of treasure, full of the knowing that Viren and I dug up pure gold last week and that the two of us shared this golden moment with his appreciative dad.
The treasure we found in the closet: Viren's dad's books, circa 1987/8.


text:
Akron – miasto w Stanach Zjednoczonych w stanie Ohio, nad rzeką Cuyahoga. Zostało założone w 1807 roku.

W granicach miasta liczba mieszkańców wynosi 199 110, natomiast na obszarze metropolitalnym zameldowanych jest 701 456 osób. Północno-wschodni region stanu Ohio (zwany Northeast Ohio), składający się ze statystycznych obszarów metropolitalnych – Greater Cleveland, Akron, Canton–Massillon, Youngstown–Warren–Boardman, Mansfield i Sandusky – zamieszkuje 4 335 920 ludzi (2010).

Demografia

Gospodarka
Miasto znane jako "gumowa stolica świata", w związku powstałymi w tym mieście licznymi przedsiębiorstwami produkującymi opony. W Akronie istnieje również przemysł chemiczny, lotniczy, elektrotechniczny i metalowy. Miejscowość przecinają dwie międzystanowe drogi.

Edukacja
Znajduje się tu Uniwersytet w Akronie i Akron Art Institute.

Sport
Nieistniejąca już drużyna futbolu amerykańskiego Akron Pros była w 1920 roku pierwszym mistrzem w historii NFL (zwanej wówczas APFA).

Miasta partnerskie
  Chemnitz, Niemcy
  Kirjat Ekron, Izrael

Osoby związane z miastem
 W Akronie urodził się Willard V. O. Quine, filozof analityczny i logik, określany jako "jeden z najbardziej wpływowych filozofów XX wieku".
 W Akronie urodził się LeBron James, jeden z najlepszych koszykarzy świata.
 W mieście urodził się także koszykarz Nate Thurmond, członek Basketball Hall of Fame. Znalazł się on wśród 50 najlepszych graczy występujących kiedykolwiek w lidze NBA.
 Z Akronu pochodzi Stephen Curry, koszykarz, rozgrywający Golden State Warriors.
 Z tego miasta pochodzi również Jim Jarmusch, reżyser i muzyk.

Kościoły i związki wyznaniowe
Spis na 2010 rok, obejmuje aglomeracje miasta:
 Kościół katolicki: 136 846 członków w 43 kościołach
 Protestantyzm bezdenominacyjny: 48 115 członków w 96 zborach
 Zjednoczony Kościół Metodystyczny: 24 701 członków w 56 zborach
 Kościoły Chrystusowe: 12 190 członków w 51 zborach
 Zjednoczony Kościół Chrystusa: 10 573 członków w 28 zborach
 Kościół Ewangelicko-Luterański w Ameryce: 6053 członków w 16 zborach
 Kościół Luterański Synodu Missouri: 5683 członków w 16 zborach
 Kościół episkopalny: 5411 członków w 12 zborach
 Chrześcijański i Misyjny Sojusz: 4298 członków w 15 zborach
 Zbory Boże: 3790 członków w 19 zborach
 Kościół Prezbiteriański USA: 3223 członków w 15 zborach
 Kościół Jezusa Chrystusa Świętych w Dniach Ostatnich: 2629 członków w 5 świątyniach
 Kościół Nazarejczyka: 2513 członków w 19 zborach
 Judaizm: 2410 wyznawców w 4 synagogach
 Amerykańskie Kościoły Baptystyczne w USA: 2399 członków w 9 zborach
 Kościół Boży (Anderson): 2204 członków w 12 zborach
 Islam: 2116 wyznawców w 3 meczetach
 Południowa Konwencja Baptystyczna: 2091 członków w 20 zborach

Galeria

Linki zewnętrzne
 Oficjalna strona miasta

Przypisy

Miasta w stanie Ohio

redpajama_set_name: RedPajamaWikipedia


text:
Jay L. Geldmacher
Member: Compensation Committee
Director since 2012
51.0KB Image >
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Since November 2013, Mr. Geldmacher has served as CEO of Artesyn Embedded Technologies, a spin off from the Embedded Computing and Power business of Emerson Network Power now owned by Platinum Equity. Between 2007 and 2013, Mr. Geldmacher served as Executive Vice President of Emerson Electric Company and President of Emerson Network Power's Embedded Computing & Power Group, which designs, manufactures and distributes embedded computing and embedded power products, systems and solutions. From 2006 to 2007, he served as Group Vice President and President of Emerson Network Power's Embedded Computing & Power Group. From 1998 to 2006, he served as President of Astec Power Solutions, an Emerson subsidiary. Mr. Geldmacher has served as an Executive Council Member for Vertiv since March 2017. Within the past five years, Mr. Geldmacher has served on the board of directors of Owens Illinois, Inc. and the board of University of Arizona Business School.
Expertise: As a CEO, Mr. Geldmacher brings international, technological, and operational expertise to our Board, along with additional board experience from his service on public company and university boards.


The family team at Wheeler Machinery have been helping businesses with fume extraction systems in Australia for over 30 years. It's important to make sure your workplace takes environmental health seriously, so as to create a safe and hygienic environment for all employees. Our well-designed fume extraction solutions properly take care of harmful fumes created at your workplace.
Businesses needing fume extraction in Sydney choose Wheeler Machinery. Our range can be used separately or alongside other components. You'll also be able to adapt and change your set up as things change for your business, thanks to the flexibility of our products. Our fume extraction systems for Sydney are well known for their tailored, custom designs that suit everything from a small repair shop to a large pharmaceutical factory.
To keep your workplace environment safe, you can't go past Wheeler Machinery for fume extraction in Australia. Call us today and let's talk about how a fume extraction system can help keep your workplace safe.


Diabetes mellitus is a common disease in dogs and according to PetsWebMD.com, some breeds such as Golden Retrievers, German Shepherd Dogs, Miniature Schnauzers, Keeshond and Poodles have a high occurrence rate, but all breeds are affected.
The usual age of onset is about 6 to 9 years.
Early signs are frequent urination, excessive thirst, a large appetite and unexplained loss of weight.
Diabetes can be malnutrition related.
ShinBi is being treated with insulin.


I like thinking about how to fix problems. One of the things that is a huge problem in our land is education. We are convinced that smaller class size for the kids will really make it better. I'm an educator by no means but here is my theory for what its worth.
Class size is important with younger kids, I have two who are almost 4 & 2. When you get a bunch of those little jokers in one room, its insanity. The more self controlled kids get, the easier it is to have more kids in a class. I don't think class size is so much the issue when kids get older, but rather self dicipline. I think we are trying to put a band-aid on the bigger problem. Are we really doing kids a favor by having "more access to a teacher"? What ever happened to learning on your own? I've learned more in the last few years about lots of stuff than I think I ever did in school. It wasn't the teachers fault, it was mine. I wasn't disciplined enough. Many times I think its the result of little to no discipline in the home and no father in the home or no father actively fathering his children.


text:
Rise in dollar increased number of foreign investors in housing
by Daily Sabah with AA
ISTANBUL Nov 21, 2016 - 12:00 am GMT+3
by Daily Sabah with AA Nov 21, 2016 12:00 am
As the U.S. dollar gains value against the Turkish lira, different sectors have started to evaluate the effects of it. Real estate sector representatives expect foreign investors' interest to rise since the prices will not hike in the short term
Claiming that the increase in the dollar will not cause a change in housing prices, sector representatives said that foreign investors have taken advantage of the situation and for that reason housing sales to foreigners will experience a hike during this period. Sector representatives also noted that foreign investors are attracted to those fluctuations, stressing that this situation has been recently reflected in sales offices.
Speaking to Anadolu Agency, Istanbul Constructors Association (INDER) Chairman Nazmi Durbakayım said the increase in the foreign exchange will affect the short-term portfolio preferences of the investment-oriented buyers.
Highlighting that a profit realization will be inevitable with either the government's intervention to the increase in the foreign exchange or the activation of the invisible hand in free market conditions, Durbakayım said therefore, the housing investment funds will naturally return to the real estate sector.
Chairman Durbakayım underlined that house prices in Turkey are not foreign exchange indexed like they had been nine years ago and therefore it is impossible to mention an artificial price increase in housing.
Durbakayım stated that the price increase can only be mentioned in foreign exchange indexed sales on very luxurious and boutique projects, stressing the fact that they are limited in number. He also added that these project owners are taking precautions such as protecting potential customers by fixing foreign exchange rates at a certain level since they predict that the increase in the current artificial foreign exchange will be balanced.
Anatolian Side Building Contractors Association (AYİDER) President Melih Tavukçuoğlu has also said that they have assessed the increase in the dollar as an opportunity for foreign investors, and each real estate purchased by a foreign investor has increased in value.
"For example, while a house of $100,000 was worth $300,000 in the past, it will be equal to $350,000 to $400,000 today due to the exchange rate, therefore the house will be actually purchased for a cheaper price with higher worth," Tavukçuoğlu said.
Stressing that a higher flow of foreign exchange could be achieved in Turkey in terms of the construction sector, Tavukçuğlu said that consequently, the sector should focus on selling foreign housing in this period by causing an long-awaited increase in the sale of foreign homes and providing a significant flow of money to Turkey thanks to the foreign exchange inflow.
Makro İnşaat Chairman Ercan Uyan said the campaigns in the domestic market boosted the sector, but the prices have maintained a stable level for a long time due to the fluctuations in the market.
Noting that this situation was reflected upon the sales offices, Uyan said the foreigners have come to the offices in more crowded groups than ever.
Suggesting that this situation indicates that the dollar has reached its saturation point in terms of the foreigners who know the international monetary markets well, Uyan said the construction costs have gone up as well with the increase in dollar, emphasizing that since the foreign investors are aware of the current situation, they want to take advantage of the current prices before the market increases them.
Demir İnşaat Chairman Hamit Demir said they are not pleased with the increase in dollar, wishing the foreign exchange to go down to lower levels.
According to Demir, the situation has increased the foreign investors' appetite, and the house prices remain stable but the dollar is increasing in value. Recalling that foreigners got back to them over the past couple of days, Demir said they have made up to a 10 percent discount in dollars for the past couple of weeks, and this situation has provided an advantage for Turkey in terms of the foreign exchange inflow from the foreigners.
Stressing that they do not want foreign exchange to maintain higher levels since they want to sell houses, Demir said he hoped this situation does not continue but if it does, it will increase the number of foreign investors in housing by 15-20 percent.
Last Update: Nov 21, 2016 1:08 am
Christmas desserts from around the world


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Q: How to retrieve BSE/NSE listed stock's price from finance.yahoo.com I'm developing an application for stocks displaying through finance.yahoo.com in Java using Spring framework.
But it only provides share values from NYSE, Nasdaq-NM, etc. How can I retrieve the values of share by specify NSE or BSE?

A: You can retrieve the components of BSE and NSE with these two links: http://in.finance.yahoo.com/gainers?e=bo and http://in.finance.yahoo.com/losers?e=bo (Gainers and Losers).
Once you have your full list of stocks, just use your link to retrieve data, for example:
http://download.finance.yahoo.com/d/quotes.csv?s=BOBSL.BO,JAIPAN.BO,SANGHIIN.BO&f=snl1d1t1ohgdrx

You might want to check each ticker individually, and ensuring it does retrieve correct information though, eg SOUTHINDBSL.BO doesn't seem to work properly.


The summer festival season can only mean one thing for Sennheiser UK's artist liaison and technical backup staff - plenty of time spent out in the parks of Britain supporting sound engineers, production teams and artists. 2013 has been no exception, two particular late season highlights being V2013 and the inaugural Fusion festival.
Sennheiser UK has provided an on-site support and repair facility at the V festival's Weston Park site for several years. This allows Sennheiser UK to 'give something back' to the many hire companies, engineers and artists who have put their faith in the company's equipment. With, the additional presence of Tour Supply, a company closely affiliated with Sennheiser, providing a range of Sennheiser equipment available for purchase, both artists and audio companies were assured of comprehensive support.
This year the company's side-stage Portakabin had a staff led by Mark Saunders (Artist Relations) and Sam Davison (Service Team Leader). Artists using Sennheiser equipment included Jessie J, Emeli Sande, Eddie Izzard, The Script, Kings of Leon, The Vaccines and Of Monsters And Men.
Meanwhile, the last weekend of August saw the inaugural Capital FM sponsored Fusion festival take place in Birmingham's Cofton Park. Staged in support of the Prince's Trust, Sennheiser artists included Jessie J, The Wanted, Labrinth, Union J and The Saturdays using SKM 5200 mk II mics with EM 3732 receivers, SKM 2000 mics with EM 2050 receivers and 2000 series in-ear monitors.
Invited by production company 24-7 Productions, Mark Saunders and Tim Sherratt (Engineering & Technical Services Manager) were on site for Sennheiser UK throughout the weekend, offering the usual high quality technical support.


I think that to bake something from so ready-to-use components it's not really creation act.
Our son's partner made this for us over Christmas, using good quality, local home made mincemeat. It was absolutely delicious, served with Cornish clotted cream. I'm about to try it myself using a mix of cooking apple and dried apricot as well as the left over mincemeat.


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The word 'expertness' is made up of 10 letters.
Using the word 'expertness' in Scrabble will fetch you 19 points while using it in Words with Friends will fetch you 21 points (without taking into consideration the effect of any multipliers).
See all the words ending with expertness.
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Our "Boxing Day" (day after Christmas) buffet- one leftover Tourtière is in the center, behind the mashed potatoes. (Tofu Pot Pie in the foreground, with my Seitan "Ham" to the L [and you can barely see the crusty homemade bread to the R]; mashed potatoes, "Ham Gravy", homemade cranberry sauce and chutney, red cabbage and apple coleslaw, and stuffing surrounding the Tourtière; and, at the very back, Sarah's cranberry chutney, SIL Ben's vegan sweet potato casserole, and some leftover sliced Seitan "Turkey" and gravy.
Many of us bring with us Christmas holiday food traditions from our grandparents and parents, and their family backgrounds. If we're part of a couple, our partner brings more, sometimes very different, traditions along. Unless both come from the same ethnic and religious background, there will be some compromising, and some making of new traditions. (I love this— it gives us more scope for experimentation!) If vegetarian or vegan diet is in the mix, new culinary traditions must be found as well.
If you have a mixed ethnic background, as I do, you probably choose what appeals to you from the different traditions in your family (or combined families). For instance, my father, Alejandro Jaime Urbina, a Peruvian of Spanish and Italian descent, fondly recalled the Panetón (the Peruvian version of Italian Panettone) that his Tia Maria baked in a brick oven in the central courtyard of his large, Spanish-style boyhood home in Lima. Because of his memories, I began making Panettone for Christmas many years ago, eventually devising my own low-fat, vegan version. (Panettone is a rich yeast bread, slightly sweet, and flavored with citrus zest, dried fruit, anise and almonds.) I later discovered that my father's Italian family, who immigrated to Peru from the Italian Riviera in the 1800s, may have been making Panettone Genovese, rather than the Panettone di Milano, which most Italians simply call Panettone. The Genovese version is not as rich as the Milanese version, and is flavored more exotically. It's the inspiration for my own vegan version of Panetón, which I included in my book World Vegan Feast.
This is a bread machine version of Panetón, from my book "World Vegan Feast".
A newer tradition: My husband Brian, though not French-Canadian, was born in the province of Quebec and he was so happy when I came up with a vegan version of Tourtière (a special "meat" pie). It's an integral part of many Canadian Christmas celebrations now- certainly in our house, when we celebrate Réveillon, the Quebec Christmas Eve. This is something that I had never heard of before coming to Canada from the USA and, even then, because we lived in Western Canada, I had no real experience with it. But over 20 years ago, I devised a vegan recipe for my book The Almost No-Fat Holiday Cookbook and have used that recipe all this time, although I usually use commercial vegan hamburger "crumbles" now, instead of ground seitan.
This year I decided that it needed a make-over—more "oomph" in the flavor department. I also read about some versions of the pie that are made with oatmeal as the thickener instead of the usual potatoes, so I decided to try that, too. I made four pies (Brian's always afraid that there won't be any leftovers! ) and my new Tourtière was a big hit.
Tourtière is traditionally eaten at any meal, hot or cold, with gravy, relish, chutney or ketchup (some members of our family have been known to eat it with hot sauce or salsa). This year I made a tomato-apple chutney that resembles an old-fashioned homemade Quebec accompaniment to Tourtière which is called French-Canadian "Ketchup", but is chunky and a little spicy, made with tomatoes and fruit. I'll post that recipe below, too.
Tourtière is good any time of the year, and makes good picnic fare. The recipe can be doubled, tripled or quadrupled, and Tourtière freezes well.
A Double crust of Low-Fat Oil Pastry (see below) or your favorite pastry.
In a large heavy skillet over high heat (nonstick, if possible), saute the minced vegetables in the 2 oils over medium-high heat until the onion softens, adding drops of water as need to keep from sticking. Add the bay leaf, dried savory and rosemary and saute for a few more minutes. Stir in the hamburger substitute, the hot water mixed with the broth paste, red wine, rolled oats and ketchup. Simmer over medium-low heat, uncovered, for about 30 minutes, or until the mixture thickens.
Remove the bay leaf and stir in the allspice, cinnamon, nutmeg and cloves. Taste for salt and add freshly-ground black pepper to taste. Smooth the mixture out on a baking sheet and place in the freezer to cool off quickly while you make and roll the pastry (see recipe below).
Line a 9" pie dish with half of the pastry and fill with the cooled Filling (which should have thickened as it cooled). Cover with remaining pastry and trim and flute the edges. (I cut a star in the center this time with a little cookie cutter before placing the pastry on top of the Filling.) Cut slits in the top and brush with nondairy milk. Bake for 50 minutes.
Cool on a rack. Serve warm or at room temperature with relish, chutney or ketchup (some members of our family have been known to eat it with hot sauce or salsa).
Nutrition (per serving): 412.5 calories; 39% calories from fat; 18.7g total fat; 0.0mg cholesterol; 687.1mg sodium; 633.6mg potassium; 44.7g carbohydrates; 7.6g fiber; 4.8g sugar; 37.1g net carbs; 17.2g protein; 9.0 points.
Nutrition (per serving): 309.4 calories; 39% calories from fat; 14.0g total fat; 0.0mg cholesterol; 515.3mg sodium; 475.2mg potassium; 33.5g carbohydrates; 5.7g fiber; 3.6g sugar; 27.8g net carbs; 12.9g protein; 6.6 points.
If you have time, place the flattened dough in a plastic bag and refrigerate it for 30 minutes to an hour before rolling out. Divide the dough in half, roll out and bake the pastry as you would an ordinary crust. Tip: Roll the dough out on a lightly floured sheet of baking parchment– it never sticks!
Nutrition (per serving): 195.6 calories; 48% calories from fat; 10.7g total fat; 0.0mg cholesterol; 184.1mg sodium; 123.6mg potassium; 22.3g carbohydrates; 2.2g fiber; 0.6g sugar; 20.1g net carbs; 3.7g protein; 4.4 points.
This is easy to make and just spicy enough.
Dump the canned tomatoes (juice and all) into a large pot and, with clean or gloved hands, squish the tomatoes with your fingers to break them up into small chunks. Add the remaining ingredients and bring to a boil. Turn heat down to a simmer and cook, uncovered, for about 45-50 minutes, or until it has a thicker consistency, almost like a chunky jam. Cool to room temperature. This will keep 3 to 4 weeks in the refrigerator, or you can seal it (while hot) into 6 half-pint canning jars and process in a boiling water bath for 20 minutes.
Nutrition (per 1/4 cup serving): 71.0 calories; 1% calories from fat; 0.2g total fat; 0.0mg cholesterol; 162.6mg sodium; 211.7mg potassium; 18.7g carbohydrates; 1.3g fiber; 14.2g sugar; 17.4g net carbs; 0.7g protein; 1.2 points.
I want to wish Merry Christmas to all of my readers, who keep me inspired. Here's one more holiday recipe I 'd like to share from "World Vegan Feast".
This inviting and unusual bread pudding (from my book "World Vegan Feast"), which is traditionally prepared during Lent in Mexico, has its roots in old Spanish cookery. It is open to many interpretations and there are myriad recipes for it. Capirotada is quite different from what most North Americans think of as bread pudding-- it contains no milk or eggs. Instead, the liquid is a sweet syrup mixed with mild cheese, making it an easy candidate for converting to a vegan version. My rather unorthodox Christmas version utilizes some very Canadian, as well as vegan, ingredients, such as maple syrup instead of the sugar syrup made from piloncillo (the traditional Mexican brown sugar sold in cones), dried cranberries instead of raisins, vegan mozzarella, and pecans instead of the usual peanuts and/or almonds.
Preheat the oven to 350ºF. Spread the bread cubes on two 10 x 15-inch baking sheets and toast them for 10 minutes. Toss the bread cubes with the melted vegan butter and cinnamon. Combine them with the remaining ingredients, saving 1/4 cup of the pecans to sprinkle on top.
Spread the mixture into an oiled 2-quart round casserole. Sprinkle the remaining pecans on top. Bake the casserole, covered, for 35 minutes. Let the pudding stand, covered, for about 15 minutes before serving with your favorite commercial vegan creamer or Rich Vegan Cream (recipe below) or your favorite vanilla nondairy "ice cream".
Mix the milk, sugar and vanilla in a blender. With machine running, slowly add the oil in a thin stream. When all the oil is added, the milk will have thickened up a little. Pour the mixture into a container and refrigerate.
VEGAN ESPRESSO & TRIPLE-GINGER CAKE FROM "WORLD VEGAN FEAST"
This ginger cake is the cosmopolitan cousin of the familiar gingerbread many of us grew up with. The cake itself is very light in texture (you would definitely not call this "bread"!) and infused with a generous amount of both fresh and ground dried ginger. Topped off with a fluffy espresso frosting and a plenty of sweet-hot organic candied ginger, this cake always gets rave reviews (and recipe requests) at potlucks and community get-togethers. Tasters are pleasantly surprised at the pairing of coffee and ginger and keep going back for more. But, really, how many times have we enjoyed a cup of coffee with a ginger cookie or a piece of gingerbread? It seemed like a match made in heaven to me and I think I was right.
NOTE: If you have no instant espresso powder and you can make espresso at home, you can use 8 1/4 teaspoons cold liquid espresso as the TOTAL liquid and omit the nondairy milk.
Tip: Organic candied ginger has a stronger ginger flavor and "bite" to it than the ordinary variety, so if you really like ginger, look for it!
Oil a 9-inch square cake pan and line the bottom with baking parchment cut to fit. Preheat the oven to 350°F.
In a large heatproof bowl, batter bowl or measuring pitcher, pour the boiling water over the vegan butter (or oil) and whisk until smooth. Whisk in the molasses, brown sugar, applesauce, milk and grated fresh ginger.
In another bowl, stir together the flours with the baking soda, ground ginger, cinnamon, salt and allspice. Add this to the molasses mixture in two additions, stirring until smooth. Transfer the batter into the prepared pan and bake for 30 to 40 minutes or until a cake tester comes out clean when inserted into the center. Cool thoroughly on a rack.
To make the Espresso Frosting, pour the boiling water into a large mixing bowl or the bowl of your stand mixer. Add the espresso or coffee granules and stir to dissolve. Add the vegan butter and milk. Whisk together well. With a hand-held electric mixer or the whip attachment to your mixer, gradually beat in the powdered sugar until the frosting is creamy and smooth. Spread it immediately over the top of cooled cake (not the sides) so that icing drips over the sides but does not cover them completely. Sprinkle the top evenly with the chopped candied ginger. Cut into 9 squares to serve.
This is my first "Use-It-Up Tuesday" post-- a great idea from the Urban Vegan, Dynise Balcavage.
The other day I experimented with a vegan omelette made with The Vegg, a new egg yolk substitute. I tried four different versions, two with tofu and two soy-free. The soy-free versions seemed too much like stiff crepes to me, so I abandoned that idea and ended up with a quick and easy tofu-based omelet with eggy flavor-- soft in texture, but strong enough to hold up to folding over a filling (recipe below). The tofu gives the VEGG mixture more substance-- it's too slimey by itself-- and the flours help the mixture set.
When I was trying to decide how to use leftover omelette (Pheobe the dog is getting some of the "crepey" experiments for treats these days), fried rice came to mind immediately. I surmised that chopped, cold omelette would be perfect to use in place of the usual scrambled eggs in a fried rice dish-- or, in my case the usual scrambled tofu. I also had some cooked brown basmati and red rice and Chinese vegan "ham" in the freezer, lots of green onions, savoy cabbage (didn't have any bean sprouts), celery and mushrooms (which needed using)... perfect for a fried rice dish with more nutrition than most versions, and a tasty use of leftovers.
Below is the recipe for the new VEGG Omelette and below that is the fried rice recipe. I hope you enjoy them!
Filling: I used some Daiya shreds (use whatever vegan cheese you like) and sautéed mushroom slices with red pepper strips, but use your imagination! Have your filling ready and kept warm before you begin cooking the omelettes, because they cook quickly.
In a blender, process the water and VEGG powder until well mixed and a bit "gloppy"-looking. Add the remaining ingredients and blend until smooth. Scrape into a bowl or batter bowl.
Heat your omelette pan (see tip above in recipe intro) over high heat with the oil or vegan butter.
Use 1/2 cup of batter per omelette. Scoop it into the center of the pan and, using the back of a spoon or a spatula in a circular motion, evenly spread the batter outwards to make a circle that's fairly thin, but with no holes. Cover and let cook for a couple of minutes, or until the top is set and dry and the bottom is golden and a bit crispy.
Turn the heat down to medium or medium-low and place some of your Filling and vegan cheese (if you are using it) over one half of the circle, then use the spatula to fold the other half over the Filling. Cover the pan again and leave for a minute or two to melt the cheese. Slide onto a warm plate and repeat with the remaining batter.
Leftover omelet can be folded or rolled like a crepe and refrigerated. It can be quickly microwaved and filled for another meal, or used chopped while cold and used in the Fried Rice recipe (or any fried rice) below.
Rice is normally eaten plain in China, but occasionally a savory (or "fried") rice dish will be made with leftover rice and other bits and pieces. This type of dish was made popular in Chinese restaurants in North America, so, like the flat egg foo yung omelettes in brown sauce, and ubiquitous chop suey, fried rice is really a Chinese-American dish. However, it is well-loved and can be very delicious. Savory fried rice doesn't need to be greasy and it should be seasoned with salt or just a little light soy sauce-- most American versions are too heavy on the soy sauce. You can use the suggestions I have made in the recipe, or change it to suit what you have on hand. Fried rice invariably contains scrambled egg, which can be replaced with scrambled tofu (or the quick version below the recipe), but I think leftover vegan omelette (recipe above) works even better. TIP: The rice should not be freshly-made-- it should be cold so that it is a bit dry and separates easily.
I prefer Savoy cabbage in this dish because it's more tender than regular green cabbage.
DIRECTIONS: Heat a large heavy wok, skillet or stir-fry pan over high heat. When it's very hot, add the 1 tablespoon oil. When the oil is hot, add the vegetables, garlic and "ham" or alternate.
Stir-fry for several minutes, or until the cabbage starts to wilt, scraping the bottom of the wok with a metal spatula and adding squirts of hot water from a squeeze bottle if it starts to stick to avoid the need to use more oil). Add the cold rice, breaking up any clumps.
Add the sesame oil, salt and a few grindings of pepper, and keep turning the mixture with a spatula until the rice is heated through-- again, scraping the bottom of the wok with a metal spatula and adding squirts of hot water from a squeeze bottle if it starts to stick to avoid the need to use more oil.
Add the chopped Omelette to the pan and stir-fry until everything is well-mixed and hot.
Serve immediately. Any leftovers can be refrigerated and reheated.
Mix the crumbled tofu with the other ingredients. Heat a lightly-oiled nonstick or cast iron skillet over high heat. Add the tofu and keep turning it with a spatula until it turns a bright scrambled egg color and dries out to your satisfaction. Set aside.
Homemade Vegan "Liverwurst", from my book "World Vegan Feast" ready to be served with pumpernickel bread, whole grain crackers, rye crisp, or crudites at a holiday party.
I confess that I really liked liverwurst in pre-vegan days. And, judging by the recipes and info online, I am not alone. I devised a recipe that tastes very much like it, in my opinion (and in the opinion of some real German testers), but involves no meat, is easy to make, can be frozen, and has a wonderful flavor. It makes good sandwiches, too and is great to have in the refrigerator during the summer, for a quick meal or an appetizer.
The recipe is seasoned the way I like it, but some German testers also added a bit of ground cloves and cardamom.
Note: You will need two nonstick 5 3/4 x 3 x 21/8-inch fruitcake/mini loaf pans for this recipe. Alternatively, you can use a 8-inch round cake pan for the whole recipe.
With an easy addition, this can be turned into A VEGAN "braunschweiger", which is a smoked "liverwurst". If you liked braunschweiger in the past, just add a little liquid smoke (see NOTE below) to taste, starting with a 1/2 teaspoon.
Preheat the oven to 350°F. Oil two nonstick 5 3/4 x 3 x 2 1/8-inch fruitcake/mini loaf pans or an 8-inch round cake pan liberally with the dark sesame oil and line the bottoms with baking parchment cut to fit. Oil the parchment, too.
Combine all of the ingredients in a blender (preferably) or food processor and blend until very smooth.
Divide the mixture between the two prepared nonstick 5 3/4 x 3 x 2 1/8-inch fruitcake/mini loaf pans or 8-inch round cake pan. Smooth the tops evenly.
Cover each pan with foil (oiled on the part that will touch the liverwurst mixture). Place the pans inside of an 8 x 12-inch shallow baking pan with about 1 inch of hot water in the bottom. Bake for 1 hour.
Cool the liverwurst in the pans on a cooling rack until firmly set. Carefully loosen around the sides of the pans with a table knife and invert them onto a platter. Cover the plate with plastic wrap and refrigerate for up to a week.
If you would like to freeze the liverwurst, cut them into whatever sizes are useful for you, wrap well with foil, then place in a zipper-lock bag, seal and freeze for up to three months.
Nutrition (per serving or 1/ 8th of a loaf): 61.6 calories; 39% calories from fat; 2.9g total fat; 0.0mg cholesterol; 148.9mg sodium; 182.5mg potassium; 5.6g carbohydrates; 1.4g fiber; 0.9g sugar; 4.2g net carbs; 4.4g protein; 1.2 points.
What is liquid smoke and how is it made? We were among the many people who assume that there must be some kind of synthetic chemical chicanery going on in the making of "liquid smoke" flavoring. But according to the Colgin Company (which has been bottling liquid smoke since the 19th century), that's not the case. Liquid smoke is made by channeling smoke from smoldering wood chips through a condenser, which quickly cools the vapors, causing them to liquefy (just like the drops that form when you breathe on a piece of cold glass). The water-soluble flavor compounds in the smoke are trapped within this liquid, while the non-soluble, carcinogenic tars and resins are removed by a series of filters, resulting in a clean, smoke-flavored liquid.
Curious about the manufacturing process for this product, we wondered if we could bottle up some smoke for ourselves. To do this, we created a small-scale mock-up of the commercial method, involving a kettle grill, a duct fan, a siphon, and an ice-chilled glass coil condenser.
In a comparison of homemade and store-bought liquid smoke, homemade was praised for its clean, intense, smoky flavor. But we spent an entire day and $50 on materials to produce 3 tablespoons of homemade liquid smoke. Commercial liquid smoke is just fine, especially if you avoid brands with additives such as salt, vinegar, and molasses. Wright's Liquid Smoke ($2.99 for 3.5 ounces) is our top-rated brand and contains nothing but smoke and water."


Apple just announced iPhone OS 3.1, which includes Genius recommendations for the App Store. The update also brings a ringtone store, with over 30,000 ringtones at $1.29 a pop. 3.1 is available today for free to iPhone users and iPod touch users with 3.0.


Cloud computing can leverage over-provisioned resources that are wasted in traditional data centers hosting production applications by consolidating tasks with lower QoS and SLA requirements. However, the dramatic fluctuation of workloads with lower QoS and SLA requirements may impact the performance of production applications. Frequent task eviction, killing and rescheduling operations also waste CPU cycles and create overhead. This paper aims to schedule hybrid workloads in the cloud data center to reduce task failures and increase resource utilization. The multi-prediction model, including the ARMA model and the feedback based online AR model, is used to predict the current and the future resource availability. Decision to accept or reject a new task is based on the available resources and task properties. Evaluations show that the scheduler can reduce the host overload and failed tasks by nearly 70%, and increase effective resource utilization by more than 65%. The task delay performance degradation is also acceptable.
Jiang, H., E, H., & Song, M. (2018). Multi-prediction based scheduling for hybrid workloads in the cloud data center. Cluster Computing, 21(3), 1607-1622.
Jiang, Haiou, Haihong E, and Meina Song. "Multi-prediction based scheduling for hybrid workloads in the cloud data center." Cluster Computing 21.3 (2018): 1607-1622.


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Encinitas Youth Commission applications now accepted for 2020-21 school year
The City of Encinitas is accepting applications for appointment to the Youth Commission representing grades 7 through 12, according to a news release.
Applicants must apply online from the city's website located at: http://www.encinitasca.gov/Government/Boards-Commissions/Youth-Commission
All applications must be submitted no later than 6 p.m. on Thursday, April 9, 2020.
Applicants must be residents of the City of Encinitas.
Youth Commission composition shall include representatives from school grades 7 through 12.
Applicants may be asked to meet with City Council members at a future council meeting (date to be determined) to briefly discuss their reasons for seeking appointment to the Youth Commission (e.g. a 2-3 minute presentation by the applicant).
Youth Commissioners must be able to attend commission meetings on the first Wednesday of each month at 4:30 p.m. and participate in Youth Commission projects and subcommittees.
The Youth Commission consists of up to nine voting members all serving a one-year term. Youth Commission duties include:
Development of an Annual Work Plan.
Review and updates on the Youth/Teen Master Plan.
Advising the Encinitas City Council on matters regarding youth/teen services and programs.
Cooperation with other public and private agencies.
For additional information, contact the City Clerk at 505 South Vulcan Avenue in Encinitas, by phone at (760) 633-2601 or by email at khollywood@encinitasca.gov. For any Youth Commission specific questions, please contact Christian Hernandez of the Parks and Recreation Department at (760) 633-2756.
New chief of staff at Scripps Encinitas
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Grauer School student nominated for Congress of Future Medical Leaders
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Surfing Madonna nonprofit gives money to support local artists in spirit of Mark Patterson's artistic vision
Human resources executive appointed to vacant Encinitas council spot
Nine county districts on 2023 California Distinguished Schools list
Del Mar Fairgrounds approves operating budget for 2023
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San Dieguito board 'cures and corrects' officer election
Douglas agrees to keep role as San Dieguito's interim superintendent