If you want to impress your dinner guests, then you'll want to make this tart that will have everyone oohing and aahing in anticipation. Little will they know that the tart is incredibly easy to make even though it has that fancy bakery appeal. No kneading, chilling and rolling out of the crust. And when it comes down to it, simplicity in all its blissful glory is just the dessert to make a lasting impression. Rich, succulently dense and refreshing, the goodness of fine quality dark chocolate pairs perfectly with the earthy teff crust. You'll only need a small slice of this divine tart, despite the urge to skip dinner all together and just concentrate on dessert.
This dessert was the crowning touch on my vegetarian Christmas meal that was quietly enjoyed at home with my husband, cherished bestest friend Basil, and two kitties lurking around but respectfully staying away from our food. My dinner was so tempting that it was deemed best to leave the tart to sit out and entice while we enjoyed a hot mulligatawny soup and my lush and filling samosa potpie. Coffee was necessary after dinner as we opened a few gifts and then onto the tart as dinner began to settle in our full tummies.
Teff is a very small ancient grain originating in Ethiopia. Technically a seed, small these grains may be, but teff has a mighty presence as it's packed full of essential nutrients and plenty of earthy flavour. As you would expect, the flour is simply the ground grain. Eating the crust of this tart is part of the enjoyment, as it adds a earthy, dense and nutty-flavor contrast to the chocolate filling. Teff flour can usually be found at natural food stores and Bob's Red Mill make a fine version.
In a large bowl, combine all of the crust ingredients with a fork until well mixed and crumbly. A small amount of the dough should hold together when pressed between a thumb and a finger. Transfer this mixture into the prepared tart tin and spread evenly, pressing down firmly against the bottom and sides of the pan. Bake for 12 to 14 minutes until the crust darkens a few shades. Remove to a wire rack to cool.
When the crust is cool, spread the berry preserves evenly over the bottom of the tart. In a medium heavy-bottomed saucepan, bring the coconut milk to a boil over medium heat. Turn off the heat, and whisk in the vanilla. Then whisk in the chocolate until completed blended and free of any lumps. Pour this chocolate filling over the berry preserves and spread evenly. Gently transfer to the refrigerator and chill for 2 hours or longer to set. Remove the outer rim of the tart pan and let the tart sit out for about 1/2 hour before serving. Garnish with the fresh berries and cut into small wedges using a sharp knife to serve.
This tart will keep well covered in the refrigerator for about 2 weeks.
*Note: if you don't have a tart pan, use a standard size glass pie plate instead.
Lisa, would you recommend a substitute for coconut oil? I just don't like its flavor!
I don't think you would really notice the coconut flavour here. The oil is used in the crust in a small quantity and the other flavours it combines with are strong and much more prominent. So, I really do suggest you try it as is, but if you are still not happy with the coconut oil, you have a few options. Substitute a neutral tasting oil, or choose refined coconut oil, which is extracted from dried coconut meat rather than the fresh, and processed under high-heat to remove the flavour and odor. I don't use that myself because the high processing removes the benefits of coconut oil and so I go with virgin or pure coconut oil, as that undergoes minimal processing once extracted from the fresh coconut meat. I do hope you'll try the tart. It is remarkably easy to make and it looks lovely and tastes heavenly.


The other day, I was comparing two different sitemap files of the same site. One had more links than the other, and I was trying to get a list of what was missing from the shorter one. However, since they were from different sitemap generators, the order of the links were completely different in each file.
Surprisingly, this turned out to be a much bigger challenge than I thought. I figured I could use some variation of a grep command line, or diff, but I wasn't able to find a simple combination of command line options for either that would do what I was looking for. It seems like everything I found was more geared toward comparing files that were in the same order. Diff simply dumped a large list of all the lines in file2; since the order was different than file1, every line was considered a mismatch.
# The purpose of this script is to print the lines in file2 that are not present in file1, regardless of order.
# Iterate through each line of file2, checking for presence in file1, and setting a flag if it's found.


text:
Q: Column copy and paste using macro I am not familiar with VBA or Macro and I use Microsoft excel quite often.
what's better way to write this? What I want is to copy Column B and paste Column B to right next column and every other column.
For example:
on sheet2, I want B column to be on B column
on sheet3, I want B column to be on C column and clear Column B
on sheet4, I want B column to be on E column and clear Column B
on sheet5, I want B column to be on F column and clear Column B
.
.
.
.
on sheet 26, I want B column to be on Z column and clear column B
on sheet 27, I want B column to be on AA column and clear column B
so on
I have used " Record Macro" to come up with this but I'd like to use VBA programming. what'd be the best way to copy/cut paste columns?
Sheets(2).Select
Columns("B:B").Select
Sheets(3).Select
Columns("B:B").Select
Selection.Copy
Columns("C:C").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(4).Select
Columns("B:B").Select
Selection.Copy
Columns("D:D").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(5).Select
Columns("B:B").Select
Selection.Copy
Columns("E:E").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(6).Select
Columns("B:B").Select
Selection.Copy
Columns("F:F").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(7).Select
Columns("B:B").Select
Selection.Copy
Columns("G:G").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(8).Select
Columns("B:B").Select
Selection.Copy
Columns("H:H").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents
Sheets(9).Select
Columns("B:B").Select
Selection.Copy
Columns("I:I").Select
ActiveSheet.Paste
Application.CutCopyMode = False
Columns("B:B").Select
Selection.ClearContents

A: How about:
Sub ytrewq()
    Dim i As Long
    For i = 1 To Sheets.Count
        With Sheets(i)
            .Columns(2).Copy .Columns(i + 2)
        End With
    Next i
End Sub

EDIT#1:
To clear column B in each sheet:
   Sub ytrewq()
        Dim i As Long
        For i = 1 To Sheets.Count
            With Sheets(i)
                .Columns(2).Copy .Columns(i + 2)
                .Columns(2).Clear
            End With
        Next i
    End Sub

EDIT#2
This starts on Sheet3:
Sub ytrewq()
    Dim i As Long
    For i = 3 To Sheets.Count
        With Sheets(i)
            .Columns(2).Copy .Columns(i)
            .Columns(2).Clear
        End With
    Next i
End Sub

A: You can write a Sub to cut down on some of the repetitiveness of your code.
Ex.
Sub copyPaste(sheetNum as integer, copyCol as string, pasteCol as string)

    Sheets(sheetNum).Select
    Columns(copyCol).Copy Columns(pasteCol)
    Columns(copyCol).ClearContents

end sub

redpajama_set_name: RedPajamaStackExchange


text:
Gigglebox
With the pandemic in 2020, television viewing increased as people went into lockdown. But what happened to all the pantomime characters that we love so much at this time of year? Could it be that Cinderella, Aladdin, Scrooge and Marley would also seek solace from the television during the dark days of Winter?
Tread the Boards, in collaboration with etc, and The Open Theatre Group, bring you "Gigglebox", a comic and magical take on the season to be jolly.
We've Been Active On Zoom
The lockdown may have prevented us from holding our usual meetings, rehearsals and at least one production, but we have kept things giong through online Zoom sessions. Our activities have included a Workshop session (yes, it can be done online!), Quiz nights, our AGM, and several play readings.
New Audio and Video productions
We have developed one of our play readings, Hit or Miss by Barry Lambert, into a full-blown audion presentation. With the permission of the author and copyright holder, we can now present this under the TTB Audio / Video menu. In addition we now have a series of video monologues on YouTube. You can find a link to these as well under TTB Audio / Video.
Welcome to the website of Tread the Boards Theatre Group, now established as a leading amateur drama group in Milton Keynes with a proud 30 year history.
Tread the Boards (TTB) was founded in Newport Pagnell, Bucks, in 1986. We are now a Registered Charity, but we started out as a group associated with the local Adult Education Centre and based in Ousedale School's Drama Studio. Our first production was Alan Ayckbourn's "Bedroom Farce". Over the next couple of years we put on a variety of shows (see our Past Productions page), built a regular audience and developed to the point where we felt that we could achieve more as a group independent of Adult Education. We now perform across Milton Keynes.
In this site you will find a potted history of TTB, details of our future productions and how to book for them, as well as a list of our productions over the past 30 years.
We have always prided ourselves on being a friendly, open group that does not tolerate the cliques so often found in organisations. We genuinely welcome new members and try to actively develop their skills whether onstage or back stage. If you fancy treading the boards yourself, have a look at our Membership page for full details.
We hope that you find this site interesting; if you have any inquiries, please use the form on our Contact page.
Companies and Organisations who have sponsored and assisted with our productions.
D.E. Turneys Bakers, Newport Pagnell www.turneysbakeryltd.co.uk/
French a la Carte MK, Walnut Tree, MK www.frenchalacartemk.co.uk/
Saray Tutkish Restaurant, Newport Pagnell www.saraymk.co.uk/
Moza Indian Restaurant 5 St John Street, Newport Pagnell
Brinnick Locksmiths 58 High Street,Newport Pagnell
Ken's Paper Collectables 29 High Street, Newport Pagnell
The Wool Shop 1 High Street, Newport Pagnell
Gulliver's Theme Parks www.gulliversfun.co.uk
energie fitness for women 21 St John Street, Newport Pagnell
Wyrdos 6a St John Street, Newport Pagnell
Changes Hairdressing Stony Stratford, Willen and Walnut Tree
Heritage Hunters www.heritagehunters.org.uk
Holiday Inn London Road, Newport Pagnell
Jaymac Graphics www.jaymac-graphics.co.uk
The Cafe Bookshop Cranfield
Stagecoach Theatre Arts www.stagecoach.co.uk/
WhereCanWeGo.com https://www.wherecanwego.com/
Tread the Boards is proud to be a member of NODA, the National Operatic and Dramatic Association. NODA has been supporting Amateur Theatre since 1899 and regularly provides TTB with professional reviews of our productions. You can find out more about NODA at their website, www.noda.org.uk/.
We need your help for this years panto! (Oh yes we do!)
Rats – Panto! Show dates are Wednesday 15th – Sunday 19 December 2021
Join us at the Newport Christmas Fair
TTB's Special Welcome Evening
TTB Web Shop
If you are buying on-line, then why not use our Easyfundraising eStore.
You won't spend any more than going to the retailer's website directly, but you will help us to raise funds.
To see what is on offer, and the wide range of stores available, click on the button, or go to Tread the Boards e-Store.

redpajama_set_name: RedPajamaCommonCrawl


The path to a better world can't be found without knowledge of history. /It's Not Over/ analyzes attempts to supplant capitalism in the past in order to draw lessons for emerging and future movements that seek to overcome the political and economic crises of today. This history is presented through the words and actions of the men and women who made these revolutions, and the everyday experiences of the millions of people who put new revolutionary ideas into practice under the pressures of enormous internal and external forces.
This is history that can be applied to today's struggles to shape our world, in which new ideas are emerging to bring about the economic democracy that is indispensable to a rational and sustainable future.
In recent years, a financial crisis not encountered for almost half a century broke out globally, deeply affecting the economy of China. This book covers topics in relation to the financial crisis in China, such as how the financial crisis intensifies discussion on 'the China Model', the comprehensive interpretation on the scale, structure and effects of the 4 trillion economic stimulus plan and the development of rural finance in China under circumstances of world-wide financial upheaval.
Today's economic crisis is the worst since the Great Depression. However, as David Korten shows, the steps being taken to address it do nothing to deal with the reality of a failed economic system. It's like treating cancer with a bandage. Korten identifies the deeper sources of the failure: Wall Street institutions that have perfected the art of creating ""wealth"" without producing anything of real value: phantom wealth. Our hope lies not with Wall Street, Korten argues, but with Main Street, which creates real wealth from real resources to meet real needs.
He outlines an agenda to create a new economy– locally based, community oriented, and devoted to creating a better life for all, not simply increasing profits. It will require changes to how we measure economic success, organize our financial system, even the very way we create money, an agenda Korten summarizes in his version of the economic address to the nation he wishes Barack Obama were able to deliver.
American businesses today are obsessed with the price of their stock, and no wonder. The consequences of even a modest decrease can be so dire that some executives would rather damage their corporation's long-term health than allow quarterly returns to fall below projections. But how did this situation come about? When did the stock market become the driver of the American economy? Lawrence E. Mitchell identifies the moment in American history when finance triumphed over industry. He shows how the birth of the giant modern corporation spurred the rise of the stock market and how, by the dawn of the 1920s, the stock market left behind its business origins to become the very reason for the creation of business itself.
Most scholarship on nineteenth-century America's transformation into a market society has focused on consumption, romanticized visions of workers, and analysis of firms and factories. Building on but moving past these studies, Capitalism Takes Command presents a history of family farming, general incorporation laws, mortgage payments, inheritance practices, office systems, and risk management—an inventory of the means by which capitalism became America's new revolutionary tradition.This multidisciplinary collection of essays argues not only that capitalism reached far beyond the purview of the economy, but also that the revolution was not confined to the destruction of an agrarian past.
As business ceaselessly revised its own practices, a new demographic of private bankers, insurance brokers, investors in securities, and start-up manufacturers, among many others, assumed center stage, displacing older elites and forms of property. Explaining how capital became an "ism" and how business became a political philosophy, Capitalism Takes Command brings the economy back into American social and cultural history.
Economic historians have made great progress in unraveling the causes of the Great Depression, but not until Scott Sumner came along has anyone explained the multitude of twists and turns the economy took. In The Midas Paradox: Financial Markets, Government Policy Shocks, and the Great Depression, Sumner offers his magnum opus—the first book to comprehensively explain both monetary and non-monetary causes of that cataclysm. Drawing on financial market data and contemporaneous news stories, Sumner shows that the Great Depression is ultimately a story of incredibly bad policymaking—by central bankers, legislators, and two presidents—especially mistakes related to monetary policy and wage rates.
He also shows that macroeconomic thought has long been captive to a false narrative that continues to misguide policymakers in their quixotic quest to promote robust and sustainable economic growth. The Midas Paradox is a landmark treatise that solves mysteries that have long perplexed economic historians, and corrects misconceptions about the true causes, consequences, and cures of macroeconomic instability. Like Milton Friedman and Anna J. Schwartz's A Monetary History of the United States, 1867–1960, it is one of those rare books destined to shape all future research on the subject.


text:
There are many reasons to learn the identity of the trees around us. The trees growing on a site can tell us a lot about the soil, climate, and other environmental conditions there. Certain trees make good lumber, paper, medicines, food, or other products we need. Some animals rely on particular trees for food or shelter. Other plants in a forest may grow best in the shade of certain types of trees. Sometimes trees from other parts of the world become invasive, crowd out native trees, and need to be removed. When we choose trees for landscaping, it is helpful to know which trees might grow best there and what their specific needs are. And of course, some of us just like to increase our knowledge of the natural world!
Trees can be identified by many features, including leaves, bark, fruits, and buds. Using an identification key is a great way to hone your observation skills and learn the names of trees. You can also check out tree pictures and descriptions in a field guide.
Virginia Tech's interactive key
Virginia Tech's pictorial key
Virginia Tech's dendrology website
Use the key, illustrations, and descriptions in our Common Native Trees of Virginia and Common Native Shrubs of Virginia identification books.
Acorn Identification
Information sheet provides descriptions of various species of acorns with links to detailed species information.
Bark Types
Pictoral sheet showing the types of bark with photo samples of each.
Basic Tree Identification
By Ellen Powell, Conservation Education Coordinator – Presentation reviews the basics of tree identification.
Common Native Shrubs and Woody Vines of Virginia P00027
Identification book is a favorite of teachers, Scout leaders and outdoor enthusiasts. Book features descriptions, line drawings and an identification key to the most common native Virginia shrubs and woody vines. It also contains hints for effective plant identification, invasive species threats, and more. Printed copies available for sale.
Common Native Shrubs and Woody Vines of Virginia (2-page-spread) P00027
Common Native Trees of Virginia P00026
Identification book is a favorite of teachers, Scout leaders and outdoor enthusiasts. Book features descriptions, line drawings, and an identification key to the most common native Virginia trees. It also contains hints for effective shrub identification, invasive species threats, and more. Printed copies available for sale.
Common Native Trees of Virginia (2-page spreads) P00026
Identification Guide Book Order – In-Person Sales 13.04 View
Basic Tips for Identifying Trees
Here are some basic tips for identifying trees at different times of the year. For help with terminology, check out the glossary.
Leaves – Spring through Fall
Leaves may be deciduous (shedding in the fall) or evergreen (present all year). Leaves have several features that can be diagnostic for identification.
Attachment Pattern
Opposite leaves are attached directly across from each other on the stem, so there are two leaves at each node, or attachment point.
Alternate leaves have only one leaf at each attachment point; the leaves alternate along the stem in a zigzag or spiral pattern.
Tip: For spring observation, look at older portions of stems instead of the ends, where newly emerging leaves may appear crowded together.
For trees with needles instead of leaves, observe whether the needles are single or grouped into bundles, and how many are in each bundle.
Leaf Form and Shape
Leaves may be simple, with a single blade; or compound, with 3 or more leaflets attached along a flexible, stem-like rachis.
A compound leaf may be pinnate, with leaflets branching off one main central vein, or palmate, with multiple leaflets originating from a single point.
Leaf veins may also be pinnate (one main vein originating from the leaf base, with smaller ones branching off it) or palmate (several major veins originating at leaf base, with smaller ones branching off them).
Leaf shapes vary widely among species. Some leaves have a fairly simple outline, such as an oval. Others have projections called lobes, which give them a wavy or spiky outline. The margins, or edges, of leaves may be smooth or jagged.
Needles come in different lengths and thicknesses. In some species, needles are very short, appressed tightly against the stem, and overlapping, so they appear scale-like.
Bark and Twigs – Late Fall through Early Spring
Bark can be used to identify many trees year-round, but it is especially useful after leaf drop. Bark is usually described by color and texture, and texture descriptions are often subjective rather than technical. For example, bark may be described as rough, smooth, ridged, furrowed, interlaced, platy, scaly, shaggy, warty, or blocky.
A twig's buds will become the next spring's leaves or flowers. Buds have diagnostic features such as scales, distinctive shapes, and overall size. Leaf scars occur where the previous year's leaves were attached, and are thus arranged in opposite or alternate fashion, an important clue to identification. Other twig characteristics include thickness, color, and special features such as thorns, pores, or scents. Even the pith at the center of a twig is distinctive; it can be viewed by carefully splitting the twig along its length.
Tip: A 5-10x hand lens is helpful when examining twigs for tree identification.
Flowers, Fruits, and Cones
Flowering and fruiting time, and the form of flowers themselves, varies greatly by species. Wind-pollinated trees tend to have inconspicuous flowers that release large amounts of pollen in spring. Those that are insect-pollinated may be showy or scented.
Fruits are the structures that house the seeds of most trees. They include such varied items as berries, nuts in hard husks, pods, spiky balls, and even papery shells. Conifers do not technically produce fruit, but they bear cones or similar structures that release the seeds.
Other features to consider when identifying trees are:
Overall growth form of the tree
Characteristics of the growing site
Unique characteristics, such as host-specific fungi or insect galls


text:
North and Central America
Culture of Trinidad and Tobago
Information was not check the site moderator!
The culture of Trinidad and Tobago reflects the influence of African, Indian, Amerindian, Chinese, British, French and to a lesser extent Spanish and Portuguese cultures.
The histories of Trinidad and Tobago are different, and there are contrasts in the cultural influences which have shaped each island. There are also regional differences within each island.
Trinidad and Tobago is an English-speaking country with strong links to the United Kingdom. Historical membership in the British Empire left a major influence on the country, including the dominance of the English language and the popularity of the two top sports in the country, football and cricket.
Members of a Costume band parade in Port of Spain during Carnival.
The most influential single cultural factor in Trinidad and Tobago is Carnival, brought to Trinidad by French settlers from Martinique in the later part of the 18th century. Originally the celebration was confined to the elite, but it was imitated and adapted by their slaves and, after the abolition of slavery in 1838, the practise spread into the free population.
The Canboulay Riots of 1881 were a turning point in the evolution of Trinidad Carnival. Carnival was originally confined to the upper classes, which rode the streets in floats, or watched from the upper stories of residences and businesses. The night was given over to the lower classes.
The first few hours of Carnival Monday morning, from about 4 am until sunrise was known as J'ouvert (a contraction of jour ouvert). Costumed and masked by the darkness, J'ouvert allowed the wealthy to mix with the poor in relative anonymity. Monday night (night 'mas) had a similar, but lesser function.
Mas'
The daytime of Carnival Monday and Tuesday are dominated by costumed masqueraders. Until World War II, most of these masqueraders portrayed traditional characters including the Midnight Robber, Police and Thief, Wild Indian, Bat', Jab Molassie, Jab Jab, Red Devil, Blue Devil, and Dame Lorraine.
With the wartime presence of US soldiers (and war movies) Sailor Mas' was added. In the postwar period, individuals gave way to organised bands, which today can include thousands of masqueraders. Peter Minshall is often considered the greatest mas' designer.
Carnival fetes
Carnival take place most heatedly during the week before the actual parade of bands on Carnival Monday and Tuesday. However, traditionally, the Carnival season begins on Boxing Day December 26 and soca and calypso music reign supreme over the airwaves. The fetes that take place from year end through carnival (usually in February) are generally carnival-themed and feature live music from bands and soca artists who are promoting their song contributions for the year.
In Christmas, parang is the traditional form of music at that time of year. Pastelle, black cake, fruit cake, sweet bread (paime) are customary eats; Peardrax,[1] ponche de creme ("punchin'"), ginger beer, sorrel wine are the drinks. As most of the residents are Christian, Christmas is one of the biggest celebrations in Trinidad and Tobago.
Divali is a Hindu festival, a celebration of the victory of good over evil.
A tadjah at Hosay in the 1950s.
Hosay is the local manifestation of the Shia Muslim Remembrance of Muharram in Trinidad and Tobago[2] (where is it spelled Hussay). The name Hosay comes from "Husayn", whose martyrdom is commemorated in the festival. . Recently it has been revived elsewhere.
Phagwah
An East Indian spring festival, celebrated as a festival of colours.
Calypso music developed together with Carnival. The chantuelle, who spoke for the band, evolved into the calypsonian (and other characters, such as the Midnight Robber). The music, which drew upon African and French influences, became the voice of the people. It allowed the masses to challenge the doings of the unelected Governor and Legislative Council, and the elected town councils of Port of Spain and San Fernando.
As English replaced patois (Creole French) as the dominant language, calypso migrated into English, and in so doing it attracted more attention from the government. Calypso continued to play an important role in political expression, and also served to document the history of Trinidad and Tobago.
Soca is a dance music which is a mix of Trinidad's calypso and Indian music and rhythms, especially chutney music. It combines the melodic lilting sound of calypso with insistent cadence percussion, and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om". Soca and its derivatives (Chutney soca, Groovy soca, Ragga soca) have largely displaced mainstream calypso as the music of Carnival.
Chutney was born out of the East Indian influence in Trinidad, and derives elements both from traditional Indian music and popular soca music.
Rapso is a uniquely Trinidadian music that grew out of the social unrest of the 1970s, though it is often described as a fusion of soca and calypso with American hip hop.
Parang is a music with Caribbean and Latin American cultural influences. The word is derived from two Spanish words: Parranda, meaning "a spree or fete" and Parar meaning "to stop". Parang is a popular folk music originating out of Trinidad and Tobago, it is part of the Island's Hispanic heritage that originated from over 400 years ago during Spanish rule via Venezuela.
Pichakaree
Pichakaree is an Indo-Trinidadian musical form which originated in Trinidad and Tobago. Pichakaree songs are generally social commentary, and are sung using a mixture of Hindi, English and Bhojpuri words. The musical form was devised by RaviJi, spiritual leader of the Hindu Prachar Kendra. Pichakaree competitions are an integral part of Phagwa celebrations hosted by the Hindu Prachar Kendra.
Steelband
The steelband developed during wartime. They were preceded by the Tambu Bamboo bands, which used percussion instruments based on bamboo. The steelband movement developed in the postwar period with many bands taking names from war movies like Casablanca, Tokyo, Free French and Tripoli.
The cuisine of Trinidad and Tobago draws upon the varied origins of its people. Three influences predominate, Creole, Indian and Chinese cuisine.
Creole food commonly includes callaloo, macaroni pie and red beans. Indian food is based on curry. Although the Chinese element in the population is small, it is cooked in most homes, and is served in almost all sit-down restaurants.
The first permanent folk-dance company and theatre in Trinidad was the Little Carib Theatre.
Literary scene
Trinidad and Tobago has produced many noted writers, including Nobel laureates Sir Vidia Naipaul and St. Lucia–born poet Derek Walcott, and other award-winning authors such as Earl Lovelace and Michael Anthony.
The largest religious groups are the Roman Catholics and Hindus. The Anglicans, Muslims, Presbyterians, Methodist and Gurdwara sikhs are among the smaller groups.
Two Afro-Caribbean syncretic faiths, the Shouter or Spiritual Baptist and the Orisha faith (formerly called Shangos, a less than complimentary term) are among the fastest growing religious groups, as are a host of American-style evangelical and fundamentalist churches usually lumped as "Pentecostal" by most Trinidadians (although this designation is often inaccurate).
The Church of Jesus Christ of Latter-day Saints (LDS Church), has also expanded its presence in the country since the mid-1980s.
water_source
political_structure
Trinidad Food
Beverages in Trinidad and Tobago