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  | Cuisinart ICE-30BC Pure Indulgence Frozen Yogurt-Sorbet Ice Cream Maker - Silver
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วันจันทร์ที่ 19 ธันวาคม พ.ศ. 2554
Cuisinart ICE-30BC Pure Indulgence Frozen Yogurt-Sorbet Ice Cream Maker - Silver
วันอาทิตย์ที่ 18 ธันวาคม พ.ศ. 2554
Six first-rate Elements of a Best Selling Novel
Late in the nineteenth century, painters such as van Gogh, Cézanne and Seurat looked back to the Old Masters of the seventeenth century-geniuses like Rembrandt and Poussin-for techniques that would add richness to their work.
Why do today's fiction writers so seldom do something similar to help in writing a novel: look back to the Old Masters of the best-seller list-to the Tom Clancys and Michael Crichtons and Stephen Kings of our parents' and grandparents' day-to learn more about their craft? Let's study the work of six writers who not only ruled yesterday's best-seller lists, but whose consistent crowd-pleasing abilities also place them among the most thriving authors of all time. In their books lie techniques of good storytelling that are timeless, of value to the commercial novelist of today-or any day. Passage these always in vogue elements and apply them to writing your novel:
Ice Indulgence
Erle Stanley Gardner
The inventor of lawyer-detective Perry Mason and a lawyer himself (it is said he is the model for Mason), Gardner was absolutely the best-selling and most prolific of all mystery writers. From the early thirties until his death in 1970, he produced two or three of his The Case of ... Novels a year, enough to keep five secretaries busy transcribing his dictation full-time.
Technique #1: Put Your Story Front and town Story was absolutely all things to Gardner. Characterization and background were of secondary, if any, importance. To Gardner, the novel was simply the most efficient means of presenting his detective puzzles. Like Agatha Christie, Gardner relied heavily on dialogue, so that his books often read like scripts.
Here's the no-nonsense beginning of The Case of the Screaming Woman, an example of how Gardner hooks us immediately with the first bizarre aspect of his story:
Della Street, Perry Mason's confidential secretary, entered Mason's inexpressive office, walked over to the lawyer's desk and said, "You always like something out of the ordinary, Chief. This time I have a lulu!"
"Unusual?" Mason asked, looking up from the papers on his desk.
"Unique," she said.
"Give," Mason told her.
"A Mrs. John Kirby telephoned," Della road said, "and wanted to keep you to cross-examine her husband."
"A divorce case?" Mason asked.
"No, she and her husband are good friends."
"Yet she wants me to cross-examine him?"
"That's right."
"About what?"
"About where he was last night."
Mason frowned. "Della, I'm not a lie detector. I'm not a psychoanalyst. I don't deal with cases captivating domestic relations."
"That's what I told Mrs. Kirby," Della road said. "She told me she only wanted her husband's interests protected. She said she wanted you to listen to his story, puncture his self-assurance, and rip him to pieces."
Though few would be tempted to call Gardner a stylist, there's no arguing that he could arrest us with a wildly unlikely installation at the start of each of his books. It was this ability to build a novel on drive of story, rather than on how he told that story, that made him the beloved of millions.
Sometimes this kind of get-to-the-point storytelling is exactly what readers crave-for example, when what they absolutely want is a captivating puzzle in novel form.
If you share Gardner's gift for ingenious plotting, why embellish your book with unnecessary information or description? You might be doing yourself, and your book, a disservice. Bare-bones, plot-oriented writing may be the excellent advent for your novel of mystery or suspense.
Erskine Caldwell
"From the day of my birth until I reached the age of twenty years, I rarely lived longer than six years in the same place," wrote this red-haired, Georgia-born son of a Presbyterian minister, who at eighteen was running guns for a revolt in Central America. He also worked as a plowboy, poolroom attendant, cotton picker, lumbermill hand, pro football player, taxi driver, stagehand in a burlesque theater, stonemason, soda jerk, cook and waiter, book reviewer and journalist.
Caldwell is best known, however, as the author of sometimes scandalous novels about the Southern poor, most notably 1933's God's minuscule Acre, among the most beloved novels of all time. Not far behind is Tobacco Road, written the year before.
Technique #2: Paint Characters With Heart Caldwell's novels about "American primitives" have enjoyed their astounding success largely because Caldwell (like Mark Twain and Bret Harte, to whom he is frequently compared) truly loved the citizen he wrote about. This love for these citizen at their best and worst would not have existed if he had not known them so well, and it was this knowledge that allowed him to show them in all their humor, eccentricity and pathos-qualities that make these citizen irresistible to readers.
In this Passage from Tobacco Road, Ellie May Lester shows her feelings for Lov Bensey. Lov is married to Ellie May's younger sister Pearl, who refuses to sleep with Lov. Ellie May, though harelipped, is all too willing to give Lov what he wants.
[Lov] was looking at Ellie May now. She had at last got him to give her some attention.
Ellie May was edging closer and closer to Lov. She was captivating over the yard by raising her weight on her hands and sliding herself over the hard white sand. She was smiling at Lov, and trying to make him take more observation of her. She could not wait any longer for him to come to her, so she was going to him. Her harelip was spread open over her upper teeth, making her mouth appear as though she had no upper lip at all. Men regularly would have nothing to do with Ellie May; but she was eighteen now, and she was beginning to study that it should be inherent for her to get a man in spite of her appearance.
"Ellie May's acting like your old hound used to do when he got the itch," Dude said to Jeeter. "Look at her scrape her bottom on the sand. That old hound used to make the same kind of sound Ellie May's making, too. It sounds just like a minuscule pig squealing, don't it?"
Chances are these are not like the citizen you encounter daily, but to Erskine Caldwell they might as well have been, and he painted them exactly as he saw them, with a brush full of color, and broad, captivating strokes.
In most novels it is vital that the author give us characters we can know and like as much as we find ourselves knowing and liking those in Caldwell's. To originate such supersympathetic characters in your novels, look directly to the citizen you know and love good than any others. Only by knowing and loving your characters can you make us do the same.
Ian Fleming
Drawing on his sense with British Naval Intelligence, Fleming created James Bond 007, and absolutely Fleming and Bond often became confused in the social mind. Though Fleming called his work "trivial piffle," his espionage adventures had been phenomenally thriving colse to the world, with John F. Kennedy among his most avid fans.
Technique #3: Appeal to Our Wildest Fantasies The success of Fleming's books has been attributed to the way they request for retrial to our wildest dreams. James Bond, more than any other fictional hero, lived many people's fantasy of a life of total self-sufficiency and self-indulgence.
At the climax of You Only Live Twice, Bond is a prisoner of his old nemesis, Ernst Blofeld, in the cliff-top Castle of Death. Bond manages to flee the deadly volcanic mud of the quiz, Room, save his neck from Blofeld's heavy samurai sword, and ultimately overpower and strangle Blofeld. He even sets the Castle to self-destruct-only to climb out a window and find himself trapped on a narrow balustrade.
. . . He looked over the side. A sheer hundred-foot drop to the gravel. A soft fluted whistle above him caught his ear. He looked up. Only a breath of a wind in the moorings of that bloody balloon! But then a lunatic idea came to him, a flashback to one of the old Douglas Fairbanks films when the hero had swung over the wide hall by taking a flying leap at the chandelier. This helium balloon was strong enough to hold taut fifty feet of framed cotton strip bearing the warning sign! Why shouldn't it be mighty enough to bear the weight of a man?
Bond ran to the corner of the balustrade to which the mooring line was attached. He tested it. It was taut as a wire! From somewhere behind him there came a great clamour in the castle . . . Keeping onto the straining rope, he climbed onto the railing, cut a foothold for himself in the cotton banner, and, grasping the mooring rope with his right hand, chopped downwards below him with Blofeld's sword and threw himself into space.
It worked! There was a light night breeze, and he felt himself wafted gradually away over the moonlit park, over the glittering, steaming lake, towards the sea. But he was rising, not falling! The helium sphere was not in the least worried by his weight! Then blue-and-yellow fire fluttered from the upper storey of the castle, and an occasional angry wasp zipped past him. . . . Now the whole black silhouette of the castle swayed in the moonlight and seemed to jig upwards and sideways and then gradually dissolve like an ice cream cone in the sunshine. The top storey crumbled first, then the next, and the next, and then, after a moment, a huge jet of orange fire shot up from hell towards the moon. A buffet of hot wind, followed by an echoing crack of thunder, hit Bond and made his balloon sway violently.
. . . Punctured by a bullet, the balloon was fast losing height. Below, the softly swelling sea offered a bed. . . .
It seems clear that Fleming never forgot that most citizen who read for satisfaction read to escape, and that these readers want as much flee as they can get for their time and money.
Are your own characters humdrum and mundane, doing humdrum and mundane things, when they would be so much for captivating being and doing things we've only dreamed of? Fleming knew-and every novelist should remember-that one of the greatest joys of writing is that the impossible can be made possible. Give your readers a run for their money. Let them find true, astounding flee in the worlds you originate for them.
Mickey Spillane
His mystery-detective novels have been called nasty and sadistic, but they've won Spillane millions of fans just the same. The Brooklyn-born son of an Irish bartender began his writing vocation selling stories to the "slicks" and the "pulps," then writing comic books. His novels, most of them starring rough, tough Mike Hammer (said to resemble his creator), landed Spillane on the all-time best-seller list again and again, from 1947's I, The Jury to the fifties' My Gun is Quick, The Big Kill, One Lonely Night, The Long Wait and Kiss Me, Deadly, to 1961's The Deep.
Technique #4: Torture the Reader to the End Of his recipe of creating suspense, Spillane said: "You don't read a book to get to the middle. You read a book to get to the end. You deliberately torture yourself all the way through, hoping that after all the garbage the end will be worth all the time you spent in the reading thereof. True? It's got to be totally satisfactory in the last line.
A superb example of how Spillane puts his words into performance is the ending of I, The Jury (I've used a few dashes so as not to give whatever away):
"No, ----, I'm the jury now, and the judge, and I have a promise to keep. Gorgeous as you are, as much as I roughly loved you, I sentence you to death." . . .
The roar of the .45 shook the room. ---- staggered back a step. Her eyes were a symphony of incredulity, an unbelieving study to truth. Slowly, she looked down to the ugly swelling in her naked belly where the bullet went in. A thin trickle of blood welled out.
I stood up in front of her and shoved the gun into my pocket. I turned and looked at the rubber plant behind me. There on the table was the gun, with the safety catch off and the silencer still attached. Those loving arms would have reached it nicely. A face that was waiting to be kissed was absolutely waiting to be splattered with blood when she blew my head off. My blood. When I heard her fall I turned around. Her eyes had pain in them now, the pain preceding death. Pain and unbelief.
"How c-could you?" she gasped.
I only had a moment before talking to a corpse, but I got it in.
"It was easy," I said.
Remember how we all love being surprised, and hold some things back as you write your novel, whatever sort of novel it is. It's a astounding feeling to read a book and comprehend that a truly skillful novelist has gotten the best of us. Be specific to play fair with your surprises, however; make them believable and be sure to plant any important precedents or clues.
Frank Yerby
Georgia-born Yerby is best known for his vivid and complicated Southern tales, the most thriving of which are 1946's The Foxes of Harrow, 1947's The Vixens, and 1949's Pride's Castle. A critic once wrote that "Mr. Yerby could be a pretty good novelist if he ever got his mind off the neckline and the cash register," but the world always welcomed a new Yerby novel unconditionally.
Technique #5: Evoke the Magic of the moment Yerby is illustrious for his vivid language, for his multiplicity of characters and for writing, in the words of Arna Bontemps, with "a flair for color, an air of easy abandon, the ability to live in the moment and to originate characters that live in the moment, a touch of very elementary magic."
Devilseed is Yerby's story of Mireille Duclos, who, like many women of her time, sails penniless into gold-crazed San Francisco in the 1850s and there climbs to riches and respectability. In this scene we see Mireille riding into town as the new wife of Judge Alain Curtwright.
Mireille's imposing mahogany-and-rosewood-paneled landau swept eastward down Clay road toward Portsmouth Square, drawn at a spanking trot behind her pair of night-black, imported Australian horses. Perched high on the driver's seat before her, the Swithers brothers, James and John, her coachman and footman, sat, clad in livery every bit as imposing as the landau, their faces, under their tall silk hats, blacker than the hides of her astounding five-gaited pair, set in frowns of stern self-importance.
"Mammy" Pleasant had sent the Blacks to Mireille with a note suggesting that she hire them, which Mireille had been pleased to do, even knowing that Mary Ellen Pleasant had absolutely placed them in her hire to spy on her. Now, staring at their sturdy backs straining against the frock coats of their livery, she had the wickedly delighted feeling that she had "turned" them both: that they now were, if not fully on her side, at last duplicate agents. For, by awarding them a treatment captivating so much kindness, real consideration, even, at times, an easy, affectionate familiarity that no Black menservants in the 1850s could dream of receiving from a young, stunningly Gorgeous white woman, she got as much data about Mary Ellen Pleasant's weird, devious, and plain evil doings out of them as they carried back to the house on Washington road about hers.
As she rolled along, with the rear calash top folded back and the breeze stirring her raven hair under her smart minuscule bonnet, all the men on the sidewalks took off their hats and waved them in her direction. More than one of them grandly bowed. The women-what few there were-glared, and ostentatiously turned their backs. Mireille smiled with quiet satisfaction at that sight. Ever since the astounding Lola Montez, mistress of the immortal pianist-composer Franz Liszt, mistress of the ex-King Ludwig of Bavaria, mistress of-the list was endless!-whose Spider Dance drove men of the cloth, not to mention mere miners and businessmen, out of their minds, had left San Francisco that preceding fall to settle-permanently, she swore-in the pleasant minuscule California mountain town of Grass Valley, Mireille had inherited, by default, Lola's crown as the most illustrious demimondaine in the city. . . .
Yerby uses details of place and time as tools to evoke character, making Mireille and Mary Ellen functions of where and when they live, and vice versa. The Swithers brothers, coachman and footman, very much a sign of affluence at this time, are the gadget by which Mary Ellen spies of Mireille, who in turn uses them for the same purpose. We see the citizen on Clay road showing their feelings for Mireille straight through social customs of the place and time-grand bows and waves of the hat from the men, exaggerated turns of the back from the women. Note the use of a real and colorful figure, Lola Montez, to bring Mireille and her role in San Francisco into even sharper focus.
Use these techniques to make the characters in your novel virtually an extension of their place and time. Have them use, abuse and react to objects and customs distinctly of their world, so that we cannot recall these characters without recalling how they were dressed, how they spoke, what they ate and all the other ways they interacted with their world.
Not a someone has been born who has not been shaped to some degree by where and when he or she lived. The magic of moment in reading fiction is learning how citizen live in, adapt to and make use of their where and when as we do with ours.
Harold Robbins It was a tribute to Robbins's staying power and adaptability that he was as much a titan in 1988 as he was forty years earlier, when he published 1948's Never Love a Stranger.
Robbins's publishers once announced that every minuscule someone bought a Robbins novel-another tribute to his never having let his social down. Not bad for a poor kid from New York who started his vocation as a grocery clerk, short-order cook, cashier, errand boy and bookies' runner.
Robbins has been praised most for the authenticity of the world in which he sets his novels. Never Love a Stranger drew heavily from Robbins's sense growing up in New York, and so vividly depicted that world of hustlers and racketeers that one critic called it "a Les Misérables of New York."
Technique #6: Make Background a Character In 79 Park Avenue, in which heroine Marja starts out a poor kid from Second Avenue and winds up a Park Avenue call girl, Robbins describes the seamy beachfront world of prostitution as he no doubt observed it growing up:
She walked into the hotel lobby and chose a seat in a discreet out-of-the-way corner. Opening a copy of Vogue that she had carried with her, she glanced straight through it idly. . . .
A few minutes passed. Then a bellboy stopped in front of her. "Room three-eleven," he said in a low voice.
"Three-eleven," she repeated, a smile on her lips.
He nodded. "Right. He's waiting there now."
"Thank you." She smiled, Keeping out her hand.
"You're welcome, miss," the bellboy answered, taking the two bills from her. He walked away quickly.
Slowly she concluded the magazine, glancing colse to the lobby as she stood up. It was normal. The house dick was looking the other way, the desk clerks were busy with check-ins, the other citizen in the lobby were all guests. Satisfied with her quick check, she sauntered toward the elevators. She had nothing to worry about. Everyone was taken care of. Mac, the landlord of the rooming house, had put her wise to that.
"Pick a place to operate from," he had said knowingly. "Then before you do anything, make sure that Everyone who might be interested is paid off. They'll leave you alone then, even help you."
Obviously, Robbins would not have undertaken a novel with a background of prostitution if the hadn't felt he could do so convincingly. But his use of information and ambiance is what sets this and his other novels apart, makes them as memorable for their depiction of world and place as for their characters.
When choosing on the world in which to place your novel, think the worlds you know so well that you may be overlooking them entirely. Writers have found these worlds, absolutely right in front of their noses, to be the richest and to work most authentically. What, after all, does a writer-or anyone-know good than his or her own life and the lives of those he or she has observed firsthand?
Masterpieces To search
On the shelves of your library and your used bookstore are countless masterpieces of yesterday that excited and moved their readers because of positive techniques that could work in any age. Isn't storytelling, after all, a always in vogue art, one we've been perfecting since we first appeared on earth? Why not take down some of these erstwhile blockbusters by the Old Masters? You may want to borrow a few strokes for a best-seller of your own.
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วันศุกร์ที่ 16 ธันวาคม พ.ศ. 2554
method for a South African Crustless Milk Tart
Milk Tart or Melktert is one of those first-rate South African dishes, that show up in infinite shades of cream at every social event where habitancy bring a sweet contribution. At school fundraisers and tea and cake sales you will find several separate versions interspersed with the odd tipsy tart, vetkoek, koeksisters or crunchies for variety.
A pastry case filled with a pale custard filling and speckled with cinnamon, it has a dense creamy texture that is sweet but not sickly, the ease factor of creamy rice pudding without the bulk. Even my children, who don't go for rich, creamy things, like it and it's a great way of using up that extra pint of milk that is about to go past its sell by date and at the same time getting the kids to up their dairy and calcium intake without overdosing on cream and fat. It uses half-fat milk not cream so is also a good choice for those who have to avoid cream but are missing the indulgence of it.
Ice Indulgence
The joy of this single recipe for a Crustless Milk Tart is that it by-passes the need for pastry, the filling going right into a buttered pie dish and into the oven, so it can be assembled in five minutes, baked for 45 minutes and furnish a tea time treat with roughly no effort. Also all the ingredients are mixed up in one bowl, leaving very little washing up. I've seen many other former recipes that ask that you whisk egg yolks and whites separately then fold in, but this way is already so appetizing that there seems to be no need, unless you are finding for entertainment! This version is excellent for afternoons when you have a thousand other things to do and unexpected visitors show up for tea, or when you just feel the need for ease food on a cold winter's afternoon.
Crustless Milk Tart Recipe
¾ cup / 185ml self-raising flour
2 cups / 500ml milk
2 eggs
¾ cup / 185 ml sugar
1 tsp vanilla essence
1 oz / 25g melted butter
pinch salt
½ tsp cinnamon
Put all the ingredients together into a bowl or food processor and beat to a plane batter. Pour into a buttered pie dish (approximately 23cm/9" in diameter, but it doesn't matter if it's not exact,the concluded tart will just be either a bit deeper or shallower). Sprinkle the cinnamon over the top. Bake for 45 minutes at 175C / 350F. Serve warm or cold. It sinks and becomes denser as it cools. If you eat it hot you'll need a spoon to scoop up the soft custardy tart but cold you can pick up the slices in your hand, if it hasn't vanished long before then.
If you feel like it you can always use a pastry base with this recipe as the filling. Use either puff pastry or a sweet shortcrust pastry and line the dish with it before pouring in the filling.
Copyright 2007 Kit Heathcock
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วันพฤหัสบดีที่ 15 ธันวาคม พ.ศ. 2554
The Golden Ounce
Darling, you are like the golden ounce, small but precious. I need you terribly! I dream of meeting you ardently! I'll give you all my love and tenderness! I'll sing you all my songs and tell you all my fairy-tales!
Everyone chooses to one's taste
Ice Indulgence
Both a woman, a religion and a road,
To devil to serve or to the prophet -
Everyone chooses to one's taste.
Everyone chooses to one's taste
Both a foil for duel and a sword for battle.
And the word for love or for a prayer
Everyone chooses to one's taste.
Everyone chooses to one's taste
Both a shield, an armour, a staff and patches,
The quantum of definitive payment
Everyone chooses to one's taste.
Everyone chooses to one's taste
And I pick too as I am able.
To nobody I have any claims -
Everyone chooses to one's taste.
Bewitched, you are smothered with kisses,
Married to a wind in the field,
As if in the fetters you all over were chained,
My costly woman!
Neither cheerful, nor sad,
As if from the dark sky descended,
You are both my wedding song,
And my star crazy.
I shall lay my head on your lap,
I shall embrace your knees violently
I shall burn you, both sweet and bitter,
With my tears and my poetry.
Open to me your midnight face,
Let me enter into your big eyes,
Into your black orient brows,
Into your half-naked arms.
What will come, that will not go;
What won't come true, that will be forgotten...
Why are there in your eyes teas?
Or it only seems to me so?
Do not allow your soul to be idle!
So that not to beat the wind
The soul is obliged to work hard
Without a rest both day and night!
Forbid it to sleep in the bed
By the light of a morning star,
Maltreat the loafer, also
Do not take off the bridle from it!
If you take in your head
To give it indulgence
Releasing from any work, it without
A pity will strip your last shirt.
It is a slave and it is a prince,
Or it is a charwoman and a queen,
Mark my words, it must work hard
Without a break both day and night!
I look sadly at our generation!
Its future either is trivial, or is vague,
meanwhile under
the burden of knowledge and doubt,
in inactivity it will grow old.
Nearly from the cradle we are rich
in mistakes of our parents
and in their wise after event,
and the life already wearies us
like the level way
without any purpose or any aim,
as if it were a bitter feast
on another's holiday.
A lucky fish! He trifling treasures has brought to the feet of a goddess, that is why he has tasted heavenly pleasure! If I have met you before, with what satisfaction my title, my riches, I would give away everything, all for only one suitable glance; I would be the slave to your sacred will, all your whims I would studied, so that to anticipate and foresee them; so that all your life was one intriguing unceasing magical experience. Alas! - other was judged to me by my destiny.
Among the noisy ball, by accident,
In anxiety of worldly vanity,
I have seen you, but your features
Was veiled with some vague secret.
Only that your eyes looked sadly,
But your voice chimed so marvelously,
Like the tune of a remote reed pipe,
Like the noise of the surf playing.
Your slim figure was pleasant to me
As well as all your pensive appearance,
And your laughter, both sad and sonorous,
Since then in my heart sounds.
The died away fun of mad years like some wicked hang-over is heavy to me. But in my soul the grief of past days is like wine: the older, the more strong. My way is sad. The agitated sea of future has in store for me hard work and mere affliction.
Still I do not want, my friends, to die; I wish to live so that to think and suffer; after all I know, I shall have pleasures between sorrows, cares and troubles: at times again I'll be intoxicated by harmony and maybe love will give me her farewell smile.
And now here the frost is already strong
And in the fields the rime gleams like silver.
Being more tidy than the fashionable parquet
In the ice armor dressed small river shines.
The cheerful folk of boys
Are loudly cutting the ice with the skates;
On the red feet a fat goose
Having conceived to float on the bosom of water
Goes determined on the transparent ice, slides and plops;
The spiraling down joyful first snow flashes past
Like the stars on the bank falling.
And so he led a wretched life,
neither here nor there,
neither an animal nor a human being,
neither an inhabitant of the world
nor the dead phantom from the beyond...
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วันพุธที่ 14 ธันวาคม พ.ศ. 2554
Raw Food Diet - How to Keep Yourself Satisfied and Warm at Night
When I first started off on the raw food journey, most of my meals were eaten straight from the fridge. As a result, I felt cold pretty easily.
In Singapore's humid weather, it is roughly impossible to store any fruits and vegetables in the open for long. Everything from the shopping trip has to be loaded into the fridge to maintain freshness.
Ice Indulgence
When I returned hungry and tired from work, it was so easy to just reach into the fridge for fruits. And even when I do get ready salads with vegetables, I made the mistake of eating them before they warmed up to room temperature.
Over-consumption of these cold foods want the body to generate more vigor to keep us warm. Eating cold foods especially at night is not advisable, since our body temperature drops simply during sleep.
Of course, the occasional indulgence in ice-cream and ice smoothies is okay, but not in excess, and right on not before you go to bed.
1) Make Your Smoothies Room temperature
If you are having a smoothie (green or not) at night, do not make it icy-cold. The greens commonly adapt to room temperature faster after washing, but remove the fruits earlier to let them warm up.
Some habitancy are not accustomed to having room temperature smoothies (especially green smoothies!), so if you are not a veteran green drinker, opt for other meal choices at night.
But the fact is, green smoothies at room temperatures can still be quite tasty - in case,granted you get the servings accurate and drink it immediately!
2) consist of some wholesome Fats in the last meal of the day
Essential fatty acids are required for proper body functioning. Natural and corrective fats can be obtained from living foods like avocados, flax seeds, soaked nuts and seeds.
Throw in some diced avocados or a sprinkle of ground flax meal into that evening meal. This will help you to feel fuller and more satisfied, which also helps you to sleep better.
3) Ginger
If you are watching your fat intake, and wish to limit oil/nuts/seeds consumption, you can think adding some ginger to your evening meal.
If you are preparation a salad dressing, grate some ginger into the sauce for a warming effect. If you are production just a large structured salad, simply throw in some thinly sliced ginger into the vegetables mixture.
4) Basil And Dill
These are 2 other warming herbs you can add into your evening meal. Basil leaves taste great with Italian flavored salads, while dill can well be incorporated into any fruit smoothie.
You can either throw in a small handful of dill into your regular fruit smoothie, or substitute dill as the greens in production your usual green smoothie for a satisfying and warming meal!
5) Lifestyle
Our primary way to keep warm should all the time be exercising and retention fit. Working out produces heat in the body which keeps us warm.
For those who are unable to practice due to health reasons, try taking a warm bath at night before you sleep. Adding a tablespoon of grated ginger into your hot bath will do wonders in retention you warm at night.
(C) Copyright 2008, Linda Loo
Have a warming tip to share with us? Drop it into the box below!
Raw Food Diet - How to Keep Yourself Satisfied and Warm at NightMy Links : GREAT SAVINGS up to 75% of Hotel Thailand nikon d3100 digital slr camera phillips colon health Cheap Fisher price chairs
วันอังคารที่ 13 ธันวาคม พ.ศ. 2554
What is Invert Syrup?
Perusing lists of ingredients can be astonishing especially when there are so many complex words being sneaked in to ingredient labels but as times has progressed so have the ingredients in our tasty indulgences. So what is invert syrup and why is it in your popular snacks? Let's take a look.
Invert syrup is a golden colored liquid syrup that is made up of equal parts fructose and glucose. Invert liquid syrup can be created artificially for inclusion in confections and baked goods (just to name a few,) it also occurs naturally in both honey and fruit. Invert sugar syrup is used as a substitute for sucrose and it is quite a bit sweeter than sucrose. When used in baking this miraculous syrup adds a golden color to baked treats. Invert syrup can be produced by adding an acidic element such as lemon juice to sugar and boiling the combination until a thicker syrup is formed. The boiling of this sticky combination breaks down sucrose to fructose and glucose to give it the smoother properties that are valued in it's inclusion in confections. Invert sugar syrup can also be formed by adding sucrose and water and the resulting combination can be used in confections particularly for extending their shelf life.
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Why is invert sugar syrup used? also adding a decadent golden brown color to tasty baked items, this golden syrup has some other nifty tricks up its sleeve as well. When used in sweets invert sugar syrup prevents the sucrose from crystallizing. As a succeed of the syrup being broken down sucrose it creates much smoother confections than those made with sucrose. As a succeed of the affinity that invert syrup has for water its inclusion in confections also extends the shelf life of products by decreasing moisture related bacteria growth. Invert sugar syrup is also an leading ingredient in low fat baked goods and snacks because it prevents crystallization of sucrose and maintains a soft and viable product. Products that comprise lower fat article lack moisture and the inclusion of invert syrup in to these products adds a higher moisture article to these products.
Where can you find invert syrup? For bakers invert syrup can be purchased in jars at baking furnish shop but in confections invert syrup can be found within many candy bars, breads, cakes, pastries, ice cream, dairy products, snacks, cake fondant, and cigarettes.
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Soothe Your Winter Blues With a transported Infrared Sauna
Yes, it's winter time again, and it's cold outside. The quick, brisk zephyr of the ice filled air send shivers down to your very core. Your swollen fingers are like icicles, capable of being shattered with the slightest touch. Maybe you enjoy the cold weather; for those of us that don't there is a simple escape: A personal, transportable infrared sauna.
Infrared saunas give you a feeling like a fresh summer day where the sunlight warms your skin in the morning. It's kind of like your own tropical leave in a suitcase: You can take it with you wherever you go.
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So what exactly is a transportable infrared sauna?
These transportable infrared saunas are somewhat similar to a sauna that you would find in a gym or near a pool. Infrared saunas differ in the way of how the heat that you feel is produced. A conventional sauna uses heated steam to warm the air colse to you, creating a very hot environment, sometimes practically unbearably hot; whereas an infrared sauna uses waves, similar to the sun, to send heat into your skin. The heat derived from an infrared sauna is much more subtle and penetrates deeply, causing a greater feeling of rejuvenation than a conventional sauna can produce, agreeing to some users.
Portable infrared saunas create an atmosphere of ultimate relaxation while whisking away the cares of your day and cleansing both your body and mind. This body cleansing contact comes in the way of discharge of man made toxins from your body due to increased perspiration from the penetrating heat of the infrared sauna.
Not all infrared saunas are portable, however. Due to monetary and corporal differences in the middle of a transportable and non-portable infrared sauna: the transportable version is much easier to regain and can be used in a variety of locations. At home, at the office during your lunch break, in your hotel room while traveling: A exquisite leave that can be carried with you wherever you go.
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