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Hokay so here's the thing: When you use kale leaves instead of grape leaves, you can't let the dolmas steam for nearly as long, which is problematic for cooking the rice. So I've modified the recipe to use Israeli couscous instead of rice.
1 bunch lacinato kale
2 T. pine nuts
2 T. raisins (or currants)
1/2 c. finely chopped onions
1/2 c. Israeli couscous
1/4 c. shredded carrot
2 T. olive oil
1/4 t. cinnamon
Salt and pepper
Squeeze of lemon juice
1/2 c. chopped parsley and dill
3/4 c. Veggie broth
1. Add olive oil to a pot to brown onions and carrots.
2. Add couscous and pine nuts to toast for just a moment.
3. Reduce heat to medium and add broth as well as the remaining ingredients except for kale. Cover with lid and cook till the couscous has absorbed all of the liquid and comes out tender but not all pasty and gooey and such. Add more broth as needed.
4. In a separate pot, add a bit of water and set up a vegetable steamer. Add the kale leaves, curling them around the pot as needed. Let it steam till wilted but still green.
5. Remove the kale from the steamer and cut along the stem up toward the top of the kale leaf, stopping at about halfway up. Cut off the stem. You should have a kale that looks like the back of a tuxedo with coat tails.
6. Turn the kale leaf over and tuck the tails toward the top of the leaf. Spoon a tablespoon of the couscous at the top and roll it till it resembles a dolma.
7. Once you've finished this, put it back in the veggie steamer for 5 minutes.
8. Dolmas are typically served cold, but eat it however you like, hopefully with more sprinkles of lemon juice.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
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The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
kept conking heads onsteage at the hot chip show. "those are for YOU to play with, but they're very distracting for us!"
Shad K showing love to best hip-hop and r&b radio show in North America.
DJ CHEDO- THE COME UP SHOW (OHHH YEAA/ SHAD K EDITION) HOUR 1
thecomeupshow.com/streaming/sideB/tcusshadk1.mp3
DJ CHEDO- THE COME UP SHOW (OHHH YEAA/ SHAD K EDITION) HOUR 2
thecomeupshow.com/streaming/sideB/tcusshadk2.mp3
Check out his talented artist myspace page
www.thefacultyof.com/SHAD/Shad - The Old Prince.html
The Album is called The Old Prince go cop it!!
So do you think I can try and clear off some of that black paint from that nice coat of rust? Eesh. [Editor's Note: My uncle claims the original paint color was a deep maroon. I'll let you decide from this picture.]
The squint angle of this photograph is problematic throughout the roll. I don't know what is causing it but most likely my loading of 120 film into the magazine. The photos were fine in the ground glass so I'm sure it is all technique.
Just before I fired the shutter on this photo I heard a voice from a few metres behind me speaking to someone else, "would you look at that camera!". I fired the shutter (which I blame the severity of the squint angle for...I should have re-focused myself) and stood up. "You don't see many cameras like that any more" he shouted across. I smiled, walked over and chatted to him about the camera for a moment of two. The usual film disadvantages rolled off his tongue "it's the price of the film", "it's the developing costs". He was impressed though and asked a lot of questions, "colour? black and white?", "both" I replied "I have two magazines with me". "Oh very professional". The last comment carried a hint of sarcasm or...jealousy...no, not jealousy...something like that...so I smiled politely and made my way up the aisle.
Bronica S2A - Kodak Portra 400
© Iain Kendall - www.iainkendall.com
About seven years ago Ryder’s Row, where Capel Street and Parnell Street merge, was upgraded by the addition of a small pop-up park featuring a number of new planters with seating and additional bike parking for the area. The park eventually became a magnet for a number of homeless people and unfortunately about a year ago it was reported that the body of a man in a sleeping bag, thought to be an Irish national in his 50s, was discovered by a member of the public early in the morning. Since then part of the park has been fenced-off and it had become somewhat unattractive.
A History of the Puerto Rican People, in Three Panels
As Elizabeth Garcia Gonzalez, the Executive Director of Centro de la Comunidad conducted me on the grand tour, she showed me this triptych (a work of art which is divided into three sections) currently in the area of the former altar. Painted in the late 1970s, it depicts some of the history of the Puerto Rican people. It is a little problematic, now, as it relates almost exclusively to the Borincano people of that one island, showing the subjugation of the Taino/Arawakan people by the Spanishconquistadores, and the later development of their culture. Today, the Centro de la Comunidad provides support to all the Spanish-speaking people of the Americas, so perhaps some additional art might be appropriate.
Unfortunately, the full name of the artist is lost, with only what appears to be a surname in the signature. It looks like 'Marple' or 'Maaple', the latter a little less likely, since it is a Hindi surname, and we should probably be looking for someone closer to the West Indian area. The painting dates to 1978, so it's quite possible the artist is still active. Any help would be appreciated.