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These very colourful authentic wooden boats can be found alongside the corniche near the beautiful city of Doha, Qatar.
This photo was taken handheld in the evening when it was completely dark, the only light source in this photo was provided by the boat itself.
So Saturday night was quite exciting for us this weekend. A bird got in the house and darted into the playroom and hung out in the girls Christmas tree. Of course before I got it out, I had to take a few pics!
Work in progress: This thing keeps changing but hopefully I'll get the right idea soon.
Blogged here
I was having lunch in a local 50's style diner when I spotted a rack of coffee cups on a shelf behind the counter. I asked the owner if I could buy one and he said, "Sure, five dollars."
This cup has the look and feel of the heavy diner mugs from the 1960's. On the bottom it says "Homer Laughlin China, U.S.A. Lead free." I searched the internet and learned that this company was established in the 1800's. it has a very interesting history......
COMPANY HISTORY FROM WEBSITE
Homer and Shakespeare Laughlin, two brothers from East Liverpool, Ohio, formed a partnership in 1871 to sell pottery ware, which was made in the factories located in their hometown.
The pottery industry in East Liverpool had begun in the 1840’s, manufacturing yellow ware from the rich deposits of local clay and utilizing the Ohio River to transport their products throughout the region. By 1870, public preference was shifting from the relatively crude yellow ware to a more sophisticated white ware that was being imported from England. Local potters saw the need for change and the East Liverpool City Council offered $5,000 in seed money to someone who would build and operate a pottery for the production of white ware.
The Laughlin Brothers submitted a proposal which was accepted by the Council and a two-kiln plant was built on the banks of the Ohio River in 1873. The plant was built on land purchased from Benjamin Harker for $300. Mr. Harker’s pottery was located next door.
The Laughlin Brothers quickly gained a reputation for quality and, in 1876, their white granite ware won an award at the United States Centennial Exposition in Philadelphia. By 1877, Shakespeare, the younger brother, was ready to move on to pursue other interests. The business was continued as an individual enterprise as the Homer Laughlin China Works. The business continued to prosper through the 1880’s and became one of the better known manufacturers of ceramic dinnerware and toilet ware in the United States.
The Wells & Aaron Families
In 1889, a young bookkeeper from Steubenville, Ohio, William Edwin Wells, answered a classified newspaper advertisement and was hired to manage the books of the growing establishment. In a very short time, Mr. Wells was managing the business and Mr. Laughlin was able to spend time traveling with his wife.
By 1897, Homer Laughlin had decided to retire to California where his son had just graduated from Stanford University. He offered to sell the business to Mr. Wells and a financial partner, Louis I. Aaron of Pittsburgh. The sale was consummated on December 7, 1897.
With new ownership came accelerated growth. Within two years, a second plant was built in the East End of East Liverpool, expanding further to three East End plants by 1903. Key customers contributing to the company’s rapid growth included the F. W. Woolworth Company, the country’s fastest growing variety (5 & 10 cent) store chain, and the American Cereal Company of Chicago, who was packing oatmeal bowls in Mother’s Oats boxes as fast as Homer Laughlin could produce them.
The Move to Newell, WV
The partners saw the need for further expansion but there was no more room at the East End location. In 1902, a tract of land on the opposite side of the Ohio River was purchased from the Newell family. A subsidiary company, the North American Manufacturing Company was formed to develop the town, which would become Newell, West Virginia. Building lots were laid out, a water and sewer system was installed, and electric power was secured. A suspension bridge was built across the Ohio River, connecting the new community with East Liverpool and a trolley line was built to transport pottery workers across the river. During 1905 and 1906, the company constructed plant #4, which at that time, was the largest pottery plant ever built in the world. Homer Laughlin now had a combined production capacity of 300,000 pieces of ware per day (10% of the U. S. production capacity). The company’s headquarters were moved to the Newell location at the beginning of 1907.
The 1910’s
In 1911, Louis Aaron retired and was succeeded as president of Homer Laughlin by his son, Marcus Aaron. Rapid growth continued and, in 1914, plant #5 was opened with 16 additional kilns, giving the company a total of 78 ware kilns and 60 decorating kilns.
In January, 1917, W. E. Wells wrote to the Woolworth Company to recap their business for the year of 1916. He stated “I think that I may safely say that this is the first time in history that the purchases of any one concern from any one pottery firm have reached the million (dollar) mark in one year”. At an average price of 72 cents per dozen, that amounted to 16.7 million pieces of ware sold to one customer in one year.
The 1920’s
The early 1920’s marked the beginning of the most revolutionary change that had ever hit the pottery industry. Until that time, a pottery’s size was measured by the number of ware kilns that it possessed. Intermittent bottle kilns had a limited production capacity due to the length of time that it took to load the kiln, brick up the doorway, fire the kiln and bring it up to the desired temperature, fire the ware for the desired length of time, then cool the kiln, reopen the doorway and, after cooling, empty the kiln by hand. All of this required more than a week to fire a limited amount of ware. The only way that a pottery could increase it’s capacity was to build more kilns.
In the early 1920’s, continuous firing tunnel kilns were introduced to the industry. These kilns maintained their full firing temperatures constantly while cars entered one end, one after another and, three days later, fired ware exited the other end of the kiln. This was a revolutionary change in production time and the potteries with the financial resources rushed to build these new kilns.
In 1923, Homer Laughlin announced that they would build yet another new plant, this time with tunnel kilns. Plant #6 fired it’s first kiln in 1924. At about this same time, the intermittent kilns at plants 4 & 5 were replaced with tunnel kilns. In 1927, plant #7, equal in size to plant 6, was opened.
It was decided that it would not be practical to remodel the old plants in the East End and they were phased out in favor of the largest Laughlin plant yet. Plant #8 opened in December, 1929 with 800 employees in that plant alone. Initially, all of plant #8 production was allocated to make ware for Woolworth’s. Total capacity was now equal to 160 upright kilns.
1930’s & 1940’s
Almost coincidental with the opening of the last great Newell plant was the retirement of W. E. Wells in January, 1930. He was replaced as general manager by his eldest son, Joseph M. Wells, Sr.
The company had hired Frederick Hurten Rhead as design director in 1927, a post which he would hold until his death in 1942. Rhead’s 15 year reign proved to be the most prolific period of new product introductions in the company’s history. Rhead designed Virginia Rose as well as the several Eggshell shapes. Rhead’s most famous accomplishment, however, was Fiesta.
Marcus Aaron retired as president of the company in 1940 and was succeeded by his son, Marcus Lester Aaron. M. L. Aaron would serve as president for the next forty-eight years.
With Fiesta leading the way, The Homer Laughlin China Company continued to flourish until the onset of World War II. During the war years, much of the company’s production was shifted to the production of china for our armed forces. After the war, production returned to normal and the company reached it’s peak production year in 1948. More than 3,000 workers were employed to produce over ten million dozen pieces of ware.
The 3rd Generation from 1950’s—1990’s
The 1950’s saw a large increase in imported dinnerware which was produced in countries with very low labor costs. This competition took it’s toll on the American industry and many potteries did not survive the decade. Homer Laughlin’s management decided to shift their emphasis from consumer dinnerware to commercial ware for the hotel and restaurant trade. 1959 saw the introduction of Homer Laughlin’s “Best China” brand vitrified hotel china.
J. M. Wells, Sr. retired at the end of that year, turning over the management of the company to the third generation of his family in the person of Joe Wells, Jr.
The sixties and seventies were difficult years for the American pottery industry, with low-cost imports carving out market share in the retail markets at the expense of domestic companies. Homer Laughlin’s hotel ware was gradually becoming a prominent player in the foodservice china industry, eventually overtaking retail dinnerware in sales volume.
In the early eighties, the company began to produce lead-free china, something that would become very important as the country became more environmentally conscious. Using lead-free glazes and a vitrified china body, Fiesta was reintroduced in new and updated colors. As this new version of their most famous product was being launched, Joe Wells, Jr. retired in 1986 and was replaced as executive vice president by his son, Joe Wells III. At the end of 1988, M. L. Aaron retired as company president and was succeeded by his son, Marcus (Pete) Aaron II. The company was now in the hands of the fourth generation of each family.
The New Century
As Fiesta began to flourish in the retail sector and Homer Laughlin was becoming a leading force in the foodservice china industry, the aging factories were undergoing many changes. State-of-the-art computerized kilns were installed throughout plants 6, 7 and 8. Much-needed new forming and glazing equipment was installed and a self-contained “plant within a plant” was built at Plant #8. Homer Laughlin was preparing to enter the new millennium as the industry leader in both the foodservice and retail businesses.
By 2002, ownership of the company was shared by third, fourth and fifth generation members of the Wells and Aaron families and others. Many of the shareholders were scattered throughout the country and had little involvement with the business. In an effort to consolidate resources and provide improved direction for the company, Joe Wells III, together with his sisters, Jean Wicks and Elizabeth McIlvain, purchased the interests of the other stockholders. In June, 2002, Joe Wells III was elected president and chief executive officer.
Since the re-organization, the company has experienced continued growth and is poised to move forward with the Wells Family’s pledge to continue producing quality, American-made china and provide jobs for potters of the Ohio Valley.
NOTE: Mug purchased on October 9, 2012
Portion of the tree from the infamous axe murder incident (Korean: 판문점 도끼살인사건, 板門店도끼殺人事件,도끼蠻行事件) which involved the killing of two United States Army officers by North Korean soldiers on August 18, 1976, in the Joint Security Area (JSA) located in the Korean Demilitarized Zone (DMZ). The U.S. officers had been part of a work party cutting down a tree in the JSA.
Three days later, the U.S. and South Korea launched Operation Paul Bunyan, an operation that combined a return to cut down the tree with a show of force to intimidate North Korea into backing down. North Korea then accepted responsibility for the earlier killings.
The incident is also known as the hatchet incident and the poplar tree incident and "The Tree Trimming Incident" because the object of the conflict was a poplar tree standing in the JSA.
---http://en.wikipedia.org/wiki/Axe_Murder_Incident
Authentic 70's 80's NFL football official's 2 stripe stirrup sock worn over white athletic socks. White football officials knickers should come down over the top of the stirrup sock so equal amounts of black show above and below the white stripes. Classic Spot*Bilt football officials turn shoes are worn. A black leather belt is worn around the waist along with a yellow penalty flag.
By Aaron Cruse. He also painted a Bonafide, but I took these photos before it got hung. For Genuine Authentic Hand Painted Signs show at the Peek Gallery, 10 Feb - 24 Mar 2011.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Dassault-Breguet Super Étendard (trans. "battle flag") is a French carrier-borne strike fighter aircraft designed by Dassault-Breguet for service with the French Navy. The aircraft was an advanced development of the Étendard IVM, the first of three prototypes, an IVM modified with the new engine and some of the new avionics, made its maiden flight on 28 October 1974. Original intentions were for 100 Super Étendard aircraft to be ordered for the French Navy, however the order placed was for 60 of the new model with options for a further 20; further budget cuts lead to only 71 Super Étendards being purchased in the end for the Aéronavele, with deliveries starting in June 1978.
In the first year of production, 15 Super Étendards were produced for the French Navy, allowing the formation of the first operational squadron in 1979. Dassault produced the aircraft at a rough rate of two per month, which was kept up until 1983.
Foreign customers were few: The Argentinian Navy would place an order for 14 aircraft to meet their requirements for a capable new fighter that could operate from their sole aircraft carrier. Furthermore a total of five Super Étendards were loaned to Iraq in 1983 while the country was waiting for deliveries of Agave-equipped Dassault Mirage F1s, capable of launching Exocet missiles that had been ordered. A third user of the Super Étendard with a similar background to the Iraq solution was the German Navy, with its land-based air arm, called the Marineflieger.
In the late 70ies, the German air force was about to replace its Starfighters, which had never been the Marinefliegers' first choice. Actually, in 1958 Germany chose the Starfighter to replace the already outdated F-84 and F-86 versions in use by then. For political reasons the Marineflieger had to join this decision, though their demands were quite different. The German Navy was looking for a two-seat, twin-engined aircraft to replace the old Seahawks, with the Hawker Siddeley Buccaneer being their favourized aircraft.
Neverthless, a rather political decision to buy the Starfighter for both German air arms was made, and consequently total of 132 Starfighters were acquired for naval service, including F-104G as maritime attack aircraft (equipped with Kormoran anti-ship missiles), RF-104G for maritime reconaissance and TF-104G as trainers. In addition to this, a small number of two-seat F-104F saw operational use with the Navy's Jet Air Wings. Introduction of the F-104 into naval air arm service began in september 1963, with MFG 1 being the first unit to be equipped with Germany's new standard weapon system. Sister Wing MFG 2 joined the Starfighter club in march of the following year.
Anyway, almost 20 years later and with the advent of the Panavia Tornado, the Marineflieger would finally receive the aircraft they had originally been calling, and the F-104Gs were starting to be phased out from 1980 on. Production of the Tornado and its delivery to both Luftwaffe (which had priority) and Marineflieger wings was lagging behind schedule, though, and in order to bridge that gap Germany decided in Febraury 1981 to lease the relatively new French Super Étendard. The Douglas A-4 Skyhawk and LTV A-7 Corsair II had been considered, too, but the French type eventually turned out to be the most economical and modern solution.
A total of 16 aircraft were ordered, and these were diverted from the running production lines. Delivery started in early 1982, when the scheduled Starfighter retirement and replacement was about to begin. All machines are allocated to MFG 2. In parallel, MFG 1 had the honours to be the first Bundeswehr unit to be equipped with the Tornado IDS multirole aircraft, as they started conversion in 1982. Before that, the multi-national conversion units in the UK had already received the initial Tornado trainer aircraft since 1980.
The German Super Étendards were given the tactical codes of 42+01 to 42+16 and were originally delivered in the standard Marineflieger camouflage of uniform grey upper surfaces (RAL 7012, Basaltgrau) and light grey lower sides (RAL 7035, Lichtgrau), in a pattern that was identical to the French aircraft.
Outwardly the German Super Étendards did not differ from its French cousins, since the aircraft were to be given back after only a few years of use - it was planned to keep the French fighters until 1986, when all Starfighters would have been replaced by Tornados. The Marineflieger "Sue" (nicknamed "Susi" or "Suse" by German crews, an abbreviation of the German female first name "Susanne") had no special features, as these were more or less French stock aircraft, but some components and avionics were changed.
For instance, the German aircraft were modfied to carry and launch up to two AS.34 Kormoran missiles, and they were already prepared to carry the updated Kormoran 2 with a digital data bus, a bigger warhead and longer range. They were also able to carry indigenous equipment like the 'Cerberus' ECM pod or the Swedish BOZ-101 chaff/flare pod - both of these as well as the Kromoran 2 were also to carried by the Tornados, and the Super Étendards would already be used fotr practice and evaluation.
The new AGM-88 HARM missile was reserved for the Tornado, though, so that the Super Étendard was primarily tasked with anti-ship and CAS tasks. For self-defense, the German Super Étendards were able to carry the AIM-9 Sidewinder instead of the French Matra Magic AAM. An Orpheus IV reconnaissance pod could be carried on thone of the inner wing pylons, with a drop tank for balance on the other side.
In the course of their short German service (which actually lasted until 1987, when the last Starfighter was retired from Marineflieger service), the Super Étendards were also used to test experimental camouflage schemes. 42+10, 42+12 and 42+15 started to carry very different liveries from 1983, and the results eventually lead to the Marineflieger Tornados' 'Norm 87' wrap-around paint scheme, consisting of RAL 7009 (Grüngrau), 7012 (Basaltgrau) and 5008 (Graublau).
No aircraft was lost during the leasing service. All aircraft were, after a major overhaul, integrated into the Aéronavale from 1988 on.
General characteristics
Crew: 1
Length: 14.31 m (45 ft 11½ in)
Wingspan: 9.60 m (31 ft 6 in)
Height: 3.86 m (12 ft 8 in)
Wing area: 28.4 m² (306.7 ft²)
Empty weight: 6,500 kg (14,330 lb)
Max. takeoff weight: 12,000 kg (26,455 lb)
Powerplant: 1 × SNECMA Atar 8K-50 turbojet, 49.0 kN (11,025 lbf)
Performance
Maximum speed: 1,000 km/h (637 knots, 733 mph) at low level
Range: 1,820 km (983 nmi, 1,130 mi)
Service ceiling: 13,700 m (44,900 ft)
Rate of climb: 100 m/s[62] (19,700 ft/min)
Wing loading: 423 kg/m² (86.3 lb/ft²)
Thrust/weight: 0.42
Armament
2× 30 mm (1.18 in) DEFA 552 cannons with 125 RPG
4× underwing and 2× under-fuselage hardpoints with a capacity of 2,100 kg (4,600 lb) maximum
The kit and its assembly:
The idea for this model was inspired by a profile designed by fellow user PantherG at whatifmodelers.com, showing a German Super Étendard in a fictional Marineflieger style paint scheme. I've been fascinated by the Tornado's Norm '87 scheme - but rather not by the Tornado itself. So I was happy to have an "excuse" to build a respective what-if model, taking a virtual idea to hardware.
The model is the standard Academy Super Étendard in 1:72, which is well-detailed - only the cockpit can take some attention, esp. the ejection seat, which I replaced completely, and I also added a Matchbox pilot which had to have its legs cut off, since the cockpit seems to be designed for Asian body measures... pretty tight in there!
Basically the kit was kept OOB. Only changes were made to the ordnance, which was taken from a German Tornado (Italeri). I also drilled open the air brakes' holes under the fuselage, and lowered the flaps for a more lively look. Overall, the Sue is rather clean and not really interesting - so any additional detail helps, I guess.
Painting and markings:
This took some legwork, since I wanted to stay true to reality, despite creating a whif.
The tactical code 42+XX has so far never been allocated to a German aircraft type, but it would perfectly fit in time before the Tornado (which has 43+XX and higher numbers).
The paint scheme is supposed to be experimental - and actually both Luftwaffe and Marineflieger had been testing tactical camouflage schemes for air superiority as well as ground attack purposes on a wide range of aircraft in the 70ies and 80ies, including F-4F, RF-4E, Alpha Jets and later also Tornados. Anyway, I decided to stay close to the "real" Norm 87 scheme, which is a bit different from what PantherG suggested in his drawings.
The colors I used are authentic: RAL 7009 "Grüngrau" is Revell 67, RAL 7012 "Basaltgrau" is Revell 77 and RAL 5008 "Graublau" is available as Xtracolor X264. Consulting real RAL color samples as benchmarks, I muist say that the Revell tones are very good, but the Xtracolor paint is pretty far off. X264 is rather a dark petrol blue, reminiscent of FS35042. Graublau is much more dull and grey-ish, rather a bluish FS36081 - and on real aircraft it almost looks like tar, no blue hue at all to detect.
Anyway, I still used X264, since my 42+15 would sport an experimental paint scheme, so it would not matter much - and X264 would still be the darkest tone of the paint scheme, with good contrast to RAL 7009 and 7012, which are very similar and have almost no contrast. Interesting scheme, though, esp. due to its large color bandages all around the hull instead of smaller patches or stripes.
Best alternative I could find is Humbrol 77, which is still too greenish, though - mixing it 1:1 with Humbrol 32 might yield something that comes close to RAL 5008.
With a little shading with lighter tones (including RLM 71 from Testors, Humbrol 79 and 77, as well as some acryllic dark grey as an overall filter), a black ink wash and some dry-brushing the contrast was enhanced and the surface slightly weathered. German aircraft were kept in good shape, but at times the weather and sunlight would take their toll and bleach the colors, esp. on the upper sides - RAL 7012 would quickly deteriorate into a relatively light grey with a slight, purple hue!
Both Cerberus and BOZ-101 pods were painted in different shades of grey, though, as if they'd belong to a differently camouflaged Marineflieger aircraft. The Kormoran missiles were painted according to pics of the real thing, in a dark olive drab color.
National markings and some German stencils were taken from an Xtradecal sheet for German Tornados, as well as from a sheet of an Italeri Tornado with Luftwaffe markings. The tactical codes were created from single digits from a respective TL Modellbau decal sheet.
Cockpit interior was painted in a very dark grey, according to pictures from the real Sue. The air intake interior and the landing gear wells were kept in aluminum (Humbrol 56), while the landing gear struts received a mix of aluminum and white.
In the end, a simple project: only a fantasy paint scheme and some minor changed details to the OOB kit. But the German wraparound scheme suits the Sue well, and its service introduction in France as well as the retirement of the German Starfighters in the early 80ies makes this a potentially convincing and plausible whif. And, honestly, it was actually a relief from some recent major kit conversions and kitbashings - and a tribute to the creative spirit of PantherG at whatifmodelers.com. ^^
Just getting started here and I'd love your feedback!
This is a logo for an upcoming 8-week series on the Book of James. To be more specific, the messages will address the practical relevance of living authentically in a world that is skeptical of Christians and their faith (often rightly so!).
So why the denim look? I'm not exactly sure, but from the get-go I liked the idea of a brand being imprinted on something, kind of like a "Grade A beef" stamp. So I started with a few approaches.
Let me know what you think!
Covered with the patina of everyday work and age; this Leyland Beaver makes for a very authentic exhibit at the former Farrington Works site. Formerly used for manufacture and assembly of axles and transmissions by Leyland Motors and its successors, it was demolished some years ago and now awaits the inevitable redevelopment.
These images of actual legitimate and counterfeit pills are examples and do not represent the many variations of counterfeit pills. Never trust your own eyes to determine if a pill is legitimate. The only way to be sure is if it was dispensed by a licensed medical professional.
For information about DEA’s “OnePillCanKill” campaign visit: www.dea.gov/onepill
With 170+ cars, 60+ tracks, varying terrains and motorsports, tested and approved by world-class drivers, and featuring more iconic cars from the world’s most elite brands, Project CARS 2 is the most beautiful, authentically-crafted, and technically-advanced racing simulation game you’ve ever experienced.
Project CARS 2: the ‘ultimate driver journey’ returns late 2017 on PlayStation 4, Xbox One, and PC.
For more information, visit: www.projectcarsgame.com
Farzi is one restaurant I have wanted to be at the most but it, ironically, has taken me the longest. The reasons for this happening were plenty but I finally made it to Farzi last week and there was a sense of excitement and relief in equal measure.
The place is funky, chic and bohemian but I would not want to delve on it any more as it takes my focus away from what makes Farzi the best new restaurant in town - food and drinks.
Many people label the food here as molecular gastronomy but I think its akin to calling all Indian food "curry"; it strips away from the complexity of what's on your plate. Farzi is multi sensory cooking (as Blumenthal says); you don't just eat with your tongue but your eyes and other senses. Yes, there are elements of molecular gastronomy involved but (as my review ahead will tell) it is more a take on taking classic combinations or flavours and twisting them around.
Anyway, gyaan aside, our evening began with a mishti doi lollipop. Molecular gastronomy, spherification to be precise, was visible here. As soon as you bite into it though, you get that fabulous sweet and tart hit of mishti doi. Even though it was presented in such a fancy way, it tasted amazing and authentic.
Next came a drink called Apple Foamtini - a take on the classic apple martini, this had a light frothy apple flavoured foam and then a tart, cold hit of the great martini. Brilliant combination and a great drink this.
Next on the menu was a mini raj kachori with okra and chutney foam. Yeah, raj kachori with crisp okra and a chutney foam!! - mind blown. The kachori was stuffed with dahi, green chutney and the works but guess what, it was completely closed. After this piece of sorcery, when I tasted the kachori it was as good as any Delhi- 6 outlet. The chutney foam gave the "saunth kick" but it was way lighter. The crisp okra was great and I was told that the idea behind okra was that it goes well with yoghurt.
This, I believe, is the spirit of Farzi. The moment you bite into the food (or sip a drink) it feels familiar and utterly delectable. Also, every element has a reason to be there, not just to be fancy.
Next came a light, refreshing orange-vanilla drink called Farzi OK. Balanced, sweet and sour with a very light flavour of kaffir lime, this is what you will want to drink all evening.
Next came a portion of chilli pork ribs. Very well cooked ribs with a slathering of luscious chilli sauce. Wonderful.
I moved onto one of the many superstars on the menu (tapas menu), sarson ke gilawat with corn and cheese tostadas. Sarson ka saag becomes a FANTASTIC sarson gilawat kebab here. The makki di roti takes the form of corn (makki) popcorn. Corn and cheese tostadas provide warmth and there are even elements of safed makhan, sirka and pyaaz in this. You will fall in love.
The gastronomic adventure took me to my favourite dish amongst the pantheon of dishes - tenderloin pathar ke kabab with walnut and wasabi chutney. I'd say if you like meat, have this dish. If you do not like meat, have this dish. Dammit, if you are vegetarian - have this dish!!!! - it is that good.
In between we had a palette cleanser- rose water and coconut payasam foam with rose petal dust before the prawn tempura with nimbu chutney foam arrived. I have never had better prawn tempura in my life, period. I have to write a bigger review on this alone but lets leave that for now.
I had the braised lamb chops next along with cheeni ka paratha with duck liver maska. Cheeni ka paratha was farzified with a foie gras butter and all I could think of was why mom never served such delicious "cheeni ka parathas" when I was younger.
I had the chilli duck samosas, pulled pork bun and the galouti burger next. I am running out of space to write about how brilliant each dish was. The samosa was halwai khasta; the duck was flavourful and the sweet plum sauce brought the entire dish together.
Similarly, the pulled pork bun was So Goan yet so Farzi. There was flavour from the pork; the buns gave it airiness and the Goan puffed rice gave it crunch. *drool*
The gilawat burger came in a box and the soft and magnificent galouti was given a bit of bite by a layer of boti kebab. You have to admire the thought process.
The Mutton Irachi pepper fry came along with a malabari paratha and was sublime but the icing on the cake was the gucchi pulao risotto. Perfectly creamy risotto with morsels of expensive gucchi topped with a salty parmesan crisp. You have to taste it to understand how brilliantly flavours work together.
The CTM or chicken tikka masala came in a London telephone booth, what a cheeky idea. I will say that the "national dish" of Britain tasted way better at Farzi.
There are three special drinks I will recommend. The flaming Farzi tower was an event on its own – flambéed shots (Baileys, Sambucca, Vodka, Kahlua and Absinthe) caramelizes and forms a drink at the bottom. The red wine spaghetti shots were great too – acidic and sweet and it was a vision as well. Finally, there was the B-52 bomber that was basically B-52 shooters, spherified, so in effect you eat the shot!
Yes I had a tiny speck left in my stomach to try desserts and the best two came. The Parle G cheesecake is the most photographed Farzi dessert on the web and it tasted as good as it looked. My question before tasting it was if the Parle G would really work with a creamy cheesecake and voila, it does. It lends the dish crunch and saltiness - splendid.
The other dessert - rasmali tres leches was even better. First of all you need to admire it as it sits on your table - it’s that pretty. Then you start eating it to try and understand how brilliant the flavours are. The sponge is three layered filled with carrot cream bathing in "rasmalai" milk. If this dish does not Farzify you, I don’t know what will.
The evening ended with a final flourish - gujiya shaped, pan flavoured cotton candy!! The pan was dehydrated and it gave a delightful punch. You know how it tasted but it also brought a tinge of nostalgia with it. Farzi is all about that - senses, flavours and a little bit of magic.
Lastly, we do not just have to applaud Zorawar, Chef Saurabh and the entire team behind Farzi but give them a very loud, "Dilliwala" wolf whistle for bringing Farzi to us.
#Farzified forever.
XOXO
Shivangi
(Shivangi Reviews)
Review Credit: Mayank
Contact: mail@shivangireviews.com
Find me on Facebook, search "Shivangi Reviews"
— with Mayank (Delhi Food Club), Zorawar Kalra
Test blocks for a quilt using the Authentic line of fabric by Sweetwater/Moda. Blogged at eschhousequilts.blogspot.com/2010/06/authentic-wip.html
42 - A.S.S. - Authentic Semiotic Selfie with "The Birth of Venus" (Italian: Nascita di Venere), circa 1486, by Sandro Botticelli (c. 1445 – 1510). Uffizi Gallery, Florence. July 2015. © Gedley Belchior Braga
Cheeses being matured in the caves at Cheddar, Somerset
Some are matured here for three years!
Cheddar is trying to get the name copywrited, as in theory real Cheddar only comes from Cheddar.....but I think they may have a a bit of a fight on their hands!
'Tis a bit pongy....but really is the best Cheddar cheese!
Read more about this and download an HD version at: steveczajka.posterous.com/authentic What do you think of when someone mentions the word "Authentic"? I think of the Starbucks logo, Converse, Coca-Cola. These companies have stayed true to the lineage of their original logos and original products. Having said that it is hard to differentiate between "authentic" and "original". Is ther ...
Ruins of Pal historic center, La Massana, Vall nord, Andorra, Pyrenees
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