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मसालेदार चटपटीत वेज खीमा | Masaledar Veg Kheema Recipe | Maharashtrian Recipes

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How To Make Veg Kheema Recipe | How To Make Masaledar Veg Kheema | How to make Veg Kheema In Marathi | How To Make Veg Kheema In Hindi | Easy To Make Masaledar Veg Kheema Recipe | मसालेदार चटपटीत वेज खीमा | Masaledar Veg Kheema Recipe | Maharashtrian Recipes
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@Maharashtrian Recipes @Latika Nimbalkar
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*Ingredients :-

1 Cup Couliflower
1 Small Cup Carrot
1 Small Cup Farasbee / French Beens
1 Small Cup Cabbage
1 Small Cup Fresh Green Pea
200 gm Paneer
1 tbsp Oil
1 tbsp Ghee
Butter
1/2 Small tbsp Cumin Seeds
1 Onion Chopped
Curry Leaves
1, 1/2 tbsp Ginger Garlic Paste
1/2 Small tbsp Turmeric Powder
2 Tomato Chopped
1 tbsp Cumin And Coriander Powder
1 tbsp Garam Masala Powder
1 tbsp Red Chilli Powder
1,1/2 tbsp Tomato Souce
Salt to taste
Cheese
100 Gm Paneer
Coriander Leaves
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*Buy utensils, kitchen accessories and appliances used in this video here :-

*Kitchen :-
1) Appa Patra
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2) Hawkins Futura Hard Anodised Fish-Fry Kadhai
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3) Hawkins Futura Hard Anodised Frying Pan
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4) Pigeon by Stovekraft New Handy Mini Polypropylene Chopper
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5) Elica Vetro Glass Top 3 Burner Gas Stove with Double Drip Tray (773 CT DT VETRO)
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6) Shri & Sam Stainless Steel Heavy Weight Hammered Kadhai, 2.5 mm,24 cm
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7) Hawkins Futura Nonstick Deep-Fry Pan (Kadhai, Round Bottom) with Stainless Steel Lid, Capacity 2.5 Litre, Diameter 26 cm, Thickness 3.25 mm, Black (NK25S)
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*Video Shoot:-
1) Honor Play (Navy Blue, 4GB RAM, 64GB Storage)
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2) Boya BYM1 Mic
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*Recommended to Watch :-

1) Maharashtrian Traditional Recipes
Link –
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#VegKheema #Kheema #MasaledarVegKheema #MaharashtrianRecipes
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*Music :- YouTube Audio Library
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*Follow Me :-

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Latika Nimbalkar,
Thank you…

Dead Day: Peacock Orders Supernatural Series with Julie Plec and Kevin Williamson – canceled + renewed TV shows

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Dead Day TV Show on Peacock : canceled or renewed?

Dead Day is coming soon to Peacock. The streaming service ordered the new supernatural series, which reunites Julie Plec and Kevin Williamson – the team behind The Vampire Diaries. Based on the Aftershock comic-book series by Ryan Parrott, a cast and premiere date for the series will be announced later.

Peacock revealed more about the upcoming series in a press release.

“Peacock announced today the straight-to-series order of supernatural drama series DEAD DAY, based on the bestselling AfterShock comic-book series created by Ryan Parrott, from producers Julie Plec (The Vampire Diaries, The Originals, Legacies) and Kevin Williamson (The Vampire Diaries, Dawson’s Creek, The Following), who will serve as co-showrunners, writers and executive producers.

DEAD DAY follows an ensemble of characters as they navigate the annual “dead day,” when for one night the dead come back to complete unfinished business — be that to celebrate a night back on earth or to torment the living. (The hit comic-book series was recently greenlit for Volume 2).

Plec and Williamson are reuniting after their last collaboration creating the long-running, fan-favorite hit TV series The Vampire Diaries.

“Dead Day combines an exciting, high-concept premise with relatable characters and real emotion,” said Lisa Katz, president scripted content, NBCUniversal Television and Streaming. “We jumped at the opportunity to work with Julie Plec and Kevin Williamson, who not only have tremendous individual track records with their high-quality storytelling, but have created magic together before.”

“Julie Plec and Kevin Williamson are each a powerhouse unto themselves, so we couldn’t have been more excited when they told us they wanted to team up again,” said Vivian Cannon, EVP, Drama Development, Universal Television. “Dead Day will be everything Julie and Kevin’s audiences love about their work – emotional, unexpected and totally bingeable!”

“We have been looking for a project to do together and Dead Day has all the ingredients we love as storytellers. Love, death, thrills and tears — and we know Susan Rovner and her team at Peacock is the perfect fit for this project,” said Julie Plec and Kevin Williamson.

“We realized because of Dead Day’s unique, universally appealing concept that this AfterShock Comic would capture the audience’s imagination worldwide. And none of this would be possible without this recognition from our amazing partners: Julie Plec, Kevin Williamson, Universal Television, Peacock and Ryan Parrott, the creator of Dead Day,” said AfterShock Media’s Lee and Jon Kramer.

What do you think? Do you plan to check out Dead Day on Peacock?

Katy Perry and Alesso Channel Vegas With “When I’m Gone”

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Photos by Rony Alwin.

Last week, Katy Perry and Alesso joined forces on “When I’m Gone”—a perfect pop banger that marks a return to the dance floor for both stars. The collaboration, which is currently topping charts in the U.S. and U.K., marks the dawn of a new era for Perry: her new Las Vegas residency, Katy Perry: PLAY sold out in the blink of an eye, prompting the star to tack on a string of new dates in Summer ’22. Alesso, for his part, is no stranger to Sin City. In fact, he’s been a staple in the Vegas’ electronic music festival circuit for years. On the occasion of the duo’s new song—and Perry’s upcoming appearance this weekend on Saturday Night Live—the duo hopped on the phone to discuss their next collaboration, the thrill of performing for a rowdy Vegas crowd, and what really happens when you make it in the industry.

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ALESSO: Katy, hi!

KATY PERRY: Hi! I saw your TikTok about how you made the new song—the beat, and stuff. It was dope.

ALESSO: What do you think?

PERRY: Not to be offensive, it doesn’t look complicated.

ALESSO: It’s supposed to look simple, but it’s more like a breakdown that reveals what’s really inside of the song. I did two of those TikToks, and the fans seem to really be loving them.

PERRY: It’s like giving the kids a Casio keyboard and being like, “You can do it, too.” Readers, for background, Alesso sent me “When I’m Gone” back when it was in a very different shape. That was a year ago. I had just put out a record called Smile, and I had just given birth. I wasn’t doing anything new, but he sent it, and it was undeniable. It didn’t have my spin on it at that time, but I could already see it—even in its rawness. I get sent all kinds of crazy things all the time, whether it’s beats or fully-produced songs. I get sent hundreds each year, and typically I’m like, “No thank you, god bless you on your journey.” With this one, the brakes stopped and I was like, “This is dope.” I’m obviously an Alesso fan, and I thought we could take this song to the next level. I was ready to put out something purely dance—especially because I knew I was going to begin a residency in Vegas, so I wanted to give the kids their fix for a hot second.

ALESSO: I love that. It’s definitely a club banger, but it works at festivals and shows. I played it on New Year’s, and even though it’s just been out a little while, it just fits so well. It’s made to help people let loose, have fun, and dance—and it’s sexy.

PERRY: It definitely is sexy. I gotta tell you, I’m feeling like a sexy hot Gen Z-er, even though I’m Gen X. It makes me feel so alive.

ALESSO: Did you see the premiere of our halftime show on ESPN?

PERRY: It was wild. We did a really unusual premiere—we collaborated with ESPN during a huge football game. We figured our fans would eat it up. To me, the song is a big, gay club banger and we thought, “Okay, the kids are gonna know that it’s out there, but you know who’s not going to know it’s out there? People who watch football.” I mean regular people who listen to Ed Sheeran. We wanted it to be on their radar, too, so we were like, “Football! And a club music video directed by Hannah Lux Davis, let’s go. Let’s take this opportunity.” It definitely went more mainstream because of the halftime launch.

ALESSO: I got hit up by so many people about it. I was in Sweden at the time of the halftime show, and it was on too late for me. I’m getting old, so I woke up at 5 a.m. to watch it. It was really cool to see the football and the music together. It felt like a movie. 

PERRY: You gotta be a little bit innovative these days—especially because like 20,000 new songs come out every day on streamers. There’s so much to digest. You have to have a game plan, and our game plan really worked.

ALESSO: I agree. So let’s talk about your outfit. 

PERRY: My outfit?

ALESSO: [Laughs] Let’s jump straight into it. What do you think of the video, and your looks and everything? I want to hear it.

PERRY: I loved it. I love our look together. It was really fun. We curated a lot of really cool looks—everything from Vivienne Westwood customs to vintage John Paul Gaultier, a custom Dolce and Gabbana look, some Chrome Hearts jewelry which was fun. My stylist Tatiana Waterford did it all, and I basically just told her that I wanted the video to have a near-future look. I was pretty specific about our scene being in a data bank, because who doesn’t wanna look sexy in a system server area?

 

ALESSO: You did such an insane performance in that video, and I just had to do a couple of walks. I looked pretty cool walking through that computer room. 

PERRY: It was expensive.

ALESSO: Yes, we know, the label told us. [Laughs]

PERRY: It was definitely a moment to double down, for sure. We shot that music video in a day—we were doing dance scenes until about 3:30 a.m. This was the first time I went heavy into choreography with Sean Bankhead—he does Normani and Lil Nas X, he does all the greats. I’m nowhere close to anything that they do body choreography-wise, but I put in the old college try.

ALESSO: You killed it. I can’t believe you were there for what—20 hours?

PERRY: More or less. It’s funny, everyone says that after you make it, you retire to, like, an island in the Bahamas.  That’s just not me yet. To me, after you make it, you work harder than you’ve ever worked.

ALESSO: Twice as hard. Live performance is exhausting. I mean, it’s what we do, it’s my passion to make music and then play it, but still. “When I’m Gone” works perfectly in my sets. That big chorus already feels like a classic… it sets a tone. It’s so much fun playing live again after the last couple of years. Katy, how long has it been since you performed? Is Vegas the first live show in a while?

PERRY: In this moment where things have become a little shaky, people are like, “Fuck it. We’re on the Titanic, let’s just all go down together.” The show that I’ve put together in Las Vegas is one of a kind. It’s the wildest, most fun and humorous show I’ve ever put together. There’s been a lot of talk about it, and I’m giving it my all. I’m 37, I’ve been doing my thing for over 12 years, and people are still showing up and giving love. I take nothing for granted, and it makes me really grateful. I wake up every day knowing that I still have to give it my all—even if I’m not feeling 100%. I shake it off and give them a show. A Vegas audience, as you know, is different from any other audience. It’s raucous and full of people that are definitely peaking. They’re either there for a bachelorette or a 21st birthday. The first few shows were amazing, but the latest show was the best one I’ve had so far, everybody was on their feet. It wasn’t my hardcore fans—it was a Vegas audience. It was pretty dope to see. 

ALESSO: I have to come and check it out.

PERRY: Well, you gotta leave Sweden.

ALESSO: I’ll be back soon. I think you should do more dance records. Not just with me—well, maybe just with me. [Laughs]

PERRY: Alright, deal.



Crankbait Fishing My FAVORITE SECRETLake! + (Crazy TWO For ONE Catch)

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jxdn – No Vanity (Official Lyric Video)

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‘No Vanity’ from the debut album Tell Me About Tomorrow out now:

Lyric video created by 351 Studio

Montrio in Monterey poised to reopen on February 17, 2022 with interior makeover, acclaimed chef Sascha Lyon

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Despite being closed since early 2021, much has simmered on the back burner at Monterey’s most decorated restaurant.

 

The familiar Old Monterey brick firehouse (built in 1910) — home to Michelin-rated Montrio Bistro since 1995 — will reopen to the public on February 17. It’s all been part of a carefully orchestrated plan that included a pandemic pause, an interior makeover, an abbreviated name change and a national search for a new executive chef.

 

Helping write the next chapter for the popular downtown eatery called Montrio is acclaimed chef Sascha Lyon who built a sterling reputation by working with some of the finest French masters in the world.

 

“It’s incredibly exciting to have the opportunity to live and work in this beautiful part of the world,” said Lyon, most recently the executive chef at King Estate Winery in Eugene, Ore. “Seafood and vegetables are my favorite, and we are in the best possible place in the world for such amazing ingredients. I really see no limitations, and I can’t wait to help carry the torch of such a long-standing, very well-received restaurant. I will respect its foundations and grow upon that. It’s pretty awesome.”

 

Although his name sounds French (after all, the city of Lyon is France’s undisputed gastronomic capital), Lyon (pronounced like lion) is a native of Los Angeles. Adopted into the world of French cuisine by some of that country’s finest master chefs, Lyon brings both classic training and an innovative approach to the Montrio kitchen.

 

“We are thrilled to welcome someone as talented and well-respected as Sascha to lead the Montrio team,” said Coastal Roots Hospitality co-owner Ken Donkersloot (also Rio Grill in Carmel, Tarpy’s in Monterey and Coastal Roots Events & Catering). “It’s an exciting time in the evolution of this storied restaurant. We can’t wait to welcome new friends and old to a newly refreshed and inviting Montrio.”

 

Lyon began his culinary career at the age of 14, working at Michel Blanchet’s classical French kitchen at L’Ermitage in Los Angeles. From there he went to work at Citrus under the tutelage of renowned chef Michel Richard and chef de cuisine Alain Giraud.

 

“I had tremendous opportunities as a child to travel and connect with different food and cultures,” said Lyon, who lived in both Paris and London. “I love to eat, and making decisions on what to eat was always front of mind. I mostly connected with the dining experience as a whole. When it’s right, an all-encompassing cohesive experience forms deep memories.”

 

After graduating from the Culinary Institute of America in 1992, Lyon moved to New York City to work with superstar chef Daniel Boulud, an opportunity made possible by Michelin three-star chef Roger VergĂŠ of Moulin de Mougins in France. Chosen by Boulud to be one of the 12 young chefs selected from around the world to be part of the opening team at Restaurant Daniel, Lyon was only 20 years old when he joined that star-studded team.

 

After three years at Daniel, Lyon left New York to cook in London and Miami, and returned to the Big Apple in 1997 to join the opening team of renowned brasserie Balthazar as sous chef. Three years later he earned the prestigious title as the chef de cuisine of Pastis, where he remained for the next six years.

 

Lyon next embarked on his own endeavor with the renovation of a 130-year-old, historical landmark building and home of SASCHA Restaurant and Bakery in New York City.

 

After several years of operation, Lyon returned to Los Angeles for a change of lifestyle. He accepted the position as the executive chef of W Hollywood Hotel & Residences, a multi-outlet property that houses Delphine Brasserie, where the menu stays true to traditional food from Southern Europe.

 

While overseeing operations at the hotel, Lyon developed the food program at DTLAs Soleto Trattoria and Pizza Bar. That effort especially reflected Lyon’s personal commitment to high-integrity cooking using fresh, local and sustainable ingredients — long a hallmark at Montrio.

 

“As a chef I’ve always been connected to the source, the fisher, the farmer, the markets — knowing them and their stories,” he said. “I’m a firm believer in sustainability. When something is well-cared for its entire life — from seed to harvest, the husbandry of an animal — we have an obligation to maintain this level of integrity all the way through to the plate.” These values align well with Montrio with a strong track record of being a Certified Green Restaurant and a member of Seafood Watch.

 

Lyon is joined on the Peninsula by his wife, designer and artist, Margarita, and their two children, ages 10 and 13.

 

It has long been the couple’s desire to settle in a smaller, quieter community along the coast. During his time as a chef in Los Angeles, Lyon commuted from Ojai near Santa Barbara.

 

“We essentially made a commitment to make a life for ourselves on the Central Coast,” he said. “We couldn’t be happier.”



Hollywood Music festival

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Hollywood Music festival

Salsa music festival in Hollywood young circle. This is a great event hosted by the city of Hollywood. They have many events through out the year almost every Fridays occurring to one local resident. Movie night is one that is very popular too. That it’s a great example for other cities to follow, Events like this brings the community together and stronger. we had a great time there. We’ll be back for the next one.

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David Beckham Reacts After Daughter Harper Says She “Has a Crush”

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“Dear mummy, I love you so much and you are my best friend ever,” Harper wrote on a piece of paper, as Victoria shared in her Instagram Story. “I love when we always do our makeup together you are my heart and I love you Sleep well sweet dreams Love Harper.”
 
As for Harper’s dad, David also received an equally sweet outpour of affection.

Ben Affleck’s Batman Script Was ‘James Bond-ian’

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Back in 2014, Warner Bros. Pictures had announced their plans of making a Ben Affleck-led standalone Batman film, which would be directed and written by the Oscar-winning filmmaker. However, ahead of Justice League‘s theatrical release in 2017, Affleck had decided to step back from the project’s directorial duties after nearly three years of developing the DC Extended Universe film.

Because of this, the studio had immediately begun their search for the right director to take over the project and had considered the likes of George Miller, Denis Villeneuve, Fede Alvarez, and more to replace Affleck. However, it soon became clear that longtime Batman fan Matt Reeves was the studio’s top favorite to direct the project and had tried to set up a meeting with him for weeks while he was busy working on post-production of 2017’s War for the Planet of the Apes.

RELATED: Ezra Miller Denies Rumors That The Flash Will Erase Snyderverse

During a recent interview with Esquire Middle East, Reeves has opened up about the time the studio had offered him the project, confirming that the studio gave him Affleck’s The Batman script, which originally included the appearances of other major DCEU characters.

“I read a script that they had that was a totally valid take on the movie,” Reeves recalled. “It was very action-driven. It was very deeply connected to the DCEU, with other major characters from other movies and other comics popping up.”

Even though it was a totally exciting take and somewhat felt like “almost James Bond-ian”, he revealed that he had to reject it at first because it wasn’t the story that he has always envisioned for the character he loves since he was a kid.

“I just knew that when I read it this particular script was not the way I’d want to do it,” Reeves explained. “I said look, I think maybe I’m not the person for this. And I explained to them why I love this character. I told them that there have been so many great movies, but if I were to do this, I’d have to make it personal, so that I understood what I was going to do with it, so that I know where to put the camera, so that I know what to tell the actors, so that I know what the story should be. This take, I told them, pointing at the script, is a totally valid and exciting take. It is almost James Bond-ian, but it wasn’t something that I quite related to.”

Due to his love for the character, Reeves instead pitched to Warner Bros. Pictures his idea and it was surprisingly accepted.

“So what I’d love to do, if you’re interested, is I’d like to get involved and find a way to take the story and make it very, very personal and get to the place I want him to be, to make it a Batman story and give him the arc, and have the story rock him to his core,” Reeves shared. “It wasn’t going to be another origin story, not with Ben already in the character. But that’s what I would do…And to my utter shock and surprise, they said, ‘you know what, we really would like you to do this. And we will wait.’”

RELATED: Breaking Down The Batman’s Funeral Scene Clip

The Batman is directed by Matt Reeves from a screenplay he co-wrote with Peter Craig. The superhero film will see Robert Pattinson taking on the mantle of the Dark Knight.

Joining Pattinson are Zoë Kravitz as Selina Kyle/Catwoman, Paul Dano as Riddler, Jeffrey Wright as GCPD’s James Gordon, John Turturro as Carmine Falcone, Peter Sarsgaard as Gotham D.A. Gil Colson, Andy Serkis as Alfred Pennyworth, and Colin Ferrell as Oswald Cobblepot/ Penguin. It will also feature Barry Keoghan, Jayme Lawson, Alex Ferns, and twins Max and Charlie Carver.

The Batman will arrive in theaters on March 4, 2022.

Your EDM Premiere: Grey Code’s Epic New Album Warrants a ‘Renewal’ for the Artist and the Music World at Large [Metalheadz]

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Grey Code has always been known for his diversity in sound, pretty much as soon as he hit the scene. With clean synths, cleaner breaks and overall work that reads more like high concept art than dancefloor D&B. It’s no wonder he’s released on so many premier labels since his first releases in 2017. Now with almost everything he does being scoffed up by Metalheadz, the continuation of the sonic journey that started with his Reprieve and Heilos EPs is almost here in the massive Renewal album, due out this Friday, January 28, could really only be on the mega-imprint.

A sonic journey in itself, Renewal is both a departure for Grey Code and right down the line of what fans love about him. Somehow celestial, cinematic and heavy all at once, the new album is as emotionally complicated as it is musically. Inspired, as most musicians have been these last two years, by COVID and its effects on history, Renewal tells a contemplative story so engaging that listeners may forget they’re listening to drum & bass. It’s an experience, not just a beat.

Don’t get us wrong; the drum & bass beats feature heavily in Renewal and will play well on big rigs because of course they will, but there’s an air of difference and expansion into other territory here that will make almost every track stand out. Think Misanthrop’s Blurred EP or Noisia’s more high concept stuff, a’la “The Nomad” with Mono/Poly: it’s instantly recognizable not because it’s popular but because it’s different, both musically and emotionally. Tracks like “Prima,” “Primrose” and “Iliad” on this album will, when dropped, instantly take the audience to a different space. They just happen to be danceable as well.

There are also tracks on the album that are so different that they’re properly in different genres (not that GC has ever cared about genre). “Quantified Self” sounds more like an industrial producer fell in love with a digital pixie than anything in the bass music category, for example, and “Birth (Interlude)” is truly beatless, sounding a bit like what would happen if someone threw the self-playing mods from Switched on Bach into a black hole. Spaghetti wiring being spaghettified. Trippy.

Somewhere between the heavy beats and beatless mod play on Renewal lies our premiere for today, “Miserere” featuring a new artist, Fixed Point. Following directly after “Birth,” Miserere kicks off a beautifully, synthy and heavily vapor wave-inspired synth with cinematic and celestial sound design. Then, rather than dropping directly into the heavy mess of sub synth and snare-driven dark beat, those elements sort of wash over the intro and draw it into said sub synth and snares. From there it’s almost a battle between the earth and the skies, or heaven and hell, depending on your philosophy, and they two parts come to a synergistic cacophony at the classically-composed crescendo, winding around each other rather than battling in the end. A single, vintage synth chord marks the end of the track, but not the recession of goosebumps. That won’t happen for a while. It’s hard to claim a best track on this album, but “Miserere” is close.

There are a lot of levels to listen to Renewal on; you can contemplate the futility of existence while listening to the full album if you like or just skank away to each track on the dancefloor. You can appreciate the sound design and craftsmanship (like your humble theory nerd author) or blast the bass in the car and piss off your whole town. Grey Code’s such a good artist because he gives the audience a choice. No matter how you want to experience it, Renewal captures a musical and cultural snapshot in time and is an epic drum & bass album for the ages; that’s universal.

Renewal drops this Friday, January 28 on Metalheadz. Click here to pre-order or pre-save.



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