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Introduction to Wowapp 

Earn Free Money Everyday With WowApp

WowApps is the only application that promises a reward to users, which 70% of the revenue generated through advertising is returned to the user. The ads are not intrusive, and you will be paid if you click on the ads or not.

WOWAPP is to socialize, chat, send text messages and so on. It’s like Whatsapp and Wechat but with Wowapp you can generate income when you and your friends engaged in your network.

More and more people are starting to use this application.

You will receive free wowcoin everyday that can exchange to the US dollar.

100 wowcoin = 1 US dollar

Any profit that you earn, you can transfer into your local bank account. (You do not need to give your bank account information now, only when you want to transfer the money to your bank later.)

Further information such as how to use and tips will be given in your Wowapp later.

How Do I Get Started With WowApp?

WowApp system is based on sharing between real people, access is invitation-based.

In order to join WowApp you need to receive an invitation from an existing WowApp user.

To sign up simply Click 

https://wowapp.com/w/wolfcan

After clicking the link, click the button Join free on WowApp.

Fill in the WowApp user registration form as shown below.

After filling in everything click “Create Account”

Next it will automatically download “WowApp Messenger Official” on your mobile phone to install.

Once the application installs is completed, open the application WowApp, enter the username and password that you created earlier.

Then complete your profile in accordance with the form provided.

Chose your country and enter your phone number.

You will get a message confirming 4 digit number to send to your phone. Then enter a 4 digit number that is given, and you can start earning with Wowapp.
Once completed, you can invite your family and friends by your invitation-link to earn even more.
Why should we switch to Wowapp?

Wowapp just an honest opportunity that is free to join, free to use and they are sharing their revenue with the users. Everybody wins!

List Of All Sites To Download Movies, TV Series, Korean Dramas

MOVIES

1. hdmoviespoint.com
2. xmovies8.tv (not a porn site, lol)
3. naijaextra.com
4. moviesgraphy.com (highly recommended)
5. moviescounter.com
6. smokeymovie.org
7. besthdmovies.com
8. hdmoviespoint.biz (highly recommended)
9. hdpopcorns.com
10. movietubenow.com
11. quikrmovies.com
12. putlockers-movie
13. dailymoviez.xyz
14. fmovies.to
15. worldfree4u.cc
16. 300mbmovies4u.net
17. divxcrawler.tv
18. hdmoviesmp4.org
19. ganool.de
20. mp4times.com
21. mydownloadtube.com
22. freemovieswatch.com
23. housemovie.to
24. gingle.in
25. moviewatcher.to
26. movieflixter.to
27. urgrove.com
28. tubeplus.is
29. cartoonhd.website
30. oceanofmoviez.com
31. movies-2015.com
32. watchonlinemoviesfree.info
33. memoryonfilm.blogspot.com
34. loadmovie.biz
35. film21gratis.net
36. filmxy.com
37. filocker.com
38. downloadmaniak.com
39. freedownloadmovies.info
40. hdmovies.com.pk
41. downloadmania.xyz
42. moviescounter.com
43. movies-online-pro.com
44. movizonline.com
45. hdmovieswatch.net
46. movizonline.com
47. neverdownload.com
48. putlocker.is
49. ddmkv.me
50. youtube.com
51. glintmovies.overblog.com
52. wootly.ch
53. mycinemas.co
54. fzmovies.net
55. Netflix (recommended – paid service after trial period though)
56. Hulu
57.mp4mania.com

TV SHOWS / SERIES

58. o2tvseries.com (recommended)
59. mobiletvshows.net
60. waptvseries.net
61. toptvshows.me
62. Mobiletvshows.net
63. Mobtvseries.net

NOLLYWOOD

64. naijapals.com/video (recommended)
65. nollywoodfilmz.com
66. ibakatv.com (recommended – paid services though)
67. irokotv.com (recommended – paid services though)

ANIME

68. kissanime.to
69. animehaven.org
70. masterani.me
71. disneyjunior.disney.com/video (recommended)
72. toonjet.com
73. cartoonson.com

ASIAN/KOREAN DRAMA

74. gooddrama.net
75. epdrama.com
76. sugoideas.com
77. yodrama.com
78. dramasub.com
79. koreandrama.org
80. alodrama.com
81. viki.com
82. dramafans.org
83. dramafever.com
84. doramax264.com
85. Dramanice.to
86. Sojuoppa.net

NEW MOVIES

87. 300mbfilms.co
88. moviemp4.net
89. todaytvseries.com
90. tvshows4mobile.com
91. toxicwap.com
92. zinkhd.com

Alright that’s it guys ….. Please use one of the below share buttons if u like our post

For more visit gistonfleek.com 

OSG Recap 2016: Top Ten Nigerian Artistes Who Made So Much Money in 2016

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The Nigerian music industry is worth billions of dollars and artistes these days have so many platforms in which they sell their contents to the world at large. Aside them winning international awards, Nigerian artiste also have lots of fans outside Nigeria, especially in the continent of Africa.

OSG list out the Top Ten Nigerian artistes that made the highest money this year. This artistes are ranked according to how much they made from: – Digital sales (iTunes, Music+, YouTube) – Shows (How much they charged for shows and how often they were called) – Concerts + Tours (How big their concerts&tour were) – Brand endorsements (How many and how huge)

10. KOREDE BELLO The artist Korede Bello during the MAMA 2016, in Johannesburg, South Africa on October 22nd, 2016

Korede loved by his “bellovers”, we can tell for sure the cute singer made most of his money within the last 12 months from digital sales. Not all his singles were hits in Nigeria this year but he sold a lot on digital platforms, the singer has quite a lot of fans internationally so they often buy his songs and watch his music videos a lot on YouTube.

Korede didn’t get called for many shows but he had a few. The singer also has an active endorsement deal with the telecom giant GLO and Woodin.

Estimated 2016 earnings is between: 60 – 100 million naira.

Remember he is signed to a record label so the earnings were shared between him his label.

9. TEKNO Tekno in swimming pool The artiste of the year Tekno Miles is among the artistes who made the most money this year. Starting from digital sales Tekno dropped about 6 singles within the last 12 months and all were hits, they sold really well on several digital platforms with amazing views on YouTube, he made most of his money this year digitally as he sells even beyond Africa. Tekno made a lot from local and international shows, he also had a sold out tour this year.

He had a 5million naira endorsement with MTN. Estimated 2016 earnings is between: 80 – 110 million naira.

Remember he is signed to a record label so the earnings were shared between him his label.

8. KISS DANIEL Kiss Daniel at SMADE fest. We can basically tell you Kiss Daniel is the Nigerian artiste that headlined most shows in Nigeria and outside Nigeria this year.

The singer made a lot from shows the singer we can say had a show or 2 two to headline almost every week of the year.

Kiss Daniel dropped his album NEW ERA which was one of the best selling albums in Nigeria in 2016, his hit songs MAMA and JOMBO where said to have sold hundreds of thousands of records this year. Kiss Daniel does not have any popular endorsement deal but he made quite a lot naturally from music this year.

Estimated 2016 earnings is between: 90 – 110 million naira.

7. PHYNO Phyno on stage With the release of several hit singles within the last 12 months we can tell you Phyno made quite a lot from digital sales, Phyno doesn’t headline shows too often but he made a lot from concerts and tour within the last 12 months. Phyno has quite the endorsement deals right now he is an ambassador for big brands such as Guinness, Nairabet.

Estimated 2016 earnings is between: 100 – 160 million naira.

6. DAVIDO davido The HK boss earned quite well this year. Earned well from digital sales, and most especially his successful tours. Davido in December 2015 performed to an audience of about 30,000 people, Davido in 2016 also had a lot sold out shows during his tour.

He also signed a deal with Pepsi said to be worth 100 million naira. Davido active endorsement deals includes: MTN and Pepsi.

He charges between 5-8 million naira per show. Estimated 2016 earnings is between: 150 – 180 million naira.

5. OLAMIDE The YBNL label boss is a music business man and an A-list artiste himself, we ranked him based on the money he made from his brand as a music act. Olamide dropped an album in December 2015 an album which sold quite well on digital platforms, Olamide continued to drop several hit singles within the year which sold quite well too, Olamide headlined many popular shows in 2016, went on a sold out world tour and his OLIC2 concert in December 2015 was a total sold-out.

Olamide is also a an artiste with alot of endorsements with brands such as Etisalt, Surebet, Ciroc and Guinness

Estimated 2016 earnings is between: 150 – 200 million naira.

4. WIZKID The “Starboy” had an amazing year, starting from his Ojuelegba remix featuring Drake we learnt the song grossed over one hundred thousand dollars as of December 2015.

WizKid this year earned royalties from the biggest song in the world for the year 2016; (One Dance). The starboy also had a successful world tour. Within the past 12 months his active endorsement deals include; GLO, PEPSI. He charges between 5-10 million naira per show.

Estimated 2016 earnings is between: 150 – 220 million naira. 3. TIWA SAVAGE

Tiwa Savage It was a very great year for the most popular female artiste in Africa. Tiwa savage dropped her sophomore album last year December and the album broke and set a couple records when it comes to digital sales. According to Music+ Tiwa’s RED album is the most bought album on the platform, the album also did great on iTunes and YouTube. The singer also had a sold out tour this year, and the biggest of all Tiwa Savage’s endorsement keeps piling up, her active endorsement within last 12 months includes; MTN, Forte Oil, Pampers,Maggi, Konga and Pepsi which all are multi million naira deals. She charges between 4-6 million naira per show.

Estimated 2016 earnings is between: 150 – 250 million naira. 2. D’BANJ

You all know the name D’banj is a huge one in the showbiz, D’banj is a business man and a music act. But here we only used D’banj’s earnings from music within the last 12 months to rank him, criteria which includes; brand endorsement of course, digital sales, tours and concerts. The singer was called for popular shows and went on a tour this year, even though we can tell he didn’t make much from digital sales the singer made a lot from brand endorsements which includes; Ciroc, Glo, Bank of industry, SLOT, and MTN . He charges between 6-10 million naira per show.

Estimated 2016 earnings is between: 200 – 250 million naira.

1. PETER OKOYE (MrP) Well, you may not be expecting this but after our research and contacts the singer was the one who earned the most as an artiste this year. Peter who goes by the stage name: MrP made a lot of money from brand endorsements which was his major source of earning within the last 12 months. Leaving his brother behind peter has gotten endorsement deals from huge brands locally and globally within the last 2 years. Peter also gets a 50-50 share of whatever PSQAURE as a band earns from endorsements,digital sales and shows.

Peter’s active brand endorsement includes; Nutricima, Adidas, Kia, MerryBet. Estimated 2016 earnings is between: 200 – 300 million naira.

Woody Woodpecker trailer: can the Pica-Pau prankster fly up the pecking order?

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Remember Woody Woodpecker? In fairness, you might not. A perennial also-ran compared to the big guns of Disney and Warner Bros, Woody Woodpecker never quite managed to settle on a definitive persona. He was an irritant, then a belaboured everyman. He created problems, then he solved them. He was aggressive, then he was a watered-down Bugs Bunny. Maybe this is why Woody Woodpecker has only fitfully been seen on screen since the early 1970s.

However, like Sixto Rodriguez in South Africa and Norman Wisdom in Albania, Woody Woodpecker has still managed to retain some of that early heat elsewhere. Other countries might have met the news about next year’s Woody Woodpecker film with a disinterested shrug, but not Brazil. Apparently a nation of frenzied Woody Woodpecker fanatics, Brazil seized upon the film so enthusiastically that it actually got to debut the film’s first trailer. Here it is.

We open on what is presumably California, since that is the native habitat of melanerpes formicivorus, the woodpecker that inspired Woody Woodpecker. Although, judging by the country’s bizarre fascination with the character, we might also assume that this is Brazil and Woody Woodpecker is a cream-backed woodpecker, or campephilus leucopogon.

“O pássaro mais famoso do mundo” translates to “the most famous bird in the world”. Which Woody Woodpecker obviously isn’t, unless you happen to be aged between 50 and 85 and have spent the bulk of your adult life frantically avoiding Sesame Street or iPhone games or Twitter or cartoons or most children’s books or 90% of all real-life owls. But maybe this is still an accurate statement in Brazil. Who knows?

And there he is. Time has not been kind to Woody Woodpecker. His beak is mottled and jagged. His eyes are glassy. Years of having his personality shunted around willy-nilly by cynical Hollywood executives has left him so dishevelled that he now looks like the annoying animated sidekick on a 1994 Teach Yourself Esperanto educational CD-ROM. Worse, he’s now taken to referring to himself as “Pica-Pau”, possibly because he’s refusing to leave the past glories of Férias Frustradas do Pica-Pau, his 1995 Brazil-only Sega Megadrive game.

Now to the meat of the trailer. Woody Woodpecker has found a joystick on a construction yard. Crazy old Woody Woodpecker from the 1940s would play with the joystick, creating chaos for everyone. However, Woody Woodpecker from the 60s would be sure to treat the joystick responsibly. What will this garishly Frankensteinian atrocity of a creation do?

Oh no! He’s used the joystick to manoeuvre a pipe over the open sunroof of a car belonging to 47-year-old Timothy Omundson from Psych and what had better be his daughter. I hope nothing bad happens!

Oh no! Woody Woodpecker has pressed a button on the joystick and now they’re covered in concrete! Why did he do that? Is Timothy Omundson a baddie? Has Woody Woodpecker reverted to the disruptive prankster of old? Does he just massively disapprove of the practice of pairing middle-aged actors with romantic partners who are young enough to be their daughter? Hopefully the end of the trailer will explain all.

Except it won’t, because this is a Brazilian Woody Woodpecker trailer and Woody is speaking in Portuguese, which I don’t understand. However, from repeating this one line of dialogue into a translation app on my phone, I believe that Woody Woodpecker is saying, “This was done because Australia is infinite”. So, in summary, Woody Woodpecker is going to be a film about a 76-year-old morally vague abomination of animation who tries to drown age-inappropriate couples in concrete because he’s alarmed by the size of a country on the other side of the world. This has got blockbuster written all over it.

Tricks to ensure your high heels never hurt you again – and prevent more damage

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It’s the season to be jolly – and also get done up to the nines.

As much as putting on our finery is all fun and games, getting dressed up over the festive season comes with one large potential pitfall. Or rather, two.

Pretty as they are, high heels can be the gateway to world of agony and awkwardness.

Yet perhaps now more than at any other time of year, we’ll be jamming our weeping tootsies into a pair. All in the name of fashion.

It’s not just blisters we should be worried about, heels impact our health in the long term , damaging our nerves, muscles feet, knees, hips and back.

But there are few things which mitigate against these adverse effects – and hopefully make heel wearing enjoyable, rather than an exercise in pain.

1. The thickness of the sole
Sharing her wisdom with Mamamia , podiatrist Laura Gleich says, “When you wear high heels your center of gravity is redistributed, causing a lot of weight to rest on the ball of your foot.”

Laura’s advice is to try on as many pairs as you can to see which have more cushioning in the ball of the foot – meaning you can wear them for longer.

Platforms at the front of the shoe will also decrease the pain your heels give you.

“The benefit of platforms is you can get away with wearing a higher heel without quite as much stress going through the front of your foot.”

However, beware having the platform too high – this will put your foot at an awkward angle too far off the ground.

2. The size of the base of the heel
Laura explains, “The wider your heel’s base, the more support your body is given.”

Beautiful as they are, this probably rules out stilettos. Wedges are in fact the most comfortable because the entire foot is in contact with the ground, meaning your balance is better and you’re less likely to go over on your ankle.

3. The depth and shape of the front of the shoe
It may be cold outside, but all that walking around and dancing causes your feet to sweat and swell.

Suddenly the tight, pointy heels you bought are cutting off your circulation. While you want your shoes to stay on, it’s also important they have room to breathe.

As for pointy shoes, these are the worst things you could do to your feet.

“They naturally increase the pressure throughout your foot – and then you have to squeeze all five of your toes together into that narrow space.

“Try to find a shoe with a more accommodating shape, like a rounded edge.”

Delia’s Classic Christmas: Festive delights for a Boxing Day buffet from Britain’s favourite cook

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On Saturday, we brought you a fabulous collection of Delia’s foolproof recipes for a Christmas Day feast.

In today’s article, she shares some of her best-loved classics for festive entertaining.

Including a juicy roast gammon, succulent sausage rolls and a luxury fish pie, they’re brilliant for a Boxing Day buffet – or any special gathering with family or friends.

ROAST GAMMON WITH BLACKENED CRACKLING WITH CITRUS, RUM AND RAISIN SAUCE

Gammon is now much easier to cook than it used to be. Modern curing methods have eliminated the need for pre-soaking, which makes it a perfect joint for roasting.

If you leave the skin on, score it and paint it with black treacle, it turns into superb crackling during the cooking. It’s then a very easy joint to carve, and serving it with citrus, rum and raisin sauce is a heavenly combination.

If possible, always make this sweetsharp sauce the day before you need it, so the raisins have plenty of time to absorb all the flavours and become nice and plump.

Serves 6 You will also need a solid shallow roasting tin As soon as you buy the gammon, remove all the wrapping and dry the skin really well with kitchen paper.

After that, using a very sharp pointed knife, score the skin in a criss-cross pattern making little 1cm (½in) diamonds. This is quite easy to do if you insert the tip of the knife only, then, holding the skin taut with one hand drag the tip of the knife down in long movements.

When you’ve done this, place the gammon on a plate and store, uncovered, on the bottom of the fridge for two or three days – if possible – before you need it. This means the skin will go on drying, which makes better crackling. You can make the sauce well in advance, too.

All you do is remove the outer zest from the orange using a potato peeler so that you don’t get any of the pith. Then pile the little strips on top of one another, and using a very sharp knife, cut them into really thin needle-sized strips.

If you’ve got the orange peel piled up and your knife is sharp, this is a lot easier than it sounds. Next, remove the zest from the lime, this time using a fine grater, and squeeze the juice from the lime and orange.

Place all the sauce ingredients except the arrowroot into a saucepan. Whisk the arrowroot into the mixture and place the pan onto a gentle heat, whisking all the time until it starts to simmer.

As soon as this happens the sauce will change from opaque to clear, so then remove it from the heat and, as soon as it is cool enough, pour it into a serving dish, cover with clingfilm and chill until needed.

To cook the gammon, pre-heat the oven to 240c/gas 9. If the treacle is very cold, warm it slightly and then, using a pastry brush or a wodge of kitchen paper, lightly coat all the little diamonds of skin. After that, sprinkle the skin with salt crystals, pressing them well in.

Now, place the gammon in a roasting tin skin-side upright (if it won’t stand up straight, use a couple of wedges of foil to keep it in position).

Now place the roasting tin in the oven and after 25 minutes turn the heat down to 180c/gas 4. Then continue to let the gammon cook for 1¾-2 hours – it should feel tender all the way through when tested with a skewer.

After it comes out of the oven give it at least 30 minutes’ resting time, covered with foil, in a warm place. Remove the sauce from the fridge and serve the gammon carved in slices, giving each person some crackling, with the sauce spooned over.

LUXURY FISH PIE WITH ROSTI CAPER TOPPING The fish can be varied according to what’s available, so long as you have 2lb 4oz (1 kg) in total.

Serves 4-6 For the fish mixture For the rosti caper topping You will also need a well buttered baking dish that is about 5cm (2in) deep, with a 1.5 litre (2¾ pint) capacity Pre-heat the oven to 220c/gas mark 7.

First of all, prepare the potatoes by scrubbing them, but leaving the skins on. As they all have to cook at the same time, if there are any larger ones, cut them in half, then place them in a saucepan with enough boiling, salted water to barely cover them and cook them for 12 minutes after they have come back to the boil, covered with the lid.

Strain off the water and cover them with a clean tea towel to absorb the steam. Meanwhile, heat the wine and stock in a medium saucepan, add the bay leaf and some seasoning, then cut the halibut in half if it’s a large piece, add it to the saucepan and poach the fish gently for five minutes. It should be slightly undercooked.

Then remove the fish to a plate, using a draining spoon, and strain the liquid through a sieve into a bowl. Now rinse the pan you cooked the fish in, melt the butter in it, whisk in the flour and gently cook for two minutes.

Gradually add the strained fish stock little by little, whisking all the time. When you have a smooth sauce, turn the heat to its lowest setting and let the sauce gently cook for five minutes. Then whisk in the creme fraiche, followed by the cornichons, parsley and dill.

Give it all a good seasoning and remove it from the heat. To make the rosti, peel the potatoes and, using the coarse side of a grater, grate them into long shreds into a bowl. Then add the capers and the melted butter and, using two forks, lightly toss everything together so that the potatoes get a good coating of butter.

Now remove the skin from the white fish and divide it into chunks, quite large if possible, and combine the fish with the sauce.

Next, if you’re going to cook the fish pie more or less immediately, all you do is add the raw scallops and prawns to the fish mixture then spoon it into a well-buttered baking dish. Sprinkle the rosti on top, spreading it out as evenly as possible and don’t press it down too firmly.

Finally, scatter the cheese over the surface and bake on a high shelf of the oven for 35-40 minutes. If you want to make the fish pie in advance, this is possible, as long as you remember to let the sauce get completely cold before adding the cooled white fish, raw scallops and prawns.

When the topping is on, cover the dish loosely with clingfilm and refrigerate it until you’re ready to cook it. Then give it an extra five to ten minutes’ cooking time.

CHRISTMAS COLESLAW
If you mix the cabbage, celeriac and carrots with a little salt and lemon juice overnight it draws the excess liquid out of the vegetables, which means the finished salad keeps much longer, so you can make it well ahead.

Serves 8–10 The night before, place the prepared celeriac, carrots and cabbage in a large bowl with one tablespoon of lemon juice and one rounded teaspoon of salt. Toss them around, then cover the bowl and chill overnight. The next day, drain the vegetables in a colander, place a clean tea towel over them and press well to get all of the liquid out.

To make the dressing, combine the soured cream with the garlic, mayonnaise, yoghurt and mustard powder.

Then mix together the oil, vinegar and lemon juice and gradually whisk these into the soured cream mixture. Taste and season as required.

Then, to prepare the salad, simply put the vegetables, with the spring onions, in a bowl, pour over the dressing and toss with forks to mix thoroughly. Taste to see if it needs more seasoning, then cover and chill.

Just before serving, toss the coleslaw again and sprinkle with the poppy seeds.

ETTY’S SAUSAGE ROLLS Etty is my mum, and for me a Christmas without her sausage rolls would not be complete. They are the ultimate canape to serve with drinks – or with pickled shallots and crisp celery for a snack any time.

They can be cooked well in advance, frozen, then defrosted and warmed through when you need them, but nothing can compare with freshly baked on Christmas Eve.

Makes about 24 For the quick flaky pastry For the filling Preheat the oven to 220c/gas mark 7. The fat needs to be rock-hard from the fridge, so weigh out the required amount, wrap it in a piece of foil and place it in the freezer for 30 to 45 minutes.

Meanwhile sift the flour and salt into a mixing bowl. When you take the fat out of the freezer, open it up and use some of the foil to hold the end with. Then dip the fat in the flour and grate it with a coarse grater placed in the bowl over the flour.

Keep dipping the fat down into the flour to make it easier to grate. At the end you will be left with a pile of grated fat in the middle of the flour, so take a palette knife and start to distribute it into the flour (don’t use your hands), trying to coat all the pieces of fat with flour until the mixture is crumbly.

Next add enough water to form a dough that leaves the bowl clean, using your hands to bring it all gently together.

Put the dough into a polythene bag and chill it for 30 minutes in the fridge. When you’re ready to make the sausage rolls, mix the sausagemeat, onion and sage together in a mixing bowl.

Then roll out the pastry on a floured surface to form an oblong approximately 42cm x 30cm (16½in x 12in). Cut this oblong into three strips 42cm x 10cm (16½in x 4in) and divide the sausagemeat also into three, making three long rolls the same length as the strips of pastry (if it’s sticky, sprinkle on some flour and flour your hands, too).

Place one roll of sausagemeat on to one strip of pastry. Brush the beaten egg along one edge, then fold the pastry over and seal it as carefully as possible.

Lift the whole thing up and turn it so the sealed edge is underneath. Press lightly, and cut into individual rolls each about 5cm (2in) long. Snip three V shapes in the top of each roll with the end of some scissors and brush with beaten egg.

Repeat all this with the other portions of meat and pastry. Place the rolls on baking sheets and bake high in the oven for 20 to 25 minutes, then remove them to a wire rack to cool. You can store the cooked and cooled sausage rolls in an airtight tin, but they do lose their crunchiness. For this reason I think it is preferable to freeze them in polythene boxes and remove a few at a time as and when you need them.

Defrost them for an hour at room temperature and then warm them in a hot oven for five minutes.

TURKEY FLAN WITH LEEKS AND CHEESE One thing I know now, being older, is that I will not be making pastry on the days following Christmas. That said, this leftover recipe is too good not to include, so my advice would be to either buy the pastry, or make it before Christmas, line the tin with it and freeze it in the tin.

As I’ve now discovered, cooking a flan in a frozen pastry case gives a crisper finish.

Serves 6–8 For the filling Preheat the oven to 200c/gas mark 6 and pop in a heavy baking sheet to preheat. First melt a teaspoon of butter in a frying pan, swirl it round the pan and then, keeping the heat lowish, add the leeks and some salt, cover and let them gently cook for ten to 15 minutes and exude some of their juice.

After that, place the leeks in a sieve, strain off any juices into a bowl and set aside. While that’s happening, put the 40g (1½oz) butter, milk and flour in a saucepan and bring up to the boil, whisking all the time, until you have a smooth, thick sauce.

Season with salt, pepper and a little nutmeg, then leave the sauce to simmer gently for five minutes. Now arrange the leeks over the pastry base, followed by the slices of turkey, chicken or ham. Then pour the reserved leek juice into the sauce, add the grated cheese and beaten egg and mix well.

Pour the sauce evenly over the contents of the flan and sprinkle the Parmesan on top, together with a dusting of cayenne. Place the flan on the baking sheet on the centre shelf of the oven, then reduce the heat to 180c/gas mark 4 and bake it for 35 to 40 minutes.

STOLLEN
At Christmas time in Austria they traditionally serve something called stollen: it is a rich, fruity yeast bread filled with almond icing (marzipan) and topped with a light glace icing.

If you have a number of people staying over the holiday, this is wonderful served warmed through at breakfast.

If it is not all eaten when it’s fresh, you can also lightly toast it in slices. In fact, it is so good it’s worth making two and freezing one (it freezes beautifully).

For the glaze 110g (4oz) icing sugar, sifted 2tbsp lemon juice You will also need a large baking sheet, lightly greased

Sift 300g (10½oz) of the flour together with the salt into a mixing bowl. Sprinkle in the easy-blend yeast and sugar and give it all a stir before making a well in the centre.

Pour in the milk, then add the softened butter and beaten egg.

Mix everything together, either with your hands or with a wooden spoon – until the mixture is well blended and leaves the side of the bowl cleanly.

Then work in the fruits, peel, nuts and lemon zest, distributing them as evenly as possible.

Knead the dough on a work surface sprinkled with 25g (1oz) of the remaining flour for five minutes, until it is springy and elastic.

Now leave the dough in the bowl in a warm place, covered with clingfilm, until it has doubled in size (the time this takes will vary depending on the temperature – it can be up to two hours).

After that turn the risen dough out on to a board dusted with the remaining flour and knock the air out of it and knead until the dough is smooth and elastic. At this stage roll or press out the dough into an oblong 25cm x 20cm (10in x 8in).

Using your hands, roll out the almond icing (marzipan) to form a sausage shape and place this along the centre of the dough, finishing just short of the edges.

Fold the dough over the marzipan and carefully place the whole thing on the baking sheet, allowing plenty of room for expansion.

Leave it to prove in a warm place until it has doubled in size again.

Preheat the oven to 190c/gas mark 5, then bake in the oven for 35-40 minutes.

Allow it to cool on the baking sheet for about five minutes before lifting it on to a wire rack to finish cooling.

Meanwhile make the glaze by mixing the sifted icing sugar with the lemon juice, then use a small palette knife to spread this all over the top surface of the stollen (while it is still warm).

Serve as fresh as possible, cut into thick slices, with or without butter.

MACADAMIA & PISTACHIO NUT ROAST WITH SPICED YOGHURT SAUCE This recipe is specially for my friend Lilie, who is a vegetarian and said I couldn’t possibly not include a nut roast. So here it is.

It can be served hot with the sauce or cold with pickles and chutneys.

Serves 6 For the topping You will need a well-buttered loose-base sandwich tin, 20cm x 4cm (8in x 1½in)

Start this off a day before you need it. Using a pestle and mortar, crush together the coriander and cumin seeds (for the roast), then warm a small frying pan over a medium heat and add the crushed spices.

Turn up the heat high and toss them around to dry-roast them and draw out the flavour (which will take about a minute) then tip them into a bowl and leave on one side. Now crush and dry-roast the whole spices for the sauce in the same way, then put them in a small mixing bowl to cool.

Then add the yoghurt, turmeric, cinnamon and some seasoning to the bowl. Cover and leave in a cool place (or fridge) for several hours or overnight for the flavour and colour to develop.

When you want to cook the nut roast, preheat the oven to 200c/gas 6, take a medium-sized frying pan, heat the oil and cook the onions for a few minutes before adding the green and jalapeno peppers, garlic and all but half a teaspoon of the prepared spices and cook for about ten minutes, until everything has softened.

Meanwhile, chop the mixed nuts fairly small by hand, or pulse them in a processor. Then drain the tomatoes and chop them. In a large bowl, mix the roasted chopped nuts, pistachios , breadcrumbs, fresh coriander and tomatoes, then add the cooked onion mixture and season well before adding the eggs.

Now pile the mixture into the prepared tin and press down well, drizzle with the melted butter and sprinkle with the chopped macadamia and pistachio nuts. Bake for 35 minutes.

Serve the nut roast cut into wedges with the spiced yoghurt in a separate bowl sprinkled with the reserved crushed spices.

Delia’s Happy Christmas by Delia Smith published by Ebury Press, price £15. © Delia Smith. To order a copy for £17.50 (30% discount) visit http://www.mailbookshop.co.uk or call 0844 571 0640. P&P is free on orders over £15. Offer valid until 24 December 2016

Delia’s Winter Collection © Delia Smith. For more Delia Christmas recipes, cookery school videos, bakeware & equipment information and stockists visit deliaonline.com

The Delia Collection: Puddings. © Delia Smith. For more Delia Christmas recipes, cookery school videos, bakeware & equipment information and stockists visit deliaonline.com

Guardians of the Galaxy Vol 2 trailer starring Baby Groot – video

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Just over two years since the release of Marvel’s Guardians of the Galaxy, the franchise heralds its return with its band of interstellar travellers. James Gunn’s sequel to his blockbuster – the highest grossing film in the US in 2014 – features Chris Pratt as Star-Lord, Zoe Saldana as Gamora, Dave Bautista as Drax and Vin Diesel as Baby Groot, as well as Bradley Cooper, Glenn Close and Elizabeth Debicki. The film is scheduled to be released in Australia on 25 April, the UK on 28 April and the US on 5 May. • Marvel’s Guardians of the Galaxy Vol 2: first teaser trailer debuts online

Hollywood’s rape culture is our culture

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These are not easy days to be a feminist in America. The film industry, as well as other progressives in American society, are still reeling over the election of a man who admits to having sexually assaulted women, knowingly using his celebrity to exploit them. Over the last several days a video surfaced (thank you, Elle) from a 2013 interview with the Academy-Award-winning Italian director Bernardo Bertolucci, in which he talks about how he and Marlon Brando conspired to rape actress Maria Schneider on the set of the Last Tango in Paris, a film that was nominated for two Academy Awards and many other accolades.

It’s important to note that Schneider, who died in 2011, told the Daily Mail in an interview way back in 2007 that she “felt humiliated and, to be honest, I felt a little raped, both by Marlon and by Bertolucci”. This wasn’t a little bit rape. This was rape where she was penetrated by a stick of butter. They actually took a prop and forced it inside her. In addition, the scene wasn’t in the script. The 19-year-old was blindsided by a bunch of older men who, according to Bertolucci, “wanted her reaction as a girl, not as an actress”.

This woman said she was raped almost a decade ago yet there was no response, no outcry, like there was this weekend. The common theme is that we continue to disbelieve women when we say we are raped. It took over 50 women to come forward for the world to believe that Bill Cosby was a rapist. People (even our best and most feminist actresses) still have no problem working with Roman Polanski or Woody Allen, and others whom the world knows have multiple issues with women. And, by the way, Bertolucci was one of the signers of a 2009 petition demanding that Polanski be released from Switzerland while the US was trying to extradite him.

It took Bertolucci admitting to facilitating rape and saying that he “felt guilt but not regret” over what he did for people to believe Schneider, who unfortunately is no longer here to realise the benefits of his confession. Neither is Brando, who according to the reports was also traumatised by what happened. If you read what happened to Schneider after her rape, the suicide attempts and drug problems which were attributed at the time to the onslaught of fame, in hindsight we can see that this woman had PTSD (something that is common with rape survivors) because she had to cover up her own assault and it tortured her for the rest of her life.

The fact that Bertolucci has no “regret” over the scene – because I guess he thought in a warped and unacceptable way that she wouldn’t be able to act like she was raped if she knew it was coming – belies a complete lack of responsibility. Say “I was wrong and I shouldn’t have done it”. Own it. You made a career as a result of this film, off the back of a woman whom you conspired to assault for your own interests. She was a 19-year-old actress and you could – and should –have trusted her to do her job on that scene, just like you trusted her to do in other scenes. Maybe you didn’t tell her because she would have said no, and you didn’t want to deal with that?

It would be a different story if this sad tale of Maria Schneider were an isolated incident in the film community – but it’s not. The so-called progressive community of Hollywood hides behind its liberal values while paying men more, not hiring women in equal numbers, sexualising women, kicking women out when they are no longer “fuckable” and, yes, raping them. Evan Rachel Wood and Rose McGowan are two women actors who have been vocal about their own sexual assaults.

Rape is used as a device in TV and films with such regularity that we are almost immune to it. It is used over and over again in one of the most contentious movies of this awards season, Elle. For those who haven’t seen it, Isabelle Huppert is raped multiple times in the film. There have been a variety of differing opinions related to the “grey area” of whether she is complicit with her rape. Huppert is no Schneider in this piece. She knew exactly what she was getting into and is winning accolades for the film; she won a Gotham Award last week.

For me there is no grey area. Rape is rape. The stats suggest that between 90-98% of rape survivors tell the truth, yet rape is the only felony where the victim is disbelieved and in turn the conviction rape is absurdly low. When any movie tries to create nuance over an issue that is an epidemic in our culture, we all need to stand up. Movies are not just movies. They are touchstones, reflections of our culture of where we are, of who we all want to be.

The 100 best nonfiction books: No 45 – A Room of One’s Own by Virginia Woolf (1929)

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A room of One’s Own is both a landmark in feminist thought and a rhetorical masterpiece, which started life as lectures to the literary societies of Newnham and Girton Colleges, Cambridge, in October 1928. It was then published by the Hogarth Press in 1929 in a revised and expanded edition that has never been out of print.
Barely 40,000 words long, addressed to audiences of female students in the hothouse atmosphere of interwar creativity, this became an unforgettable and passionate assertion of women’s creative originality by one of the great writers of the 20th century. Ironically, she herself never favoured the term “feminist”.

Virginia Woolf, no question, transformed the English literary landscape. But how, exactly? Was it through modernist innovation (Mrs Dalloway; To the Lighthouse)? Or flirting outrageously with historical fiction (Orlando)? Or in the provocative argument – in part a response to EM Forster’s Aspects of the Novel – of a book like A Room of One’s Own?

Well, all of the above. As many critics have noted, Woolf’s writings – from letters and diaries to novels, essays and lectures – are of a piece. Open any one of her books and it’s as though you have just stepped inside, and possibly interrupted, a fierce internal monologue about the world of literature.

Woolf herself assists this response. “But, you may say, we asked you to speak…” is the opening line to A Room of One’s Own that backs its author into the limelight of an initially rambling, but finally urgent, polemic. “England is under the rule of a patriarchy,” she declares on about page 30, and then proceeds to lay bare the structure of male privilege and female exclusion – from independence, income and education.

At first, she masks the narrator of her argument in the guise of several fictional Marys: Mary Beton, Mary Seton or Mary Carmichael, an allusion to a 16th-century ballad about a woman hanged for rejecting marriage and motherhood. This “Mary” narrator identifies female writers such as herself as outsiders committed to jeopardy.

Quite soon, however, Woolf seems to abandon this contrivance. Now she is on fire, writing in her own voice:

“One might go even further and say that women have burnt like beacons in all the works of all the poets from the beginning of time – Clytemnestra, Antigone, Cleopatra, Lady Macbeth, Phèdre, Cressida, Rosalind, Desdemona, the Duchess of Malfi, among the dramatists; then among the prose writers: Millamant, Clarissa, Becky Sharp, Anna Karenina, Emma Bovary, Madame de Guermantes – the names flock to mind, nor do they recall women ‘lacking in personality and character’. Indeed, if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; infinitely beautiful and hideous in the extreme; as great as a man, some think even greater. But this is woman in fiction. In fact … she was locked up, beaten and flung about the room.

“A very queer, composite being thus emerges. Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history. She dominates the lives of kings and conquerors in fiction; in fact she was the slave of any boy whose parents forced a ring upon her finger. Some of the most inspired words, some of the most profound thoughts in literature fall from her lips; in real life she could hardly read, could scarcely spell, and was the property of her husband.”

Typically, Woolf takes herself to task as well, for her complacency: “What I find deplorable … is that nothing is known about women before the 18th century. I have no model in my mind to turn about this way and that. Here am I asking why women did not write poetry in the Elizabethan age, and I am not sure how they were educated…”

Some of A Room of One’s Own, while written in a white heat, is also very funny: “I thought of that old gentleman … who declared that it was impossible for any woman, past, present, or to come, to have the genius of Shakespeare. He wrote to the papers about it … Women cannot write the plays of William Shakespeare.”

From this point forward, “Judith Shakespeare” becomes another polemical fiction who, like Woolf, had to stay at home, watch her brother go off to school, and become imprisoned in domesticity: “She was as adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school.” Eventually, Judith is shamed into a marriage of convenience by her family. Her brother makes his way in the world, while Judith is trapped at home, her genius unfulfilled.

Once Woolf has invented Judith Shakespeare, the poet’s sister who eventually kills herself, she can embark on a review of the creative lives of her great predecessors – Jane Austen, George Eliot, and the Brontë sisters, of whom she wrote, that Charlotte Brontë, burnt by rage, died “at war with her lot… young, cramped and thwarted”. En passant, Woolf reviews the lives and careers of female writers such as Aphra Behn: “All women together ought to let flowers fall upon the tomb of Aphra Behn … for it was she who earned them the right to speak their minds. It is she – shady and amorous as she was – who makes it not quite fantastic to say to you tonight: Earn five hundred a year by your wits.”

It’s at this juncture in her argument that Woolf proposes her now celebrated idea about the key to a woman’s creative liberation: a room, plus some independent means. To a resident of Bloomsbury this, no doubt, seemed a feasible goal, the guarantee of two essential gifts – privacy and freedom, or time and solitude. In retrospect, a private room plus “five hundred a year” seems impossibly middle-class. And yet, at current prices, it’s a sum that roughly translates into the figure that the Bailey’s prize (formerly the Orange prize) for women’s fiction (£30,000) awards to its annual winner. So perhaps Woolf’s dream has been at least partly fulfilled.

So much of A Room of One’s Own is so light and glancing that it’s easy to overlook the urgency of Woolf’s analysis. But she could be transgressive, and even mischievous, too. In another passage, describing the work of a fictional woman, Mary Carmichael, Woolf alludes to lesbian love in the novel, a passage almost certainly inspired by her relationship during the 1920s with Vita Sackville-West: “Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia…’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women.”

Finally, Woolf breaks free from the feminist arguments of her essay, morphs towards her preferred androgyny, and makes a larger claim for the true literary imagination (as she sees it): “It is fatal for anyone who writes to think of their sex … one must be woman-manly or man-womanly … Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated. The whole of the mind must lie wide open … There must be freedom and there must be peace. Not a wheel must grate, not a light glimmer. The curtain must be close drawn.”

And then, in a few valedictory pages – replete with more powerful arguments about the importance of university education for women – she is done, closing with an appeal to the essential spirit of risk and originality, “ the habit of freedom and the courage to write exactly what we think”.

A signature sentence
“For my belief is that if we live another century or so – I am talking of the common life which is the real life and not of the little separate lives which we live as individuals – and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common siting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton’s bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare’s sister will put on the body which she has so often laid down.”

Three to compare
Beatrice Webb: My Apprenticeship (1926) EM Forster: Aspects of the Novel (1927) Germaine Greer: The Madwoman’s Underclothes (1986)

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