Cogemos una tercera parte del queso y lo troceamos en dados pequeños. Rallamos el resto del queso. Reservamos.
En una sartén grande (si es posible, del tamaño de los espaguetis) ponemos el litro de agua y unas cinco o seis cucharadas soperas de la salsa de tomate. Llevamos a ebullición.
Cuando el líquido esté hirviendo, echamos los espaguetis enteros y dejamos cocer a fuego alto para que la pasta vaya absorbiendo el líquido.
Cuando los espaguetis hayan absorbido gran parte del líquido, echamos el resto de la salsa de tomate y los dados de queso. Distribuimos la salsa y los dados de queso. Dejamos cocinar unos minutos más para que el queso se funda en la salsa, apagamos el fuego y dejamos reposar.
Der Himmel ist blau Und der Rest deines Lebens liegt vor dir Vielleicht wäre es schlau Dich ein letztes mal um zusehen Du weißt nicht genau warum Aber irgendwie packt Dich die neugier Der Himmel ist blau Und der Rest deines Lebens wird schön, yeah
Du hast ein gutes Gefühl Du denkst an all die schönen Zeiten Es ist fast zuviel Jetzt im Moment neben dir zu stehen Du hast kein klares Ziel Aber Millionen Möglichkeiten
Ein gutes Gefühl Und du weißt es wird gut für dich ausgehen, yeah
Der Himmel ist blau, yeah Der Himmel ist blau
Die Welt gehört dir Was wirst du mit ihr machen Verrate es mir Spürst du wie die Zeit verrinnt
Jetzt stehst du hier Und du hörst nicht auf zu lachen Die Welt gehört dir Und der Rest deines Lebens beginnt, yeah
Der Himmel ist blau So blau So blau So blau So blau So blau Yeah
‘Fast Fashion’ is a term used to define a highly profitable and exploitative business model that is “based on copying and replicating high end fashion designs”. The clothes are mass-produced, with workers often working in inhumane conditions, and are purposefully designed to be frail with a limited lifespan as designs change quickly and are cheap to produce. They are also consumed at a higher rate and so the expectations for the clothes’ lifespan decrease, leading to multiple ethical and sustainable issues. Fast fashion pollution creates not only long-term and potentially irreversible environmental damage, but exacerbate the effects of climate change.
Fast fashion is fast in more ways than one. The rise of fast fashion is intertwined with the rise of social media and influencer culture. Consumer demand and tastes have become insatiable and ever-changing, leading to fast fashion companies rushing to reproduce items whenever an influencer posts a photo wearing a new outfit. However, they are not simply reacting to consumer demand but are also creating it. The clothes produced by these companies are purposefully not made to last; a strategy known as planned obsolescence. Due to fast changing trends, producers respond by manufacturing clothes more and more rapidly, which means that designs are not well stress-tested and cheap synthetic fabrics are used to keep costs low. With its reliance on unsustainable plastic fabrics, the industry’s enormous water usage, and the unethical treatment of its workers, the rise of fast fashion has had devastating consequences on the world.
Fast Fashion and Climate Change
Fashion and its supply chain is the third largest polluting industry, after food and construction. It emitted 10% of global greenhouse gas emissions, releasing 1.2 billion tonnes of carbon dioxide per year, more than the shipping and the aviation industry combined. If it continues at the same pace, the industry’s greenhouse gas emissions are predicted to increase by more than 50% by the year 2030. These emissions come from the processes along the industry’s supply chain, from the raw materials to production and processing to transport and shipping.
Fast Fashion Pollution
Due to how affordable fast fashion clothing is and how quickly trends come and go, the substantial increase in clothing consumption has led to a substantial increase in textile production. Global per capita production of textile increased from 5.9kg per year to 13kg per year from 1975 to 2018. Global consumption of apparel has risen to an approximate 62 million tonnes per year and is projected to further reach 102 million tonnes by the year 2030. As a result, fast fashion brands are producing twice the amount of clothes today than in the year 2000. This dramatic increase in production has also caused an increase in both pre- and post-production textile waste. Due to the number of cut outs for the clothing, a large number of materials get wasted as they cannot be used any further, with one study predicting that 15% of fabric used in garment manufacturing is wasted. Post-production, 60% of approximately 150 million garments produced globally in 2012 were discarded just a few years after production. Despite such high rates of textile waste, textile recycling remains too low, with 57% of all discarded clothing ending up in landfills, which poses multiple public health and environmental dangers as toxic substances including methane, a greenhouse gas that is at least 28 times more potent than carbon dioxide, are released when landfills are burned.
Fibre production – which uses multiple pesticides, herbicides, and much more which can leach into the soil and reduce fertility, biodiversity, and cause much more harm to the natural environment – and textile manufacturing – which uses chemicals during spinning, weaving, and other processes – bring about toxic substances are a cause for concern even before the garment even has a chance to be sold. Not only does this fast fashion pollution lead to high environmental negative impacts from the chemicals, but it also creates an unsafe environment and increases risk of health issues for factory workers, cotton farmers, and even the consumers. Furthermore, the synthetic materials that are used are the primary reason for microplastics entering the oceans, usually through the water used in washing machines, accounting for 35% of all microplastics. To lower the price and produce clothing items for cheap, polyester is a popular material choice, which consists of plastic and releases a larger amount of carbon emissions than cotton. Not only is plastic slow to degrade in the ocean, it also creates a toxic substance when it degrades, which is harmful for marine life and marine ecosystems. These microplastics also end up in the human food chain, causing negative health effects.
Developing countries bear the burden of these environmental impacts from fast fashion pollution, while most of the consumption is done in the developed countries. Textile production occurs largely in developing countries due to cheap manufacturing and labour costs, and lax environmental regulations as compared to the developed countries. At the end of the cycle, the waste would be shipped back. However, this practice has reduced due to many countries banning the import of waste, including textile waste.
It is essential for the textile and fashion industry to mitigate its environmental impacts caused by excessive water usage, release of toxins into the environment, and large amounts of waste generated. On an individual level, consumers can help by reducing their consumption of fast fashion, as it is more important for this industry to ultimately completely abandon the fast fashion business model, which, at its core, promotes overproduction and overconsumption, consequently also leading to high amounts of material waste.
The United Nations Environment Programme (UNEP) is spearheading an initiative towards a zero waste world. As part of this ambitious outlook, UNEP has partnered with Kenyan spoken word poet Beatrice Kariuki to shed light on high-impact sectors where consumers can make a real difference.
“We need circular industries where old looks are made new,” Kariuki says in the video. “Less packaging, more reuse. Threads that last.”
The Ellen Macarthur Foundation, a UNEP partner, has estimated that a truckload of abandoned textiles is dumped in landfill or incinerated every second. Meanwhile, it is estimated that people are buying 60 per cent more clothes and wearing them for half as long.
At this month’s UN Climate Conference (COP27) in Egypt, UNEP and the non-profit Global Fashion Agenda (GFA) held an event on ‘Circular Systems for a Net Positive Fashion Industry’, which drew industry leaders to discuss routes towards a circular economy for the industry, with less waste, less pollution, more reuse, and more recycling.
Now, UNEP and GFA are spearheading a consultation across the fashion industry to define a path towards becoming net-positive—meaning an industry that gives back more to the world than it takes out. UNEP is also producing a roadmap towards sustainability and circularity in the textile value chain and working on shifting the narrative of the sector, looking at the role of consumption with a guideline to sustainable fashion communication.
The fast fashion business model of quick turnover, high volume, cheap prices is under pressure from consumers who are demanding change. They want resilient garments from a sustainable industry, a goal supported by the UN Alliance for Sustainable Fashion.
A prominent example of how the garment industry can embrace the principles of a circular economy is the US outdoor clothing brand Patagonia, winner of a UN Champion of the Earth award in 2019.
Patagonia has gone further still, announcing earlier this year that it would transform into a charitable trust with all profits from its US$1.5 billion in annual sales going towards climate change, making the planet its only shareholder. There are many others in the industry also making important changes.
This week, UNEP organized a timely webinar titled, ‘Shifting the Fashion Narrative: Rethinking aspiration in a world of overconsumption,’ available to watch here.
To fight the pervasive impact of pollution on society, UNEP launched #BeatPollution, a strategy for rapid, large-scale and coordinated action against air, land and water pollution. The strategy highlights the impact of pollution on climate change, nature and biodiversity loss, and human health. Through science-based messaging, the campaign showcases how transitioning to a pollution-free planet is vital for future generations.
The pandemic slowed fast fashion to a standstill. Now as the world opens up and we are socializing and going places, we want to dress up again. But after living a confined and simpler life during COVID, this is a good time to take stock of the implications of how we dress. Fashion, and especially fast fashion, has enormous environmental impacts on our planet, as well as social ones.
Since the 2000s, fashion production has doubled and it will likely triple by 2050, according to the American Chemical Society. The production of polyester, used for much cheap fast fashion, as well as athleisure wear, has increased nine-fold in the last 50 years. Because clothing has gotten so cheap, it is easily discarded after being worn only a few times. One survey found that 20 percent of clothing in the US is never worn; in the UK, it is 50 percent. Online shopping, available day and night, has made impulse buying and returning items easier.
According to McKinsey, average consumers buy 60 percent more than they did in 2000, and keep it half as long. And in 2017, it was estimated that 41 percent of young women felt the need to wear something different whenever they left the house. In response, there are companies that send consumers a box of new clothes every month.
Fashion’s environmental impacts
Fashion is responsible for 10 percent of human-caused greenhouse gas emissions and 20 percent of global wastewater, and uses more energy than the aviation and shipping sectors combined.
Impacts on water
Global fashion also consumes 93 billion metric tons of clean water each year, about half of what Americans drink annually.
Cotton is an especially thirsty crop. For example, one kilogram of cotton used to produce a pair of jeans can consume 7,500 to 10,000 liters of water—the amount a person would drink over 10 years. Cotton production also requires pesticides and insecticides, which pollute the soil; runoff from fertilized cotton fields carry the excess nutrients to water bodies, causing eutrophication and algal blooms.
The dyeing process for fabrics, which uses toxic chemicals, is responsible for 17 to 20 percent of global industrial water pollution.
Seventy-two toxic chemicals have been found in the water used in textile dyeing.
Contributions to climate change
To feed the fashion industry’s need for wood pulp to make fabrics like rayon, viscose and other fabrics, 70 million tons of trees are cut down each year. That number is expected to double by 2034, speeding deforestation in some of the world’s endangered forests.
The fashion industry produces 1.2 million metric tons of CO2 each year, according to a MacArthur Foundation study. In 2018, it resulted in more greenhouse gas emissions than the carbon produced by France, Germany and the UK all together. Polyester, which is actually plastic made from fossil fuels, is used for about 65 percent of all clothing, and consumes 70 million barrels of oil each year. In addition, the fashion industry uses large amounts of fossil fuel-based plastic for packaging and hangers.
Less than one percent of clothing is recycled to make new clothes. The fibers in clothing are polymers, long chains of chemically linked molecules. Washing and wearing clothing shorten and weaken these polymers, so by the time a garment is discarded, the polymers are too short to turn into a strong new fabric. In addition, most of today’s textile-to-textile recycling technologies cannot separate out dyes, contaminants, or even a combination of fabrics such as polyester and cotton.
As a result, 53 million metric tons of discarded clothing are incinerated or go to landfills each year. In 2017, Burberry burned $37 million worth of unsold bags, clothes and perfume. If sent to a landfill, clothes made from natural fabrics like cotton and linen may degrade in weeks to months, but synthetic fabrics can take up to 200 years to break down. And as they do, they produce methane, a powerful global warming greenhouse gas.
Many people have lived solely in athleisure wear during the pandemic, but the problem with this is that the stretch and breathability in most athleisure comes from the use of synthetic plastic fibers like polyester, nylon, acrylic, spandex and others, which are made of plastic.
When clothes made from synthetics are washed, microplastics from their fibers are shed into the wastewater. Some of it is filtered out at wastewater treatment plants along with human waste and the resulting sludge is used as fertilizer for agriculture. Microplastics then enter the soil and become part of the food chain. The microplastics that elude the treatment plant end up in rivers and oceans, and in the atmosphere when seawater droplets carry them into the air. It’s estimated that 35 percent of the microplastics in the ocean come from the fashion industry. While some brands use “recycled polyester” from PET bottles, which emits 50 to 25 percent fewer emissions than virgin polyester, effective polyester recycling is limited, so after use, these garments still usually end up in the landfill where they can shed microfibers.
Microplastics harm marine life, as well as birds and turtles. They have already been found in our food, water and air—one study found that Americans eat 74,000 microplastic particles each year. And while there is growing concern about this, the risks to human health are still not well understood.
Fashion’s social impacts
Because it must be cheap, fast fashion is dependent on the exploited labor force in developing countries where regulations are lax. Workers are underpaid, overworked, and exposed to dangerous conditions or health hazards; many are underage.
Of the 75 million factory workers around the world, it’s estimated that only two percent earn a living wage. To keep brands from moving to another country or region with lower costs, factories limit wages and are disinclined to spend money to improve working conditions. Moreover, workers often live in areas with waterways polluted by the chemicals from textile dyeing.
How can fashion be more sustainable?
As opposed to our current linear model of fashion production with environmental impacts at every stage, where resources are consumed, turned into a product, then discarded, sustainable fashion minimizes its environmental impact, and even aims to benefit the environment. The goal is a circular fashion industry where waste and pollution are eliminated, and materials are used for as long as possible, then reused for new products to avoid the need to exploit virgin resources.
Since 80 to 90 percent of the sustainability of a clothing item is determined by decisions made during its design stage, new strategies can do away with waste from the get-go.
To eliminate the 15 percent of a fabric that usually ends up on the cutting room floor in the making of a garment, zero waste pattern cutting is used to arrange pattern pieces on fabric like a Tetris puzzle.
Designer YeohLee is known as a zero waste pioneer, employing geometric concepts in order to use every inch of fabric; she also creates garments with the leftovers of other pieces. Draping and knitting are also methods of designing without waste.
3D virtual sampling can eliminate the need for physical samples of material. A finished garment can sometimes require up to 20 samples. The Fabricant, a digital fashion house, replaces actual garments with digital samples in the design and development stage and claims this can reduce a brand’s carbon footprint by 30 percent.
Some clothing can be designed to be taken apart at the end of its life; designing for disassembly makes it easier for the parts to be recycled or upcycled into another garment. To be multifunctional, other garments are reversible, or designed so that parts can be subtracted or added. London-based brand Petit Pli makes children’s clothing from a single recycled fabric, making it easier to recycle; and the garments incorporate pleats that stretch so that kids can continue to wear them as they grow.
3D printing can be used to work out details digitally before production, minimizing trial and error; and because it can produce custom-fit garments on demand, it reduces waste. In addition, recycled materials such as plastic and metal can be 3D printed.
Sustainable designer Iris Ven Herpen is known for her fabulous 3D printed creations, some using upcycled marine debris; she is also currently working with scientists to develop sustainable textiles.
DyeCoo, a Dutch company, has developed a dyeing technique that uses waste CO2 in place of water and chemicals. The technology pressurizes CO2 so that it becomes supercritical and allows dye to readily dissolve, so it can enter easily into fabrics. Since the process uses no water, it produces no wastewater, and requires no drying time because the dyed fabric comes out dry. Ninety-five percent of the CO2 is recaptured and reused, so the process is a closed-loop system.
Heuritech, a French startup, is using artificial intelligence to analyze product images from Instagram and Weibo and predict trends. Adidas, Lee, Wrangler and other brands have used it to anticipate future demand and plan their production accordingly to reduce waste.
Mobile body scanning can help brands produce garments that fit a variety of body types instead of using standard sizes. 3D technology is also being used for virtual dressing, which will enable consumers to see how a garment looks on them before they purchase it. These innovations could lead to fewer returns of clothing.
Another way to reduce waste is to eliminate inventory. On-demand product fulfillment companies like Printful enable designers to sync their custom designs to the company’s clothing products. Garments are not created until an order comes in.
For Days, a closed-loop system, gives swap credits for every article of clothing you buy; customers can use swap credits to get new clothing items, all made from organic cotton or recycled materials. The swap credits encourage consumers to send in unwanted For Days clothes, keep them out of the landfill, and allow them to be made into new materials. Customers can also earn swap credits by filling one of the company’s Take Back bags with any old clothes, in any condition, and sending it in; these are then resold if salvageable or recycled as rags.
But perhaps the least wasteful strategy enables consumers not to buy any clothes at all. If they are mainly concerned about their image on social media, they can use digital clothing that is superimposed over their image. The Fabricant, which creates these digital garments, aims to make “self expression through digital clothing a sustainable way to explore personal identity.”
Many brands are using textiles made from natural materials such as hemp, ramie or bamboo instead of cotton. Bamboo has been touted as a sustainable fabric because it is fast-growing and doesn’t require much water or pesticides; however, some old growth forests are being cut down to make way for bamboo plantations. Moreover, to make most bamboo fabrics soft, they are subjected to chemical processing whose toxins can harm the environment and human health.
Because of this processing, the Global Organic Textile Standard says that almost all bamboo fiber can “not be considered as natural or even organic fibre, even if the bamboo plant was certified organic on the field.”
Some designers are turning to organic cotton, which is grown without toxic chemicals. But because organic cotton yields are 30 percent less than conventional cotton, they need 30 percent more water and land to produce the same amount as conventional cotton. Other brands, such as North Face and Patagonia, are creating clothing made from regenerative cotton—cotton grown without pesticides, fertilizers, weed pulling or tilling, and with cover crops and diverse plants to enhance the soil.
Textiles are also being made with fibers from agriculture waste, such as leaves and rinds. Orange Fiber, an Italian company, is using nanotechnology to make a sustainable silky material by processing the cellulose of oranges. H&M is using cupro, a material made from cotton waste. Flocus makes fully biodegradable and recyclable yarns and fabrics from the fibers of kapok tree pods through a process that doesn’t harm the trees. Kapok trees can grow in poor soils without much need for water or pesticides.
In 2016, Theanne Schiros, a principal investigator at Columbia University’s Materials Research Science and Engineering Center and assistant professor at the Fashion Institute of Technology (FIT), mentored a group of FIT students who created a bio-design award-winning material from algae. Kelp, its main ingredient, is fast growing, absorbs CO2 and nitrogen from agricultural runoff, and helps increase biodiversity. With the help of Columbia University’s Helen Lu, a biomedical engineer, the team created a bio-yarn they called AlgiKnit. Having received over $2 million in initial seed funding, the start-up, based in Brooklyn, is scaling up for market entry.
Schiros and Lu also developed a microbial bioleather. The compostable material consists of a nanocellulose mesh made through a fermentation process using a culture of bacteria and yeast. Schiros explained that these bacteria produce cellulose nanofibers as part of their metabolism; the bacteria were used in the fermentation of kombucha as early as 220 BC in what was Manchuria and in vinegar fermentation as early as 5,000 BC in Egypt. Biofabrication of the material is 10,000 times less toxic to humans than chrome-tanned leather, with an 88 to 97 percent smaller carbon footprint than synthetic (polyurethane) leather or other plastic-based leather alternatives. The fabrication process also drew on ancient textile techniques for tanning and dyeing. Schiros worked with the designers of Public School NY on Slow Factory’sOne x One Conscious Design Initiative challenge to create zero-waste, naturally dyed sneakers from the material.
Schiros is also co-founder and CEO of the startup Werewool, another collaboration with Lu, and with Allie Obermeyer of Columbia University Chemical Engineering. Werewool, which was recognized by the 2020 Global Change Award, creates biodegradable textiles with color and other attributes found in nature using synthetic biology. “Nature has evolved a genetic code to make proteins that do things like have bright color, stretch, moisture management, wicking, UV protection—all the things that you really want for performance textiles, but that currently come at a really high environmental cost,” said Schiros. “But nature accomplishes all this and that’s attributed to microscopic protein structures.”
Werewool engineers proteins inspired by those found in coral, jellyfish, oysters, and cow milk that result in color, moisture management or stretch. The DNA code for those proteins is inserted into bacteria, which ferment and mass-produce the protein that then becomes the basis for a fiber. The company will eventually provide its technology and fibers to other companies throughout the supply chain and will likely begin with limited edition designer brands.
Better working conditions
There are companies now intent on improving working conditions for textile workers. Dorsu in Cambodia creates clothing from fabric discarded by garment factories. Workers are paid a living wage, have contracts, are given breaks, and also get bonuses, overtime pay, insurance and paid leave for sickness and holidays.
Mayamiko is a 100 percent PETA-certified vegan brand that advocates for labor rights and created the Mayamiko Trust to train disadvantaged women.
Workers who make Ethcs’ PETA-certified vegan garments are protected under the Fair Wear Foundation, which ensures a fair living wage, safe working conditions and legal labor contracts for workers. The Fair Wear Foundation website lists 128 brands it works with.
Schiros maintains that making materials in collaboration with traditional artisans and Indigenous communities can produce results that address environmental, social and economic facets of sustainability. She led a series of natural dye workshops with women tie dyers in Kindia, Guinea, and artisans in Grand-Bassam, Côte d’Ivoire, and collaborated with New York designers to make a zero-waste collection from the fabrics created. The projectconnected FIT faculty and students to over 300 artisans in West Africa to create models for inclusive, sustainable development through textile arts, education, and entrepreneurship.
Partnering with frontline communities that are protecting, for example, the Amazon rainforest, does more than simply sustain—it protects biodiversity and areas that are sequestering carbon. “So with high value products that incorporate fair trade and clear partnerships into the supply chain, you not only have natural, biodegradable materials, but you have the added bonus of all that biodiversity that those communities are protecting,” she said. “Indigenous communities are five percent of the global population, and they’re protecting 80 percent of the biodiversity in the world…Integrating how we make our materials, our systems and the communities that are sequestering carbon while protecting biodiversity is critically important.”
The need for transparency
In order to ensure fashion’s sustainability and achieve a circular fashion industry, it must be possible to track all the elements of a product from the materials used, chemicals added, production practices, and product use, to the end of life, as well as the social and environmental conditions under which it was made.
Blockchain technology can do this by recording each phase of a garment’s life in a decentralized tamper-proof common ledger. Designer Martine Jarlgaard partnered with blockchain tech company Provenance to create QR codes that, when scanned, show the garment’s whole history. The software platform Eon has also developed a way to give each garment its own digital fingerprint called Circular ID. It uses a digital identifier embedded in the clothing that enables it to be traced for its whole lifecycle.
Transparency is also important because it enables consumers to identify greenwashing when they encounter it. Greenwashing is when companies intentionally deceive consumers or oversell their efforts to be sustainable.
Amendi, a sustainable fashion brand focusing on transparency and traceability, co-founded by Columbia University alumnus Corey Spencer, has begun a campaign to get the Federal Trade Commission to update its Green Guides, which outline the principles for the use of green claims. When the most recent versions of the Green Guides were released in 2012, they did not scrutinize the use of “sustainability” and “organic” in marketing. The use of these terms has exploded since then and unless regulated, could become meaningless or misleading.
What consumers can do
The key to making fashion sustainable is the consumer. If we want the fashion industry to adopt more sustainable practices, then as shoppers, we need to care about how clothing is made and where it comes from, and demonstrate these concerns through what we buy. The market will then respond.
We can also reduce waste through how we care for our clothing and how we discard it.
Here are some tips on how to be a responsible consumer:
Buy only what you need
Buy from sustainable brands with transparent supply chains
“I think the best piece of clothing is the one that already exists. The best fabric is the fabric that already exists,” said Schiros. “Keeping things in the supply chain in as many loops and cycles as you can is really, really important.”
Rusted brandy in a diamond glass everything is made from dreams time is made from honey slow and sweet only the fools know what it means temptation, temptation, temptation oh, temptation, temptation, I can’t resist I know that she is made of smoke but I’ve lost my way she knows that I am broke so that I must play temptation, temptation, temptation oh, woah, temptation, temptation, I can resist Dutch pink and Italian blue she is there waiting for you my will his disappeared now my confusion’s oh so clear temptation, temptation, temptation woah, woah, temptation, temptation I can’t resist
Os traigo una ensaladilla llena de color y sabor, que admite tantos ingredientes como colores tiene la primavera que acaba de empezar.
Ingredientes y elaboración
1 tarro de 250 gramos de mahonesa (elaboración propia: 2 huevos, aceite de oliva extra, vinagre de vino (de manzana o zumo de limón), dos dientes de ajo y sal)
1 tacita de arroz largo o redondo (integral) x 3 tacitas de agua
2 latas de 200 gramos de atún en aceite
100 gramos de maíz (ya cocidos o congelados)
100 gramos de guisantes (ya cocidos o congelados)
200 gramos de queso fresco
2 o 3 hojas de col lombarda
En el vaso de la batidora cascamos dos huevos y añadimos una pizca de sal. Batimos bien. Añadimos poco a poco el aceite a la vez que seguimos batiendo con cuidado, siempre en la misma dirección. Seguimos así hasta conseguir una salsa compacta. Echamos un chorrito de vinagre y batimos unos segundos. Probamos para comprobar si está a nuestro gusto de sal y vinagre. Añadimos los dientes de ajos y batimos unos segundos más, mezclando todo bien. Reservamos en la nevera.
Cocemos el arroz con una pizca de sal hasta que absorba el agua. Dejamos que enfríe.
Cocemos al vapor unos 15 minutos el maíz y los guisantes. Dejamos que enfríe.
Cocemos los huevos unos diez minutos y los pelamos cuando estén fríos.
Pelamos, lavamos y rallamos las zanahorias.
Lavamos y cortamos en tiras finas las hojas de col lombarda.
Troceamos de forma menuda los huevos, el queso y los aguacates.
En un cuenco grande ponemos el arroz y vamos añadiendo los ingredientes: él maíz, los guisantes, la zanahoria, la col lombarda, el queso, el huevo, el atún con su aceite y los aguacates. Añadimos finalmente la mahonesa y mezclamos todo bien. Guardamos un par de horas en la nevera para que enfríe bien.
Servimos la ensaladilla acompañada de pan tostado o picos.
(Cara, cosa mi succede stasera, ti guardo ed come la prima volta) Che cosa sei, che cosa sei, che cosa sei (Non vorrei parlare) Cosa sei (Ma tu sei la frase d’ amore cominciata e mai finita) Non cambi mai, non cambi mai, non cambi mai (Tu sei il mio ieri, il mio oggi) Proprio mai (Il mio sempre, inquietudine)
Adesso ormai ci puoi provare chiamami tormento dai, giá Che ci sei (Tu sei come il vento che porta I violini e le rose) Caramelle non ne voglio più (Certe volte non ti capisco) Le rose e violini questa sera raccontali a un’altra Violini e rose li posso sentire quando la cosa mi va se mi va
Quando il momento e dopo si vedrà (Una parola ancora) Parole, parole, parole (Ascoltami) Parole, parole, parole (Ti prego) Parole, parole, parole (Io ti giuro) Parole, parole, parole, parole parole soltanto parole Parole tra noi (Ecco il mio destino, parlarti, parlarti come la prima) Volta
Che cosa sei, che cosa sei, che cosa sei (No, non dire nulla, c’è la notte che parla) Cosa sei (La romantica notte) Non cambi mai, non cambi mai, non cambi mai (Tu sei il mio sogno proibito) Proprio mai
(Vero, speranza) Nessuno più ti può fermare chiamami passione dai, hai Visto mai (Si spegne nei tuoi occhi la luna e si accendono I grilli) Caramelle non ne voglio più (Se tu non ci fossi bisognerebbe inventarti) La luna ed I grilli normalmente mi tengono sveglia Mentre io voglio dormire e sognare l’uomo che a volte c’è in te
Quando c’è Che parla meno ma più piacere a me (Una parola ancora) Parole, parole, parole (Ascoltami) Parole, parole, parole (Ti prego) Parole, parole, parole (Io ti giuro) Parole, parole, parole, parole parole soltanto parole
Parole tra noi (Che cosa sei) Parole, parole, parole (Che cosa sei) Parole, parole, parole (Che cosa sei) Parole, parole, parole (Che cosa sei) Parole, parole, parole, parole parole soltanto parole Parole tra noi
Encore des mots toujours des mots les mêmes mots Je n’sais plus comme te dire Rien que des mots Des mots faciles des mots fragiles C’était trop beau. Bien trop beau
Mais c’est fini le temps des rêves Les souvenirs se fanent aussi Quand on les oublie
Caramels, bonbons et chocolats Merci, pas pour moi Tu peux bien les offrir à une autre Qui aime le vent et le parfum des roses Moi, les mots tendres enrobés de douceur Se posent sur ma bouche Mais jamais sur mon cœur
Parole, parole, parole Parole, parole, parole Parole, parole, parole Parole, parole, parole, parole, parole Encore des paroles que tu sèmes au vent
Encore des mots toujours des mots les mêmes mots Rien que des mots Des mots magiques des mots tactiques qui sonnent faux Oui, tellement faux
Rien ne t’arrête quand tu commences Si tu savais comme j’ai envie D’un peu de silence
Caramels, bonbons et chocolats Mais tu peux bien les offrir à une autre qui aime les étoiles sur les dunes Moi, les mots tendres enrobés de douceur Se posent sur ma bouche Mais jamais sur mon cœur
Parole, parole, parole, parole Parole, parole, parole. Parole, parole, parole Parole, parole, parole, parole, parole Encore des paroles que tu sèmes au vent
Parole, parole, parole Parole, parole, parole Parole, parole, parole Parole, parole, parole, parole, parole Encore des paroles que tu sèmes au vent
Os traigo aquí la elaboración de un bizcocho a base de frutos secos y chocolate negro, para mojar o comer con queso fresco.
Ingredientes y elaboración
600 gramos de frutos secos pelados y tostados (anacardos, almendras y avellanas)
300 gramos de azúcar (morena integral de caña o panela)
200 gramos de harina (integral)
100 gramos de chocolate negro (90%)
2 vasitos de leche entera
1 vasito de aceite de oliva extra
1 pizca de sal
Aceite para engrasar los moldes
Trituramos bien los frutos secos y el chocolate.
En un cuenco grande vamos incorporando los ingredientes y batiendo: huevos, azúcar, leche, aceite, frutos secos y chocolate, harina y sal. Batimos bien todo para que quede una masa homogénea.
Calentamos el horno a 180º.
Engrasamos con aceite los moldes que vayamos a utilizar para cocer los bizcochos.
Distribuimos la masa en los moldes y metemos en el horno. Cocemos unos 45-50 minutos a 190º-200º. Inflará y sonará como a hueco cuando esté hecho. También podemos comprobar si está cocido, clavando un cuchillo y ver si sale seco.
Dejar enfriar y comer como más apetezca: solo, mojado el leche, café o chocolate, con queso fresco…