Packing for Summer Camp

Broken windows are covered. Floorboards are patched and doors screwed back on. The road that was ruined by German tanks is shovelled and raked smooth. Boot-shaped bruises turn yellow then fade and disappear. Flowers grow and spread across the ugly German footprints stomped into garden beds. The village looks pretty once more. School stops for the summer and everyone is put to work on the kolkhoz, the village farm. Women and big boys begin harvesting the barley crops in the outer fields. The biggest girls milk the cows, morning and night, and keep the barns clean. Old Nikolay mends ploughs, horse harnesses, pitchforks and scythes in his workshop. Anna Pushinka teaches Yelena and her friends how to get the honey from the beehives that are scattered through the orchards. I am in charge of collecting eggs. My friends Olga and Nina help. Olga and Nina are five, a year younger than me. They are twins and look exactly alike, except Nina’s nose is a little bit crooked from when she fell out of bed and squashed it sideways on the floor. The hens, ducks and geese wander free in the summer, so collecting eggs is like a treasure hunt and takes hours. Catching the hens for their daily hugs takes even longer, but I think it’s important because hugs make everyone happy and happy hens lay bigger eggs. Olga says I’m the best hen-hugger in all of Russia. Nina says I’ll be the best cow-hugger, too, when my arms grow longer. But good hugs have nothing to do with the size of your arms. It’s all to do with the size of your heart. When we are done with the hens, Olga, Nina and I can spend the rest of the day doing whatever we like. We climb the apricot trees, chase squirrels, lie in the meadow marvelling at how hot Ushanka’s black fur becomes in the sunshine, make daisy chains and race little boats of bark in the stream. I teach Olga and Nina the alphabet and we use charcoal to write our letters and our names all over the village – on doors and walls and the freshly cut ends of firewood. In between, I practise my knots. In case the German princemonsters return. I slip into Old Nikolay’s workshop and tie knots in the harnesses hanging on the walls. I wander into gardens where the washing is hung out to dry and tie knots in the laces on pants and smocks. I creep up behind Anna Pushinka and tie knots in her apron strings. I find baling twine in the hay shed and tie my own ankles together. I do such a good job of these last knots that I can’t get them undone. I have to jump all the way to Olga and Nina’s house and ask them to cut me free with their mama’s knife. At the end of each day, Ushanka and I run out into the distant barley fields to meet Mama. This is my favourite part of the day, because Mama always shouts, ‘Little Rabbit!’ and smothers my head with kisses. And as we walk home, we sing. Everyone – women, big boys and me. I love to sing. Almost as much as I love to be kissed by Mama. Sometimes one of the boys, Mikhail, has his balalaika with him. He takes the instrument out from beneath the sheaves of barley piled high on the wagon and plays music. We sing about forests and orchards and people who find their true love. As we walk home, arm in arm, my heart fills with happiness and my belly swells with pride that I am allowed to sing along with the big boys. And I can almost forget about the German prince-monsters and their lies about Russia and their big ugly boots. Almost. But today, when Mikhail reaches for his balalaika, I see other things hiding beneath the barley sheaves. Three of the mamas rush forward and cover them up, but it’s too late. I know they are there. I’ve already seen them. Rifles. Lots of rifles. Mikhail hugs his balalaika to his chest and blushes. ‘So play!’ cries Mama, her voice oddly loud and high. ‘Let’s play Sasha’s favourite song, “The Little Birch Tree”.’ So Mikhail plays and everyone sings about the lovely birch tree with its curly leaves and the branches that will be turned into silver flutes. They sing too quickly, too loudly, and as they sing and walk, they cast nervous sideways glances at me. ‘It’s alright,’ I say, when the song comes to an end. ‘I didn’t see the rifles.’ Mama nods and smiles, and I know it was the right thing to say. But I did see the rifles. And I think about Yelena wanting to get lots of guns and dynamite for the Partisans so they can shoot the Germans and blow them into thousands of tiny pieces, and Mama looking as though she agreed, and I know this is what the mamas and the big boys are doing. As well as harvesting, they are helping the Partisans. Three days later, I wake before dawn and I am all alone. Yelena is always here beside me when I wake. But not this morning. I climb down from our bed above the stove. Mama is filling a cloth sack with bread. She ties it closed with a piece of string and hands it to Yelena. ‘Stay out of sight,’ says Mama. ‘And don’t return until after dark.’ ‘Where’s she going?’ I ask. ‘Nowhere,’ snaps Mama. ‘Then why does she need all that bread?’ I ask. ‘There’s nothing left for us.’ Mama baked four loaves last night and she has stuffed them all into the sack. Yelena opens her mouth, but before she can speak, Mama shoves her out the door and sends her on the way to nowhere. Mama turns and stares at me, her blue, blue cornflower eyes wide with worry. ‘I know,’ I say, flopping down on the bench. ‘I didn’t see any bread.’ Mama sits beside me and takes my hand. ‘And . . .?’ she prods, obviously waiting for more. I puzzle for a while, then say, ‘And I don’t have a sister called Yelena.’ Mama laughs, softly and with a little bit of sadness around the edges. ‘Sweet Little Rabbit! You do have a sister called Yelena.’ ‘I do?’ I ask, now confused. ‘I haven’t seen the rifles or the bread, but I have seen Yelena?’ ‘Yes.’ Mama smiles and the magic makes me smile, too. And I am glad that Yelena is real because I love her very much. ‘Yelena is real,’ Mama explains, ‘but she does not carry sacks of bread into the forest for the Partisans.’ ‘Of course not!’ I shout, slapping my forehead. ‘Because there is no bread!’ Mama laughs loudly now, with not a hint of sadness. She hugs me, pressing me against her warm, loving heart, covering my head with kisses. ‘Clever Little Rabbit,’ she murmurs, and then, in barely a whisper, ‘Your papa would be so proud.’ When I wake the next morning, Yelena is sleeping beside me, her mouth open, her braided hair unravelling. Mama is serving kasha to a strange woman seated at our table. I crawl down from above the stove and slide along the bench beside her. I stare at her pants, her tunic, the rope she is using as a belt and her big boots. She’s dressed like a man! And there’s a rifle leaning against the wall near the door. ‘Hello,’ I say. ‘I’m Sasha.’ The woman doesn’t reply. She just shovels down her kasha. I line my four wooden bears along the table in front of her bowl and say, ‘These are my bears: Big Bear, Medium Bear, Little Bear and Even Littler Bear.’ ‘Hello, Sasha. Hello, bears.’ She smiles but she doesn’t tell me her name. ‘Why are you dressed like a man?’ I ask, tugging at the sleeve of her tunic. ‘Because men’s clothes make it easier to run and climb and crawl and shoot,’ she says. ‘You’re a Partisan!’ I gasp. ‘But she’s not real,’ says Mama, placing a bowl of kasha before me. ‘Is the kasha real?’ I ask. Mama laughs. ‘Yes, Little Rabbit.’ I’m glad the food is real, because I’m hungry. But I’m disappointed that the woman is not real. I was going to ask if I could use her rope-belt to tie her ankles together. For practice. But if she’s not real, then the rope and her ankles aren’t either. The woman finishes her kasha, hangs her rifle over her shoulder, kisses Mama on the cheek then slips out the door. I run to the window to watch her leave, but by the time I get there, she’s gone. Vanished. ‘Because she’s not real,’ I whisper. A week later, Mama and I are working in the garden. We sing as we weed between the flowers and pluck caterpillars from the vegetables. Anna Pushinka is picking strawberries in her garden and wanders over. ‘Taste these,’ she says, holding out the basket. Mama reaches in and takes out a fat strawberry and a tiny piece of folded paper. The strawberry goes into her mouth, the paper into her pocket. ‘What’s on the paper?’ I ask. ‘Paper?’ Anna Pushinka replies with a wave of her hand. ‘Goodness, Sasha! Who has money for paper? These are lean times. We must choose between paper for writing and noodles for our soup. And I always choose noodles.’ She chuckles and I know the paper is yet another thing that is not real. That night, Mama slips the paper to Yelena, but she drops it on the floor. I pick it up for her, and I see that there are tiny words and numbers written all over it. I wish I could read better. I’m desperate to know what it says. Or rather, what it doesn’t say, because it’s not real. Later, when Mama has tucked us into our bed above the stove and Ushanka has wrapped herself around the top of my head, I ask Yelena, ‘What’s on the paper?’ ‘What paper?’ says Yelena. ‘The paper that isn’t real,’ I reply. Yelena stares at me, nibbling her lip, then whispers, ‘A message for the Partisans. Stuff about where the Germans have their headquarters and when their trains are travelling and where they store their ammunition.’ ‘Why?’ ‘So the Partisans can blow them up.’ Yelena grabs my arm. ‘But don’t tell anyone. It’s a secret.’ ‘What’s a secret?’ I ask. ‘The message.’ ‘What message?’ I say, my eyes wide. Yelena laughs. ‘Good boy, Sasha.’ My belly swells with pride. I know how to play this game. ‘How are your knots coming along?’ asks Yelena. ‘Good! Yesterday, I crept into the dairy and tied knots in the apron strings of all the girls who were milking and only one of them noticed. Today, I tied Olga’s ankles together with Mama’s embroidery thread and just now, while you were taking a bath, I tied the sleeves of your blouse together in an enormous knot.’ Yelena rolls her eyes, then says, ‘I’ll see if I can find you some rope for practising.’ ‘Practising what?’ I ask. ‘Your knots,’ she says. ‘What knots?’ Yelena, my big sister who is twelve and always serious t

Name: Marco Ramirez - “I Am Not Batman” TW: language It’s the middle of the night. And the sky is glowing like mad radioactive red. And if you squint, you could maybe see the moon through a thick layer of cigarette smoke and airplane exhaust that covers the entire city like mosquito net that won’t let the angels in. And if you look up high enough you could see me-standing on the edge of a eighty seven story building. And up there-a place for gargoyles and broken clock towers that have stayed still and dead for maybe like a hundred years-up there is me. And I’m freakin Batman. And I gots Bat-mobiles and Bat-a-rangs and freakin Bat-caves like for real, and all it takes is a broom closet or a back room or a fire escape and Danny’s hand-me-down jeans are gone. And my navy blue polo shirt? – The one that looks kinda good on me but has a hole on it near the butt from when it got snagged on the chain linked fence behind Arturo’s but it isn’t even a big deal cause I tuck that part in and its like all good? –that blue polo shirt? – It’s gone too. And I get like, like transformational. And nobody pulls out a belt and whips Batman for talking back –-Or for not talking back –And nobody calls Batman simple –- Or stupid –- Or skinny –- And nobody fires Batman’s brother from the Eastern Taxi Company ‘cause they was making cutbacks, neither, ‘cause they got nothing but respect, and not like afraid-respect. Just like respect-respect. ‘Cause nobody’s afraid of you. Cause Batman doesn’t mean nobody harm. Ever. Cause all Batman really wants to do is save people and maybe pay Abuela’s bills one day and die happy and maybe get like mad famous. For real.…And kill the Joker. Tonight, like most nights, I’m all alone. And I’m watching…And I’m waiting… Like a eagle. Or like a –no, yea, like a eagle. And my cape is flappin’ in the wind (‘cause it’s freakin’ long), and my pointy ears are on, and that mask that covers like half my face is on too, and I got like bulletproof stuff all in my chest so no one could hurt me and nobody – nobody – is gonna come between Batman, And Justice. From where I am I could hear everything. Somewhere in the city there’s a old lady picking Styrofoam leftovers up outta a trash can and she’s putting a piece of sesame chicken someone spit out into her own mouth. And somewhere there’s a doctor with a whack haircut in a black lab coat trying to find a cure for the diseases that are gonna make us all extinct for real one day. And somewhere there’s a man, a man in a janitor’s uniform, stumbling home drunk and dizzy after spending half his paycheck on forty-ounce bottles of twist-off beer and the other half on a four hour visit to some lady’s house on a street where the lights have all been shot out by people who’d rather do what they do, in this city, in the dark. And half a block away from JanitorMan there’s a group of good-for-nothings who don’t know no better waiting to beat JanitorMan with rusted bicycle chains and imitation Lousiville Sluggers, and if they don’t find a cent on him – which they won’t – they’ll just pound at him till the muscles in their arms start burning, till there’s no more teeth to crack out. But they don’t count on me. They don’t count on no dark night (with a stomach full of grocery store brand macaroni-and-cheese and cut up Vienna sausages), Cause they’d rather believe I don’t exist, And from eighty-seven stories up I could hear one of the good-for-nothings say “Gimmethecash” real fast (like that) just “Gimmethefuckingcash” and I see JAnitorMan mumble something in drunk language and turn pale and from eighty-seven stories up I could hear his stomach trying to hurl its way out of his Dickies. So I swoop down like and fast and I’m like darkness. I’m like SWOOSH –- And I throw a Bat-a-rang at the one naked lightbulb –- And they’re all like “whoa-motherfucker-who-just-turned-out-the-lights?” –“What’s that over there?” –-“What?” –- “Gimme whatchou got old man” –- “Did anybody hear that?!” –- “No, really” –- “There ain’t. No. Bat.” – But then –- One out of three good-for-nothings gets it to the head! And number Two swings blindly into the dark cape before him but before his fist hits anything I grab a trash can lid and –-- Right into the gut, and number One comes back with a jump-kick but I know judo-karate too so I’m like –-- Twice –-- but before I can do any more damage suddenly we all hear a CLIC – CLIC –And suddenly everything gets quiet And the one good-for-nothing left standing grips a handgun and aims straight up, like he’s holding Jesus hostage, like he’s threatening maybe to blow a hole in the moon. And the good-for-nothing who got it to the head who tried to jump-kick me and the other good-for-nothing who got it in the gut is both scrambling back away from the dark figure before him. And the drunk man the JanitorMan is huddled in a corner, praying to Saint Anthony ‘cause that’s the only one he could remember. And there’s me, Eyes glowing white, cape blowing softly in the wind. Bulletporoof chest heaving. My heart beating right through it in a Morse code for “fuck with me, just once, come on, just try.” And the one good-for-nothing left standing, the one with the handgun, he laughs he lowers his arm, and he points it at me and gives the moon a break, and he aims it right between my pointy ears, like goalposts and he’s special teams. And JanitorMan is still calling Saint Anthony but he ain’t pickin’ up, And for a second it seems like…maybe I’m gonna lose. Naw. SHOO – SHOO! FUACATA! --“Don’t kill me man!” –“SNAP! – Wrist CRACK – Neck – SLASH! – Skin – meets – acid – “AHH!!” –And he’s on the floor. And I’m standing over him. And I got the gun in MY hands now. And I hate guns, I hate holding ‘em cause I’m Batman, and –Batman don’t like guns ‘cause his parents got iced by guns a long time ago – but for just a second, my eyes glow white, and I hold this thing, for I could speak to the good-for-nothing in a language he maybe understands…CLIC – CLIC…And the good-for-nothings become good-for-disappearing into whatever toxic-waste-chemical-sludge-shit-hole they crawled out of. And it’s just me and JanitorMan. And I pick him up. And I wipe sweat and cheap perfume off his forehead. And he begs me not to hurt him and I grab him tight by his JanitorMan shirt collar and I pull him to my face, and he’s taller than me, but the cape helps so he listens when I look him straight in the eyes and I say two words to him: “Go home.” And he does, checking behind his shoulder every ten feet. And I SWOOSH from building to building on his way there, ‘cause I know where he lives. And I watch his hands where he lives. And I watch his hands tremble as he pulls out his keychain and opens the door to his building. And I’m back in bed before he even walks in through the front door. And I hear him turn on the faucet and pour himself a glass of warm tap water And he puts the glass back in the sink. And I hear his footsteps, And they get slower as they get to my room. And he creaks my door open like mad slow. And he takes a step in, which he never does. And he’s staring off into nowhere, his face the color of sidewalks in summer, and I act like I’m just waking up, and I say, “What’s up, Pop?” And JanitorMan says nothing to me. But I see, in the dark, I see his arms go limp and his head turns back, like towards me, and he lifts it for I could see his face, For I could see his eyes, And his cheeks is dripping but not with sweat. And he just stands there, breathing, like he remembers my eyes glowing white. Like he remembers my bulletproof chest. Like he remembers he’s my pop. And for a long time I don’t say nothing. And he turns around, hand on the doorknob, and he ain’t looking up my way but I hear him mumble two words to me. “I’m sorry.” And I lean over and open my window just a crack.… If you look up high enough you could see me. And from where I am? I could hear everything.

Packing for a journey

Packing for holidays

Time for packing

A pharmaceutical company is conducting quality control tests for their new drug formulation. To analyze the molecular structure and crystal packing, the QC team is using advanced analytical techniques as recommended by the pharmacopeia. The team is debating between techniques such as PXRD (Powder X-ray Diffraction) and SCXRD (Single Crystal X-ray Diffraction) for their analysis.

Tobruk, a small town on the Libyan coast, was central to much of the fighting that took place in the Western Desert during the Second World War. It had originally been developed by the Italians during their colonisation of eastern Libya during the early decades of the 20th century. With a sheltered deep water harbour it became a key naval outpost. It was fortified during the 1930s with both coastal defence batteries and a 50 kilometre-long perimeter of reinforced concrete platoon posts, and other supporting infrastructure such as gun positions, headquarters bunkers, underground supply dumps, and observation towers. When British and Commonwealth forces advanced out of Egypt and into Libya in January 1941, Tobruk was their second objective. The Italian defence perimeter was attacked by the 6th Australian Division on the morning of 22 January and the town fell the next morning. The operation resulted in approximately 27,000 Italian prisoners and the capture of over 200 artillery pieces, but cost 49 Australian lives. The 6th Division's advance pressed on beyond Tobruk and eventually they were withdrawn from Libya to be deployed to Greece.The 9th Australian Division was moved in to Libya in February 1941 to garrison the territory captured by the 6th. By this time, however, German troops had arrived in Libya to reinforce their Italian allies and they launched an offensive that the British Commonwealth forces were ill-disposed to hold back. A retreat towards Egypt commenced. The 9th Division was ordered to fall back upon Tobruk, hold it in order deny its port facilities to the Germans, and delay their advance so as to provide time for defences on the Egyptian frontier to be prepared. Tobruk and the 9th Division were subsequently encircled, beginning what became known as "the siege of Tobruk". Reinforced by the 18th Brigade of the 7th Australian Division and other British and Commonwealth troops, and resupplied by the sea, the 9th Division held Tobruk from April to September 1941. During this period it repelled two major German attacks. In September and October the 9th Division, its condition steadily declining, was relieved by the British 70th Division, which continued to defend Tobruk until the siege was finally lifted by Operation Crusader in December. The defence of Tobruk resulted in 749 Australian deaths, and another 604 became prisoners of war. Tobruk was the scene of further heavy fighting in June 1942 when the fortunes of war again saw a British Commonwealth force seeking to deny the port to the enemy. The Axis forces, however, were in no mood for another siege and launched a massive attack to capture it on 20 June. It remained in their hands until their final retreat from Libya in November 1942.John Hurst Edmondson (1914-1941), soldier, was born on 8 October 1914 at Wagga Wagga, New South Wales, only child of native-born parents Joseph William Edmondson, farmer, and his wife Maude Elizabeth, née Hurst. The family moved to a farm near Liverpool when Jack was a child. Educated at Hurlstone Agricultural High School, he worked with his father and became a champion rifle-shooter. He was a council-member of the Liverpool Agricultural Society and acted as a steward at its shows. Having served (from March 1939) in the 4th Battalion, Militia, he enlisted in the Australian Imperial Force on 20 May 1940 and was posted to the 2nd/17th Battalion. Later that month he was promoted acting corporal (substantive in November). Well built and about 5 ft 9 ins (175 cm) tall, Edmondson settled easily into army life and was known as a quiet but efficient soldier. His battalion embarked for the Middle East in October and trained in Palestine. In March 1941 the 2nd/17th moved with other components of the 9th Division to Libya and reached Marsa Brega before an Axis counter-attack forced them to retreat to Tobruk. The siege of the fortress began on 11 April. Two days later the Germans probed the perimeter, targeting a section of the line west of the El Adem Road near Post R33. This strong-point was garrisoned by the 2nd/17th's No.16 Platoon in which Edmondson was a section leader. The enemy intended to clear the post as a bridgehead for an armoured assault on Tobruk.Under cover of darkness thirty Germans infiltrated the barbed wire defences, bringing machine-guns, mortars and two light field-guns. Lieutenant Austin Mackell, commanding No.16 Platoon, led Edmondson's five-man section in an attempt to repel the intruders. Armed with rifles, fixed bayonets and grenades, the party of seven tried to outflank the Germans, but were spotted by the enemy who turned their machine-guns on them. Unknown to his mates, Edmondson was severely wounded in the neck and stomach. Covering fire from R33 ceased at the pre-arranged time of 11.45 p.m. and Mackell ordered his men to charge. Despite his wounds, Edmondson accounted for several enemy soldiers and saved Mackell's life. When the remaining Germans fled, the Australians returned to their lines. Although Edmondson was treated for his wounds, he died before dawn on 14 April 1941. The Germans' armoured attack that morning was thwarted, partly due to the earlier disruption of their plans. Edmondson was buried in Tobruk war cemetery. He had not married. His Victoria Cross, gazetted on 4 July, was the first awarded to a member of Australia's armed forces in World War II. In April 1960 Mrs Edmondson gave her son's medals to the Australian War Memorial, Canberra, where they are displayed alongside his portrait (1958) by Joshua Smith. At Liverpool a public clock commemorates Edmondson, as do the clubrooms used by the sub-branch of the Returned Services League of Australia.Perhaps my nerves will be more under control when I am by myself. There were no entries in the diary until Friday April 18 when she wrote: Fighting terrific in Greece and North Africa…. I dread the casualty list also the heaviest air raid over London to date. Account …. of heavy fighting and much use of bayonet at Tobruk. Also gives an account of a charge in which a Lieutenant and a Corporal took prominent parts on Easter Sunday night. Of course, no names. When I read it …. I was sure the Corporal was Jack…. It said no casualties but …. I know … that all is not well with Jack. ….. (and) Stuffy ….has not come home yet. On Wednesday April 23 she received a letter from Jack dated March 30 and for the first time he said the conditions were bad. The food short, water one bottle for 48 hours. It worried me terribly so I posted a parcel (of) milk tablets, chocolate milk, biscuits (and) cigarettes.Tuesday April 15 I was feeling afraid of something while I was working and packing the cake (and) had a couple of brandys to (keep going).April 26 Received the following telegram in the mail, the bus man brought it in. “It is with deep regret that I have to inform you that Corporal John Hurst Edmondson was killed in action on the 14th April and desire to convey the profound sympathy of the Ministry for the Army and the Military Board.”Her final entry

1. The following are ingredients in preparing pumping solution, EXCEPT; a. 5 kgs ham leg c. 1 cup saturated salt solution b. one tablespoon sugar d. 2 drops maplein 2. What is the value in grams of 6.4% refined salt if the amount of pork meat is 1 kilogram? a. 64 grams c. 640 grams b. 6.4 kilograms d. 6,400 grams 3. What is the main purpose of curing meat? a. To tenderize it c. To add color to it b. To prevent spoilage d. To increase its weight 4. What is the advantage of using pumping pickle over cover pickle and dry cure mixtures? a. It reduces the curing time. b. It enhances the flavor. c. It controls the concentration of salt. d. All of the above 5. What is the function of phosphate in curing solutions? a. It increases the water-holding capacity of the meat. b. It inhibits the growth of bacteria. c. It prevents oxidation of fat. d. It improves the texture of the meat. 6. What is the function of carrageenan in curing solutions? a. It acts as a thickener. b. It acts as a binder. c. It acts as a stabilizer. d. All of the above 7. In coloring salted eggs, how many teaspoons of vinegar must be added? a. 1 teaspoon b. 2 teaspoons c. 3 teaspoons d. 4 teaspoons 8. The following are factors that must be considered in packaging eggs. a. quality maintenance b. packaging design c. type of transport d. cost 9. In type 3 packaging material for eggs, what type of materials can these be made? a. burlap b. plastic c. paper board d. polystyrene 10. How many hours must be needed to bake the ham in an oven? a. 5 hours b. 3 hours c. 4 hours d. 2 hours 11. What is the ideal temperature of a smoke fish when storing it at home inside a refrigerator? a. 30℃ b. 38 ℃ c. 100 ℃ d. 50 ℃ 12. The following are ingredients for curing meat EXCEPT a. salt b. sugar c. vinegar d. cooking oil 13. What is the maximum period for commercial salted duck eggs? a. 18 days b. 21 days c. 14 days d. 30 days 14. What type of curing method is needed when fatty fish such as herring is being used? a. pickle curing b. dry curing c. cover pickle curing d. Pumping pickle curing 15. In making a pork ham, how many quarts of water must be needed to bring it to a boil? a. 2 quarts b. 3 quarts c. 4 quarts d. 5 quarts 16. In making a homemade skinless pork longganisa, what is the percentage of pork fats and lean meat? a. 20% fats, 80% lean meat b. 30% fats, 70% lean meat c. 40% fats, 60 lean meat d. 50% fats, 50% lean meat 17. It is a systematic procedure of producing a record for reference A. output C. documentation B. production report D. input 18. Anything produced, especially through a process, a product, a yield. A. documentation C. output B. input D. production report 19. It is the process of capturing data or translating information to a recording format. A. documentation C. production report B. reporting D. output 20. What is the value in grams of 6.4% refined salt if the amount of pork meat is 1 kilogram? a. 64 grams c. 640 grams b. 6.4 kilograms d. 6,400 grams 21. What is the difference between pumping pickle and cover pickle? a. Pumping pickle is injected into the meat, while cover pickle is poured over it. b. Pumping pickle is made with vinegar, while cover pickle is made with water. c. Pumping pickle is used for whole cuts of meat, while cover pickle is used for sliced meat. d. Pumping pickle is a dry mixture, while cover pickle is a liquid solution. 22. What is the main ingredient of dry cure mixtures? a. Sugar b. Salt c. Spices d. Phosphate 23. What is the function of vitamin C powder in curing solutions? a. It acts as an antioxidant. b. It enhances the color of the meat. c. It accelerates the curing reaction. d. All of the above 24. What is the ideal temperature for storing cured meat? a. Below 0°C b. Between 0°C and 4°C c. Between 4°C and 10°C d. Above 10°C 25. The following are advantages of packaging shell eggs EXCEPT. a. It protects against micro-organisms such as bacteria b. It prevents the loss of moisture. c. It protects the eggs from possible crushing while being handled, stored, or transported. d. It prolong the shelf life of the eggs. 26. How many pieces of eggs can be filled in a type 2 packaging materials, filler tray? a. 36 b. 12 c. 30 d. 24 27. How many hours must be needed in smoking ham? a. 10 to 19 hours b. 5 to 9 hours c. 15 to 24 hours d. 20 to 29 hours 28. It is a food packaging method that removes all air from a food-filled, plastic film package before sealing it. a. smoking b. drying c. vacuum packing d. weighing 29. Which is NOT TRUE about packaging a smoked fish? a. Sort cooled smoked fish according to size b. Pack or transfer smoked fish in bulk packaging materials by arranging the fish head and tail in any position. c. When the packaging material is nearly full, weigh the whole pack to check the product weight attained. d. Close or seal the packs. 30. The following nutrients can be found in an egg, EXCEPT. a. vitamins b. minerals c. omega 3 d. amino acids

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