11.26.2007

RECIPE #11: Taffy Apple Pizza

And, just like that, November is nearly over. Time being at a minimum, I'll spare you a belabored intro and get to the point. I had to make something for a potluck a few weeks ago, and it had to be a breeze. So, I started Googling easy recipes and looked for dishes that would emerge with minimal shopping and construction. I came across a "cooking with kids" subsite of the ever-popular About.com and found something exceedingly simple, unhealthy, pre-prepared and scrumptious in a Midwestern housewifey sort of way: taffy apple pizza. For the rest of this post, please read every instance of words like pizza, sauce, toppings, etc. with quotes around it. When Lou Malnati's and Papa Saverio's are within walking distance from one's living quarters, one cannot make this and not infer quotes. No disrespect meant to Denise Witmer, the recipe's author... it is a prime white trash dessert, but it is not pizza.

It's funny how some recipes are written... the first step on the actual recipe is mixing the sauce for your pizza, but once you read it, it's obvious that you need a crust first. For this, you need to make a big-ass sugar cookie. The recipe gave no instructions on this (it only specifies "sugar cookie dough crust - pre-baked and cooled"), so I bought some disposable foil pizza pans and spread a package of store-brand sugar cookie dough over one. Although I enlisted the help of my rolling pin, my fists ended up doing most of the work for this. Following the dough package's instructions, I baked it for about 15 minutes at 350 degrees and removed it as soon as I saw the edges turning brown. The cookie crust cooled overnight, since I figured the rest would be better prepared fresh the morning I served it.

Come morning, I made some coffee and took an 8 oz. package of cream cheese out of the fridge to soften. By the time I finished my second cup of coffee and was ready to start on the pizza, it was, as they say, good to go. I mixed the cream cheese with 1/4 cup of creamy peanut butter, 1/2 cup of brown sugar and 1/2 teaspoon of vanilla extract. Once my wrist was good and sore, I went to spread the tan mass upon the cookie. Imagine my surprise when the entire thing plopped out in a single insouciant ball. Whether this was supposed to happen or not, it made cleaning the mixing bowl a snap. I spread the stuff as evenly as possible and prepared for the most labor-intensive part of the dish.

The recipe calls for two medium Granny Smith apples to be peeled, cored and sliced. I think I've mentioned how slow I can be preparing fruits and veggies in the past, and I'm pleased to report that I think I'm getting a little faster in this department. You're supposed to dip the apple slices in lemon-lime soda to keep them from turning brown, a less tart take on dipping them in lemon juice for the same purpose. I got a little crazy here. The delicious seasonal variation of Sierra Mist known as Cranberry Splash is back in grocery stores, so I figured that would be an even yummier alternative. It did the trick, but also stained the apples a ghostly pink, which made them look like some sort of exotic alien fruit that I went to great lengths to procure. That was pretty cool, as was having eleven more cans of Sierra Mist Cranberry Splash sitting around. Jesus, is that shit good!

I arranged the apple slices atop the cream cheese mixture in a half-assed spiral pattern, as if it was going to look nice in the end. It's not like the slices were symmetrical. Still, it looked okay for a self-taught schlub to have cranked out one morning. After a dusting of cinnamon, a healthy drizzling of caramel ice cream topping and distribution of 1/3 cup of chopped peanuts and pecans, the quote-unquote pizza was essentially finished. You don't bake it or anything... you just slice it and serve it. I would suggest not using a wheel-style pizza cutter, or you will make a mess of your first slice, as I did. Try a mezzaluna or a big knife instead.

Look, I do not lie to my friends. A number of the ingredients for this were still sitting around from my birthday pie in August. In fact, its ingredients are fairly similar overall. Aside from how neat fruit can look if you dip it in unnaturally-colored soft drinks, I didn't learn squat about cooking from this recipe. However, it was easy and somewhat fun, as intended. Next month, I will make it up with my twelfth and final recipe, which is, in fact, the whole reason I started this endeavor back in January. Expect a few other looks back at the year in December as well.

What CDs and movies have I reviewed lately? Might I have written about about Federico Aubele's Panamericana, Sharon Jones & The Dap-Kings' 100 Days, 100 Nights, The Frantic's Audio & Murder, "What Poor Gods We Do Make: The Story and Music Behind Naked Raygun" and "Blade Runner: The Final Cut"? Why, yes, I've written about all of those.

1 Comments:

Blogger SoulReaper said...

Federico Aubele, Panamericana (Eighteenth Street Lounge)

Argentine singer-songwriter Aubele follows up his acclaimed debut, Gran Hotel Buenos Aires, with another set of slinky exotica. With an even greater emphasis on organic sounds than the debut, Panamericana celebrates and integrates his influences which, like the Pan-American Highway, span the Americas from North to South.

Aubele's typical template is hushed and sensual, blending various Latin folk styles with downtempo hip-hop beats and the occasional touch of dub or reggae. Whereas he formulated Hotel as ethnic fusion electronica for fans of global dance kings Thievery Corporation (who happen to operate Federico's record label), this new disc gets its charm from the clicks of acoustic guitars, the hum of sweaty horns and come-hither bedroom vocals (in Spanish) by Aubele and guests.

Non-Spanish speakers who can't penetrate his romantic lyrics will get Aubele's point nonetheless. Besides, Natalia Clavier's world-weary hum on the tropical disco "La Orilla" or the "la la la" choir swaying throughout "Este Momento" ensure that even the wordless vocals leave a strong impression. With Panamericana, Aubele delivers smooth, sultry late night listening that seduces despite any language barrier.

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Sharon Jones & The Dap-Kings, 100 Days, 100 Nights (Daptone)

If you're prone to listening to the oldies station and observing, "they don't make them like that anymore," curtail your refrain. When the "they" is Brooklyn's Sharon Jones & The Dap-Kings, they certainly do still make them like that.

The group's third LP continues their expert evocation of classic soul and Motown sides. Clocking in at a mere 34 minutes that evokes the concise old days of record production as capably as its retro cover art does, 100 Days sports an analog recording that makes its warm horn stings and groovy bass lines all the more authentic.

Veteran vocalist Jones' emotive voice can do sassy ("Nobody's Baby"), sexy ("Let Them Knock"), sad ("Something's Changed") and spiritual ("Answer Me"). As for the Dap-Kings, they've worked with Rhymefest and Al Green as well as toured as Amy Winehouse's backing band. While they don't deliver many Winehouse-style pop hooks here, the band's even-keeled, funky modesty aids the impression that you're spinning an unjustly forgotten '60s soul record.

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The Frantic, Audio & Murder (Sinister Muse/Empyrean)

The Frantic, a teenaged quartet from the southwest Chicago 'burbs, know their strengths and stick to them on their debut LP. Audio & Murder is 26 minutes of fun, snotty, sing-along pop-punk, more reminiscent of classic Screeching Weasel or NOFX than the sort of super-slick dross you might expect around these parts. Lyrics about girls and failed relationships abound, but never wax maudlin. From the hilariously heartless "Fast Girl" and "Heifer" to the heartfelt country-ish ballad "Movin' Along," these pretension-free songs turn on snappy choruses and boppy rhythms that will bring summer to your stereo long into winter.

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"What Poor Gods We Do Make: The Story and Music Behind Naked Raygun" (Riot Fest)

In some ways the very definition of "local favorites," Chicago post-punk architects Naked Raygun transcended the colloquial stigma of that term. You'll be hard-pressed to find a local punk rock fan who wasn't affected by the band in some way, yet their template of thick, propulsive rhythms, beerhall choruses and economic, subtly melodic guitar can be found throughout the Chicago - hell, Midwestern - punk that followed. In honor of NR's 2006 reformation, this DIY documentary attempts to distill why their music remains so special to so many.

In the mid-'80s, NR appealed to everyone from proto-emo "educated" punks to skinhead thugs. The band, peers from The Effigies and Big Black, friends and fans share memories of those formative days, when the punk scene was safely hidden from mainstream fashion and Oz and O'Banion's were the only places to play. With footage from NR's triumphant comeback shows at last year's Riot Fest and pre-party (both included on a CD that accompanies the DVD), "What Poor Gods" is an ingenious piece of self-promotion as well as an enthusiastic tribute to one of the most crucial independent rock acts in Chicago history.

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"Blade Runner" remains a classic any way you cut it

Let's be thankful that Ridley Scott is no George Lucas.

Scott's 1982 science fiction favorite "Blade Runner" returns to the big screen tweaked and upgraded according to the filmmaker's desires.

"Blade Runner" flopped during its initial release, but has since become a genre classic. It transported the hard-boiled and moodily lit detective stories of film noir into a dystopian future, a bleak vision of Los Angeles having mutated into a claustrophobic sprawl of neon and steam.

For the uninitiated, "Blade Runner" was based on Philip K. Dick's novel "Do Androids Dream of Electric Sheep?" It's the tale of a gumshoe named Deckard (Harrison Ford in his post-"Raiders"/"Empire" prime) enlisted to find a group of complex synthetic humanoids who are marked for "retirement." These beings, called "replicants," look exactly like people, but because of their cybernetic nature are treated no better than slaves.

Because the renegade replicants (including steel-eyed Rutger Hauer and a punky young Daryl Hannah) became self-aware and took part in a bloody revolt, Deckard has been hired to destroy them.

As Lucas did with the "special editions" of his original "Star Wars" trilogy, Scott returned to "Blade Runner" intending to make it perfect. Mainly, he finessed the changes seen in the 1992 "Director's Cut" version of the movie, which Scott did not directly oversee (he was working on "Thelma & Louise" at the time).

The result, dubbed "The Final Cut," is the version over which Scott had the most creative control. Completely restored, it includes alternate scenes adapted from a work print of the film. Some special effects have been updated, and one stunt was recently retooled via green screen - we now see actress Joanna Cassidy getting blasted through a window rather than her stunt double.

Overall, this is still the same story. "Blade Runner" fans shouldn't expect as stark a difference as the "Director's Cut" offered. The studio-imposed Deckard voice-over from the 1982 release is still gone, as is the original "happy" ending. Scott's changes here are merely cosmetic, but compared to Lucas', they're nowhere near as obtrusive. That said, this version looks absolutely beautiful and virtually erases most of the film's admittedly few dated elements.

"The Final Cut" hits DVD on Dec. 18, when "Blade Runner" will once again be relegated to the intimate canvas of your TV set. While it's not the loudest, fastest sci-fi classic around, it's worth seeing on a larger screen. From the Asian-inspired production design to Vangelis' eerie synth score, the flick is still a feast for the eyes and ears, one anyone too young to have seen it in a theater should indulge as soon as possible.

5:58 PM, November 26, 2007  

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