P1050396

Food

  1. four Red Potatoes
  2. one pound chuck steak
  3. five leaves Romain Lettuce
  4. Tallow
  5. Butter
  6. Olive Oil
  7. Spices

Place pot on stove and bring 1/2in water to boil.  Meanwhile, peel potatoes and cut into 1/8ths.  Bring water to lowest setting, drop potatoes in steaming basket into pot and cover.  Next, take a wide cup and put in 3tbs oil, lots of cumin + chili powder, a little less paprika, sea salt + ground pepper, and even less cayenne.  Also, add some worcester sauce or A1 or something else with vinegar.  Whisk mixture and then pour 1/2 on one side of grass fed steak, holding the rest for the other side.  Let meat stand a while.  Meanwhile, take an iron skillet and put it on highest flame and get it REAL nice and hot.  Drop in good bit of homemade Tallow and once melted add the meat.  Cook intuitively, maybe 4 minutes one side and 3 minutes the other, brushing the remainder of the oil + spices on the second side, then remove, cover, and let rest.  Next, pour water out of potatoes (they should be checked up on so they are fork soft, but not overly steamed) and then leave uncovered in order to dry a little bit.  Last thing is to take an empty mustard jar and put in 3 more tbs Olive Oil, 2 tbs red wine vinegar, crushed dried Basil, and salt + ground pepper (Garlic and Onions go a long way too, though this is the quick and dirty version).  Put top on jar and shake to the music.  Wash, dry, and tear up lettuce and pour as much dressing as you want over it.  Makes 1 serving salad and 2 servings meat + potatoes.

Music
44d9830e6766fa823f6b2996782e21d5

“Elizabeth Walling could be Brighton’s answer to Fever Ray’s Karin Dreijer Andersson, with her queer masked costumes and avant-garde electronica. Her repertoire draws from sci-fi film scores, choral music, underwater life and the paranormal. The visual accoutrements – stark, monochrome videos, theatrical live shows – are striking, but the brooding, atmospheric scores on this debut are thrilling enough to stand alone. The Entire City is named after a Max Ernst painting, and Walling casts her metropolis as both comfort and threat; the safeness and succor of Concrete Mother becomes suffocating claustrophobia on Nest, with its suspense-filled percussion, and the war-like rush of the eponymous track becomes stark isolation on Changelings. The album feels all the more arcane for its nakedness, its mood shifting subtly from sensual and euphoric to eerie foreboding. Walling is both star and morphing other, warping breathy harmonies and siren miasmas into elegant cyborg operas. A stunning debut.”  –Charlotte Richardson Andrews, The Guardian, Thursday 14 July 2011

Foto
by Alexander

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