Caveman Eats Gazelle Twin

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

“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

Maria Kliegal, Mixed Berries & the Infinite

Food

1. two table spoons Chia seeds
2. one handful of Kakao Nibs
3. three table spoons of shelled Hemp seeds
4. one table spoon Organic Free trade Coconut Oil
5. one teaspoon of Matcha Green Tea
6. two cups of frozen Mixed Berries
7. six leaves of large leafed Kale
8. one teaspoon of Blackberry Honey
9. large handful of cashews

Whisk Chia until it is suspended in 1 cup of water, then add the Hemp and the cashew nuts to soak. Meanwhile, bring another cup of water to boil and when the kettle whistles, pour into a 2 cup glass to the 1 cup line.  Mix in Matcha with a small whisk and then add the Kakao Nibs. Add Mixed Berries and let melt.  Wash Kale and then tear stems apart from the kale.  Chop the kale stems, add them to the blender, tear up the Kale leaves and  put the leaves aside.  Take a small glass and fill with hot water from kettle and melt the coconut oil and honey. Put on ear plugs and add both the soaking and the melting cups  to the blender, then also add the small honey + coconut oil  and blend it all up. Stop the blender and add the  torn Kale leaves.  This should fill the blender to six cups, though if there is room for more water you can top it off.

Music
“Although there is no dearth of great performances of Bach’s Suites for solo cello — indeed, they seem to be increasing geometrically as the years go by — this 2003 recording by Maria Kliegel still deserves to be heard. Heck, it deserves to be embraced and cherished as one of the warmest, most human, and most moving performances of the Suites ever recorded. Listening to Kliegel, one is hardly aware of her magnificent technique any more than one is aware of her magisterial interpretations. Although deeply individualistic, Kliegel’s performances are so effortless, so natural, so inevitable that one is hardly aware that they are performances. One seems instead to hear the music without an intermediary, its long lines, its dark colors, and its ineluctable rhythms without mediation. Better yet, one seems to hear the emotional, the intellectual, and the spiritual contents of the music without intermediary, its brilliance, its evanescence, and its profundity without mediation. While Kliegel’s phrasing and tempos are all her own, the heights and depths of her performances seem greater than the sum of the phrasing and tempo. They appear to touch the infinite.”  —James Leonard, allmusic.com

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by Alwyn + Alexander

The New Insurgents

Book
“The financial collapse and Occupy’s insight have shattered the bipartisan conservative consensus that dominated both parties after Reagan –on austerity, deregulation, free trade, privatization and more. Now progressives have the more compelling argument: for a generation, they argue, entrenched interests have rigged the rules, lowering taxes on the rich and stashing trillions abroad.  They starved investments vital to our future, from renovating decrepit infrastructure to supporting public education from pre-K to college. Multinationals defined trade policies that racked up record deficits and shipped jobs abroad.  Insurance and drug companies hiked healthcare costs to the highest in the wold, as quality lagged. Banks have been rescued; homeowners and students have been abandoned. The old policies are serving only the few”

— The New Insurgents by Robert L. Borosage, The Nation, Oct.21, 2013

Music

“The basic conceit of Exodus Into Unheard Rhythms, that hip-hop producer Oh No sampled exclusively from the catalogue of composer Galt MacDermot, is a clever one….. At the center of this project is a 78-year-old man who’s welcomed producers…into his home to peruse his collection for sample records….. Galt grew up listening to his musical father’s records and studied and internalized the local music when his family moved to South Africa during his college years. Oh No’s beginnings are similar. Born into a musical family with an encouraging musician father, he parsed what he liked and developed it…. So the union of these two artists, from different times and places, who simply love music and made it their lives is, I can’t lie, heartening. I realize that’s a very rosy and uncool way to look at the world, but Exodus Into Unheard Rhythms just kind of does that to you.”
—Peter Macia; December 13, 2006, Pitchfork

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by Alexander

I am writing to you from a far off country

Book

      I am writing to you from the end of the world.  You must realize this. The trees often tremble.  We collect the leaves.  They have a ridiculous number of veins.  But what for?  There’s nothing between them and the tree any more, and we go off troubled.
     Could not life continue on earth without wind?  or must everything tremble, always, always?
     There are subterranean disturbances, too, in the house as well, like angers which might come to face you, like stern beings who would like to wrest confessions.
     We see nothing, except what is so unimportant to see.
     Nothing, and yet we tremble.  Why?

“Henri Michaux (1899-1984) was  a Belgian poet and painter who wrote in French and became a French citizen.  Michaux traveled all over the world, experimented with drugs, and has written extensively about these experiences.  For sheer invention and imaginative range he is unequaled in the 20th Century”  –Charles Simic & Mark Strand

First published in 1976 by The Ecco Press, Third Printing, paperbound, 1985

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by Alexander