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  • CBGB’s awning being auctioned by Sotheby’s is expected to fetch at least $25,000
    09:23 am

    Stupid or Evil?


    Man, who knew rock ‘n’ roll was so posh? Earlier this week, we alerted you to the sale of Dennis Hopper’s extremely modest record collection for only about 1500 times its probable value. This is unrelated, but it feels like a part of the same stupidity: an awning from CBGB, the Bowery dive bar that in the ‘70s became the Ur venue for the musical insurgency that would come to be known as punk rock, is being auctioned by the elite house Sotheby’s, and is estimated to fetch between $25,000 and $35,000.

    The club was never really home base for people who could afford that kind of cash outlay for an outsized souvenir—the bands that played there were decidedly low-rent. The bands that made the place a Mecca included the Ramones, Patti Smith, Television, Blonde, Talking Heads, the Cramps, and the Dead Boys (who recorded their live album Night of the Living Dead Boys there), well before they became marquee names. After a long and legendary run, the club closed ten years ago, and was “resurrected” in name only as we shit you not a restaurant in the Newark Airport (one and a half stars on Yelp). That restaurant has a small-scale replica of the club’s iconic awning. One of the several actual awnings that adorned the club’s doorway over the years lives on display at the Rock and Roll Hall of Fame, but while the Sotheby’s web site claims that the awning for sale is the original, Time Out New York says that’s incorrect:

    Though the venerable auction house is listing the item as the “original awning for punk mecca CBGB,” that’s not actually the case. It’s a version rescued from the trash in 2004 by former club manager Drew Bushong. Bushong’s find was one several iterations of the iconic sign, beginning with the first one hand-painted by CBGB owner Hilly Kristal. That awning is believed to have been stolen one night in the 1980s by the band Jody Foster’s Army (JFA), after the group played a gig. It’s whereabouts remain unknown.

    Yeah, that’s fucking hilarious. I didn’t realize I could love JFA more!

    The auction is scheduled for Saturday, December 10th. I’m sincerely hoping some CBGB O.G. gets it, but it will probably get sold to a fuckin’ pharma bro.

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    ‘Jean Cocteau speaks to the year 2000’ (or Jean Cocteau is dead, long live Jean Cocteau!)
    03:50 pm



    Prior to his death in 1963, Jean Cocteau, the great French artist, filmmaker, novelist, playwright and poet, made his cinematic last will and testament, a time-capsule titled Jean Cocteau s’adresse… à l’an 2000 (“Jean Cocteau speaks to the year 2000”). Cocteau, seen seated in front of his own work at Francine Weisweiller’s Villa Santo-Sospir (where his Testament of Orpheus was shot), offers advice and perspective to a generation just being born. Cocteau gives his definition of genius and of the poet, “an intermediary, a medium of that mysterious force that inhabits.” He also discusses the technical progress of science and how it must not be impeded by intolerance and religion.

    In his Cocteau biography James S. Williams wrote:

    Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead.

    Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences.

    The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer.

    Jean Cocteau is dead, long live Cocteau!

    If you are a Cocteau aficionado, the film is a delight. Here are a few transcribed moments:

    We remain apprentice robots.

    I certainly hope that you have not become robots but on the contrary that you have become very humanized: that’s my hope.

    But I have no idea who you are or how you are thinking, or what you are doing. I don’t know the dances you are dancing.

    The dance of our time is called “The Twist.” Maybe you have heard
    about it.

    You most certainly have your own dance.

    I wonder what Cocteau would have made of The Beatles, hippies, gay liberation, punk, Internet pornography, Facebook, the iPhone, Barack Obama and now Donald Trump, but this we’ll never know.

    More after the jump…

    Posted by Richard Metzger | Leave a comment
    Creepy ventriloquist dummies that look like they might want to kill you
    01:16 pm



    It wasn’t for nothing that the old parish priest used to warn us off demon ventriloquism. He knew those painted wooden puppets were evil little fuckers. You see, at school we’d all seen the ad for a book of “voice throwing courses” in the comics we shared round the yard. I dreamt of sending off any spare cash for a copy of this prized guide. Alas the ad wanted dollars and I was living in McButthurt, Scotland, where dollars were as rare as virgin births. Mind you, having said that, there was a girl in high school who used that excuse for her trouble. “It must be the second coming, Father.” “Ye mean ye did it twice? Ye filthy little….”

    Sadly, no dollars. But maybe that was a good thing—for the old priest with the whisky breath said ventriloquism was a “dabbling in the occult” kinda thing—involving ne’er-do-wells gathering in a graveyard to communicate with the dead. When a voice projected from the stomach—he claimed—this was “yer actual dead speaking to ye.”

    I nixed the plan for the voice projection book and signed-up for a visit to the local cemetery to speak with the dead. Unfortunately, when I tried, all I ever heard was gas and the rumble of a ravenous tummy.

    It’s probably that once upon-a-time, long, long ago tenuous connection with the occult and all things strange that makes ventriloquist dolls seem so creepy. They exude evil. They exude menace. You know as soon as you turn your back they’re up to no fucking good. Just ask Candice Bergen. She knows. She grew up in a home with Charlie McCarthy—the evil-looking ventriloquist doll that her father Edgar Bergen made famous. When Candice was growing up, Charlie always had the bigger bedroom. When Daddy wanted to spend quality time with Candice he often give her a:

    ...gentle squeeze on the back of my neck [which] was my cue to open and shut my mouth so he could ventriloquize me. Charlie and I would chatter together silently, while behind us Dad would supply the snappy repartee for both of us.

    When Daddy Bergen died he left Charlie $10,000. Candice? Candice got zip.

    So you see, all those movies (Dead of Night, Magic) and episodes of The Twilight Zone are actually all true—ventriloquism is waaaaaay baaaaad juju—which is kinda evidenced by this short selection of various ventriloquists and their devil dolls.
    Leatherface as a child?
    Jules Vernon as a young ventriloquist with his extended family.
    Jules Vernon in old age. He went blind one Christmas during his stage act in 1920 but continued on until his death in 1937.
    More creepy woodentops, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Science fiction writer J.G Ballard’s home is for sale
    12:44 pm




    “The fiction is already there. The writer’s task is to invent the reality.”
    —J.G. Ballard

    The three bedroom semi detached property that British novelist, short story writer, and essayist J.G Ballard lived in between 1960 and his death in 2009 is for sale. Listed by Daniel Wallin of Shepperton Estate Agents, the residence at Old Charlton Road in Central Shepperton is being offered for £475,000, a relative bargain in the commuter town:

    Located on one of Shepperton’s most popular roads, just a short walk from the High Street, all local schools and the train station which offers direct services into London in just 50mins. Between 1960 and 2009 the property was owned by the writer J.G. Ballard, author of novels such as Empire of the Sun, Crash and High Rise - and Shepperton’s most famous resident. The home retains all of its original features but has also undergone some necessary but sympathetic updating with complete rewiring, the addition of central heating and solid oak parquet flooring throughout the ground floor. Three bedrooms, separate dining room, separate lounge, generous rear garden and a driveway. The entrance hall is of a proportionately generous size giving a welcome feel and space.

    When Ballard’s first novel, The Wind from Nowhere, was published in January 1962, tired of traveling from Surrey into London (and back) every day, he resigned from his job at as the assistant editor of Chemistry and Industry magazine, and from then on supported himself and his family as a fulltime writer. After Ballard’s wife Mary died suddenly of pneumonia in 1964, the father of post-apocalyptic dystopian science fiction raised their three children – James, Fay and Bea– by himself in the home.

    Ironically the very most Ballardian thing ever, isn’t really even remotely Ballardian itself. Except for the car crashes on the M3, of course. You can still hear them from the garden.


    Ballard with his children Fay, Jim and Bea at their Shepperton home in 1965

    More photos of the home after the jump…

    Posted by Richard Metzger | Leave a comment
    Ultra-rare AC/DC promotional songbook full of sheet music, comics & photos from 1976
    12:20 pm



    The front cover of ‘Dirty Deeds Done Dirt Cheap & Other Dine-O-Mite Songs.’ An incredibly rare Australian promotional songbook that came inside of AC/DC’s 1976 record, ‘Dirty Deeds Done Dirt Cheap.’
    Also known as Dirty Deeds Done Dirt Cheap & Other Dine-O-Mite Songs this incredibly rare piece of AC/DC ephemera was put out by the legendary Albert Productions—Australia’s very first indie record label that got its start back in 1964 under the guidance of music maverick Ted Albert. When the mid-70’s rolled around Albert Productions pretty much ruled the Australian music industry, thanks much in part to the wild success of the bad boys from Sydney. Here’s Angus Young on how the band’s relationship with Albert’s helped AC/DC thrive during their formative years from the 2010 book that details the history behind Albert’s House of Hits

    When we first went out there, we were lucky enough to get a deal with Alberts’ even before we left Australia, so that was good for us. We didn’t have to go shopping ourselves, but what was good was that Ted [Albert]  advanced us a lot of the money so as we could get out there and tour and back-up the records. For him it was a long-term investment, but it paid in the end. It all helped.

    According to the AC/DC Fan site, in Australia when you purchased the band’s 1976 release Dirty Deeds Done Dirt Cheap it came along with a mailer that when sent to Albert and co. accompanied by three dollars, got you a copy of the book in the mail. It’s unclear how many of the books were made but when the do appear for sale online they sell for anywhere from $800 to a cool grand depending on the condition they are in. AC/DC put out other equally rare song-style books like The Rocka Souvenir Songbook and The Explosive Hits ‘76 Songbook around the same time but neither of them come even close to the wow-factor Dirty Deeds achieves.

    I’ve included images from the book that include an amusing “AC/DC KWIZ” that I’m pretty sure is impossible to fail, an advice column called “Dear Aunt Haggis…” and a page for collecting the band’s autographs if you ever got close enough to them with a pen. The last layer of cool I will lay on you is the good news that back in 2014 a massive box set homaging Albert Productions was released called Good Times: Celebrating 50 Years Of Albert Productions. The set contains 102 different tracks from over the course fifty years from AC/DC and other notable Aussie bands like the Easybeats, long-running hard rockers Rose Tattoo and garageband favorites The Missing Links, just to name a few. Devil horns OUT!

    The back cover of ‘Dirty Deeds Done Dirt Cheap & Other Dine-O-Mite Songs.’

    Table of contents.

    ‘Dirty Deeds comic’ and autograph page.
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    The sad and heartbreaking reality of Shelley Duvall’s mental health
    11:00 am

    Current Events


    “Oh, we went to a party, found a girl, and you’ve got to meet her. She is special!” Robert Altman remembered being told after screenwriter Brian McKay and assistant director Tommy Thompson returned from an engagement celebration for a local artist in Houston. They were in the lone star state location scouting for Altman’s upcoming film Brewster McCloud. At the time Shelley Duvall was studying nutrition and diet therapy at South Texas Junior College and working as a cosmetics salesperson at Northwest Mall’s Foley’s department store. Without formal acting experience or training, Altman cast her in the key role of the Houston Astrodome tour guide Suzanne Davis and a star was born. Over the next two decades, she would go on to appear in classic films such as Stanley Kubrick’s The Shining, Robert Altman’s Nashville and 3 Women, and Woody Allen’s Annie Hall. Besides a successful film career she created, hosted, executive produced, (and even wrote the theme music) for the award-winning live-action children’s anthology series Faerie Tale Theatre.
    In 1993 Shelley sold the rights to Faerie Tale Theatre to a small British entertainment company after she began to struggle financially. As an independent producer, Duvall was finding it increasingly difficult to fund new projects with tight credit and mounting production costs due to the recession. She was forced to lay off over a dozen employees that worked out of her production company, Think Entertainment, whose offices were located on the second floor of a nondescript San Fernando valley strip mall over a Chinese restaurant and a dry cleaner. Shelley retired as a producer but continued taking acting parts. In 1994 her Studio City home was damaged in the Northridge earthquake and she relocated to the small city of Blanco, TX (approximately 50 miles north San Antonio and 50 miles west of Austin) which boasted a population of 1,500 residents.
    While she remained single without any children, Shelley moved into a modest ranch in Blanco with her collection of exotic birds and reptiles that she had begun acquiring in Los Angeles. “At home, it’s a menagerie: 70 birds, all different kinds, ten dogs, one cat, a leopard tortoise, a rabbit, four iguanas, and two desert lizards,” she said during her interview on the Marilu Henner Show in 1994. Shelley continued to accept acting roles and television appearances throughout the late ‘90s but in the early 2000’s the roles got smaller before dwindling completely. Her 2000 independent film Dreams in the Attic which shot in and around Houston and Galveston was pitched to Disney but never sold or released. Duvall’s final acting performance was in the outsider film Manna from Heaven in 2002.
    Keep reading after the jump…

    Posted by Doug Jones | Leave a comment
    Girls and guns: Brave female freedom fighters from around the world on the battlefields of war
    10:47 am



    The first female combat veteran Margaret Corbin helping to load a cannon being shot by her husband John Corbin during the Battle of Fort Washington on Manhattan Island, 1772. Though Corbin is depicted in the painting above wearing a dress she disguised herself as a man in order to contribute to the efforts on the battlefield.
    During the Revolutionary War it was commonplace for the wife of a soldier to accompany her husband to war only to mostly perform activities such as doing laundry, preparing meals and attending to he injured. Though this is exactly what Margaret Corbin did initially when she joined her husband John as a member of the Pennsylvania military at the age of 21, four years later Corbin would disguise herself as a man to help her husband load his cannon during the Battle of Fort Washington on Manhattan Island. During the fighting John was killed leaving Margaret alone to “man” the cannon. Which she did until she nearly lost her left arm due to British army fire. Corbin would survive and for her participation in the Battle of Fort Washington she was officially recognized as the first woman “combat veteran” and subsequently became the first woman to receive a military pension.

    Many other women would follow in Corbin’s pioneering footsteps including Deborah Sampson who dressed as a man in order to fight in George Washington’s army in 1782. Sampson’s heroic charade lasted for a year until she became injured and was no longer able to hide the fact that she was a woman and was honorably discharged. During the Civil War and the Spanish American War in 1898 there are several accounts of women masquerading as men in order to fight on the front lines along with their male counterparts, as well as serving their country assisting with war related activities such as espionage. Though women would participate in WWI and WWII and lose their lives as a result, it was not until 1976 that women were allowed to enlist in the military. Instances of women fighting in other wars and acting as snipers, and members of resistance efforts in places like France during WWII were common.

    Speaking of snipers, the story of Red Army sniper Lyudmila Pavlichenko is a compelling one. Pavlichenko was an expert female sniper from Ukraine who fought the Nazis during WWII and was credited with killing 187 Germans during her first 75 days as a member of the Soviet resistance. That number would grow to 309 with 36 of her total kills being German snipers, though it’s widely believed that her actual kill count is likely much higher as there was not always a third-party to witness them all. The German army was rightfully so terrified of Pavlichenko they took to broadcasting appeals over loudspeakers to have the 25-year-old killing machine join their troops instead of wiping them out. Pavlichenko would of course turn down the offer (which according to historians included the promise of “candy”). There were 2000 female snipers who fought with the Red Army during WWII—and Pavlichenko would be one of the 500 who walked away with their lives.

    Below, I’ve included some pretty stunning images of women taking up arms. I’ve also posted the trailer for the 2015 film based on Lyudmila Pavlichenko’s brave exploits Battle for Sevastopol. Stay strong, sisters.

    Red Army sniper Lyudmila Pavlichenko.

    Armenian guerilla fighters during the Hamidian massacres, 1895.
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    Christmas ornaments featuring Morrissey, Bowie, Adam Ant, Nick Cave, Siouxsie and more
    09:56 am



    This charming set of Christmas ornaments does a wonderful job of letting everyone in your circle know that you love St. Nick—and that the “Nick” in question is Nick Cave. Matthew Lineham designed them, and he’s done a wonderful job of working in “obscure Christmas memories and puns,” as he put it.

    Many of his “obscure” references involve network Christmas programming from many decades ago. Siouxsie Sioux is transformed into Cindy Lou Who, the little girl from Whoville in Dr. Seuss’ classic How the Grinch Stole Christmas, and Morrissey plays the part of “Snow Mozzer” and “Heat Mozzer,” the memorable characters from the 1974 stop-motion animated Christmas TV special from Rankin/Bass, The Year Without a Santa Claus. Former Oingo Boingo frontman and soundtrack maestro Danny Elfman appears as “Elfman on the Shelfman,” a reference to the 2004 children’s book The Elf on the Shelf. Robert Smith is perched atop Rudolph the Red-Nosed Reindeer, and DEVO‘s familiar energy dome is cleverly done up as a Christmas tree.

    Lineham calls the set “A Very New Wave Christmas” but he has sensibly gone where the name-puns and name recognition will take him rather than obey strict genre definitions. Bowie and Cave might not be your idea of “new wave” icons but they were active in the early 1980s, at least.

    You can buy the rubber die cut bendable ornaments for $10 a pop (“Mozzer” pair $15), or $50 for the entire set, a significant discount. However, due to the unexpectedly high demand, Lineham wants purchasers to be aware that any ornaments ordered today will be shipped “sometime between Dec 21st & 31st,” so don’t bank on them being available for this year’s tree—however, there’s always 2017, 2018, 2019, and beyond to think of. These seem unlikely to go out of style anytime soon.


    More after the jump…

    Posted by Martin Schneider | Leave a comment
    The Residents, Chrome & Tuxedomoon covering ‘I Left My Heart in San Francisco.’ Sort of
    09:36 am



    While discussion of the rock music of San Francisco tends to revolve around It’s a Beautiful Dead Airplane and the Holding Messenger Service, all us really good weirdos who read and/or work for Dangerous Minds know that the truly insane stuff landed after the hippie era. The moment in 1972 when The Residents moved to S.F. and established Ralph Records to release their work and the music of other like minded head cases was a bellwether event in freakmusic; Ralph would go on to release underground classics by fellow San Franciscans like Tuxedomoon, Rhythm & Noise, MX-80 Sound, and Voice Farm, all innovators who were too weird to quite fit the mold of the city’s storied punk and hardcore scenes. (They released much excellent non-S.F.-based music too, it merits mentioning, including Art Bears, Snakefinger and Yello.)

    Ralph label compilations were always worth picking up—they were doorways to a distinct kind of weirdness no other American label would touch. Releases like Frank Johnson’s Favorites, Potatoes, and the Buy or Die 7” series introduced a much younger me to excellent art-rock oddities well beyond my imagining. But the one that’s stuck with me most is 1979’s Subterranean Modern—which apart from a Schwump 7” in 1976 was the first Ralph release to include artists other than The Residents or Snakefinger—a four-band V/A release that introduced me to Chrome. Their three songs on that comp constituted the total of all music Chrome released on Ralph, and it included a warped, blink-and-you’ll-miss-it “cover” of Tony Bennett’s signature song “I Left My Heart in San Francisco.” Indeed, all four bands on the comp covered that tune in some fashion, the other three being The Residents (naturally), art-punk guitar terrorists MX-80 Sound, and gloomy experimenters Tuxedomoon. Bonus: cool Gary Panter cover art.

    Chrome’s version of the song is a noisy psych swirl all of 27 seconds long, fading out as quickly as it fades in, and you can hear someone saying the title if you listen closely enough. The track would eventually resurface on Cleopatra Records’ Chrome Box. MX-80’s is an instrumental that I expect few listeners could peg it for a cover were it not for the title. The Residents’ version is a typically Residentsy transformation, perfectly in step with that band’s many, many, other cover songs, warping the original to the edge of recognizability and drenching it in synthesized menace. Along with the other 3 Residents tracks on this comp, it appeared on the CD reissue of their album Eskimo. Tuxedomoon’s offering is another quickie, a minute-long harmonica rendition of the original underneath a recorded phone call in which a man tries to prove residence in guess which city in order to collect welfare from the state of California. That track eventually re-surfaced on the band’s Pinheads on the Move collection.

    Despite the fact that every band pretty much completely jettisoned the actual song they were supposedly covering, the album notes credit the remakes to original composers George Cory and Douglass Cross. It really couldn’t be more obvious that that Chrome, Tuxedomoon and MX-80 bristled against the stipulation of covering that song and contributed piss-takes. In fact, a contemporary NME article explicitly spells it out:

    The most controversial aspect of the album is the inclusion of “I Left My Heart In San Francisco,” a rather sickening piece of hackwork popularized by Tony Bennett. None of the groups, with the exception of the Residents, were thrilled about recording the song. Chrome sarcastically included less than a minutes’ worth of white noise as their “interpretation.” Tuxedomoon recorded a one minute conversation between an unemployed transient attempting to qualify for welfare and a welfare office bureaucrat, while the melody to “I Left My Heart In San Francisco” is played on harmonica in the background. MX-80 Sound cut the song as an instrumental, giving it a full force heavy metal reading.

    “It’s not that great a song,” says [Residents spokesman Hardy] Fox, “Who wants to do something that you don’t think is too great? It was a challenge. But it is the official San Francisco song. Sanctioned by the city. So we had no choice.”

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    Klaus Nomi’s lime tart recipe
    03:49 pm



    Certainly one thing that can be said of Klaus Nomi—as a little gay German dude born during World War II who had a passion for opera and a voice to match—is that he marched to the beat of his own drum. On paper, he doesn’t particularly sound like anyone who would become the object of admiration by a huge cult following—long after his death—but it happened. He landed in New York City in the 1970s, and that was the perfect place for his experimental new wave opera and eccentric form of exhibitionism to flourish.

    In addition to palling around with David Bowie and wowing downtown audiences with his epicene good nature, his incredible singing performances, and his peculiar, almost plastic persona, Nomi was a first-rate pastry chef—that was his day job. In an appearance on Glenn O’Brien and Chris Stein’s legendary TV Party cable access show, he once demonstrated how to make his “sour-sweet lemon tarts.”

    The Fashion Beyond Fashion blog reproduced Nomi’s recipe for a lime tart, which you can surely put to use as a way of delighting your holiday guests:

    Step 1. The crust. It needs a 9-inch pie pan to make the tart in. It needs 1 1/4 cups fine graham cracker crumbs, 1/3rd cup brown sugar, and 1/4 melted butter to make crust. Mix the ingredients together and shape the crust into the pie pan. (Klaus Nomi mentions that it may not seem like the crust will hold together, but if it packs it tightly enough and when it sits overnight, it should hold).The artist also cautions about making the crust too sweet, you may not need to use as much brown sugar.

    Step 2. The filling. it needs 4 eggs, 1 can sweetened condensed milk (Klaus used Borden’s condensed milk), and 1/2 cup lime juice. First it has to be separated the eggs; placing yolks in one bowl and whites in the other one. Klaus uses the egg shell to actually separate the whites from the yolk by putting the yolk on one side of the cracked shell and letting the whites drip into a separate bowl. Take the bowl with the egg yolks and add the sweetened condensed milk and lime juice. Mix together. Then, in the bowl with the egg whites, it has to whip them until the whites are very, very stiff. Once the whites are stiff it dramatically increases in volume, it slowly folds the whites into the other bowl. Once mixed together, place the filling into the crust.

    Step 3. It takes lime peel and cut it into thin strips. It place the lime peel on top of the pie. This has two purposes; a beautiful presentation but also the flavor. The zest really adds a punch to the taste and is meant to be eaten. Then it places the tart into the refrigerator for at least several hours, but overnight is recommended in order to firm the tart, make easier the cut and better consistency.

    More after the jump…

    Posted by Martin Schneider | Leave a comment
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