Month: September 2013 (Page 2 of 11)

Drink of the Week: The Flip

The (Gin) Flip.If you read up on your truly classic cocktails, you’ll find that, like sours and highballs, a flip is not just one drink but an entire category of drinks. The Egg Sour, for example, is actually a delicious hybrid of a sour and a flip. A sour, you see, always contains fresh lemon or lime juice. A flip always contains a raw egg.

Even if you’re a reasonably sophisticated cocktail sipper, odds are, the closest you’ve gotten to a flip is freshly made Eggnog, which is actually closer to a flip than you might think. Usually called a Gin Flip, Whiskey Flip, Port Flip, etc. the recipe really doesn’t change a whole lot, because it doesn’t really have to. I’ve gone on and on here about the wonders of egg white in cocktails; it’s no surprise, then, that a whole egg is no less delicious. Imagine a lighter, fluffier, more refreshing and somewhat less fattening version of Eggnog and you’ll be on the right track.

The Flip

1 whole egg
1 1/2 – 2 ounces gin, whiskey, rum, port, sherry, etc.
1-3 teaspoons sugar or 1/4-1/2 ounce simple syrup
Grated nutmeg (fairly mandatory garnish)

Combine the egg, booze and sweetener in a cocktail shaker. Use less sugar/simple syrup — one teaspoon or 1/4 ounce of syrup –if you’re booze is something sweet, like port or sherry. You can also use less sugar if you’re simply allergic to sweet drinks. (Cocktail guru Robert Hess, whose taste sometimes leans towards the austere, calls for just one teaspoon of sugar, even when your base liquor is gin; I think that’s going overboard, or underboard, as the case may be.)

Shake vigorously without ice to properly emulsify the egg. Add lots of ice and shake again, even more vigorously. Strain into a chilled cocktail glass, smallish rocks glass, or a wine glass. Top with nutmeg and toast our fine, feathered egg producing friends.

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I’m giving you a fair amount of range on how to make this, but you’ll have to use just a little bit of your own common sense about your taste buds to make the very best of this. Since I have an admitted sweet tooth, the most surefire version of this for me involved only 1 1/2 ounces of a spirit and an entire tablespoon (three teaspoons) of sugar or the liquid near equivalent of 1/2 ounce of simple syrup.

In the case of port, however, I found that one teaspoon of sugar was plenty of additional sweetness. Flips have also been made using ordinary wine which presumably is less sweet than port, so I’d suggest using maybe two or three teaspoons with all but the sweetest wines.

I did find that using the full 2 ounces of whiskey with a tablespoon of sugar did result in a wonderfully balanced drink that was a bit less of a dessert, but that using the same amount of gin wasn’t as much fun as it should have been. At least when I tried it with some Plymouth Gin I’d just purchased, the boozy, tangier aspects of the gin overwhelmed the sweeter, very refreshing aspects of the concoction.

I had a similar problem when I tried a flip with just 1 1/2 ounces of 100 proof Knob Creek bourbon, which was simply overpowering where even 2 full ounces of 80 proof Basil Hayden had been just about perfect. On the other hand, the 94 proof Redemption Rye I tried, which is maybe a bit sweeter than other ryes, was also pretty perfect. I’m sure less expensive brands like Jim Beam, Evan Williams, or my old pal, Canadian Club, would also be pretty awesome.

Leaving aside the booze and getting to the real nitty gritty, I used a large supermarket egg in all of my adventures. While I have to note that all the usual raw egg provisos apply (if you’re immune compromised in some way, please use pasteurized eggs), I should also add that some of the older recipes call for a small egg, which are pretty hard to find these days. For me, however, while an extra large and certainly a jumbo egg would probably be too much of a good thing for a drink this size, a large egg is about perfect.

Also, a lot of recipes insist on using freshly grated nutmeg for the garnish. I have no doubt that any flip would be better that way, but I’m too lazy/busy to bother with that and I suspect you are too.

It’s perfectly fine to use regular grocery store nutmeg, which is what I did. I’d hate to think of anyone being intimidated into not making this drink, which is for the most part not much harder to make than a Martini or a Manhattan. Touches like fresh nutmeg are why we spend borderline absurd amounts of money for a drink in a great craft cocktail bar; they aren’t a requirement at home.

Finally, readers who read a lot cocktail recipes will notice I haven’t made any mention of adding cream to a flip. I contemplated trying this drink that way, despite the calories, because I’m sure it would be delicious. I decided not to, because I’m even more certain it would have been Eggnog.

 

Movie Review: “Rush”

Starring
Chris Hemsworth, Daniel Brühl, Olivia Wilde, Alexanda Maria Lara
Director
Ron Howard

It doesn’t take a genius to figure out that Ron Howard and Peter Morgan love history. One look at their collective filmographies reveals several projects based on true stories and real-life figures. The latter, in particular, is responsible for writing some of the best historical dramas of the past decade, but sadly, “Rush” is not one of them. Though there’s a lot to like about Howard and Morgan’s latest movie – particularly the chemistry and performances of its two leading men – it’s not nearly as thrilling or fascinating as their last collaboration (“Frost/Nixon”). “Rush” teeters on the edge of being a really good film, but despite some fantastic source material, it never fully seizes the opportunity.

Based on the true story of the 1976 Formula One season and the heated rivalry between British playboy James Hunt (Chris Hemsworth) and reigning World Champion Niki Lauda (Daniel Brühl), the film begins many years earlier, when the two first meet during a Formula Three race. At the time, both Hunt and Lauda were up-and-coming drivers looking to seize their chance in the big leagues. When Lauda takes out a loan and buys his way onto a team, eventually joining Ferrari after showcasing his talent behind the wheel and in the garage, Hunt is desperate to follow suit. But despite the backing of a wealthy benefactor, Hunt’s F1 car simply doesn’t compare to Lauda’s first-rate Ferrari, and the cold and calculated Austrian ends up winning the ’75 championship. One year later, Hunt is offered the chance to drive for McLaren, and with the odds now evened, the two men pick up where they left off on the race track, resulting in one of the most unforgettable seasons in F1 racing history.

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Dark Side of the Rainbow – What Is the Pink Floyd/Wizard of Oz Connection?

It’s a popular pastime that takes place in basements and dorm rooms every day: an attempt to prove the claim that Pink Floyd’s iconic album “Dark Side of the Moon” syncs up perfectly with the 1939 classic “The Wizard of Oz.” While some claim to have done it successfully, others (with disappointment) dismiss the claim as an urban myth.

But no matter how many people try and fail, the mystery still persists. It’s time to get to the bottom of it.

Just Press Play

First, let’s go over how this works. The most important thing to remember is that for this supposed synchronicity to work, you have to start playing the album at the right time. Various theories abound about when the perfect moment to hit play appears, but the vast majority of theorists believe that you need to start the music as soon as the MGM lion emits his third roar before the beginning of the opening credits. You’ll know that you have done it right if the name “Mervyn Leroy” appears on the screen when the music on the album transitions. Once you get the timing right, turn off the sound on the television, turn up the music and watch to see what happens.

A Happy Coincidence?

While no one seems to know who was the first to try playing “Dark Side of the Moon” while watching “The Wizard of Oz,” those who have done it since point out that there are a number of incredible coincidences. During the scene in which Dorothy walks along the edge of the fence surrounding the pigpen, you can hear the line “balanced on the biggest wave,” for example, and “Great Gig in the Sky” plays while the tornado carries Dorothy and Toto away to the Land of Oz. Perhaps the most mind-blowing moment for many viewers comes when Dorothy first steps out of her house in Munchkinland, and “Money” begins to play as the film switches from black and white to color. Later on, we meet the Scarecrow while the song “Brain Damage” plays.

For all of the coincidences, the awe is short lived. “Dark Side of the Moon” runs a mere 43 minutes, while the film runs 101 minutes. That means that more than half of the film does not have any correlation; in fact the music stops just after Dorothy meets the Tin Man.

Much Ado About Nothing

For all of the attention that the Pink Floyd/Wizard of Oz connection gets, the actual creators of the album vehemently deny any connection. Alan Parsons, the sound engineer on the album, pointed out that when it was produced in 1972, there was no easy way to screen the film in the studio to match it up. Free movie websites, VCRs and DVD players were not yet commonplace, and correlating music to film was an arduous process. Parsons also pointed out that variations between the sound recording and video could vary up to 20 seconds, making it virtually impossible to perfectly sync separate recordings.

Still, while Pink Floyd thinks that the connection is a pile of hogwash, they have a sense of humor about it. Drummer Nick Mason once remarked that the album had nothing to do with “The Wizard of Oz” — it was based on “The Sound of Music.”

Oz: The Great and Powerful?

When the “prequel” to “The Wizard of Oz,” “Oz: The Great and Powerful” was released in 2013, a few curious souls wondered if the modern filmmakers would continue the tradition and match up the new film with “Dark Side of the Moon.” Slate magazine’s John Swansburg attended a screening of the film with the album loaded on his mobile device. Alas, there weren’t many significant synchronicities.

That being said, other Pink Floyd albums have been paired with classic films; “The Wall,” for example, has shown some synchronicity with Disney’s “Wall-E” and “Alice in Wonderland.” The track “Echoes” from the earlier album, “Meddle,” has also been paired with the fourth and final act of Stanley Kubrick’s “2001: A Space Odyssey.” Similar coincidences have been found, although none have reached the level of notoriety that “The Wizard of Oz” connection has.

Regardless of whether the matching of “Dark Side of the Moon” and “The Wizard of Oz” is intentional or not, the idea that they might has become entrenched in pop culture and will probably still be a popular activity for bored college students for years to come.

About the Author: Although she is a huge fan of both Pink Floyd and “The Wizard of Oz,” Kayleen Griffin has never tried syncing the two. She blogs about pop culture for several sites when she’s not watching classic movies.

The Light from the TV Shows: Saying Goodbye to the Best ‘Bad’ Ever

I don’t know if you know this about me, but…I kinda like “Breaking Bad.” I realize this is probably the first you’re hearing of it, because I’m usually pretty closed-mouthed about it, rarely hyping the series to anyone and almost never mentioning that I watch it, but, yeah, I guess it’s a pretty all-right show, y’know?

Jesse Pinkman (Aaron Paul) and Walter White (Bryan Cranston) - Breaking Bad - Gallery - Photo Credit: Frank Ockenfels/AMC

All right, enough pretending: obviously, I think “Breaking Bad” is basically the best show in the history of television, which is what I tell anyone who asks me what I think of it. You may disagree with my position, and that would be your right, but no series has ever captured my attention and proven so fascinating to me in quite the same fashion as this one, and when it ends its run on Sunday evening, I’ll be glad that it went out on the terms established by its creator, Vince Gilligan, but it’s going to leave a hole in my TV viewing habits that I’m going to have a very hard time filling.

With the show wrapping up, I decided it’d be fun to offer up a retrospective of all of the folks affiliated with “Breaking Bad” that I’ve talked to over the course of its run. If you’ve followed my coverage of the series over the years, you probably won’t be surprised to see just how many conversations I’ve had since Bullz-Eye first started spotlighting the show in 2009, but they’ve been a uniformly wonderful bunch, all of whom regularly made a point of expressing their gratitude for the coverage and praise that we gave the show. In turn, I’ve always tried to thank them for the gift they’ve given us.

Goodbye, “Breaking Bad.” Thanks for the meth, but most of all, thanks for the memories. You’ve given me plenty of great ones over the course of these five seasons, and they won’t soon be forgotten…especially not now that I’ve got all of ’em in one place! Mind you, when I say that, I’m actually speaking of these interviews, but it could also be said of the upcoming complete-series set – seen above – which, in addition to all of the episodes, includes a ridiculous amount of bonus stuff, both on the discs (most notably “No Half Measures,” a two-hour documentary about the making of the final eight episodes) and off (a Los Pollos Hermanos apron!), that no self-respecting fan should be expected to live without.

But enough of my yakkin’. On with the interviews!

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Car Review: 2013 Lincoln MKZ AWD

lincoln_mkz_1

The future of Lincoln is here, and there’s a whole bunch of style and substance that wasn’t present in their cars before the 2013 Lincoln MKZ AWD arrived this year. The new MKZ is the first Lincoln created by a dedicated team in its new Lincoln Design Studio with a sweeping profile that incorporates one of the world’s widest-opening retractable glass roofs. This new offering from Lincoln was a major test for Lincoln, and we spent a week behind the wheel to see if the folks at Lincoln delivered.

EXTERIOR

A sweeping roofline defines the new luxury sedan’s profile. The steeply raked windshield and lengthened backlight make for a sleeker and more flowing appearance that is 10 percent more aerodynamic than the model it replaces. Although strikingly modern, the design retains classic Lincoln design elements, including a more refined interpretation of the split-wing grille, first seen on the 1938 Lincoln-Zephyr. Rearview mirrors stand on door-mounted, sculpted pedestals. This fitment enables the front door glass to extend farther forward to improve visibility and to allow even more light into the interior. The crafted headlamp assemblies include bright, energy-efficient LED lighting. The front headlights turn in sync with the steering wheel, providing enhanced visibility. At the rear, LED technology enabled a thin, distinctive full-width tail lamp graphic. There is no doubt that the MKZ is a real attention grabber on the road, as the looks and compliments were coming from all directions.

INTERIOR

When I first entered the cabin of the 2013 Lincoln MKZ AWD, the striking improvements from the prior model weren’t even on my mind as I just thought that this new car from Lincoln had one of the sharpest interiors I’ve seen no matter what segment we’re testing. Design teams clearly created an inviting interior featuring bold architectural elements, rich natural materials and fine details.

This is the type of functional interior that will appeal to younger and more diverse drivers that appreciate luxury and technology. Innovation and technology abound inside the new MKZ. Replacing the traditional mechanical transmission shift lever is a contemporary five-button interface. The individual buttons of Push Button Shift engage Park, Neutral, Reverse, and forward gears in two modes, Drive and Sport. Push Button Shift gave designers freedom to create a sculptural multi-level center console with more functional storage areas.

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