Loading...
The Seaforth News, 1956-05-03, Page 2TABLE TALKS eW.dnra.e,w,. One of the delightful features of small cakes and cookies is their versatility, The young people away love to receive 'hem from the home folks. They're indispensable for pic- nics, and great stand-bys for after-school snacks and for whipped -up -in -a -hurry suppers. They're equally at home at ela- *Orate teas and in the good old- fashioned cooky jar. In some households, lunches for school or shop are packed earreryday. Small cakes and cookies fit neatly and appetiz- ingly into lunch boxes. * * CHOCOLATE SQUARES OR COOKIES 1% cups sifted flour ll% teaspoons Baking Powder 4 teaspoon salt If squares Unsweetened Chocolate tablespoons butter or other shortening 1. eup sugar 1 egg, unbeaten cup niilk 3h teaspoon vanilla Sift flour once, measure, add taking powder and salt, and sift together three times. Melt chocolate and shortening over hot water; cool to lukewarm. Add sugar and mix well. Add egg and beat thoroughly. Add Sour, alternately with milk, stirring only to blend. Add va- nilla. For squares, spread in two greased 9 x 9 x 2 -inch pans and eke in moderation oven (375° E'.) 12 minutes, or until done. Let cool in pan; when almost tool, cut in squares. Remove fror pan. Makes 50 squares. For cookies, drop from tea- spoon on ungreased baking oheet. Bake in moderate oven (275° F.) 9 minutes, or until done. Cool slightly; remove from pan. Makes 3 dozen cookies. * * * BROWNIES Sus cup sifted flour % teaspoon Baking Powder 34 teaspoon salt IS cup butter or other shortening S squares Unsweetened Chocolate 1 cup sugar b eggs, well beaten 34 cup chopped walnut or pecan meats 1 teaspoon vanilla Sift flour once, measure, add baking powder and salt, and sift again, Melt shortening and chocolate over boiling water. .aadd sugar gradually t0 eggs, stating thoroughly, then add scuts and vanilla. Decorate witlx Whole nuts, if desired. Bake in jlreased pan, 8 x 8 x 2 inches, in moderate oven (350° F.) 35 WEDDING AHEAD—A ceremony *ad wedding bells are at the sand of the bus ride for Peggy Ann Garner. The former child tor is Pouring with the play "Bus Stop." She'll wed Albert Salmi when the tour concludes. te's her onstage hero, as well. minutes. While still waren, cut in rectangles. Remove from pan and cool on cake rack, Makes 2 dozen brownies. For Indians, use 3 eggs in above recipe and add 1A cup cut dates. Spread in two greased 8 x 8 -inch pans. Bake as directed. * * TOASTED COCONUT BROWNIES Use recipe for Brownies (above), omitting nut meats. Add 1 cup Shred Coconut, fine- ly chopped, to batter, Cover with topping made 'by mixing thoroughly s cup coconut with 1 tablespoon sugar and 2 tea- spoons melted butter. Bake as directed for Brownies, ICEBOX COOKIES iris cups sifted flour 3% teaspoons Baking Powder 1% teaspoons salt 1 cup soft butter or other shortening 1r/ cups sugar 2 eggs, unbeaten 4 squares Unsweetened Chocolate, melted 1 teaspoon vanilla 11/2 cups broken walnut meats Sift flour once, measure, add baking powder and salt, and sift again. Combine shortening, sugar, eggs, chocolate, and va- nilla, beating with spoon until blended; add nuts Add flour gradually, mixing well after each addition. Divide dough in two parts; shape in rolls, 2 inches in diameter, rolling each in 'waxed paper. Chill over- night, or until firm enough to silce. Cut in ee-inch slices; bake on ungreased baking sheet in moderate oven (350° F.) 10 minutes, or until done. Makes about 13 dozen icebox cookies. 5 * 5 PINWHEELS 2 cups sifted flour 1 teaspoon Baking Powder 34 teaspoon salt % cup butter or other shortening ei cup sugar 1 egg, unbeaten 1 tablespoon milk 1 square Unsweetened Chocolate, melted Sift flour once, measure, add baking powder and salt, and gift again. Cream shortening, add sugar gradually, and cream together until light and fluffy. Add egg and milk; beat well. Add flour, in small amounts, mixing well after each addition. Divide dough in two parts. To One part, add chocolate and blend. Chill until firm enough tO roll. Boll each half on floured waxed paper into rectangular sheet, 34 inch thick. Chill. Place plain sheet over chocolate sheet; then roll as for jelly roll. Chill overnight, or until firm enough to slice, Cut in 3 -inch slices. Bake on ungreased baking sheet in moderate oven (375° F.) 10 minutes, or until done. Makes 5 dozen pinwheels, * 5 * BUTTERSCOTCH SURPRISE CAKES 134 cups sifted Cake Flour 1% teaspoons Baking Powder Ye teaspoon salt 3 cup butter or other shortening 1 cup sugar 8 eggs, well beaten 2 squares Unsweetened Chocolate, melted ee cup milk 1 teaspoon vanilla Sift flour once, measure, add baking powder and salt, and sift together three times. Cream shortening, add sugar gradu- ally, and cream together until light and fluffy. Add eggs and beat well; then add chocolate and blend. Add flour, alternate- ly with milk, a small amount at a time, beating after each addi- tion until smooth. Add vanilla. Turn into greased large cup- cake pans, filling them about Eh SPRING IN HIS HEART — George Maynard, chairman of than British Marbles Board of Control, le 84 years old in body. But he's no older atheart than the lads at his left, who are taking a lesson ie .knuckling under during the World Marbles Cham- ptonsh'ps at Tinsley Green, England. LATHER UP WITH LONG NOSE—"Jumbo," en elephant with the Circus Roland in Berlin, is nonchalantly lathering his keeper with plenty of soap and a big brush. He isn't allowed to wield the razor, however, It isn't that the keeper thinks "Jumbo" is clumsy or unsteady -it's just an old Bavarian superstitign: never let an elephant shave you. full. Bake in moderate oven (350' F.) 20 to 25 minutes, or until done. Makes 1 dozen: When cakes are cool, remove cone-shaped piece from center of each cup cake. Fill hollow with Jell-O Butterscotch Cream Filling and replace top. Other fluffy fillings or soft frostings may be used to fill Surprise Cakes; or these choco- late cup cakes may be served plain, frosted, or topped with a sauce. Don't Disdain The Lowly Catfish Is your pulse rapid, your throat dry? Do you find your- self staring vacantly out the window? Do you spend your lunch hour mooning in front of fishing tackle displays? If so, brother, you have a severe case Of piscalitis, or fishing fever, a mysterious malady that attacks males from 5 to 90 annually at this season. It is rarely fatal, but its thou- sands of ,victims suffer intense- ly from the onset of the disease in March until t r o u t season opens sometime between the middle of April and the first of May. Fortunately, there is et remedy! The treatment consists of liberal doses of pond fish- ing for bluegills, crappies, perch, catfish and other varie- ties of game and panfish fre- quently neglected at this sea- son in favor of the aristocratic trout. Early spring is a good fish- ing season. Added to the wol- fish hunger of the fish is the post -winter shortage of natur- al feed to compete with the angler's offerings. The new crop of small forage fish has not yet hatched, and frogs and insects are still absent, so that any object which looks even remotely edible is sure to be in- vestigated by a hungry fish. How do you tell when the fish have thrown off their win- ter drowsiness and are ready to come out fighting. Some say: "Watch first forsythias bloom I" They claim that you can fish from ice -out on, but won't real- ly start doing business until the first forsythia bloom. An old angler of my ac- quaintance had a more occult method. On a soft March day after the ice had gone, and the first robin had come, the old gent would sniff the spring air.. "I smell bullheads," he would proclaim with solemn certain- ty, and, sure enough, that very night the horned pout would begin biting in the millpond. And for my money those first pout .of the season, taken from the icy waters of springtime, are the best pout of all. They're real scrappers, too, at this time of year, and if you fish for them with a four -ounce fiyrod, you'll know you've been in a rhubard before ' old ameirus comes thrashing aver the gunwale. And the same goes for his ram- bunctious relative, the scrappy channel cat. It had better be an old flyrod, though, for these critters' tactics are apt toput a corkscrew in the finest bam- boo after a few nights' use, - writes Ted Janes in The Police Gazette. Occasionally you can take channel cats on artificial lures, but both the horned pout and his larger cousin are best caught with bait, as are the blue, yellow and other catfish. It doesn't matter what the bait is so long as it's the right size for a catfish's ample maw. Shiners, worms, clams, ham- burger, kernels of corn and pieces of other fish are all okay. Dough baits have long been popular. These are usually compounded of wheat flour and corn meal well laced with time -ripened flavoring, such as cheese, molasses, vanilla, clam juice and even bourbon. Coagulated blood mixed with limburger cheese is another po- tent attractor, as are night - crawlers, reliable as any bait for all breeds of catfish. Put on a sinker and let the bait rest on the bottom with just enough tension so that you can feel a bite when it comes. It won't be long before the slow tap, tap, tap of an exploring catfish vibrates through the rod. Let him have the bait for a few seconds and then set the hook smartly. Natural baits, such as worms or small shindrs are also tradi- tional in fishing for bluegills, crappies, perch and other pan - fish, but you've got to use light tackle if you want any fun out of it, for the scrappy little pan species can put up a rampage comparable to that of a trout. If you like, you can troll, es- pecially for perch and crap- pies, and you'll get some of the fastest action of all. At this time of year deep trolling is the secret oi! success. Get your bait riding along the bottom and troll slowly, One day on a Cape Cod pond a friend and I trolled small mummychubs for big yellow perch. The methods which paid Off in summer were no good in spring, but we kept on experi- menting with different rigs. It was only when we got the bait down to the bottom with a sinker that we began to get re - Natural bait is good, but ar- tificial lures are effective for panfish and offer more fun and wider opportunities to the ang- ler. Besides, they give the fish- erman his first chance to try out some of his Christmas tackle and to sharpen up his techniques. Small spoons, spinners and spinning lures — the same ones you will use for trout — are all good medicine for bluegills, crappies and perch. They can be cast from shore or boat, or they can be trolled with equal ease and effectiveness. Each year about the time the first hylas began to peep, f used to go to a nearby millpond and cast a spinner and fly combina- tion for yellow perch. I'd cast as far out from shore as I could and let the lure sink to the bottom. Then 1'd retrieve it slowly with short twitches of the rod, keeping the lure deep. I seldom came home without an eatin' string of perch. Incidentally, the spinner and fly combination, good for most panfish, is one of the best of all artificial lures for perch and crappies. Pearl, gold or nickel are good colors For the spinner, and the flies should be gaudy— red, orange, blue, yellow or green. The many new spinning lures along with a spinning rod are almost unbeatable for spring panfishing. The rod is ideal, for it will put a lure where you want it, and its lithe springin- ess enables even a small panfish to put up a creditable battle. You can get more practice out of your spinning outfit on the panfish ponds in spring than you can in an entire season on the trout streams. GRATITUDE Mrs, Smith: "Are you the young man who jumped off the bridge into the river and saved my son from drowning?" Modest here: "Yes, madam." Mrs. Smith: "Wheic's .'nes tort tens?" eke Ellington Discusses Jazz Duke Ellington genially at- tacked "romantic stories" about jazz even though, he said, "I've cashed in on a lot of them," He was talking in Boston, where, among other things, he was in- vited to become an honorary member 01 a • national music fraternity, Kappa Gamma Psi. He told how someone in the twenties had started a story that "Ellington never writes music on paper," a story that has been perpetuated in vari- ous degrees ever since, With onomatopoetic humor, he de- scribed how he was supposed to convey to his musicians what he wanted them to play. Let the romantics now be advised: Duke Ellington writes music on paper. In fact he challenges the whole hazy idea that jazz is the impromptu expression of an untutored people. He recalled the story of "The Boy and the Black Stick" in roughly this fashion: "There's this little il- literate boy, you see, ragged as a can of spaghetti, and he's walking along through the grass, and he finds a black stick. Well, you and I know it's a clarinet, but to him it's a black stick. So he sits under a tree and blows on the end of the *tick and out comes music. (Mr. Ellington paused momentarily, possibly for an imaginary dra- matic chord.) And that's jazz!" Mr. Ellington laughs at the story, but he feels it illustrates a widespread mistaken notion about jazz. "I don't believe a man plays the blues because he has the blues," he said. "It's like any- art—sculpture, for in- stance. A sculptor can carve a figure of a crying woman with- out being a crying woman." * 5 * Thus Mr. Ellington suggested that jazz may be more conscious and less spontaneous than "ro- mantic stories" would suggest. "You have to have some kind of arrangement," he said, "if you have more than two peo- ple playing." At the moment he has a 18 -piece band. Jazz isn't just improvisation, Mr. Ellington said. In the first place, it takes five or 10 years for a musician to learn his in- strument, whether he studies formally or on his own. Where the conservatory student might work on exercise sheets, the would-be jazz player listens to recordings. Instead 01 scales he learns other players' bits of in- vention, and when he becomes professional he has these "licks" to draw on for his improvising. At least this is the way it used t0 be. Mr. Ellington told of his own early days as a pianist in Washington, D.C. "You had to get yourself a cat to answer your questions," he said. "When a man finds out what he wants to learn, that's the beginning of education." (Like most musicians, Mr. El- lington rarely uses in ordinary conversation the "jive talk" that jazz men are supposed to favor. The wprd "cat" was an excep- tion. It is an all-purpose term, usually with a favorable conno- tation; here it probably meant simply "musician.") In jazz today, Mr. Ellington continued, "you need every- thing you can get. You need the conservatory—with an ear to what's happening in the street." The latter phrase turned out to have a specific reference in Mr. Ellington's case, as he de- scribed his approach to compos- ing. "I tried to write what I I heard people whistling in the street" he said. Was this a kind of folk mu- sic? "They might have heard it from an old person," he said, "but it was just whistling to be whistling. People used to do a lot of walking, and they'd whis- tle. You'd ask someone, 'What is that you're whistling?' and he'd say—nothin'!" It was more fun composing in the early days, said Mr. Elling- ton, whose career goes back to the time when jazz was estab- lishing its traditions. Thera were great players, he said, but "some were rather limited." He recalled a trombone player who had "only six good notes." Mr. Ellington's problem was to use those six notes to advantage. It has long been observed by critics that Mr. Ellington's works seem to have been done with particular musicians in mind. Though some jazz purists insist that no orchestrated nm - sic is jazz, a case has often been made for Mr. Ellington's orches- trated music on the ground that when it is performed by musi- cians attuned to it, it becomes jazz. Mr. Ellington doesn't care what you call it. In fact he would just as soon remove the word "jazz" and its various categories from the - language. "It drives people away," he said. "I don't see a necessity for it." As for bop, cool jazz, and progressive jazz, Mr. Ellington said: "There are no new melo- dies, no new harmonies. It's all a matter of perspective — and • publicity, I think. Categories are unnecessary. If it sounds good, it sounds good." Assuming there is sue., a thing as jazz, Mr. Ellington made a seldom -heard claim fox the East as a pioneering area. He said that there was an east- ern movement independent from the New Orleans origins, and it involved particularly string players and "two-fisted pian- ists." They had extremely in- dividual styles, they were so- phisticated, and they had e::- cellent taste, he said. One of the pianists catal:l "only play in F -sharp, but man —I" The sentence broke off in silent admiration. "F -sharp's a wonderful key," In Boston Mr. Ellington took time to encourage a young pianist who can play in more than one key. She is Toshiko Akiyoshi, whose story illustra- tes the way jazz is crossing and recrossing boundaries these days. She has come from Tokyo On a scholarship to increase her technical knowledge of music. so that she can return better equipped to further jazz in Japan. Already she has called forth praise from American jazz enthusiasts. Some members of Mr. Elling- ton's current band started with him in the twenies. The group is on a tour that will eventual- ly take it to Colgate University the University of Virginia, the University of North Carolina and the University of Missis sippi, The band was playing in Ala- bama during the Autherine Lucy situation, Mr. Ellingtor pointed out, and he was askec by a school reporter if he we: going to do anything about it' Mr. Elligton said that he re plied, "If our performance com- mends respect, I think that" major contribution." i6;Progue 1,17"r:`,74 "They're getting desperate!" GOOD MEDICINE—Sure help for the doctor and his patient's is supplied by the cheeery faces of Bella Lyall, 18, and Gwen Curler, 21: Both Eskimo gals, they are nurses's aides at a medical station in Cambridge Bay, Canada.