Dough Ii Quotes

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Who let you in?” he demanded. “What’re you doing to my poor Sailor?” He held out an arm, and the parrot promptly strolled up to his shoulder. Erin pointed at the blackened back wall. “Your parrot called for help,” she explained. “I was walking down the hall and—” “Good gravy!” The man ran gnarled fingers through his hair, making it stand up straighter than ever. “The doughnuts! I remember now. Got ’em all ready to fry, and then I thought I’d rest a little while the oil was heating . . . Don’t ever do that!” he turned on Erin severely. “When you’re heating oil you better be on your toes every minute, and don’t you forget it!” Erin nodded. “I—I don’t make doughnuts,” she said. “My mother says it’s too dangerous.” “Your mother’s a smart woman,” the old man said. He touched the charred wall and shook his head. “I’ll have to fix this up,” he said. “Don’t want Grady to see it, that’s for sure. Have enough trouble with him over Sailor here. The man don’t like pets, you know.” He picked up a limp ring of dough from the floor. “Wasn’t really my fault, anyway. My wife said, ‘Cook,’ so I cooked. I bet she’s sorry now.” Erin looked around. There was nothing about the stark little kitchen to suggest a woman worked there, but she was relieved to hear the old man had a wife to look after him. In spite of his blustering, Erin could tell he was deeply upset. “When your wife comes home,” she said, “please tell her I’m sorry about the doughnuts. I couldn’t see anything to smother the fire with except the baking sheet.” “Oh, she’s here right now,” the man said cheerfully. “Can’t talk to her, of course, but she’s here. Been dead six years this August, but she never leaves me—not for a minute.” “Really?” Erin backed across the living room, ready to run. “I have to go now,” she said nervously.
Betty Ren Wright (The Scariest Night)
Chefs strived to entertain guests with their culinary feats, creating such whimsical concoctions as the mythical creature the “cockatryce,” a combination of capon legs and the body of a suckling pig. Robert May, the author of The Accomplisht Cook, amused diners by baking deer-shaped baked dough filled with red wine so it appeared to “bleed” when pierced. He also built a table-size battlefield with dough battleships and tiny dough cannons ignited by real gunpowder and even provided the ladies with eggshells filled with scented water to be thrown on the floor to dispel the scent of the gunpowder. Ring, bells, aloud; burn, bonfires, clear and bright, To entertain great England’s lawful king. KING HENRY VI, PART II, 5.1
Francine Segan (Shakespeare's Kitchen: Renaissance Recipes for the Contemporary Cook)
staggered about 40 minutes apart, and allow the dough to warm up
Teresa L. Greenway (Discovering Sourdough Part II Intermediate Sourdough)
There were micro-squabbles almost unbelievable to imagine now. The BBC was giving live coverage to the Beaulieu Jazz Festival in 1961 and they had to actually shut down the broadcast when trad jazz and modern jazz fans started to beat the shit out of each other, and the whole crowd lost control. The purists thought of blues as part of jazz, so they felt betrayed when they saw electric guitars—a whole bohemian subculture was threatened by the leather mob. There was certainly a political undercurrent in all this. Alan Lomax and Ewan MacColl—singers and famous folk song collectors who were patriarchs, or ideologues, of the folk boom—took a Marxist line that this music belonged to the people and must be protected from the corruption of capitalism. That’s why “commercial” was such a dirty word in those days. In fact the slanging matches in the music press resembled real political fisticuffs: phrases like “tripe mongers,” “legalized murder,” “selling out.” There were ludicrous discussions about authenticity. Yet the fact is, there was actually an audience for the blues artists in England. In America most of those artists had got used to playing cabaret acts, which they quickly found out didn’t go down well in the UK. Here you could play the blues. Big Bill Broonzy realized he could pick up a bit of dough if he switched from Chicago blues to being a folksy bluesman for European audiences. Half of those black guys never went back to America, because they realized that they were being treated like shit at home and meanwhile, lovely Danish birds were tripping over themselves to accommodate them. Why go back? They’d found out after World War II that they were treated well in Europe, certainly in Paris, like Josephine Baker, Champion Jack Dupree and Memphis Slim. That’s why Denmark became a haven for so many jazz players in the ’50s.
Keith Richards (Life)