今日教大家煮
📌酸菜魚
📌酸菜牛肉
📌芒果椰汁糕
🍏🍏母親節蘋果膠套裝購買連結🍏🍏
中文:https://bit.ly/3sswNiz
英文:https://bit.ly/3sqOajJ
20210417 live recipes
特別鳴謝easycook義工團寫的食譜
酸菜魚
材料: 桂花魚或其他魚,帶甜咸酸菜,大豆芽 ,泡椒 ,辣椒干,花椒 ,薑,蔥,紅辣椒,花椒
醃魚肉味料: 鹽少許,一隻蛋白,胡椒粉少許
做法: 1 燒熱鑊落油,猛火煎香魚骨,鹽少許,加滾水煮至湯濃白隔起魚骨
2 魚肉加鹽拌勻至感覺有些膠質後加一隻蛋白,胡椒粉少許拌勻待用
3 咸酸菜片薄切塊,白鑊炒至乾身
4 落油將薑絲,蔥頭,泡椒,大豆芽,咸酸菜炒香
5 開火煲熱魚湯落魚肉加鹽,菇粉各少許稍滾,魚肉鏟起放做法 4 面上,繼而淋上魚湯加一匙白醋
6 燒熱鑊落油爆香辣椒干及花椒後倒入酸菜魚湯內,紅椒粒,蔥花飾面
肥媽 Maria Cordero
YouTube Live – April 17, 2021 Recipe English Version
Hot and Sour Fish Soup with Pickled Mustard Greens
(YouTube video starts at 1:33.)
Ingredients:
Fish - 1 large sea bass (or your choice of fish)
(Separate the meat from the bones and head. Thinly slice the meat at 45-degree angle into bite size pieces. For larger pieces, make a slit in the center of each slice. Set aside.)
Chinese pickled mustard green (“syun choi” or “hum choi”) - 1 package
(Important to choose ones that are SWEET tasting instead of salty.)
(Slice horizontally into half then slice vertically into pieces. Pat dry then pan fry them without oil until dry and fragrant. Transfer to a bowl. Set aside.)
Chinese pickled green chili (“pao jiao”) - 1 jar
Ginger shreds
Garlic pieces
Bean sprouts
Salt - to taste
Mushroom seasoning powder - to taste
White vinegar - 1 tbsp
Potato starch noodles or glass noodles “fensi” - optional to add into the soup
Fish soup base ingredients:
Fish bones
Fish head
Ginger slices - for frying the fish bones and head
Ginger slices - for making the soup
A dash of salt
Very hot boiling water (to make the fish soup creamy white)
Marinade fish meat ingredients:
Salt - a dash
Egg white - 1
White pepper - a dash
Garnish ingredient:
Dried chili
Sichuan peppercorns
Green onion pieces
Fresh red chili pieces
Sichuan peppercorn oil
Methods:
1. In a bowl, add in all the fish meat, a dash of salt, and thoroughly mix until slightly sticky. Add in 1 egg white, a dash white pepper, and mix well. Set aside.
2. Heat up a wok to very hot and add oil. Sprinkle in a dash of salt, add in ginger slices, and add in fish bones and head to make the soup base. Fry them until fragrant and golden brown on HIGH heat, and remove the ginger slices.
3. Add in very hot boiling water, add ginger slices, and bring it to a boil and cook until creamy white. Turn off heat and remove all the fish bones and head and pour the soup through a strainer into a bowl.
4. Return the soup back to the wok and add in marinated fish meat prepared in Step 1 and simmer until cooked. Add in salt and mushroom seasoning powder to taste. Set aside.
5. Heat up a wok, add in oil. Add in ginger shreds, garlic pieces, Chinese pickled green chili, and stir fry until fragrant. Add in bean sprouts, Chinese pickled mustard greens, and mix well. Add in cooked fish meat and fish soup.
6. Drizzle in 1 tbsp of white vinegar.
7. Heat up a separate frying pan, and add oil. Add in dried chili, Sichuan peppercorns, and pour on top of the soup.
8. Garnish with fresh red chili and green onion pieces.
9. Drizzle Sichuan peppercorn oil on top.
🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟
酸菜牛肉
材料: 牛肉,青紅辣椒,咸菜
香料: 薑一片,蒜一粒
醃料: 糖少許,胡椒粉少許,鼔油,生粉適量
做法: 1 牛肉先醃備用
2 落油爆香薑,蒜,青紅辣椒,落牛肉炒,最後加咸菜炒勻即可
備註: 咸菜有二隻,一帶甜,另一帶咸,今次是帶甜
咸菜處理可參考酸菜魚
煮酸菜牛肉可試味需否加糖
肥媽 Maria Cordero
YouTube Live – April 17, 2021 Recipe English Version
Stir Fried Beef with Pickled Mustard Greens
(YouTube video starts at 26:56.)
Ingredients:
Beef steak slices
(You can replace with beef tenderloin or pork.)
Chinese pickled mustard green (“syun choi” or “hum choi”) - 1 package
(Important to choose ones that are SWEET tasting instead of salty.)
(If you are using the SALTY type, just add more sugar.)
(Slice horizontally into half then slice vertically into pieces. Pat dry then pan fry them without oil until dry and fragrant. Transfer to a bowl. Set aside.)
Red and green sweet bell peppers - sliced
Minced ginger
Minced garlic - 1 clove
Marinade beef ingredients:
Cooking oil
Sugar
Light soya sauce
White pepper
Corn starch / flour
Methods:
1. In a bowl, add in sliced beef steak, cooking oil, sugar, light soya sauce, white pepper, corn starch, and mix well. Set aside.
2. Heat up a wok, add oil. Add in minced ginger, minced garlic, red and green sweet bell pepper slices, marinated beef slices, and briefly stir fry until fragrant. Transfer to a bowl. Set aside.
3. Heat up the wok, add Chinese pickled mustard greens. Optional to add sugar now if you find it salty.
4. Return the partially cooked beef back to the wok, and mix well. Transfer to serving plate. Serve.
🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟
芒果棷汁糕
材料:
凍滾水 250 ml
奶 250 ml
魚膠粉 35 gr (可改用魚膠片5-6片)
沙糖 100 gr (可依個人喜好加減)
棷奶 1罐
芒果 2-3個
做法:
1. 凍滾水、奶 、魚膠粉、沙糖放入煲內,開中大火煮,邊煮邊輕輕攪拌至魚膠粉和糖完全溶解。
2. 加入棷奶,攪拌至混合後關火,放涼備用。注意:加入棷奶後不要煮太久,以避免油水分解。
3. 芒果去皮切粗條或粗粒,排放入糕盆內,倒入已放涼棷奶混合液,蓋好後放入雪櫃雪至硬身便可
肥媽 Maria Cordero
YouTube Live – April 17, 2021 Recipe English Version
Mango Coconut Pudding
(YouTube video starts at 35:35.)
Ingredients:
Drinking water - 250ml (do not use tap water)
Milk - 250ml
Gelatin powder - 35g (or replace with agar agar)
Sugar - 100g or to taste
Coconut milk - 1 can
(Add in last to avoid the oil separating, which will result in two layers when pudding is set.)
Fresh mangos - cut into your choice of designs. (Cubes or strips or floral.)
(Cut into THICK pieces to avoid pieces from moving.)
Methods:
1. In a cooking pot, add in drinking water, milk, gelatin powder, sugar, and cook until sugar and gelatine have melted and little bubbles appear by continue stirring.
2. Add in coconut milk and taste test for sweetness.
3. Let it cool down to room temperature.
4. In a mould, add in fresh mango pieces on the bottom layer then pour coconut milk mixture on top.
5. Put in the refrigerator to set.
6. Cut into cubes. Serve.
To create mango layers:
Optional to layer mango pieces on the bottom of the mould then refrigerate until they are a bit dehydrated and stick to the mould. This is to prevent them from moving or floating.
Once the mango pieces are set on the bottom of the mould, pour half of the coconut milk mixture in and set in the refrigerator for about 30 minutes.
After 30 minutes, or once the pudding is set, add the remaining mango pieces, coconut milk mixture, and refrigerate it until set and firm. You may create more than 2 layers.
Once set, loosen the pudding from the mould and transfer to a serving plate with the bottom of the pudding facing upward displaying the mango pieces design. Slice and serve.
同時也有1部Youtube影片,追蹤數超過70萬的網紅Spice N' Pans,也在其Youtube影片中提到,Singaporean cuisine is multi-faceted because of cultural influences. While a majority of Singaporeans are Chinese, we also have Malay, Indian and Eura...
base or bass 在 瑪莉咬凱利 Mary Bites Kerry Facebook 的最佳貼文
你有看過這麼多長號一起被吹嗎?
日籍長號手加藤真弘帶來的Back Bone樂團這週末就要來表演了~
兩位MBK的專輯製作人Elisa Lin 林依霖、老鄧都會一同演出喔!
10/29(Sat) Revolver, Taipei
地址:台北市中正區羅斯福路一段1-2號
(門票400含一杯飲料,學生300)
10/30(Sun)Sappho de Base, Taipei
地址:台北市大安區安和路一段102巷 1號 B1
(門票400含一杯飲料)
Back Bone Fan Page: https://www.facebook.com/backbonetrb
10/29(Sat) Revolver, Taipei
地址:台北市中正區羅斯福路一段1-2號
(門票400含一杯飲料,學生300)
10/30(Sun)Sappho de Base, Taipei
地址:台北市大安區安和路一段102巷 1號 B1
(門票400含一杯飲料)
喜愛放克音樂及長號的樂迷們請注意~
由日本長號手——加藤真弘(Kato Masahiro)領軍的 super trombone 樂團 Back Bone 長號重奏即將來台!這個在台灣非常難得一見的編制,10/29 將在 Revolver 首先與大家見面,並在隔日10/30於 Sappho de Base 帶來一整晚的演出!
日本 Back Bone 長號重奏,是由五隻長號搭配節奏組所組成, super trombone 編制的樂團,曲風偏向 Funk 與 Soul ,在日本國內常常與知名樂手合作演出,包括美國爵士長號大師Michael Davis與日本小號神人 Eric Miyashiro 等等。
日本長號手加藤真弘,昭和音樂大學畢業,是日本新生代的優秀長號演奏家,目前是知名的樂器公司 Michael Rath 的代言人,同時也為 Back Bone 長號重奏擔任編曲的工作。
此次在台的演出是加藤先生與台灣優秀樂手共同合作,演出他為 Back Bone 所編寫的專屬樂曲,歡迎大家來一同感受放克長號的魅力!
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Bandleader and trombonist, Kato Masahiro, studied the trombone at Syouwa Music University. He was in Tokyo Disney Sea's main band and McDonald's band named Big Mouth. Kato is an artist for UK's Michael Rath Alto and Tenor Trombones since 2013.
Now the band is 『Back Bone!』,which plays funk and soul music. Kato is the bandleader and is also in charge of the musical arrangements.
『Back Bone!』has co-starred with many greatest musicians! Michael Davis and Eric Miyashiro previously guested in this band.
If you like trombones, love funk or soul music, don't miss out on this!!
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演出名單:
Trombone:
加藤真弘(Kato "Billy" Masahiro)
山縣真梨子(Mariko Yamagata)(tb&vocal),
鄧世偉
林依霖(Elisa Lin)
鄧亦峻(Yichun Teng)
Guitar: 翁光煒(Wico Weng)
Bass: 張為智(大頭 Datou)
Drum: 坂本健志(Takeshi Sakamoto)
---------------------------
台灣樂手簡介:
Trombone鄧亦峻(Yichun Teng)
指揮、長號手、作曲及編曲者。在2013年五月,以優異成績(Magna Cum Laude)獲得美國麻州百克里音樂院(Berklee College of Music)的爵士作曲文憑,並在2016年六月自東華大學音樂系取得爵士演奏碩士。
在百克里音樂院求學時,雙主修長號演奏以及爵士作曲。爵士,拉丁,放克以及古典都是他喜愛的音樂。他對於 big band, funk band, jazz band, ska band 等諸如此類的演奏或錄音相當拿手並且已累積非常豐富的經驗。在旅美留學期間,參與了無數的電影配樂和各式古典流行爵士音樂的錄音。
回台後,與台大騷動爵士大樂團合作協奏曲以及個人創作台灣首演,廣受好評。自2014年與鳳凰木愛樂管樂團合作演出『天使密語』巡迴音樂會,除了擔任音樂會指揮之外,創作並首演受瑪麗亞基金會委託作曲『心之海』佳評如潮。在台北活躍於爵士音樂表演以及創作,亦從事即興技巧,長號演奏,樂團訓練還有作曲方面的教學。目前為政治大學爵士大樂團指揮,絲竹空合奏班及享巷空間樂理課程師資;演奏方面曾擔任蘇打綠、A-Lin、黃玠演唱會長號手,並擔任臺北爵士大樂隊長號手。
Trombone 鄧世偉
國中進入學校管樂隊開始學習長號,亦擅長各式銅管樂器。青少年時期參與多種不同形式樂團,學習各種風格音樂,藉此吸收與學習音樂知識。
部分音樂經歷如下:
曾服役於中華民國國防部示範樂隊 鼓霸大樂隊長號手 底細爵士樂團長號手
多次參與電視綜藝節目錄影唱片錄音、藝人演唱會、大型音樂會等 曾經在犁榭、China Pa、NYNY 等音樂餐廳固定演出 2002 水岸爵士音樂節受邀演出 台中爵士音樂節受邀演出 台中爵士音樂節爵士傳習長號分部講師 兩廳院爵士音樂夏令營長號分部講師
現為:Montunos 拉丁樂團長號手 錄音室、演唱會現場session player
Trombone林依霖(Elisa Lin)
•專長 - 製作/編曲/配樂/歌手/和聲/樂手/詞曲創作
•演出樂器 - 吉他/bass/小中提琴/長號/鋼琴/長笛/爵士鼓
•就讀美國紐約大學NYU與南加大USC音樂產業系Music Industry Major,畢業於南加大。
•美國大學時期實習生/工作經歷:紐約 Deston Songs Publishing (音樂版權公司), 洛杉磯 Varase Sarabande Records (電影配樂唱片公司), Tsunami Entertainment (邦喬飛樂團經紀公司), Glenwood Place Studios (大型錄音室)。
•台灣工作經歷:八大電視台(音樂製作專員), 嘉瑪音樂Gamma Records(製作助理), 東城音樂 Easttown Music (編曲師/錄音師), freelance production。
•目前擔任 [當道音樂 Downtown Music] 錄音室副總, 音樂製作人, 創作型歌手, 演唱會樂手。
Guitar翁光煒(Wico Weng)
2000年開始自學木吉他,高中對搖滾樂產生極大興趣而開始學習電吉他,大學時期師事門田英司,並於音樂教室開始任教。
2013年秋季入學美國洛杉磯音樂家學院Musicians Institute(M.I)。就學期間師事Vadim Zilberstein(Earth, Wind & Fire)、Scott Henderson、Allen Hinds、Jinishi Ozaki、Dave Hills等名師,第三學期開始擔任一年Funk Live Performance Workshop吉他助教。
2015年回國後積極從事錄音、演唱會樂手、音樂教學等。
合作藝人:羅大佑、蔡健雅、MC Hotdog、李佳薇、VK克、黃鴻升、林依霖 並時常於河岸留言、Sappho Live Jazz、Brown Sugar、Marsalis、Legacy、The Wall、MajiMaji、Red Room、月見君想、板橋飛、台北台中爵士音樂節等各大小展演空間演出
Bass張為智 (大頭 Datou)
最具旋律性solo 跟攻擊性的貝斯線條,在Double Bass 跟 Electric Bass 共同擁有蹚目結舌的極快速度跟音色變化。 2005~2008 年 –骨頭樂團Bass 手,在台灣各地知名Live house 超過百場演出,並屢次榮獲比賽冠軍。
2008~2010 年 – 前往美國Berklee College of Music 師承Whit Browne, Anthony Vitti, Daniel Morris, Bruno Raberg, Oscar Stagnaro 學習 Jazz, Funk, 及世界音樂. 並於美國波士頓受邀參與各種不同音樂類型的現場演出,以及專輯錄製.
2008~2010 年 – 於美國錄製吉他手Gadi Caplan 專輯及巡迴演出
2009~Present – 現任 Draft 音樂總監與Bass 手。與諸多知名爵士樂手及藝人合 作演唱會及專輯錄音。
演出:於Att for Fun concert stage,台中爵士音樂祭, StreetVoice 大登陸,簡單生活節,混種音樂節,海洋音樂祭,台客搖滾音樂祭, 春天吶喊音樂祭…etc。常於河岸留言,法藍瓷,Marsalis,Sappho…等live house 及音樂餐廳不固定演出。
合作樂手及藝人: 杜德偉,任賢齊,王若琳,LARA,馬念先,Martin“Musa”Musaubach,董舜文, 呂聖斐,楊曉恩,莊智淵,唐么玫…etc.
Drums坂本健志(Takeshi Sakamoto)
21歲開始於日本從事職業演出及錄音工作和多個當地藝人合作過電視節目、廣播、廣告、音樂劇 等。表演的曲風包含了流行、搖滾、爵士、放克、節奏藍調、金屬搖滾及拉丁等。
2009年前往美國紐約進修,先於Brooklyn Music Conservatory就讀主修爵士,之後轉學到City College of New York BFA, Jazz Department 同樣主修爵士,並在當地從事演出,和一些世界級爵士樂手合作,如Jerome Harris(Sonny Rollins Band), Tex Allen(Gil Evans Orchestra), Andy Mackee(Elvin Jones Quartet), Jason Marshall(Charles Mingus Bigband),etc.
曾師事Greg Hutchinson, Marc Fever, Nathaniel Townsley 學習爵士鼓。 2012年搬到台灣,曾於新北市國際鼓藝 節「全國鼓王爭霸賽2013」現代鼓樂部榮獲金鼓王的殊譽。
在台灣演出經歷:兩廳院爵士戶外派對
2012,2014 演出台中爵士節
2013, 2014 演出台中爵士節
新秀比賽 2013 第一名
新北市全國鼓王爭霸賽 爵士鼓 金鼓王(第一名)
與Matzka 樂團 日本Summer Sonic2013, 大高雄超級搖擺日, Canada Music Week(Toronto) , 海洋音 樂祭, 金曲音樂節 ,etc...
與曹格 曹格世界巡迴演唱會2014
與齊秦 齊秦飛行魚世界巡迴演唱會2014
與辛曉琪 加拿大 多倫多 演出
與底細爵士大樂隊 國父紀念館 , 中山堂 演出 Etc,,,
共演歌手(台湾、中国) 曹格 Gary Chaw 齊秦 Chyi Chin 辛曉琪 Lara 梁心頤 Hana 花水木 Matzka 家家 (錄音)
base or bass 在 YOSHITOMO NARA Facebook 的精選貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
base or bass 在 Spice N' Pans Youtube 的精選貼文
Singaporean cuisine is multi-faceted because of cultural influences. While a majority of Singaporeans are Chinese, we also have Malay, Indian and Eurasian ethnic groups. We've been taught since young to embrace racial diversity and maintain social harmony. This is not only evident in our language - Singlish, which is a variety of English spoken in Singapore, incorporating elements of Chinese and Malay, but also the food that we eat. Spicy food is rather common in Singapore so when Sichuan cuisine is brought over to our shore, they immediately became a hit. Almost all the coffeeshops or foodcourts in Singapore these days have at least one stall selling Sichuan food. Sichuan (Szechuan or sometimes spelt as Schezwan) food has a unique bold and lip-numbing spiciness in most of their dishes because of the liberal use of garlic, Sichuan peppercorns and other spices. One of their most popular dishes is this Spicy Fish Hot Pot or Chong Qing Grilled Fish. The soup base of this dish is good to go with rice and noodles. You can also add any side ingredients, such as beancurd skin, tofu, mushrooms, prawns, instant ramen noodles, etc to this dish. If you have a party coming up, you can consider serving this over a portable stove and have the side ingredients placed on the side so that your guests can cook while they eat. It's a really nice experience. Just prepare extra stock because we can guarantee you that a top-up is required. If you've never tried this yummy dish before, do give it a go.
See the ingredient list below for your easy reference.
Hope you can recreate this yummy dish in the comfort of your home. Happy cooking!
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Sichuan Spicy Fish Hot Pot (Szechuan Chong Qing Grilled Fish) 重庆烤鱼
Ingredients:
Serves 6 pax
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Grilled fish - bake at 200C or 400F for 20 mins
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400g fresh fish (you can use sea bass, snapper, etc)
1 teaspoon salt
0.5 teaspoon light soy sauce
1 tablespoon cooking oil
0.5 tablespoon chilli powder
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Soup base
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20g young ginger - chopped
5 cloves garlic - chopped
2 tablespoons Sichuan peppercorns
15 dried chilli (rehydrated & cut into small pieces)
2 tablespoons Chinese spicy paste (Xiang La Jiang 香辣酱) can use spicy broad bean paste 豆瓣酱
1.2L water
1 chicken stock cube
1 teaspoon sugar
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Other ingredients
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2 potatoes - thinly sliced
300g enoki mushroosm
100g soybean sprouts
50g sweet potato vermicelli (can be replaced with glass noodles/ tanghoon)
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Don't know where to get the ingredients or don't know how they look like? See the links below.
Light soy sauce https://amzn.to/3u0e27C
Chilli powder / flakes https://amzn.to/3tX8ydE
Sichuan peppercorns https://amzn.to/3t3lJc5
Dried chilli https://amzn.to/3gFzXNy
Spicy sauce https://amzn.to/3dRcnM3
Chicken stock cube https://amzn.to/3dS7Jxe
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Looking for similar cooking equipment like the one we used in the video? These might interest you:
Granite pan (used for blanching) https://amzn.to/2V5v9oT
Buy the exact set in Singapore: https://heyhommies.com/product/la-gourmet-shogun-twister-family-set/
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Filming equipment: iPhone 11 Pro Max (Get from Amazon https://amzn.to/3eA24tz)
Microphone: Sennheiser AVX digital wireless microphone system
Get Sennheiser wireless microphone in Singapore: https://singapore.sennheiser.com/products/avx-mke2-set-3-uk?_pos=2&_sid=adb86a9d8&_ss=r
Get Sennheiser wireless microphone from Amazon: https://amzn.to/2NILqMR
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If you like this recipe, you might like these too:
Sichuan Spicy Chicken 辣子鸡
https://youtu.be/-hoxfyzt2K8
Chinese Spicy Seafood Noodles 香辣炒面
https://youtu.be/OeO8OAw4kDE
3 Simple Chinese Szechuan Appetizer Recipes! Spicy Wonton 红油抄手 Cucumber Salad Century Egg Tofu 皮蛋豆腐
https://youtu.be/B9QAsBcOeJk
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Disclaimer: Spice N' Pans is not related to these products and cannot guarantee the quality of the products in the links provided. Links are provided here for your convenience. We can only stand by the brands of the products we used in the video and we highly recommend you to buy them. Even then, preference can be subjective. Please buy at your own risk. Some of the links provided here may be affiliated. These links are important as they help to fund this channel so that we can continue to give you more recipes. Cheers!
