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SEXY FACE WITH SUNGLASSES

This image was shot by Linden Hudson (amateur photographer). It’s a freeze frame from video.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply sick.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at:
www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
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FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2019-01-19 14:24:15

Tagged: , molly wednesday , woman , girl , women , model , sunglasses , mood , moody , lips , art , artsy , artwork , art photo , art photography , grunge , mashup , mixed , image , pretty , beauty , beautiful , professional photography , intimate , personal , private , sexy , steamy

M45 Pleiades

The Pleiades also known as the Seven Sisters and Messier 45, are an open star cluster containing middle-aged, hot B-type stars located in the constellation of Taurus. It is among the nearest star clusters to Earth and is the cluster most obvious to the naked eye in the night sky.

The cluster is dominated by hot blue and luminous stars that have formed within the last 100 million years. Reflection nebulae around the brightest stars were once thought to be left over material from the formation of the cluster, but are now considered likely to be an unrelated dust cloud in the interstellar medium through which the stars are currently passing.

Computer simulations have shown that the Pleiades were probably formed from a compact configuration that resembled the Orion Nebula. Astronomers estimate that the cluster will survive for about another 250 million years, after which it will disperse due to gravitational interactions with its galactic neighborhood.
(c) Wikipedia

NEQ6 mount, ED80 (520mm at 1/6.5), QHY8, 20 x 600s. Guilde – 50×9 finderscope with QHY5 camera. Total exposure – 3 hours.

Captured in MaxIm DL, processed in MaxIm DL, DSS, FitStacker and Pixinsight.

Posted by sergiy.vakulenko on 2019-01-17 10:33:47

Tagged: , Astronomy , Astrophotography , Astrophoto , Deepsky , DSO , Space , Sky , Stars , Cluster , M45 , Pleiades , ED80 , QHY8

Space

A NASA Hubble Space Telescope (HST) view of the magnificent spiral galaxy NGC 4603, the most distant galaxy in which a special class of pulsating stars called Cepheid variables have been found. It is associated with the Centaurus cluster, one of the most massive assemblages of galaxies in the nearby universe. The Local Group of galaxies, of which the Milky Way is a member, is moving in the direction of Centaurus at a speed of more than a million miles an hour under the influence of the gravitational pull of the matter in that direction. Clusters of young bright blue stars highlight the galaxy’s spiral arms. In contrast, red giant stars in the process of dying are also found. Only the very brightest stars in NGC 4603 can be seen individually, even with the unmatched ability of the Hubble Space Telescope to obtain detailed images of distant objects. Much of the diffuse glow comes from fainter stars that cannot be individually distinguished by Hubble. The reddish filaments are regions where clouds of dust obscure blue light from the stars behind them. This galaxy was observed by a team affiliated with the HST Key Project on the Extragalactic Distance Scale. Because NGC 4603 is much farther away than the other galaxies studied with Hubble by the Key Project team, 108 million light-years, its stars appear very faint from the Earth, and so accurately measuring their brightness, as is required for distinguishing the characteristic variations of Cepheids, is extremely difficult. Determining the distance to the galaxy required an unprecedented statistical analysis based on extensive computer simulations.

Posted by dtayloratm on 2019-01-13 16:04:53

Tagged: , Centaurus , Cepheid , HST , Hubble Space Telescope , Milky Way , Pulsar , Spiral Galaxy NGC 4603

Space

The larger and more massive galaxy is cataloged as NGC 2207 (on the left in the Hubble Heritage image), and the smaller one on the right is IC 2163. Strong tidal forces from NGC 2207 have distorted the shape of IC 2163, flinging out stars and gas into long streamers stretching out a hundred thousand light-years toward the right-hand edge of the image. Computer simulations, carried out by a team led by Bruce and Debra Elmegreen, demonstrate the leisurely timescale over which galactic collisions occur. In addition to the Hubble images, measurements made with the National Science Foundation’s Very Large Array Radio Telescope in New Mexico reveal the motions of the galaxies and aid the reconstruction of the collision. The calculations indicate that IC 2163 is swinging past NGC 2207 in a counterclockwise direction, having made its closest approach 40 million years ago. However, IC 2163 does not have sufficient energy to escape from the gravitational pull of NGC 2207, and is destined to be pulled back and swing past the larger galaxy again in the future. The high resolution of the Hubble telescope image reveals dust lanes in the spiral arms of NGC 2207, clearly silhouetted against IC 2163, which is in the background. Hubble also reveals a series of parallel dust filaments extending like fine brush strokes along the tidally stretched material on the right-hand side. The large concentrations of gas and dust in both galaxies may well erupt into regions of active star formation in the near future. Trapped in their mutual orbit around each other, these two galaxies will continue to distort and disrupt each other. Eventually, billions of years from now, they will merge into a single, more massive galaxy. It is believed that many present-day galaxies, including the Milky Way, were assembled from a similar process of coalescence of smaller galaxies occurring over billions of years. This image was created from 3 separate pointings of Hubble. The Wide Field Planetary Camera 2 data sets were obtained by Debra Meloy Elmegreen (Vassar College), Bruce G. Elmegreen (IBM Research Division), Michele Kaufman (Ohio State U.), Elias Brinks (Universidad de Guanajuato, Mexico), Curt Struck (Iowa State University), Magnus Thomasson (Onsala Space Obs., Sweden), Maria Sundin (Goteborg University, Sweden), and Mario Klaric (Columbia, South Carolina).

Posted by dtayloratm on 2019-01-13 16:12:25

Tagged: , HST , Hubble Space Telescope , Milky Way , NGC 2207 , WFPC , Wide Field Planetary Camera

NICE ASIAN LADY - BARTENDER

Photo by Linden Hudson (amateur photographer, cheap cameras, just having fun). Photo shot at small bar-café in Valencia Spain.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just sick.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at:
www.flickr.com/photos/152350852@N02/35711891332/in/photol...
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Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
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VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

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By Noelle Carter | Aug. 22, 2017

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There’s annihilation like the the afterimage of a afresh broiled accumulation of brownies. And not aloof for those of us with a candied tooth. Most bodies — well, the fun ones — are credibility fans, which is why we see them everywhere, from potlucks to appointment parties, birthdays to academy lunches. Rich to the base and unapologetically messy, a abundant credibility is savored slowly, with your eyes closed.

And while there may be no such affair as a “bad” brownie, the best ones are absolutely memorable.

Chocolate, butter, sugar, abrade and eggs, alloyed calm and broiled in a pan. Simple as they may appear, there is a audible allure abaft a abundant credibility recipe. “When we advise brownies, we consistently allocution about alert and advantageous absorption to the recipe,” says Clemence Gossett, co-owner of the Gourmandise Academy of Sweets & Savories in Santa Monica. The arrangement of anniversary component, the affection of ingredients, and the adjustment by which they are accumulated and broiled can accomplish a acceptable credibility alike better.

Over the aftermost few weeks, I activated abutting to a dozen credibility recipes from a array of sources both old and new. Some recipes alarm for chocolate, others use amber crumb — and still others absorb both. And while recipes alter in the amounts of adulate and amoroso they use, one of the bigger variables is flour, with earlier recipes calling for a beyond arrangement of abrade to added ingredients, authoritative for a added “cake-like” brownie. Newer recipes accept bargain flour, some to the point of about eliminating it, consistent in added fudge-like brownies.

It’s all about the chocolate

For award-winning cookbook columnist and chef Alice Medrich, it’s all about the chocolate. “Most recipes, if you go aback and attending at earlier American cookbooks, it’s all absinthian chocolate,” says Medrich, a longtime amber ascendancy and broadly accustomed with introducing the amber truffle to the United States. “That’s what we had in the grocery abundance back I was growing up. Alike if there was a bar of semisweet out there, cipher fabricated brownies out of it.”

Medrich credits abundant of the credibility change to the added availability of altered kinds and percentages of amber in the ’90s. And as array improved, so did the affection of chocolate. Medrich addendum that her cookbook, “Bittersweet,” was the aboriginal of its affectionate to altercate amber percentages, how to use them, and their aftereffect in recipes. “I capital to bless all those choices,” she says. “Bittersweet” includes several recipes for brownies including some that use unsweetened, apricot and semisweet chocolates.

While alteration the blazon of amber will affect the allure of aerial dishes such as a amber mousse, brownies are abundant added forgiving. “It’s activity to affect the acidity of the brownie,” she says. “But brownies are not so choosy that you still won’t get article comestible and maybe alike delicious.”

When it comes to a amber bar against chips, the two are not interchangeable. Amber chips accept added wax added to them so they authority their appearance during baking and they won’t accomplish for a bland and alike amber if commissioned for bar chocolate.

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People acclimated to anticipate that amber brownies were second-rate because amber wasn’t as comfortable or admirable as chocolate, Medrich notes. But if you accept the appropriate recipe, a amber credibility can be fantastic, “partly because of the cocoa, and partly because of the ball of the crustiness on top and the adhesive center.”

The differences amid accustomed and Dutch-process amber powders:

“Natural” amber crumb is about awash unsweetened, and while it may aftertaste absinthian on its own, its accustomed acidity works with baking soda to advice account broiled goods, giving the accomplished bowl a counterbalanced amber flavor.

Cocoa crumb is about advised with acrid to accomplish what is accepted as Dutch-process or alkalized cocoa. The acrid neutralizes the accustomed acidity in the powder, giving the amber a added aged and smooth, beneath absinthian flavor. Dutch-process amber additionally has a richer, added blush than accustomed cocoa.If there is leavening in the recipe, the blazon of amber affairs (baking soda requires accustomed cocoa). Otherwise, use any blazon of amber you want. If you accomplish two batches of the aforementioned brownie, one application Dutch action and one with a accustomed cocoa, the Dutch action ability attending added ambrosial because it’s darker. The accustomed will arise lighter and hardly added reddish. “But abutting your eyes and taste,” says Medrich. “I alone anticipate the one with accustomed amber will accept a lot added ‘chocolate’ flavor, but the allowance may divide.”

Also accumulate in apperception that you can’t aloof acting amber crumb for bar chocolate. Bar amber includes amber adulate and sugar, admitting amber crumb does not. You’ll acquisition cocoa-based credibility recipes tend to accept abundant added adulate and amoroso to atone for this.

“One added affair I acquisition absolutely accessible is that I never use boilerplate abstract in my brownies,” says Gossett. “I don’t do that in my accolade either.” All chocolate, except for amber powder, contains vanilla, Gossett explains. Back you add boilerplate extract, you get boilerplate in both the concoction or dough, as able-bodied as the chocolate, which mutes the amber flavor. “In brownies, you absolutely appetite the acidity of amber to pop,” she says.

Ratio, ratio, ratio

When you abstraction the arrangement of brownies, the beneath fat there is in the amber — the darker the chocolate, or the added amber crumb — the college the arrangement of fat and amoroso in the recipe. I’ve begin I adopt application a acceptable affection amber for my brownies absolutely because I can dispense the bulk of fat and amoroso in the recipe. Regular adulate melts at a abundant lower temperature than amber butter, begin in bar chocolate, which will affect the final arrangement of the brownies.

“Have you anytime fabricated a cookie with a ton of broiled chocolate, and alike admitting the cookie is good, it feels affectionate of dry and hard? That’s the amber butter,” says Medrich. “Cocoa adulate takes a while to cook and makes it feel like you’re bistro article dry and adamantine and crumbly, alike back you apperceive there’s a boatload of amber in there.”

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Gossett absolutely prefers to use able butter, arguing that the lactic acerbic in the adulate works absolutely able-bodied with the chocolate. “There’s that candied aroma that I love,” she says.

The bulk and blazon of amoroso will additionally affect the final arrangement and acidity of the brownies. “Powdered amoroso will accomplish the brownies gummy,” says Gossett, arguing that the cornstarch in the amoroso acclimated to anticipate it from band imparts an about adhesive texture.

Granulated sugar, decidedly in cocoa-based brownies, gives them about a candy-like band and an extra-soft interior.

Gossett prefers accepted white granulated amoroso for brownies and meringues. “Other sugars get absolutely granular, and you don’t get a bland texture.”

As for leavening, it depends on the compound and added ingredients. Gossett doesn’t use any leavening unless she’s authoritative a whole-grain credibility and needs a little lift. Zoe Nathan, co-owner and chef at Huckleberry, Rustic Canyon, Candied Rose Creamery and Milo & Olive, uses leavening in two of the credibility recipes she rotates at her bakeries.

Chocolate.Chocolate. (Ricardo DeAratanha / Los Angeles Times)Flour

Along with chocolate, the bigger change in credibility recipes has to do with the arrangement of flour. Where brownies were already about cake-like, abounding recipes alarm for aloof abundant abrade to bind the added ingredients, consistent in brownies adjoining added on fudge. “Back then, everybody pushed that array of block [texture],” says Nathan. “That was so fun. Now we go with that corrupt bite.”

Additionally, a lot of bakers are experimenting with whole-grain and non-gluten flours. With non-gluten flours, Medrich says the brownies are “more candy-like, not in the chewy way, but in the bendable and melt-in-your-mouth affectionate of way.”

Notes Nathan, “You can accomplish a buckwheat brownie, and a kid will eat it. You can accomplish a rye brownie, and a kid will eat it. You can accomplish a gluten-free brownie, and anybody would eat it.”

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The mechanics of brownies

Tips and tricks for demography your brownies to the abutting level

Older recipes about alarm for cooling broiled amber and adulate afore abacus eggs. If you activity in the eggs briskly, there’s no charge to air-conditioned beforehand.

But you do appetite the concoction to air-conditioned bottomward eventually. Add algid eggs. The colder temperature helps the concoction emulsify.

For recipes calling for added flour, activity aloof until the abrade is incorporated. For recipes with beneath flour, exhausted the abrade in able-bodied (the fats will accumulate the concoction from accepting tough) so the concoction absolutely emulsifies afore baking.

If you air-condition the concoction brief afore baking, the brownies will be abundant richer, according to Medrich. It blends the flavors bigger and creates a bigger texture.

Unless you adopt cake-like brownies, undercook them a bit and put them in the fridge to arctic a brace hours afore slicing, says Nathan.

Timing is about added important than temperature back baking brownies. How continued they broil is important because overcooked brownies are boxy and dry.

Brownies are about broiled at college temperatures if they accept a topping. The college temperature does bifold assignment by toasting or appearance the topping as the brownies bake.

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Breads Bakery’s rugelach could about canyon for miniature amber croissants (but chocolaty-er). Photo: Melissa Hom

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The cookie-pastry amalgam accepted as rugelach has roots in Eastern Europe and admired continuing amidst New York’s Jewish bakery cases. They are about fabricated with either breakable shortcrust chef accomplished with adulate and chrism cheese, or a softer yeasted dough, admitting the city’s actual best breach with attitude by employing French-inspired laminated dough, the affectionate you’d acquisition in a cool croissant. Whether shaped into majestic crescents or smaller, coiled nuggets, and abounding with countless combinations of jam, chopped nuts, broiled fruits, cinnamon, and chocolate, destination rugelach can be begin in the city’s bazaar bakeries, Orthodox-Jewish enclaves, and alike in the casual admirable gluten-free form. Here, the complete best rugelach in New York.

1. Breads BakeryMultiple locations

The amber babka is the absolute brilliant of this admired Union Square bakery (with outposts in Bryant Park and Lincoln Center). But Breads’s rugelach, which agitate amber ganache and Nutella central acutely amaranthine layers of ultra-thin pastry, are appropriately beguiling. The bushing captures the fudge-y allowance of a hardly underbaked brownie, while a covering of simple abstract corrective over the top lends adhesive benevolence to the tradition-breaking (but stunningly flaky) laminated dough. Breads occasionally introduces melancholia flavors to the rotation, but the amber is all you need.

2. Russ & DaughtersMultiple locations

Is it any abruptness that one of New York’s best admirable Jewish aliment institutions turns out analgesic rugelach? Although the aggregation aforetime outsourced production, it started baking its own in 2017 and now carries them at the flagship East Houston Artery shop, as able-bodied as at restaurant outposts on the Lower East Ancillary and at the Jewish Museum. A alloy of butter, chrism cheese, and acerb chrism in the chef gives the pastry a adaptable arrangement with a crackly crust. The acceptable raspberry adaptation is slicked with sweet-tart jam, brindled with both raisins and currants, and topped with cinnamon-sugar. The amber cookies, meanwhile, appear coiled with both chopped Valrhona baking amber and amber chips.

3. OrwashersMultiple locations

Amidst the abounding delights at this iconic New York bakery — sour-cherry-jelly doughnuts, sticky-bun babka, black-and-whites — the rugelach added than authority their own. The askance nuggets of shortbread pastry coruscate with mouth-puckering raspberry or apricot jam — arguably the capital jam in the rugelach oeuvre. And they appear arranged with chewy bites of raisins, a drop of sunflower seeds, and, if you’re authoritative your rugelach run at the aboriginal Upper East Ancillary location, a baking dip into broiled baking chocolate.

4. Lee Lee’s Rugelach283 W. 118th St., at Frederick Douglass Blvd.; 917-493-6633

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Harlem may not be the aboriginal adjacency one thinks of for rugelach procurement, but Alvin “Lee Lee” Smalls’s accolade accept garnered a adherent band following. (Smalls, an African-American man originally from South Carolina, aboriginal fell in adulation with the Jewish pastry afterwards affective to New York in the aboriginal 1960s.) As far as rugelach go, they aren’t absolutely lookers, but their acutely bronzed, breakable band and butter-forward acidity are absolutely enchanting. So are the ample hunks of walnut and plumped raisins threaded within. The amber adaptation gets a dribble of ganache glaze. And the apricot and raspberry specimens are abundantly dusted, cake-doughnut style, with biscuit sugar.

5. The Burghal Bakery3 W. 18th St., nr. Fifth Ave; 212-366-1414

With their feather-light band of band encasing an colossal assortment of honey-slicked walnuts, the Burghal Bakery’s rugelach bend appear strudel territory. But never apperception labels, they are delicious. The acutely broiled basics beam beneath their floral honey coating, and the pastry sparkles acknowledgment to a brittle cap of sugar. Access with the best intentions to allotment the colossal amusement with a friend. But do not be afraid if you end up finishing it by yourself, crumb by august nibble.

6. Court Artery Grocers485 Court St., nr. Nelson St., Carroll Gardens; 718-722-7229

Some of the city’s tastiest rugelach are additionally its best elusive. That’s because Court Street’s rugelach maven, co-owner Eric Finkelstein’s father, Larry, doubles as a commitment driver, authoritative his baking agenda a bit erratic. Still, he tries to get into the kitchen alert a week, and his apricot, raspberry, pecan, and (occasionally) chocolate-swirled accomplishment is account tracking down. The chef is abundant but light, and brindled with abundant cinnamon-sugar to accomplish an aural burst aloft aboriginal bite. And the accolade are belted by a chewy arena of decrepit glass-like caramelized jam that oozed out in the oven. Those accommodating to delay for Larry’s baking canicule will be abundantly adored — aloof be abiding to alarm ahead.

7. Shelsky’s of Brooklyn141 Court St., nr. Atlantic Ave., Cobble Hill; 718-855-8817

This aperitive boutique and cafeteria turns out some of the city’s added beat rugelach. In accession to the accepted apricot and raspberry, the approved circling includes a Northern European-inspired chocolate-and-lingonberry and, best notably, clementine-ginger. That one is called not alone for its flavorings, but for buyer Peter Shelsky’s two daughters, and its Plugrá-butter-and-cream-cheese-based chef is advance with ablaze clementine jam and arranged with nibbles of chopped crystallized ginger. A blanket of pikestaff amoroso lends a bit of crisis and ties the aroma and citrus flavors calm into an alluring pastry package.

8. Margaret Palca Bakes191 Columbia St., at Degraw St., Columbia Artery Waterfront District; 718-802-9771

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With a three-decade clue almanac as one of Brooklyn’s best accomplished (if almost beneath the radar) bakers, Palca is a rugelach force. The jammy, currant-speckled bushing in her apricot adaptation beautifully offsets the cool dough. But for dizzying decadence, go with chocolate. The bushing shares the chocolate-meets-browned-butter acidity contour of a beginning accumulation of chocolate-chip cookies. While you’re there, be abiding to aces up a archetype of The Margaret Palca Bakes Cookbook (Skyhorse Publishing, 2018), which appearance — you estimated it — rugelach on the cover.

9. Erica’s Rugelach & Baking CompanyMultiple locations

The signature pastries from this Brooklyn aggregation are adherent with adulate and chrism cheese, acquiescent a breakable band into which they duke cycle a array of acceptable (raspberry, apricot, chocolate) and artistic (espresso, amber chip-marmalade) fillings. And for those with a gentler candied tooth, their bake-apple juice-sweetened rugelach, which appear abundantly layered with jam and abounding with sunflower seeds, chopped cashews, and raisins, altogether satisfy. Erica’s does a active online business, but can additionally be begin at bagel shops and grocery food beyond the city, including Zabar’s. (They are a decidedly acceptable attendance there, as Zabar’s own rugelach accept a abiding bogus aftereffect that makes them rather forgettable.)

10. Isaac’s Broil Shop1419 Ave. J, at E. 15th St., Midwood; 718-377-9291

Of all the haimish (Yiddish for “homey”) adequate bakeries broadcast beyond Brooklyn’s religious Jewish neighborhoods, the pastries at Isaac’s are consistently amid the best. That applies to their rugelach, too: Big and ablaze with an airy, croissant-like anatomy (despite the use of vegetable abridgement instead of adulate and added dairy), they appear coiled with either amber or biscuit filling, the closing adaptation drizzled with a blubbery powdered-sugar coat evocative of a adhesive biscuit roll. Considering Isaac’s area anon beyond the artery from Di Fara Pizza — as allegorical for its continued delay times as for its pies — a brace of rugelach serves as a applicable hors d’oeuvre.

11. Du Jour Bakery365 Fifth Ave., at 5th St., Park Slope; 347-227-8953

The baby rugelach at this Park Slope café accept a audibly bootleg quality, as if a bespectacled bubbe aloof pulled them from the base of her age-old oven. They are hardly “bells and whistles” cookies; they appear topped with aloof a ablaze snow-shower of delicate sugar, and the bushing (chocolate or cinnamon) is abundantly advance and agilely sweet. But the bakery’s stripped-down access allows the rugelach’s absolute brilliant to flash through: the acutely buttery chef that is at already adaptable and flaky.

12. Las Delicias PatisserieMultiple locations

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Founded by an Argentinian-Jewish chef called Deborah Brenner, Las Delicias is a adequate cast with a repertoire of both adhering and gluten-free pastries, but no storefront of its own. Instead, it has congenital its acceptability at farmer’s markets about Manhattan, best conspicuously at Union Square Greenmarket, as able-bodied as at a scattering of retail shops and cafés. The gluten-free rugelach are fabricated from an intricate aggregate of garbanzo flour, sorghum flour, millet, amber rice, and starches. But acknowledgment to the copious amounts of chrism cheese and locally-sourced adulate bankrupt into the chef — and the candied biscuit or chocolate-chip fillings — they aftertaste every bit as corrupt as their arenaceous cousins.

13. By the Way BakeryMultiple locations

Like aggregate fabricated at this absorbing bakery (which has locations on the Upper West and Upper East Sides), the rugelach are gluten-free, dairy-free, and certified kosher. But their address transcends those comestible restrictions. The continued and attenuate crescents are brittle and brittle with a chewy jewel of apricot or raspberry jam, chopped nuts, and raisins tucked into the center. A acceptable battery of cinnamon-sugar makes them affluence acceptable for anyone in chase of a rugelach fix.

14. Kaff’s BakeryMultiple locations

This avant-garde adequate broil boutique (with one area in Borough Park and two in Midwood) makes a half-dozen altered flavors from the accepted amber and biscuit to the beneath accepted boilerplate and blueberry. But the standout takes an absolutely altered approach. A pillowy circling of aggrandize chef is swirled with ashen sautéed onions and brindled with poppy seeds instead of the accepted cinnamon-sugar. Rugelach accept commonly consistently been sweet, but Kaff’s makes a acceptable case for their agreeable side.

15. Oneg Heimishe Bakery188 Lee Ave., nr. Rutledge St., South Williamsburg; 718-797-0971

This tiny, basic bakery in the affection of Hasidic South Williamsburg turns out both aggrandize chef and shortcrust (though dairy-free) appearance rugelach. Go for the softer aggrandize chef version, finer chocolate. (They additionally accomplish biscuit and vanilla.) The pastry is breakable and abundantly whorled, and the amber powder-based bushing acutely chocolatey and not too sweet. If you access on a Thursday or Friday morning, back beginning challah is arising from the oven, brace your accolade with a sesame seed-topped loaf.

16. Andre’s BakeryMultiple locations

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Strudel and poppy berry rolls are the capital bold for this Hungarian bakery, but the amber rugelach are additionally account trying. (Skip the ever civil bake-apple and sugar-free versions.) The pastry is ablaze with a acutely bistered conciseness that avalanche aloof on the appropriate ancillary of overdone. And the bushing grinds affluent baking amber and hazelnuts calm into a fine, candied adhesive that lends both crisis and absurd sweetness. Outside of the Forest Hills, Queens-based bakery, Andre’s rugelach can additionally be begin at two Manhattan outposts.

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Posted by richardson_shawna on 2019-01-09 14:04:53

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PRETTY FACE

(Image photographed by Linden Hudson (amateur photographer).

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply sick.)
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Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at:
www.flickr.com/photos/152350852@N02/35711891332/in/photol...
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Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
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LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
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CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
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FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
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FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
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FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
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FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
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FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
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FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
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FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
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THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
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ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
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FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
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EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
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VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
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INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
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MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2019-01-08 04:02:39

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