This Sunday's Washington Post Magazine had a fantastic feature article about one of the best things we discovered when we moved to the DC area: Berger cookies.
On the bottom they are like black-and-whites--a mild cakey vanilla round--but on top they are piled with luscious, decadent fudgy frosting. They define the phrase "sink your teeth into it".
While they are a Baltimore phenom, it's still a hit-or-miss proposition to find them where we live, next to DC and a half hour from Baltimore. So when the article said there was a decent copycat recipe on the King Arthur Flour website, I decided to give it a shot.
They came out great (photo at right). I daresay the cake bottom was even a little tastier, though the real Berger frosting is still the winner. The recipe wasn't very hard or time-consuming, despite the process of frosting the cookies after they cooled. I used recipe #2, with 50/50 mix of bittersweet and semisweet chocolate chips.
Guess what this family will be having for snacks, coffee breaks and breakfast this week? :)
By John Reader
A blaze of media attention recently greeted the claim that a newly discovered hominid species, , marked the transition between an older ape-like ancestor, such as Australopithecus afarensis, and a more recent representative of the human line, Homo erectus. As well as extensive TV, radio and front-page coverage, the fossils found by Lee Berger and his team at a site near Pretoria in South Africa featured prominently in National Geographic, with an illustration of the three species striding manfully across the page. In the middle, Au. sediba was marked with twelve points of similarity: six linking it to Au. afarensis on the left and six to H. erectus on the right. Though Berger did not explicitly describe Au. sediba as a link between the two species, the inference was clear and not discouraged. The Missing Link was in the news again.
By Robin S. Rosenberg
I recently saw a preview for the musical Spider-Man: Turn Out the Dark. It’s not really a musical; it’s a spectacle. It succeeds as a spectacle, fails as a musical, and hangs itself as a Spider-Man origin story. It’s easier to find good things to say about the spectacle aspect, so I’ll start by reviewing that aspect of the play.
Spider-Man: The Spectacle
Director/writer Julie Taymor and co-writer Glen Berger wanted to create a spectacle-something that was more than a musical. They succeeded. The sets were a wonder to behold (especially in the first half of the show). Aerialists, dressed as Spider-Man, the Green Goblin, and Arachne, flew about the stage and balcony, allowing viewers to feel a part of the production. In fact, because of the numerous injuries suffered by actors during rehearsals and previews, when the aerialists flew overhead it made me wonder-what if their cables broke and they fell on the audience? (And wouldn’t that be analogous to what New York’s pedestrians would wonder if an actual Spidey and actual Green Goblin were duking it out in the skies above Manhattan, without the cables?)
Even as a spectacle, though, the pacing of it didn’t work for me. Most of the spectacular elements were in the first half of the show, so when the effects and wow elements were fewer (and repeating) in the second half, it was a let down. During the last hour of the play, I kept looking at my watch. If you see the play and leave at intermission, you’ll see the best parts. Grade for spectacle (especially the first half): A.
Spider-Man: The Musical
In a good musical, the songs move the story forward. Unfortunately, the music in this play didn’t do this very effectively. The actors often spoke a “recap” of the gist of the song in order to transition to the next scene or to move the story along. (If you see this play, bring along some tissues or napkins to stuff into your ears: some songs were so loud that I had to cover my ears with my hands; I didn’t enjoy those.)
As you may know, the songs were written by Bono and The Edge, and it showed. The songs didn’t have the structure or feel of a “Broadway musical,” which is okay in theory, but not in this execution. Sad to say, none of the songs were memorable – they didn’t have a great “hook” as do many Broadway songs or even U2 songs. Plus the feel of the music didn’t match up with Spider-Man’s character or story. Grade for music: B- (I’m being generous here, taking effort into consideration in my grade)
Spider-Man: The Origin Story
I’ve read (or seen) almost every Spider-Man origin story there is because I’m writing a book on origin stories that includes a chapter on Spider-Man’s origins. I was looking forward to this musical to see how it compared with previous origin stories of the Webbed Wonder. I was disappointed. There isn’t a whole lot of character development here, and there isn’t much more of a plot; what plot there is focuses too much on Mary Jane and not enough on Peter. Even though Peter/Spider-Man is a comic book character, his story is rich in the human drama of shouldering the burden of
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