It's the best of news for those of us between the ages of 18-34. Starting this Monday, TeenNick will be rerunning a block of classic Nickelodeon programming (entitled "The '90s Are All That") between the hours of midnight and 4 AM, evidently in an attempt to rope in stoned college students and post-grads who aren't feeling whatever's on Adult Swim that night. The gambit will work, no doubt—between All That, Clarissa Explains it All, Kenan & Kel and Doug, the four shows to be included at first (with more possibly to come, depending on what the demand is like on Facebook), there's enough mainlined nostalgia for the young-adult demo to revel in that the block is all but guaranteed to be a hit. We're looking forward to a couple sleepless nights under the comforting glow of old-school Nick, anyway.
But as excited as we are to welcome back some of the old gang—Skeeter, Ferguson, both Rogers and, of course, Lori Beth Denberg—we're perhaps most excited of all at that chance to get to get a couple of those classic theme songs stuck in our head again. We can still recall all four of them as if we had tuned to them last night in between How I Met Your Mother and Scrubs re-runs, but in case the memories are a little hazier for you, here's a chance to get reacquainted before your dorm's inevitable first TeenNick-at-Nite party.
Performed By: TLC
Goes Like: "Ohhhh, oh ohhhhhhhh / This is alllll that / This is allll that."
Purpose Served: As Nickelodeon's intended equivalent to Saturday Night Live—the spoken-word intro even references SNL's "not ready for primetime" hook—it needed a more adult, more mature sort of theme than its traditional fare. So the channel reached out to young-adult superstars TLC, then among the biggest pop groups in the country, for its theme. The group came up with a velvety-smooth jam, complete with show-specific rap from Lisa "Left Eye" Lopes, that probably could have slid right onto CrazySexyCool had it been just a couple minutes longer. It made the show feel like something your older siblings should be watching instead of you, which of course made it appointment viewing on Saturday nights.
CLARISSA EXPLAINS IT ALL
Performed By: Rachel Sweet
Goes Like: "Naaaa naaa na naaa / Na-na-na-na-na-naaaaa...."
Purpose Served: Clarissa was, with the possible exception of The Adventures of Pete & Pete, the most irreverent program in NICK's '90s lineup, with the quirky title character constantly breaking the fourth wall to talk to the audience, mess with her family and generally do whatever she damn well pleased. The freewheeling theme reflected that vibe, mostly wordless with only random-seeming exhortations ("Ole! Ole!" "Just do it!") interrupting the "na-na"s. Most of all, it was fun, in a very innocent, very early-'90s (those horns, dear lord) sort of way.
Fun Fact: Performer/composer Rachel Sweet actually had a pop career of her own about a decade before the Clarissa theme, even scoring a UK hit when she was about Clarissa's age with the soul-pop number "B-A-B-Y". She would later hit the US Top 40 with her Rex Smith duet cover of "Everlasting Love."
KENAN & KEL
Performed By: Coolio
Goes Like: "Aw, here it goes..."
Purpose Served: Like All That, Kenan and Kel looked to trends in contemporary popular music for its theme song, adapting a sort of G-Funk sound with its fat bass and whiny synths. But because 'Dre and Snoop would've been a little too imposing for Nick audiences—and because Kenan and Kel themselves were far too goofy to be associated with any music that people generally took serioiusly—the theme was instead handed over to the least-intimidating rapper of the mid-'90s, Coolio. It's now impossible to imagine that anyone else could have soundtracked a show where the alternative substance most frequently imbibed was orange soda.
Performed By: Fred Newman
Goes Like: "Doo do doo do doo doo / doo do doo do doo."
Purpose Served: The most obviously dorky of the Nick shows resurrected—the closest thing to Adult Content was the episode where sister Judy had to learn how to parallel park—Doug also had by far the kiddiest theme, an impossibly good-natured wordless ditty featuring a capella-style mouth noises and only the slightest of drum or bass augmentation. It was memorable and appropriate, but not even close to the most compelling piece of music associated with the program—that would be "Killer Tofu," the (anti-?) vegetarian anthem ("I always thought I was such a nerd / I refused to touch that strange bean curd") by Doug's British Invasion-aping favorite band, The Beets.
Nick says that they will monitor pages and conduct polls on Facebook to decide which shows to resurrect next, so if you can't get the themes to Salute Your Shorts or The Angry Beavers out of your heads, you know what you gotta do.
King makers: Bakers reimagine the famous Mardi Gras cake.
The Star (Amman, Jordan) March 7, 2011 By Tim Carman Little about the king cake suggests it's made for human pleasure.
Its oval shape and doughy bloat invite unfavorable comparisons to underinflated inner tubes.
Its neon-sugar colors are certifiably cartoonish, as gaudy as the beaded trinkets that fall from the skies on Bourbon Street during Mardi Gras.
And then there's the issue of the prize buried deep within the dough; any cake in which a diner is in danger of chomping down on a tiny plastic infant automatically places itself in the kitsch category.
The king cake would seem to be the Jerry Lewis telethon of baked goods: An annual ritual, beloved by millions and way, way overwrought.
Of course, true believers of the multicolored cake will tell you that Northerners live a bereft existence, separate and apart from the true New Orleans king cake, which is the centerpiece of Carnival parties from Jan.
6 right up to Fat Tuesday, the day before the Lenten deprivation kicks in.
The cake's appeal becomes clearer the closer you get to the city limits and, conversely, becomes more comical the farther you travel from the cultural vortex of the Big Easy.
"I attribute my inflated civic pride and weakness for Mardi Gras in part to this early overexposure to yeast dough and unnaturally colored sugars," writes Sara Roahen in "Gumbo Tales: Finding My Place at the New Orleans Table". website king cake recipe
"Before I ever experienced Mardi Gras, I had a hand in preparing for it, and rather than embittering me, the tedious assembly-line baking somehow fostered within me a sweetness for king cakes, all of them, runny sugars included." David Guas, chef and owner of Bayou Bakery in Arlington, Va., understands an irrational attachment to king cakes.
The New Orleans native grew up sampling the city's best, at McKenzie's Pastry Shoppes, Gambino's and other iconic bakeries.
The main instigators of the king cake rebellion are bakers with little to no allegiance to Louisiana culture.
"If you're from New Orleans, you love it," says baker, teacher and cookbook author Peter Reinhart.
"Most versions to me are not that interesting.
I'd rather eat a Christmas fruitcake." Baker and teacher Mark Furstenberg is blunter: "The New Orleans cakes are so incredibly ugly that it's hard to identify with that tradition." What both of those bakers do identify with, however, is the story behind the king cake.
There is so much symbolism wrapped up in this one cake, it's almost impossible to separate fact from myth.
Some say the cake's origins date to pre-Christian Europe, where tribal cultures included cakes baked as part of harvest celebrations; the man who discovered the coin or bean tucked into the cake would be the sacred king for the coming year. site king cake recipe
It was a dubious honor: The king would be sacrificed after 12 months, his blood spread across the soil to ensure bountiful crops.
Christians in France apparently adopted part of the pagan custom and turned the cake into a symbol of the three kings who visited the Christ child on the Epiphany.
The French, being French, created elaborate, butter-heavy cakes to celebrate the occasion, such as the galette des rois, a decadent puff-pastry concoction with an almond filling.
When the French settlers brought the king cake tradition to New Orleans, it somehow morphed into a fluorescent, coffee-cakelike oval, adopting the purple/green/gold colors that would eventually define Mardi Gras.
Even the symbolism of the infant baby grew faint; drawing religious connections to Christ and the three kings became secondary to more secular functions, such as selecting a queen of the ball or just selecting who should host the next Carnival party.
Because of the ever-changing nature of the king cake, there is no definitive recipe for it, says Guas.
Some are breadlike, with drizzled icing and colorful sugars sprinkled on top.
Others are squat and stuffed with sweet things, whether a cream cheese mixture or canned apple pie filling.
There are fudge-covered "Zulu" king cakes dusted with toasted coconut shavings.
There are king cupcakes.
There are even "queen" cakes, which Roahen writes look like a "wreath of open-face jelly doughnuts, a jewel of different filling embedded into every couple inches of pastry." Guas says he thinks most of them are hooey.
He prefers a straightforward coffee-cake interpretation, a combination of yeasted dough, cinnamon, butter, eggs, sugar and a few other ingredients.
Interestingly enough, despite his affection for his published king cake recipe, Guas can't stop tinkering with it.
In fact, the king cake he sells at Bayou Bakery is different from the one whose recipe appears in "DamGoodSweet: Desserts to Satisfy Your Sweet Tooth, New Orleans Style".
He has changed flours and added a little more butter and sugar to increase the moisture and prolong the cake's shelf life.
"These kind of things haunt me," Guas says about his constant tinkering to improve the recipe, "in a good way." But it's just such manipulations that might give the king cake a better reputation outside the Crescent City, and it's just such manipulations that we in The Post Food section were looking for when we asked three bakers to put a new spin on the Mardi Gras staple.
(And I baked a fourth version, from Krystina Castella's cookbook "A World of Cake.") Shauna James Ahern, a.k.a.
the Gluten-Free Girl, riffed off a familiar idea among students of the king cake: It's essentially a tarted-up cinnamon bun.
"We have a cinnamon rolls recipe we worked on for a couple of months last year, to get it right.
To make sure the rolls were yeasty, doughy and pliable.
I just started working with that dough, adding almond extract and a bit more cinnamon.
It rose well and baked up even better.
Predictably, Furstenberg, given his distaste for the tricolor coffee cake of New Orleans, looked toward France for inspiration with his brioche version (although you can be forgiven if you mistake his tall, tube-pan interpretation for an Italian panettone).
Reinhart, on the other hand, borrowed from Eastern European traditions to create a restrained, almost artistic interpretation of a king cake in which he started with his babka recipe and embellished it, with only the smallest amount of icing and sprinkles.
Reinhart decided to ditch the plastic baby in favor of a hidden gold coin, which he felt was more symbolic of the three kings' visit to the Christ child.
The coin also fit into Reinhart's philosophy on king cakes: The story is more interesting than the baked good.
"The recipe to me is not that important," he said.
"It's important to preserve the tradition." Post deputy Food editor Bonnie S.
Benwick contributed to this report.
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