Posted on June 29th, 2009 2 comments
UPDATE: THE TIKI GALORE IS A BIG HIT!
Our good friends at Tiwaka’s Tiki Bar had this to say:
“we tried that recipe tonight and it was a hit!
We’re calling it the CP Tiki Galore.” Thanks kids! That means the world to me.
Make sure you check out Tiwaka’s Site at http://www.theparrottalksinchocolate.com. There’s lots of tropical fun stuff, photos, drink recipes and more. Plus you’ve got to read the book, “The Parrot Talks in Chocolate” by Everett Peacock, it’s fantastic (available on the site).
Back to the original article…
Half the fun of having your own decently-stocked tropical Tiki Bar is getting to experiment with different drinks. Sometimes I follow the recipes, some times I start mixing elixirs together like a mad scientist. Sometimes they’re even drinkable! (And sometimes all they’re good for is stripping furniture).
Here’s a good one I invented tonight. Now, I don’t know if anyone’s mixed these ingredients together before, so as far as I know it’s an original. But there’s a lot of bars out there with a lot of good bartenders, so who knows…
The Tiki Galore
1 oz. Amaretto
1 oz. Dark Rum
1/2 oz. Triple Sec
2 oz. Orange Juice
1/2 tspn powdered sugar
Pour everything into a shaker with shaved ice, shake, and strain over ice cubes in a tiki glass. Garnish with everything tropical-looking you can find. You can make it a little more tart by squeezing in some lemon, a little sweeter with more sugar. Drink up! It ain’t bad, and will knock you on your ass! Cheers!
Posted on June 26th, 2009 No comments
Here’s a short list of must-see flicks, in no particular order (click on each for IMDB info):
Posted on June 25th, 2009 No comments
Ok, I know this isn’t Tiki, and it isn’t retro, but I’m going off book for my post today.
Well, hell. First Sam Butera. Then Carradine, then Ed McMahon. And today, Farrah Faucet and Michael Jackson. These people may not have been close personal friends, but I certainly grew up with them, just like we all did. They were part of my life, for most of my life.
Hell, I watched Kung Fu every week as a kid, and my friends and I used to call each other ‘Grasshoppa” in that bad Oriental accent. We all had Farrah’s poster, and I flipped when I heard she posed topless. Michael Jackson was still a kid when I was a kid, and I always thought it was cool that a little kid could dance and sing and perform like that (yeah, we all wanted to dance like mike). Of course whenever I could stay up late enough I watched Johnny Carson, and loved it when Ed would play the straight man on the Carnac skits. And who can forget the most famous introduction in TV history, “Heeeeeeeere’s Johnny!”? And of course Sam, that great saxman, one of the first sax players I ever listened to and studied the sound of to help develop my style. Louis Prima’s sidekick for years, he took over the Prima sound and played Atlantic City regularly through the 80s and 90s. I was fortunate enough to see him live dozens of times, and even got to meet him a few times. I took every girl I ever dated to see him play, and the chicks were always impressed. By strange luck, after we moved to Florida and Sam retired, my wife and I happened to be in AC when he did a short “out of retirement” gig at Caesar’s. So my wife got to see him live, just once, for half a set, but she got to see him. I’ll never forget and always be thankfull for that.
These people were part of our lives, just as much as an aunt or cousin or brother, in some cases even more. It’s tough when these people leave your life, because just like family and friends, they’ll never be replaced. But at least we have the memories, the films, the records, the photos, and the stories. As long as we do, these people, and everyone we’ve ever loved, will be alive within us forever.
Posted on June 24th, 2009 4 comments
So take a load off and read on…
The Last Reed
Rich in the night he slays,
Echoing riffs through artificial valleys and alleys
While torturing the living and the dead
With his soul.
Lone, lonely he stands, back pressed rough against the cool brick,
Beaten hat slid to the side and a pocket full of emptiness.
His road is at its end, down to his last reed and last rites.
Another fifty cents could get him a last drink, but that luxury is denied.
Sorrowful lament in D minor, sixteen off-tempo bars ’til the last ghost note sways.
His breath shallow, his fingers weak.
One last wail into the darkness.
Crescendo…sweet, high and red on black, his best ever,
Desperately reaching out to a million ears.
None will hear.
With the final high G, the reed splits.
And so does he.
Posted on June 23rd, 2009 1 comment
With few exceptions, this movie really takes you back to the era of Rhythm & Blues, and the emergence of Rock ’N’ Roll as grew from unpopular “race” music into the pop standards that define the 1950s.
I won’t give away plot or write a review of the movie, that’s not what this site’s all about. This site’s about kickin’ things that we krazy people who live in the past would find jazzy and hip. This movie isn’t jazzy, it’s bluesy, and very hip. There are lots of scenes of old Cadillacs, great music, and excellent performances by the all-star cast (including Adrien Brody, Jeffrey Wright as Muddy Waters, Mos Def as Chuck Berry and Beyoncé Knowles as Etta James). It’s a fun movie to watch, and even if the history isn’t quite right, it make you feel like you’ve gone back to the days of slide blues guitar and wide whitewall tires.
There are a few goofs in the movie that I suppose the director didn’t care too much about. For instance, they say it’s the year 1955, but show a ’57 Caddy.
Also, there’s something that’s nagging me: The sign for Chess Records is a 45 RPM record that rotates. In the center of the record is a yellow plastic “adapter”, also referred to as a spider, insert, or of course, thingy. I’m not positive, but I’m about 90% sure those yellow plastic thingies weren’t invented until the 1960′s. When RCA first introduced 45s and the 45 RPM record player, they really didn’t want people playing 45′s on other machines. Of course no other record players had a 45 RPM setting until after RCA came out with 45′s, so in the beginning you had to play your singles on the RCA changer, which had a nice fat spindle made for them. When companies started making electronic phonographs that could play 33s, 45s and 78s,
that’s when the adapters came into play. I’ve got a nice collection of 45s, and my oldest (some from when 45′s were invented in 1949) had metal inserts in them when I bought them in the 70′s. That seems more 50′s like, since I don’t think that soft,
flexible yellow plastic was used on much (or was even available) in the ’50s. If anyone knows the date those little suckers were introduced, please shoot me a comment with info!