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It is a whirlwind in here

Month

June 2016

The Food You Eat / You Get What You Pay For

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Please, Ladies and Gentlemen, I think it’s time to

– please, if you don’t mind – it really is time to begin our –

thank you, that’s much better – time for our meeting to start.

As you can see by looking around, this gathering is exclusively for Department heads. There will be no minutes taken. These projections are for your ears only. Not only would we not wish another company to get them, but there is a chance the general public may become concerned, little realising the economics of our endeavours. A brief history of colours, dyes and artificial essences will give us a place to start. Run the strawberry jam, please.

As you can see, Ladies and Gentlemen, the colours on the slide are excellent. The rich red hue of the strawberries is exactly the colour you’ll find in the jar. We spent years developing that dye. Also, the years that went into getting the artificial taste and smell to adhere to the colour is something that most people would not imagine.

Of course, even with our best efforts, there has always been a problem with that cloying, rather heavy sensation on the tongue. That has been offset by the addition of more sugar. We had complaints when the product was first introduced, but it appears these have now disappeared with new generations who know nothing different. People just accept that strawberries, strawberry ice cream, and strawberry jam all have their own tastes. Next slide, please.

Oh, yes – well, we’ll pass over this slide quickly. I just put that in to show you we finally managed to get rid of the strawberries altogether. As you can see on the close-up, the red glob is really made from compressed fibres – as one of our chemists said, more straw than berry. Even the seeds are produced and added with a gum mixture. We have found that bone meal seems to last best of all.

Now, this next lot we are very proud of. Bronson, these should be of particular interest to you, since they deal with our fast food chain. The buns are made of very porous fibre, almost like real dough. The brown colouring gives them a nice toasted look. The meat patty is still half real – we can’t seem to budge the government on that. Still, being able to advertise 100% all beef helps – as long as the fat, bone, guts etc that goes into it all comes from a cow, we’re home free. Notice the use of the black lines of dye, to make it appear the meat has just come off the grill.

Ah!

This interesting experiment has been done with some of our ever-thick milk shakes. We wanted to see how long the latex used to keep it together would hold up under the combined attacks of various strawberry, chocolate, etc. dyes, the fats and gums of the milk mixture, and the acids from the artificial flavours. You’ll be pleased to know that some of them still were thick after four months of refrigeration. It is easy to see how latex based paints can last for so many years. We are now experimenting with making our french fries out of pulped wood chips. Texture, flavour and colour have all been overcome, but there still seems to be some unfortunate reactions to the hot fat.

DE

Don’t Get Too Personal With The Madman In The Bakery

padaria-em-nova-iorque-fashionspill-2

 

“Out, out – out of my way!

“Don’t touch me at all, but do as I say.

“A brush on the arm can cause me harm, when it’s the Brush of Death I’m awaiting.

“Don’t breathe.

“Don’t dare breathe near me.

“Your air – from inside you – coming out at me. How very, very horrible.

“It now has pieces of you, and it will corrupt.

“No, don’t listen to me.

“Stop up your ears and turn away.

“They’re my words and my thought – not to be sold and not to be bought. Out of my mouth from between my teeth.

“Don’t you know how personal that is?

“Allow me, allow me.

“I’ll open the door.

“I’ll let you enter.

“Demand what you want – don’t be afraid to ask. Make them fill your request. I come here for bread, and I come here for cake. You can trust me. Would I lie? They don’t mind me, they’re used to my song. It’s entertainment, you see, and it’s free.

“Chew them up, enjoy them – those muffins look good. I’m  a madman in a bakery, and I know how to eat.”

DE

(image) http://www.fashionspill.com/wp-content/uploads/2011/08/padaria-em-Nova-Iorque-Fashionspill-2.jpg

The Amazing Grace Of Old Time Religion

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So it has come to this.

A mindless voice with mindless tune singing softly in the dark.

My friend, I promise you,  on such a night even the sages are locked babbling in their rooms.

You think me mad?

“Well, my boyze.” (I talk in my best W.C. Fields voice).

“Well, my boyze. I had a hen who could lay a Golden Calf. And this weird guy – Moses was his name – yass. This Mo-zaz threw these stone tablets – threw, I say – these stone tablets on my hen, and killed her.

Feathers everywhere.

And I asked him – I said to him – hey, Mo-zaz, why did you flatten my hen and make the feathers fly?

And he said to me – can you believe this – he said to me:

‘W. C., I was damn hungry.’

And I knew –  my little chickadee, my little bottom-soft dumpling –   I knew from that moment, that the man was not sincere.”

DE

(image) http://www.barcelonafootballblog.com/wp-content/uploads/2013/09/tablets.jpg

Then Came Each Actor On His Ass

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The stage is as bare as my lady’s ass in his lordship’s bedchamber. Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination.

There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena upon which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a thespian’s hose. For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.

A stage without commercial trappings: without solid doors and thick drapes; uncluttered by pillars and arches, tables and chairs, windows and fireplaces; sans orchestra, sans balcony, sans pit. A stage revealing all its secrets. Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.

“What’s Hecuba to him?”

“Why – nothing.

“Merely a name on a page of script,

“A cue at which to turn his profile thus.”

“It is what Hecuba becomes to we who wait,

“That turns the key upon the heavy gate.”

 

DE

(image) http://clios.com/cms/wp-content/uploads/globetheater.jpg

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