Journalism, satire, the world & me.

                                                               Sushi cake

                                                              {Sushi cake}

Merci à “Piment Oiseau" de m’avoir donné l’idée de faire ce sushi cake!!! C’est superbe, ça a fait un effet dingue et c’est vraiment trop bon mais soyons honnête, c’est pas facile facile à manger (mais bon, ça c’est secondaire hein :))

Pour 6 à 8 personnes:

► Pour le riz à sushi:

Préparation: 10 minutes - Cuisson: 20 minutes - Repos: 1h30

360g de riz rond à sushi

12 cuillères à soupe de vinaigre de riz

6 cuillères à soupe de sucre

3 cuillère à café de sel

Faire tremper le riz dans de l’eau froide pendant 1h. Pendant ce temps, faire chauffer le vinaigre de riz, le sucre et le sel jusqu’à ce que le sucre soit dissout. Laisser refroidir. Placer le riz dans une passoire et laisser égoutter 30 minutes.

Mettre le riz dans une casserole avec 360ml d’eau. Couvrir et faire chauffer sur feu moyen pour porter l’eau à ébullition et compter 5 minutes de cuisson à partir de l’ébullition. 

Baisser le feu et laisser encore cuire sur feu très doux 5 minutes supplémentaires sans ôter le couvercle. Laisser ensuite reposer 10 minutes hors du feu avec le couvercle. Ajouter le vinaigre et mélanger délicatement sans écraser les grains.

Et enfin, laisser refroidir à température ambiante.

► Pour la garniture:

Préparation: 15 minutes - Cuisson: 0 minute

1 feuille de nori

500g de saumon frais sans peau ni arrêtes

2 cuillères à soupe d’huile d’avocat

1 gros concombre

1 avocat

4 cuillères à soupe de graines de sésame

Passer le saumon sous l’eau froide et l’essuyer avec du papier absorbant. Le couper en petits dés pour en faire un tartare et le mélanger avec les graines de sésame et l’huile d’avocat. Réserver au réfrigérateur jusqu’au moment de l’utilisation. 

Peler le concombre et à l’aide d’une mandoline, couper des lamelles pas trop fines et les couper en tranches. Peler l’avocat et le couper en tranches. Dans la feuille de nori, découper un disque de la taille de votre moule à charnière (j’ai utilisé un moule de 18cm de diamètre) et le déposer au fond du moule. Étaler la moitié du riz en ayant les mains mouillées pour éviter que le riz ne colle aux doigts, bien tasser. Recouvrir avec tranches de concombre puis d’avocat. Finir par une couche de tartare au saumon. Recommencer l’opération une fois, réserver au frais jusqu’au moment de servir. 

Décorer avec quelques germes de radis et de soja.

The Story Behind Robert Capa’s Pictures of D-Day

Today is the 69th anniversary of D-Day, the beginning of the massive Allied invasion of western Europe to confront Hitler’s forces during World War II. Robert Capa famously made some of the only surviving pictures of the invasion on Omaha beach, which was chaotic, in part due to wind and current. The beach rockets intended to stun the Germans arrived too early and the aerial bombs landed too far inland. Many infantrymen deemed it suicidal to attempt to cross the open beach, so the waterline was soon mobbed with crouching, pinned-down men without officers to lead them forward. Capa, who had crossed the Channel with the soldiers, remained photographing on the beach for about an hour and a half that morning until his film was used up. He then boarded a ship to take him off the beach, which subsequently was hit and sank, and then made it back on another boat, where medics were treating the wounded. He arrived back in Weymouth, England, on the morning on June 7, handed his film to the Army courier, and returned to France.

When his film arrived in the Life London office that evening, there were four rolls of 35mm film (one of them probably unexposed) and half a dozen rolls of 2 1/4 film. Capa included a note with his films saying that the action was all on the 35mm rolls. Picture editor John Morris told photographer Hans Wild and the young lab assistant, Dennis Banks, to rush the prints. When the film came out of the developing solution, Wild looked at it wet and told Morris that although the 35mm negatives were grainy, the pictures were fabulous. A few minutes later, Banks burst into Morris’s office, blurting out hysterically, “They’re ruined! Ruined! Capa’s films are all ruined!” Because of the necessary rush to get prints on the flight to New York for the next edition of Life, he had put the 35mm negatives in the drying cabinet with the heat on high and closed the door. With no air circulating, the film emulsion had melted. Although the first three rolls had nothing on the film, there were images on the fourth. The film Capa had shot with his Rollei before and after the actual landings had not been put into the drying cabinet and so survived intact.

Although ten of the 35mm negatives were usable, the emulsion on them had melted just enough so that it slid a bit over the surface of the film. Consequently, sprocket holes—which would normally punctuate the unexposed margin of the film—cut into the lower portion of the images themselves. Ironically, the blurring of the surviving images may actually have strengthened their dramatic impact, for it imbues them with an almost tangible sense of urgency and explosive reverberation.

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Just about the only thing you can’t do is take her out to lunch. That’s because Thomson Reuters journalist Michelle Boatley isn’t real.

Journalist and media blogger Jim Romenesko outed Boatley last week as a fake, created from the imaginations of Thomson Reuters editors who apparently used fake bylines on ABL stories to make their newsroom staff look larger than it actually was.

Romenesko published the story last Friday on what must have been a very rough week for Thomson Reuters. Earlier in the week, I published a memo issued by TR managers to me last October after I failed to identify myself as a Thomson Reuters journalist on a parody account created during off-work hours.

Stuff from the 90s!