Earlier this week, two things happened to inspire the 5th issue/edition of Albums & Ice Cream. The weekly CSA (farm share) offered second pint of sweet cherries and I had a day trip with my son to the Jersey shore.
The first quart of cherries were pitted and set out on the table last week, eaten within a couple of days. The second quart was pitted, but after listening to Pink Floyd’s “Dark Side of the Moon” in the car with my son explaining to me all of the musical details, it only made sense to put these together on this post.
I had a job as a teen at the Kenosha Spot Drive In; serving ice cream sundaes and making shakes, malts and root beer whirls. We had four flavors; vanilla, chocolate, strawberry and one rotating “other” flavor, either butter pecan, or New York Cherry. I loved that ice cream with hot fudge. I don’t see this flavor very often in our regular ice cream parlors, so I wonder if it’s a “vintage” flavor, or one that was more regional to the mid-west. Which would be weird since it was “New York” cherry.
Oddly, the only recipes I found were Philly style base. I prefer the French style. I’m getting better at making my own custard base, with a bit of consideration toward sensibility. I’m not religiously following the instruction to use 6 egg yolks. I use three whole eggs, and temper them more carefully. The strainer takes care of the tiny bits of white that cook. I also add a 1/2 teaspoon of salt to keep it from freezing into a solid block of ice. This batch was a basic vanilla ice cream with an added splash of almond extract, then fresh local cherries cut in half and stirred into the custard by the machine.
While my son’s insights into the Pink Floyd album were more focused on the drums and lyrics, I was listening with a flush of memories of recording a Tribute Band of the album name in Rochester for my doctoral studies. I was applying anthropological theory and research practice to understand the attraction of a then new phenomenon in the local music scene; the tribute band. I saw a connection to audience building for the symphony orchestra, and made the case in my work, much to the dismay of the conservative music history department at Eastman. This was 1995, the height of the culture wars, and before the term” audience building” was a thing in the arts. I was onto something then, and I still am today.
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