The London Magazine is a publication of arts and miscellaneous interests. Its history ranges across nearly three centuries and several reincarnations, publishing writers including William Wordsworth, William S. Burroughs and John Keats; the London Magazine claims a history including a first incarnation beginning 1732. The London Magazine, the second oldest literary periodical, was founded in 1732 in political opposition and rivalry to the Tory-based Gentleman's Magazine and ran for 53 years until its closure in 1785. Edward Kimber became editor in 1755. Henry Mayo was editor from 1775 to 1783. Publishers included Thomas Astley; the London Magazine claims a history including a second incarnation, 1820 to 1829. In 1820, the London Magazine was resurrected by the publishers Baldwin, Craddock & Joy under the editorship of John Scott who formatted the magazine along the lines of the Edinburgh publication Blackwood's Magazine, it was during this time the magazine enjoyed its greatest literary prosperity, publishing poetic luminaries such as William Wordsworth, Percy Bysshe Shelley, John Clare and John Keats.
In September 1821, the first of two installments of Thomas De Quincey's Confessions of an English Opium-Eater appeared in the journal. Scott began a literary row with members of Blackwood, in particular with John Gibson Lockhart in regards to many subjects including Blackwood's virulent criticism of the "Cockney School", under which Leigh Hunt and John Keats were grouped; the quarrell ended in a fatal duel between Scott and Lockhart's close friend and workmate J. H. Christie. Scott lost the duel and his life in 1821; the London Magazine continued under the editorship of John Taylor and included a working staff of Thomas Hood, William Hazlitt and Charles Lamb. During this time Lamb published his earliest series of Essays of Elia beginning in 1820; the magazine dwindled in success towards the end of the decade because of Taylor's insistent tampering with the poets' works. The London Magazine again ceased publication in 1829; the London Magazine does not claim this series as part of its history. Simpkin, Marshall and Co. published The London Magazine and Courrier des Dames.
The first item in the inaugural, February 1840 issue is "Behind the Scenes, with the Prologue to Our Little Drama", which begins, in turn, "[Manager Typo is discovered pacing up and down the stage...". The London Magazine does not claim this series as part of its history; the title was revived in November 1875 for "a monthly of light literature, conducted by Will Williams", where it appears to have gone under the simpler moniker, The London, where it has been described as "a society paper", as being "a journal of a type more usual in Paris than London, written for the sake of its contributors rather than of the public."A significant development in this period was the arrival of William Ernest Henley, who accepted a position at The London as its editor, serving in the capacity for the closing two years of this incarnation. In addition to his inviting its articles and editing all content, Henley anonymously contributed tens of poems to the journal, "chiefly in old French forms," some of which have been termed "brilliant".
This period saw publication of Robert Louis Stevenson's seminal short story, "The New Arabian Nights," in The London. The London again ceased publication with the issue dated 5 April 1879; the London Magazine claims a history including a third incarnation, 1898 to 1933: "The magazine restarted in 1898 under the ownership of the Harmsworth brothers...". In 1900 Harmsworth's Monthly Pictorial Magazine was renamed the London Magazine by Cecil Harmsworth, proprietor of the Daily Mail at the time; the publication continued until 1930 as part of Amalgamated Press when it was renamed the New London Magazine. The Australian scholar Sue Thomas referred to it as "an important informer... of popular literary tastes in the late Victorian and Edwardian periods". Despite its acclaim, the magazine closed in 1933; the London Magazine claims a history including 1954 to present. In 1954, a new periodical was given the name of the London Magazine under the editorship of John Lehmann continuing the tradition of the acclaimed 1940s periodical New Writing.
It was endorsed by T. S. Eliot as a non-university based periodical that would "boldly assume the existence of a public interested in serious literature." In 1961 the magazine was renamed London Magazine. The editor was Lehmann's fellow poet and critic Alan Ross and publication continued until Ross's death in 2001 prompted its closure again. Under both Lehmann and Ross the magazine was published by Windus; however it was relaunched by Christopher Arkell and the poet and literary critic Sebastian Barker. When Barker retired as editor in early 2008, Sara-Mae Tuson took over. In July 2009 Arkell sold the magazine to Burhan Al-Chalabi, now the publisher, with Steven O'Brien as editor and Lucy Binnersley as production manager; the current patrons are Oliver Hylton, Stanley Johnson and Stephen Fry. The London Magazine has re-launched under the editorship of Steven O’Brien, it is a more modern, digitalized magazine re-invigorated for the twenty-first-century, which combines a rich history through writings and texts with a contemporary outlook, which draws together ideas, voices, from across the globe.
The London Magazine is published six times per year
The 6th season of Jak oni śpiewają, the Polish edition of Soapstar Superstar, started on September 12, 2009 and ended on November 21, 2009. It was broadcast by Polsat. Katarzyna Cichopek and Krzysztof Ibisz continued as the hosts, the judges were: Edyta Górniak, Elżbieta Zapendowska and Rudi Schuberth. Red numbers indicate the lowest score for each week. Green numbers indicate the highest score for each week. Indicates the star eliminated that week. Indicates the returning stars that finished in the bottom two. Indicates the star who has got immunitet. Indicates the star withdrew. Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running order Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running order Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running order Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running order Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running orderRunning order Individual judges scores in charts below are listed in this order from left to right: Edyta Górniak, Rudi Schuberth, Elżbieta Zapendowska Running order Not scored Highest scoring Lowest scoring
Nukazuke is a type of Japanese preserved food, made by fermenting vegetables in rice bran, developed in the 17th century. Preserved foodstuffs are an important part of Japanese diet, they are eaten at the end of a meal and are said to aid in digestion. The lactobacillus in nukazuke pickles may be a beneficial supplement to the intestinal flora. Since nukazuke absorb nutrients from the rice bran, they are high in vitamin B1, which helped prevent beri-beri in 17th century Edo. Any edible vegetable may be preserved using this technique. Traditional varieties include eggplant, Japanese radish and cucumber; the taste of nukazuke can vary from pleasantly tangy to sour and pungent, depending on the methods and recipe used or region. They have a crispy crunchy texture. Less common are fish nukazuke, found in the north part of Japan, using sardine, mackerel or Japanese horse mackerel. Wooden Japanese cedar tubes have been traditionally used for the fermentation. Rice bran is first mixed in a crock with salt, kombu seaweed, water.
Some recipes call for ginger, beer or wine. The resultant mash, called nukamiso or nukadoko, has a consistency comparable to wet sand or cooked grits. Vegetables, apple peels, or persimmon peels are added to the nuka-bed every day for at least a few days until a fermenting culture has been established. At this point nuka-bed is ‘live,’ meaning that it contains a culture of active single-celled organisms lactobacilli and yeast. Although nukazuke can be made from scratch, a bit of well seasoned nuka from an older batch is used to ‘seed’ a fresh batch. Unless an established nuka sample is used to seed a fresh batch, the ubiquitous lactic acid-producing colonies crucial to the fermentation process must come from sources such as the skin of the starter vegetables or from human hands. Once the fermenting cultures have been established the nuka-bed develops a complex unique aroma that may be described as anything from "yeasty" to "earthy". At this point the starter vegetables are discarded and pickling vegetables are buried in the bed for as little as a few hours to as long as several months for strong flavor.
Some sources recommend a maximum pickling time of one month. Others suggest. Unpleasant smells such as a "sour" or "stinky" aroma may indicate a problem with the nuka-bed; because the process depends on colonies of live organisms and smells can vary from day to day and the fermenting process slows in colder weather. When ready, nukazuke pickles are removed from the bed, washed in cool clean water and served as a side to savory meals; the nuka-bed must be stirred well daily to keep it from becoming putrescent, moldy or infested with vermin. The acidity, salt content and oxygenation provided by daily stirring keeps toxic microbes from growing in the bed, it is universally recommended. Depending on the size of the container used, the nuka-bed could be stored temporarily in the fridge for up to two weeks, when daily stirring is not possible. Sometimes weights made of metal, stone or jugs of water are used the keep the nuka-bed under pressure, drawing water from the vegetables and speeding fermentation.
Nuka-beds are known to acquire subtle flavors from the surrounding environment and thus should not be stored in musty areas. Additional amounts of rice bran and salt are added from time to time, some recommend discarding portions of the old nuka to make way for the new. Water is provided by the vegetables buried in the bed. With proper maintenance nuka-beds can be kept indefinitely and are passed down from generation to generation. Old nuka-beds are valued for their nuanced flavor. Takuan is one variation of nukazuke. Traditional takuan uses sun-dried daikon, mass production takuan are prepared with sugar to cut pickling time. Ginger, orange seeds, persimmon peels or apple peels can be added to the nuka-bed for flavor. Dried chili-peppers and/or fresh garlic are added either for flavor, to keep the bed from becoming wormy, or to keep fermentation in check; when rice bran cannot be found, alternatives such as wheat bran or cornflakes have been reported to work well. Takuan – A pickled preparation of daikon radish Pickled radish – A radish dish served with Korean fried chicken Katz, Sandor Ellix.
Wild fermentation, Chelsea Green, 2003. ISBN 1-931498-23-7 Tsuji, Shizuo. Japanese cooking: a simple art, Kodansha International, 1980. ISBN 0-87011-399-2 How to Make Nukazuke: Nukadoko Pickling Bed, February 15, 2009 by Kyoto Foodie Nukazuke: Japanese Rice Bran Pickles, April 24, 2009, Wandering Spoon https://web.archive.org/web/20031128033242/http://ytoshi.cool.ne.jp/best_friends32/study/cl/food/pickles/pickles1.htm http://www.theblackmoon.com/Jfood/ftsuke.html http://joi.ito.com/archives/1999/04/04/nukamiso_guide_version_14.html http://joi.ito.com/archives/2005/06/20/nukamiso_redux.html