It's Slap Dash Mom's Instant Pot Chicken Taco Soup recipe.
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Baldwin deserves some credit for advancing a more menacing depiction of Trump, but his take is still slap-dash and perfunctory.
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But rather than a slap-dash effort, which is how the executive action seemed to unfold, Miller actually spent months crafting the order, a White House official said.
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I particularly enjoyed Ogel's piece "Subconscious Network" (2017), an intriguing slap-dash collage that nods to poète maudit Antonin Artaud's peyote experiences with the Tarahumara people in 1936.
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In sharp contrast to the slap-dash political image the country broadcasts to the globe, England's performances in this year's World Cup have been uncharacteristically composed, clinical and tactically astute.
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It's also fun to see what a varied career he's had, going from slap-dash blockbusters such as The Brothers Grimm to critically acclaimed films such as Syriana and The Departed.
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But in the case of France's impending runoff, slated for Sunday, the latest leak of emails appears far more slap-dash than the Russian hacks and leaks that plagued Hillary Clinton's campaign.
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The album's infamously rushed recording is no excuse; the entire artistic statement of Yeezus is contained in its gulf between slap-dash yet innovative production and off-the-cuff, crude lyrical content.
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Consider: In its rush to score political points, Congress is creating a slap-dash plan that will have a significant and long-lasting impact on our economy simply to meet an arbitrary deadline.
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"This (Trump's withdrawal announcement) was a slap-dash, individual decision" that angered and frustrated U.S. military commanders and blind-sided members of the anti-ISIS coalition, said the Pentagon adviser on condition of anonymity.
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Indeed, the necessarily slap-dash blocking, the alternately flat or over-dramatic line readings, the role of booze as a catalyst to confession put me in mind of high-school auditions for Who's Afraid of Virginia Woolf?
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The quality of recordings is variable, and the album was described as a "slap-dash document" of the band's US tour.Gimarc, George (2005) Punk Diary, Backbeat Books, , p. 583Azerrad, Michael; Wolk, Douglas; Pattyn, Jay "Fall", Trouser Press.
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In a retrospective review, AllMusic's J. Scott McClintock considered the album "the patchiest of O'Sullivan's early albums". McClintock found "A Woman's Place" to be "shockingly chauvinistic" and considered "The Thing Is" and "15 Times" to be "slap-dash efforts". However, McClintock praised "It's So Easy To Be Sad" and "My Father", comparing O'Sullivan's "witty and well-crafted" songs to those of Harry Nilsson.
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Karis Anderson commented that the group were giving their fans "the Stooshe attitude" back. They also wanted to stick with a Motown sound, which gives them their sense of fun back too. Describing the track, Anderson explained "'Slip' is all about when your partner gets too comfortable – not our current partners – when they've got a bit too slap-dash in the relationship, taking you for granted, it's not cool." Stooshe released the official artwork for the single on 20 March 2013.
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The Second World War slowly showed its signs in the country with an increasing number of air raids and bombings, making film production extremely difficult. In the final years of the war, only a handful of movies were made, most of them being slap-dash works. During the war, movie theatres did not play American and Soviet features, so industry professionals and selected audiences could watch films like Gone with the Wind only a small, hidden, makeshift screenings for high prices.
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Fun for them, fun for us". NME's 8/10 review praised Eddie's "Jarvis-like confessional approach", particularly praising 'Am I Normal?', saying "the image of a 14-year-old Argos cowering from the object of his affections behind the magazine racks in WH Smith: truly, this is the indiest notion of all time." Spin gave the album 7/10, and said: "In a world where nothing is a metaphor, singer argos still just digs 'DC Comics and Chocolate Milkshakes,' 'The Replacements,' and records that are 'Slap Dash for No Cash.
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The Times. 27 November 2004. Stylus rated it A saying: "It’s a wonderfully eclectic mixture of fingers-down-a-blackboard avant-punk ('Voices (On The Air'), 'Eve White/Eve Black'), Creatures-esque tribal drum- worship ('Sunless'), majestic beauty ('Something Blue', 'Shooting Sun', 'Return'), amusing experimentation ('Slap Dash Snap', '(There’s A) Planet In My Kitchen'), linguistic fun ('Mittageisen', 'Il Est Ne, Le Divin Enfant', 'El Dia De Los Muertos') and, yes, playfully ‘dark’ tunes ('Something Wicked (This Way Comes)', 'Are You Still Dying, Darling?')." Record Collector praised the box set for its "remarkable diversity, spontaneity and playfulness", saying that there are "No throwaway tracks".
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Instead of being the masterminding drug-thug who exacted revenge on Ben Markowitz by abducting and murdering Ben's younger brother Nick, Hollywood portrays himself as a passive bystander to the violence. Hollywood maintains that when he and three other men assaulted Nick and "ushered" him into a van, he had no further plans to physically harm Nick. And although the gun that was used to kill Nick belonged to Hollywood, he was not present for its use. In this version, the slap-dash capture and subsequent murder of Nick Markowitz up in the mountains was devised and perpetrated by Hollywood's crew.
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The film was also nominated for Worst Picture at the 1990 Stinkers Bad Movie Awards. Jon Pareles, of The New York Times, summed up The Forbidden Dance as 'B-movie drab, with its dance sequences barely sexier than a bowling tournament'. while Rita Kempley, in The Washington Post was to say 'heavy-handed and somewhat mean-spirited, The Forbidden Dance is a slap- dash message movie, about as subtle as a clog dance'. Critics also considered The Forbidden Dance to be the worse of the two rival lambada movies, and the film grossed less than Lambada during its theatrical run.
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In 1893, Savage's book The Masked Venus was scathingly reviewed in the Overland Monthly: Savage's In the Shadow of the Pyramids was reviewed in The Literary World in May 1898. The reviewer said that Savage used "a happy mixture of audacity and ignorance quite untrammeled by facts." The "absurd" main character was criticized as unrealistically exposed to mortal danger almost daily, "just escaping dagger thrusts and pistol shots, with results more favorable to the theatrical progress of the story than to his common sense." The previous month in the same periodical, Savage's 25¢ book For Life and Love was dismissed as "a slap-dash romance".
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With the end of the Depression, Halper found the "Depression writer" label an obstacle, and though he continued to produce, he was unable to regain the prominence he had earlier experienced. Many of these later efforts, however, are of high quality, especially his collection of short stories, The Golden Watch (1953), and his memoir, Good-bye, Union Square (1970). What distinguished Halper as a writer was his characteristic slangy, conversational style, his skill in bringing characters to life, and his uncanny ability to reproduce context and ambience. Above all a story teller, he predated postmodern intellectualizing, but the simplicity of his prose signaled not a casual, slap-dash approach to writing, but instead a deliberate strategy cunningly designed to immerse the reader in the story.
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As a follow up to Devil Doll (1964) executive producer Richard Gordon and director Shonteff selected a screenplay by Brian Clemens (written under the pseudonym 'Tom O'Grady' and with additional dialogue and scenes by Leigh Vance) originally titled The Lion Man for their star performer Haliday. Though set in Africa, outdoor sequences were filmed in London's Regent's Park and stock footage of African fauna was extensively used. Gordon defended the use of stock footage, saying in an interview that it is 'one of the ways to make low- budget pictures - to have plenty of running time, without having to do a lot of complicated shooting'.p.186 Weaver, Tom Richard Gordon Interview in Return of the B Science Fiction and Horror Heroes: The Mutant Melding of Two Volumes of Classic Interviews McFarland, 2000Tom Weaver, The Horror Hits of Richard Gordon, Bear Manor Media 2011 p 114-118 However, as British film historian John Hamilton points out, in Curse of Simba, the stock footage is 'poorly integrated and reinforces the slap-dash feel of the production'.
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