When I want a delicious chocolate treat I reach for these Chocolate No-Bake Bites. They are the perfect summer treat when it is too hot to turn on the oven.
Years ago, I would make the most delicious chocolate no bake cookies. You know the ones, they have a ton of butter, milk, peanut butter and oats. Yeah, I loved those!
This version is much healthier for you although not necessarily a “health food.”
I almost always have all of the ingredients I need (thanks to my pantry staples). These can also be made allergy-friendly by using gluten-free oats and a peanut butter substitute like SoyNut Butter or SunButter.
Chocolate No-Bake Bites
Ingredients
- 2 Tbsp Cocoa
- 2 Tbsp agave or maple syrup
- 1 tsp vanilla
- 1 banana
- ¼ cup peanut butter (or other nut or seed butter)
- 1 cup oats (use gluten-free if needed) added ¼ cup at a time.
- ¼ cup vegan chocolate chips (optional)
Instructions
Step 1 – Mix
Mix together cocoa, agave, and vanilla in a medium-sized mixing bowl. This will take a little while to do but it will come together. Once these 3 ingredients are mixed together they look and taste like Hershey’s syrup that we put on ice cream as a kid, it isn’t quite as sweet but it is close.
Step 2 – Mash
Mash in banana and stir.
Step 3 – Mix in Peanut Butter
Mix in peanut butter, you can add another ¼ cup for a stronger PB taste.
Step 4 – Stir in Oats
Stir in oats, ¼ cup at a time. If your mixture looks to dry don’t use all the oats.
Optional: add in the chocolate chips.
Step 5 – Spoon onto Wax Paper
Spoon onto a wax paper lined plate and place them in the freezer or far away from little hands that might dig in too early. You could smooth them into balls or flatten them into cookie shape if desired.
I store these in the freezer and grab one or two out for an after dinner treat. I left a few on the counter and they did “set up” nicely but not as well as my old-fashioned dairy-filled version that is off-limits. My recipe made about 17 small bite sized cookies.
For more delicious desserts check out my Dessert Page!
Chocolate No-Bake Bites
Chocolate vegan cookies that you don't have to bake!
Ingredients
- 2 Tbsp Cocoa
- 2 Tbsp agave or maple syrup
- 1 tsp vanilla
- 1 banana
- ¼ cup peanut butter (or other nut or seed butter)
- 1 cup oats (use gluten-free if needed) added ¼ cup at a time.
- ¼ cup vegan chocolate chips (optional)
Instructions
- Mix together cocoa, agave, and vanilla in a medium-sized mixing bowl. This will take a little while to do but it will come together. Once these 3 ingredients are mixed together they look and taste like Hershey's syrup that we put on ice cream as a kid, it isn't quite as sweet but it is close.
- Mash in banana and stir.
- Mix in peanut butter, you can add another ¼ cup for a stronger PB taste.
- Stir in oats, ¼ cup at a time. If your mixture looks to dry don't use all the oats.
- Optional: add in the chocolate chips.
- Spoon onto a wax paper lined plate and place them in the freezer or far away from little hands that might dig in too early. You could smooth them into balls or flatten them into cookie shape if desired.
Notes
Store in freezer
Yum!! I know what you mean about treating the chocolate chips like gold! I always ask myself: is this recipe worth the chips??
Exactly! But they can also turn a “just ok” recipe into something spectacular.
Oh yum…those sound like a great treat!
They are pretty great and really satisfying, especially when you’re really craving a little chocolate!
Awesome! These look amazing… I love freezer treats! Both of our no bake recipes inspired by Angela 🙂 my she’s a goodie! Love thus recipe Holly!
These chocolately treats look amazing & so wonderful too! 🙂 Yum!
Thank you, I love that they are tucked away in the freezer. If they were on the counter I’d probably eat them all within a few hours. I’m still enjoying the first batch…a little at a time.
They are in the freezer now. Remains to be seen whether these turn out successful.
Need a substitute for oats. Thank you.
Hi Lucy, I’m sorry but I don’t know any other way to make these. Oats is the main ingredient. You could always melt some chocolate, or mix some cocoa powder into peanut butter and eat it on a banana to get roughly the same flavor.
Hey Lucy, a great sub for oats is quinoa flakes.
Do you have any more detail about what the mixture should look like? I added all the oats and it seemed very wet. I added extra oats, trying not to add too much, but then it seemed like it just didn’t want to hold together even though it was still quite moist and got all over my hands. I squished them into balls and put them in the freezer. Do you have any advice?
Next time I made them I’ll try to take some in process photos so you can see what they look like while being mixed.
It’s a very careful balance. If they are too wet, they will have a hard freeze, which will make them harder to enjoy. If they have too much oats, they will be dry and will not hold together. Also, I use old fashioned rolled oats, instant or quick oats could have a different outcome. The oats will start to absorb some of the moisture so even if they seem a little to wet, continue to mix them up and roll them into balls. The dry oats will take care of the extra moisture as they sit.
And sorry for the very late reply, this comment was hiding in hundreds of spam comments.
Gardners is one of the leading wholesalers of books to retailers around the world. As part of our distribution feeds, we send a copy of your title to Gardners, and request they stock it, however this does not mean they will.
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1979 was a landmark year in disco, with Donna Summer, Gloria Gaynor, Anita Ward, and Sister Sledge all conquering the Billboard charts. But the prominence of the dance genre led to a so-called backlash – and it happened in the blink of an eye. On July 21, 1979 – nine days following the Disco Demolition Night held by controversial Chicago disk jockey Steve Dahl and others – the genre dominated the top 10 of the Billboard Hot 100, with six records. By September 22, there were no disco songs at all in the top 10. But then, as now, people still wanted to dance. Even as the musical merits of disco have been reevaluated and rightfully recognized with the passage of time, other dance music forms owing to disco continued to flourish from 1979 onward. In this rapidly-changing climate, New Jersey-born vocalist Taana Gardner recorded her self-titled album for the West End Records label. On May 17, that landmark record returns from SoulMusic Records, Cherry Red Records, and The Second Disc as part of a deluxe 2CD release, When You Touch Me: The West End Recordings.
Taana Gardner owed much of her early success to the Paradise Garage’s influential DJ Larry Levan, who introduced writer-producer Kenton Nix to West End’s owner Mel Cheren. When the intended singer for Nix’s “Work That Body” – originally mooted as an instrumental – fell ill, Gardner stepped in, and the rest is dance music history. Gardner had a series of hit records with “Work That Body” and “When You Touch Me” (both No. 10 Dance in 1979) and “Heartbeat” (No. 6 Disco/No. 10 R&B) and “No Frills” a couple of years later in 1981. Nix would create the records, Gardner would sing them with her pure, clear soprano, and Levan would mix them for the most danceable effect. Taana Gardner was her only long-playing solo album, though she continued to team up with Nix for special projects through the 1990s and even scored a dance hit in the 2000s as “Work That Body” continued to enthrall club crowds and provide ripe fodder for remixing. Gardner’s youthful, breathy vocals invited favorable comparison to Deniece Williams’, and Nix provided an ideal setting with his five lengthy disco-tailored productions issued on a special double-vinyl set: one song on Side One, two songs on Side Two, one each on Sides Three and Four.
When You Touch Me: The West End Recordings opens with Taana Gardner in its original form and mix for the very first time on CD including Larry Levan’s 1979 mixes. Producer Kenton Nix’s extended mixes of “When You Touch Me,” “Just Be a Friend,” and “Work That Body” have been appended to Disc One. The second disc features ten singles and remixes including two promotional versions of “When You Touch Me” which make their commercial CD debuts here; and club mixes by the illustrious likes of Larry Levan, Tom Moulton, Masters at Work, Nicky Siano, Angel Moraes, and Gomi.
A 24-page full-color booklet designed by Paul Bevoir features in-depth liner notes by reissue producer Tim Dillinger which draw on quotes from Taana Gardner, Larry Levan, and West End’s Mel Cheren. Nick Robbins has remastered the audio for this release. Look for When You Touch Me: The West End Recordings on May 17 from SoulMusic, Cherry Red, and TSD! As an Amazon affiliate, we earn from qualifying purchases. U.S. Customers: Pre-orders placed directly via SoulMusic Records will ship domestically for arrival by the release date. Pre-orders are due May 5.
The Second Disc is devoted to the weird, wild and wonderful world of music catalogue projects. Every week, Mike Duquette, Joe Marchese, and Randy Fairman bring you news, reviews, commentary and features on remasters, reissues, compilations and box sets.
Interesting. I picked up a Japanese two-CD compilation from her a few years ago which had much of this plus a number of adjacent West End tunes from the same production team like Sweet G’s Heartbeat Rap. Enough difference though to make this worth picking up.
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Much of PSHA depends on the assumption that future seismicity will occur nearobserved past seismicity, and at rates that can be approximated by empirical orphysical models. Thus, the early steps in PSHA include compiling and processingan earthquake catalogue. Beyond collecting instrumental and historic earthquakerecords, catalogues must be homogenized (expressed in uniform units),declustered (devoid of aftershocks and foreshocks), and filtered forcompleteness. The assumptions and uncertainties in the catalogue should be wellunderstood by the modeler.
Most source types used in hazard models built by the GEM Secretariat usemagnitude-frequency distributions (MFDs) based on seismicity.Together with ground motion prediction equations (GMPEs),MFDs govern the computed hazard levels for time frames of interest, and sotheir robust calculation – and thus careful preparation of the input catalogue- is critical.
Here, we describe the ISC-GEM extended catalogue (Weatherill et al., 2016),which contributes the majority of earthquakes used in hazard models builtinternally by GEM; the workflow for combining other earthquake records with theISC-GEM catalogue; and the remaining steps to prepare the catalogue for rateand spatial analysis. We emphasize that while most of these steps are routinelyapplied outside of GEM models, the following explanations only account forour own best practices.
The ISC-GEM catalogue is a compilation of earthquake bulletins for seismicityoccurring in the range 1900-2015. This catalogue sources records from numerousagencies to include the record deemed most accurate for each event, ensuringthat no duplicates are included, and magnitudes are homogenized toMW. The most recent catalogue updates were completed byWeatherill et al. (2016) using the GEM CatalogueToolkit, totaling 562840 earthquakes with MW 2.0 to 9.6, and producing what is hereincalled the ISC-GEM extended catalogue. This current version is motivated byinitiatives to improve regional and global scale seismicity analyses, hazardand otherwise.
The GEM Historical Earthquake Catalogue (Albini et al., 2013), includes largeearthquakes (M>7) from before the instrumental period (1000-1903) that havebeen carefully reviewed to estimate a location and magnitude. The completenessof this catalogue is highly variable across the globe, and depends on how longeach location has been inhabited, and the availability and quality ofdocumentation on earthquakes occurring in this period.
In order to use the bulletins from multiple agencies together in statisticalanalyses, records must be homogenized to meet the same criteria, e.g., to usethe same measure of magnitude. Usually, moment magnitude (MW) isselected, since it does not saturate at high magnitudes. Thus, magnitudesreported in other scales must be converted. When possible, this is done usingempirical relations developed for independent local datasets, but relies onglobal relations when too few calibration events are available.
Catalogue completeness analysis accounts for the variability in instrumentationcoverage throughout the catalogue duration, admitting that any catalogue ismissing earthquakes beneath a magnitude threshold. This type of filteringprevents rate analysis of an incomplete catalogue – a modeling mistake thatwill propagate into hazard estimates. Importantly, completeness analysis mustbe applied to a declustered catalogue as to not confuse dependent earthquakes(such as aftershocks) with magnitude completeness.
The completeness algorithms that are applicable to any instrumental cataloguemust depend on properties of the earthquakes, and not the stations, thusfocusing on the statistics of the catalogue sample rather than the probabilitythat a station at a known position would record an earthquake. The most commonalgorithmic method is by Stepp (1971), which compares the observed rate ofseismicity to a predicted Poissonian rate for each magnitude, and returns aspatially constant table of time-variable magnitude thresholds. Importantly,the validity of this methodology is subject to the judgement of the user.
The Stepp (1971) is implemented in the OpenQuake Engine, and used in some stepsof the modeling procedure for hazard models built by the GEM Secretariat. Inother cases, we determine the completeness manually from 3D histograms thatcount earthquakes for magnitude-time bins, visually identifying the timings atwhich the occurrences rates stabilize.
Catalogue declustering is applied in order to isolate mainshock earthquakes -that is, earthquakes that occur independently of each other – from a completecatalogue. The resulting declustered catalogue should therefore reflect thePoissonian rate at which earthquakes occur within a greater tectonic region.PSHA aims to model the hazard from sesimicity occurring at this backgroundPoissonian rate.
Declustering algorithms identify mainshocks by comparing individualearthquakes to the “cluster” of earthquakes that occurred within a givenproximity and time to that earthquake, choosing the largest for a given set ofmagnitude-dependent “triggering windows”. The theory of declustering algorithmsis described in detail in Stiphout et. al., 2012. The OpenQuake HazardModeler’s Toolkitprovides three different windowing options: the original implementation ofGardner and Knopoff (1974), and additionally the configurations of Uhrhammer(1986) and Gruenthal (see Stiphout et al., 2012). https://sites.google.com/view/where-to-buy-glenmorangie
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