Todd Maul – The Mai Tai

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This drink is probably the best known and worst executed drink in the tiki universe. It is a drink that has a storied origin and colorful past but lets just settle on a recipe and move on. For me: it is a slight variation of Trader Vic’s recipe from his book “Trader Vic’s Bartender’s Guide Revised

1oz aged Agricola rhum
1oz Antigua rum (a round sweeter rum is needed)
1oz fresh lime juice
½ oz. orgeat
½ oz. orange clement schrubb (I like this because it’s a rum based orange)

Lets put the actual drink aside for a moment. How do you garnish this masterpiece at home? How do you make this drink pop at your deck party, or hell for just a sunny Saturday afternoon at home?  I like to think it is in the presentation that separates good from great. I like to think that every part of the drink should be accounted for, meaning: Ice, vessel, and garnish. Garnish is its entirety.

Lets look at the ice situation first. I like to serve my Mai tai’s on crushed ice. For me at home or in a bar, the best way to achieve this ice is with a vintage Ice-O-Mat. (You can find them on Esty). You want to pack the ice down well, and have it just overflow the mug.

I like tiki mugs for the “glass” –  the color, style and shape are really a reflection of how you see tiki. You can find a great selection on Amazon – Tiki Farm is a good source.

Now that we have the ice and the glass accounted for, how do we garnish this beverage? For me, I like a little surprise, a garnish that isn’t quite what it seems. I like to use two different cherries in concert and have them just taste different than your guest would expect. I like to start with the horrible Bing cherries, yes those bright red sugar bombs. Let’s lean into that bright red bomb. Be honest, it’s eye catching and going to make your drink pop, only problem, they are terrible. Solution, soak them in amaretto with some orange zest. Orgeat is an almond based syrup, this will tie the drink and garnish together.

The next cherry you want to use is a Luxardo maraschino cherry. They are excellent as is, but I like to manipulate them to give a “what the f&*k” note to the drink. I like to soak them in bitters and lime husk. It makes something that your guest thinks is sweet into bitter. The contrast of flavors, sweet and bitter, is further marked esthetically by the different shades of the cherries.

We are going to use a wooden skewer to hold the cherries. I like the combo of Bing, Luxardo, Bing, but this is really up to how you want to see tiki.  After this, we need a way to keep this garnish above the ice. I use an 8th of a lime husk, (remove the meat of the fruit with a knife) use the triangle husk as a “stopper”  and put it at the bottom of the cherry combo.

This husk will keep the skewer/garnish above the drink, in an eye-catching fashion.  You can use fresh mint to create a dry aroma around the top of the drink, again, lean into the esthetic and make it yours.

(Note for the real drink nerds: I like to soak my skewers in rum or orange schrubb, it gives off a aromatic that the drinker can’t figure out where it is coming from.)

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Todd Maul is Co-Founder of Cafe ArtScience in Cambridge, MA and an amazing mixologist who has revolutionized the way we see cocktails.

Juan Gamez – Lost in wanderlust

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About four years ago on my way to Japan for the very first time I felt excited to start over from a life that wasn’t what I wanted for myself, to experience the unknown, and to make memories that will last a life time. I found myself sitting on my flight listening to music when the song The Nights, by Avicii, started playing on my iPhone. The words spoke to me instantly…. Avicii said “When I was sixteen my father said you could do anything you want with your life. You just have to be willing to work hard to get it. That’s when I decided that when I die I want to be remember for the life I lived, not the money I made.” It seems kind of crazy but my dad told me that exact same thing when I was a young boy living in Colombia. It felt like the song was made for me. I knew that I had to stay hungry for knowledge and adventure, that’s when I got lost in wanderlust.

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Traveling, exploring new cultures and getting lost in foreign cities is what gets me going.

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There is nothing more exciting than when you are trying to figure out where to go or what to order but the best part is you have no clue how to speak the language nor do you even know the basics… It’s funny and fascinating. So what do you do when you have no way to communicate through speaking? Point at what you want, smile and hope for the best!

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Open yourself up to new cultures, new foods and new people. Getting away for a while will help you learn a lot about yourself.

In one of my journeys around the world I had the chance to meet some school kids in a village in Bali, Indonesia. They wanted to learn about where my friends and I were from.  As we told the kids where we were from we realized it was four different countries! In our group we spoke three different languages and we all came from very different backgrounds, but we were united by one thing – we were consumed by wanderlust.

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You only have one life so find happiness by doing what you love. Do it for yourself and the ones you love. Don’t be afraid of trying something new, experiencing new cultures, and the most important thing is to have fun on your journey. Get consumed by wanderlust.

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Juan M Gamez is a United States Marine. He was born and raised in Columbia, South America and moved to Boston, Massachusetts in the United States when he was 15 years young.  He is fascinated by culture and art.  He loves traveling, photography and seeking adventure at all times.

You can follow his travels on Instagram @jgamez

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Stefan Barton – Woodcuts

I am not a photographer. I mostly paint and draw. I really only take pictures with a camera if I feel I have to. I do it because I think nobody else would. The images are surprises I find in nature, in artifacts and in the play of light and shadow on some sort of topography. There are pictures of rips in plastic-foil glued to window panes, cracks in concrete walls, shriveled and nevertheless sprouting vegetables, light coming through glass-bricks, cracks in floating ice sheets on a river – and trees. What is different about the following tree pictures is that I manipulate them with my computer. Read on and find out why.

On a random road-trip through the countryside one of us got car-sick and we stopped for a short break. I got out of the car and walked around a little bit, eager to continue with the driving. Then I noticed something odd in a pairing of trees in front of the wall of some dilapidated and rather ugly farming-compound: nothing of importance, just a vague geometric sensation, an aesthetic challenge presented by the coincidental arrangement of lines and spaces. I debated with myself, but then got the camera out of the car and took a picture. I wanted to preserve the sight and find out if the vision would hold up on the computer, in a different environment, at a different time…

Some weeks later, I stood at the living-room window, staring at a row of far away linden trees. Again it took me quite a while to decide to get the camera, feeling a little silly. A hint of dancing, floating, naked figures, headless…

Another tree I could see from the same window, looking back at me somehow…

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Walking in the countryside, armed with camera. The realization that in a forest, in small groupings and single trees, there are countless perspectives, countless compositions of trunks, branches and twigs. I would sometimes run around among the trees for hours, circling them, walking away, getting nearer, studying the bodies, arms, faces, eyes. I could imagine seeing myself from a distance: some weirdo with a camera running randomly around in the forest, obsessed with something invisible in the canopies, in the bark of tree trunks, stumbling, unaware of the path, spellbound, unable to look away. Or standing motionless for minutes, seemingly lost in thoughts.

Afterwards, the downloading of selected images, manipulations with software. Careful cutting and deleting of content, rearranging, little alterations, leaving authenticity to a certain extent intact, the taste of the original randomness, a sense of believability, the possibility of the composition. Simultaneously creating an odd shift in reality, a perforation of it.

The manipulations leading to something recognizable, hinting at something familiar, classifiable, interpretable.

Is there something in forestscapes that wants to be seen; are there hidden images in trees, manifestations, truth in observation?

The way of the wood – branching, the dendritic ramifications – is in reality too chaotic for us to recognize the true emergent and complex structure of trees. It is chaos –  and self-organization. A tree is in its slowness something like a frozen fractal. But it is slow only to us. In its own temporal reality it grows rampant, shooting upward waving about greedily for light, competing for height and size. The procession of days is a flicker.

There is beauty in trees. They are reassuring and steadfast. But they are also mysterious, incomprehensible.  One can, as in clouds, choose to see metaphorical images, maybe meaning. The barren treetops and the geometry of wood transcend the apparently mindless growing-ons and sproutings. One can refine it, purify it, even show the absurdity of it.

Wood doesn’t blush.

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Stefan Barton resides in a village near Hamburg, Germany where there are many patient trees, but he spent 20 Years in the US (San Francisco and Boston Area). He works on paintings, drawings and printmaking. Once in a while he is transfixed by taking pictures and manipulating these in a peculiar way. To see more of his images contact Stefan (stefan.bartongmail.com ) visit  http://clex-werk.blogspot.de/  or look at a book:

verform

 

 

 

 

Carrie Allen – “Sadie”

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Ever since I can remember I’ve dreamed about being a writer.  Over the years, visions danced in my head of creating novels, poems and short stories.  Yet, somehow something inside me always stopped me from taking that first step – even though I know I have much to say and write about – and I thought I’ll get to that later.

I love to read, especially fiction, getting lost inside a good story.  This is from where my inspiration for writing comes.  One of my favorite books has always been Catcher in the Rye, and to this very day my well worn copy still sits next to my bedside table, filled with underlined passages, notes and dog-eared pages, as I relished every moment at each read.  With this inspiration in mind, I’ve decided to start writing now and share my stories here.  I welcome contributions from those of you who also want to share your voice.  Just contact me!

Below is the first part of a set of serial short stories about a young girl named Sadie.  Comments and feedback are welcome.

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SADIE – It’s hot

Sadie sat and stared up through the branches looking at the faded blue sky peeking through patchy white clouds.  She heard a fly buzzing somewhere behind her. Flicking a twig off her leg, she slid down a little farther into the barrel of water.  It was hot.  So incredibly hot.  She thought she would melt.  This is why she filled the metal barrel with water from the hose and plopped down in it.  The water felt cool on her hot skin.  Even so, sweat dripped from her limbs that didn’t fit in the barrel and the heat was suffocating.  The tree gave her a little bit of shade.

She could hear her grandmother in the kitchen chopping vegetables, prepping for tonight’s dinner.  Her brother was down by the docks, trying to catch a crab.  He’d been at it for a while and was not interested in entertaining Sadie, he said.  Caleb was four years older and not much fun; he never wanted to play.  Sadie and Caleb had been at their grandmother’s house for a month and a half.  Their mother needed a break they were told.  She was weak and couldn’t handle their noise and demands.  What did they know?  Sadie could’ve helped her mom even if she was only eight. She knew how to make sandwiches and clean up the kitchen and she took real good care of her mama.  Still, they were sent away.

“Sadie!” she heard her grandmother yell.  “What are you doing now?  Look at that mess you’ve made!” 

“It’s hot,” she yelled back.  “What did you expect me to do?” she muttered.  Sadie looked at the mud puddle around the barrel and the sludge that was slipping down the hill towards the back door to the kitchen.  She had left the hose running so that the water would stay cool.  Her feet were covered in mud and it was smudged on her hands and legs, drying and cracking in the heat.  Her threadbare yellow dress floated up around her in the barrel and she pushed it back down into the dirty water.

Humming now, she closed her eyes and tilted her head up towards the sky.  One hand swirled the water and lapped it up towards her neck.  She was trying to remember as far back as she could when her mama was not sick.  As hard as she tried, she couldn’t. She wondered what her mama was doing at that moment.  A sadness enveloped her.  She longed for her mama’s arms and warm embrace and happier days.

Last year, try as she did, she couldn’t stay out of trouble.  She was real helpful and always trying to fix things.  She had good ideas – she knew that for sure.  Didn’t matter that not everyone understood them, like the time she collected the neighbors’ cats and brought them home to the apartment.  She thought the cats would be thirsty in the heat.  She found three but didn’t know they wouldn’t get along – that it would be hard to get them out before mama got home from work.  What a mess that was. 

Her mama had been so mad she locked her in the closet for hours and said she couldn’t control her so that’s where she needed to be. She said Sadie gave her a headache.  The dark had scared Sadie at first, but then she realized it was nice and peaceful. She could see her mama’s shadows on the floor where the light shown in under the door.  Sadie loved those shadows, her mama dancing by every time she passed the door.  They comforted her while she softly hummed and rocked back and forth in the dark.

A bird screeched and pulled Sadie back to her barrel of water and the heat.  The water from the hose kept rushing down the hill and the mud puddle was getting bigger.  She thought she should probably get up and turn off the hose, but the heat made her feel heavy.  She didn’t feel like it.  She’d get to it before her grandmother looked outside again.

As her eyes scanned the yard, she caught a glimpse of something small and purple across the stretch of patchy grass and gray hardened dirt.  She wondered what it could be so she pushed herself up out of the barrel, leaving the dirty water and deluge behind her, forgetting to turn off the hose.  She made her way over, tripping ever so slightly on a tree root, to see what caught her eye.  As she approached she realized it was a small, blooming violet.

She lay down on her stomach to look closer.  The violet had only one flower on a drooping stem with two small yellowish leaves.  Popping up out of a crack in the dirt and leaning over, the flower was straining to grow, and yet despite the conditions unsuitable for it to survive, it was still growing with determination.  “Look at you, so pretty and small.  Where is your mama to take care of you?” she asked in a quiet whisper.

 

Carrie Allen created this site as a way for people to share stories about things they love. Read more about her inspiration here. 

If you like what you see on this site, please help spread the word and share posts with your friends on social media!  Reach out if you’d like to contribute something about your passions.

Jeff Liberty – Here and There

Films like “Lost in Translation” and “Up in the Air” give you the impression that business travel is a deeply lonely and alienating experience, especially for men.  I can certainly understand how people who spend too much time on the road can feel disconnected from everyone and everything and exhausted from being nowhere and everywhere at the same time. When I travel for work, I do miss my family and the creature comforts of home.  I can get tired of aggressively upbeat music in hotel lobbies and elevators, paranoia about the charge in my cell phone battery, and the endless search for healthy food and good coffee. At the same time, I’ve come to realize that traveling to new places for work sharpens my powers of observation and makes me feel more connected to strangers and, at some level, to my core beliefs and values.   

Recently I visited San Francisco for a “thought leadership in education” event at the San Francisco Museum of Modern Art, which was half the reason why I was willing to travel across the country to attend.  The gathering’s organizers had promised to “bring together 250 of the most interesting people” in the education space.  Raised in a working-class neighborhood in Boston, it all seemed so pretentious, so self-involved to me.  And yet there was a part of me that was flattered to be on this exclusive list and excited by the promise of a private, curated viewing of the SFMOMA’s Fisher Wing.

At Logan Airport, I was impressed by the young mothers who were traveling alone with young children and navigating strollers and diaper bags along with the normal amount of luggage through the security checkpoint.  It struck me as particularly poignant that this generation of children—my own kids included—will grow up with the basic understanding that everyone is to some extent a threat and that no one can be assumed to be safe.

As I dutifully remove my shoes, suit coat, belt, and laptop and place them in gray plastic bins, I notice an African-American woman, her feet spread shoulder width and her hands raised above her head in the tubular full-body scanning machine.  Her t-shirt reads “Free Black Woman,” and it occurs to me that no white person in America would ever feel the need to buy and wear such a shirt.  

tsa (1)When it’s my turn in the body scanner, I mold my body into the pose required by the silhouette inside the tube and feel something like shame at the fact that, as a white man, my putting my hands up as I am scrutinized by paramilitary TSA agents must be a very different experience from the woman in the “Free Black Woman” t-shirt.

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On the cross-country flight, internet access is spotty, which causes me some productivity-related angst, but the unreliable connectivity allows me to pay more attention to my fellow passengers, including a lovely older couple sitting next to me. I am taken by the easy way they ask each other questions and show genuine interest in responding to each other’s queries.  At various points during the flight, they look up from their reading and share aloud long passages—the husband a whole paragraph from an article on Chinese currency manipulation from Foreign Affairs magazine; the wife a passage from People about the recent death of Mary Tyler Moore.  Their tender regard for one another is apparent and makes me hopeful about the future of my own marriage over the long haul.

On the taxi ride from the airport, a gnawing feeling of nervousness starts to dog me.  This is an old and familiar sensation of fraudulence I can sometimes feel when I am in social situations that feature lots of affluence.  Most days I manage my emotions by reminding myself of my worthiness through positive self-talk, a concept that would have made my even more insecure teenage self want to punch my 47 year-old self in the face.  On this day, however, I am having a hard time keeping my nerves in check, so I do what I often do on work trips—I go for a long walk.

On this crisp February morning, San Francisco strikes me as a symbol of everything that’s right and everything that’s wrong with America.  Young San Franciscan professionals that I imagine to be employees of tech companies with edgy, ironic-sounding names commute to work.  Nearly everyone has headphones tucked under fashionable hats and unnecessarily warm coats.  Some talk to the wires next to their cheeks as they walk down the sidewalk.  Others glance at their phones in between sips of coffee and tea as they wait for traffic lights to change.

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This SOMA neighborhood is booming—there are new high-end construction projects on every block.  Construction workers on their mid-morning breaks—burly, unshaven dudes in orange hard hats and yellow fluorescent vests—congregate in groups of three and four on street corners and on raised platforms made of dusty lumber and metal piping.  They curse and smoke and eat slices of pizza and breakfast burritos and drink coffee from stainless steel thermoses.

On the same street as a futuristic hotel that looks like a series of glass cubes stacked asymmetrically, apartment maintenance workers power-wash shit-smeared sidewalks as city employees in cheery blue jackets remove cardboard boxes that have served as beds for the city’s many homeless residents the night before.  Some newer commercial buildings feature sidewalks outside their windows in which large stones have been cemented into the walkway, ostensibly as a way to discourage people from sleeping there overnight.

I turn onto Mission Street.  Every few blocks there are medical marijuana dispensaries with names like “Spark” and “Relief.”  Their bouncers, muscular giants perched on too-small bar stools at the front door, check their phones and wait for trouble I hope will never come.  I spot a young man passed out on the sidewalk, his back held upright by a temporary construction fence. Shafts of morning sun warm the lower half of his legs.  An unlit cigarette balances impossibly, almost comically, from his mouth. One of his hands is open, palm outstretched to the heavens.  A cell phone is clutched in his other hand.  Thinking of Jacob Riis, I want so much to take a picture of this boy, whom I judge to be around twenty.  I want to bear witness, to share his image with the wider world. Like the black woman at Logan, he seems to represent something potent and crystalline about the challenges and opportunities of the moment we’re in. I wonder if there is any way that I can frame the shot that will not strip him of his remaining dignity.  Ultimately, I walk back in the direction of my hotel.  On the way to my temporary home, I notice that the wall of the San Francisco Chronicle has a deep crack in its façade, where black Gothic letters teach me that the paper was founded in 1865—the last time we had Civil War, I can’t help thinking.

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A few weeks later, I stop into the Backyard BBQ Pit in Durham, North Carolina. The snaking lunchtime line curls like a long sausage chain through the restaurant.  Every skin tone and hairstyle in America seems to be represented and people of all ages are happy to wait for the fried whiting, the pulled pork sandwiches, the turkey plate, and the famous mac and cheese.

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An older gentleman with a kind sun-splotched face and bushy eyebrows that can’t decide what direction they want to grow in enters the crowded shop.  He moves slowly, almost painfully, with the help of a metal cane, uncertain about where he should place himself in the line.  Two elderly black women allow him to cut in front of them.  For a second, I consider offering to let him go ahead of me as well, but something about the interaction between the ladies and this man seems to me to be a deep but quiet gesture of Southern gentility, something subtle that a lanky Yankee in a suit like me can recognize but not fully comprehend.

The man slides into the space the ladies have created for him and clutches the wooden frame of a nearby booth for balance.  He introduces himself to me as Chase. When I share with him that I’m in town for work, he tells me that his daughter is a teacher and his son-in-law is a youth minister. Chase tells me that he’s 80 years old and has survived five different kinds of cancer, one of which resulted in his liver being removed.  As we wind our way through the restaurant, inching closer to the mouth-watering food that Yelp has promised, he tells me about his son who died at 48 of a heart attack while skiing.
“You can accept other kinds of death,” he tells me, his blue eyes suddenly far from this BBQ joint.  “My parents, even friends.  You expect that.  But your own child,” he trails off.  “That’s different.”

 One of the chefs pops out from behind the counter, taking fried food orders that he seems to remember with ease without writing them down.  The catfish comes so big that it can’t fit on the plate, Chase tells me.  He asks me if I have children.  He celebrates my choice of the brisket, collard greens, and squash.  When the time comes to pay for my food, he shakes my hand with startling firmness, wishes me luck on my trip, tells me I’m doing good work, and shuffles off towards the door with two sandwiches, one for himself and one for his wife.  

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Having woken up early and having sat in the line for so long, I scarf down my lunch.  The contrast of the tangy, spicy red vinegar with the moist brisket is divine.  Chewing on a mouthful of bitter collard greens, I can’t help thinking about the fact that I’m only a year younger than Chase’s son when he passed away, the same age as my own father when he died when I was in college.  I let two hush puppies dissolve on my tongue and wash them down with sugary tea, happy to finish the meal with a mouthful of sweetness before getting back on the road in my rental car.

 

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Jeff Liberty is the Vice President of Personalized Learning at BetterLesson.  Jeff has been married for 15 years and has two school-age children.  A graduate of Emerson College’s MFA Program in Creative Writing, Jeff tries to get better at his use of words when he’s not trying to help teachers get better at their craft.

Holly Soffee Bohannon – Art love

Art has been in my life for as long as I can remember. I loved everything about it.

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In grade school, I would look forward to art class more than any of the other classes.  In high school I was like a kid in a candy shop trying to decide which art class to take.  I wanted to take them all!

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I got married and started a family quite early. I continued to keep it close to me whenever I could, usually through my kids. My husband would always nag me ” You need to paint.” He knew deep down how important it was to me. It wasn’t until my late thirties that I finally realized, there was no ignoring that voice in my head any longer.

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I started taking painting classes, and automatically it all came rushing back. My first love, my true love, my art.

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I have  worked in different mediums, but my favorite these days is graphite and charcoal.

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I love being able to control the pencil and detail that you can achieve, especially when working on a portrait. I will usually save the eyes for last, because I believe that in the eyes there is a connection to the source- something that goes beyond what we know.

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Over the years, my art has lead me to become more connected with my spirituality.  It is almost meditative.                                                                                                                           

IMG_2582The world around me can be beautiful or grim, and it doesn’t matter. When I have my canvas or paper in front of me, life pauses and I can just “Be” even if for a moment.

 

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Holly lives in Richmond, Va. with her husband and two teenage sons. She has been drawing and painting her whole life, and started selling her work in 2010. She is always willing to start a new project if anyone is interested in a commission.
Contact Information:
Email: Jidmoski@yahoo.com

Kelly Anona Kerrigan – Documenting a life on canvas

I feel most alive and most connected to the world when I am creating.  In college, I fell in love with painting.  I received a very traditional art education as an undergrad, learning the foundations of painting, drawing, and sculpture.  Our studio time was spent exploring still life setups and the human figure.  In graduate school, I branched out and explored other ways to use materials while trying to find my own vision.  Through my exploration, I discovered that my work always come back to portraiture.

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Anona 2010, oil on canvas

There is something about painting a portrait that feels like a special connection that I am making with my subject.  I want to invest the time to really see a person in a way that we don’t get to do on a day to day basis.  I use portraiture to explore identity and personality, and how much we can really know each other.  I feel a rush of adrenaline when a painting starts to form on the canvas, representing my personal relationship with and interpretation of the subject.

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Anona 2011, oil on canvas

When my niece, Anona, was about 10 months old, I painted her portrait.  At the time, I wasn’t thinking past that initial portrait.  I just wanted to capture her as I knew her that day.  Anona is now 7 years old, and I have painted her portrait every year since she was born.  That first portrait started an ongoing project that, for me, is about more than painting.

Anona 2012, oil on canvas and Anona with her early portraits.

Anona and I live on opposite sides of the country, so I don’t see her very often.  The distance and time between visits make it seem like she is growing up so very fast.  It is amazing to see how much she changes and exciting to watch her grow into her own unique individual.  Each year, I try to capture her in a way that feels true to my interpretation of her, and shows her personality.  In a sense, the portraits become a representation not only of Anona, but of my relationship with her.

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Anona 2013, oil on canvas

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Anono 2014, oil on canvas

A theme that runs through my work is one of identity and what shapes our sense of who we are and how we present ourselves in this world.  By painting Anona each year, I am watching her grow up and become who she is, while creating a lasting document of milestones throughout her life.  All of the portraits of Anona live with her on the west coast.  While compiling these pictures of the paintings today, I realized that this is the first time that I’ve looked at them all together.  I love seeing them as a group and noticing how she changes from year to year.  I’m pretty sure she enjoys seeing herself on canvas, as well.   I am determined to add to this group every year, for as long as she will let me!

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Anono 2015, oil on canvas

Anono with her 2016 portrait and Anono 2016, oil on canvas

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Kelly Anona Kerrigan is an artist living and working in Boston’s Fort Point Artists’ Community.  She received a BFA in painting from Boston University and an MFA from the School of the Museum of Fine Arts/Tufts University. In addition to painting, she also enjoys designing and making clothing and costumes.  Some of her favorite things in life are running, nail polish, and the Red Sox.  See more of her work at www.kellyanonakerrigan.com

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