If You Can, Consider Buying Your Books From An Independent Bookstore

Shoppers waited to enter the Strand on Sunday after the bookstore said its business “had become unsustainable.” Jeenah Moon for The New York Times

Books and the love of books have been a constant theme since early posts on this platform. Likewise, libraries are in these pages frequently due to their important and sometimes essential role to communities; and of course librarians can change lives. Bookstores, cultural institutions in their own right, show up plenty in our pages. The Strand has not, even though it has multigenerational resonance in our family. Today it is newsworthy for complex reasons. The title almost says it all. Book lovers respond, for reasons that all our other posts about books and book places hint at. For me the subheading has the word that caught my attention. While book lovers and bookstore lovers respond to this shop’s call for help, some of the shop’s resources were invested awkwardly (I have hinted at such awkwardness plenty of times). When an independent bookseller is an option, consider the value they represent. Meanwhile, thanks to Sean Piccoli and Elizabeth A. Harris for this:

The Strand Calls for Help, and Book Lovers Answer

“It’s awkward because the track record for the ownership here is not great,” one customer said. “But it’s also an institution. My parents shopped here.”

For months, the Strand bookstore in downtown Manhattan, from its fiction stacks to its cookbook section to its rare books, has been nearly deserted. But on Sunday, half an hour before the store was scheduled to open, about a dozen people lined up in the cool fall breeze, waiting to get inside. Continue reading

Hats, History, Heritage

Mr. Espinal, 52, is widely regarded as the greatest living Panama hat weaver. All photographs by Roff Smith

Having lived and worked in Central America and South India, weaving with palms for shelter and adornment has been part of cultural norms. But in most cases, the craftsmanship has been simplified versions that lacked permanence – for the sake of festivals, traditional artesania , or with the knowledge that the woven shelter would last several seasons of rain before requiring replacement.

The artisan ethos described here mirrors both the fine work and collaborative efforts of Kerala sari weaving communities like Chendamangalam. In all cases, the “stuff of royalty.”

A Glimpse Inside the Workshops of the World’s Finest Panama Hat Makers

Creamy as silk and costlier than gold, a Montecristi superfino Panama hat is as much a work of art as it is of fashion.

Creamy as silk, costlier by weight than gold, the color of fine old ivory, a Montecristi superfino Panama hat is as much a work of art as it is of fashion. The finest specimens have more than 4,000 weaves per square inch, a weave so fine it takes a jeweler’s loupe to count the rows. And every single one of those weaves is done by hand. No loom is used — only dexterous fingers, sharp eyes and Zen-like concentration.

“You cannot allow your mind to wander even for a second,” says Simón Espinal, a modest, soft-spoken man who is regarded by his peers as the greatest living weaver of Panama hats, possibly the greatest ever. “When you are weaving it is just you and the straw.”

Mr. Espinal’s hats average around 3,000 weaves per square inch — a fineness few weavers have ever even approached. His best has just over 4,200 weaves per square inch and took him five months to weave.

The 52-year-old Ecuadorean is one of a dwindling number of elite Panama hat weavers, nearly all of whom live in Pile, an obscure village tucked away in the foothills behind Montecristi, a low-slung town about 100 miles up the coast from Guayaquil.

Continue reading

Maya Nut @ Authentica

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Authentica was conceived as a shop that would constantly be renewed by the creative forces surrounding us in Costa Rica. Artisans who shape wood in a way that we consider to be quintessentially Costa Rica, or sourced  in a way we consider to be more virtuous. Ceramic pieces that evoke Costa Rica. Foods and beverages that offer a taste of place like nothing else. Today we have a new set of products to talk about, starting with the one in the photo above. Known here as ojoche, but in other places as ramon, or especially as Maya nut; known in Latin by its botanical name as brosimum alicastrum. There is a story to tell, too long for one post but it started for me in Belize. A new plot line…

Experiential Learning & Social Enterprise

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The waters and mountains of the Inian Islands, near Glacier Bay, Alaska.Lauren Migaki/NPR

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With help from books and YouTube, Abe Marcus (left, pictured with Yasamin Sharifi, center, and Tsu Isaka) has been learning how to operate a coal-powered, hand-cranked forge found on the property. Lauren Migaki/NPR

There is a great story shared yesterday on the National Public Radio (USA) website, told in unusually long form for that outlet, by Anya Kamenetz. I look forward to more stories by this journalist — she relates a story that is as far away from my own experience as I can imagine, but I feel at home in it. The picture to the right, from near the end of the story, hints at one reason. But it is not that. Nor is it the fact that I witnessed the birth and evolution of a similar initiative in Costa Rica.

I taught a field course in amazing locations (2005 in Senegal, followed by Costa Rica in 2006 followed by Croatia, India, Siberia and Chilean Patagonia), but that bore little resemblance to the initiative in this story. All those factors may help me feel at home in this story, but mostly I relate to it as a story told well for the purpose of understanding the motivations of a social entrepreneur and incidentally her commitment to experiential learning.

In Alaska’s Wilderness, A New Vision Of Higher Learning

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Marcus stands in front of the massive vegetable garden at The Arete Project in Glacier Bay, Alaska. Lauren Migaki/NPR

In Glacier Bay, Alaska, mountains rush up farther and faster from the shoreline than almost anywhere else on the planet. Humpback whales, halibut and sea otters ply the waters that lap rocky, pine-crowned islands, and you can stick a bare hook in the water and pull out dinner about as fast as it takes to say so.

This is the place 31-year-old Laura Marcus chose for her Arete Project. Or just maybe, this place chose her.

The Arete Project takes place in the remote wilderness of the Inian Islands in southeast Alaska.
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Arete in Greek means “excellence.” And Marcus’ Arete is a tiny, extremely remote program that offers college credit for a combination of outdoor and classroom-based learning. It’s also an experiment in just how, what and why young people are supposed to live and learn together in a world that seems more fragile than ever. It’s dedicated, Marcus says, to “the possibility of an education where there were stakes beyond individual achievement — where the work that students were doing … actually mattered.” Continue reading

Creative Conservation, All For Artisans

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Authentica opened the first of its two shops last week, and this post is a quick statement of what occurred to me while looking across the shop once all the displays were set up. Back in early June I thought that two words simultaneously riffing off the concept of creative destruction, and our two decades of practicing entrepreneurial conservation, was enough of a tag line for saying what we are doing.

But now three more words seem worthy of adding to the mix. Because across this room it is clear that the pursuit of creative conservation is contextual and very specific; we are doing this all for artisans. I do not mean that just in the sense that we are completely motivated to do what Authentica is doing, for the sake of artisans, though that is true. The variety of items on display–colorful totems of Costa Rica’s culture, design-forward textiles, sensuous ceramics and turned wood objects, specialty coffees and artisanal chocolates–made clear now that Authentica should be more explicit. Say clearly that all proceeds from every sale in Authentica get reinvested back into building a better economy for artisans.  Maybe it can be said in fewer than five words, the way 100% Forward says all that Organikos needs to say. Brevity is the soul of wit, and wit is a powerful currency. I will work on it in the days to come.

Food Traditions & Modern Realities

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A woman prepares couscous in a small Amazigh (Berber) hamlet on the eastern slopes of Morocco’s High Atlas Mountains. Jeff Koehler for NPR

It seems ages (if only six months) since the folks of the salt, over at National Public Radio (USA), offered a story like this, so thanks to Jeff Koehler – Writer – Photographer – Cook – Traveler for bringing it:

Couscous: A Symbol Of Harmony In Northwest Africa, A Region Of Clashes

In 2016, Algeria announced that it would be applying for UNESCO Intangible Cultural Heritage status for couscous. If successful, the staple food would join a diverse list of more than 500 cultural treasures ranging from hand puppetry in Egypt and tango dancing in Argentina and Uruguay.

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Sweet couscous is popular across the Maghreb. It is generally served with leben, a buttermilk-like fermented drink.
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Couscous refers to both the tiny, hard granules typically made from crushed hard durum wheat semolina, as well as the dish itself. The tiny balls are steamed in a two-level pot with a perforated steamer basket called kiskis (known in much of the world as a couscoussier) over a stew of meat or fish, vegetables and spices, which is served on top.

While a catalog of outside influences has shaped Algeria’s cuisine over the years, it never lost its ancient traditions or uniqueness, wrote Mokhtaria Rezki in her authoritative book Le Couscous Algérian. “Algerian couscous remains in this respect the symbol of our originality and our greatest invention. … If one had to culinarily and symbolically award a medal of our national cultural identity … certainly couscous would be the star and the subject.” So key is couscous to Algerian culture that some simply refer to it as ta’am, or “food.” Continue reading

Authentica’s Culture Is Conservation

fort-cochin-girls-118.jpgAbout one year in to our time in India Amie got us involved in an initiative that helped reduce our carbon footprint by ensuring that the bags we used in our hotel gift shops contained no plastic. Instead we used bags made from recycled newspaper. We were fortunate enough to have an intern from Amherst College that summer who wanted to work on this. His enthusiasm for the project was so infectious that other interns joined him. Being from Korea, Sung Ho Paik has what I believe is K-pop accompanying his video below.

We were still expanding this initiative with intern assistance years later. Items sold in our gift shops in Kerala followed the lead of the takeaway bag initiative, and elephant paper may be an extreme example but is a useful segue to what is on my mind today. We had the opportunity to join forces with an excellent local design firm in their idea to launch a retail concept with the kind of products that we have always believed in. We  believe in ideas that support entrepreneurial conservation with great design.

Authentica springs from these roots, and the culture of conservation is clearly a guiding force in what will be on offer.

Weavers at Hand

This video expresses the concept of artisan ethos in almost too many ways to count: from the centuries old traditions of weaving in India , to creative communities coming together to rebuild cultural patrimony in the face of natural disasters, not to mention the well-crafted visual storytelling of the piece itself. (Kudos yet again to Anoodha and her Curiouser team for their own style of weaving.) Continue reading

Travel’s Ambassadors

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A few years ago, as we were completing work on the final hotel of our work plan in India, we had visitors from Costa Rica. They brought this little thing as a gift. Bicycle as ambassador. Knowing that we had been developing relationships with artisan groups in India, this was a small token of what had been happening in Costa Rica in the many years we had been away. Using recycled materials, one group of artisans were designing and crafting mementos like this for people to take home with them after their vacation in Costa Rica.

During my doctorate years I had mementos from one place in my office. In my office now I have mementos from many different places to inspire the work we will do next. This little thing is in a prized place.

Authentica & Organikos

Organikos2019LogoAuthentica, mentioned a couple of times prior to the current series of posts, has the character of a startup but its goal is the opposite of disruption.

A major disruption already happened, and if one of the antonyms of disrupt is organize, then that is what we are doing. Authentica is part of a nascent movement in Costa Rica to provide market opportunities to artisans, farmers, food producers and others who design, craft, grow and cook things that are essentially Costa Rican. The disruption they faced is not the story we want to tell. The reversal of that disruption is the story.  One example is Organikos. Continue reading

Longform & Shortform & Waning & Waxing

p06yh66g.jpgJames Rebanks had come to my attention twice before. I found him compelling both times but because he was described in shorthand as the tweeting shepherd, my interest waned as quickly as it waxed. Now, after listening to him on a third occasion, and because of his music choices (on a show that illuminates a person beyond their words, through their musical taste), he won my attention back.

Mainly, I was intrigued that he brings his experience to bear in a consultancy that sounds like it has plenty of overlap with our own practice. And once I discovered that he had taken a break from tweeting I decided to venture onto that platform, which I rarely do, to try to understand that part of him better. And that led further afield and allows me to suggest that longform communication suits him better than shortform:

The Art of Inclusivity

 

A visitor takes a close look at “Missing Route 4,” a hand-stitched embroidery by Bapi Das.Credit Atul Loke for The New York Times

The history of our work in Kerala, and specifically in Kochi, has long been intertwined with Art, and how the surrounding community interacts with it. Biennales, by nature, often blur the line between street art and gallery space, as multi-dimensional and multi-media installations begin to appear on walls, pop-up spaces, cavernous warehouse buildings, and classic museum halls.

Now in it’s 4th edition, the Kochi-Muziris Biennale, has grown continually in both the breadth of the artists involved, and the depth of its work toward community outreach. This sense of inclusivity extends to gender equality, a longstanding issue that India as a country has battled with;  the curator and more than half of the artists are female.

As with the previous editions, the installations are thought provoking and moving, at times asking viewers to acknowledge and honor the difficult history of a colonial past.

In India, Building Bridges Between Life and Art

The Kochi-Muziris Biennale, South Asia’s biggest art show, uses interactive exhibits and live performances to help Indians connect with contemporary art.

KOCHI, India — Clad in a simple striped shirt and the white mundu of the city’s fishmongers, Bashir stood out from the well-heeled throng at the warehouse galleries and tree-filled courtyards on the first day of India’s biggest contemporary art show, the Kochi-Muziris Biennale.

Bashir, a fishwrapper who works nearby, visited the Kochi-Muziris Biennale on opening day because entry was free. He lingered over the photographs, including these photo essays by Chandan Gomes, a Delhi photographer. Credit: Atul Loke for The New York Times

Keeping to himself, he moved from room to room, stopping to study moody landscapes by the Delhi photographer Chandan Gomes that were paired with imaginary scenes drawn by a girl who died at age 12.

“I don’t understand the inner meaning of the art,” said Bashir, who uses one name and makes a living wrapping and delivering fish. “I just like to see beautiful things.”

Bashir’s willingness to engage with the artwork, no matter how challenging, was a victory for the show’s organizers. The southern state of Kerala, and India as a whole, have very few public venues to see art. So the organizers of the biennale, which runs until March 29, strove to create an event that would appeal to everyone — from untutored day laborers to veteran museum curators.

“We are making a cultural festival,” said Bose Krishnamachari, a painter from Kerala who co-founded the show eight years ago. “We have tried to penetrate to the people’s minds so that they feel that it is their biennale.”…

Continue reading

Organikos & Coffee Circa 2019

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Organikos2.jpgWhen we returned from India in 2017 we mentioned the word organikos in the context of coffee. Just prior to moving to India, in early 2010 we were completing our second year assisting the Patagonia Expedition Race–we not only assisted with their contracting a title sponsor, but Organikos was itself a Race sponsor. Somewhere we have photographs of our team serving coffee to racers, Race staff, and with our logo displayed at the finish line where we also served coffee (even as champagne corks were popping in the pre-dawn darkness). I will post those photos another time, but the reason those images come to mind is that we had developed a graphic statement of how we wanted Organikos to look on a coffee label, and it is very different from what we want today. 2019 is starting out with its own equivalent of corks popping, as last evening we finalized the first draft of what our first coffee shipment, from a roastery in Austin, TX USA is going to look like. You saw it here first (label feedback welcome):

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A Sense Of Costa Rica

SilkCoastal1Amie and I recently met with an artist who paints on silk. In a post after that we displayed a couple of her pieces that feature coffee farm themes, and here are a couple more featuring coastal themes. Our practice of entrepreneurial conservation has allowed us to post frequently on this theme over the years. Less frequently we have mentioned sense and sensibility, words we work by.

SilkCoastal2Our assumption is that most people want to sense how a place they visit is different from where they normally live. Commonalities are also helpful for the sake of comfort and the travelers we have gotten to know through our practice in the last 2+ decades are much like us: interested in the balance between things we already understand and things that make us wonder.

When we saw these silk pieces we had a sense of Costa Rica that would be difficult to find words for. The artist has an ecological and socially responsible orientation, backed with actions that represent what make this place unique. This is the aspect of Costa Rica that inspires and motivates not only those who have chosen to live there, but those who choose to visit. Visitors should have the opportunity to take home with them items like these painted silks, that somehow represent Costa Rica. Little reminders.

Authentica, A Few Of Our Favorite Things

FransCoffee.jpegYesterday’s coffee sample from the Brunca region got us thinking about our interest in foods and beverages that represent the taste of a place we have gotten to know through our work. Today I am sampling a friend’s coffee grown a few hundred meters away from where I sit typing this.

It is an arabica varietal, known as Castillo, that has resisted the rust plaguing Central American highland coffee farms. And this glass of freshly brewed Castillo makes me realize that Authentica is also an outgrowth of the much broader array of work that led to our original interest in taste of place.

In 1995 I gave a lecture based on some ideas that came out of my doctoral dissertation, ideas which I now simply refer to as entrepreneurial conservation. Costa Rica had recently committed to the then-new sustainable development model. I made sure that the ideas from my dissertation could be clearly understood within Costa Rica’s framework. Based on the lecture he received an offer to lead an initiative, based in Costa Rica and serving the countries of Central America, that would facilitate the adoption of sustainable tourism development strategies in the region.

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In 1996, tourism was limited in Costa Rica but there was enough of an industry to analyze its component parts. This highlighted pre-existing strengths on which to build a national tourism strategy. One of those components was handicrafts. We have not gone back to look at the findings, but memory tells us that handicrafts were a small but thriving sub-sector of tourism, and some of it was spectacular. The bowl to the left was the first we had seen made of the local wood called cocobolo.

Pia pitcherIn the 2+ decades since that analysis, times have been difficult for the artisans of Costa Rica even as the tourism sector as a whole has grown dramatically. It is enough to say that something must be done in Costa Rica to valorize the artisans who have been able to hang on, and to likewise showcase the remarkable renaissance of artesania in this amazing country. The campesino in the photo to the right is from an artisan who carves coffee wood, with coffee farmers his primary subject. We received that carving as a gift in 1998 and we recently met the artisan who made it. He has managed to hang on.

On that same shelf is a small ceramic pitcher made by an artist of the next generation, who is a perfect representative of the renaissance we see, now that we are visiting Costa Rica after many years living in other parts of the world. A platform is needed to share these things that we see and love about Costa Rica, things which we believe represent this place well, and put them in a place where they can be purchased, in order to valorize the artistry and craftsmanship.

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Above is a hand-painted silk scarf made by a local artist whose life on a coffee farm inspired this particular image, and the one below. We will be more specific about these and other artists in future posts. For now it is just enough to say that we believe in local artists, artisans, farmers, roasters, chocolatiers enough that we have formed Authentica as a marketplace for their products, to be sold mostly to visitors who want to take home with them a sense of the place they have visited.

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Japan, Paper & Tradition

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Washi paper at the store Ozu Washi in Tokyo. Credit Courtesy of Ozu Washi

Thanks to Nikil Saval for asking, and to the New York Times for publishing his answer to this question:

Why Is Japan Still So Attached to Paper?

Washi is to the Japanese something like what wine is to the French — a national obsession and point of pride.

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The architect Shigeru Ban’s emergency shelters are made mostly of paper.CreditBrent Boardman/courtesy of the Sherman Contemporary Art Foundation (SCAF)

ONE OF THE CLICHÉS of modernity — but a cliché we nonetheless have to live through — is that new forms of technology make us nostalgic for prior ones and the eras they connote. When smartphones emerged, they brought the internet into spaces that were once free of them, so that a poorly functioning flip phone now inspires a hint of wistfulness. The pileup of digitized music since the emergence of the MP3 has prompted a retreat, however niche and ultimately minor, into the world of vinyl records and even tapes. The ransacking of the physical texture of the world — books, newspapers, retail stores, maps — has been so enormous and sudden that it becomes possible to see what we are losing and no longer regard the onrushing future as progress.

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Japan’s centuries-long fascination with traditional papermaking means there’s still a robust analog culture in a country known for its embrace of the modern. Credit Photograph by Kyoko Hamada. Set Design by Arielle Casale and Maxwell Sorensen. Altered images: Daj/Getty Images; Bernard Allum/Getty Images. Origami: Beth Johnson. Photographer’s assistant: Jonah Rosenberg

Because of the sheer accumulated weight of its past, and the velocity of its rush into the future, Japan offers these contradictions and anxieties of modernity in particular abundance. Japan was geographically isolated for centuries, so the time between the country’s opening — thanks to the gunboat diplomacy of American warships’ arrival in 1853 — and the postwar miracle of reconstruction produced a linear and especially propulsive narrative of an agrarian society becoming one defined by urban futurism. The contrast (and conflict) between ancient and modern is the primary tension in Japan’s modern literary and filmic traditions: rural families experiencing the shock of the city in Yasujiro Ozu’s films of the ’40s and ’50s, or Noh drama in the novels of the Showa-era writer Fumiko Enchi. Everything, from the perfervidness of the country’s electronic manufacturing, the proliferation of its pop culture, the aggressiveness of its building booms — even as a three-decade-long economic decline strips these characteristics of their sheen — seems to serve as a reminder that throughout the postwar era, Japan was a byword for the future. Continue reading

Dan Barber On Future Food

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‘Restaurants can become these cathedrals of ideas.’ … Dan Barber chef and co-owner of Blue Hill restaurants in Manhattan and upstate New York. Photograph: Ali Smith for the Guardian

Thanks to Emma Brockes for this article, another in this important Guardian series:

Dan Barber: ’20 years from now you’ll be eating fast food crickets’

In the latest from our series on biodiversity, the Blue Hill chef says we’ve got sustainable agriculture wrong. It’s not a question of sacrifice, but deliciousness

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Barber holds a staff meeting. Photograph: Ali Smith for the Guardian

How does it taste?” says Dan Barber, regarding me expectantly in the garden of Blue Hill at Stone Barns, his restaurant in the Hudson Valley just north of New York. I am gnawing the crust of a large piece of bread that has been grown from Barber Wheat, a hybrid seed developed by Barber and his partners to be nutrient dense, high in yield and – a radical thought in seed breeding, apparently – full of flavour. (Whereas clapped out old seeds might yield 30 bushels an acre, Barber Wheat will stretch to 95). The bread is simultaneously light, and dense, and intricate in flavour in such a way that I can’t think of a single word to do it justice. Barber, who at 49 has the manic energy of someone for whom no plate of food will ever live up to the ideal in his head, looks at me gloomily. “That’s the whole problem with food writing,” he says.

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‘At a restaurant you’re like a conductor in an orchestra.’ Photograph: Ali Smith for the Guardian

There are bigger problems in the food world. With the possible exception of “financial regulation”, there can be few more deadly phrases to the casual reader than “sustainable agriculture”, a heavy-weather issue most of us recognise as increasingly important but nonetheless killingly dull. This is where Barber, who set up his restaurant in 2004, is hugely persuasive, a charismatic leader who, if you talk to him for an hour while walking around the kitchen and bucolic surroundings of Stone Barns, will have you genuinely excited about crop rotation, and soil conditions, and the fact that the food industry is a dying behemoth reliant on low-yield, agronomically risky seeds that produce ever more tasteless and nutrition-less food.

“There’s never been a time where there’s been such a wholesale decline in frozen processed food,” he says. “Ever. The only units of those companies that are actually increasing market share are prepared vegetables that are not processed.” Which isn’t to say we are all rushing into the open arms of the nearest farmer’s market, although it is Barber’s mission, through his restaurants, to change this. Continue reading

Lost & Found, Apples & Ciders

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The Harrison apple tree that Thomas Vilardi found near Newark in the fall of 2015. “I knew I had seen apples on a tree,” he said. “I wasn’t expecting to find a Harrison.” Credit Bryan Anselm for The New York Times

Thanks for this article to Rachel Wharton, who is batting 1000 for our taste in food writing:

Finding Lost Apples and Reviving a Beloved Cider

George Washington was among the many fans of Newark cider, a long-missing treat now being recreated by a former ad man on a mission.

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Charles Rosen, left, and Cameron Stark in the new taproom they opened last week at Ironbound Hard Cider in Asbury, N.J. It will serve limited-edition ciders made by Mr. Stark, the head cider maker.CreditBryan Anselm for The New York Times

ASBURY, N.J. — Ironbound Hard Cider may seem an odd name for the business Charles Rosen has built here on 108 acres in central New Jersey. The farm, where a new taproom offers pastoral views of the still-ripening fruit, doesn’t appear to share much with the Ironbound, an industrial neighborhood 50 miles to the east in Newark.

Yet they do have common roots, thanks to four very old apple varieties now growing on Mr. Rosen’s land.

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Mr. Vilardi and Fran McManus at the old apple tree he found three years ago. An apple expert connected him to Ms. McManus, who had written an article about Newark cider in 2010. Credit Bryan Anselm for The New York Times

Mr. Rosen, the former chief executive of a Manhattan advertising agency that promoted Svedka vodka and Mike’s Hard Lemonade, wants to reintroduce Newark cider, an 18th- and 19th-century alcoholic drink once famously compared to Champagne.

Newark cider was both a point of pride and big business for the region — requested by name, reportedly lauded by George Washington and produced by dozens of Newark-area cideries with acres of orchards. The secret wasn’t a recipe, but the blending of a quartet of superior apples born in the region: Campfield, Poveshon, Granniwinkle and Harrison, the most celebrated of the four.

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The 1- and 2-year-old apple trees in Ironbound Hard Cider’s nursery include the Harrisons shown here and Poveshons, a New Jersey-born variety thought to be extinct until 2015. Credit Bryan Anselm for The New York Times

As a result of urbanization and then Prohibition, when many of the nation’s remaining cider orchards were destroyed, Newark cider hasn’t been made for at least a century. But after years of planning and planting — not to mention the accidental discovery of two lost apple trees and the investment of what Mr. Rosen called “100 percent of all the money I ever had in my entire life” — Ironbound Hard Cider is on the precipice of bringing it back. Continue reading

Billion Oysters And Counting

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Our school programming puts students at the center of the movement to restore oysters to New York City waters. Explore our Billion Oyster Classroom program, currently in 70+ New York City schools, and high school at the Harbor School.

Every week or so since we started this platform in 2011 we have had too many opportunities to highlight water-based ecological challenges and they seem to outnumber solutions. But it has been our goal to balance the highlighting, neither hiding our head in the sand nor claiming false equivalence between bad news and good.

Given all the challenges facing our oceans and waterways we are always heartened to hear of another initiative that involves collaboration between enterprise, youth and civic organizations. Click the image above or the one to the right to see what the Billion Oyster Project is doing in this regard.   Thanks to National Public Radio (USA) for bringing this initiative to our attention:

Oysters On The Half Shell Are Actually Saving New York’s Eroding Harbor

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The shells are trucked over to Brooklyn’s Greenpoint neighborhood and once a month are brought en masse to Governors Island in the heart of the New York Harbor. Billion Oyster Project has collected more than 1 million pounds of oyster shells so far. Courtesy of Agata Poniatowski

Across New York City, more than 70 restaurants are tossing their oyster shells not into the trash or composting pile, but into the city’s eroded harbor. It’s all part of Billion Oyster Project’s restaurant shell-collection program.

The journey from trash to treasure begins after an oyster half shell is turned upside down and left on an icy tray. Once discarded, it joins hundreds of thousands of other half shells collected in blue bins and picked up (free of charge) from restaurants five days a week by Billion Oyster Project’s partner, The Lobster Place, a seafood supplier. The shells are trucked over to Brooklyn’s Greenpoint neighborhood and once a month are brought en masse to Governors Island in the heart of the New York Harbor, just yards away from both Brooklyn and Lower Manhattan. There, rolling shell hills sparkle in the sun while “curing” out in the elements for one year, a process that rids them of contaminants.

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Oysters at Zadie’s Oyster Room, one of the New York City restaurants participating in Billion Oyster Project’s shell-collection program.
Courtesy of Morgan Ione Yeager

The shells then get a final cleaning and are moved to Billion Oyster Project’s hatchery at the Urban Assembly New York Harbor School, a public high school on Governors Island that offers technical and vocational training in the marine sciences. In an aquaculture classroom’s hatchery, student-grown oysters produce larvae in an artificially induced springtime environment. In one to two weeks, each larvae grows a “foot” — a little limb covered in a kind of natural glue — and then is moved to a tank full of the “cured” restaurant shells, which serve as anchors for all of those sticky feet. This phase is critical: If larvae can’t find a place to attach, they die. One reclaimed shell can house 10 to 20 new live oysters, depending on shell size. Continue reading

The Visual Shero of Afrofuturism

A still-life of accessories from various films that Carter has worked on: the headpiece of Queen Ramonda, in “Black Panther”; cufflinks for Martin Luther King, Jr., in “Selma”; and the dancing shoes worn by Shorty, a character in “Malcolm X,” who was played by Spike Lee. Photographs by Awol Erizku

In film and theatre, costume design is often as important as a setting and script to craft the sense of both character and story. It’s debatable whether non-fiction or fiction is more challenging, but Ruth E. Carter’s work carries the story for either one, with an attention to detail that brings the viewer back into history or forward into new worlds.

Be sure to click through the article for more of Awol Erizku’s dynamic photos, as well as watch the video below for more images and Carter’s own explanation of her work.

RUTH E. CARTER’S THREADS OF HISTORY

Throughout her career, the costume designer for “Black Panther” has created visions of black identity, past and future.

Ryan Coogler’s “Black Panther” is a rare thing: a big-budget superhero movie that is unabashedly serious about great clothes. The film’s costume designer, Ruth E. Carter, evoked the fictional African kingdom of Wakanda by melding sci-fi with global fashion history, drawing influence from sources including the color symbolism of the Maasai people, samurai armor, and the jewelry of Ndebele women. She realized her vision with the help of an international team of researchers, buyers, tailors, beaders, and engineers, and by exploring the possibilities of 3-D-printing technology. For her efforts, she has been lauded as one of the essential visual storytellers of Afrofuturism. Continue reading