Watermelon Pickles

watermelonPickles

In the musical Parade watermelon pickles are mentioned a few times, once by me, so as I was trying to think of some drinks I could make related to the show I almost immediately locked on to this quirky condiment. I had no idea what the things were, but I could at least play with the thought. So I did.

Watermelon Pickles

  • 2.0 oz. American Dry Gin
  • 0.5 oz. watermelon syrup
  • 0.25 oz. lemon juice
  • 0.25 oz. tequila lime vinegar
  • 3 drops salt water
  • 2 dashes lemon bitters

Shake with ice and strain into cocktail glass.
Garnish with sweet watermelon pickles.

I did actually find a jar of the sweet pickled watermelon rind, which are.. interesting, so I added it as a garnish. The drink itself, though, is inspired more by the idea of pickles and watermelons than by the actual taste of the food. I had a watermelon simple syrup from Monin’s and used this with some gin (Bluecoat). For the pickling I added the vinegar which I found in a specialty shop last year, plus a little lemon juice for even more pucker and acid. I added the salt just because that’s what I like with my watermelon and to generally enhance the flavors already present, and finished with the lemon bitters to balance the sweet and tart.

Watermelon Pickles. Drink it, don’t eat it.

Parade

parade

Parade is the true and tragic story of Leo Frank, a Jew from Brooklyn who was tried for rape and murder, convicted, exonerated, then lynched in Atlanta, Georgia at the beginning of the twentieth century. It is a tale of a dark part of American history, of our racism, hatred, media sensationalism and mob mentality, retold by Jason Robert Brown and Alfred Uhry in the American art form of musical theater.

I am in a production of Parade that will be presented by the Footlight Club, America’s oldest running community theater, in Jamaica Plain, Boston, MA. It isn’t a show that would immediately inspire you to make drinks (well, maybe to start drinking…). It is a very sobering piece of theater, powerful in its message, dealing with themes that don’t steer you to more frivlous pursuits.

Yet I have set myself up now within my theater community. People expect cocktails from me, even though I have only been creating show-related cocktails for about a year. So with Parade I got constant questions about what was coming. I joked about “Moonshine and Manischewitz” but really had no ideas. Cocktails seemed a silly tie in.

And so they were. With our rehearsals for the show, we found that irreverence itself helped in dealing with the weightiness of the subject matter. Joke in rehearsals and you can deal and commit to the seriousness of the performance. So the cocktails followed a similar suit. I made no attempt to be “inspired” by the show for cocktails and instead produced rather silly concoctions based on throwaway lines in the show that mention food.

This came from one of my own lines (for those who might know the show, I am playing Britt “Big News!” Craig). At one point I mention watermelon pickles. I almost immediately thought I could pull off that combination in a drink. That became my first in a series of four drinks extracted from lines in Parade that deal with food.

Enjoy the drinks and be irreverent. Sometimes the sobering facts of our world require it.

Tapu

Mixology Monday

I missed last month’s Mixology Monday since I was out of the country for half of the time (I need to post of my cocktail experience in Australia soon), so was glad to be able to participate in this month’s theme, From Crass to Class, as presented by Scott Diaz at Shake, Strain & Sip. The announcement in full:

The evolution of the cocktail has been a wondrous, and sometimes, frightful journey. From its humble beginning, to the “Dark Ages” of most of the later 20th century, to the now herald “Platinum
Age” of the cocktail, master mixologists and enthusiasts alike have elevated its grandeur using the best skills, freshest ingredients and craft spirits & liqueurs available. But with all this focus on “craft” ingredients and classic tools & form, it seems we have become somewhat pretentious. The focus on bitter Italian amari, revived and lost ingredients such as Batavia Arrack or Creme de Violette, the snickering at a guest ordering a Cosmopolitan or a Midori Sour; has propelled us into the dark realm of snobbery. Many scratch bars and Speakeasies have gone as far as to remove all vodka and most flavored liqueurs from their shelves. Some even go as far as to post “rules” that may alienate most potential imbibers. Remember, the bar was created with pleasing one particular group in mind: the guest. As such, this month’s MxMo LXXI theme, From Crass to Craft, will focus on concocting a craft cocktail worthy of not only MxMo but any trendy bar, using dubious and otherwise shunned ingredients to sprout forth a craft cocktail that no one could deny is anything less. There are a plethora of spirits, liqueurs and non-alcoholic libations that are just waiting for someone to showcase that they too are worthy of being featured on our home and bar shelves. So grab that bottle of flavored vodka, Jagermeister, cranberry juice, soda, neon colored liqueur, sour mix or anything else deemed unworthy of a craft cocktail, and get mixin’!

I was especially eager to throw my hat in for a couple of reasons. First, I have caught myself out being much too serious and snobby about drinks as I dive more into the craft cocktail world. I mean, seriously, how can you have a Black Truffle Negroni then not scoff at a Malibu and Coke? But I keep reminding myself it is all about enjoyment and different tastes and it’s no fun when someone looks down at something for any reason. I’m getting better, but sometimes it’s so HARD.

Second, I have been building up my bar for 6 or 7 years now and have collected a lot of junk (er, sorry, “different tastes”) over that time, especially from the early days when what I picked up at the liquor store were the bottles that were a) the cheapest and b) recognizable names to a novice (Hello, Midori!). I constantly toy with the idea of having a liquor cabinet clearing party where every drink is made with these older mixers just so I can get rid of the damn things.

So I was glad to reach to the back of the cabinet to two of my earliest acquisitions which I rarely use: the aforementioned Malibu as well as a bottle of Kahlua. From these, I present the Tapu:

tapu

Tapu

  • 2.0 oz. Rittenhouse Rye
  • 0.5 oz. Malibu rum
  • 0.5 oz. Kahlua
  • 1/8 oz. lime juice
  • 1/8 oz. Angostura bitters

Shake with ice and strain into coupe.

Malibu is sweet. Really sweet. I initially tried to make it more prominent in this drink, but it had a too overpowering flavor and texture (very syrupy and viscous) so I kept reducing it to the final half ounce. I matched this with the Kahlua, which I like a bit more but can also overwhelm a drink. For the base spirit, I went with a bonded rye (100 proof) which wouldn’t be dominated by these mixers. Rum might have been more obvious, but that was the reason I steered away from it.

At that point I put in the bitters to offset the treacliness. Lots of bitters. The spiciness of the Angostura played well, plus as the most common bitter I thought it worked better with the theme as opposed to pulling out some obscure “craft” bitter (not that there is ANYTHING crass about Angostura). Originally, the drink was stirred without citrus, but to go further Tiki and to add just a hint of bright acid to a heavy drink, I added a little lime and shook up the results.

For the name, I wanted something Tiki. To follow the theme in full, I went back to my first experience with anything to do with Tiki, another somewhat crass and cringeworthy item that could be found in the back of the liquor cabinet that is TV pop culture, the Brady Bunch. I watched reruns of the show as a child after school and I believe the Hawaii vacation episodes with the little Tiki idol was the first I ever knew of the cultural phenomenon that is Tiki. I might have moved on since then, but that bottle is still at the back of the cabinet right beside that bottle of “In the Tiki Tiki Tiki Tiki Tiki Room.”

So I looked up the Brady Bunch Tiki episodes and saw that one of the three was named “Pass the Tabu.” Tabu or Taboo were certainly possibilities, but a little further investigation showed that in Polynesian culture Tapu is the original form (from which we get taboo) and has a meaning that something is holy or sacred with implied prohibition. I thought that was a perfect flip of meaning for the Crass to Class theme.

And now I have a reason to pour out my Malibu for my guests without guilt, at least a half ounce at a time.

Lead White

leadWhite

“White. A blank page or canvas. The challenge? Bring order to the whole. Through design. Composition. Balance. Light. And harmony.”

That’s how Sunday in the Park with George starts, and is how I will start this last post on my Cocktails in the Park with George (or Sunday in the Park with Cocktails — still can’t decide…). The final color Seurat used in his famous painting was lead white. My drink came off slightly off-white, but let’s just say that this was to account for the effects of time. Sure, I’ll go with that.

Lead White

  • 1.5 oz. Pisco (Macchu Pichu)
  • 1.0 oz. Malibu
  • 1.0 oz. Orgeat
  • 0.25 oz. heavy cream
  • 1.0 tsp. cream of coconut
  • 1 egg white

Shake without ice initially, then with ice.
Strain into chilled sundae glass.
Top with club soda and grated nutmeg.

Sort of started in the Pisco Sour direction, but didn’t introduce the sour. Instead I went to the pantry and refrigerator and pulled out all my whites with the cream, cream of coconut and egg white. The Malibu and Orgeat introduced plenty of additional sweetness, so it seemed appropriate to put this in a sundae glass in the end as really it was a dessert in a glass. A lot of what I make is on the bitter and boozy side, so this was a nice change for my friends with a sweet tooth for drinks. Add as much club soda as desired to lessen the sweetness and increase the frothiness.

And of course I will end this string of posts with the quote that ends Sunday in the Park with George. Also very appropriate.

“White. A blank page or canvas. His favorite. So many possibilities.”

Cobalt Blue

cobaltBlue

After using Blue Curacao, where could I go for my blue tint? I had one more blue drink for my Cocktails in the Park with George, the Cobalt Blue (hex #0047AB), and for that I turned sheepishly to a blue vodka that did the trick.

Cobalt Blue

  • 2.0 oz. UV Blue Vodka
  • 1.0 oz. Hpnotiq
  • 0.25 oz. Bittermens Amère Sauvage
  • 2 dashes Regan’s orange bitters

Stir with ice and strain into cocktail glass.

UV Blue is a raspberry flavored vodka, and I combined that with the vodka-based fruit juice liquor Hpnotiq (also blue, with a touch of green). Very sweet and not very complex at this point, so I poured in the bitters, going for the gentian Bittermens Amère Sauvage and some classic orange bitters. I don’t normally drink vodka drinks, and wouldn’t necessarily reach for this recipe on a Saturday night, but I think I pulled off a drinkable, layered drink that wasn’t just sweet and fruity and was, yes, a nice hue of blue.

Just one more to go to complete the palette.

Ultramarine Blue

ultramarineBlue

With a blue drink needed for my Cocktails in the Park with George, I of course immediately turned to the old staple of Blue Curacao, which I had in the back of the liquor cabinet from some early tiki drinks but hadn’t touched in years. I was looking to create ultramarine blue (hex value of #3F00FF) which is a completely saturated blue with a little red thrown in (I think I got a little too much green in mine somehow, but alas).

Ultramarine Blue

  • 2.0 oz. Cachaça (Leblon)
  • 1.0 oz. Blue Curacao
  • 0.5 oz. Byrrh Grand Quinquina
  • 0.25 oz. lime juice

Shake with ice and strain into collins glass over ice.

I hadn’t yet in this series used cachaça, which comes from sugarcane juice and is popular in South America, so I gravitated immediately to that as rum seemed a little obvious with the spirit. Cachaça is similar to rum, coming from the sugarcane, but rum a lot of time is made from molasses whereas cachaça is distilled from the sugarcane juice. To me they taste nothing alike.

For some bitterness, I went with Byrrh, which I had recently acquired and had a nice reddish tone. The mix at this point really needed some tartness, so I grabbed a lime. The result was not unlike the famous (and tasty) Caipirinha, made simply with cachaça and muddled lime and sugar.

Chess Poster

As a temporary break from cocktails, I thought I might post another of my recent creative endeavors, the creation of a poster for a local production of the musical Chess (for those not into the whole scene, it was the one written by the guys from Abba back in the 80’s that included the radio hit “One Night in Bangkok”). And it serves as a lesson to me in how to handle projects like this in the future, as you will see.

So, to begin, the musical has a backdrop of international chess competitions, and, taking place during the Cold War, it focuses on a rivalry between the US and the USSR. There’s espionage and a love story between a Russian defector and an American woman who serves as second to the American competitor. It’s all a bit convoluted, and the book is a bit of a mess, but the music is pretty catchy even if the lyrics are somewhat clunky and heavy-handed to my ear.

I knew that I wanted some central chess image, and you’ve got either a checkerboard or a chess pieces, really. The original concept used a checkerboard falling apart, which I quite like, and the Broadway had two people running in front of flags without any hint of chess, which I don’t like at all. I thought I might create a chess piece that would create an optical illusion in the empty space of the two competitors facing off. Once I had done this, I was surprised to find that the highlights on the chess piece implied a second illusion of a face. I went further with this and created a woman’s face that was between two competing men, which I thought captured the triangle in the musical.

poster

After getting approval to move forward with this concept, I added a chess board below the piece and wanted to texture this with marble, which mimicked a chess board I had when growing up. During that process, I threw the marble behind the piece as well since the empty space was bothering me a bit. At that point I discovered that I could place the texture in such a way as to imply faces for the silhouetted figures, which I thought was a nice, subtle touch. After that it was just about getting all the words on to the poster, the greatest challenge for me, generally.

chess_poster_marble

To quote Fantine, “And then it all went wrong.” Unfortunately, although I really liked it, this wasn’t the direction the creative team wanted to go. To them, there was no relationship triangle in the show and their production would be focused on the espionage and the US vs. USSR, something I hadn’t been told at the beginning of the process. They were quite right that this poster didn’t promote that idea. I was very proud of the result, but it wasn’t right. They also didn’t like the marble and instead wanted something that showed the political angle. And then I made a mistake.

To show that filling the silhouetted space with something like flags would not only ruin the illusion, but also be a little too much hitting the nail on the head with a sledgehammer in a poster with too many ideas, I threw the following together. I thought it would be quickly dismissed and that I could move forward with the poster I liked.

chess_poster_flags

You can probably see where this is going.

They loved it. I offered to try something else to get the political angle in without destroying the initial concept. I didn’t love this either, but felt it was a better option at least.

chess_poster_reflection

Nope, no good. They felt this was too many ideas, which I completely agreed with (I think I might have said it first), that somehow the flags in the background avoided, which I didn’t agree with. So in the end, since it is their production and not mine, and it needs to express what they want it to express, I cleaned up the flags in the background and gave them this.

chess_poster_final

I do believe it has too many ideas crammed into it and the illusions of both the silhouettes and the woman’s face are a bit lost (and, when not lost, looks like they have hats, as my wife commented), and if I could approach it from scratch I would do it completely differently, but with deadlines looming and my time extremely limited (I also volunteer for this — it is not a paid gig) we had to move forward with this, a piece I am wholly unsatisfied with, which is frustrating since I was so happy with the original product.

Lessons to me are never to proceed with anything unless I get very clear instructions on what is desired from all parties involved, even if deadlines are approaching. And, more importantly, never submit something that I know I do not like. This was my fault and completely backfired in this case. I knew I hated the flags. I assumed everyone would hate the flags. I never should have mocked it up.

Lesson learned. Now it’s time to make a drink.

Emerald Green

emeraldGreen

Now we start getting into the odder colors in our Cocktails in the Park with George palette. We’ve left the cozy confines of the reds, oranges and yellows and now veer left at the Land of Oz to emerald green (hex value #50C878).

Emerald Green

  • 1.0 oz. Akvavit (Aalborg)
  • 1.0 oz. Midori
  • 0.5 oz. Thatcher’s Cucumber liqueur
  • 0.25 oz. lime juice
  • 1 barspoon green Creme de Menthe

Shake with ice and strain into cocktail glass.

I just had to break out the Midori and the Creme de Menthe for this one, these being two dusty bottles I probably purchased in my first round of mixer buying years ago since a) they were cheap and b) with my limited knowledge of cocktails at the time these were two I had actually heard of before. However, after mixing a Melonball and a Grasshopper (I know..) there was not much else I could find for these and they got relegated to a forgotten corner of my bar. Until now.

Since I was starting with melon as a base, to which I knew I was going to add a bit of mint, I needed a flavor to complement this bit of a farmer’s market and I thought Akvavit would work nicely with its caraway and anise undertones. I chose the clear, unaged Aalborg from Denmark to help keep the green cast of the finished cocktail. For an additional bit of sweetness I added the cucumber liqueur, though its taste is so subtle against the bolder flavors that it comes off as a lighter simple syrup. Then, for a bit of brightness and tartness I added the lime juice, which didn’t detract from the color (let’s face it, the Midori is almost radioactive in appearance and obliterates most of the other colors anyway).

Even just a little creme de menthe can take over a drink, so a barspoon is all that’s needed here, which still makes its presence known in the final drink. At the time I made the drink I used a cheap mixer I will probably never empty, but since then I have spotted the new offering from Tempus Fugit. As their new creme de cacao is so phenomenal, I am curious to know whether their creme de menthe is as eye opening. Who knows, perhaps a bottle of that could come out from the forgotten corners of the bar and play a bigger part in future cocktails?

The Kilted Heir

Mixology Monday

This month’s Mixology Monday theme, as presented by Chemistry of the Cocktail, is Fortified Wines, and so I took a break from the Island of La Gande Jatte to throw my own libation into the mix. From the announcement:

Fortified wines began, in large part, as a way to deal with the difficulties of shipping wine long distances in the holds of sailing ships. Without the rigorous sterilization that is possible today, wines would often spoil en route. However, increasing the alcohol concentration to around 20% ABV was enough to keep them from going off. Coincidentally, this also made it possible to age those wines for very long periods, increasing their richness and depth.

Now, I use fortified wines all the time in the form of the many variations of vermouth, but for this challenge I wanted to go with an ingredient that I didn’t normally use (and vermouth has had its own Mixology Monday in the past). It so happened that I had a bottle of Madeira that I was saving for cocktail exploration at some point so this was a great opportunity to open it up. Generally I don’t use things like Port, Madeira or Sherry just because they, like vermouths and other fortified wines, require you use them within a short amount of time before they turn. Yes, they do keep a while — that was the whole point — but they don’t keep for months and months (please don’t leave vermouth out in your bar for a year; throw it out, I beg you). I only have so much room in my refrigerator I can use before my wife files divorce papers, so I have gone with the more easily mixed vermouths than with something like Madeira.

But here I knew I was going to be trying a lot of experimenting and would probably quickly go through the bottle. This was certainly the case as in the end I went through so many variants before arriving at my submission for the month, The Kilted Heir:

kiltedHeir

The Kilted Heir

  • 1.5 oz. Madeira
  • 1.0 oz. blended Scotch
  • 0.5 oz. Amaro Nonino
  • 2 dashes Angostura bitters

Stir with ice and strain into coupe.
Garnish with an orange twist and 3 drops of salt water.

Madeira offers a spicy nuttiness that I thought paired well with a blended Scotch (I used Famous Grouse) and the sweet nuttiness of Amaro Nonino. There’s a spiciness to Angostura as well, so this added to the depth and the bitter note pulled everything together for me. The orange garnish added nicely to the nose of the cocktail, and the salt water was a last minute addition I made after the first couple of sips. I felt it brought out the spices all the more.

The name derives first, probably obviously, from the Scotch component. The “Heir” is a hat tip to Henry the Navigator, the man who discovered the Madeira Islands, who was Infante (great name for a cocktail, but, alas, already taken), or heir to the king. Or at least Wikipedia tells me so.

I did have quite a few other attempts at pulling Maderia into a drink, most admittedly not successful. I found that either the Madeira didn’t play well with other flavors, or else I masked it so much that it defeated the purpose. I felt The Kilted Heir did a fine job of highlighting the Madeira while still creating a unified drink. Some others that I did enjoy I list here for sake of recordkeeping.

Fronkensteen

  • 1.0 oz. Madeira
  • 1.0 oz. sweet vermouth (Torino Vermouth de Torino)
  • 1.0 oz. Old Monk rum
  • 1.0 oz. Cynar

Stir with ice and strain into coupe.
Garnish with an orange twist.

Basically a Negroni using Old Monk and Cynar, with Madeira added into the mix. The Old Monk, one of my favorite bases to mix with, could hold its own against the Madeira with its spiciness. It was good, but not terribly original, which is why I did not feature it. The name obviously comes from the pronunciation in the Mel Brooks movie Young Frankenstein, the musical adaptation of which I was just cast in when I made the drink. Can’t wait to get started on those themed drinks!

Forte Without the Ay

  • 1.0 oz. Cognac
  • 1.0 oz. Madeira
  • 0.5 oz. Averna
  • 2 dashes orange bitters

Stir with ice and strain into coupe.
Garnish with an orange twist.

This was a minor variation of The Kilted Heir. I wanted to try a Cognac base instead. Another drinkable concoction, but I felt the Scotch base led to a more robust drink.

The name comes from a little peeve of mine concerning the pronunciation of “forte.” It’s pedantic, so forgive me, but we all have our little quirks, don’t we? When someone says, “That’s my forte,” most often they give it two syllables as in the Italian pronunciation. However, that’s an Italian musical term that means loud. “Forte” meaning “strong point” has a different, French etymology and should be pronounced as the English “fort.”

Of course, words and the English language change all the time (as my wife and I argue “sneaked” and “snuck”), and that is as it should, so I realize it is a rather silly argument I make. In fact, the online Merriam-Webster dictionary has this to say:

In forte we have a word derived from French that in its “strong point” sense has no entirely satisfactory pronunciation. Usage writers have denigrated \ˈfȯr-ˌtā\ and \ˈfȯr-tē\ because they reflect the influence of the Italian-derived forte. Their recommended pronunciation \ˈfȯrt\, however, does not exactly reflect French either: the French would write the word le fort and would pronounce it more similar to English for. So you can take your choice, knowing that someone somewhere will dislike whichever variant you choose.

Ah, c’est la vie (pronounced “kest la vye”).

Viridian

viridian

By far the prettiest of the Cocktails in the Park with George colors/drinks to my eyes, the Viridian cocktail moves from the oranges and yellows of the previous lot into cool blues and greens (without the Windex blue we will see shortly), with a hex value of #40826D and some cool ingredients as well.

Viridian

  • 2.0 oz. Magellan gin
  • 0.5 oz. Maraschino liqueur
  • 0.25 oz. Green Chartreuse
  • 4 dashes acid phosphate
  • 4 drops salt water

Stir with ice and strain into cocktail glass.

Magellan is a French brand whose gin offering has a unique blue hue from the infusion of iris flowers. It’s subtle, but a neat effect, and serves as the perfect base for this drink. You might notice that most of the other ingredients are found (along with gin) in the immaculate Last Word cocktail. The Green Chartreuse added the necessary green tint to the drink, and from that point I didn’t see much reason to stray from the Last Word’s path, adding in the Maraschino for its sweetness.

However, lime juice from the Last Word set the color off too much from my desired end result so I turned instead to some dashes of acid phosphate, an ingredient once widely found in soda fountains that I will admit I picked up as a lark and hadn’t yet utilized much. Here, though, it added a nice bit of tartness without affecting the color in any way.

The salt water? Dunno. Felt like it needed it. Sometimes I don’t have a reason beyond that.