Tango Echo

Lost & Found: Clara Zetkin, Founder of International Women's Day

Fri, 05 Mar 2010 17:27:35 +0000

While most of the nation is prepping up for St. Patrick’s Day in the coming weeks, International Women’s Day on March 8th will pass by without even a blip on the radar of the American mainstream. Hallmark cards and gift stores seem to forget this day, and one can only assume that it’s most likely because it’s a tougher sell, as other holidays and feast days often promote self-indulgence and materialism. Considering International Women’s Day attempts to stymie the gender roles that our previous feast day—St. Valentine’s—continues to perpetuate, it’s no wonder that the gift stores and marketing researchers have ignored this day of celebration. International Women’s Day is very much celebrated in Europe and Russia, and is comparable to St. Valentine’s Day in the United States; however, IWD emphasizes equal rights over gaudy jewelry, and embraces the changing role of women in society, instead of blindly obeying the social expectation of superfluous spending. Celebrated since 1911, International Women’s Day was established to bring international attention to women’s struggle for equal rights and suffrage, which was becoming more apparent in the days of massive global industrialization. Women were taking on a more noticeable role in society and their societal contributions were beginning to be acknowledged as equal to that of a man’s. Behind the founding of International Women’s Day is Clara Zetkin, a German social activist and former secretary of the International Socialist Women. Zetkin saw the proletariat struggle and used it as her platform to speak out against worker exploitation, with a strong emphasis on the women’s equal rights and women’s suffrage movements. But Clara Zetkin was more than a warrior of the common people: she was a strong advocate of peace during World War I, and as a member of the German Parliament, she denounced German imperialism and militarism. [1] Zetkin’s impact on society didn’t remain overseas in Germany. Her voice was heard throughout the United States in international protests against Jim Crow Laws, and also campaigned against the conviction of the Scotsboro Boys. [2] Clara Zetkin devoted her life to the struggle for equal rights. Since her death in 1933, we have come a very long way in preserving and continuing her work, but our world cannot rest solely on what has been accomplished. More work still needs to be done in the struggle for equal rights, and each year we let a day like International Women’s Day pass by without acknowledgement and understanding, is yet another year we fall deeper into complacency. Nevertheless, March is, and will continue to be, dominated by a Saint, whom many know nothing about; and when our hang over subsides, our attention will be directed toward a bunch of college basketball games, most of which we have little or no ties to, and another International Women’s Day will come and go without receiving the recognition it deserves. International Women’s Day celebrations are, however, not completely bereft in the United States, and ending this week’s Lost & Found feature would be remiss if this was not brought to the attention of our much appreciated readers. The Women for Women organization and other groups have events planned to celebrate International Women’s Day. For more information, check the links below. http://www.womenforwomen.org/bridge/index.php http://www.internationalwomensday.com/events.asp All References: Simkin, John. Spartacus Educational, Clara Zetkin. 2003 http://www.spartacus.schoolnet.co.uk/GERzetkin.htm The author of this article, John Flagler, welcomes feedback: john.flagler@tango-echo.com

Spirits Speak: Old-Fashioned with Bacon Infused Bourbon

Mon, 01 Mar 2010 21:15:35 +0000

We have before us on the bar the new Old-Fashioned. What’s new about this stalwart cocktail is its hook: bacon. My initial reaction to the pork ranged from intrigue to skepticism to what the hell - I need to try this. The drink found me as I sat sipping wine in the Clever Wine Bar in Mid-City, New Orleans. Resident mixologist Sean Thibodeaux regaled me with tales of rosemary-infused simple syrup served with a silver tequila and homemade seltzer; I knew I had to try his Old-Fashioned. Research & Design – The Old-Fashioned’s history began in Kentucky where it was concocted by the bartender of a gentleman’s club. Bourbon, sugar, a couple of dashes of bitters with a splash of branch water were the basic ingredients. Fruit, such as oranges and cherries, were added during Prohibition to cover the strong bitter taste of bootleg bourbon. Bacon-infused bourbon was the brainchild of cocktail guru Don Lee, of New York’s East Village. Don’s mantra regarding cocktails is, “more savory, less sweet” and I agree. There is no better place to start with savory then bacon. More reason to try bacon in a cocktail is that, in addition to savory as one of the tongue’s taste sensations, continuing research shows evidence for the distinct possibly that fatty acids are the 6th taste. Think about these different combinations and how your taste sensors react the next time you bite into some bacon. The first step to making this Old-Fashioned requires infusing the bourbon. Does the type of bacon you use matter? The simple answer is yes, but for a myriad of reasons. Some people like their bacon smoked with hickory, maple or mesquite; some prefer it heavily peppered. You may find some of the different varieties of bacon infuse better than others with the bourbon. Thus, you may need to experiment for personal preference. What bourbon to use for the infusion process? Again, personal preference is the key to your experimentation. How to make Bacon Infused Bourbon: 1. Cook bacon in pan and save the rendered fat. 2. When bacon fat has cooled a bit, pour off one ounce from pan. 3. Pour bourbon into a non-porous container. 4. Strain the bacon fat into the container and infuse for 4 to 6 hours at room temperature. 5. Place the mixture in a freezer until all of the fat is solidified. With a slotted spoon, remove fat and strain mixture back into bottle. Ingredients for the Bourbon-Bacon infusion: 3 or 4 slices of bacon, or enough to render 1 ounce of fat 1 750-ml. bottle of bourbon Ingredients for the Old Fashioned: 2 ounces bacon-infused bourbon 1/4 ounce Grade B maple syrup 2 dashes Angostura bitters Twist of orange Taste - The moment of truth had arrived when Sean set the drink in front of me. Though this infusion has been around for almost two years, hardly anyone I’ve spoken to has heard about it. Of the few who had, some said it’d taste like breakfast with the bacon and maple syrup in it. Others thought it would merely have a smoky taste. A three-piece band in the corner was playing, appropriately enough, some blues music as I got ready to sip. A harmonica wailed as I brought the glass to my nose. There were bright notes on the bouquet with no discernable smoky or bacon smell. Sweetness was the front note on my tongue from the maple syrup. I remembered Sean telling me the savory hits the tongue lastly and subtly. The smoothness of the bacon-infused bourbon, as you swallow, is felt in the back of the tongue and mouth. It is a unusual, but pleasant sensation. An Old-Fashioned is a sipping drink and the benefits to doing so allows the flavors to become more pronounced as the ice melts and the drink begins to lose its chill. Until the next round, here’s mud in your eye! Salud.

Lost & Found: Alain Locke

Mon, 01 Mar 2010 21:56:17 +0000

Each year, February greets us with the opportunity to acknowledge the historical impact of African-Americans with an entire month dedicated to celebrate their accomplishments and recognize their impact on society. Posters of Martin Luther King Jr., Jackie Robinson, and Rosa Parks cover the walls of our schools, while television programs flash images of these figures on our screens between commercials. The dedication was originally established in 1926 as Negro History week, but was later extended to the entire month of February in the 1970s. Noble in its advent, this commemoration has seemingly hit a wall. As children move from grade to grade they encounter the same figures, with little to no knowledge of the lessons other important, but lesser known, black figures have to offer. Albeit important to keep these same figures in the front of our minds, this yearly celebration seldom offers the teachings or recognizes the impact of lesser known black figures—figures whose teachings could have a powerful impact on the youth of our society as they develop into adults. Few have heard of David Walker and his Appeal in Four Articles, which acknowledged the contradictions of Christian slave owners in 1830. Seldom is Arthur Schomburg’s life-long research into African-American history noted; for without Schmoburg, an insurmountable amount of black history would be lost. These, and countless other African-Americans, have been placed on the bookshelves, left to gather dust, while Oprah Winfrey, Michael Jackson, and Will Smith garner national attention as some of the most prominent African-American figures in our society today. Not to be misunderstood, there is nothing wrong with Oprah Winfrey and Will Smith. Personal feelings aside, the music and performances of Michael Jackson are highly entertaining. But what are we learning from these African-American figures that makes them particularly unique in the African-American community of today’s society? What message do they send to society that other celebrities neglect to send? The media and our schools became lazy with this month and fail to give it its due celebration. I guess it’s easier to sell Black History Month with Michael Jordan than it is with Claude McKay. But continuing to forget specific figures takes away from the development of all walks of life. In 1925, Alain Locke edited The New Negro, which was a publication of poems and essays from prominent black writers during the Harlem Renaissance. In it, Locke recognizes the Harlem Renaissance as the perfect opportunity to cast away the negative stereotypes that have plagued African-Americans throughout their history in America. His message to African-Americans is simple: recreate your image. By gaining recognition in the arts, African-Americans had the ability to redirect the awful misconceptions understood by white society, and establish a new identity in America. With time and effort, the negative stereotypes that prevented an understanding of equality, could be defeated, and a “new negro” would be born. Locke referred to this as “spiritual emancipation” and he beseeched all African-Americans to seize this opportunity and understand the greatness of their culture. Only with this belief can the black youth of the 1920s begin to realize that they are equal in society, and he implored his race to prove it. Locke further taught that working toward a new identity begets pride; and pride in one’s culture begets a rise from oppression and a demand for justice and equal rights. Alain Locke has something to teach all of us, regardless of race, creed, gender, or religion: we have, at our behest, the ability to cast away negative stereotypes and control the image that we want to portray; thus, Locke’s teachings transcend that of the “new negro” in which he spoke of in 1925. We have the ability to do this at an individual level and at a community level. The lessons Locke gave to early twentieth-century African-Americans can be and should be embraced by each individual of today’s society, and doing so can only work towards the advancement and pride of all races and of the whole of humanity. We welcome feedback: john.flagler@tango-echo.com

Neil Blanchard and the Perfect Car

Thu, 25 Feb 2010 20:05:00 +0000

Look at this thing. If your first thought was “AAAA MUTATED JAPANESE BEETLE INVASION,” you are not alone. So what the hell is it? Okay, let’s start simple: It’s a car. I know, I know. But it’s a real car, like one a person could get in and drive around and be seen driving by other people in public. It’s a 1937 Schlor Pillbug. It seats 5-7. It has a Cd of 0.13. And EcoModder.com’s Neil Blanchard says it is the car of the future. But before we get into just how he knows this, we should probably mention what brings the black, round, insult to style into the spotlight. Blanchard has put together a list of 29 methods of improving a car’s efficiency. While I am not a mechanical person, and therefore can’t wrap my brain around some of the improvements he’s talking about, I do get one of the overall themes he’s trying to get across: aerodynamics (I printed the list out and wound up writing “WTF” next to a few of his suggestions). It is a critical part of getting a car where it’s going in the fastest way possible; using all of the concepts of objects in motion we can throw at it in order to maximize the efficiency of the journey. Some of these include a ventilation system, in which fresh air is funneled into the car through an area under the most pressure and sent out vents through the back. Any and all grills would automatically or manually close when airflow was no longer required. Blanchard also suggests the deletion of side-view mirrors entirely, with a video camera system in its place to cut down on wind resistance. As a biker, I can’t even tell you the amount of teeth I have/almost have lost to one of these guys. Oh, so they bend now. Great. Still hurts. Glad your mirror’s okay, though. There should be an emphasis on aerodynamics in tire design (make them lighter and less resistant), as well, featuring as few openings as possible. Anything with a roof rack should be able to have it removed with ease for reasons similar to the rearview mirrors, although replacing the rack with a camera would probably help nothing. And this last one goes beyond my paraphrasing skills so I’ll just let Neil tell it: “Regenerative shock absorbers: MIT has a method of using hydraulics to drive a generator, eliminating the need for a mechanically driven alternator; or, to charge the electric drive (aka traction) batteries. These can also be used to lift and level the vehicle, to improve aerodynamics under different loads.” But, regardless of how many terms I don’t understand, here is the list in all its glory. And this all goes well beyond mere improvements in just the aerodynamics; they are just a facet of the concepts Blanchard fills us vehicularly illiterate in with. Hey! A direct approach! What a novel idea in vehicle efficiency. Sure, we’ve tried the sun, water, and wind as alternative energies, but still, everybody’s waiting in line at the bp. So obviously the amount of effort involved in shifting the scope of vehicles in general requires more than claiming “Hey, I’ve got an idea!” and then falling asleep at the wheel. So what we have here is the anti-legislation. Instead of a months-to-years long process of being attached and unattached to a whole basket of various laws, bills, and politicians, before finally being buried in some legislative graveyard at the bottom of a congressional trash can, coated in chewing gum and evidence of involvement with male prostitutes, we see a point-by-point list of fathomable alterations one could make to a car to make it better. It’s the picture book of sustainable vehicles. Granted, the process goes beyond a link to a website. It probably requires a ton of money; the calculations of which I wasn’t even going to try and locate because I don’t even really know what the hell half this shit is. But Blanchard really does, and that’s why he’s writing lists on constructive sustainable data and I’m just sitting here talking about him doing that. As the “car of the future” will not literally be coming directly from the past, Blanchard is not alone in suggesting that the old Pillbug be brought around for use as a model for cars looking to capitalize their aerodynamics. The best example of that in a contemporary vehicle is the Aptera: Will we finally reach a point where our cars become spaceships?! I have been waiting for this point in history since Luke was cruising across the Dune Sea in a speeder. So, while it’s unfair to assume that we can accomplish these ideas of Neil Blanchard in the blink of an exhaust fume, it is a direct approach to forward thinking and takes into account the fact that the clock is ticking for radical change. Rounding out our vehicles into something more like, say, the 1937 Schlor Pillbug, seems a bit more logical than an SUV the size of an Imperial Star Destroyer. Come on. Let’s turn our cars into spaceships. Tell me there’s somebody out there who’s against this and I will show you somebody who grew up without an imagination.

Rock n' Roll Hairstyles Part 5: The Long Mane

Wed, 24 Feb 2010 13:16:14 +0000

With the exception of the comedy rock band, "The Upper Crust," once powdered wigs went out of fashion at the end of the 18th century, men kept their hair cut short and neat until the early 1960s. When the Beatles appeared on the Ed Sullivan Show in 1964 with their mop-tops it sparked a revolution in men’s fashion and the youth of America began to forsake their crew cuts in favor of long hair. The mop-top was so named because it reminded the older generation of a wet mop. Beatle friend Jürgen Vollmer first cut his hair into a mop-top, inspired by the way his hair looked pushed flat on his forehead after going swimming. Vollmer cut Paul and John’s hair into the mop-top when they visited him in Paris. George and Ringo followed suit soon after. The cut became so popular that companies started manufacturing and selling Beatles wigs. The long hair trend didn’t just start with the Beatles. The folk singers of the late 1950s and early 1960s such as Bob Dylan, Pete Seeger, and Ramblin' Jack Elliott were inspired by 1940s folk singer Woody Guthrie, a migrant worker turned singer songwriter. Guthrie let his hair grow shaggy and unkempt, a look that inspired his new folk singer protégés. Between the influence of the innocent looking mop-top and the shaggy folk singer locks, men’s hair was getting longer and longer. By the end of the 60s, hippie culture permeated the youth of the UK and the US. Both men and women grew long hair past their shoulders. Long hair became strong symbol of rebellion against the cultural norm. In the 70s things got dirtier. Dread locks became popular with the proliferation of reggae. Heavy metal started to make an appearance as well with bands like Black Sabbath, Led Zeppelin, and Deep Purple. One thing that these bands all had in common was long hair. As the genre grew in popularity so did the importance of long hair. It became a symbol of the hate, angst, and disenchantment felt by the subculture and was used as a tool to rebel against anything and nothing. Long hair on men has been and still is an important part of American countercultures. Beatniks and Folk singers started by simply letting un-styled hair fall into their eyes and past their ears. The Beatles let it grow even longer so that it could be bopped around as they preformed. For hippies, long hair became a political statement against the social injustices of the cultural norms. Once it reached the Heavy Metal scene, it became an important part of the music; to head bang properly required the metal hair. It was so important in fact, that Heavy Metal bands who shed their long locks as they aged, experienced a back-lash; gone with their hair was their counterculture credibility.