Dissecting a Cocktail

Dissecting a Cocktail

Chartreuse Swizzle

Story and Photograph by Tony Cross

In 2003, San Francisco bartender Marcovaldo Dionysos entered his city’s cocktail competition for the fifth year in a row, pining for top honors. The contest was sponsored by the French herbal liqueur Green Chartreuse. According to cocktail historian Robert Simonson, Dionysos considered sitting out the year’s competition. “I didn’t have any great ideas,” Dionysos remembers. “I decided to make something fun and went in a tropical direction.” His idea nabbed first place that year and has since popped up in cocktail bars across the country and the world, becoming a modern classic.

Dionysos’ cocktail, the “Chartreuse Swizzle,” combined the herbal liqueur with pineapple and lime juices, Velvet Falernum (a low-ABV rum liqueur made with almonds, cloves and lime) and mint. Commonly made with rum, “swizzles” can be potent. They’re usually mixed with fruit juices and a sweetener, built and mixed in the drinking glass with a swizzle stick. Originally, these pronged sticks came from trees native to Bermuda, but the garden-variety lookalikes are made of metal, plastic or wood. One of my first introductions to Green Chartreuse was Dionysos’ Swizzle. For such a high proof (and pricy) spirit, it’s a little shocking how popular it became. What’s not surprising is how the four ingredients complement each other for a perfect tiki-themed sipper.

Specifications

1 1/2 ounces Green Chartreuse

1 ounce fresh pineapple juice

3/4 ounce fresh lime juice

1/2 ounce Velvet Falernum

Garnish: mint sprigs

Execution

Combine all ingredients into a Collins glass and add pebble (or crushed) ice. Insert a swizzle stick or barspoon into the mixture, rubbing your hands together to “swizzle” the stick until frost appears outside the glass. Add more ice and garnish with mint.  PS

Tony Cross owns and operates Reverie Cocktails, a cocktail delivery service that delivers kegged cocktails for businesses to pour on tap — but once a bartender, always a bartender.

PinePitches August 2024

PinePitches August 2024

Right: Warm Lighting, by Courtney Herndon. 2023, Best in Show winner

Art Is All Around Us

Channel your inner art critic at the opening reception for the Arts Council of Moore County’s Fine Arts Festival from 6 p.m. to 8 p.m. on Friday, Aug. 2, at the Campbell House, 482 E. Connecticut Ave., Southern Pines. In its 44th year, the festival provides a major platform for artists from all over the country to display their work. See which entries won cash prizes and ribbons, and gossip with your friends over whether or not you agree with the rulings. Go to mooreart.org for additional information. If your art appreciation runneth over you can attend the opening of “More Than Miniatures — Small Art” on the same day, from 5 p.m. to 7 p.m., at the Artists League of the Sandhills, 129 Exchange St., Aberdeen. For information go to www.artistleague.org. Either way, your eyeballs get a workout.

Start Counting

Become a citizen scientist for a day on Saturday, Aug. 24, when North Carolina joins forces with Georgia, South Carolina and Florida in the Great Southeast Pollinator Census. The Williamson Pollinator Garden at the Ball Visitor’s Center at the Sandhills Horticultural Gardens at Sandhills Community College, 3395 Airport Road, Pinehurst, will be the site for the census from 9 a.m. to 11 a.m. Prior to the 24th, those wishing to participate should register for a 15-minute interval to count pollinator interactions on a designated plant. For more information and to register go to www.sandhills.edu/horticultural-gardens/upcoming-events.html.

Double Your Pleasure

The Sunrise Theater, 250 N.W. Broad St., Southern Pines, offers two operas from The Met this month. The first, La Cenerentola (Cinderella), by Gioachino Rossini, is the story of Angelina, the stepsister who serves as the family maid who sings her favorite song about a king who marries a common girl. Destiny, anyone? It shows at 1 p.m. on Aug. 3. The second opera, Turandot, by Giacomo Puccini, tells the tale of Prince Calaf, who must solve three riddles to win the hand of the cold Princess Turandot. It will be screened at 1 p.m. on Saturday, Aug. 24. For additional information visit
www.sunrisetheater.com.

On the Right

The James E. Holshouser Jr. Speaker Series presents L. Brent Bozell III, the founder and president of Media Research Center on Wednesday, Aug. 14, at 5 p.m. at BPAC’s Owens Auditorium, 3395 Airport Rd., Pinehurst. A lecturer, syndicated columnist, television commentator, author and activist, Bozell is one of the most outspoken leaders in the conservative movement. He has been a guest on numerous television programs, including the O’Reilly Factor, Nightline, The Today Show and Good Morning America. He appeared weekly on the “Media Mash” segment of Hannity, on Fox News. Bozell received his B.A. in history from the University of Dallas.

Funny Days

Take a riotous musical journey back to 1967 with Jeffrey Hatcher’s side-splitting comedy Mrs. Mannerly starring Linda Purl (The Office, Happy Days, Matlock) and Jordan Ahnquist (Shear Madness), beginning Friday, Aug. 2, at 8 p.m., in the intimate McPherson Theater at the Bradshaw Performing Arts Center, Sandhills Community College, 3395 Airport Road, Pinehurst. Set in Steubenville, Ohio, this uproarious play follows the ambitious and mischievous young Jeffrey as he enrolls in an etiquette class taught by the formidable Mrs. Mannerly, a teacher with a mysterious past and a zero-tolerance policy for rudeness. The show continues with performances on Aug. 3, 4, 8, 9, 10 and 11. For tickets and information go to www.ticketmeshandhills.com or judsontheatre.com.

Farce in the Park

The Uprising Theatre Company will present William Shakespeare’s dang near slapstick saga of mistaken identity, The Comedy of Errors, beginning Friday, Aug. 16, from 7:30 p.m. to 9 p.m. in the annual outdoor Shakespeare in the Pines production in Tufts Memorial Park, 1 Village Green Road, Pinehurst. There will be additional performances on Aug. 17, 18, 23, 24 and 25. For more information go to www.vopnc.org or www.ticketmesandhills.com.

Live After 5

Dance part of the night away with the Raleigh band Punch, whose song list stretches from ’70s and ’80s funk and retro to Motown, beach, country and jazz, at the Village Arboretum, 375 Magnolia Road, Pinehurst, on Friday, Aug. 9, beginning at 5:15 p.m. Whiskey Pines will take the stage as the opening act. As always, there will be kids’ activities, food trucks, beer, wine and low-octane beverages. For more information go to www.vopnc.org.

Jazz on the Green

The Sandhills Community College Jazz Band will feature the music of Henry Mancini and Stevie Wonder in its third and final concert of the 2024 Summer Concert Series on Monday, Aug. 12, from 6:30 p.m. to 7:30 p.m. on the library green of the SCC campus, 3395 Airport Road, Pinehurst. Max’s Millstone BBQ will serve food beginning at 5 p.m. The concert is free and, in the event of rain, it will move inside to Owens Auditorium.

Authors in the House

The Country Bookshop brings bestselling writer Frances Mayes, author of Under the Tuscan Sun, to the stage of the Sunrise Theater at 6 p.m. on Tuesday, Aug. 20, to discuss her latest novel, A Great Marriage. Then, on Thursday, Aug. 22, at 7 p.m., the bookshop, at 140 N.W. Broad St., Southern Pines, will host Wall Street Journal reporter Valerie Bauerlein, who will discuss her much anticipated book, The Devil at his Elbow: Alex Murdaugh and Fall of a Southern Dynasty. For information and tickets to both events go to www.ticketmesandhills.com.

Simple Life

Simple Life

The Quiet of Nature

In an increasingly loud world, maybe we should be still and listen to nature

By Jim Dodson

It’s two hours before sunrise and, per my daily morning ritual, I’m sitting with my old cat, Boo Radley, in a wooden chair beneath the stars and a shining quarter-moon.

Today’s forecast calls for another summer scorcher.

For the moment, however, the world around me is cool and amazingly quiet.

It’s the perfect moment to think, pray or simply listen to nature waking up.

In an hour or so, the world will begin to stir as folks rise and go about their daily lives. Nature will be drowned out by the white noise of commuter traffic, tooting horns and sirens.

But, for now, all I hear is the peaceful hoot of an owl somewhere off in the neighborhood trees, the fading chirr of crickets and the lonely bark of a dog a mile or two away. Amazing how sound carries in such a peaceful, quiet world. 

Ah, there it is, right on cue! The first birdsong of the new day. I recognize the tune from a certain gray catbird that seems to enjoy starting the morning chorus. Soon, the trees around us will be alive with the morning melodies of Carolina warblers, eastern bluebirds and the northern cardinals. What a perfect way to lift a summer night’s curtain and herald the dawn!

Unfortunately, it’s a sound that Earth scientists fear may be vanishing before our very ears.

On a planet where many are concerned about the impacts of global warming, declining natural resources and vanishing species, it seems to me that noise pollution and the disappearing sounds of the natural world might be among the most worrying impacts of all. 

A recent article in The Guardian alarmingly warns of a “deathly silence” they claim results from the accelerating loss of natural habitats around the globe.

The authors note that sound has become an important measurement in understanding the health and biodiversity of our planet’s ecosystems. “Our forests, soils and oceans all produce their own acoustic signatures,” they write, noting that the quiet falling across thousands of habitats can be measured using ecoacoustics. They cite “extraordinary losses in the density and variety of species. Disappearing or losing volume along with them are many familiar sounds: the morning calls of birds, rustle of mammals through undergrowth and summer hum of insects.”

A veteran soundscape recordist named Bernie Krause, who has devoted more than 5,000 hours to recording nature from seven continents over the past 55 years, estimates that “70 percent of his archive is from habitats that no longer exist.”

As quiet natural places are drowned out by the sounds of freeways, cellphones and the daily grind of modern life, fortunately, a nonprofit group called Quiet Parks International is working to identify and preserve sacred quiet places in cities, wilderness areas and national parks, where all one hears — for the moment at least — is the beat of nature, the pulse of life in the wild.

“Quiet, I think, holds space for things we can’t verbalize as humans,” the group’s executive director, Matthew Mikkelsen, recently told CBS News. “We use silence as a way to honor things.” Quiet, he notes, is becoming harder and harder to find these days, even in the most remote wilderness or within the depths of the national parks. “Every year we see more and more data to reaffirm what we’ve known for a long time — that quiet is becoming extinct.”

Perhaps because I grew up in a series of sleepy small towns across the lower South, places where I spent most of my days wandering at will in nature, I’ve been groomed to be a seeker of natural silence and quiet places in my life.

The first decade of my journalism career was spent in major cities, embedded in the cacophony of busy streets, which explains why I bolted for the forests and rivers of northern New England the moment I had the chance to escape honking horns, blasting radios, screaming sirens and even background music in restaurants, a personal annoyance I’ve never quite fathomed.

Perhaps I’ve been spoiled by traveling in France and Italy and other ancient places. There, cafes and bistros are generally meant to foster a relaxed, slower pace of life through the auspices of good food, lingering conversations and woolgathering as one watches the harried world pass by.

It is no accident that I built my first house on a hilltop near the coast of Maine, surrounded by 200 pristine wooded acres of beech and hemlock trees. On summer evenings, my young children and I could hear the forest coming alive with sounds and often saw and heard wildlife — whitetail deer, pheasants and hawks, a large lady porcupine and even (once) a young male moose — gathering at the edges of our vast lawn where I created feeding areas of edible native plants for our wild neighbors. On frigid winter nights, I put on my Elmer Fudd jacket and toted 50-pound bags of sorghum out to that feeding spot by the edge of the woods, where deer and other critters could be seen dining in a moonlit night. The eerie late-night sound of coyotes calling deep in the forest reminded us that we were the newcomers to their quiet keep.

One reason I love the game of golf is because golf is a two- or three-hour adventure in nature where the simple elements of wind, rain, sand and water provide an existential challenge to mind and body. As a kid, I learned to play golf alone, walking my father’s golf course in the late afternoon, when most of the older golfers had gone home. I came to love “solo golf” at a time of day when the shadows lengthened and the sounds of nature began to reawaken creatures great and small.

Golf courses, like libraries, are meant to be quiet places — which makes the recent trend of golf carts equipped with digital music systems particularly bothersome to a lover of nature’s quiet sounds.

Pause for a moment and just think what one can do in the quiet:

Read a good book.

Admire a sunset.

Rest and recover.

Take an afternoon nap.

Watch birds feed.

Write a letter.

Talk to the universe.

Say a prayer.

Grieve — or feel gratitude.

Think through a problem.

“In quietness,” says the book A Course in Miracles, “are all things answered.”

My heart aches when I hear that the world’s natural places may be going silent.

A world without nature’s quiet sounds would be a very lonely place.

Hopefully, we’ll learn to listen before it’s too late. PS

Jim Dodson can be reached at jwdauthor@gmail.com.

Art of the State

Art of the State

Gap, 2024 by Frank Campion. 21 x 42 inches, acrylic and rag paper.

Dichotomies & Gaps

Frank Campion’s examinations in paint

By Liza Roberts

Clemmons-based artist Frank Campion brings a cerebral tenacity to his explorations of color and geometry. A series of paintings examining vertical slices of abstracted landscape evolves into another, which juxtaposes rational and random compositional styles, which then gives way to pieces addressing the spaces between those dichotomies. Gap, a recent painting, explores all of that, with the added dimension of a snippet of a view, a depiction of the ways our eyes take in the world before us.

Lately, it’s been hard work. “Sometimes artists have this conceit that everything they touch is going to turn to gold,” he says. “The truth is that it rarely does. So you have to make a lot of messes.” Gap, for instance, is “coming out of the midst of exploring where things might go.” 

Campion says 2024 has been a year of just that, of “mucking about, cutting stuff up and putting it back together again. It’s a fun way to work because you can move stuff around without committing to it. It ends up looking like it’s fall in the studio: There’s leaves everywhere, and I’m just sort of blowing them around.”

He made his Dichotomies series by taping off one side of the canvas and painting the other “until it looked interesting.” Then he’d cover that painted side with newspaper and go to work on the blank one. When it was complete, he’d unveil the full canvas to himself. “There are moments when it’s really kind of interesting,” he says. “I have a vague memory of what the other side was like when I peel the tape and the newspaper off, and sometimes it’s good, and sometimes it’s not.”

Gap represents his current interest in “playing around with the idea of gaps and alleys and fissures, looking for a looser way of working. Instead of having two fields to work with, I’m seeing what happens in between them.” 

To watch Campion paint is to witness intuitive creativity at work. Once, on a studio visit, he pulled a canvas to the floor and stared at it for a moment before tipping a bucket of paint onto its blank expanse. The paint was gray and viscous. It splashed indiscriminately, like muddy water. He studied it for a moment, then tipped the bucket again and again and again, finally picking up a broom-scaled squeegee to push and pull it back and forth. As starry splotches became ghostly shapes beneath a paler scrim, this respected painter looked for all the world like a pensive janitor, mopping the floor.

Left: Zarrab, 2023 by Frank Campion. 42 x 84 inches.

Right: Kebado, 2023 by Frank Campion. 42 x 84 inches.

The result, weeks later, belied those humble beginnings. Sharp geometry, deep blue, soft orange and acid yellow layered the gray-splashed canvas with subtlety and contrast, dimension and structure. Pieces of gray remained, muddying some of the bright shades, swirling in tendrils on the margins. 

“I like color. I like emotion,” Campion says. “I like the collision of chaos and order.” What viewers see in his work includes all of that, but most of all, he says, it’s what they bring to it themselves. “One of the things I like about abstraction is that it’s a kind of mirror. It’s a challenge.”

Campion works in a modernist showpiece of a studio he designed and attached to his house in a residential neighborhood (a contractor likened the space to the spot where Ferris Bueller’s friend Cameron’s father parked his ill-fated Ferrari). It’s a space that challenges him, delightedly so. Miles Davis plays on a continuous loop, art books fill side tables, sunlight pours through a ceiling of skylights; there’s room for giant canvases and places to sit and talk. The floor is a mosaic of speckled paint, and so is he. “He” being “Frank 2.0,” a “re-emerging artist,” as he calls himself (in writing, anyway), the present-day iteration of a Harvard-educated man who came to prominence as a young artist in Boston in the 1980s. Campion had collectors, critically successful solo shows, and was in group shows at the Institute of Contemporary Art and Boston Museum of Fine Arts (where one of his paintings is in the permanent collection). Then he became disillusioned with all of it, walked away from art completely, and immersed himself for more than 30 years in a successful advertising career. 

That’s what brought him to Winston-Salem, a top job at ad firm Long, Haymes & Carr where accounts like IBM, Hanes Hosiery and Wachovia Bank and Trust Co. kept things interesting. “It was a great ride,” he says, “very creative.” After that, painting called him back.

From the beginning, color has been a main attraction. So has tension. Campion says he’s constantly intrigued by “the imposition of geometry, with its logical and rational right angles and parallel lines, pitted against a painterly catastrophe.”

His description of such a catastrophe sounds like the musings of a man in love with his work: “It’s random spills and splats, and drippy, sloppy paint. Thick paint, thin paint, rational form against random painterly incident. When I look at all the things I’ve worked on, that’s a consistent theme.”  PS

This is an excerpt from Art of the State: Celebrating the Art of North Carolina, published by UNC Press.