We don’t often encounter the Pisco Sour, mainly because we don’t often encounter the Peruvian brandy called Pisco these days. (For that matter, we don’t seem to encounter very many brandy cocktails of any sort, but that’s another story.)
The Pisco Sour is a classic brandy sour, differing little from what we might call the Jerry Thomas brandy sour template. It uses lime juice (instead of lemon) to provide the sour component, but its hallmark difference is an ostentatious eggwhite foam.
Drinks are named for places, religions, sweethearts, politicians, even political parties. Some drinks draw their names from song lyrics, some reflect ideas and aspirations. And some have names are utterly inscrutable, like the Corn ’n Oil Cocktail.
Continue reading “Rum and Falernum — the Corn ’n Oil Cocktail”
The Lusitania, the Kaiser Wilhelm, the Titanic—before World War I, the great ocean liners were the peak of traveling adventure, luxury, and technology. It was the age of the “greyhounds of the seas.”
Their British and German owners competed for speed, for luxury, and for bragging rights; the twenty years between 1895 and 1915 saw the launches of ever-larger ships, each more lush and decadent than its predecessors. The story of the Titanic provides one of the world’s best-known cautionary tales about the dangers of overweening pride in technology, but, oh, that was a handsome, luxurious, and well-fed ship—for all of the five days it stayed afloat.
As it turns out, the Titanic had a sister ship; Continue reading “The Olympic Cocktail”
My uncle was a pilot. Hal flew light, high-wing planes, the type you’d fly into northern Ontario to hunt moose. A couple times a year, he’d fly to visit us, landing in Trimble’s pasture across the road from our house. A low fly-over to let us know he was there, a tight turn over the telephone lines, and there he’d be, roaring across the clover to park by the electric fence next to our mailbox. He knew how to make an exciting entry.
I’ve never been a follower of American horse racing, but I do enjoy the hype and pageantry of the three-race set known as the “Triple Crown” — in the US, it’s the Kentucky Derby, the Preakness Stakes, and the Belmont Stakes.
The Kentucky Derby falls near my birthday, so for decades my birthday partly has been a Derby-watching event, replete with fancy outfits, good hats and, especially, whiskey juleps. The Mint Julep is the universally accepted symbol of the Derby, and the Run for the Roses starts the ice-crushing the season right.
Nothing says “jungle movie” like a sound track with plenty of evocative “ka-dawing” bird calls and monkey yelling. Throw in the occasional tiger roaring in the darkness, and you have a convincing, if clichéd, aural impression that transports us right into the exotic elsewhere of the tropical jungle.
When I hear a soundtrack done well, I can feel the heat. I can smell the mud and the trees.
When it’s done right, the movie soundtrack is a powerful thing.
Of course, it can be done wrong, and all that power flows in the opposite direction.
It’s May of 1862, the early days of the American Civil War. Mexico had a war on its hands, too; they were fighting the French, and it was going poorly.
It’s summer of 1883 in Washington DC. The air shines and wavers; you can see it, and you can smell it—the horses, the pavement, the flats of the Potomac River. A few blocks from the White House, on a section of E Street known as “Rum Row,” the dive bars are filling up with journalists, lobbyists, and any legislators who haven’t left town. At Shoomaker’s Bar, sometimes described as the “third room of Congress”, George Williamson is mixing drinks. On the other side of his bar stands Joe Rickey—“Colonel” Joe Rickey of Missouri—who is about to become that rarest of all things, a man with an entire category of drinks named after him.
I wouldn’t normally write about the Blood and Sand Cocktail.
I don’t like it. I’ve never met anyone who likes it. The flavors make no sense to me. Four ingredients, all fighting with each other.
Harry Craddock must have seen something in it when he first published its peculiar formula in his 1930 Savoy Cocktail Book. And drinkers with palates different from mine must like it, as evidenced by its continued presence in highly respected bar manuals more than eighty years after its creation.
(And, of course, there’s the theatrical value of that lurid name, riding the coattails of Rudolph Valentino’s 1922 movie. I’ll admit, that’s really good.)
But from my palate’s point of view, the Blood and Sand is really broken. So what makes this cocktail worth writing about?
Continue reading “What’s Wrong with the Blood and Sand Cocktail?”
