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How ‘Top Chef’ Adapted for a New Season Despite a Pandemic, Wildfires and Portland Unrest...
2 weeks ago
Production on the Season 17 finale of “Top Chef” had just wrapped up in Italy last year when the looming threat of a COVID-19 pandemic became a reality. Facing a massive production shutdown, Bravo, which normally starts working on the next season of the high-end food competition series well in advance, had to figure out if Season 18 would be possible any time soon, where in the world would they shoot it and the biggest question of all … how would they pull it off? By May, Bravo and “Top Chef” production company Magical Elves had come up with the answers to the when, where and how, with host Padma Lakshmi and judges Tom Colicchio and Gail Simmons on board to head to Portland, Oregon, for a pandemic-produced season that premieres Thursday. “This notion of creating a bubble I think has become the go-to model for many different productions on different sizes and scales. And we had to take that same approach,” Matt Reichman, Bravo’s vice president of current production, told TheWrap last October during our virtual visit to the “Top Chef” Season 18 set. “We basically had to own a hotel.” The production also went beyond NBCUniversal’s health and safety protocols, testing all the cast, crew and contestants even before they traveled to Portland. “Even the locals that we’re hiring have to enter a bubble, and they had to be tested numerous times before they could even walk foot on our set,” Reichman said. With a “bubble” set up at a Portland hotel for Season 18’s 15 contestants and the crew, and stars like Lakshmi, Colicchio and Simmons confined to Airbnb rentals, the production then decided to limit the guest judges to a rotating panel of “Top Chef” alums who would also join the quarantine. Those former cheftestants included Richard Blais, Carrie Baird, Nina Compton, Tiffany Derry, Gregory Gourdet, Melissa King, Kristen Kish, Edward Lee, Kwame Onwuachi, Amar Santana, Dale Talde and Brooke Williamson. Also Read: 'Top Chef' Season 18 Gets Premiere Date - Meet the Chefs Competing Amid Pandemic (Video) Guest judges Dale Talde, Gregory Gourdet and Melissa King with Tom Colicchio (Bravo) “It was fun having them all with us together because when am I going to have that opportunity to have contestants from all across different seasons of ‘Top Chef’ together in one room for days and weeks on end,” Lakshmi told TheWrap. “That was a beautiful family reunion. And that was the major silver lining to what was a very, very difficult season because it’s a food show.” Colicchio said these special guest judges were “really helpful” in that they were able to empathize with the experience the 15 competitors on “Top Chef: Portland” were going through. With that behind-the-scenes part of the show settled safely, the next element was how to pull off the actual competition with Season 18’s contestants: Brittanny Anderson, Avishar Barua, Dawn Burrell, Gabe Erales, Nelson German, Byron Gomez, Sasha Grumman, Roscoe Hall, Sara Hauman, Kiki Louya, Maria Mazon, Shota Nakajima, Gabriel Pascuzzi, Jamie Tran and Chris Viaud. Also Read: Bravo Orders 'Top Chef Amateurs,' Featuring Home Cooks Competing Against 'Top Chef' Alums “We felt very strongly that it needed to deliver on the fan expectations of what a season of ‘Top Chef’ looks like,” Reichman said. “And given the time and place that we’re in, the sort of pivots that we may have had to do creatively, the last thing we would want to do is put something on-screen and have viewers look at feel like, ‘Wait, how are they serving people? How are they doing diners?’ We didn’t want to have those sorts of questions. So there’s moments in the show where we’re talking about certain protocols that we’re taking in order to keep people safe.” According to Reichman, the Season 18 kitchen was approximately “30% larger than it’s ever been” in the history of “Top Chef,” in order to give the crew, competitors and judges significant distance from each other to cook and eat. This included blowing up the size of the judges’ table itself, something that Lakshmi really appreciated for other reasons. “It’s this giant horseshoe and I have room to move now!” she said, laughing. “I always had trouble with judges’ table because there was no room for my legs. I’m a very long-legged person and especially if you wear heels, I could never cross my legs under the table. Little things like that.” Also Read: 'Top Chef' Heads to Portland for Season 18, Production Already Underway Melissa King, Padma Lakshmi, Tom Colicchio and Gail Simmons (Bravo) “Top Chef: Portland” altered other aspects of seasons past due to the pandemic, including turning Restaurant Wars into a high-end chef’s table challenge, rather than a pop-up restaurant competition, having the contestants order their ingredients online for curbside pickup from show partner Whole Foods, rather than make their usual mad dashes through one of the chain’s groceries ahead of challenges, and only hosting one large-scale event, which they pulled off at a very socially distanced drive-in. “So we had hundreds of diners come, but they were all in their own cars, parked separately. And it was our sort of version of doing sort of like takeout-concession type food,” Reichman said. “So the chefs had to think about, What’s the chef approach to takeout? It’s not just, you know, put food in the bag and hand it over. And they have to really think about, like, how can we really elevate that experience of my life, a chef approach to something that people are experiencing?” Season 18 also paid tribute to frontline workers battling the pandemic by having contestants prepare takeout meals for them during a challenge set up through World Central Kitchen. “It’s a very emotionally resonant challenge that all the chefs are very moved by,” Reichman said. “And, you know, those are the sorts of things that we’re doing in order to still capture the spirit of ‘Top Chef’ and bring diners into our world.” Also Read: Spring TV 2021: All the Premiere Dates for New and Returning Shows - So Far (Photos) Another emotional aspect of the season for everyone involved was how hard the restaurant industry itself was hit by the pandemic, something “Top Chef: Portland” does not shy away from discussing at the very beginning of its season premiere. “It’s hard not to talk about it. We’re all chefs. And whether we all have restaurants or work in restaurants, we’re all severely impacted by it,” Colicchio told TheWrap. “And there’s no hiding it. So it definitely comes up. And some of the [guest judge] chefs who we were with us, like Nina Compton, Kwame Onwuachi, Gregory Gourdet, these are all chefs that I worked with for the Independent Restaurant Coalition. Over a year ago, we were formed to address the issues of the pandemic in the restaurant industry. And clearly, being on ‘Top Chef’ and having that kind of soapbox really helped us manage to get $28.6 billion from the government to support the restaurant industry.” With pandemic safety protocols in place, “Top Chef” was fully prepared for Season 18 in Portland when production began last September — or so they thought. “Once we figured out how to tackle COVID, as we were scouting, some of the political unrest started to bubble up, which [Portland] is obviously feeling,” Reichman told TheWrap last October. “And again, after some serious vetting and feeling out the city — and we had our producers there and the scouting we were doing and the bubble we set up — everybody felt like, ‘OK, this is manageable.’ And we still want to stay the course and make sure we’re showing the world the other side of Portland, the side that everybody knew and considered Portland. Because we felt strongly about it.” Also Read: Here Are the Premiere Dates for Broadcast TV's New and Returning Spring Shows (Updating) Season 18 contestants at their socially distanced stations (Bravo) “And then the wildfires hit, which was another curveball,” he continued. “So yes, there’s been a lot to overcome this season. But I think that everybody is feeling really great that we stayed the course and were able to overcome those challenges and be able to honor the purpose of being there and doing what we can to reframe and rebalance what Portland is to people and make sure it really is that world-class tourist destination that I think that people of Portland are really proud of … The restaurant scene is unmatched for the size of the city. It’s fantastic.” Lakshmi once again saw a silver lining in the difficulties facing Portland itself and thus production on “Top Chef.” Also Read: 15 Midseason TV Shows That Became Hits, From 'The Office' to 'Seinfeld' (Photos) “Whenever there is some kind of stress or challenge in life, whether it’s from COVID or from the fires that erupted in the Pacific Northwest or the social reckoning of the Black Lives Matter movement, there is a benefit to everything, even a disaster, if you can find it,” she said. “And I think finding that benefit is helpful in order not only to process the tragedy or disaster that is happening, but to take something positive away from it. And I think that’s true for COVID.” She continued: “What we realized in COVID is that we could make the show together, as a team, as a professional family, even when we didn’t have all the bells and whistles that we had become accustomed to over the years. That we could still deliver meaningful entertainment to our viewers. That we could still put 150 people back to work who didn’t have any way of having an income for all of those months and that we could also highlight chefs and highlight causes, whether it’s feeding frontline workers or highlighting restaurants from the African Diaspora and using the moment to our advantage and actually push the envelope with diversity, which is something I’ve been pushing for for years. And it allowed us to speak to the moment in so many different ways.” “Top Chef” Season 18 premieres Thursday, at 8/7c on Bravo. Related stories from TheWrap:'Top Chef' Season 18 Gets Premiere Date – Meet the Chefs Competing Amid Pandemic (Video)'Top Chef' Heads to Portland for Season 18, Production Already UnderwayCasting With an Inclusive Lens: How 'Top Chef' Pioneered LGBTQ Representation in Reality TV......
FDA’s Partnership with Mexico’s Regulators Strengthens Food Safety Protections...
U.S. Food and Drug Administration
4 weeks ago
FDA’s Partnership with Mexico’s Regulators Strengthens Food Safety Protections Anonymous (not verified) Tue, 03/16/2021 - 13:34 Detailed Description The FDA-Mexico Food Safety Partnership broadens and strengthens the scope of our existing partnership to include the safety of all human food regulated by FDA. Center Office of the Commissioner By: Donald Prater, Associate Commissioner for Imported Food Safety; Julie Moss, Director of the International Affairs Staff in the Center for Food Safety and Applied Nutrition; and Katherine Serrano, Director of the Latin America Office As the food supply becomes increasingly global, the U.S. Food and Drug Administration’s partnerships with our regulatory counterparts and food producers in other nations are more important than ever. The work that the FDA has done in collaboration with the government and food industry in Mexico shows how much we can accomplish for the good of all our consumers when we work together. The FDA and the agencies responsible for food safety regulation in Mexico – the Federal Commission for the Protection from Sanitary Risks (COFEPRIS) and the National Service of Agro-Alimentary Health, Safety and Quality (SENASICA) – have a long history of working together. There’s good reason for that – FDA data shows that about one-third of all agency-regulated human food imported into the U.S. is from Mexico, including 60% of our fresh produce imports. Thanks to the collaboration between our two countries, we have made strides in areas such as inspections, outbreak response and food safety training. Donald PraterFDA offices also work together to successfully implement innovative ways to enhance food safety protection. The Office of Food Policy and Response works with colleagues in the Center for Food Safety and Applied Nutrition (CFSAN) and the Office of Regulatory Affairs (ORA) to strategically coordinate and advance our partnership with SENASICA and COFEPRIS; and FDA’s Latin America Office (LAO) within the Office of Global Policy and Strategy plays a key role as the direct connection with the Mexican government and food industry. One of LAO’s posts is in Mexico City, and its work encompasses a wide range of food safety strategic initiatives, outbreak response activities, targeted outreach, and technical goals. Since LAO was established in 2009, the staff there have been paramount in building the FDA’s relationship with our counterparts in COFEPRIS and SENASICA, facilitating successful collaborations on food safety across the food industry. LAO’s successful relationship building, as well as cultural expertise, have been integral in strengthening the mutual trust that is evident in our partnership with Mexico. Broadening Our Partnership In a virtual ceremony in October 2020, the FDA, COFEPRIS and SENASICA officially launched the FDA-Mexico Food Safety Partnership (FSP), broadening and strengthening the scope of our existing partnership to include the safety of all human food regulated by the FDA. The earlier Produce Safety Partnership (PSP), signed in 2014, had created a framework for Mexico and the U.S. to work together to contain potentially serious outbreaks related to produce and to lessen consumer exposure to foodborne disease. Julie MossWhile the PSP was successful, Mexico’s new administration, which took office in late 2018, and the FDA expressed interest in renewing their cooperation to reflect current food safety priorities. In addition to produce, the new FSP includes all human food regulated by the FDA, as Mexico exports seafood, processed fruits and vegetables, and snack foods to the U.S. — totaling about $25 billion in 2019, according to the Office of the U.S. Trade Representative and the National Oceanic and Atmospheric Administration. The FSP also embraces the use of new and emerging technologies, including elements of the FDA’s New Era of Smarter Food Safety initiative, to solve complex public health challenges. Further, it strengthens collaboration with academia, consumer groups, and other governmental offices in the U.S. and Mexico. To implement the FSP, four work groups have been established with membership from the FDA, SENASICA and COFEPRIS to increase cooperation in the areas of: strategic priorities, laboratory collaboration, outbreak response and prevention, and food safety training. Since the signing ceremony in October, all work groups have been meeting jointly to advance their food safety objectives. In March 2021 the FDA, SENASICA, and COFEPRIS Steering Committee met to keep the momentum going and ensure alignment with our shared food safety priorities. Implementing FSMA Under the FDA Food Safety Modernization Act (FSMA), the FDA established food safety regulations that domestic and foreign food producers must follow and established responsibility for importers to verify that their growers and suppliers in Mexico and other countries are meeting the FSMA-based standards. The FDA has worked closely with government and industry partners in Mexico to support compliance with the FSMA rules. Our work together has included collaborating to host-Spanish-language training programs with SENASICA and across the industry to sustainably increase the number of trainers who can educate food producers in Mexico. The FDA has also facilitated virtual training in remote areas of Mexico during the COVID-19 pandemic. Our Produce Safety Network, comprised of experts in the FDA’s CFSAN and ORA, has provided technical assistance and is responsible for conducting inspections under FSMA’s Produce Safety Rule. They’ve worked with partners to conduct educational on-farm readiness reviews in Mexico to give farmers a sense of how prepared they are to meet the FSMA produce safety rule requirements before inspections are conducted. Committing to Safe Papayas In August 2019, after eight U.S. outbreaks since 2011 of foodborne illnesses tied to consumption of papaya imported from Mexico, the FDA called on all segments of the papaya supply chain continuum to work together to strengthen food safety practices. In June 2020, the FDA repeated the call to action, highlighting the significant work by COFEPRIS, SENASICA and the produce industry to develop food safety best practices for the growing and handling of papaya. Katherine SerranoImportantly, SENASICA published an Action Plan for Papaya – “Plan de Acción para papaya (Carica papaya L.)” – to help growers implement improved production and prevention practices for papayas. And the Texas International Produce Association (TIPA), ProExport Papaya, and United Fresh Produce Association published the “Food Safety Best Practices Guide for the Growing & Handling of Mexican Papaya, First Edition” in collaboration with the FDA, the U.S. Department of Agriculture (USDA) and SENASICA. In addition, the FDA, SENASICA and the papaya industry (TIPA, ProExport Papaya) collaborated on the development of a remote series of two-day combination Produce Safety Alliance (PSA) Produce Safety Rule Grower Training and Papaya Best Practices trainings. These FDA-subsidized trainings have reached a significant number of papaya producers in Mexico. We are pleased to report that in 2020, we did not see any outbreaks of Salmonella infections associated with papayas from Mexico, which is a testament to the strength of these partnerships and the collaborative work done to implement the improved practices. Minimizing Risk of Cyclospora Cyclospora infections continue to be a major concern in both countries. For example, in 2019, an outbreak of Cyclospora cayetanensis infections associated with fresh basil grown in Mexico made more than 240 people sick in 11 states. Strategic partnerships with Mexico’s regulatory authorities, academia and trade organizations have enabled coordination of targeted training events to provide education on Cyclospora cayetanenesis biology and contamination. In 2020, the FDA along with SENASICA, COFEPRIS and key industry and academic partners, held both an in-person seminar and a virtual webinar on Cyclospora cayetanenesis to fresh herb growers and packers from the state of Puebla, Mexico. We plan to continue this outreach, offering additional education webinars on susceptible commodities in other areas of Mexico. Looking Ahead with the New Era of Smarter Food Safety The FDA’s New Era of Smarter Food Safety blueprint builds on the science and risk-based approach to food safety achieved through FSMA by leveraging new technologies and approaches to create a safer food system over the next 10 years. The FSP exemplifies New Era goals by establishing a modernized information-sharing agreement that will help strengthen the FDA’s predictive analytic capabilities and strengthen our approach to prevention and outbreak response. It also supports the blueprint’s modern approach to food safety through tech-enabled traceability and strengthening food safety culture through sustainable initiatives. For example, the FDA and SENASICA are collaborating to upload Mexico’s whole genome sequencing (WGS) data to the GenomeTrakr. This global database created by the FDA in collaboration with the National Center for Biotechnology Information, with assistance from the Centers for Disease Control and Prevention and the USDA’s Food Safety Inspection Service, links shared data generated by laboratories all over the world and is a powerful tool used to identify the source of foods tied to outbreaks. The FDA is providing technical assistance and training to strengthen SENASICA’s WGS laboratory operations. There’s a lot of work ahead, but the strong partnership we’ve established between the FDA and our Mexican regulatory counterparts will enable us to face future food safety challenges together in a coordinated way. Image Communication Type Blog Post Short Title FDA’s Partnership with Mexico’s Regulators Strengthens Food Safety Source Organization FDA Short Description The FDA-Mexico Food Safety Partnership broadens and strengthens the scope of our existing partnership to include the safety of all human food regulated by FDA. Content Owner Office of Editorial & Creative Services Publish Date Wed, 03/17/2021 - 14:50 Review Date Thu, 03/17/2022 - 00:00 Last Reviewed Date Wed, 03/17/2021 - 00:00 Site Structure FDA Voices Next Review Date 1 Year Navigational Page Off Bulk Approved Off Add Subscription Box Off Display Short Description Off First Publish Date Wed, 03/17/2021 - 11:23 Generic Boolean Off Regulated Product* Food & Beverages Language English Show Related Information Hide Number of Related Information to Display 3 Add Subscription Box On Description Subscribe to receive FDA Voices on Food email notifications. Email Subscription List FDA Voices on Food Header FDA Voices on Food Email......
A Local Guide uses Google Maps to help those without homes...
1 month ago
When Ashley Sundquist moved to Santa Monica, California four years ago, she noticed something different from the other places she’d lived. “I’ve lived in big cities much of my adult life; I’ve lived in Washington, D.C., Rome and New York City,” she says, “and none of those places prepared me for how many people here in Santa Monica are unhoused.” Santa Monica is part of the greater Los Angeles area, and according to city statistics, 907 people experience homelessness on any given night in the city; if you widen the area to include all of L.A., that number skyrockets to approximately 66,000. During her morning commute, Ashley noticed how many people were living outside and gathering at the Santa Monica Public Library. Her gym was next door, and eventually, Ashley started crossing the street to say hello. Soon, she’d made connections with library employees and the people without homes who gathered there, and she began looking for ways to help. She also became friends with a man named Joe, an unhoused member of the community who was often at the library. Joe mentioned he struggled with getting lost, which inspired her to turn to Google Maps and the app’s list feature. You can use this to create a list of places, like your favorite restaurants or places you want to visit on vacation. As an active member of the Local Guides program, a global community of contributors on Google Maps, Ashley was no stranger to sharing helpful information about her community with others.So Ashley started creating lists for people in need. She made lists of resources for young people experiencing homelessness, food banks and restaurants that accept EBT cards. To make things even easier to find, Ashley bought the domains “lashelters.org” and “lashelters.com,” which send visitors to these lists. “Now when anybody in the world goes to one of those websites, they’ll see these maps,” Ashley says. Joe and Ashley also became friends, and he helped get the word out about the websites. Ashley’s Google Maps list for youth resources in L.A.When the COVID-19 crisis hit, Ashley had to pivot. Right away she volunteered her time to teach caseworkers (via Google Meet) how to create their own lists in Google Maps. “I walked them through step-by-step how to search for locations, update the description and share the URL,” she says. She also created a list to help people find free Wi-Fi after many restaurants, coffee shops and other places that offer internet access closed their doors, and another list to help people find transportation to shelters when COVID-19 precautions altered bus schedules. Still, things changed so dramatically so quickly; she wanted to do more. “Toward the end of last March, I realized things weren’t going to go back to the way they were anytime soon. I knew how our outreach efforts were going to have to be different.” She started consulting with local agencies to gather information for more lists, or update the ones she’d already made with new COVID-19-related restrictions, changing hours or other stipulations. “I hope this can help people get through their day with dignity and humanity. That’s what we’re all trying to do right now.”Eventually she wanted to try getting the information she’d gathered out in person. In May, she started volunteering at a weekly dinner serving some 150 unhoused neighbors at her local Salvation Army. Soon, she began leading dinners and helped her church get more involved. “We have 20 or so volunteers, with masks, temperature checks, distanced, all of that,” she says. “It’s a huge undertaking but I feel like it gives me a captive audience. Our team can bring a little light and love into a very dark place. We can help people find local resources on the Google Maps lists.”Ashley looks through Google Maps lists with her friend Joe, whom she met through her work with unhoused people. Joe is also an advocate for his community.Ashley greets everyone as they wait in line for their meal and makes an effort to learn names. “It might be the only time someone speaks to them or uses their name that week,” she explains. “I really work to build a rapport so then I can say to them, ‘Oh I see you’re having trouble getting this or finding that.’” Then she takes out her phone and shares her Google Maps lists on the spot. Ashely notes that many people without homes have smartphones, which act as their lifelines, but if she’s speaking with someone without one, Ashley uses her own to access her lists to call and try to help get them what they need — whether it’s a spot at a shelter or a no-cost doctor appointment.“People are dealing with homelessness, trauma, hunger, mental health issues, technology barriers...I feel like the least I can do is make the available resources easier to find with a Google Maps list,” she says. Ashley’s hope is that her neighbors feel seen and cared for, and that the Google Maps lists help them meet their basic needs. “I don’t think people realize how tremendously difficult it is to get help when you’re experiencing homelessness,” she says. “I hope this can help people get through their day with dignity and humanity. That’s what we’re all trying to do right now.” ......
Women In The Mix 2021 Recap: How Female Powerhouses Convened To Close The Wage Gap And Amplify Women's Voices Across The Music Industry...
1 month ago
NewsPredicated on a platform of supporting and encouraging women in the music industry, the inaugural Women In The Mix event featured moderated panels, performances, high-profile guests and interviews by female leaders in multiple industriesPamela ChelinWhat better way to kick off GRAMMY Week 2021 and International Women's Day than yesterday's inaugural Women In The Mix virtual celebration? The two-hour event, hosted by Rocsi Diaz, celebrated women's contributions to the music industry, seeking to amplify their voices. With moderated panels, performances, high-profile guests and interviews, Women In The Mix was informative and celebratory and exemplified the importance of women working with and supporting each other in the music industry. Harvey Mason jr., Chair & Interim President/CEO of the Recording Academy, and Valeisha Butterfield Jones, Chief Diversity, Equity & Inclusion Officer of the Recording Academy, introduced the program. Mason jr., who ran for his position "on a platform of change and understanding," said closing the gender gap in the music industry is a top priority for the Recording Academy. Butterfield Jones then announced the Recording Academy's $25,000 donation to charities and organizations that support women’s growth in production and engineering. Chloe Flower performs at Women In The Mix during GRAMMY Week 2021 | Photo: Jamie McCarthy/Getty Images for The Recording Academy Pumping up the festivities, classical pianist Chloe Flower, who blew everyone away in 2019 when she accompanied Cardi B at her GRAMMY performance that year, gave a stellar delivery of her song "No Limit." Seated at her mirrored piano adorned with vases of colorful flowers, Flower also appeared later in the program, with an exquisite performance of "Flower Through Concrete." Political activist and author Dr. Angela Davis introduced current GRAMMY-nominated jazz drummer Terry Lyne Carrington, founder of The Berklee Institute for Jazz and Gender Justice, whose motto is "Jazz Without Patriarchy." Carrington expressed gratitude to the Recording Academy for its donation and said she grew up with the desire to be a driving force behind the scenes to help young women reach their musical goals. With racial and gender justice comprising her initiative's guiding principles, Carrington said, "A cultural transformation is needed for the music itself to reach its potential." MC Lyte and Sheila E. attend Women In The Mix during GRAMMY Week 2021 | Photo: Jamie McCarthy/Getty Images for The Recording Academy Multi-GRAMMY nominated artist and percussionist Sheila E. had a lively chat with GRAMMY-nominated rapper MC Lyte. Referencing the gender gap in music, Sheila E. said, "I think it's getting better, but I think it should be way better than it is now." Current three-time GRAMMY-nominated singer-songwriter Ingrid Andress answered a series of questions about her career, revealing that her Best New Artist nomination is "pretty mindblowing to me because I definitely just started, and some of the people in that category are people I listen to all the time." Related: Listen: GRAMMY.com's Women's History Month Playlist Featuring The Nominees From The 2021 GRAMMY Awards Show Current GRAMMY-nominated Emily Lazar (mastering engineer and founder of The Lodge) was introduced by current multiple GRAMMY-nominated rock trio HAIM, with whom she's worked on three albums. Lazar discussed "We Are Moving The Needle," the non-profit organization she recently launched to elevate the number of female audio engineers and producers in the music industry. Lazar thanked the Recording Academy for its donation and said, "I'm excited to go beyond just talking about this gender disparity and actually effectuating some real measurable change." Maureen Droney (Senior Managing Director, Recording Academy Producers and Engineers wing) led an informative panel comprised of Ebonie Smith (producer, engineer, singer-songwriter and founder of Gender Amplified), Piper Payne (mastering engineer) and EveAnna Manley (President of Manley Laboratories), each of whom passionately discussed their careers. Elaine Welteroth and Saweetie attend Women In The Mix during GRAMMY Week 2021 | Photo: Jamie McCarthy/Getty Images for The Recording Academy New York Times best-selling author and journalist Elaine Welteroth interviewed rapper and songwriter Saweetie, who said her wishlist for 2021 consists of her desire to collaborate with both Missy Elliott and Rihanna. Tina Tchen (Time's Up CEO and President) and former Chair of the Recording Academy's Task Force of Diversity and Inclusion expressed gratitude for the Recording Academy's donation to Time's Up, emphasizing the necessity of female engineers and producers in the studio. "It makes a difference who's in the booth, who's in charge of the atmosphere in the studio who will say no when there's unacceptable behavior that's exclusionary or bullying or belittling that happens," she said. Lanre Gaba (Atlantic Records General Manager/SVP A&R) moderated a fascinating conversation with current three-time GRAMMY-nominated record producer and songwriting duo Nova Wav (Brittany "Chi" Coney and Denisia "Blue June" Andrews) and R&B singer/songwriter IV Jay. Cyndi Lauper attends Women In The Mix during GRAMMY Week 2021 | Photo: Jamie McCarthy/Getty Images for The Recording Academy The queen of girls who want to have fun, two-time GRAMMY-winner Cyndi Lauper talked about what it meant to win her Best New Artist GRAMMY in 1985. "Usually what they used to say that is if you won the best new artist, 'Oh my god, the second album was going to be a problem,' Looking back now, I think it was a blessing because my career spans forty years." Read More: Cyndi Lauper Is Still The Feminist Pop Star We Need Current GRAMMY-nominated singer/songwriter Joanie Leeds closed out "Women in the Mix" performing a stunning acoustic rendition of her appropriately titled song "All The Ladies." Here are five things we learned about making it in the music business as a woman. https://www.instagram.com/p/CMKZez8Jo4_/?utm_source=ig_web_copy_link Content Not Available Don't Be Discouraged By Rejection Sheila E.: "You're going to get a lot of nos, but no doesn't mean you can't do it or you're not able. Maybe this opportunity wasn't for you. However, it opens the door for something else that you probably didn't even imagine you were going to go that way… Don't be discouraged when a door shuts because sometimes that door may be shut as protection. Maybe you're not ready or prepared yet." MC Lyte: "I'm a firm believer in [the idea that] if a door shuts or doesn't remain open it's just not for you. All it means is go back to home base and practice, rehearse, create, do all of the things you need to do to better your craft, and this way when that next door opens, you're ready… don't get discouraged." Believe In And Stay True To Yourself Ingrid Andress: "You need to be your biggest cheerleader. At the end of the day, if you don't believe in what you're doing, nobody else will… We, as women, are programmed to think we have to compare ourselves to one another. Don't do that. Just believe in what you do separate from what everybody else is doing. You have to be the one to show people that what you have to say matters...Keep after it and stay true to yourself." Saweetie: "You shouldn't try to be like me. You should try to be like you. Hopefully, I can inspire you to be the best version of you because I know what it feels like to be a little girl wanting to be something else. It takes away the focus from the true prize which is yourself, so earn your strengths, perfect your weaknesses and be you because that's the only person you can be." Self-Care Is Essential Saweetie: "I really encourage the go-getters who want to be in music to really take care of their body and their health because if your body isn't working, your music's not working. I'm grateful to have time to recharge, breathe, and get my body right." MC Lyte: "It's resting, it's water, it's working out, it's getting in touch with nature and taking walks for no good reason at all except I want my feet to hit the pavement, or walking in nature to be in the grass… It's understanding that there's more to life than just entertainment or more to life than just what it is that I do." Sheila E.: "I'm so much older, so what I have to do for self-care is constant just to even maintain what I want to do. Right now, it is just drinking water, nature, taking the time to rest, really eating the right foods, and taking care of myself, so I can do what I love to do." Read: Designing Women In The Mix: How Music Inspired The Artwork Behind The Debut GRAMMY Week 2021 Event Don't Let Fear Stop You Brittany "Chi" Coney: "When I used to be personally fearful, there's something I used to do. I used to go into the bathroom, and you hold up your hands and hold your head up high for two minutes and it raises testosterone levels by twenty percent." IV Jay: "I started meditating and I did therapy and there's nothing wrong with that. I feel like a lot of women feel ashamed of getting help but I just think it's worth it. If you need it, you need it so I personally feel like that helped me grow. I feel a lot better now." Lanre Gaba: "I always dealt with it by being as prepared as possible so there's not even a moment of 'I don't belong here' because I've done the work, I've put in the time, I've done my research." It's A Blessing To Have Female Mentors and Inspiration Ingrid Andress: "I am fortunate because I met Kara DioGuardi, an iconic songwriter when I was in college… Kara was the first woman I met who really encouraged me to get better at songwriting. She was a huge inspiration. As a young songwriter, having women like that to look after each other is important because I don't think I would have had the courage or enthusiasm to try and get better at what I did if she hadn't been so encouraging to me." The Recording Academy Partners With Berklee College Of Music And Arizona State University To Conduct Study On Women's Representation Across The Music Industry Grammys Newsletter Subscribe Now GRAMMYs Newsletter Be the first to find out about winners, nominees, and more from Music's Biggest Night. Email Address * Leave this field blank Haim attend Women In The Mix during GRAMMY Week 2021 Photo: Jamie McCarthy/Getty Images for The Recording Academy GRAMMYs Facebook Twitter Email......
Eating the Empire: Food and Society in Eighteenth-Century Britain...
Reviews in History
1 month ago
Within the past decade, much debate has ensued surrounding the question of whether or not food studies and culinary history constitute valid academic disciples. Detractors of these fields contend that in an age of food network channels and a proliferation of YouTube videos extoling the virtues of every possible ingredient, recipe, and technique—with or without historical support, food studies lack academic rigor. While such assertions have roundly been dispelled, one has only to commence reading Troy Bickham’s book, Eating the Empire: Food and Society in Eighteenth-Century Britain to close any debate on the matter. Interdisciplinary in scope and extensively researched, Bickham’s study is precisely why the field of culinary history is so relevant as a means to contextualize history, politics, culture, and economics. He has chosen the politically charged commodities of coffee, tea, sugar, and tobacco as not only the tastemakers of Britain’s palate across the long 18th century (c1660 to1837), but as case studies for how taste was established, advertised, and politicized. Bickham employs the term “imperial ingestibles” to address how British society defined who they were, in part, by what and how they chose to eat and drink. Part One explores how Britons came to know their empire—the foods, the people, the habits, to define or redefine their own self of Britishness and the role of imperial authority upon consumers who would adopt and adapt their eating preferences as a result of strategic advertising campaigns. Part Two shifts the focus toward food preparation, social practices, and the manner in which British society determined the ethics of consumption. Distinctly cross-disciplinary in his approach, Bickham employs excellent examples of material and visual culture: satirical prints, cookbooks, newspapers, travel accounts for example, to construct an innovative means to address political discourse within a turbulent empire. Simple actions such as taking tea, reading a newspaper, frequenting a coffeehouse or tavern, purchasing a cookbook, to Bickham, suggest that the mundane activities of everyday life serve as critical barometers of public taste. Relying upon imported ingredients from its colonies while exporting goods and foodstuffs translated into the economic success of Britain whose citizens became emboldened in the political process by the mere selection of what to ingest. Bickham mines correspondence and public documents—visual and textual, to create a narrative connecting consumerism to the solidity of the empire. Comfort, desire, and status as garnered through consumption of both luxury and commonplace foodstuffs provide the reader with a study of international foodways as a means to explore Britons’ engagement with the empire in myriad ways. Trade clearly dominates the focus of this dense and richly interwoven research connecting social norms and practices to political dissent, slavery, and taxes through the charged commodities of coffee, tea, sugar, and tobacco. From the macro of the global to the micro of the tea table, Bickham serves up an impressive body of knowledge spanning imperial policy to the decorative arts while providing wonderful historical anecdotes throughout. Part I: Encountering, Acquiring and Peddling In chapter one, “The Empire’s Bounty,” the commodities of coffee, tea, sugar, and tobacco are introduced as the basis for a modern consumer society. Sugar and tea—ingestibles (to use Bickham’s term), which were once relegated to the wealthiest in society, now through increased demand as established by campaigns to promote desire allowed the general public, across economic lines, to partake in the bounties of empire. This empowered consumers who wanted not only more, but the accoutrements and social interactions with which to demonstrate their culinary clout. The strategic promotion of certain commodities such as “American” tobacco was marketed to elicit a calculated desire among consumers who were convinced that they needed these products and thus fed the imperial economic machine. This was also fostered by the medical community as Bickham explains who advocated for the healthy properties of tobacco (“a pesticide for flies and a cure for haemorrhoids,” p30), coffee, and tea, as evidence of quackery became widespread. So too, Bickham establishes his argument on the economic importance of the empire’s ingestibles astutely with his research on the role of tea in British society linking the coffers of the empire to demand and social status in what, he asserts, becomes the modern consumer. Complemented with fabulous satirical prints, Bickham makes us aware of black-market trading, smuggling, crimes, and the adulteration of goods particularly related to tea, the East India Company, and the tobacco trade that infiltrated legal transactions as the government relied on taxable goods. The unadulterated, authentic, and genuine were assurances to customers who wanted to engage with these exotic substances as a demonstration of their worldly and culinary knowledge. In chapter two, “The New British Consumer,” Bickham argues for the role of credit and competition in the consumer society of Britain. He lays out three reasons why food was a “conspicuous genre of consumption” (54): one, everyone ate, thus as a commodity food is a cultural equalizer; two, household budgets allotted a significant percentage of funds for victuals; and three, consumers wanted choice when selecting items for the table. This chapter situates the notion of status and consumer consciousness within the realm of shops and markets. The concept of store credit is explored at length as storekeepers and mail order options moved these consumables from rare luxury to popular commodities across class boundaries. The physical act of shopping, Bickham contends, was a gestural method for being a productive member of the empire. Strolling through stores, selecting items of fancy from wide and varied offerings, and establishing store credit to run up debt—these were the hallmarks of the new consumerism. Likewise, consumers relied upon the print culture of advertising and satire to provide and reinforce, through mockery, proper manners while engaged in social repasts. Such visual documents spurred demand for goods that were no longer deemed novel rather, they were now essential regardless of social or economic rank. Displaying proper manners and possessing the necessary accoutrements required for the tea table—even the modest tea table, demonstrated evidence of moral instruction and symbols of domesticity. Likewise, according to Bickham, consuming coffee or tea in public coffeehouses or taverns became socially charged spaces that fueled political discourse. But how would one know what to purchase and which fashionable trends should one follow? In chapter three, “Advertising and Imperialism,” Bickham here elucidates on the role of marketing—the image/text trade cards, satires, and advertisements which functioned as enticements to promote desire and allow those of modest means to consume similarly to those of wealth. Goods imported from across the expanding empire flooded local stores and markets. Their purity flaunted to justify any expenditure no matter how small. Whereas social impact was Bickham’s emphasis in previous chapters, here the ideation of awareness takes center stage. He makes a convincing argument for the role of affordable commodities which became increasingly accessible due to market-driven demand, cheaply printed advertisements that propelled consumerism, and retailers who provided their clientele with a taste of imperial prowess and authority as demonstrated by the flavorful ingestibles procured from conquered lands. Of particular strength is Bickham’s acuity for visual culture and his discussion of trade cards—ephemeral notices printed on inexpensive stock that function as bellwethers of taste. Diminutive in size, trade cards were one-way conversations promoting goods and authenticity at times through the visual iconography of ethnocentric stereotypes such as enslaved African workers packing barrels of tobacco, indigenous figures smoking tobacco, or Chinese workers harvesting leaves or drinking tea. This is a brilliant chapter linking diverse modes of advertising to the central theme. It is also here that the subjects of slavery, politically-tainted ingredients such as sugar, and abolitionism are introduced. Bickham will return to these significant subjects in the final chapter where they will be paired with consumer choice and the ethics of abstention. Part II: Defining, Reproducing and Debating Chapters four and five address the art of cookery: establishing what constitutes British cuisine, the adaptation of “foreign” dishes such as curry in the British diet, how foods were prepared, and the role female cookbook authors played as teachers to hungry Britons. Linking domestic life to the empire is the focus of chapter four, “Defining a British Cuisine.” Discussion of food in cookbooks and what national dishes represented is something of a turn for Bickham who moves us from the macro of the empire to the micro of the kitchen which slowly incorporated ingredients and dishes from afar yet cloaked in British identity as a form of imperial commerce. Bickham delves into the field of culinary history. Cookbooks functioned as instruction manuals, class instruction, morality lessons, signs of gentility, and barometers of trends in consumption. Not only by the ingredients chosen, but how such foodstuffs were prepared, served in the creation of a national cuisine. The topic of genuine British fare was expounded upon by women cookbook authors in England. In fact, the designation of geographical awareness such as Yorkshire pudding instilled a regional, if not national, sense of identity and pride according to Bickham. As the empire expanded and introduced new and exotic ingredients to the British palate, it was the role of cookbook authors to generate a willingness to incorporate dishes such as Indian curry into the common diet. Bickham isolates two very important, well-known cookbooks to make his case, Hannah Glasse’s The Art of Cookery (1747) and Elizabeth Raffald’s The Experienced English Housekeeper (1769). Not only did these two books among others teach middling class women and their servants how to produce tasty British fare, but they also instructed in the art of frugality—a sign of successful domesticity. To imbibe in excess was sinful and unhealthy but it should be noted that women as consumers of household goods and foodstuffs still desired items of luxury as signs of social and cultural awareness and prestige. Bickham’s dismissal of the exploitative field in which these women worked deserves to be addressed. While indeed their works speak to cultural value, the gendered privilege of men in the mid-18th century must not be overlooked as female authors held little agency in their own success (much of which occurred posthumously) and were indeed taken advantage of by unscrupulous publishers. As well, it would be interesting to include the influence of British cookbooks once exported to the colonies and how national culinary identity became fluid. British cuisine was adopted and adapted by cooks in the American colonies, for example, who valued Hannah Glasse’s recipes but ultimately employed ingredients from the New World such as corn to establish an “American” cuisine post-Revolution. Chapter five, “An Edible Map of Mankind,” expands upon the role cookbooks played as didactic texts that allowed readers to understand cultural differences through a growing willingness to try new spices and bills of fare. To eat the food of another’s country provided insight into their customs. This was important in 18th- and early 19th-century Britain as colonial control waxed and waned. Additionally, Bickham calls upon a series of published travel accounts for first-person evidence that interaction with foreigners at times reinforced existing stereotypes such as the “uncivilized” Indian or African and affirmed discriminatory practices. But at times, a more scientific approach was taken such as James Cook’s descriptions of Tahitian society. Edible artefacts, as Bickham suggests, were one means of linking domestic practices to the broader world beyond Britain. The examples chosen to elucidate the private musings of travelers are fascinating and Bickham creates a complementary argument that with the addition of decorative objects—Indian cabinets, bamboo chairs, Asian porcelain, chopsticks, tomahawks—British consumers surrounded themselves with the spoils of empire and learned about Britain’s authority through the food they prepared and ate, the imported goods they craved, and the cookbooks they read. To travel the empire was to eat the empire! Lastly, “The Politics of Food” is a powerful concluding chapter. Through the ethics of empire—the choice to consume or abstain based upon how certain commodities were procured is front and center. Bickham astutely addresses how slavery and imperial abuses of power are directly related to politically charged consumables such as sugar and tobacco. Purchasing power and a moral imperative guided many British consumers to denounce once favored items. The chapter opens poignantly with an English porcelain sugar dish depicting a kneeling African enslaved person in chains. The message on the opposite side is a call to give up West Indian sugar and thusly the anti-saccharite movement pairs with the abolitionist movement. Simple ingredients with complex associations became the basis for much public discussion about moral consumption. Taking tea with sugar, as asserted by Bickham, was at once a demonstration of luxury and refinement but by the end of the 18th century it could also become a metaphor for imperial consumption indifferent to cruelty and suffering. Through fasting days and abstention for some, the gluttonous days of old were replaced with consumer boycotts. To equate sugar with slavery was to admit to an ominous side to imperialism that awoke in many a call for social responsibility. Whether frequenting a London coffeehouse, smoking tobacco, enjoying sugar-infused tea, or eating a bowl of Indian curry— the consumption of food and drink propelled political discourse and global awareness. In the coffeehouses and taverns, or at the proper tea table, newspapers and satires disseminated the current body politic. None of this would have been possible without the aggressive trade of imperial Britain. Ravenous consumer demand, harvested on the backs of enslaved people or marginalized populations across the empire, was the basis for an indentured economy to thrive. Thusly, Troy Bickham has argued substantively that the modern consumer economy emerged from strategic retailing, advertising, consumerism, consumer credit, and taxes in a complex web of desire, social standing, and morality. Eating the Empire is richly illustrated with visual materials: well-chosen satires, political engravings, and trade cards. The narrative that runs throughout this publication is convincing and elegantly composed. Well-crafted and painstakingly researched, in the hands of this authoritative scholar, readers will find Troy Bickham’s Eating the Empire approachable and informative. Clearly, Bickham’s work suggests the trajectory of food studies and is an important contribution to the fields of political and culinary histories. There is much to learn from Bickham’s scholarship and, moreover, Eating the Empire is an enormously enjoyable read. This reviewer is eager to see where his research leads and awaits a second helping. Review type: ReviewPeriod: 18th-19th CenturyHistory type: Cultural HistoryEconomic HistoryImperial and ColonialMaritime HistoryPolitical HistorySocial HistoryGeographical area: Britain and IrelandReview Number: 2440Publish date: February 2021Frontpage teaser: Nancy Siegel reviews an 'enormously enjoyable' look at how 'the consumption of food and drink propelled political discourse and global awareness' in Britain during the long 18th century.Reviewer: Nancy SiegelReviewed Item: Eating the Empire: Food and Society in Eighteenth-Century BritainComputed title: Eating the Empire: Food and Society in Eighteenth-Century Britain / Troy BickhamArticle DOI: 10.14296/RiH/2014/2440......
Naruto's First 10 Fights (In Chronological Order) | CBR...
CBR - Feed
2 months ago
His first 10 battles prepared him for what was to come and Naruto truly became iconic by the end of the series. Does the fandom remember these fights?......
The sad tale of a dry seafood bar...
2 months ago
Meet the 29-year-old waiter with big plans for a tiny seafood joint he hopes will lift the fortunes of the least-classy end of Auckland’s Princes Wharf. And the neighbours who want to stop him. Part 1: Who wants a dry seafood bar? At school, Tylor Springfield never thought about hospitality as a career. He was going to be an architect. So the fact that this week the 29-year-old waiter opened his own, tiny, seafood bar on Auckland’s Princes Wharf, still seems to him like a bit of a miracle. Except his customers can’t drink bubbly or cocktails with their oysters and sashimi. Alcohol-free only. Six months after applying to renew the liquor licence on the former bar and nightclub, it’s still being blocked by neighbours who say they don’t want any more hospitality outlets on the wharf. Although the police, the Auckland Council Licensing Inspector, and the health authorities have approved the application, the chair of one local residents’ association says everyone is fed up with noise and nuisance from existing bars and restaurants - or rather, their patrons. One more outlet will just make it worse. But other people living in the former warehouses on Princes Wharf say a small, upmarket, owner-operated bar is just what their scruffy end of the wharf needs. They say Covid has closed some premises; others like Euro and the Crab Shack are part of big corporate structures tied up with rich listers and big finance. They mutter about David and Goliath, about compromise, and how it’s a mess. Meanwhile Springfield says his business - and his life savings - are on the line. Before Springfield took the lease, there was a licensed bar and nightclub in the space. Photo: Nikki Mandow Part 2: How did it get to this? Springfield’s dad ran a construction company; he thought about studying architecture. But he says he took a gap year and after his first week job hunting had three options: car washing, dish washing, or being a runner for Auckland’s upmarket waterfront restaurant Soul Bar. He took the latter. “I got a trial shift front-of-house [at Soul] and I was terrible. I was so shy. But they called me back and agreed to train me.” By the end of a three-year apprenticeship in waitering and restaurant management, Springfield was considerably more outgoing - and had fixed on hospitality as a career. He worked at several of the city’s well-known restaurants: the Maple Room, the Crew Club, Good George, and Oyster and Chop. He was part of the team that got Sky City’s Grill restaurant two hats in Cuisine’s good food guide. He worked long hours, lived with his mum, saved for a house, dreamed of running his own place - one day. Maybe by the time he was 40. And then, in late 2019, he saw a listing on Trade Me. A tiny, rundown rectangle of hospo space on the most downmarket part of Princes Wharf - down from Euro, the opposite side from the Hilton Hotel. “It was the only place small enough for me to afford.” But it was waterfront, with views of the harbour and the bridge - and, he reckoned, of the America’s Cup boats when they came to town. He started planning themes, and hit on ‘beach house’, after his grandmother’s place at Mt Maunganui. He put together a raw seafood-themed menu - sashimi, oysters, rum-cured salmon, and planned a selection of cocktails. He cashed up all his savings - around $100,000 - for the lease and the fit-out, and chose good quality stuff - nice glasses, platters, two top-of-the-range ice machines. Part 3: Auckland Council drags its feet On August 24, 2020, Springfield applied to the Council to renew the premise’s liquor licence. He couldn’t imagine what could go wrong - he thought he ticked all the boxes. Shop 5, shed 23 had been a bar in the past and the strip was almost exclusively bars and restaurants. The licensing inspector says one more bar on busy Princes Wharf will make no difference to noise. Graphic: Paul Enticott Springfield had years of experience running restaurants, with no problems around excessive alcohol or noise; anyway he was planning an upmarket seafood bar, not a loud dive. Importantly, the local authority licensing inspector, the police and the medical officer of health all thought it was fine. The Council’s published timeline told him getting a liquor licence normally took six weeks. If there were objections, it could take 10. Easy. With that timeframe, Springfield was confident ‘Off the Hook’ could be up and running in November or early December, with any start-up creases ironed out well before the America’s Cup racing started on December 17. He was wrong. The council’s licensing team didn’t even hear the application until November 26, three months after Springfield filed it. And Ramsay’s appeal against the granting of the licence means going to court - a potentially lengthy and expensive process. Springfield reckons he’ll be lucky to be able to sell alcohol before the America’s Cup finishes. Before the dead winter period arrives. And in the meantime he’s a young guy with his savings on the line. He put opening night off hoping he’d be able to sell alcohol, but eventually opened last weekend. Still, without that liquor licence, he knows most people won’t come. And in the meantime he’s bleeding money. He estimates $30,000 so far. As his father Dave Springfield wrote to council before Christmas: “Tylor relied on Council’s advice in good faith, with plenty of safety margin, and now is going to suffer significant financial cost as well as emotional stress and harm, while he waits out a Council shut-down period. This is wrong on so many counts and we ask how he can seek compensation to at least cover his costs due to these delays.” Auckland Council’s alcohol licensing team leader Ritchelle Roycroft says the timeframes on the website are “only a guideline”, and that the objections, the availability of licensing committee members and a backlog of applications after the Covid-19 lockdowns. Not good enough, Dave Springfield replied in January. “As a direct result of Council delays in starting the application, Tylor now has a no-revenue period at the busiest time of the year, and additionally has standing costs for rent, opex, insurance, utilities and wages in excess of $13,000 a month.” Springfield knows few people will eat his seafood without an alcoholic drink to go with it. Photo: Nikki Mandow Part 4: Frustrated neighbours David Ramsay and his wife live in an apartment on the fifth and sixth floor of Shed 23, the former warehouse which also houses Springfield’s Off the Hook seafood bar. The area has mixed use zoning - bars, restaurants and commercial space on the ground floor, owner-occupier apartments, rentals, and Airbnbs above. And Ramsay is fed up. Fed up with the noise from bars on the wharf, which sometimes continues late into the night, he says. Fed up with drunk people, with the fights that happen sometimes - though mostly further up the wharf - with the general nuisance of living above hospitality venues. And the last thing he wants is another bar on the block. Ramsay chairs the Shed 23 residents committee, and he tells Newsroom he is acting on behalf of other residents, who lodged 34 objections to Springfield’s licence. He sends us his submission to the Auckland District Licensing Committee hearing last year. “Fundamentally, the reason why the application has attracted so much opposition is that a number of the existing entertainment premises on Princes Wharf have abused the requirement to respect the needs and interests of other commercial and residential uses. “The amenity and good order of the area is already so badly affected by the effects of the existing licences that until that situation is addressed, the residents believe no further licences should be issued.” Part 5: Entrenched positions Ramsay doesn’t have anything against Springfield per se - or his seafood bar. But his objections have already delayed the opening for months. Now he’s appealing the Licensing Committee’s decision to grant the licence - meaning the case has to go to court. Even if Ramsay and the other Shed 23 residents lose again, they could delay the process again with another appeal. Ramsay must be aware very few people are going to frequent a seafood bar where you can’t have a glass of wine or a cocktail with your oyster. Without a licence, Off the Hook will struggle to survive. He says he’s prepared to compromise. Many, if not most, waterfront bars and restaurants have 3am closing on their licences - that’s what Springfield applied for. The chair of the licensing committee gave Off the Hook a 2am closing deadline. Ramsay says he’d settle for 1am and more noise control restrictions. “I met with Mr Springfield in October 2020 and advised him that if he agreed to the residents’ proposed noise management plan and to 1am closing, all 34 objections would be withdrawn, there would be no need for a hearing, and we would advise the licensing inspector that we were happy for his licence to be issued subject to any conditions which the District Licensing Committee may impose,” he told Newsroom. “His response was that the residents were being malicious and vindictive and attempting to stifle his business.” Springfield remembers the meeting differently. “The first thing he said was ‘We don’t want another bar’. So I know no matter what I do, he’s always going to be unhappy with my business. I’m the new guy on the block.” Springfield says it just feels unfair. The big boys can open until 3am if they want - several have a licence until 4am, according to the Licensing Inspector’s report. But Off the Hook customers would have to leave at 1am. If they wanted to carry on drinking after that, they would likely just hop down the road to the competition - Euro, or Crab Shack, or any of the others around the Viaduct Basin. Of course, most nights it doesn’t matter; the wharf is largely dead at 1am. But having a later deadline would be good for birthdays, stag nights and other functions, he says. The Princes Wharf strip is dead early in the morning, but comes to life at night. Photo: Nikki Mandow “I just want the same licence as everyone else. They are all bigger and have later trading hours. I will potentially lose business if I have to shut early.” He says it’s frustrating to have to compromise, when the licensing inspector’s report clearly states that “it is very unlikely that a tavern licence of this size would have any impact in the area, considering the size and nature of the neighbouring venues”. “I have the right to have a business here,” Springfield says. “Just because someone thinks I should close early, it doesn’t mean I have to. “Why should I suffer when I haven’t even traded yet?” Ironically, it’s not just bars where nuisance and noise is a problem - it's happening at apartments too, particularly those rented out short term. Airbnb renters having parties, and the like. “Since May 2018, there have been 16 noise complaints made against private residence on Princes Wharf. Of these, four resulted in an excessive noise direction (END), two resulted in non-compliance with an END, and two resulted in a seizure undertaken.” There are plenty of Airbnbs on Princes Wharf too Part 5: David versus Goliath Mikey Reynolds is another Princes Wharf resident. He is the former chair of the residents committee of Shed 24, the next building along. He and his partner Lynda have lived on the wharf for more than four years. They walk past Off the Hook while Springfield and I are chatting, and when they hear what we are talking about, they draw up chairs. “We can’t wait for Tylor to open,” Reynolds says. “It’s exactly the place we want - seafood and quality wine - in an area of fried pub food at best.” The middle part of the wharf is increasingly down-at-heel, he says. Maybe a bar like Off the Hook could start to reverse that trend. “And we are excited that it’s owned by someone who has come from a hospitality background and can see the gap in the offerings. We don’t want a group where it’s all about profits.” The big boys on Princes Wharf are the Nourish Group. The company has three restaurants on Princes Wharf - Euro, Crab Shack and Coley & Punch, and lists 14 restaurants on its website, including Soul, Andiamo, Shed 5, and Jervois Steak House. Its offices are also on Princes Wharf. One of the directors of Nourish Group is Brian Fitzgerald, a former director of Strategic Finance. He was still working with the company when it collapsed in 2008, owing $368 million. A Stuff article from 2014 suggests Fitzgerald used to own high-profile Wellington restaurants including Shed 5, The Crab Shack and Pravda, alongside celebrity chef Simon Gault. Which is presumably why he’s on the Nourish board. Fitzgerald is also a director of Dockland Shed Leases, which is Springfield’s final landlord in Shed 23. And he had involvement in the Hilton Hotel project, also on Princes Wharf, according to the Stuff article. “I have a long-term vision for down here.” Springfield wonders, as the licensing application drags on, whether Ramsay’s ultimate goal is to get rid of as many bars as possible on Princes Wharf, by objecting to their alcohol licences. Covid has already been super-tough for central city hospitality businesses, he says, with turnover down as much as 30 percent, even for people with a licence. The Y Not restaurant and bar next door to Off the Hook closed down last year. The irony, Springfield says, is that with the beautification of the Viaduct basin, in particular the tearing down of the Tank Farm oil storage depot, the east side Princes Wharf is more attractive for visitors than it has ever been. The sunset is better and at last you can see the Harbour Bridge. Off the Hook is directly opposite from the Prada America's Cup base. Photo: Nikki Mandow “I have a long-term vision for down here,” Springfield says. It involves great views, fresh seafood, line-caught by small suppliers, and organic vegetables. “No red meat, no chicken, composting all our food waste. “We are trying to do the right thing,” he says. But even good sorts need a glass of wine.......
Pirogov Emergency Hospital: Non-Compliance with Restrictive Measures Will Necessitate New Restrictions...
Novinite.com (Sofia News Agency)
2 months ago
Last week, the National Operational Headquarters issued a warning that a third wave of coronavirus was imminent in the country and called for strict compliance with the measures. "The fact is that in the last week we have an increase in morbidity rate, although minimal, about 10% compared to the previous week. Unfortunately, the virus has not disappeared, it is here, there are already its modifications detected in Bulgaria. Our appeal is to observe the anti-epidemic measures and to be responsible for ourselves and others," CEO of the Pirogov emergency hospital Prof. Asen Baltov said in the studio of "The Day Begins" talk show. He explained that it was extremely important for school students to resume in-presence classes. For malls and gyms, special recommendations have been made. "We very much hope that people would listen to what we recommend and do it. We see that they are not implementing it and this will inevitably lead to new restrictions," warned Prof. Baltov. He explained that if this week's increase is 10%, it's not fatal and hospitals can take in those newly infected. However, if an exponential growth in infected, it will require the introduction of new restrictive measures. "One of the things we appeal for is wearing masks, even though we have been vaccinated or recovered from coronavirus. Not wearing masks makes people more exposed to viruses," said Prof . Baltov. The Director of "Pirogov" explained that in the next few months the vaccination will be scaled up. About 26,000 AstraZeneca vaccines are expected to come by the end of February. Yesterday, 30 people were vaccinated in Pirogov, today vaccination goes on. Increasingly more people show willingness to be inoculated, once the lists of the regional health inspectorates are submitted, health institutions are prepared to vaccinate 250-300 people per day. ......
The Lord of the Rings: The Best Food in Middle-Earth, Ranked...
2 months ago
When enjoying a fantasy series, one thing that jumps out at fans is the foods characters try. Here are some delicious treats from Lord of the Rings.......