The Romance of Aerated Water

Mr. Patel, a historian, chronicles how soda pop became fiendishly soda-popular in India; or in his finer language: “how Parsis helped shape India’s taste for soft drinks.”

The Parsis, whose name means “Persians,” are descended from Persian Zoroastrians who emigrated to India.

It’s hard to realize today that sugary beverages were originally adopted for their healthful benefits.

Before Mumbai completed its modern waterworks in the late 19th Century, it relied on well water, which was filthy and potentially deadly… Drinking carbonated water could be a life-saving habit. After all, carbonic acid in soda killed bacteria and viruses.

By 1913, the city boasted more than 150 licensed soda factories. Parsis played a commanding role in this trade, as is evidenced by the surnames they adopted: Sodawaterwala, Sodawaterbottlewala, and even Sodawaterbottleopenerwala.

A major limitation was bottle supply, since glass bottles cost far more than the carbonated contents poured inside. So the Marolia family [in Nizamabad] used special round-bottom bottles which were difficult to set down on flat surfaces. These encouraged customers to drink sodas in one gulp and quickly return the bottles for reuse.

(Dinyar Patel, “Fizzy nostalgia: The origins of India’s taste for soft drinks,” bbc.com, 3-22-20)

(c) 2020 JMN

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John Lewis

[When I inserted the photograph of Mr. Lewis included in the NYTimes I triggered the above warning, so I substituted a sketch of mine for the photograph.]

Representative John Lewis died on July 17, 2020. These are the last words of the essay he wrote shortly before his death. It was published yesterday, the day of his funeral.

When historians pick up their pens to write the story of the 21st century, let them say that it was your generation who laid down the heavy burdens of hate at last and that peace finally triumphed over violence, aggression and war. So I say to you, walk with the wind, brothers and sisters, and let the spirit of peace and the power of everlasting love be your guide.

Comparable words have been spoken by others, but Mr. Lewis uttered them with his life. I hope they will haunt and displace the monstrosity wracking our polity.

(John Lewis, “Together, You Can Redeem the Soul of our Nation,” NYTimes, 7-30-20)

(c) 2020 JMN

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Painted Birds

The Belgian painter Luc Tuymans, a friend of Mr. Marshall’s, noted that he is an intensely “deliberate” painter, and that Audubon’s obsessive meticulousness would naturally have appealed.

These decorative paintings of artificial flowers, flightless birds and exquisitely rendered birdhouses have an airless quality to them that stirs disturbingly.

I’m glad to pick up hints at how Mr. Marshall mixes what he calls a “fundamental” blackness that, in his words, “has volume [and] breathes.”

… Mr. Marshall painstakingly adjusts both the chroma (the warmth or coolness) and the value (the amount of light or dark) by mixing colors like raw sienna, chrome green, cobalt blue, and violet with black pigments.

(Ted Loos, “Kerry James Marshall’s Black Birds Take Flight in a New Series,” NYTimes, 7-29-20)

(c) 2020 JMN

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Cheryl Marie Wade

Cheryl Marie Wade died in 2013 at age 65 from complications of rheumatoid arthritis.

“She embodied and modeled disability pride before it was a thing,” Judith Smith, who worked with her in two Bay Area performance groups, Wry Crips and Axis Dance Company, said by email. “Cheryl was unapologetic, proud, complex and loud.”

“Instead of trying to fade into the nooks and crannies as good Cripples of the past were taught to do,” [Wade] wrote, “we blast down the main streets in full view, we sit slobbering at the table of your favorite restaurant, we insist on sharing your classroom, your workplace, your theater, your everything. The comfort of keeping us out of sight and out of mind behind institutional walls is being taken away. And because there is no way for good people to admit just how bloody uncomfortable they are with us, they distance themselves from their fears by devising new ways to erase us from the human landscape.”

(Neil Genzlinger, “Overlooked No More: Cheryl Marie Wade, a Performer Who Refused to Hide,” NYTimes, 7-23-20)

(c) 2020 JMN

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War on Horns?

Demand for rhinoceros horns spiked in the 1970s and 1980s because of their use in traditional Asian medicines and their status as a symbol of wealth, and conservationists have since fought to protect the animals.

(“Iliana Magra and Lynsey Chutel, A Detective Pursued Rhino Poachers. Now He’s Dead,” NYTimes, 3-20-20)

The Times article includes a link to “African Rhinos,” wwf.panda.org, which says the following about the use of rhino horn in Asia, and particularly Vietnam:

Powdered horn is used in traditional Asian medicine as a supposed cure for a range of illnesses – from hangovers to fevers and even cancer… But the current surge has been primarily driven by demand for horn in Vietnam. As well as its use in medicine, rhino horn is bought and consumed purely as a symbol of wealth.

The American “war” on drugs has demonstrated the futility of focusing on source and not demand. It’s hard to see how the rhino is not as good as extinct already unless cultures that use its horn for medicine and ostentation replace it with something less precious.

(c) 2020 JMN

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Blood & Rabbit Enchiladas

Spencer Grammer (Kelsey’s daughter) was slashed at an NYC restaurant! Or maybe not.

Dried blood remained Saturday afternoon outside The Black Ant, whose dinner entrees include $24 rabbit enchiladas and $27 braised pork cheeks...

“Frasier” star Kelsey Grammer downplayed his daughter’s injury on Saturday, saying through a spokesman: “There are elements of truth to the story but Spencer was not slashed; she is fine.”

(Larry Celona, Tina Moore and Khristina Narizhnaya, “Spencer Grammer, daughter of Kelsey Grammer, among victims in East Village slashing,” New York Post, 7-25-20)

I enjoy the possibility that the three journalists credited with the story may have sampled the restaurant’s cuisine while they were at it.

(c) 2020 JMN

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Dalí Among the Tchotchkes

When Dalí, who died in 1989, finished the project [illustrating the “Divine Comedy”], he had completed 100 watercolors for the poem’s 14,233 lines: 34 illustrating Inferno, 33 illustrating Purgatory and 33 illustrating Paradise.

Then, over several years, artisans carved 3,500 wood blocks to make prints of the original watercolor illustrations for the book, which was published in the early 1960s. Some of those prints required up to 37 individual blocks to impress each of its colors of ink, one at a time.

(Christine Hauser, “Is That a Dalí Among the Tchotchkes?” NYTimes, 3-13-20)

(c) 2020 JMN

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Memo to U.S. — Sort of How to Speak English

Boris Johnson speaking to the BBC’s political editor Laura Kuenssberg:

“We didn’t understand (the virus) in the way that we would have liked in the first few weeks and months… The single thing that we didn’t see at the beginning was the extent to which it was being transmitted asymptomatically from person to person… I think it’s fair to say that there are things that we need to learn about how we handled it in the early stages… Maybe there were things we could have done differently and of course there will be time to understand what exactly we could have done, or done differently.” [My bolding]

(BBC online, 7-24-20)

Of course there will be time — the dead, especially, have plenty of it on their hands.

Tentative, highly cushioned, wordsmithed to a fault and grudgingly concessive, nevertheless it’s a beginning at approaching a start to a semblance of accountable candor from a putative leader in this hemisphere.

(c) 2020 JMN

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Kind of Really Mealy-Mouthed

“The time frame from when you get a test to the time you get the results back is sometimes measured in a few days,” [Dr. Anthony] Fauci said Tuesday.

“If that’s the case, it kind of negates the purpose of the contract [sic] tracing because if you don’t know if that person gets the results back at a period of time that’s reasonable, 24 hours, 48 hours at the most … that kind of really mitigates against getting a good tracing and a good isolation.” [All bolding is mine]

(Christina Maxouris and Holly Yan, “1000 died of Covid-19 in 1 day. Now the US is on track to hit 1 million new cases in 2 weeks,” CNN, 7-22-10)

Flabby rhetoric kind of really mitigates against cogent messaging. In a healthier country, when you expound the fallacy of what was fallacious, to use John Stuart Mill’s phrase, you don’t beat around the screaming bush.

It would do America kind of good if the embattled Dr. Fauci, justly touted as our leading infectious disease expert, were granted immunity to lose the frog in his throat.

(c) 2020 JMN

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Indelible Obscure Abstractions

Bearden (1911-88) is best known for his indelible figurative collage depictions of African-American life in all its quotidian richness, strength and struggle… Bearden’s far more obscure abstractions… have tended to be given short shrift in his biographies and retrospectives…

While most stain painting technique in the 1950s and early ’60s derived from Helen Frankenthaler’s innovative “Mountains and Sea,” of 1952, Bearden developed his approach on his own… studying informally with a calligrapher he knew only as Mr. Wu, who had a bookshop on Bayard Street. Mr. Wu showed Bearden the often more delicate techniques of Chinese ink painting which Bearden soon adapted to oil paint by thinning it with turpentine (which all stain painters did). This way of working provided a new ease by bringing Bearden, who had never liked the thickness of oil paint, close to one of his favorite mediums, watercolor.

(Roberta Smith, “Romare Bearden’s Rarely Seen Abstract Side,” NYTimes, 3-?-20)

(c) 2020 JMN

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