The Angeleno Bananascape

IMAGE: This iteration of the Foodprint Project logo was designed, as always, by the fantastic Nikki Hiatt.

This autumn, Sarah Rich and I will be bringing our Foodprint Project event series to Los Angeles. But first, we decided to try a little crowd-sourcing experiment, which, I’m excited to say, we’re launching today!

Inspired by a meeting with UCLA Computer Science professor Deborah Estrin, and Paula Daniels, who was just named senior advisor for food policy by Mayor Villaraigosa, we’ve teamed up with the Los Angeles Food Policy Council, an incredible group of volunteers tasked with helping realise the goals of the city’s Good Food for All Agenda, and Kullect, a fun new data collection app based in San Francisco, to find a little bit more about what food Angelenos are buying, and where it all comes from.

It’s a pretty simple idea: Every two weeks, we’ll be asking volunteers to document their purchases of different types of food — bread, eggs, peaches, milk, crisps, etc. — using Kullect’s handy mobile app (available for iPhone and Android). We’ll take the data (anonymised, of course), analyse it for patterns and insights, and create data visualisations — infographics, maps, and charts — that we can share with everyone who wants to understand the city’s foodscape a little bit better.

The resulting data won’t replace a rigorous foodshed study in the city’s planning process, of course. Nonetheless, we think that crowd-sourcing the data-gathering process and then mining the resulting information to tell stories and ask new questions will be a fun way to build awareness and encourage conversation about where the Los Angeles’ food actually comes from. And we are working with various organisations to try to make sure that the need for a smartphone isn’t a barrier to participation, and to put together a Spanish language version (bilingual volunteers, please email me!).

IMAGE: No special banana-phone required.

As I mentioned, we’re launching today, and any Angeleno with an iPhone or Android smartphone can (and should!) take part! Here’s how to get involved:

1. Register at Kullect. You’ll need to provide your email address to receive an invitation to the service (Kullect is still in private beta, so you’re getting a sneak peek at the future into the bargain). We’ll also ask you to provide some basic demographic information. This is totally optional and it will never be associated with you and your email address, so if you don’t mind sharing, it will help us relate the data we collect to the larger demographic of Los Angeles.

2. Download the Kullect app. It’s free, and it works on Android and iPhone.

3. Document your food purchases. Every 2 weeks, we’ll be asking you to record your purchases of a different food type. We’ll send you an email to let you know what it is. So, during the fortnight that the food type is bananas, every time you buy a banana, whether you’re at the supermarket, filling up at a petrol station, or grabbing breakfast to go at a coffee shop, we want you to whip out your phone, open Foodprint LA: Bananas in Kullect, take a quick photo of your banana(s), enter the price, choose from a list of vendors, and contribute your individual banana purchase data to help create a bigger picture of the Los Angeles banana-scape. Repeat step 3 as many times as you buy bananas during that two-week banana-data Kullection.

IMAGE: Screenshots of the Foodprint LA: Bananas Kullection on an iPhone.

That’s it. Pretty simple — but I can’t wait to see what the city’s foodscape looks like, collectively re-mapped through thousands of individual purchases! If you’re in LA, please join in, and get your LA-based friends, family, and colleagues on board too.

We’ll start sorting through the data as soon as we’ve collected our first food type, and we’ll email you with our findings as well as share them with the Los Angeles Food Policy Council and online at the Foodprint Project site. We’ll also continue to keep you posted on our plans for an amazing Foodprint LA event in the fall: sign up for our mailing list to receive updates as our plans unfold…

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Some Approaches to the Question of Chewing Gum Litter

Despite persistent urban myths to the contrary, chewing gum is, technically speaking, edible. However, doctors do agree that it is not usually wise to swallow it, due to the risk of “gum-based gastrointestinal blockages.” Given that in 2005, Americans chewed, on average, 160-180 pieces or about 1.8 lbs of gum per person, per year, with relatively few swallowing incidents, the resulting post-masticatory waste probably adds up to more than 250,000 tons annually.

Inevitably, disposing of this sticky mass poses some challenges.

IMAGE: Seattle’s “gum wall,” one of the city’s “top attractions,” via.

In 2003, a UK Parliamentary briefing note titled Chewing Gum Litter framed the issue in practical terms:

Most consumers dispose of their chewing gum responsibly. However, where chewing gum is dropped onto pavements it sticks firmly to the surface as it dries. Chewing gum does not break down over time and so the deposits gradually accumulate.

Pounded smooth by pedestrians, discarded chewing gum debris thus forms the dominant decoration of the urban floor, a soot-black snot speckled across asphalt or paving stones’ shades of grey. Writing in The Guardian in 2005, journalist Tim Adams reported that an incredible ninety-two percent of Britain’s urban paving stones have gum stuck to them.

IMAGE: London’s splotchy streets, via the BBC.

For most of us, this black-on-grey dapple is so ubiquitous as to be invisible; it scarcely registers as litter. Intriguingly, shortly before his suicide, writer, chemist, and Auschwitz survivor Primo Levi became mildly obsessed with the gum beneath his feet, analysing it to create an alternative cartography of alimentary intention:

Gum can be found everywhere, but a more attentive examination reveals that it reaches maximum density in the vicinity of the most frequented bars: the chewer who is headed there is forced to spit out to free his mouth. As a result, the stranger, not familiar with the city, could find these places following the direction of the more thickly massed gum blobs, in the same way as sharks find their wounded prey by swimming in the direction of increasing concentrations of blood…

IMAGE: An area of heavy concentration in New York, via.

However, for those of an equally observant, but more hygienic, bent, dead gum blotches form a particularly intractable irritant; an urban disfigurement that is more pervasive than graffiti, cigarette butts, or even fast-food litter. Last summer, London’s Mayor, Boris Johnson, compared his reaction to this “awful self-inflicted impetigo” to the emotions Leonardo da Vinci would experience if he saw “black stubble on [the Mona Lisa's] lovely cheeks and chin,” or the feelings of Wimbledon’s groundskeeper if “200 moles had simultaneously erupted through the grass of Centre Court.”

What’s more, the options for dealing with it are all somewhat unsatisfactory, although they vary in their effectiveness, practicability, and cost. On the prevention side, the city-state of Singapore has provided the best-known and most draconian example by banning the sale, import, and chewing of gum altogether in 1992. When BBC reporter Peter Day suggested that, in fact, chewing gum stuck to the pavements “might be a sign [...] of creativity,” former Prime Minister Lee Kuan Yew quickly set him straight: “If you can’t think because you can’t chew, try a banana.”

IMAGE: “Medicinal” chewing gum on sale in a Singapore pharmacy, via LoLo Eatable.

However, the experiment was terminated in 2002, after just ten years, when intense lobbying pressure by Wrigley’s forced Singapore to allow the sale of “medicinal” gum as a pre-condition to signing a free trade agreement with the United States.

That same year, in the United Kingdom, where gum litter and hoodie-wearing are treated as serious social nuisances and tackled with a Bratton-esque “broken windows” fervour, Defra (the Department for Environment, Food, and Rural Affairs) proposed a voluntary scheme to restrict the sale of chewing gum in areas with particularly heavy deposition — a half-hearted attempt that was quickly shot down by gum manufacturers and local authorities alike.

IMAGE: Gum targets attached to lamp-posts and disposable GumVelopes are just two of millions of designs that attempt to solve the gum litter problem through prevention.

Lacking the cojones to pass and enforce an outright ban, the UK has resorted to a mix of behavioural nudges (including specially designed gum disposal bins and boards) and sticks, such as the hiring of “gum-wardens” capable of imposing £50 on-the-spot fines for gum littering. When Tim Adams of The Guardian spoke with Nick and Trevor, Maidstone City Council’s erstwhile gum-wardens, back in 2005, their efficacy seemed somewhat limited:

The key to successful gum-wardening, Nick explains, is not to walk purposefully, but to amble. In this way, they cover maybe eight miles a day. However, in the six weeks that they have been patrolling the city’s pedestrianised shopping area, with the back-up of 24-hour CCTV, so far Nick and Trevor have seen one man in the act of dropping gum. They threatened him with a £50 fine, though, in the end, they could not make the fine stick because it was not clear whether ‘the target’ had dropped his gum on public or private property.

IMAGE: The gum-warden team policing the streets of Oxfordshire, via the BBC.

In accordance with the unfortunate truth that it is easier to surmount almost any technological challenge than to change human behaviour or interfere with corporate profits, the holy grail of gum litter prevention is the development of non-sticky or biodegradable gum.

Last October, after years of research and with more than £5 million spent on the quest by Wrigley’s alone, scientists at Bristol University launched a chewy, tasty spearmint gum that dissolves into a fine powder after six months of sidewalk exposure. I have yet to see Rev7 gum on sale, but the company has successfully secured a round of venture capital financing, and CEO Roger Pettman told Forbes that “interest so far from convenience store operators has been ‘very promising.’”

IMAGE: Gum removal in Winchester, via.

While we wait for its biodegradable cousin to take off, removal remains the only 100 percent effective option for those who find Johnson’s “monstrous plague of chewing gum blotches” sufficiently revolting to justify spending between £0.45 and £1.50 per square metre to steam, spray, dissolve, or scrape the urban skin clean. In 2005, Defra estimated that local authorities spent a total of £150 million per year on gum removal, or three times more per gum blotch than each stick or piece cost when fresh. London spends £8,500 a pop to de-gum Trafalgar Square alone.

IMAGE: Ben Wilson at work in Muswell Hill, via Flickr user nevilley.

IMAGE: Ben Wilson painting a chewing gum blotch, via Flickr user Jansos.

A strict cost-benefit analysis of gum removal might tend toward a net negative, especially in Britain’s current age of austerity, which is why I was charmed to see Ben Wilson’s gum paintings featured in The New York Times last month. Although he began his artistic career as a sculptor working mostly in wood, the Times reports that, for the past six years, Wilson has devoted himself to painting thousands of tiny pictures on the discarded, flattened gum blobs of London’s pavements:

He developed a technique in which he softens the gum with a blowtorch, sprays it with lacquer and then applies three coats of acrylic enamel. He uses tiny brushes, quick-drying his work with a lighter as he goes along, and then seals it with clear lacquer. Each painting takes between a few hours and a few days, and can last several years if the conditions are right.

IMAGE: Ben Wilson’s chewing gum art, via Flickr user Grahamc99.

IMAGE: A collection of Ben Wilson’s works, via Flickr user Judepics.

Some of his vibrant miniatures appear abstract, or purely decorative; others depict local landmarks or symbols; and still others broadcast personal messages in public: Wilson explains to the Times that he receives requests to commemorate births, deaths, young love, and even shop closings:

To mark the closing of a Woolworth’s a couple of years ago, Mr. Wilson crowded every employee’s name onto a piece of gum, along with a good-luck message from the managers. He painted another in which the employees thanked their customers. The two pictures are still there, even though the store is gone.

IMAGE: Yarn-bombing in Denver, spotted last weekend on my way to the MCA to judge cocktails.

IMAGE: My first sighting of yarn-bombing, on 14th Street between 2nd and 3rd, New York City, in autumn 2009.

Ben Wilson’s gum paintings reminded me irresistibly of another recent and lovely urban intervention: yarn bombing, in which guerrilla knitters decorate fly-posters with fuzzy frames, barbed wire with crocheted spiderwebs, and scaffolding pipes with striped cozies. In both cases, the application of individual artistry and craft to the functional décor of the contemporary urban landscape renders the invisible, visible, while tranforming the civic into the personal. As Wilson explains:

The only imagery that children see around them are billboards and TV; every part of their environment is out of bounds or sold off. That’s why they don’t care about their streets. This is a small way of connecting people.

IMAGE: A Ben Wilson streetscape on the street, via Flickr user Salimfadhley.

The appropriation of chewing gum litter in the creation of a distributed artwork that provides local colour, pride, and even memory is, in my opinion, the highest end to which a stick of Wrigley’s could ever aspire. After all, Ben Wilson’s paintings not only compel us to actually notice the reality of our gum-strewn streetscape, inviting us, like Primo Levi, to mine it for reflections on our culture’s habits and choices, they also inspire us to reconsider every aspect of the urban environment as an opportunity to add unexpected beauty.

What other overlooked possibilities do the otherwise unloved chain-link fences, steam stacks, and Jersey barriers of the modern metropolis offer?

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Distilling Colorado

The appurtenances of American statehood extend far beyond the political basics — a flag, seal, and a couple of senators — into an entire menagerie of official animals, flowers, gemstones, and insects. Colorado, for example, proudly lays claim to the Stegosaurus as its state fossil, and the Western Painted Turtle as its state reptile, in addition to a motto (“Nothing Without the Deity”), a tartan, a grass, and not one but two songs.

IMAGE: From left to right, and top to bottom, the symbology of Colorado includes Blue Grama grass, the Rocky Mountain Bighorn Sheep, the Colorado Blue Spruce (first discovered on Pikes Peak in 1862 by botanist C.C. Parry), the Greenback Cutthroat Trout (which displaced the Rainbow Trout as a stata emblem in 1994, due to its virtual extinction in real life), and the state menagerie’s newest addition, the Western Painted Turtle, nominated in 2007, by Jay Baichi’s 4th grade class.

Such symbols are intended to “represent the cultural heritage and national treasures” of each state. Naturally, such recognition is rarely bestowed without political jockeying and heated debate. Environmental groups lobby on behalf of endangered animals, vistors’ bureaus dangle the lure of tourist dollars, and fans mount spirited and successful campaigns on behalf of personal favourites, from cowboy boots to Western swing.

It is with trepidation, then, that I agreed to join the jury responsible for selecting the signature state cocktail for Colorado.

No state currently boasts an official cocktail, although the great Louisiana Sazerac Struggle certainly provides a cautionary tale. In March 2008, state senator Edwin R. Murray introduced a bill that would have designated the historic whiskey drink as Louisiana’s official state cocktail. After several defeats and revisions, a specially convened committee proposed an acceptable compromise, and the Sazerac’s sovereignty was enshrined, but limited to the city of New Orleans.

Indeed, the current list of official state drinks is regrettably dry: only Alabama has nominated an intoxicant (Conecuh Ridge Whiskey — a recreation of a Prohibition-era aged moonshine) as its official beverage, while the conservative majority stick to milk. Among the others, an astonishing twenty-three, including Colorado, have failed to express any potable preference at all, and most of the rest play it safe with fruit juice, although Maine has embraced its home-grown Moxie, and Nevada, amusingly, has drunk the Kool-Aid.

Of course, many might argue, with some justification, that states have more serious matters to discuss. Nonetheless, a cocktail that showcases local ingredients, celebrates a tradition of craft distilling, expresses regional terroir, or commemorates historical events or figures, is a valuable pedagogical tool in its own right, capable of inspiring debate, bonhomie, and, ultimately, civic pride.

So, if you’re in or around Denver this weekend, don’t miss the opportunity to give your verdict on the future Colorado Cocktail. The two-day event starts at the MCA Denver on Sunday at noon, with all-you-can Colorado distiller samplings, food trucks, and back-to-back fifteen-minute presentations on working with Colorado spirits, local innovations in mixology, and more, including a little talk from me on the cultural importance of cocktails and the birth of the singles bar.

Those who are still standing on Monday evening can come back for the cocktail competition itself, and help the judges decide between such specially created delights as the Pikes Peak Swizzle, The Centennial, and the Rocky Mountain Wildfire. Tickets are still available for both days; if you do come along, please say hello, and let me know which drink you think best represents the state of Colorado.

Meanwhile, if you are in Denver, you might also be interested in tonight’s Mixed Taste event at the museum, featuring Geoff Manaugh of Edible Geography’s partner site, BLDGBLOG, discussing the topic of “urban spelunking,” followed by star chef Jorel Pierce speaking on blood sausage. And, wherever you are, this is as good an opportunity as any to urge you to (re)-read Rebecca Federman’s charming stroll through history as commemorated by the cocktail, in which alcohol serves as the vehicle to discuss everything from the Apollo moon landings to Eliot Spitzer’s prostitution scandal.

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The Unsung Heroes of Biscuit Embossing

Over at The New York Times Magazine’s enjoyable 6th Floor blog, Hilary Greenbaum asks “Who made that Oreo emboss?”

IMAGE: Oreo manhole cover, by Andrew Lewicki, an LA-based artist whose work also includes crates of Southern California concrete oranges and a combination ashtray/juicer, for the perfect Parisian breakfast.

Interestingly, when the Oreo was first introduced by Nabisco in 1912, it used a much more organic wreath for its emboss, later augmented with two pairs of turtledoves in a 1924 redesign. The contemporary Oreo stamp was introduced in 1952, and it has remained unchanged, and, in the words of Pulitzer Prize-winning architecture critic Paul Goldberger, “the stuff of legend,” ever since.

Writing in 1986, to mark the cookie’s seventy-fifth birthday, Goldberger declared that the Oreo “stands as the archetype of its kind, a reminder that cookies are designed as consciously as buildings, and sometimes better.” Comparing the Oreo to its less successful competitor, the Hydrox, Goldberger notes:

Still, it is the Oreo that has become the icon. And after all, it is the more American-looking of the two — its even pattern, however dowdy, has an industrial, stamped-out quality. It might be said to combine homelike decoration with an American love of machine imagery, and in that combination lies a triumph of design.

IMAGE: The late, lamented Hydrox cookie, whose pattern is, according to Goldberger, “at once cruder and more delicate than the Oreo’s; the ridges around the edge are longer and deeper, but the center comprises stamped-out flowers, a design more intricate than the Oreo pattern.” Photo via Wikipedia.

However, despite the iconic status of the Oreo emboss today, the identity of its designer remains murky. As Greenbaum reports:

Many Internet resources have credited William Turnier as the man behind the four-leaf clover and serrated-edge design, but Nabisco could confirm only that a man by that name worked for the company during that time as a “design engineer.”

IMAGE: The evolution of the Oreo emboss, from 1912, to 1924, to today, courtesy Nabisco, via The New York Times.

In reply to Greenbaum’s post, a comment by “Bill,” who claims to be William Turnier’s son, raises the intriguing possibility that the original blueprints for the Oreo emboss may be hanging over the door of a family room in Chapel Hill, North Carolina. I hope design museums around America are sharpening their acquisitionary claws.

As it turns out, online Oreo-obsessives have spent as much time decoding the design as they have speculating on the identity of the designer. The circle topped with a two-bar cross in which the word “OREO” resides is a variant of the Nabisco logo, and is either “an early European symbol for quality” (according to Nabisco’s promotional materials) or a Cross of Lorraine, as carried by the Knights Templar into the Crusades. Continuing the Da Vinci Code-theme, the Oreo’s geometric pattern of a dot with four triangles radiating outward is either a schematic drawing of a four-leaf clover or — cue the cliffhanger music from Jaws — the cross pattée, also associated with the Knights Templar, as well as with the German military and today’s Freemasons.

No wonder the Oreo has become the most powerful cookie in the world, with more than 491 billion sold to date.

IMAGE: A hexagonal ship’s biscuit, painted by an anonymous sailor, and showing evenly spaced docker holes, c.1906, National Maritime Museum.

Conspiracy theories aside, the origins of 3D biscuitry are both pragmatic and decorative. The practice of punching holes in biscuits is known as “docking,” and has been done by bakers for centuries in order to prevent uneven puffiness and promote flat crispness. According to British cookery writer, Elizabeth David, a pre-mechanisation docker was “a dangerous-looking utensil consisting of sharp heavy spikes driven into a bun-shaped piece of wood.”

Meanwhile, across Europe, a parallel and equally time-honoured tradition of decorative waffle irons and wooden moulds emerged, used to emboss religious symbols on communion wafers, coats of arms on Italian pizzelle, and courtly imagery on German springerle.

IMAGE: Wooden eucharistic wafer stamp from Epirus, Greece, via A History of Food by Maguelonne Toussaint-Samat.

The turn of the nineteenth century saw the birth of the industrial biscuit, and, with it, the marriage of these two morphologies — docking and decorating — into an automated production line. In the late 1890s, two cousins, both called Thomas Vicars, designed the first embossing and cutting machine, capable of punching holes, stamping decorations, and cutting out up eighty biscuits per minute from a moving sheet of dough. The dies were necessarily hand carved until engraving machines were introduced in the early 1900s.

Thin, hard biscuits, such as the Rich Tea and Morning Coffee, are still made in almost exactly the same way. But the true golden age of biscuit engineering did not dawn until the invention of the rotary moulder in the late 1920s.

Diagram of a rotary moulder, from Technology of Biscuits, Crackers, and Cookies, by D. J. R. Manley

This technology, albeit updated with variable speed controls, advanced non-stick coatings, and quality sensors, is still used to make Oreos and most other thick embossed biscuits today. The cookie dough is forced into negative moulds, which imprint patterns, brand names, and docker holes. A scraping knife (“D” in the diagram above) scrapes off any excess dough to give a flat bottom, and the formed biscuits peel away onto a conveyor belt to be baked.

IMAGE: Weidenmiller rotary moulding rollers.

This, then, is the enduring technology behind the blend of baking science and aesthetic appeal that is an embossed cookie. But what of the designers who created equally long-lasting moulds or dies?

For the most part, unlike the Oreo’s William Turnier, they remain not only anonymous but completely disregarded. No one seems to know or care who created the stylized ferns on the Custard Cream, which remain unchanged since their debut in 1910; or the Art Deco steaming cup on the cardboard-like Morning Coffee biscuits of my youth.

IMAGE: The Custard Cream: Britain’s favourite biscuit. Photo via Wikipedia.

IMAGE: Lovely design, shame about the biscuit. A Morning Coffee, via.

This tradition of biscuit design anonymity seemingly continues into the present day. The Weidenmiller company of Illinois, for example, promises that its team of nameless artists will “develop any design from a conceptual thought,” while Italy’s Errebi Technology offers more than 500 rotary mould shapes off the shelf — and utterly uncredited.

IMAGE: Machine carving rotary moulds today, courtesy Errebi Technology.

IMAGE: Errebi’s ready-to-order emboss shapes, page 1 of 26.

To my mind, these classic biscuits — ubiquitous, overlooked, and yet embodying the highest design standards in both form and function — are worthy of recognition as “humble masterpieces,” to borrow Paola Antonelli’s terminology.

Time to make a nice cup of tea and appreciate one or two of them myself, I suppose.

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Keep Calm and Eat Cupcakes

In case any of you missed it, last Thursday, British intelligence proudly announced that they were behind “Operation Cupcake,” a cyberattack on the first issue of the Al-Qaeda-affiliated Inspire magazine.

IMAGE: My strangely appropriate birthday card, from the “Keep Calm” card series by bluebell 33. Thanks, Mum and Dad!

Launched last June as a quarterly pdf, the original contents of Inspire’s first issue included a message from Osama bin Laden, a prayer list of imprisoned Muslims, and a news item on the death of Mustafa al-Yazid, as well as a handy how-to feature, titled “Open Source Jihad,” which offered would-be terrorists instructions on how to send and receive encrypted messages and “make a bomb in the kitchen of your Mom”:

Can I make an effective bomb that causes damage to the enemy from ingredients available in any kitchen in the world? The answer is yes.

IMAGE: A page from the first issue of Inspire, via Public Intelligence.

At the time, journalists were divided as to their opinion of the English-language magazine’s authenticity. Writing for The Atlantic, Marc Ambinder reported that “To a lot of folks here, including our publisher, it reads almost like an Onion parody.” More suspicious minds speculated that the U.S. military had actually created the idiotic magazine itself, and distributed it under the Al-Qaeda of the Arabian Peninsula name, “in order to confuse and demoralize the enemy by subjecting it to ridicule.”

Meanwhile, it now appears, Britain’s GCHQ intelligence agency (tagline: “Keeping our society safe and successful in the internet age”) were taking the magazine seriously enough to have already sabotaged the first issue. Writing last July, Ambinder actually notes that after the first three pages, his 67-page copy of Inspire consists of “ASCII-text debris.” His source, “ActionFromTheBackSection,” explains that the gibberish was put there deliberately and comes from a file called “ellenbca.pdf”:

People who have Adobe Acrobat (not Reader) can download the pdf (and no, it has no viruses), go to any page after 3 and open Document -> Crop pages menu. In the “Margin controls” replace 0.5 inches in the “Top” and “Bottom” sections with 0 inches. You will see that what was cropped out in the pdf are the page number (bottom) and this string (top):

“C:\Users\m050\Desktop\ellenbca.pdf 29 June 2010 16:45″

Which means that the debris was put into the file deliberately, and was present in the initial file from which it was printed (“ellenbca.pdf”).

One of Ambinder’s commenters, Lee Gillentine, takes the next step — googling “ellenbca.pdf” — only to find that the offending debris corrupting Inspire’s text is nothing less a list of the top ten cupcakes in America, originally compiled by Dulcy Israel for the Ellen DeGeneres show. Featuring Carmel Apple cupcakes from Eagle, Idaho, Mojito-flavoured cupcakes from Hudson, Ohio, and a Rocky-Road variety from Charleston, South Carolina, the list is archetypal search engine-fodder:

The little cupcake is big again. Self-contained and satisfying, it summons memories of childhood even as it’s updated for today’s sweet-toothed hipsters (chai latte cupcake, anyone?) The best thing is you don’t have to share — it’s strictly a one-person affair, thank you very much. So skip lunch and read on for 10 of the country’s best.

IMAGE: “The Best Cupcakes in America,” according to Dulcy Israel.

So far, so bizarre. But the icing on the cake came nearly a year later, when nameless British officials finally took responsibility for the sabotage — “just to let them know,” as an anonymous Whitehall source told The Guardian last Thursday.

Apparently, both U.S. and British intelligence were convinced that Inspire was a genuine terrorist publication — and thus, it could be argued, a legitimate target for a cyberstrike. However, according to The Washington Post, the CIA prevented the head of U.S. Cyber Command, General Keith Alexander, from attacking the magazine, “arguing that it would expose sources and methods and disrupt an important source of intelligence.” The British clearly had no such qualms, and “Operation Cupcake” successfully disrupted the magazine for an entire fortnight:

It took almost two weeks for al-Qaeda in the Arabian Peninsula to post a corrected version, said Evan Kohlmann, senior partner at Flashpoint Global Partners, which tracks jihadi Web sites.

The story, if any part of it is true, is astonishing on several levels. First of all, from my admittedly technologically illiterate perspective, it seems a little peculiar that in an era of Stuxnet and steganography, the crème de la crème of British cyberwarriors would be content with simply swapping out offending content for “gibberish” generated by opening a pdf file in a hex editor.

But, more importantly, the choice of “The Best Cupcakes in America” as the text debris source is just too perfect: a simultaneous comment on the terrifying vapidity of online culture (the only thing missing is a cat or some Rick Astley lyrics) and the infantilising, self-indulgent, and individualistic overtones of the cupcake trend. Even if it isn’t a joke, it’s a pretty good joke.

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Rental by the Meal

IMAGE: Drawing by Will Prince for the New City Reader Food Issue; data supplied by Marion Emmanuelle of award-winning restaurant designers AvroKo.

Stuck in a rut, and with his thirtieth birthday imminent, Paul Carr, the son of hoteliers, escaped it all by spending a year living in hotels. Somewhat predictably, his experiences led to a publishing deal, and the resulting book, The Upgrade, is excerpted in today’s Observer.

After noting that such semi-permanent hotel dwelling was once relatively common (apparently, nearly three quarters of New York’s upper and middle classes called a hotel room home in 1856), Carr explains that long-term hotel living, done right, can cost less than a year’s rent on a London flat. In his informative introduction to getting the best deal out of the hotel business, he points out that “a hotel bedroom is a highly perishable commodity — if it hasn’t been sold by the end of the day, it’s gone forever.”

Of course, this insight also holds true for a restaurant table (and an opera ticket, an airline seat, and so on).

IMAGE: Drawing by Will Prince for the New City Reader Food Issue; data supplied by Marion Emmanuelle of award-winning restaurant designers AvroKo.

In other words, each spot on an eatery’s stain-resistant leather banquette has a shorter shelf-life than a perfectly ripe peach, its revenue-generating potential transmuted into financial drain every minute it remains unoccupied. Seen in this light, the restaurant floor is a terrifyingly volatile property market, packed with listings whose half-lives clock in at an hour or less (even high-end restaurants frequently expect to turn tables once during the dinner shift).

The particular economic logic of the dining table market is, of course, written into a restaurant’s business plan. As Alan Stillman, the founder of T.G.I. Friday’s, explained in our conversation last November:

The restaurant business does come down to real estate, though. A restaurant owner is renting or sub-letting you a piece of real estate for the evening, and how long you sit there and how much you spend determines whether they’re going to be successful or not.

Indeed, the space/time value of each dining chair can be calculated to the penny. A recent survey by lastminute.com found that every five minutes of seat occupancy at London restaurant Hakkasan carries a price tag of £6.17, for example, while the same rental period at Midsummer House in Cambridge costs £5.80 a head.

Although much restaurant design writing focuses on fashions in décor and lighting, from taxidermy to Edison bulbs, a dining room could thus perhaps be more accurately read as a landscape encoded with invisible information, its contours shaped by local health codes, server use-paths, and financial fluctuations.

New restaurant reviews could include a handy by-the-meal seat rental calculation alongside their descriptions of the chalkboard menu; in addition to nominating signature dishes, critics could recommend tables based on both value for money and traffic flow. If house prices were the standard dinner party conversation topic of the twenty-first century’s first decade, perhaps seat rental will be the restaurant chit-chat of the next…

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The Culinary Underground

If you’re in San Francisco on Tuesday night, don’t miss this conversation about “the emerging underground food movement in San Francisco and around the country,” taking place at 7:00pm at the Studio for Urban Projects.

Moderated by the lovely Rosie Branson Gill, of 18 Reasons, and featuring Sandor Katz (author of The Revolution will not be Microwaved and Wild Fermentation), Iso Rabins (founder of ForageSF and the Underground Farmer’s Market), and artists Ted Purves and Susanne Cockrell (the artists behind The Meadow Network), the panel is set to discuss “cow shares, market memberships, food swaps, pop-up restaurants, and backyard harvesting,” and the ways in which these strategies are transforming “economics, food distribution, and community.”

IMAGE: Until they were shut down by the SFPD, the entrepreneurs behind Fat Cookies delivered their fresh-baked goods to customers by way of a bag and string hoist, which, as BoingBoing points out, is “a time-honored cocaine dealer’s technique.” Photo by sandwichgirl.

I was originally scheduled to join the discussion, before other commitments unfortunately got in the way, and I would have loved nothing better than to listen, learn, and share my own fascination with food’s alternative geographies, from secret backyard chickens and underground lobster roll dealers to endangered species snuff dining, and roadkill phone trees.

In lieu of that, here is a short piece on illegal bushmeat networks that Geoff Manaugh (of BLDGBLOG) and I wrote for the New City Reader’s Food Issue last November (you can now read the entire issue online, so don’t miss Sarah Rich’s accompanying, wonderful essay on humanure and other types of renegade composting).

IMAGE: For a delicious and illicit lunch in the East Village, you can text “Ronnie, a former investment banker who now hawks illegal homemade grilled cheese sandwiches,” reports Sarah Rich in the New City Reader. Photo by Michael Stewart.

Meat Market
by Geoff Manaugh and Nicola Twilley, for the New City Reader

Hundreds of tonnes of bushmeat — defined by the Bushmeat Crisis Task Force as “any wildlife species, including threatened and endangered, used for meat including: elephant; gorilla; chimpanzee, and other primates; forest antelope (duikers); crocodile; porcupine; bush pig; cane rat; pangolin; monitor lizard; guinea fowl; etc.” — are smuggled through international airports such as Paris-Charles De Gaulle, Chicago O’Hare, and New York’s JFK, every week. It’s destination: local dinner plates.

IMAGE: Bushmeat seized during a Chicago raid, via.

In a July 2010 raid on an African antiquities store located on Chicago’s west side, monkey heads, and dead cane rats were seized by agents of the U.S. Fish and Wildlife Service. “In a brown cardboard box labeled ‘Blue Brand Spread for Bread,’” the Chicago Tribune reported, “agents found 14 cane rats impaled on sticks, six monkey heads, numerous impaled mice, and a pit-viper skull.” In the process, the raid uncovered just one hub of “a robust but underground business: illegally smuggling meat to Chicago residents hungry for a taste from their African homelands.”

In Paris, exotic and illegal culinary imports such as “smoked anteater” have been popping up in neighborhood markets. In the city’s northerly 18th arrondissement, for instance, “everyone knows bushmeat is sold,” a local butcher named Hassan Kaouti explained to the Huffington Post earlier this year, “and they even know where to buy it.” One shop owner, identified as Madame Toukine, “receives special deliveries of crocodile and other bushmeat each weekend.”

The demand for bushmeat is not solely motivated by Proustian nostalgia; in fact, many of the seized delicacies are required for cultural and religious ceremonies. But while immigrant groups within the U.S. and Europe form complex underground meat distribution networks, back at its source, the bushmeat trade is enmeshed in its own ecosystem of pressing issues. These include the proliferation of illegal firearms, poaching in natural parks, native habitat loss, the extinction of already endangered species, and even the potential seeds of a global pandemic.

In a 2010 report issued by the Wildlife Conservation Society, bushmeat imported as food was revealed to harbor a host of zoonotic diseases, including Ebola and simian foamy virus. This latter realization has rung alarm bells in the halls of the Centers for Disease Control, who now fear that the next AIDS might arrive on U.S. shores through these underground networks of unregulated meat exchange.

In many ways, these shadow meat economies provide an unsettling parallel to the diseased and dangerous state of the United States’ existing, FDA-approved industrial food system. Nonetheless, in bushmeat, the forces of global trade and the threat of a future outbreak unexpectedly align in the guise of culinary tradition and cultural continuity, turning food into an epidemiological vector that transmits from rainforest to plate.

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The Evolution of Lids

IMAGE: Take-out beverage lids, collected in the 90s and early 00s, photographed by sarcoptiform

The disposable coffee cup lid falls squarely in the category of random, everyday objects that you might assume are overlooked, but are actually quite the opposite. In fact, they have been collected, dissected, and put on display by a handful of notable design critics and curators.

As early as 1995, design historian and author Phil Patton’s personal collection of over 30 different lid types underwent categorisation and analysis in a feature article for I.D. Magazine. Under the headline “Top This,” Patton noted that Americans get through about a billion and a half plastic lids each year, and marveled at “how many varieties there were, how various and intricate the device is and how intensely designed they are.”

IMAGE: The Solo Traveler lid, photographed by sarcoptiform.

In 2007, Patton’s collection was put on display at the Cincinnati Museum of Art. Press materials for the exhibition, which was titled “Caution: Contents Hot!”, drew attention to highlights of the genre:

For example, the Solo Traveler lid was designed to accommodate the nose and lip of a drinker. In accomplishing this design goal, the necessary height of the lid made it useful for foam-topped gourmet coffees. Visitors will also see the McDonald’s lid, which is the only lid that features Braille markings for “decaf” and “other.”

IMAGE: The Solo Traveler lid patent drawings.

The Solo Traveler lid had been singled out a few years earlier by MoMA’s Paola Antonelli for inclusion in her 2004 “Humble Masterpieces” exhibition, where it was displayed alongside such other examples of quotidian ingenuity as the paperclip and the Q-tip. Designed by Jack Clements in 1986, the Solo or “sanitary lid,” as it is officially called, can also claim art director and critic Steve Heller as a devoted fan:

Here come the inevitable Freudian references: the Solo Traveler lid is a substitute for a mother’s breast – what we might call nature’s original travel lid. [...] It provides comfort and joy as well as nourishment. Certainly plastic is not the most warm and loving material, but somehow the fundamental shape transcends the emotive limitations of the materials. Somehow that lozenge-shaped opening is a means to a totally satisfying end.

IMAGE: The Harpman/Specht lid collection, as featured in Cabinet.

However, it is architects Louise Harpman and Scott Specht who proudly lay claim to the largest collection of “independently-patented drink-through plastic cup lids” in the United States. Forty of their 150 different examples of the form were put on display in a large safe at Proteus Gowanus, a Brooklyn gallery, in 2005, and featured in an accompanying issue of Cabinet magazine.

IMAGE: The Harpman/Specht collection on display at Proteus Gowanus in 2005.

Despite the Solo Traveler’s celebrity status, to my mind, these lids are most interesting when considered as a group, unified by function and yet differentiated in form. Patton, Harpman, and others have traced their design evolution over time, from the “primitive days” of simple vented plastic circles, through the invention of the sip tab, to the multi-functional straw/sip-through domes of today.

The very earliest patent for a drink-through lid — Roy Irvin Stubblefield’s “Cap for Drinking Glasses, filed on April 27, 1934 — was designed for cold beverages. Designer Zeke Shore, in a plaintive post that asks “Why Do Coffee Cup Lids Still Suck?”, traces the first tearable vented plastic lid for coffee back to 1967 patent filed by Alan Frank of Philadelphia.

IMAGE: R. I. Stubblefield’s “Cap for Drinking Glasses” patent drawings.

IMAGE: Alan Frank’s patent drawings, via Type/Code.

In those early days, would-be mobile caffeinators had to peel back the un-perforated plastic to create a wedge-shaped opening through which to drink, and a triangular piece of rubbish to discard, akin to old-fashioned ring-pulls. It wasn’t until 1975 that Walter Elfert and James Scruggs came up with the fold-back tab that could attach itself to the lid to stay out of the drinker’s way. And, according to Harpman, “the true efflorescence in drink-through lid design and production can be traced to the 1980s, when we, as a culture, decided that it was important, even necessary, to be able to walk, or drive, or commute while drinking hot liquids.”

IMAGE: Elfert and Scruggs’ patent drawings, via Type/Code.

Twenty-six new patents were issued in the 80s alone, for refinements in “mouth comfort, splash reduction, friction fit, mating engagement, and one-handed activation.” Several of the innovations are not necessarily improvements: Harpman castigates the Push and Drink Lid, which requires lateral bracing to allow users to puncture the plastic by pressing downwards, as “the most over-designed of the lid types.” Meanwhile, the “pinch” mechanism lids simply add an extra squeezing motion to the peel-back process, without any noticeable benefits.

IMAGE: The Karma Cup, designed by Mira Lynn, Gillian Langor, Nick Partridge, Zarla Ludin, and Ruth Prentice.

Although their design continues to evolve (I am particularly taken by this colour-changing version, which indicates temperature as well as warning of insecurely attached lids), it’s possible that the glory days of the plastic single-use lid are over. Last year, Starbucks partnered with Core 77 and others to run the Betacup Challenge, a crowd-sourced design contest to reduce to-go cup waste.

The winner — Karma Cup — did not offer any improvements in mouth feel or splash reduction.Instead, it incentivised the use of reusable cups by charting their use, and giving away every tenth drink ordered in one. If the idea takes off, maybe one day the disposable plastic lid will be collected for its rarity value, rather than its everyday charms.

Thanks to Alex Trevi of Pruned for introducing me to sarcoptiform’s photos.

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Mole Jerky

IMAGE: A molecatcher’s gibbet on Malham Moor, photographed by Martyn Gorman as part of a project to photograph every Ordnance Survey grid square of the United Kingdom.

There is nothing more likely to raise the blood pressure of a British gardener than a fresh molehill despoiling his carefully tended lawn. For farmers, moles are an agricultural as well as an aesthetic pest, as covering pasture with soil reduces its appeal to livestock, and thus its yield per acre.

In response, molecatching is a long-standing and proud profession in the British Isles. Although poison and gassing became the preferred methods of mole control toward the end of the twentieth century, recent years have seen a revival of interest in traditional mole trapping techniques. The British Traditional Molecatchers Register offers regular field trainings, with instruction in the “topography and characteristics of mole workings” as well as the proper adjustment and tuning of mole traps.

IMAGE: Proud molecatchers, photographed upon completion of the British Traditional Molecatchers Register training course.

IMAGE: Traditional mole traps, via Fourteenacre, which in addition to supplying hand-crafted traps for weasels, stoats, squirrels, and more, features a gallery of vintage trapping mechanisms that is well worth a browse. The evolution of trap construction is another strand in the story of human efforts at cross-species design; the corollary to such landscape and architectural innovations as wildlife corridors, pollinator parks, or Temple Grandin’s “Stairway to Heaven.”

While the mole itself has an interesting edible geography — they paralyse earthworms with their saliva, and then drag them back to specially constructed underground larders capable of storing up to a thousand worms at a time — until yesterday, I had never heard tell of their consumption by humans.

I knew that molecatchers frequently used to skin their prey to turn into jackets, trousers, and hats (today’s moleskin fabric is a densely woven cotton fabric, sheared short on one side to mimic a mole’s velvety pelt). And, as molecatchers were often employed by an entire parish to control the local mole population, they would also hang their catch on gibbets, as proof of work.

IMAGE: Moles drying in the open air in Upper Wharfedale, via Ten-inch Wheels.

But I was surprised to read that in Upper Wharfedale, Yorkshire, dried mole meat is a prized delicacy. According to Ten-inch Wheels, a Vespa-obsessed, London-based designer and blogger, it is the last place in the country to still have a “mole-drying industry,” with “a couple of dozen” drying frames dotting the Dale.

Sadly, TiW used small type to categorise his post, which includes a wonderful “quote” from Daniel Defoe alluding to the perils of “molegut,” as “just a joke,” “not true,” and “tall stories.”

Nonetheless, my curiosity was piqued. Some research into the qualities of mole meat quickly led me to the zoophagic endeavours of the Very Reverend William Buckland, a seventeenth-century geologist who was Dean of Westminster, the first to describe a dinosaur (Megalosaurus) from the fossil record, and, apparently, a “pioneer in the use of fossilized feces, for which he coined the term coprolites, to reconstruct ancient ecosystems.”

IMAGE: An 1882 cartoon of Wiliam Buckland sticking his head into a hyena den, drawn by geologist William Conybeare, via.

As a hobby, Buckland and his son attempted to eat their way through the animal kingdom, from mice-on-toast to roast panther. His appetite for novel edible experiences was prodigious, to say the least — a fascinating Guardian profile describes him as the original “man who ate everything”:

Once, when visiting a cathedral, he was told of a local legend claiming that fresh saints’ blood was to be found on the floor. Buckland, never one to turn down the opportunity to try a new flavour, licked the flagstones and was able to disprove the myth, immediately identifying the mystery liquid as bat urine.

Probably the most extraordinary of the great man’s exploits came on a visit to Lord Harcourt, the Archbishop of York, at Nuneham Courtenay, just outside Oxford. Shown what was claimed to be the heart of Louis XVI, preserved in a silver casket (Harcourt was a collector of esoterica), Buckland immediately gobbled the fleshy artifact down, unable to resist the opportunity to chow down on the heart of a king.

However, based on his extensive taste-testing, Buckland pronounced only two living creatures as unfit for human consumption: bluebottles and our friend the mole.

So, London-based readers, consider this a warning. If a man on a Vespa offers you mole jerky, sun-dried on the barbed wire of the Yorkshire dales, it might be best to politely refuse.

IMAGE: The mole: neither attractive nor tasty. Photograph by Michael David Hill.

Thanks to @mondoagogo for the link to the spurious but intriguing Ten-inch Wheel story.

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Cake in the Mail

IMAGE: William and Kate’s official royal wedding cake.

The British fruit cake may not taste quite as delicious as Prince William’s favourite chocolate biscuit cake, but its alcohol-soaked sultanas and rock-solid royal icing give it an impressive shelf-life and the sturdiness to survive extensive handling — two qualities much more necessary to the core functions of a traditional wedding cake.

The one served at the newly minted Duke and Duchess of Cambridge’s wedding earlier today is already five weeks old — the time it took to create the sugar paste flower decorations — while the bottom layer formed a foundation solid enough to bear the weight of seven more tiers above.

But fruitcake’s robust longevity is also essential to the wedding cake’s post-ceremony afterlife, in which it is distributed by mail as a token to those who were unable to attend or who were not quite important enough to receive an invitation. This post-event cake-posting is a long-standing tradition, as evidenced by this New York Times report on a disturbing spate of lost cake boxes back in 1894:

Complaints have recently been made that when wedding cake is sent by mail it rarely reaches its destination, and it is generally supposed that it is appropriated and eaten by the Post Office clerks. Whether the latter accusation be true or not, it is certainly true that when a piece of wedding cake is intrusted to the English Post Office the chances are that it will never reach its destination.

IMAGE: A slice of Charles and Diana’s wedding cake, as mailed.

IMAGE: Charles and Camilla’s wedding cake was mailed in a tin, rather than the customary cardboard box.

Although William and Kate’s cake is destined to end up in fragments dispersed across far flung Commonwealth countries, its ingredients were as British as possible (the oranges, spices, and ginger paste all had to be imported).

By contrast, in 1947, Princess Elizabeth and Lieutenant Philip Mountbatten’s nine-feet high, 500 lb fruitcake was christened the 10,000 mile Wedding Cake: its ingredients were donated by the Australian Girl Guides. An entire tier of the cake was sent back down under in gratitude, while other Commonwealth countries and colonies, as well as institutions around the United Kingdom, made do with a representative slice.

IMAGE: Cake ingredients from Australia were gratefully received in a heavily rationed post-war Britain.

IMAGE: Princess Elizabeth and Philip Mountbatten’s cake was widely distributed in slice form.

A surviving slice of Queen Victoria’s wedding cake, preserved since 1840, was put on display at Windsor Castle in 2007. Librarian Jane Roberts noted that it seemed “mummified rather than actually decayed.” The box was one of thousands distributed as souvenirs: “Victoria was related to all the royal families of Europe,” and, apparently “all would have expected a piece.”

IMAGE: A 167-year-old slice of royal wedding cake, preserved in its original mailing box.

This is fruitcake as statecraft: its lack of palatability reflective of its function as symbol rather than food. Cementing Commonwealth ties and salving snubbed dignitaries alike, the mailable wedding cake distributes royal favour across the globe. And if you’re a postal worker, it might be worth stealing for its future auction value, if not for its taste.

***Update: 28/08/11***

A distinguished reader was honoured with her very own slice of Will and Kate’s cake, and kindly sent Edible Geography a picture of the tin. “Unfortunately,” she confessed, “we had already eaten the cake for tea that day before it occurred to me that I should have photographed it too.” A girl after my own heart…

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