Tuesday, February 22, 2022
Monday, February 21, 2022
Peanuts in a Coke
An excerpt from Hunker -
Why Do People Put Peanuts in Coke?
By ANNA GRAGERT
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| Image Credit: @djunaskye/Instagram |
Have you ever seen someone put shelled peanuts into their bottle, can, or cup of Coca-Cola? If you're not from the South, the answer is likely no, and you're probably questioning the combination we just described. However, it really is a thing!
According to the National Peanut Board, food historian Rick McDaniel revealed that the peanut-Coke trend likely started during the 1920s. This is when packaged, shelled peanuts began making their way into country stores and gas station aisles — the same places where you'd find a bottle of Coke.
But, how exactly did the peanuts end up inside the Coke? McDaniel believes that working Southerners would pour the peanuts directly into their Coke to avoid getting their hands dirty or to prevent their already-dirty hands from touching the peanuts, since places to wash up might not have been readily available. Pouring the peanuts from the bag into the Coke could have also been a way for them to keep their hands free for work.
"What resulted was a mix of savory and sweet deliciousness," says Esquire writer Justin Kirkland, describing his first time trying peanuts in Coca-Cola as a child growing up in the South. "Better yet, the peanuts stick around, stay crunchy, and give you a nice little snack at the end of your beverage. Think of it like the working man's strawberries in champagne."
https://www.hunker.com/13770660/why-do-people-put-peanuts-in-coke
Friday, February 18, 2022
Monday, February 14, 2022
Facing Britain's Ugly History
An excerpt from the New York Times -
David Olusoga Wants Britain to Face Its Past. All of It.
For more than a decade, the historian and broadcaster’s work has focused on bringing his country’s uglier histories to light. Recently, more people are paying attention.
By Desiree Ibekwe
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| Olusoga in a scene from the docu-series “One Thousand Years of Slavery” on the Smithsonian Channel, for which he served as an executive producer.Credit...Smithsonian Channel |
LONDON — In December, when a British court cleared four Black Lives Matter protesters of criminal damages for toppling the statue of Edward Colston, a 17th-century slave trader, in June 2020, it was thanks in part to David Olusoga’s expert testimony.
Olusoga, a historian whose work focuses on race, slavery and empire, felt a duty to agree to address the court on behalf of the defense, he said in a recent interview, since “I’ve been vocal about this history.”
At the trial in Bristol, the city in southwest England where the Colston statue was toppled, Olusoga, 52, told the jury about Colston’s prominent role in the slave trade and the brutalities suffered by the African people Colston sold into slavery.
The closely watched court decision was greeted with concern by some in Britain and relief by others, and Olusoga’s role in the defense offers just one recent example of his work’s impact on British society.
Olusoga’s comments in court are consistent with a frequent focus of his wider work as one of the country’s most prominent public historians: that long-forgotten or buried past injustices can be addressed in the present day in public-facing, accessible media.
Olusoga’s latest TV work is “One Thousand Years of Slavery,” which premieres on the Smithsonian Channel on Monday. The show, which he executive produced alongside Bassett Vance Productions, a production company helmed by Courtney B. Vance and Angela Bassett, takes a wide-ranging, global look at slavery through the familial stories of public figures like Senator Cory Booker and the actor David Harewood.
https://www.nytimes.com/2022/02/07/arts/television/david-olusoga-black-history.html
FAMU Student's Star Shining Bright
An excerpt from WCTV.TV -
FAMU student’s design featured in Target stores nationwide
By Raghad Hamad
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| Kah’Milah Ledgester's Target 2022 design submission. (FAMU Communications) |
TALLAHASSEE, Fla. (WCTV) - A Florida A&M University student won Target’s 2021 HBCU Design Challenge, bringing her design to Target stores nationwide.
Participants created t-shirt designs and graphics for Target’s 2022 Black History Month campaign challenge, and Kah’Milah Ledgester, a senior graphic design student at FAMU, won a top three reward.
“This was my challenge as a creative,” Ledgester said. “I felt elated because I did something that scared me.”
Her work, according to the Adel, Georgia, native, highlights Black women and the vibrancy that surrounds them. Ledgester stated that she wanted to demonstrate the beauty of Black women through this project.
https://www.wctv.tv/2022/02/07/famu-students-design-featured-target-stores-nationwide/
Caramel Corn
From Bon Appetit -
Making Caramel Corn Is Easier Than It Has Any Right to Be
It’s caramel corn’s world and I’m just living in it.
BY JESSIE SHEEHAN
Here’s how to make my caramel corn:
Heat your oven to 250° F and prepare a baking sheet by lining it with parchment paper and securing that paper at each corner with a little cooking spray. Next, make 10 cups of unsalted popped popcorn. You can do this (my favorite way) by microwaving ½ cup unpopped kernels in a large microwave-safe bowl covered with a microwave-safe plate on high for 6–8 minutes depending on the strength of your microwave. Or, if you’re not as fond of your microwave as I am, you can place ½ cup unpopped kernels and 1 Tbsp. vegetable oil in a large, covered pot on the stovetop over medium heat and pop away, shaking the pot over the flame periodically. (More details here, if you need them.) Transfer the popped corn to a large bowl.
Now it’s caramel time. In a medium pot over medium-high heat, bring 1 cup light brown sugar, ¼ cup Lyle’s Golden Syrup or light corn syrup, 2 Tbsp. molasses (which will give the corn a little bit of a Cracker Jack feel), and 10 Tbsp. unsalted butter to a boil, stirring occasionally with a rubber spatula. Let the caramel boil without stirring until thick and fragrant, about 3 minutes. Now take the pot off the heat and whisk in 1 tsp. Diamond Crystal kosher salt, ½ tsp. baking soda, and 2 tsp. vanilla extract. Pour the caramel over the popcorn and stir to coat.
Scrape the coated corn onto the prepared baking sheet—you’ll need to pile it on—and bake, stirring every 20 minutes, until the caramel has darkened slightly and the popcorn is dry to the touch, about 1 hour. Let the caramel corn cool to room temp before giving it away in cute little bags, serving it in a large bowl, or indulging straight from the baking sheet.
But regardless of whether you share it with your pals or eat every last kernel solo, consider yourself warned: Caramel corn this good and this easy will be made again (and again, and again).
Let's Teach Them Our History
An excerpt from Slate -
What Happens to Middle School Kids When You Teach Them About Slavery? Here’s a Vivid Example.
The topic is emotional. That’s not a bad thing.
BY MARY NIALL MITCHELL AND KATE SHUSTER
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| Group project of eighth grade class at Olentangy Orange Middle School in Lewis Center, Ohio. Photo by Kristin Marconi and Christine Snivley |
When she found the advertisement for Maria, an eighth grader named E.D. was struck by the details in it. The ad was posted in a local newspaper, in 1846, by an enslaver in Tennessee. When Maria escaped, she was only 18 or 19 years old. She did not act alone. Maria ran with “a free man” named Henry Fields. For faster transport, Maria and Henry also liberated a gray mare. Maria’s enslaver suspected Henry had his free papers with him. But he was certain that Henry carried something else: a fiddle.
E.D.’s teachers had asked their students to respond creatively to an ad they found in Freedom on the Move, a digital collection housed at Cornell University of thousands of ads by enslavers and jailers seeking the return of self-liberating people, printed in American newspapers before emancipation. E.D. decided to make Henry’s fiddle. She made it life-size, out of cardboard and papier mâché. She covered it with a collage that tells the story of Henry and Maria’s flight. The enslaver placing the ad suspected “they will make for Kentucky and from there to a free state.” So E.D. used the image of a running horse, a “Welcome to Kentucky” sign, and a heart symbol—this last because E.D. wondered “if Maria and Henry were in love.” E.D. pasted a copy of the ad on the fiddle seven times, for the number of times the ad ran in the newspaper. It was her personal monument to Henry and Maria and their acts of resistance. “My fiddle represents Henry and Maria’s story, their fight for freedom,” E.D. explained, “but it also represents all of the thousands of other stories just like theirs, waiting to be told.” She carried the fiddle to school in a violin case.
E.D. and her teachers, Kristin Marconi and Christine Snivley, who teach middle school students in Ohio, were part of a virtual learning community created for Freedom on the Move by the Hard History Project. The goal of these workshops was to tap the genius of teachers to build a bridge between the digital archive and K–12 classrooms. As a crowdsourced archive, FOTM was built with the public in mind. Still, it takes the expertise of teachers to reach, arguably, FOTM’s most important readership: young people.
We are in a cultural moment in which teaching about racism and the world it has made is both essential and controversial. Critics rallying under the banner of “anti-CRT” describe this teaching as divisive and disturbing. But we can’t teach the history of the United States without teaching about slavery. And of course, they’re right about the emotions involved—there’s nothing comfortable about slavery. But they’re missing something: There’s a lot of good, and even joy, to be had in talking about the relentless and omnipresent resistance to slavery that we see again and again in newspapers before the Civil War, in ads seeking the return of self-liberating people.
Lifelong Readers
An excerpt from The Atlantic -
Why Some People Become Lifelong Readers
A lot rides on how parents present the activity to their kids.
By Joe Pinsker
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| Chris J. Ratcliffe / Getty |
They can be identified by their independent-bookstore tote bags, their “Book Lover” mugs, or—most reliably—by the bound, printed stacks of paper they flip through on their lap. They are, for lack of a more specific term, readers.
Joining their tribe seems simple enough: Get a book, read it, and voilà ! You’re a reader—no tote bag necessary. But behind that simple process is a question of motivation—of why some people grow up to derive great pleasure from reading, while others don’t. That why is consequential—leisure reading has been linked to a range of good academic and professional outcomes—as well as difficult to fully explain. But a chief factor seems to be the household one is born into, and the culture of reading that parents create within it.
https://www.theatlantic.com/education/archive/2019/09/love-reading-books-leisure-pleasure/598315/
No Welcome Wagon Here
An excerpt from NBC News -
‘We don’t look like them’: Black figure skaters face barriers to entry from a young age
Figure skating has long excluded Black athletes. The disparity can be seen from youth competitions all the way up to Team USA.
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| Michael Baker.Courtesy Shirley Brown |
Before figure skating practice, Michael Baker would ask his mom to let him out of the car before they got to the entrance of the ice rink.
“He would say, ‘Mommy, why don’t you just drop me here?’” Shirley Brown, Baker’s mom, told NBC News. “And I knew exactly why he was doing it.”
They still haven’t replaced their beat-up 2007 Toyota Rav 4, one in a long list of sacrifices made to support Baker’s skating. Brown has delayed her retirement. They can’t go on vacation.
Baker, 17, dreams of one day competing in the Olympics. But even if he has the talent to make it, the family worries the cost may hold him back.
Baker started skating at 13, when he signed up for lessons at a mall on his birthday. A coach saw that Baker had talent and offered to teach him.
“In the beginning, it was very, very, very tough,” Brown said. “I find that it’s an elitist sport. You’re not welcomed by some of the parents. We don’t look like them.”
Baker is the only Black skater training at his rink in New Jersey.
From formal gatekeeping to high barriers to entry, the sport has a long history of excluding Black figure skaters. There aren’t any Black skaters on the U.S. team competing at this year’s Olympics, and the last time an African American skater competed at the Games was 16 years ago. There aren’t many Black fans, either. U.S. Figure Skating, the sport’s national governing body, found that only 2 percent of fans were African American. This disparity can also be seen throughout the sport.
Friday, February 4, 2022
Saturday, January 29, 2022
What's the Story Behind Wavy Walls?
An excerpt from Family Handyman -
If You See a Wavy Brick Wall, This is What It Means
By Karuna Eberl
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| CONSTRUCTION PHOTOGRAPHY/GETTY IMAGES |
Serpentine "crinkle crankle" walls are an ancient, aesthetic idea that deserves a second look.
Every once in a while you might notice a brick wall that serpentines instead of cutting straight across. These so-called crinkle crankle walls are more common in England, but are found here and there in the U.S. as well. Their jump across the Atlantic is probably thanks to Thomas Jefferson, who directed them to be built at the University of Virginia (UVA) in the 1800s.
“Thomas Jefferson was such a genius,” says Gary Porter, technical director at the Masonry Advisory Council. “Authorities at the time thought that Jefferson invented this design. However, he was merely adapting a well-established English style of construction.”
What Are Those Wavy Brick Walls Called?
The term crinkle crankle walls probably came from the Old English word for zigzag. Sometimes they are also called ribbon, wavy, radius, serpentine, sinusoidal or crinkum crankum walls. The Dutch engineers who originally built them in England called them slang muur, which translates to snake wall.
Why Are They Wavy?
They serpentine for economy and strength, and likely also aesthetic reasons.
A single row of bricks laid in a sine wave pattern is as strong or stronger than a standard straight wall and requires fewer bricks. (In the case of UVA’s walls, about 25 percent less.) That’s because straight walls need two rows of bricks and sometimes buttresses to survive over time, whereas wavy walls need just a single row.
“So it was more efficient, and that’s why they did it,” says Porter. “These walls actually act like an arch, and so that makes it strong for wind loads that might push on the wall.
12 Cello Piece Performed All By Himself!
From Upworthy -
Cellist performs a piece for 12 cellos all by himself and it's absolutely stunning
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