VANILLA

This post is dedicated to my dearest wife,

the most faithful of my readers

Vienna, 4 September 2021

Some months ago, I was asked by the Student Sustainability Committee of a school in Wales which I’m involved with to help them estimate the carbon footprint of the food eaten in the school. In the case of prepared food, which made up a substantial portion of the food consumed at the school, this exercise required me to plough through a lot of recipes to understand what were the raw ingredients of these prepared foodstuffs (so as to calculate the carbon footprint of each ingredient). Apart from this being a hell of a lot of work, as my wife will testify (“have you still not finished that stuff?!”), I discovered with surprise that many, many prepared foodstuffs of the sweet variety (biscuits, cakes, chocolate, and various sundry others) have vanilla extract as one of their ingredients (and as a side note, I was very surprised to see that these sweet foodstuffs made up a large portion of all the food consumed in the school; it didn’t seem to be a very healthy diet).

These constant references to vanilla extract intrigued me, and I decided that one day I would investigate vanilla a bit more. This decision crystallized into action over the last few weeks, because it so happens that my wife is very fond of vanilla. In the Bad Old Days, before we started our rigorous dieting, she consumed a fair amount of vanilla-based ice creams, normally those covered with a chocolate casing (I will not give free publicity to her favourite brand by naming it; I will leave my readers to guess). Now, in these more virtuous times, diet-wise, her vanilla consumption mainly takes the form of vanilla-flavored yogurt, and this only for lunch on our hikes (which these summer days has meant quite frequently). For the sake of complete transparency, I should state that she still consumes a chocolate-covered vanilla ice cream from time to time, whenever a hike is judged to have been particularly strenuous.

The brand of vanilla-flavored yoghurt which my wife generally favours is this one – I should add that she favours it simply because our local supermarket offers it, at a very reasonable price.

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Sharp-eyed readers will have noticed the flower on the tub. This is the vanilla orchid, Vanilla planifolia. Here’s a photo of the Real Thing.

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And here is the plant more or less in its natural state (readers will note that this orchid is a type of vine; in Nature it will grow up trees, like the pepper vine).

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It’s really a very pretty flower, but it is only of passing interest to the vanilla aficionado. She or he is after the “fruit”, a seed pod really, that the flower creates once it has been pollinated. The three dark-coloured stringy things pictured behind the flower on the yoghurt tub are these seed pods. Again, here is a photo of the Real Thing.

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But even the seed pod, if in its natural state, just picked from the vine, does not interest the vanilla aficionado, because it contains very low levels of vanilla flavour and aroma (these, by the way, come mostly from the chemical vanillin, although there are a number of other chemicals present which it is claimed enhance both flavour and aroma). It is only once the seed pod has been cured that the vanilla aficionado becomes interested, because now the levels of vanillin are considerably higher, high enough to add that distinct vanilla flavour and aroma to foods and drinks.

The curing of vanilla seed pods is a rather complicated, months-long process, whose purpose is to bring about an enzymatic reaction in the pods which turns the glucovanillin they contain into vanillin proper (in case any readers were asking themselves, glucovanillin has no flavour or aroma). Curing consists of four basic steps: killing, sweating, slow-drying, and conditioning. In the killing step, the seed pods are generally heated (in hot water or in an oven or by exposing the pods to the sun).

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This stops any further vegetative growth in the pods and initiates the necessary enzymatic reactions.

In the sweating step, the pods are kept at temperatures of 45–65°C and at high humidity levels by stacking them densely and insulating them in wool or other cloth. The pods are subjected to this Turkish bath regime for 7 to 10 days, possibly with a daily exposure to the sun or a dip in hot water.

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The desired enzymatic reactions love these conditions, so by the end of the sweating step the seed pods have attained much of the desired vanilla flavour and aroma. However, they still have a high moisture content. Which brings us to drying.

To prevent the pods from rotting and to lock in the vanilla aroma, drying is required. And so, over a period of three to four weeks, the pods are exposed to air and to periods of shade and sunlight.

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In the final, conditioning step, the dried pods are stored for five to six months in closed boxes, where the fragrance further develops.

The end result looks like this.

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This is what vanilla aficionados lust after, what they dream of incorporating into their dishes, from soup to sweet dishes.  And they are willing to pay top money. Vanilla is the second most expensive spice, after saffron. Those wrinkled-up beans can set you back anywhere from $50 to $500 per kilogram.

When I look at these kinds of convoluted processes, I always ask myself, “How on earth did anyone discover this process?” I mean, really, how did the first vanilla producers stand in front of those aroma-less and flavour-less seed pods and figure out that this long and complicated process would eventually lead them to seed pods with a wonderful aroma and flavour of vanilla? I would have to ask this question to the ancestors of the Totonacs, an Amerindian people who live on the east coast of Mexico. It was they who first “made” vanilla-flavoured seed pods from the vanilla orchid – the orchid’s natural habitat is in this part of the world. Here, we have Diego Rivera’s take on the Totonacs, as part of one of his murals in the National Palace in Mexico City.

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Unfortunately, I’m sure today’s Totonacs have no idea; I just have to accept that the answer is lost in the mists of time.

Readers might think that since the vanilla orchid is natural to Mexico’s eastern seaboard, that country would be a major producer of vanilla. Alas, not so! The reason for that is the great Columbian exchange, that massive movement of plants, animals, humans – and diseases – which took place between the New and Old Worlds after the discovery of the Americas by Christopher Columbus. The vanilla orchid was part of that exchange. The Conquistadors, like the Totonacs (and like the Aztecs) loved the flavour and aroma of vanilla and figured that people back home would love it too. They exported the pods back to Europe, where they caused a sensation, at least among the elites, who had the money to burn on this rare and expensive novelty. They put it in everything, from chocolate (also a product of Mexico) to soup. They adopted the Spanish name for it (vanilla is a corruption of the Spanish vainilla, meaning “little pod”). Other Europeans looked on enviously. Eventually, the French laid their hands on some exemplars of the plant and took them to their colonies which had similar climates to Mexico’s eastern seaboard, namely those in the Caribbean and the Indian Ocean, especially the islands of Madagascar, Réunion, and Mauritius.

For a while, Mexico continued to be the main global producer of vanilla, because this transplant of the vanilla orchid to other places was a failure. The plant flowered alright, but it never produced pods. The reason for this is an exquisite example of specialized evolution: vanilla flowers can only be pollinated by this little critter, Eulaema meriana, one of some 25 species of orchid bees.

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No other insect is attracted by the sex pheromones emitted by the flower, nor can any other insect successfully navigate the orchid’s complicated geometry and pollinate the flower along the way.

Once non-Mexican wannabe vanilla producers realized the problem, they tried the obvious thing, which was to transplant the vanilla-pollinating orchid bee along with the orchid. But it didn’t work; the bee couldn’t survive outside of its native habitat. The wannabe vanilla producers were stumped. Until 1841.

In that year, a 12-year old slave called Edmond (no surname, he was a slave), who had been born into slavery on the Island of Réunion, came up with a quick and easy way of pollinating the vanilla orchid flower by hand. He had been lent out by his master to a botanist by the name of Ferreol Bellier-Beaumont, to help him out. Beaumont had shown him how to hand pollinate a watermelon plant and the boy went off and successfully applied his new skills to the vanilla orchid. (For anyone considering hand-pollinating a vanilla orchid flower, here’s what you do: with a small sliver of bamboo or wood (or even a stem of grass), lift the membrane separating the flower’s anther and stigma; then, using your thumb, transfer the pollinia from anther to stigma.)

Edmond never got anything out of his discovery. Who did were all the the slave-owning planters on Réunion who now got into vanilla growing: for a while, Réunion became the world’s largest producer of vanilla. But the French authorities made sure the method was transferred to its other island colonies in the Indian Ocean and in the Caribbean. Since then, Madagascar has dominated world production (Indonesia, which muscled into the market in the 1980s, is now second in the producers’ league table). Mexico, on the other hand, has pretty much vanished from the scene, which is a crying shame.

As for Edmond, seven years after his discovery, at the age of 19, he got his freedom; the French government finally outlawed slavery in its colonies in 1848. He left the world of plantations to work as a kitchen hand in the island’s main city, and adopted the surname Albius, from the Latin alba or white, in reference to the vanilla orchid’s colour. Beaumont tried to get the governor of Réunion to give Edmond a stipend or at least a reward for his great discovery but the governor ignored the petition. No doubt, he didn’t think it was worth spending public monies on a black ex-slave.

Unfortunately, Edmond fell in with a bad crowd in his new life and got involved in a theft of jewelry. He was caught and sentenced to 10 years in jail, which, after an appeal by Beaumont to the governor, was reduced to five. After doing his time, Edmond moved back to a village close to the plantation and got married.

Edmond’s travails were not over. It seems to have been an irritation in certain quarters that where white professional botanists had failed, a black slave, and a child to boot, had succeeded. Some time in 1860s a well-known French botanist and plant collector by the name of Jean Richard claimed that actually, he had come up with this revolutionary pollination method in the late 1830s, that he had taught it to some planters in Réunion, and that Edmond must have sneaked into the meeting and heard his explanation. Luckily, Beaumont and a few others vigorously defended Edmond’s primacy to the discovery, although Richard’s false claim did get some traction for a while. May Richard’s name be damned forever …

Edmond died in poverty in 1880, at the age of 51. Luckily, he left a physical trace of himself in history, rare for ex-slaves. Here we have a rather grainy photograph of him when young.

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And here we have a lithograph of him from a book published in 1863, standing gravely in front of a vanilla orchid vine.

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Wonderful story, the vanilla story, no? Except that as far as the vanilla in my wife’s yoghurt is concerned, it is all a big red herring.

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I’m afraid to tell her, and any other readers who might be vanilla lovers, that the vast majority of the vanillin used commercially in the world is fake – well, artificial might be a less inflammatory word. Most of the world’s vanillin is produced from crude oil derivatives in chemical plants: benzene is alkylated with propylene to form cumene, which is then oxidized to phenol. Phenol is hydroxylated into catechol, which is further methylated into guaiacol. Finally, guaiacol is reacted with glyoxilic acid by electrophilic aromatic substitution to produce vanillylmandelic acid, which is converted to vanillin by oxidative decarboxylation. The remainder of the world’s artificial vanillin is made from a waste stream generated in the sulphite process to make paper pulp.

Yes, I know, very disappointing. And the worst of it is that when Cooks Illustrated ran some taste tests which pitted natural vanilla against artificial vanillin used in baked goods and other applications, tasters could not tell the difference! Don’t know what the world is coming to … Luckily, the tasters could tell the difference where ice cream was concerned, with natural vanilla winning out; l’onore è salvo, honour has been saved, as my wife might say.

WORKERS OF THE WORLD, UNITE!

Milan, 25 February 2018

Yesterday was a day of political excitement in Milan. With the elections only a week away, things are hotting up. There was a large gathering in Piazza Duomo of the Lega, a much smaller gathering of left-wingers in Largo La Foppa, and an even smaller gathering of anarchists of various stripes somewhere else. Below, I show a picture of the leftwing gathering in Largo La Foppa.

The police barred their way as the marchers tried to leave Largo La Foppa, the temperature was mounting, and at some point the police charged – or maybe the marchers charged, or pushed forward. Anyway, the police started wielding their batons, while the marchers protected themselves, somewhat bizzarely, with inflatable boats – taken to remind the world of the plight of the refugees, according to the newspapers, but it seems to me also an excellent way of protecting oneself from the police batons.

At the same time, the police shot off a couple of canisters of tear gas, that white smoke one sees behind the marchers.

Meanwhile, my wife and I were sitting down having tea and cannoncini (a puff pastry stuffed with vanilla cream) under those large white umbrellas one can see to the left in this last photo. We were there quite by chance, being on our way to see Daniel Day-Lewis in his last film, “The Phantom Thread”. We were early and those large umbrellas belong to a good pastry shop, so we decided to treat ourselves. We made our way round what seemed to us quite a small crowd (the papers talk of 1,500 but in my opinion it was no more than 200), got our tea and canoncini, and sat down. It was fun to watch all the flag waving going on in front of us and reminisce about our youth. Suddenly, the noise levels rose, there were sounds of shots, and two little smoking canisters landed almost at our feet. My wife, a veteran of Milan’s 1968 riots, leaped up in alarm and urged me to move. But I saw no need for panic, I thought they were crackers thrown by some of the marchers. I rapidly changed my mind when I breathed in the smoke. It immediately caught you terribly in the throat and made your eyes burn and weep. This was tear gas, for God’s sake!! I grabbed my cup of tea and the remainder of my cannoncino and shouted to my wife to move. Together with other customers, we blundered into the pastry shop and stood there gasping and wheezing and coughing. According to my wife, who had had a whiff or two of tear gas in her youth, technology has improved in the last fifty years; she didn’t remember it catching you so strongly in the throat. I wouldn’t know, this was my first exposure to the stuff. Eventually, we were shepherded out to a back yard, from which we exited into a side street and made our escape to the cinema.

All this excitement has led me to reminisce about marches and protests in the arts. The most well-known painting on the topic of marches must be Giuseppe Pellizza da Volpedo’s “The Fourth Estate”, which gives the working man a wonderful dignity

while “Liberty Guiding the People”, by Eugène Delacroix, must be the most famous painting on the topic of insurrections, in this case the insurrections of 1848.

Once the October Revolution rolled around, revolution and the working class became respectable subjects of art. Staying with marches, where I started this post, we have, for example, “The Bolshevik”, by Boris Kustodiev.

And, of course, we have the start of that wonderful art form, the propaganda poster, where marches of the proletariat were a popular subject. Here we have a Soviet propaganda poster.

The Chinese picked up on the art form with a vengeance. They made some great paintings, which I mentioned in an earlier post about a new museum we visited in Shanghai, but their propaganda art was fantastic. Here’s one with the Chinese people walking towards a bright future.

The caption declares: “Smash the imperialist war conspiracy, forge ahead courageously to build our peaceful and happy life!” Change that to “the 1%” and we have a message for our times …

I have to say, though, I always preferred the type of Chinese propaganda poster which has smiling, muscular workers:

The North Koreans were still making these type of poster when I made an official visit there with my wife in 2009. We asked if they could give us a copy of one of these posters, but the best they could come up with was one urging people to wash their hands to reduce the spread of illnesses…

The Mexican muralists also painted some great revolutionary art, especially Diego Rivera. We have here his “Uprising”

and this is his “Distribution of Arms”

I posted photos of some of his other revolutionary murals earlier, after our last visit to Mexico.

Wonderful stuff. But who paints it anymore? Revolution is out of fashion, at least for the moment.

Ah well … In the meantime, we will be passing through Largo La Foppa again today, to go and see another film. That gives my wife the opportunity to have another cannoncino; while I saved mine, hers got lost in the confusion of running away from the tear gas.

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March in Milan: http://milano.corriere.it/foto-gallery/cronaca/18_febbraio_24/scontri-corteo-milano-largo-foppa-polizia-antagonisti-moscova-1d7e8c1a-1974-11e8-9cdc-0f9bea8569f6.shtml
Quarto Stato: By Giuseppe Pellizza da Volpedo – Associazione Pellizza da Volpedo, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2588195
Liberté Guidant le Peuple: https://en.wikipedia.org/wiki/Liberty_Leading_the_People
Boris Kustodiev, The Bolshevik: http://www.rusartist.org/boris-mikhailovich-kustodiev-1878-1927/#.WpKLb6inFPY
Soviet propaganda poster: https://www.huffingtonpost.com/2014/12/26/communist-propaganda-post_n_6377336.html
Chinese propaganda poster: https://chineseposters.net/gallery/e16-266.php
Chinese propaganda poster2: http://www.businessinsider.com/chinese-propaganda-posters-2012-9?IR=T
Diego Rivera, the Uprising: http://bigthink.com/Picture-This/occupy-moma-diego-riveras-populist-murals-reunited
Diego Rivera Distribution of Arms: http:// http://www.leninimports.com/diego_rivera_distribution_arms_canvas_print_9a.html

MEXICO: PAINTED SIGNS

Bangkok, 13 January 2015

It was at Tlaxcala that I began to notice it.

We’d taken a bus from Mexico City to visit this small town, since it was described as a nice example of colonial Mexican architecture and town planning. It certainly was pleasant enough, as were Chiapas de Corzo and San Cristóbal de las Casas, two other colonial-era towns which we visited later. The latter two have been declared “pueblos magicos”, magic towns, a slogan dreamed up by the Mexican tourism authorities (clever branding, although I do feel duty-bound to whisper that the pueblos in Tuscany, for instance, or any number of pueblos which my wife and I have visited in Spain, are more magico than Tlaxcala and the two official pueblos magicos that we visited).

In any event, my point in mentioning the visit to Tlaxcala is another. What I began to notice as we walked around the town was the lack of modern signage on the shops. To understand what I mean, let me insert here a picture of the shopping street in Vienna, the Graben, where we often went for a stroll and coffee when we lived there.
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Notice the abundant use of neon shop signs, tacked onto the shop fronts. For better or for worse (and in my opinion for worse; it drives me crazy in this age of climate change to see all those illuminated shop signs blazing out into the night), this is now the accepted and expected type of design for shop signs.

So it was with great interest that I saw in Tlaxcala that shop signs tended to be of the old-fashioned type, painted by hand
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Alerted to this phenomenon, I made sure to get some close-ups of such signs in San Cristóbal
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I began to notice that advertisements were often painted too. The following style of painted advertisement was definitely my favorite, with this particular example coming from San Lorenzo Zinacantán.
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These types of advertisements, to be found on otherwise bare walls, seem always to be announcing some upcoming event. Notice the large, rounded, friendly, inviting font, but placed at a slight angle denoting future excitement, and with a very pleasing colour scheme which starts with a dark colour and shades off into a lighter one. I throw in here some other signs of this genre that I spotted from buses or trains flashing by.
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It would seem that the honorable profession of sign painter is alive and well in Mexico! (this reminds me of a wonderful novel from India, another country with a great sign painting tradition, “The Painter of Signs”, by R.K. Narayan; great novelist, by the way, I highly recommend him to my readers).

Of course, painting on walls has a long and noble tradition in Mexico. This art form must have reached its apogee with the great Mexican muralists Diego Rivera, José Orozco, and David Siqueiros. Already 35 years ago, when we first visited Mexico, we had reverently visited a number of the murals by these artists. This time around, we visited Rivera’s murals in the Secretaría de Educación Pública, just behind the cathedral on the Zocalo in Mexico City. As was his style, they are very political, very “leftie”; they made me and my wife smile as they brought back memories of the excited discussions of our youth. These two murals, “The Capitalist’s Dinner” and “Death of the Capitalist”, epitomize them all.
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In San Cristobal, up some back streets, I saw what I fear are today’s inheritors of Rivera, Orozco, and Siqueiros
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It’s sad really. All that grand, elevated talk of our youth has degenerated into the childish babble of these cartoons. But the rot doesn’t finish there, for Mexico suffers from the same mindless graffiti which defaces so many of our cities

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“Fuck you. I exist”

What are our civilizations reduced to?

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Mariahilfestrasse 1: http://austriacazare.ro/wp-content/uploads/2012/10/mariahilfer-strasse.jpg (in http://austriacazare.ro/shopping/mariahilferstrasse/#photoGallery%5Bgallery-503%5D/3/)
Calle 20 de noviembre , Tlaxcala: http://www.mexicoenfotos.com/estados/tlaxcala/tlaxcala/MX13379190432534&album=01&province=tlaxcala&city=tlaxcala&pagina=6
Avenida Vicente Guerro, Tlaxcala: http://www.mexicoenfotos.com/estados/tlaxcala/tlaxcala/MX13362760603306&album=01&province=tlaxcala&city=tlaxcala&pagina=6
Shop signs, San Cristobal: my photos
Painted advertisement signs: my photos
Cartoon wall paintings, San Cristobal: my photos
Graffiti, Mexico City: http://3.bp.blogspot.com/-hsTD7FnkGKs/UIEueVASNkI/AAAAAAAAAQs/PJ0N-K0omig/s1600/150559_545018925524744_786800387_n.jpg (in http://thevilgang.blogspot.com/2012/10/el-graffiti-de-la-ciudad-de-mexico.html)