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BROADWAY+THRESHER Rural. Urban. Inclusive.

The Fashion Issue:

Lilly Lorraine Flying High with Falconry Inspired Fashions Vintage Looks Savannah’s Leoci Restaurant Artist James Young Issue 2, Fall 2013


if you’re short of trouble, take a goat. —­- finnish proverb


photo by Trent Foltz

| trentfoltz.com


O

j o urnal

h, I’m really good at procrastination—it might be what I’m best at, and autumn is the season that I find myself setting aside papers that need editing, blog posts that need uploading, schedules get pushed back, and all this for walks through stands of trees with leaves that have turned from green to the vibrant hues of fire and light—sun-dappled pathways crackling with fallen memories of summer. Fields of pumpkins call, ready to be picked, ready to carve for Halloween and pie. Autumn also means I set aside work to study the lines of some of my favorite fashion designers, and decide which pieces, I’ll be searching out, and staking claim. Jackets, shirts, sweaters, and my perennial favorite— boots. We move into Issue 2 of B+T with our first ever fashion issue. While discovering a great designer (Lilly Lorraine, page 66), fabulous vintage finds (page 72), gorgeous ways to modernize the classic fall tweeds and patterns(page 82), and even a bit for the men (page 80), we didn’t spend all our free time looking at clothing. Fashion isn’t just what we wear and B+T delved into great food and drink (the rabbit cacciatore on page 28 is delicious), and got acquainted with the timeless and thrilling sport of falconry (page 42). Meredith introduced us to a rising-star musician (page 94), and we collected a group of avian inspired gifts that will get your gift-wrapping ready for the holidays (page 62). Thank you to everyone for a smashingly successful release of Issue 1. B+T wouldn’t be what it is without the overwhelming and generous support from you, our reader. As we continue to move forward and evolve, we always want to hear from you. What you love, what you want to see more, or less, of. B+T isn’t just an extension of everyone involved with producing it, but also an way to connect with you. We always love to hear from anyone that takes the time to write in. With that, enjoy B+T, Issue 2, but be sure to set some work aside, grab a sweater and go leaf collecting, take that one last fall picnic, or go to a pumpkin patch, or apple orchard. It will be your last time for 365 days. David+Andrew

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c ontents 4 ... journal 7 ... contributors 10 ... celebrate 19 ... food+drink 41 ... farm+garden 53 ... lifestyle 65 ... fashion 93 ... music+art 102 ... the intersection

features:

20 ... savannah’s leoci 66 ... lilly lorraine 73 ... vintage looks 82 ... put a bird on it 99 ... artist james young

front and back covers and left image by Rachel Joy Baransi; section covers by Rachel Joy Baransi and David Gobeli; front inside cover by Trent Foltz BROADWAY+THRESHERautumn2013.............5


BROADWAY+THRESHER Co-Founders+Editors-in-Chief David Gobeli+Andrew Kohn Executive Editor Daniel W. Long Photo Editor Rachel Joy Baransi

The Blog BroadwayandThresher.com Subscribe BroadwayandThresher.com/subscribe Advertise BroadwayandThresher.com/advertise Customer Service info@BroadwayandThresher.com Contact David or Andrew David@BroadwayandThresher.com Andrew@BroadwayandThresher.com

Section Editors Ruth Coffey [Fashion] Nicole McGrew [Lifestyle] Mark Nickerson [Food+Drink] Anton Sarossy-Christon [Farm+Garden] Anne Sherwood Pundyk [Art] Meredith Peters [Music] Contributing Writers Emily George Emie Heisey Debi Ward Kennedy Lee Kirkpatrick Chelsea Morhman Deven Rittenhouse Luke Smith Caitlin Terry

Connect:

Contributing Editors Emily Blitzer Kristofer Bowman Brice Corder Jackie Alpers

Facebook facebook.com/broadwayandthresher

Design Consultant Jodi Melfi

Twitter twitter.com/broadwaythreshe Pinterest pinterest.com/broadwaythresh

Technical Advisor Donald Jones Editorial Advisory Board Amy Hamilton Michael Kennedy Lisa Maughmer

Instagram BroadwayandThresher BROADWAY+THRESHER is an Ohio Limited Liability Company. Published bimonthly at 4058 Columbus Road, Granville, Ohio, 43023. For customer service visit BroadwayandThresher.com, or write to P.O. Box 473, Granville, Ohio 43023. For subscription information visit BroadwayandThresher.com/subscribe or email info@broadwayandthresher.com. Š2013 Broadway+Thresher, LLC. All rights reserved. Reproductions in whole or in part without written consent is strictly prohibited. .............BROADWAY+THRESHERautumn2013 6.............. BROADWAY+THRESHERautumn2013


c ontri buto rs

Rachel Joy Baransi Columbus, Ohio

Mark Nickerson Granville, Ohio

AntonSarossy-Christon Newark, Ohio

Ruth Coffey Columbus, Ohio

Meredith Peters Brooklyn, New York

Lee Kirkpatrick Granville, Ohio

Nicole McGrew Alexandria, Virginia

Luke Smith Savannah, Georgia

racheljoybaransi.com

terravitafarms.com

blog.devereuxetfils.com

lonepinephotography.com

Additonal Contributors Trent Foltz; photography trentfoltz.com

Randy French; book review Erik George; photography Jennifer Chrismer;photography Kate Manecke; photography

Emily George Columbus, Ohio

Evelyn Frockling Granville, Ohio artifloragranville.com

Amy Patterson Austin, Texas

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BROADWAY+THRESHER Rural. Urban. Inclusive.

broadwayandthresher.com/subscribe


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c elebrate

a photo essay by Ely Brothers

Gatherings of all kinds bring communities together and strenghten our bonds. Every month we’ll highlight celebrations and gatherings­—-from weddings to house parties--that allow people to come together, have discussions, and celebrate love and friendship.

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B+T

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food+drink

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a rti s a n chef roberto leo ci

I

Luke Smith

’ve always been drawn to people driven to excellence in their craft, and chef Roberto Leoci goes beyond excellence­. At his restuarant, Leoci’s, in the Savannah Historic District the kitchen looks, in many respects, like and other, but there is something missing, and it takes me a bit of time to realize the absence. Roberto makes a dish so I can witness his art in action, and that’s when I realize that there are no pasta boxes, institutional sauces, or bottled shortcuts—he makes everything to order. When I question the incredible amount of work that goes into each dish his response is simple: if he was a customer, that’s how he’d want it done for him. Robert and I met at his restaurant, then hustled across the street to his test kitchen. We are discussing his business in general and his future in particular. In addition to a thriving restaurant and catering business, Roberto started his own food company, Leoci’s Fine Foods, which meets a growing demand for the same authentic ingredients he uses in the restaurant. And, if that is not enough, he is also consulting for large food companies. Many people don’t have the time or funds for organic, locally-sourced products, but should still be able to have great food, and Roberto is there to help. Companies ship him crates of potential ingredients, and he expirements—sometimes creating something new, and sometimes just making things better. Roberto was raised by his aunt in Italy. Three course meals were the norm in their home and inspired Roberto to study French cuisine in Italy. That’s where he finds the inspiration for his menu and dishes. I asked if these dishes are the same things he ate as a child growing up in Italy and he laughs, “No, no…this is a fusion type of thing. Italian and a little bit of Roberto.” Roberto is a BCA silver spoon chef, recently rated in the Georgia Top Six, and has other awards and recognition too numerous to mention. None of which has had much of an effect on his outlook. As his wife, Lacy, points out: it’s not anything new to them, other people are just recognizing it now. Roberto and his customers know what to expect of anything coming out of his kitchen, he’s spent years training his team, cultivating their talents and raising their standards. Speaking with Tony, Leoci’s pastry chef, it’s easy to see how everything flows so well. Tony came to Savannah from Brooklyn to work with Roberto, and he appreciates the high standards put in BROADWAY+THRESHERautumn2013.............21


place, and the focus on culinary skill. Making their own cannoli shells, baking their own breads, baking their own desserts rather than pulling something out of a box. “It’s old school,” Tony laughs, “but it works!” Everyone is smiling. Everyone is happy. I look at everything going on. We are here in the middle of the lunchtime rush and people are bustling in and out of the test kitchen, suppliers are calling, reservations for this evening are being called in, and Roberto is as cool as a cucumber. No rush, no hurry, and he had also spent a couple of hours at his farm this morning. This imperturbable calm is nothing like other chefs I’ve met. He says if he had to do everything himself, he could do maybe one-third of what he’s doing now. But as it is, the food company is being managed, his kitchen is in safe hands, the catering company is good, and the consulting and test kitchen business is only done in his spare time. “It’s my team,” he says. “Lacy works as hard as I do and my sous chef has been with me for 3 years, so there is consistency in the kitchen whether I am there or not.” 22.............BROADWAY+THRESHERautumn2013

Roberto hustles across the street to begin hand-making pasta, and the guys turn off the radio in the kitchen for me. I tell Roberto I don’t want to interfere, and he tells them to turn it back on. They’re incredibly productive, and there’s none of the yelling or stress you see on the television shows. It’s a well oiled machine running at peak performance. Roberto, cool and collected, just smiles as he makes his pasta. Leoci’s is online at leocis.com


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menu boa rd: a utumn

Mark Nickerson | photos by David Gobeli

W

ith summer fading away to fall and a little coolness back in the air, my favorite culinary season is upon us. The flavors of fall encourage leisurely meals and savoring the rich textures and spices. Inspired by Chef Roberto Leoci’s passionate Italian cooking (see page 20) our menu board has a decidely Italian tilt. Rustic Italian cooking is the perfect way to highlight fall harvest ingredients. First is a pear salad, garnished with pomegranate pips and Asiago cheese. The sweetness of the pears and pomegranate with the tangy vinegar and robust cheese wakes up the palate. A main course of rabbit cacciatore takes advantage of the rising popularity, and thus greater availability, of rabbit meat. It has wonderful flavor and is a highly sustainable food. By some estimates it is possible to produce as much as six pounds of rabbit meat using the same amount of resources it takes to produce a single pound of beef. Furthermore, because rabbits aren’t as easy to farm on a macro-scale, most producers in the US are small family farms producing for the local market. It’s tough to go wrong with a delicious meat that is also good for the environment and benefits local small farmers. The cacciatore recipe highlights the rabbit’s flavor while combining classic Italian seasonings into a hearty autumn meal. The rabbit is complemented perfectly by a roasted butternut squash. This simple recipe has become a staple throughout the fall and winter months. It works well with a variety of main courses and with simple changes to the seasoning mix is highly versatile. No fall feast is complete without apples, so we are reimagining that staple of fall festivals—the caramel apple. Here we have gone with individual servings in the form of a trifle. The salty sweet caramel surrounding your favorite crisp apple will transport you back to childhood and wrap up your meal with satisfaction. Buon appetito!

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Pear Salad with Pomegranate and Asiago

Roast Butternut Squash

¼ cup honey ¼ cup pomegranate juice ½ cup olive oil ½ teaspoon ground black pepper 1 tablespoon apple cider vinegar 1 tablespoon brown mustard 3 large pears 8 ounces mesclun lettuce mix To taste: shredded Asiago cheese, toasted pecans, cranberries and pomegranate pips to garnish

1 large butternut squash Salt, pepper, sage and fresh oregano to taste ¼ cup olive oil

Combine the honey, pomegranate juice, olive oil, pepper and mustard. Whisk well to combine.

Preheat oven to 325 degrees Fahrenheit. Remove rind from squash, cut in half lengthwise and remove seeds. Dice into ½ inch cubes. In large bowl, toss squash with olive oil, salt, pepper and oregano. Spread squash out in a single layer on a baking sheet and cook in the oven until tender, about 20 minutes.

Slice pears into wide slivers. Toss with half of dressing.

Rabbit Cacciatore

In a separate bowl, toss salad greens with pecans, cranberries, pomegranate pips and Asiago. Drain excess dressing from pear slices and add pears to the salad. Toss salad with dressing, to taste, just before serving.

¼ cup olive oil 1 rabbit - typically 2 to 3 pounds, jointed (yields 8 pieces of meat) ¼ cup Marsala wine 6-8 cloves of garlic 1 diced yellow onion

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1 20 ounce can of chopped tomatoes 1 small chili pepper, chopped finely ½ cup black olives, coursely chopped 1 cup red table wine fresh sage, rosemary and thyme to taste 1 bay leaf chopped parsley to garnish. Preheat oven to 300 degrees Fahrenheit. In heavy bottomed pan, heat oil over medium heat. Add rabbit and sear until it starts to color. Remove rabbit and pour off any fat and wipe out pan. Return rabbit to pan and add Marsala wine and cook over high heat until liquid is mostly evaporated. Add garlic and onions and sauté, stirring occasionally, until tender, about 5-7 minutes. Add remaining ingredients, cover pan and place in oven for 1 to 1 hour and 30 minutes.

Caramel Apple Trifle 1 cup heavy whipping cream ¾ caramel sauce (see broadwayandthresher.com for recipe) ¾ cup diced apples ½ cup toasted oatmeal ¼ cup chopped almonds ¼ teaspoon ground cinnamon ¼ teaspoon nutmeg In bowl of stand mixer, whip cream until stiff peaks are formed. Alternately, in medium bowl whip cream with whisk. Fold ¼ cup caramel sauce into whipped cream. In medium bowl, toss apple, oatmeal, almonds, cinnamon and nutmeg. In 4 small glasses, place small dollop caramel whipped cream. Layer with apple mixture, and then drizzle some of the remaining caramel. Repeat layers in all glasses. Serve within 2 hours. BROADWAY+THRESHERautumn2013.............29


p rohi bi ti on c ocktails

C

Emily Ggeorge | photos by Erik George

ocktails from the 1920s mainly represented different ways of skirting Prohibition. Primarily, drinkers sought the dark comfort of speakeasystyle establishments to consume whatever alcohol could be smuggled in, sweetened and flavored for quick consumption and called a cocktail. The alcohol that was available in the United States wasn’t the highest quality, so cocktails of the time were generally designed to mask the liquor. For those with the resources the best way to get around US law was to leave the US. Many citizens hopped boats and planes to Havana and other destinations outside the US, as the result we saw a great influx of rum-based cocktails. By their very nature, rum cocktails tend towards the sweeter side of life, so almost any way you go with a Prohibition-era cocktail, you’re going to get a sugar rush. Because of the necessity for secrecy and the frequency with which speakeasies and other drinking establishments were raided and demolished (not to mention the amount of bad alcohol being consumed), the records of cocktails from the Prohibition era are less than ideal. Also, undercover bartenders didn’t have a great network of sharing recipes and trade secrets so it really was the wild west of cocktail creation. One barman’s recipe for a particular cocktail could vary wildly from the next and the few records that exist show just that. In this issue we’re looking at two cocktails that have their roots in the days of Prohibition. The Mary Pickford, named after the famous Canadian-born starlet of the silent film era, and The Ward 8 Cocktail, allegedly named for a political district in Massachusetts that helped secure a win for a controversial candidate. The Mary Pickford is straight out of Havana and represents the cocktail world going on outside of the United States during Prohibition, and The Ward has many varying recipes, but we’ve settled on this one as a B+T favorite.

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The Mary Pickford 1 ½ ounce white rum 5-6 chunks fresh pineapple 1 barspoon grenadine syrup Muddle fresh pineapple, add other ingredients and stir well with cracked ice. The harder and longer you stir, the better froth you’ll get with the fresh pineapple. Strain into a chilled coupe glass and garnish with a maraschino cherry.

The Ward 8 2 ounces rye whiskey ½ ounce lemon juice ½ ounce lime juice 1 teaspoon grenadine syrup Shake well with ice, strain into a chilled cocktail glass, garnish with a maraschino cherry.

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fa rm d inner

Andrew Kohn | photos by Andrew Kohn and Kate Manecke

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ood, friends and family make any event a memorable experience, especially in an amazing setting within a pine forest. A local dinner club gathered and each brought a favorite family recipe to share. The setting doesn’t have to be fancy to have a great time, and the delicious, locally sourced food is only enhanced by the company that surrounds the table. Planning your own fall gathering? Let B+T provide the music. Go to broadwayandthresher.com/issue-2-extras for a Spotify playlist.

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apéritif sparkling wine and berry cordial amuse bouche assorted savory tarts soup hungarian goulash salad mason jar zucchini corn salad vegetable savory cabbage casserole bread chipa guazu entrée roast pork shoulder dessert rhubarb crunch with vanilla mint ice cream digestif brandy and coffee

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Mason Jar Zucchini + Corn Salad 6 ears cooked corn, kernels removed 2 zucchini, thinly sliced, then quartered 2 bunches scallions, thinly sliced, white parts only 1 red bell pepper, chopped ¼ cup finely chopped flat leaf parsley 1/3 cup fresh lime juice 1 teaspoon Dijon mustard 1/3 cup extra virgin olive oil salt and pepper, to taste In a medium bowl, toss together corn, zucchini, scallions, and bell pepper. Sprinkle with parsley. Cover and chill for several hours. In a small bowl or measuring cup mix lime juice and mustard together. Slowly whisk in olive oil. When ready to serve, mix in dressing and stir to coat evenly. Put 1 serving each into pint-sized or similar mason jars.


Savory Cabbage Casserole 1 medium green cabbage 2 eggs 1 stick unsalted butter 3 tablespoons heavy cream 1 teaspoon salt ½ teaspoon black pepper 1 teaspoon creole seasoning 1 cup herb-seasoned stuffing crumbs Preheat oven to 375 degrees Fahrenheit. Lightly grease a 2 quart casserole dish. Shred cabbage and boil in salted water until tender (about 10 minutes). Drain and allow to return to room temperature.

Chipa Guazu (Paraguayan Cornbread) 12 ears of fresh sweet corn 1 stick of butter, softened 1 large sweet onion, coarsely chopped 2 eggs 8 ounces queso fresco Remove kernels from cob. Place kernels in food process with eggs and pulse until coarsely chopped. Mix in onion, butter, and cheese. Bake at 350 degrees Fahrenheit, in a medium cast iron skillet, until top is golden brown. Let cool 10 minutes and serve.

Melt 3 tablespoons of butter. Mix butter with eggs, cream and seasonings. Mix in half of the stuffing crumbs into cabbage and transfer into baking dish. Melt remaining butter and coat remaining crumbs. Sprinkle crumbs over the top of the cabbage mixture and bake uncovered for 30 minutes.

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Roast Pork Shoulder 4 pound pork shoulder 4 garlic cloves, smashed 1 handful fresh oregano 4 tablespoons Kosher salt or 1 tablespoon per pound of pork 1 tablespoon coarsely ground black pepper 3 tablespoons vegetable oil 2 tablespoons white wine vinegar 2 pounds fingerling potatoes 6 medium tart apples, quartered Place the pork, fat-side up, in a roasting pan fitted with a rack insert, and using a sharp knife, score the surface of the meat with small slits. Mash the garlic, oregano, salt and pepper into a paste with the flat side of a knife; place in a bowl and stir in oil and vinegar.

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Rub the garlic paste all over the pork, being sure to get into the incisions so the salt can penetrate the meat and pull out the moisture –this will help form a crust on the outside when cooked. Cover the pork with plastic wrap and marinate in the refrigerator for at least 3 hours or up to overnight. Allow the meat to sit at room temperature for 30 minutes before cooking. Preheat the oven to 350 degrees Fahrenheit. Roast the pork for 3 hours, uncovered, until the skin is crispy-brown. With 30 minutes left in roasting add potatoes and apples. Let the meat rest on a cutting board for 10 minutes before slicing.


Rhubarb Crunch 1 cup flour 1 cup brown sugar 3/4 cup rolled oats 1/2 cup butter 1 teaspoon cinnamon 1 cup sugar 2 tablespoons cornstarch 1 cup water 1 teaspoon vanilla 4 cups diced rhubarb Preheat oven to 350 degrees Fahrenheit. In medium bowl, mix flour, brown sugar, oats, cinnamon and butter. Press together with fingers until crumbly. In medium saucepan, mix sugar cornstarch, water and vanilla. Cook over medium heat. Stir until thick and clear. Remove from heat. Press half of crumble in greased 9 inch pan. Place rhubarb on top. Pour syrup over rhubarb and top with remaining crumble. Bake 1 hour and serve over with ice cream. BROADWAY+THRESHERautumn2013.............37


th e b e e k m a n 18 02 hei rloom des s ert c ookbo o k David Gobeli | book cover image courtesy Beekman 1802 | photo by David Gobeli

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here are a lot of buzz words floating around — heirloom, organic, local. Catch phrases like “living an authentic life”, YOLO, and “classic American.” Many brands are falling short of their claims, some are on the right track, and others are defining what it means to be heirloom, authentic, and local. Well, Beekman 1802, the lifestyle brand led by husbands Brent Ridge and Josh Kilmer-Purcell, has once again set the bar on what other companies should strive toward. Their second cookbook, The Beekman 1802 Heirloom Dessert Cookbook (Rodale, 2013) is two hundred sixty pages of one hundred sugar-craving and, best of all, intriguing recipes. Like with their first cookbook, the recipes are divided into four seasons—winter, spring, summer and fall—but without all those pesky vegetables to get in the way. Spring has delights such as strawberry shortcake, creamsicle angel food cake, and chocolate pie. Summer looks towards sweet green tomato hand pies, plum upside down cake, and baked Manhattan. Chocolate soup and sugar plums round out winter, but my favorite season, fall, highlights a pancake cake, french toast bread pudding, and a tarte tatin. The pumpkin roll was exciting, and delicious, and the first thing I baked from the book (pictured left), but I have bookmarked just about every other page for future recipe testing. What’s most striking is the stunning photography and food styling. Photographer Paulette Tavormina and food and prop stylists Paul Grimes and Thom Driver have to be some of the most gifted professionals in the business. Both Paulette and Paul worked with Beekman 1802 on their first book and I’m happy to see their collaboration again. Their new book takes what was superb and about The Beekman 1802 Heirloom Cookbook and sophisticated it in a way that is more classic and grown-up while always staying true to themselves and their audience. I especially love the space at the end of each chapter for the reader to record their own heirloom recipes. You only live once and The Beekman 1802 Heirloom Cookbook will make it much more delicious. The Beekman 1802 Heirloom Dessert Cookbook releases September 10. See beekman1802.com for more information. 38.............BROADWAY+THRESHERautumn2013


artiflora where flowers become art

www.artifloragranville.com | 740-587-3515 | artiflora@gmail.com


B+T

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fa rm+ga rden

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the a nc i ent avi a n spo rt

I

Raptors and their Medieval Ownership Emperor....eagle, vulture and merloun King..........ger falcon and tercel of the ger falcon Prince.......the falcon gentle and the tercel gentle Lady..........the marlyon Poor Man ..the jercel Priest........the sparrowhawk Servant.....the kestrel

Anton Sarrosy-Christon | photos by David Patrick

was eleven years old the last time a raptor perched on my gloved fist. Volunteering at the Lake Erie Nature and Science Center in Rocky River, Ohio definitely had its perks. I was responsible for feeding native reptiles and mammals, and eventually I trained to work in a very limited degree with the birds of prey. Our raptors came in, as did all the native wildlife, as injured animals in need of rehabilitation. Sometimes we released them to the wild but most stayed on as permanent residents: the screech owls, whose diminutive size belied their killer instincts, red-tailed hawks who watched your every move as you moved about their enclosures, the monumental pair of great horned owls unable to make it on their own in the wild, but were nevertheless able to raise a clutch of owlets every year in the safety of their outdoor aviary, and finally the snowy owl whose aviary was decorated with low perches and tree stumps due to her inability to reach an aerie higher than three feet rounded out our collection of raptors. These birds, all wild and untamed, viewed us as interlopers trespassing in their captive world. And it was only after completing a training program that I found myself standing tall and proud with a screech owl staring back at me through its fathomless black pupils, and needle-sharp talons firmly gripping my gloved fist . . . It was mostly cloudy, 79 degrees with humidity hovering about the same when we pulled up to Mike Pompoco’s house outside of Youngstown, Ohio to talk about the 4,000 year old sport of falconry. Having flown raptors for fifteen years and currently the secretary of the Ohio Falconry Association, Mike’s passion for the sport is strong. A 4,000 year old sport? Yes, falconry is not only one of the oldest sports known to man but was long considered the “noblest of arts”. Though its earliest roots can be traced to Asia, falconers have existed and continue to exist wherever birds of prey take to the skies. The pomp and pageantry still associated with falconry can be traced back to medieval England. The fifteenth century Book of St. Albans includes an oft-quoted list of raptors and the members of society permitted to own them, as owning a bird above one’s rank could bring grave consequences. The Book of St. Albans, though hundreds of years old, illustrates that falconry was not limited to the upperclasses—or even men—and in that way makes it a very BROADWAY+THRESHERautumn2013.............43


democratic sport despite its reputation. Falconry requires an understanding of raptors, time, patience, and dedication. Working in tandem with a bird of prey in the pursuit of wild game, and the subsequent care and dedication of the raptor still today lies at the heart of this most ancient of sports. In the United States, becoming a falconer requires a series of exacting requirements be met, giving American falconers excellent reputations worldwide for their expertise and knowledge. Each state’s requirements vary slightly; as such I’ll use Ohio regulations to illustrate my point. To become a falconer in the state of Ohio you must be at least 16 years old and must first obtain a valid hunting license and then, most importantly, seek out a falconry sponsor. The sponsor will oversee and mentor your journey into falconry. Almost immediately, you’ll begin studying for the falconry test—and you may not take the test without first having found a sponsor. According to the Ohio Falconry Association the test is rigorous, covering topics such as raptor biology, field identification, natural history, prevention and treatment of hawk diseases, falconry history, terms, techniques, and knowledge of raptor protection and falconry laws and regulations. Upon successful passage of the exam (80 percent score or greater), you can proceed to building the necessary housing for your future hawk (a mews, an indoor room for the hawk, and weathering area, an enclosed outdoor area for the hawk to perch and have exposure to the outdoors), obtaining and fabricating the equipment and have the equipment and housing pass an inspection by the Ohio Division of Wildlife. Next, you may purchase a raptor capture permit. Once your capture permit has been issued, you and your sponsor will attempt to capture a first season, or passage red-tailed hawk for your first bird. You are not permitted to purchase your first hawk, it must be a wild bird, must be a red-tailed hawk, and must be a passage hawk. As soon as you are successful in trapping a hawk, it must be banded and recorded with state and federal wildlife authorities. Now your and your bird’s training can begin under the watchful eye of your sponsor. If you’ve reached this milestone, you are officially recognized as an Apprentice falconer, a title you will carry for a minimum of two years before matriculating to General falconer, and after five years, Master falconer. As a Master falconer you can fly most hawk species but owning an eagle will take eight years. As you can see, the modern system of falconry is almost as regimented as the system prescribed in the Book of St. Albans! Published writer, blogger, and homesteader Jenna Woginrich of Cold Antler Farm in New York state is 44.............BROADWAY+THRESHERautumn2013


currently progressing through the steps required to become a full fledged (pardon the pun) Apprentice falconer. Jenna’s experiences are documented on her popular blog coldantlerfarm.blogspot.com. Jenna has so far found a mentor, passed her falconry test with a score of 91 percent, obtained the necessary equipment, and is currently building a mews and weathering area. Once everything passes inspection, she and her mentor will go into the woods this fall with the intention of trapping a passage red-tailed hawk! For anyone considering entering the sport, reading Jenna’s experiences give a realistic and encouraging perspective making the esoteric rules and regulations tangible in a way a government issued pamphlet cannot. However esoteric, the rules do benefit falconry as falconers need open, wild spaces preserved for their sport and their birds’ wild cousins. Allowing only serious applicants to become Apprentice falconers encourages individuals with a real dedication to the sport and raptors to join the preservation and public education movement. Falconers are credited in part with helping to conserve wild raptors by lobbying to save their habitat and maintaining captive breeding

stock used to repopulate declining wild populations. Raptors such as the famed Peregrine Falcon have been removed from the endangered species list as a result. Mike Pompoco’s raptor of choice is a Harris or Harris’s Hawk. Native to the American Southwest they’re famous for making their nests in the famed Saguaro Cactus and are one of the only raptors known for cooperative hunting. Mike feels their cooperative hunting instincts make Harris hawks particularly perceptive hunting partners. Hunting with raptors usually involves three distinct species hunting cooperatively: the human, the hawk, and the dog. The dog and the human have very much the same job—rousing hidden prey into the open so the hawk, flying or perched in a tree above, can swoop down and make a kill. Hawks generally miss more prey than they capture and for this reason, hunting with hawks will not fill your larder. The pleasure of the outdoors and respect for the birds is what keeps falconers coming back to the sport. Mike hunts mostly rabbit and squirrel with his hawk though the occasional pheasant and quail make up part of the quarry. Training a wild or even captive-raised bird to fly freely—sometimes miles away and out of the falconer’s BROADWAY+THRESHERautumn2013.............45


sight—to fly back to the gloved fist takes daily training and is undoubtedly one of the great thrills of the sport. Not surprisingly, questions around how to persuade a wild predator to fly back to a glove are some of the most frequent falconers are asked. The answer is in the daily training a falconer engages in with his or her bird. The goal is having a bird work freely and in cooperation with its keeper and it begins the moment the bird is captured. This training is called manning, training a wild bird to accept the presence, sight, sound, and smells associated with man. Since mostly young birds are trapped, they are more open to manning as hard and fast habits haven’t yet set in. Trapping a bird entails setting out a net-like contraption where a caged gerbil or mouse, placed inside, is used as bait—and remains unharmed throughout the process. The trap is set in plain site of the desired bird, the bird dives to retrieve the prey but finds its feet entangled in the netting. The falconer comes out of hiding and attaches a pair of leather jesses (straps) to the hawk’s tarsi and offers the bird some meat—after all, the bird was hungry enough to attack the bait. This process of offering the bird food from the falconer’s hand continues until the bird 46.............BROADWAY+THRESHERautumn2013

accepts food from the hand without bating (attempting to fly free when restrained). In order for the relationship to work, the raptor must see the falconer as ‘food’. The next step is asking the bird to move onto and feed from the leather glove, usually worn on the left hand—and like Michael Jackson, only one is worn. These activities are done inside where distractions can be kept to a minimum. Once the bird has mastered eating from the falconer’s hand while on his glove the training goes outside. Two perches are set up a few feet apart, the distance increased as training improves. The bird is asked to perch while the falconer moves opposite, offers food and asks the bird to fly to his fist. This training is done with the bird on a lightweight leash called a creance; the bird is able to fly, but not fly away. Training continues until the bird comes to the falconer from some distance when called, and is always rewarded with food. The final phase is determining the bird’s ideal hunting weight. All falconers have scales and must weigh their birds daily as weight is critical to success. If the bird weighs too much, it will refuse to fly to the fist for food as it isn’t hungry. If the bird is too light, it will be weak and unable to fly any distance before finding a place to rest. The ideal weight is one where the bird is


fit, interested in hunting, and interested in flying back to the fist for a feeding. Flying an overweight bird is a recipe for losing the bird as it has no reason to come back to the falconer. The final test is free-flying. The creance is removed, the bird is allowed to fly to a tree and asked to return to the fist—most of the time the bird returns but sometimes it leaves, never to return. Surprisingly to non-falconers, this training from wild bird to a bird that’s ready for freeflight, though still very much wild, can take as few as three to four weeks. Some birds understand they have a free meal ticket with the falconer and look forward to their rewards, others might take longer. Because training a bird, though intensive, can take place over a relatively short period of time, some falconers choose to trap new birds and then release them at the end of the season every year so that they do not have to keep birds year-round.

ready to hunt by the start of hunting season. Hunts usually entail four to five falconers assembling for a day of hunting in an open area rich in game. Only one bird is released at a time while the falconers and the dogs beat the underbrush to chase out game. The bird watches from above and strikes when the quarry is well positioned. Taking prey from the bird is another lesson for an Apprentice falconer to master and involves a clever slight of hand. The falconer attempts to reach the bird as quickly as possible after it has killed its prey, shows it a piece of meat, asks it to move onto the glove to eat the meat and simultaneously puts the prey into a pouch. The hawk eats a little and goes off to hunt for more. All the while, the falconer has weighed each piece of meat given to the bird so that it doesn’t go over its ideal hunting weight or he risks having a sated bird fly away. Incidentally, the bells worn by birds during the hunt are there to help the falconer find the bird after it lands its prey.

Trapping season begins August 1st followed by hunting season which begins September 1st through March 10th (in Ohio). If all goes according to plan, it is feasible to trap a passage hawk, have it manned and

Mike explains that though all birds of prey can be used for hunting, owls included, the choice one makes should not be hasty. Accipiter’s, which include two of the most traditional British falconry birds, the goshawk BROADWAY+THRESHERautumn2013.............47


and sparrowhawk, tend to be nervous, moody birds and need a falconer with more experience to handle them. Red-tailed hawks make excellent hawks for Apprentice falconers because they are big enough to demand respect, yet hardy enough to recover from mistakes beginners may make. Small birds, such as kestrels cannot take large prey so they are not useful if your aim is to bring home something to eat. Learning about the sport of falconry is fascinating and the American Falconry Association maintains a website covering an impressive amount of information but to really learn about the sport, contact your local or state chapter (links are provided on the AFA’s website), meet some falconers and read some books on falconry. There are an estimated 4,000 falconers in the United States, though not all have birds. Ohio, for example has about fity-five falconers with approximately half owning birds. Most falconry associations hold annual events for their members and to increase public awareness of the sport. The Ohio Falconry Association will hold its annual meeting at Highbanks Metro Park on September 15th. An array of raptors will be on display and falconers will be present to answer questions. Don’t ask to hold a bird, the answer will be no, but if you are serious about the sport, you can work toward that goal and eventually fly your own!

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a f lori st’s diar y

Deven Rittenhouse he handcrafted, soapstone bowl cried out to me and was definitively the beginning and end of my designing. The vision was clear.

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On a cool morning, my friend Cathleen and I collected our mutual offerings and set about our black and white fall centerpiece. I know that sounds a little different, but stay with us and I promise that at the end, you will have an incredible and decidedly autumnal focal point for any room in your home. We started with the container and a piece of Oasis, a floral foam that absorbs water and keeps your flowers and design in place. Soak for 5 minutes, but don’t be impatient and press down on the brick. Allowing it to naturally absorb the moisture will keep it from developing air pockets which prevent your flowers from getting moisture. After cutting it to size and placing it gently in the bowl we were ready to begin. The most important part of harvesting flowers from your garden, is never allowing them to be out of water. Carry a bucket or vase with you and cut using a sharp BROADWAY+THRESHERautumn2013.............49


rounded shape, and as they are now available almost year round from flower shops, they were an excellent and rather unexpected offering for fall. To finish off our piece, we went for drama. Using potted succulents and a wooden floral pick inserted directly into the bottom of the pot, we wedged them into the open spaces around our foam and the areas needing shape. We then filled in with a few stems of sedum, cut from the newly budded plants and some fabulous local lotus pods from Terravita Farms. Remember, we’re going for monochromatic and these few elements brought added texture and a little flair to our design as well as incredible contrast in different shades of black and green. With those fuzzy beauties and a little green garden bug, we were finished and quite pleased with our final product.

knife or scissors. Place immediately into the water and be sure to keep them as cool as possible until you are ready to design. We began with raspberries, gooseneck loosestrife and ninebark foliage—all found in our gardens. These are excellent to establish form or the flow and outline of your arrangement. Place them in concentrated areas and allow them to create their own shape. As these were all different textures and colors, it made for a perfect base map. Remember sharp angled cuts and insert only once into your foam. Removing and changing directions will compromise the integrity of your Oasis and allow not only air, but crumbling and instability as you continue to arrange. We moved from there to our focal points, the flowers, knowing that they would be the largest part of the centerpiece and direct your eye as well as determining scale. We chose pyramidal oakleaf hydrangea and also a few hybrids from a local florist. We chose them based on their substantial volume and size and trusted they would make the whole arrangement tie together. If you have Annabelles in your yard, they would have a similar contribution and even dried are great for filling in. Next comes Ranunculus, for elegance and a more 50.............BROADWAY+THRESHERautumn2013

Overall, this piece can accommodate many different styles and colors, allowing you to pair Grandma’s china or Aunt Barb’s linen napkins and still be coordinating. You could choose to place it in the center of a rustic kitchen counter and instantly add elegance or a modern dining table for added warmth and welcoming softness. Through these designs, we learn to pair our gardens with our florist, bringing the seasons inside and discover the ability to make country and city perfect partners. In this case, we were overwhelmingly inspired by blooming berries and an incredible bowl, but perhaps a morning stroll through your garden is your catalyst and your potting shed holds a container just waiting to shine.


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l i festyle

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a styled ho me

Andrew Kohn | photos by Ellen Long | styled by Lee Kirkpatrick

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omes reflect our personal style as intimately as the clothes we wear. Often, we find inspiration in the world that surrounds us, enhancing our mood and influencing our choices. A home style that is decadent and rich, using deep, bold colors, highlighted with eclectic collections and stunning vignettes, offers us the creativity to not only choose our clothing, but to appreciate the every day beauty that surrounds us. See more at broadwayandthresher.com/issue-2-extras

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above: vintage trophies gathered below: natural materials bring the outdoors in, all year round

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above: crystals, and antique eyepiece below: clockfaces in quantity

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s how you r f lare Kristofer Bowman

here comes a time in when you outgrow the flare associated with junior high backpacks, but how do you accessorize with maturity? Letting go of the dime store buttons, yet keeping true to your individuality? It’s time to update your flare with time worn vintage. Think of what you connect to and what works with your sense of style. What images draw your attention or give you a sense of nostalgia? What brings attention, curiosity and meaning? Like a wellworn pocketknife or St. Christopher medal that your grandfather kept in his pocket or the cameo your grandmother wore—these are both meaningful and representative. Here are a few pieces to inspire you, and some ideas for where to seek your new flare.

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Look to the make-up of your people, many nationalities come with their own traditional accessories. At the most recent Springfield Extravaganza, in Springfield, OH, I picked up this vintage German hatpin (a). The deer imagery and the hair bring a rustic and alpine feel, a look common in home interiors these days. It also BROADWAY+THRESHERautumn2013.............59


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reminds me of my German heritage and Minnesota upbringing and looks great with my favorite brown jacket. What are the traditional looks of your people; is there anything that you could incorporate into your personal look? (I can’t pull off lederhosen, but this pin makes for great lapel candy). Trinkets of days gone by also come in the form of children’s toys. This well-worn badge (b) was a sign of membership in the Junior “G” man club, which was a popular American Boys club of the 1930s and 1940s that started as a radio program. This fella brings both nostalgia and Americana. Imagine the boys gathered around the radio or checking the mail to receive their own badge with its regal eagle perched proudly on top. My favorite pieces include this collection of ribbon badge tops (c) from the Fraternal Order of Oddfellows. They date back to the nineteen-teens. The hand-inhand symbolism of camaraderie and brotherhood pleases me to no end. The intention of the Oddfellows was an altruistic one and this handshaking imagery was a symbol for friendship. The pop of color and gold framing are a great addition to your attire as well. 60.............BROADWAY+THRESHERautumn2013

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The Royal Neighbors of America was a not-for-profit fraternal organization established in 1895 to provide affordable life insurance for women. I find these badges (d) terribly masculine, though they were originally intended for women. I chose the mallet and the spears for myself. These pieces also add a great kinetic element to your look. The last piece is a carved wooden brooch from the 40s (e). These brooches were made of many different subjects, most common were animals, especially dogs and horses. I stumbled across this sailor a few years back. I love the wood grain and worn paint and smirk at the thought of the old “Hey Sailor” catcall. Here’s hoping you can slow down the next time you’re in an antique mall or flea market to find something with rich history and sophistication to become your lapel candy. Be ready to draw attention, and be prepared to tell a story about more than where you found it.


BROADWAY+THRESHER is proud to support local and national organizations that promote education, rural preservation and equality and fair opportunities for all. Every month, Broadway+Thresher will sponsor one organization with free space within our pages and website. Please contact us at info@BroadwayandThresher.com for more information about our community sponsorship.

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fa ll gi f t pick s

Nicole McGrew

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t may not be quite the holiday gift-giving season, but why not warm up your gift-wrapping table with these special avian discoveries. As our feathered friends begin heading south, these products will warmly remind us of them during even the coldest moments of impending winter. Clockwise:

a- The Sibley Guide to Birds - $39.95, sibleyguides.com David Allen Sibley, America’s most gifted contemporary painter of birds, is the author and illustrator of this comprehensive guide. His beautifully detailed illustrations—more than 6,600 in all—and descriptions of 810 species and 350 regional populations will enrich every birder’s experience. b- Zara Bird Print Dress - $79.90, zara.com c- John James Audubon, Plate 121, Snowy Owl - $3000, audubonart.com d- Bird Shirt In Tan, Han Kjobenhavn - $180, needsupply.com Rugged cotton twill button-up shirt from Han Kjobenhavn. Front chest pocket with button flap closure, rounded hem, pointed collar, button-down collar back, three needle stitching throughout, and all-over bird print. e- Drake’s Bird-Print Wool and Silk-Blend Pocket Square - $85, mrporter.com f- Topiary Trail – Fig. 1, Bia van Deventer - email for cost info@biavandeventer.com; biavandeventer.com g- Marlow and Sons Pigeon Tote - $20, marlowgoods.com h- Peregrine Falcon Neck Tie, Cyberoptix - $45, cyberoptix.etsy.com. 100% silk tie printed with high-quality, non-toxic, eco-friendly, waterbased ink. i- TUMTIN pattern wallpaper, Meg Braff Designs - price upon request, megbraffdesigns.com j- Donation to your local nature center - We suggest Shaver’s Creek – Basic Membership $35, shaverscreek.org. Located in the heart of central Pennsylvania, Shaver’s Creek is Penn State University’s nature center, offering fun and educational environmental programs and events for the whole community, since 1976. k- Farm Animal Smokestack Candleblocks - $21, pegandawlbuilt.com Reclaimed wood candle blocks featuring a selection of eight illustrations from an antique animal book.

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fa s h io n

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l i l ly l o rra i n e, c ou tu re fa s hi ons s i mplif ied

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Amy Patterson

first walked into the show room for Lilly Lorraine about a year ago, the entrance to the studio a door in the back of a drycleaners. I was immediately at home in the space. It’s a very cozy, bright and open studio in downtown Austin, Texas. Inside, the vision of Lilly Lorraine is evident; everything is in its place, organized, and easily accessible. A beautiful wedding dress sat off to the side, just made for Lilly Loraine assistant Sara Facundo. Near the racks of clothes were many fabric boards, a cutting table and drawings that would soon become the Fall 2013 collection. I immediately thought, after trying on a few pieces, that the fabrics and the cuts fit me perfectly. Not only would this line be perfect for the urban woman, but would translate well into the rural fashionista’s wardrobe as a staple piece. Christi du Mesnil Craven is the talented Creative Designer and force behind Lilly Lorraine. Christi has not only been able to capture a unique style and versatility but is also using a patent pending natural fabric called BAMBLI in her designs. BAMBLI is a textile she created from a bamboo and wool composite. Along with the final product, she also has a patent pending on the design process for these pieces. These combinations of unique materials have put her in the category of crossover fashion wearability—with the soft and cool breathability of the bamboo for warmer months and the wool - hats, coats, jackets and dresses— great layering pieces for winter weather. You may be wondering, where did the name Lilly Lorraine come from? As a young girl, Christi was inspired by her grandmother, Lilly Lorraine, who worked as a private stylist. As Christi grew up and played with the neighborhood girls, they produced their own fashion shows and worked in a make believe design space where they could create and be inventive. Even though Christi began studying psychology in college, she eventually gravitated towards interior design. During this time, she was known as the go-to stylist for everything from make-up and hair to fashion, and even started her own tee-shirt business. After the birth of her twins, Christi enrolled at the Art Institute of Houston in interior design. She immediately recognized her passion for design and

opposite: dress, eclipse by lilly lorraine; hat and jacket by lily lorraine; accessories, stylist’s own BROADWAY+THRESHERautumn2013.............67


In her words—Lilly Lorraine and Christi du Mesnil Craven: Vision: Our Fall 2013 Collection, “Rendezvous in the Moonlight”, is inspired by the neutral tones and textures revealed by the moonlight upon the beauty of the earth’s natural architecture. Surprises revealed by the cast of a moonbeam or gust of wind reveals color, texture and flowing movement that awakening the sense of romance beyond the night’s shadows. Signature Style: Most textiles are original and exclusively constructed by Lilly Lorraine Inc. Our textiles give classic pieces an innovative look and feel. Lilly Lorraine has a patent pending for the predominate textile utilized in the Fall 2013 Collection Influence: I am greatly influenced by the creative process of balancing the mixture of color and texture to give garments a unique and timeless appeal. Brand philosophy: To give women a full-wardrobe that offers a collective versatility to a women’s lifestyle. Our goal is to engage in the woman’s emotion, femininity and confidence. Making it happen: We’re making it happen by recognizing opportunities that come our way, seizing the moment and believing in ourselves as team oriented production. theory, eventually opening up her own interior design business, Vella. She quickly became well known in the region and was a top vendor for the Four Seasons and Driskill Hotels. Out of these experiences grew Lilly Lorraine fashion. Lilly Lorraine officially launched at a SXSW Fashion Exhibit, Style X, in March 2012. Christi has been recognized by and contributed to quite a few publications and shows throughout her career. She has been featured in The Best of Weddings, Texas, (a coffee table book), along with numerous magazines, including Vogue Italia, Lucky and, now, Broadway+Thresher. One of the line’s most recent successes has been to participate in New York Fashion Week Nolcha showcase, which featured her Fall 2013 collection at Pier 59 studios. I can’t wait to see what creations are to be produced for the 2014 season.

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Celebrity crush: Ryan Gosling! But we are also crushing on stars who are strong women on and off the screen: Cate Blanchat, Sandra Bullock and Connie Britton. What does New York City mean to you? New York is a culture of fashion, a city that practices fashion. Showing in New York City is an opportunity to find our place in that world and grow and learn from the greatest fashion venue on the planet.

Lilly Lorraine is online at lillylorraine.com Stylist: Amy Christine Patterson Model: Callisto Griffith Make-up and Hair: Felicity Fromholz for Mirabella Beauty Photographer: Jennifer Chrismer Stylist Assistant: Rebecca Price Photographer Assistant: Rahul Misra


dress, monroe by lilly lorraine; accessories and jacket, stylist’s own; boots, model’s own BROADWAY+THRESHERautumn2013.............69


top, lilly lorraine; accessories, stylist’s own; jeans, model’s own 70.............BROADWAY+THRESHERautumn2013


dune blazer and top, lilly lorraine; accessories, stylist’s own; jeans and boots, model’s own BROADWAY+THRESHERautumn2013.............71


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vi nta ge fa ll fa s hi on f inds

styled by Jenny Carl | photos by Rachel Joy Baransi and Sonja Lyon

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reat and trendsetting fashion doesn’t need to always be brand new. In nearly every city across the country thrift and second-hand stores are stocked full of, yes, a lot of junk, but hidden within are treasures that, with a bit of personal style and imagination will be, truely and wonderfully, oneof-a-kind. Fine vintage jewelry, cool weather worthy suiting, accessories, and a day on the farm. Extended photo gallery and special behind-the-scenes images exclusively for subscribers at broadwayandthresher.com/issue-2-extras Hair and styling assistance by Ruth Coffey Modeled by Jeff Hlad, Amy Crandall and Ayana Wilson

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men s wea r: s u i ts a n d j ackets Lee Kirkpatrick | photos by Rachel Joy Baransi

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hopping at a local vintage shop or second hand store always holds surprise finds and hidden gems. Fall trends in menswear are focused on suiting and jackets, which are being defined through wool blends and updated plaids. A formal or classic look can take on a more modern feel through an updated or redefined check, tweed, or semi-plain pattern. We uncovered a few finds that can be dressed for a casual on-the-go day look, or more formal evening ensemble. 1- This wool blazer is defined by an exaggerated windowpane grid and incorporates color in its monochromatic check. Rolling or cuffing the sleeve of a jacket alludes to a casual look and can bring a subtle pop of color through the interior lining. 2- A prominent peaked lapel can add drama to a classic jacket as seen by designers Christian Lacroix and Hardy Aimes. Single or double-breasted styles found in a classic basket weave or pinhead check give a modern take on semi-plain suiting. 3- Herringbone stripes bring an update to a solid suit design by adding a hint of color. Details like a textured button and elbow patch can complete a look by giving unexpected contrast. 4- Another updated windowpane check can be found in a tighter grid and monochromatic color. A hidden hounds tooth pattern combined with a plaid, assists in a modern take on a classic and stately print.

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p u t a bi rd o n it

Ruth Coffey | photos by Kayla Suzanne Holdgreve

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nspired by English hunting parties, falconry and walks in the woods here’s fall fashion in suiting, tweeds and binoculars.

Extended photo gallery exclusively for subscribers at broadwayandthresher.com/issue-2-extras Styled by Ruth Coffey Avian graphics by Chelsea Granger, Miranda Wiley and Ruth Coffey. Photographer Kayla Suzanne Holdgreve, kaylasuzanne.com For clothing and accessories, see: milkbarboutique.com clothingbrigade.com shoptigertree.com

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on Miranda: scarf, vintage Topshop; jacket, Talbot; bag and necklace, Tigertree; shirt, vest, pants and boots, vintage on Luke: hat,shirt, bag, Tigertree; vest, Brigade; tie and belt, vintage; jacket, vintage Jennifer O’Neil; shoes, vintage Fila 84.............BROADWAY+THRESHERautumn2013


on Luke: see previous page. on Kevin: hat, Tigertree; sweater, Brigade; shirt, Milkbar; jacket, vintage; shoes and jeans, model’s own. on Caleb: jacket and pants, Tigertree; shirt, vintage Polo Ralph Lauren; shoes, vintage Fila. on Miranda: see previous page BROADWAY+THRESHERautumn2013.............85


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above: on Kevin: vest, Brigade; pants and bag, Tigertree below: on Luke: hat, vest, shirt, and bag, Tigertree. on Caleb: pants and shirt, Brigade; hat, Milkbar; shoes, Fila; jacket, vintage Georgio Armani

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opposite: on Miranda: shirt, necklace, and earrings, Tigertree 90.............BROADWAY+THRESHERautumn2013


don’t miss the exclusive subscriber only content on the B+T website. go to broadwayandthresher.com/issue-2-extras


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mu s i c : l era lynn

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Meredith Peters | image courtesy Lera Lynn

era Lynn is a master of duality. She is able to toe the line effortlessly—somehow beautiful yet approachable, novel and nostalgic, delicate and tough, simple and complex. The singer, currently based in Nashville, comes from Houston and sprang on the scene out of Athens, Georgia. She’s fully embraced a grass roots approach— writing, releasing, and spreading the word of her music the old-fashioned way—herself. And it certainly is working. Her debut album Have You Met Lera Lynn? was released in 2011 to numerous critical accolades, high-visibility festival plays, and some truly memorable cover songs. Her forthcoming album, The Avenues, comes out this winter. For someone who cites both Tame Impala and Johnny Cash as influences, what avenue Lera Lynn takes her musical turn down next is anyone’s guess, but I can say for sure that I’m along for the ride. B+T - You started playing music at a young age, went on to major in Anthropology, and then moved into a flourishing music career. This seems to be a bit of a theme in your life – a journey from what is old (literally – Anthropology) to what is new (a career with nothing to do with anthropology). Have you felt yourself calling upon any of your Anthropological wisdom in your music career? LL - Oh for sure! I think studying Anthropology has colored the way I view the world and individuals. It played a huge role in expanding my understanding and acceptance of personal difference and provided me a new lens through which I could write songs. As with any science, one of the things we discussed frequently in anthro classes was trying to eliminate bias (though impossible) in research and writing. I can certainly see how I try to apply that now to songwriting. B+T - You cite Johnny Cash, Ray Charles and Joni Mitchell as influences and have been compared to Patsy Cline, yet critics and fans alike pepper reviews with adjectives such as original, unique, distinct and “a category all its own”. Have you run into any challenges with calling on such beloved and classic influences to create a sound that feels so fresh and exciting? LL - Thank you! I guess the greatest challenge is to do just that; try to incorporate something old and BROADWAY+THRESHERautumn2013.............95


comfortable into something new, without sounding like so many others emulating the greats. Honestly, I don’t put much thought into that anymore. There was a time when emulating those artists was my goal, but now they’re all engrained deep in there alongside so many other influences. As you come into your own, your dependence on emulation lessens. Naturally through that process, one should become an amalgam of their influences that ends up sounding “unique.” B+T - Your music and lyrics themselves serve to take us on a journey from old to new—from old heartache to present challenges to hopes for the future—we’re with you on this journey. Where are we going next? LL - I’ve been really digging the band Tame Impala lately. Their approach is pretty psychedelic. I am starting to explore that side of myself lately. Ready? Haha. I’m very much looking forward to sharing my upcoming album, The Avenues, which will be released this winter. I hope you’ll enjoy that journey! B+T - It seems as if you’ve had a pretty crazy couple of years—moving to Nashville from Athens, plenty of 96.............BROADWAY+THRESHERautumn2013

touring and festivals, recording in LA—how does Lera Lynn unwind? LL - I love cooking. That’s one thing you never get to do on the road, so when I’m home, I cook a ton. It’s such a great creative outlet with tasty rewards. B+T - With so much traveling, what is your favorite place to spend more than a few days? LL - I love camping in the desert. I could never get tired of that. B+T - When you are traveling, what is the one thing you can’t be without? LL - I have to have dry shampoo by Big Sexy Hair. Who doesn’t always want big, sexy hair? B+T - On your website, you have called on your fans to help fund your next album—a very new way of embracing a traditional record release. How does your DIY approach affect your process of writing, recording and touring?


LL - It makes things harder sometimes. It can take longer to do things too. But nothing is more satisfying than achieving your creative goals independently. B+T - If you were to have a sit-down dinner with the aforementioned influencer crew­ —Johnny Cash, Ray Charles, Joni Mitchell—what would your dream location and menu be? LL - I’m picturing the four of us in Costa Rica at one of those hot springs spas, lounging in the hot water while it rains on us, sipping cocktails, smoking cigars, shooting the breeze while they prepare our dinner (that’s how they do it for real, by the way). Then we’d sit down to some amazing latin food, fish tacos, with pickled onions and peppers, spicy mystery sauce, beans, handmade tortillas, pico, guacamole (though this is not the typical Costa Rican fare). I could be more sophisticated, I guess. But everyone loves a good taco. Plus, I’d love to watch Johnny Cash eat a taco. Find tour dates, music, and information about her upcoming album, The Avenues at leralynn.com.

We want to see your work in our pages. B+T is accepting your stories, memories, anecdotes, photography and original art. Theme for next issue is Classic Holiday. For more information email David at David@BroadwayandThresher.com


a rt i st ja mes you ng : the a meri c a n farm Andrew Kohn

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hio artist James Young captures the American countryside with landscapes and portraits of rural imagery. As the leaves begin to change and crops are harvested, we’re reminded of the simple beauty our back roads and family farms possess. B+T - Where do you find inspiration? JY - I know it’s a cliché, but I do get inspired from spending time working and relaxing outdoors. I also take a lot of back-road day trips with my family in search of new subject matter. Many of my paintings are built from elements discovered during these journeys. B+T - You’re known for your barn paintings. What makes you so passionate about this subject? JY - As a young man, I worked as a day laborer for local farmers. I think it was during this period that I gained an appreciation for many of the subjects that now appear in my work. Of course I didn’t realize the importance of these elements for many years, and I had an epiphany the day I realized my focus. B+T - Who are some of your favorite painters? JY - Dead painters include Andrew Wyeth, Edward Hopper, Edgar Payne, and Rockwell Kent. A few of my favorite contemporary artists are Eric Fischl, Anselm Kiefer, Anne Packard, and Russell Chatham. B+T - Where do you see your art progressing in the coming years? JY - I consider light to be the most important element in my paintings. This allows me the flexibility to alter my subject matter, while still maintaining the painting style that I am known for. I don’t see myself leaving the agricultural theme completely behind anytime soon, but to grow as an artist, new ways of sharing my vision will become necessary. B+T - When you’re not painting, what are you doing? JY - Spending time with my family is a priority. We include our daughters in just about everything we do. I used to play a lot of golf before kids. I gave that up, and now when I have a bit of personal time, I enjoy shooting at the gun range I built on our farm.

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B+T - What is your favorite rural location and activity? JY - Spending time with family and friends on our farm is by far my favorite place to be. Another favorite rural location is Malabar Farm State Park, which happens to appear in my work on a regular basis. B+T - What is your favorite urban location and activity? JY - My favorite urban location nearby is the Short North in Columbus. I show at the Sharon Weiss Gallery, so I like to stop and visit. We also enjoy the restaurants and retail stores in that area. Visiting any urban location is a nice change for me since we live in the country. B+T - Who are your favorite up-and-coming artists? JY - My favorite up and coming artists are my kids! Some of my favorite regional artists that we collect include: Richard Morse (sculptor), John Mulcahy (painter), and Dawson Kellogg (glass). Find more at jamesyoungartist.com.

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cra p a l a chi a : a bi ogra p hy of a place

Randy French “I knew [Nathan] believed in something that none of us ever do anymore. He believed in the nastiest word in the world. He believed in KINDNESS. Please tell me you remember kindness. Please tell me you remember kindness and joy...” Grandma Ruby is a quilter. She makes quilts of fabric, to sell to people from Ohio, “…because it says homemade on the tag.” And Ruby sees quilts­—in the patterns of the mountains, in the arrangements of the graves in the graveyard, and in the vacant sites where mine-camp homes once stood. Ruby has crafted another quilt, as well. She has made a quilt of her home, made from the wood of another home that had once been bought for eight dollars, a home where “…the snow came beneath the door in the wintertime.” She has pieced together home-making, cooking, and caregiving to make a life that, like her quilts, has depth and dimension, that “…wasn’t a … symbol of anything. It was something she made to keep her children warm.”

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ave you been looking for an authentically good book for a very long time? Well, I have and I’ve found one.

Crapalachia is Scott McClanahan’s memoir about growing up in West Virginia. It is about the place, and the people, who populate that place: about family and about death. Mr. McClanahan’s book is about the passage of time, and the saving of remembrances before they disappear forever. Crapalachia is about the patterns that construct the fabric of people’s lives. “The theme of this book is a sound. It goes like this: Tick, tick, tick, tick, tick, tick, tick. It’s the sound you’re hearing now, and it’s one of the saddest sounds in the world.” In the book, you will find wonderful, colorful characters, like Grandma Ruby, who is a quilter, a homemaker, and a caregiver for her palsied son, Nathan, who loves checkers, women, and beer. You will find Little Bill, Obsessive Compulsive Disorder sufferer.

Little Bill is a quilter, of a kind, as well. Quilting is repetitive. Bill has OCD, he engages in repetitive behavior, piecing things together to cope with the voices he hears, to make sense of his life. He weighs himself—fifty times a day—and he sprays Lysol. Bill tells the story of the Greenbrier Ghost, and he recites the elevations of the nearby mountains. “He was telling us something important though. He was telling us about where we were from. He was telling us about home.” Scott McClanahan is a quilter, too. The pieces he uses include lists: OCD symptoms, tasks performed by Rhonda, mining deaths by year and a list of who he loves. He uses events, and deaths and funerals, and people to make his quilt. He asks important questions about who makes the plans and who is in charge. Grandma Ruby plans; she is a quilter, and “…they might be taking care of her now, but she was still the boss around here.” Like his grandma, Ruby, Scott McClanahan has crafted a quilt from memories, people, and places that should be saved. OK, it is not a quilt, it is a book. Scott McClanahan is not a quilter; he is a writer. Judging by Crapalachia, he is an extraordinarily good writer, who I hope will be crafting many more books for years to come. Crapalachia will frequently make you laugh out loud, and it will occasionally mist your eyes. Read this book! Mr. McClanahan made it for you, and it will keep you warm. BROADWAY+THRESHERautumn2013.............101


w hen hi stor y shif ts

Generally over the years, I’ve become a bit wary of surprises despite those reliably delightful moments on birthdays and holidays. As life teaches, surprises can mean leaky pipes, flat tires, and inoperable software. A while back, I was surprised by the announcement of a new lifestyle magazine being published by a young man who had relocated to our small village from the nation’s capital to open a bed and breakfast. I soon realized he was multi-talented as he settled into village life. Gee, his carrot cake jelly won first place at the state fair! Since I’ve known Andrew, the surprises have fallen reliably on the plus side. His B&B is charming, he loves animals and collects them like marbles, and he takes a genuine interest in the village he calls home— joining the local chamber of commerce and finding his own creative ways to connect with the community.

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Evelyn Frolking But then, my eyes really popped when he and publishing friend, David, dubbed the magazine they were brewing up Broadway+Thresher (and note the +). Good heavens, I thought, these are just street names in our town of Granville, Ohio. Broadway and Thresher actually do intersect, and I live on Broadway. Only yards from my 1890’s farmhouse, Thresher Street drops down from the highest hill in town and the site of Denison University and dead ends. Just like that, Broadway and Thresher. This surprise gave me the opportunity to see the familiar through new eyes, the figurative through the literal. When Granville, Ohio, just east of the state’s capital of Columbus, was platted in 1805, founders from Massachusetts laid out their new town in twentyfour city block rectangles. Two main arteries, a 165 foot wide, east-west street called The Broadway with four lanes and center spaces, and the 99 foot wide,


two-lane north-south street, Main Street, intersected the plat as key navigational corridors. The notoriety of the grandest street in the country in New York City no doubt gave rise to the name “Broadway” as “broad ways” popped up around the country as areas settled. As Broadway stretches from the town center in both directions, it narrows into two lanes. At its west end, it is abruptly forced into two lanes by the rising of Sugar Loaf, a 100 foot high hill designated as common property in the original town plat and later a public park. The hill was heavily quarried during settlement to build stone foundations, but now stands tree covered.

gave his family home to the school for use as a conservatory of music in 1897. But through new eyes, history shifts ever so slightly. The lines between the rural farmer or generous professor and the urban glitter and glam of Broadway so cemented in our psyches soften. “Rural. Urban. Inclusive.” What a pleasant surprise.

A thresher, man or machine that separates grain from straw, may seem to be the genesis of Thresher Street’s name. More likely, however, this small street that snakes up the hill to the west entrance of the college was named in honor of A.U. Thresher, a professor who

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n ove m b e r-d e ce mber 2013: the hol i day issue c e le b ra te wit h color!

subs cr i be a t b roa dwaya n dt h re sh e r.c o m /s u b sc ri be


+amy and david b u tl e r a n d t h e ir tex t ile in sp irati ons +fo o d, h o m e , a n d garde n in g fo r t h e h o liday season

issu e 3, holiday 2013


B+T

see more halloween inspiration at broadwayandthresher.com


B+T, Issue 2