12 minute read
The Jade Fountain
Apriums give floral tartness to sangria
Everyone should have a go-to sangria recipe in his or her cocktail repertoire.
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Sangria, when done right, can be a highly refreshing punch that is at home any time of the year.
Sangria can be enjoyed on its own and sipped on a lazy, sunny afternoon, or paired with a delicious meal.
Sangria recipes also can be changed according to the mixologist’s desired flavor profile.
The goal is to avoid making sangria too sweet, which is why recipes often benefit from a variety of tart fruits and fresh herbs.
This recipe for “Aprium Sangria” from Edible Seattle: The Cookbook (Sterling Epicure) by Jill Lightner features sour cherries and Apriums, which are an apricot-plum hybrid.
Apriums come in various colors and flavors.
This sangria offers floral notes and sweetness, but also a touch of tartness from the cherries. When selecting a Sauvignon Blanc to mix in, opt for one that is not too sweet or acidic.
Aprium Sangria
3⁄4 cup pitted sour cherries 3⁄4 cup sugar 2 cups vodka 8 apriums or plumcots peeled,
pitted and diced 1 (750 ml) bottle Sauvignon Blanc 3 12-ounce bottles dry cucumber soda 1. In a small saucepan over medium heat, combine the cherries and sugar, stirring and pressing the fruit to extract the juice and dissolve the sugar. Remove from the heat as soon as all the sugar is dissolved and let cool. Combine the cherries and vodka in a small pitcher and refrigerate overnight. 2. The next day, strain out the cherries, pressing the fruit firmly to extract plenty of juice. In a large pitcher, gently blend the cherry-flavored vodka with the apriums, then slowly pour in the bottle of Sauvignon Blanc, stirring gently. Chill for at least 3 hours. 3. To serve, add a few ice cubes to a highball glass and fill the glass two-thirds of the way with sangria, using a spoon if necessary to make sure each glass has a generous serving of fruit.
Top up with dry cucumber soda and gently stir to combine. Mike Jaros, Ria Meltzer, Joseph Raycraft, Mary and Jim Stukel, Harry Welty, Cindy and Jack Seiler, Brian Smith, Pat and Larry Duncan, Don Macor, Margery Stanley-Meyer, Barbara and Steven Rovinsky, Dennis Elj, Rick Ball, Peg Apka, Jim Suttie, Jacqueline and Ken Moran, Ronald Lampinen, Leonard Lamoureux, Richard Benson, Susan Wollack, Maria and Robert Fierek, Linda and David O’Connor, Nia Buria, Ann Kreager, Kathy Goetze, Robert Britton, Mario Ferrer, Loreen and Edward Engelson, Jason Maloney, Cindy Dillenschneider, Shary Zoff, Frances Kaliher, Paul Roen, Karen and Kalen Johnson, Cecilia Hill, Mark Elden, Patricia Dowling, Ann and Jerome Miller, Carolyn Sheets, Doretta and David Reisenweber, Karen Moore, Joanne and David Sher, Sara Kylander-Johnson, Jeanie Mulford, Rick Rovner, Gary Orwig, Kurt Salmela, Dennis Rogalsky, Elaine Palcich, Bill Lynch, Mary Thompson, Lenny Sandberg, George Erickson, Lindsay Sovil, Sebastian Lamberti, Philip Anderson, Hal Moore, Beth Tamminen, Paul Jorgenson, Ben Effinger, Charlene and Denis Liljedahl, Anita and Richard Paulson, Dawn Thompson, Kathy and Tom Maas, June Kreutzkampf, Marlene and Greg Barto, Lorraine and Russell Mattson, June and Rodger Klosowsky, Ivy Wright, Larry Johnson, Sharon and William Wilton, Ann Scott, Bart Sutter, Stan Eisenberg, Jason Johnson, Dennis Zimmerman, Jack Pick, Walt Prentice, Doris Malkmus, Carol Beach, Judith and James Cherveny, Edith Greene, Marc Elliot, Laura Davidson, Sanford Anderson, Dorothy and Harry Skye, Thomas Waletzko, Karen and Patrick Lucia, Debra Nordman, Margaret Fait, Joanne and John Zarins, Kathleen and William Croke, Barbara Bayuk, Alicia Gaskin, Jo Thompson, Thomas Kermeen, Michael McKenna, Mary Ann Katzmark, Pastor George and Lou Ellen Gilbertson, Kathryn Krikorian, Nordic Center, Carl Etter, Susan Dailey, Karen and Tim White, Dennis Welsh, M. Swartz, Frances and Robert Chammings Linda Dean, Charles Cieslak, Marissa Anderson, Ken DeYoung, Norma Eliason, James Roskoski, Sandra and Gary Peterson, Jean Harden, David Peterson, Donald Myntti, Susan Lehto, Tim Bergstrom, Madonna Ohse, Elmer Engman, Bunter Knowles, Terri Ach, Rebecca Norlien, Sebastian Szczebrzeszyn, Kathy Winkler, Kit Olson, Nina Buria, Patricia Richard-Amato, James Amato, Sean Sundquist, Terry McCarthy, LaVonne and Samuel Schneider, Kit Olson, Margaret Nelson, Robert Berg, Margaret Fait, Mary Dresser, Cheryl and James Haasis, John McGovern, Mary and Roland Doble, Susan Munson, Arthur Pearman, Barbara Rovinsky, Georgianna Henry, Donna Bewley, P. Anholm, Matt Hill, Debbie and Dick Cooter, Victoria and Thomas Karas, Kay and James Kingsley, A. Weber and several Anonymous donors.
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THIS WEEK IN HISTORY
Duluth Herald August 6, 1888 TOOK OPIUM. AN OVERDOSE OF OPIUM NEARLY
KILLS A DULUTH SPORTING CHARACTER.
At 11 0’clock yesterday morning two physicians were summoned to Nellie Richardson’s house of ill fame on St. Croix avenue to attend Nellie Langdon, a woman who has been an inmate of the house for several years, and who was at the point of death from an overdose of opium. They found her in a comatose state and entertained but little hope of eventually bringing her out of her deathlike stupor. From 11 o’clock Sunday forenoon until 5 this morning, twenty hours, they worked unremittingly over her, and finally saved her life. She lay for ten hours in a state of complete unconsciousness. The opium was administered by a nurse to allay neuralgic pains and was given in quantities sufficient to have killed a person of the strongest constitution, not less than an ounce of strong tincture of opium having been administered at frequent intervals.
Duluth Herald
28
August 7, 1890
THEY’RE SLY ONES, SURE.
Fifth District Dems are Awake In Congressional Matters.
A Number of Names of Possible
Opposers of Mr. Comstock.
MINNEAPOLIS (Special to The Herald) – In the fifth Minnesota district, of which Duluth is chief, the democrats are said to be wide awake in congressional affairs. The democrats want a brief campaign. They don’t want Mr. Comstock to know who his competitor is
Duluth Herald August 8, 1900 HOG AND A DOG. They Cause all Kinds of Trouble Which Drifts Into Court.
In the police court this afternoon the atmosphere is twice as humid and sultry as anywhere else about town. John Leeronduski, Frank Pashkewich, Balcer Levandowski and Vincent Sopczick are pronouncing their own names and telling how Leon Prudzinski, Marion Podzurski and Felix Bevdurinski killed a hog and how the hog’s death resulted in the killing of a dog that was nothing more than an innocent bystander.
Four of the accused admit drinking a keg of beer last Sunday afternoon before they went out to chase the pig. As near as could be gleaned from the testimony as it was slowly filtered through the brain of an expert Polish linguist, the hog was not touched, but simply chased, and running a short distance, it became deceased. Within a few minutes afterward a dog, having nothing to do with the hog incident, crossed the pathway of a bullet, and then all the neighbors mixed freely. The case was still on at a late hour and the killing of the dog will result in another case as soon as the hog case is through.
Duluth Herald August 9, 1910
ARRESTED FOR SLAPPING
HER NEIGHBOR’S CHILD.
Because Mary Polasky slapped her neighbor’s 11-year-old son, the mother of the boy had her arrested last evening, charged with assault in the third degree. Mrs. Mike McCallum was the complainant and yesterday appeared before Judge J.B. Flack in search of a warrant. She claims that the Polasky woman slapped her boy and otherwise abused him. The trial was to have been held last evening in the West Duluth justice court and, but one of the star witnesses failed to appear and the case was postponed until this evening. The families reside on North Sixty-first avenue west.
Duluth Herald August 10, 1920 DR. HOKE GETS SECOND TERM City School Head Chosen
With Only One Dissenting Vote.
Treasurer Colman Declares Expenditures Must Be Cut to Bone.
Dr. K. J. Hoke was re-elected superintendent of the city schools for three years by the board of education last night. His new term will begin Aug. 1, 1920.
Director C. G. Firoved cast the only dissenting vote against the re-election.
Dr. Hoke has been receiving a salary of $5,000 a year [Editor’s note: according to the IRS, the average American salary in 1920 was $3,269]. Under his new contract his salary will be $5,500 for the first year and $6,000 for the two succeeding years.
Director Colman, treasurer of the
married is entitled to the $10 a month The action is said to have come as bonus which is given to those who the result of orders received from the remain for the full year period. railroad company to construct wooden board, reported on the school finances.
“We have got to cut to the bone,” he said. “Repairs that are not absolutely necessary to keep the schools open must not be considered. Supplies in excess of what are actually needed must not be purchased. To continue overdrawing our funds will pout us in a bad fix.”
Other school directors agreed and also decided, at the suggestion of Supt. Hoke, to call a meeting of school principals and supervisors on Jan. 21 to discuss measures of economy in school administration.
The board discussed at some length the question of whether or not a school teacher who resigns to be Duluth Herald There are about 400 maintenance-of
August 11, 1922 way men at the Great Northern. 20 MAINTENANCE This number includes bridge repairers
OUT ON STRIKE and section men. The men taking part Day Crew Refuses to Build in the walkout belonged to the first shift Shacks for New Workers. of the day crew.
Twenty maintenance-of-way A petition sympathizing with striking employees of the Great Northern railroaders signed by 159 business men railroad walked out late yesterday, it was was received at Union Labor hall today.
reported to strike headquarters today. shacks for incoming strikebreakers.
Ad appearing in the Aug. 9, 1910, edition of the Duluth Herald.
WARM: An art space for women
In 1976, the doors opened to a new art gallery – the first in Minnesota dedicated exclusively to women artists. During its 15 years of operation, WARM: A Women’s MINN HISTORY Collective Art Space (often referred to as MINNESOTA the WARM Gallery) was HISTORICAL at the center of women’s SOCIETY visual arts programming in the Twin Cities.
Informed by second-wave feminism and in step with the national Women’s Art Movement, the WARM Gallery built a new arts community focused on promoting equality. It gave women artists the professional experiences necessary to compete in the art world and provided public access to women’s art, history and theory.
The Women’s Art Registry of Minnesota (WARM) began in 1973 as a group dedicated to increasing public access to art made by women and creating opportunities for women artists. Membership was fee-based and open to any woman artist in the state.
In its earliest years, WARM achieved its goals in two ways.
First, the group arranged art exhibits Members of the Women’s Art Registry of Minnesota (WARM) gather on the fifth anniversary of the opening of WARM Gallery. Photograph by Judy Stone Nunnelly, 1981.
at galleries, colleges, and public spaces. Second, it formed a slide registry. This registry functioned like a library of images of the members’ artworks and was made available to curators, collectors, educators and the public. Users could browse through the slides in person, request copies by mail or see projections at monthly curated viewings.
Because of these activities, word spread quickly about the group, and WARM’s membership and supportive community grew.
Opening a gallery space was a natural extension of the group’s goals. By January 1976, a lease for a streetlevel space in the Wyman Building in Minneapolis (414 First Ave. N.) was signed, and renovations began.
Thirty-seven WARM members became WARM Gallery collective members. They put in hundreds of
Artists Harriet Bart (left) and Hazel Belvo (right) outside WARM gallery during its presentation of the exhibition Barto and Belvo, 1978.
hours of work to convert the space from a dark, dingy garment workshop to a pristine, white-walled exhibition space.
WARM: A Women’s Collective Art Space opened to the public on April 10, 1976, with an exhibition of the members’ artwork and a celebration that drew more than 1,500 visitors. Renowned feminist artist Miriam Shapiro attended. When interviewed for a Minneapolis Star Tribune article, Shapiro praised the gallery, saying “that it is the most elegant of the five such collective art galleries in the United States and that it is very professional.”
The gallery functioned as a base of operations for WARM’s activities. They included meetings, slide registration, performances, lectures, parties, classes and collaborations with outside artists, museums, galleries, theaters and arts organizations.
During the gallery’s first 10 years, members launched a slide- and taperental program featuring the scholarly and historical work of members and collaborators. They curated an invitational gallery featuring works by Joan Snyder, Harmony Hammond, and many others, and organized an outside exhibition program that promoted the work of members throughout Minnesota and beyond.
Other achievements included a feminist art journal with more than 5,000 subscribers; an acclaimed mentor program; a feminist art lecture series with speakers such as Grace Hartigan, Bettye Saar and Alice Neel; and a national conference, The Contemporary Woman in Visual Arts, with more than 400 scholars and artists.
These ambitious activities were coordinated exclusively by WARM members and gallery members and were partially or fully funded by grants and outside donors. Often, grants came with stipulations that funds could not be used for day-to-day operating costs. The WARM Gallery’s operation costs were therefore funded primarily by its collective membership. Because members rejected the commercial gallery model, sales of artworks went directly to the artists. Other income came from journal subscriptions, multiple levels of memberships, and outside donors.
Around 1987, gallery membership changed as many of its founders left to pursue other opportunities and the next generation of artists joined. This shift, coupled with a growing operational debt and funding shortfalls, led to the closing of the gallery space in 1991. WARM continued, however, as a membersonly group. It changed its name to The Women’s Art Resources of Minnesota and focused on the mentor program and outside exhibitions.
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