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Martin Cate’s Peachtree Punch

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Peachtree Punch Recipe Martin Cate Smugglers Cove

As one of the first contemporary bartenders to apply the craft cocktail principles of quality ingredients and diligent technique to the tiki template, Martin Cate rejiggered this 1970s Trader Vic recipe one ingredient at a time. Where the original calls for canned peach halves, Cate opts for fresh. He also adds lemon juice for an extra jolt of acidity, while natural peach liqueur replaces schnapps and a house-made coconut cream stands in for store-bought.

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Mastering the Peachtree Punch With Martin Cate

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Peachtree Punch Recipe Martin Cate Smugglers Cove

The 1970s were not a great decade for tiki. It was then that the nuanced, layered recipes of the midcentury began their inevitable slide towards the insipid concoctions that would come to be known as “boat drinks.” The Peachtree Punch was created in 1971.

“This is from the bad part of tiki,” says Martin Cate of the recipe that debuted on the opening menu at Trader Vic’s Atlanta location. As a former Trader Vic’s bartender (he worked at the San Francisco location for a short period in the early 2000s), Cate is intimately familiar with the Peachtree Punch, a drink that was hugely popular at the time of its creation and remains relatively so today. “I hated making these,” says Cate, “so I said ‘I’m going to beat this drink.’” 

As one of the first contemporary bartenders to apply the craft cocktail principles of quality ingredients and diligent technique to the tiki template, Cate rejiggered the recipe one ingredient at a time. Where the original calls for canned peach halves, Cate opts for fresh. “I thought about how to engineer this so it has a little more appeal to it,” he says, “leave the skin on because there’s a lot of great acidity in the skin that you don’t want to lose.” Cate amplifies this effect with the addition of lemon juice. “It gives it a little more acid for balance because it never had that,” he says. 

The orange juice component remains much the same, around three ounces, but Cate insists on it being freshly squeezed. Similarly, natural flavored peach liqueur, from Mathilde or Combier, stands in for schnapps, while housemade coconut cream, which includes a measure of salt, takes the place of the corn syrup-laden store-bought examples. “You’ve got a little extra salinity to help boost the flavors,” he explains. As the base, a lightly aged, blended rum along the lines of Plantation 3 Star or Real McCoy 3 Year, offers a stronger backbone to the recipe than the “relatively forgettable” young rum of the original.

In combining all of these ingredients, Cate and the Smuggler’s Cove team toyed with the idea of creating a frozen version, before ultimately settling on flash blending the ingredients with a measure of crushed ice. “The original drink is done in a blender, so we did try it frozen and I just thought it wasn’t as satisfying,” he says. “It tasted much better muddled and flash blended.”

For brightness and the desired mouthfeel, Cate adds a small amount of sparkling water (“Just so it doesn’t taste too leaden”), while the finishing touch comes courtesy of “lots and lots of fresh nutmeg.”

For Cate, the Peachtree Punch 2.0 represents the rescuing of “a fundamentally good idea—that peach and coconut are nice together,” he says. “It’s sort of like… reclaiming a demon.” 

Mastering the Peachtree Punch

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Garret Richard | Bartender, Existing Conditions

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Garret Richard

A radio producer turned tiki enthusiast, Garret Richard left the mixing board behind to focus on mixing drinks. Born in New York City, but raised in Los Angeles, Richard returned to the East Coast to study at Fordham University, working as an on-air producer for the school’s NPR-affiliated WFUV as a graduate student. But while the lure of a radio career initially brought Richard back to New York, it was bartending that kept him there.

His first gig came in 2011 under Julie Reiner at Monkey Bar. A year later, he decamped to Prime Meats, where he launched a popular “Tiki Takeover” series. Interested in the design and music elements of tiki since childhood, Richard was a natural mark for the potable offerings of the genre once he came of age. “Sippin’ Safari was my first cocktail book,” says Richard of Jeff “Beachbum” Berry’s influential tome. “After reading it, I never looked back.”

In 2015, Richard joined the opening team at Slowly Shirley, working a tiki touch into the beverage program. He currently splits his time behind the stick at Major Food Group’s Michelin-starred ZZ’s Clam Bar; Exotica, a contemporary tiki pop-up he helms at The Raines Law Room at the William; and Existing Conditions, the Greenwich Village bar from Dave Arnold, Don Lee and Greg Boehm.

So, what does Richard do when he’s not bringing tiki to the masses? Here, he tackles our Lookbook Questionnaire to share the very strange Mint Julep order he once received, how a great rum changed the way he makes drinks and the Beach Boys.—Drew Lazor

Current occupation:
Tiki evangelist at Exotica; rhum pusher at Existing Conditions; bolo tie model at ZZ’s Clam Bar.

What do want to be when you grow up?
Disney Imagineer Tony Baxter.

Best thing you ever drank:
A glass of Lemon Hart 15 Year Jamaican rum circa 1950 from rum collector Stephen Remsberg’s private collection. After an afternoon at his home, I completely changed the way I blend rum in cocktails.

Worst thing you ever drank:
Demi-sec banana wine from a Guadeloupe duty-free store.

First time you ever got drunk:
D.J. Reynolds in Midtown Manhattan as a college freshman. The bartender poured me a Myers’s and Coke. In retrospect, I appreciate that I started my drinking career with Jamaican rum.

If you had to listen to one album on loop, for the rest of your life, what would it be?
I have always had a deep love for the Beach Boys album Wild Honey, but since its full remaster in the Sunshine Tomorrow box set, it has stolen my heart all over again. If I was to choose an instrumental album, I would go with Ultra Lounge Volume 1: Mondo Exotica, as it was the album that got me into tiki in high school.

What’s the weirdest hobby you currently have or have had?
Lifelong pinball player. When I first entered the space at Existing Conditions, I spotted my favorite pinball machine peeking out of the back, a Williams FunHouse. This was a machine I was so obsessed with as a child I had my own name for it: “The Man Wake Up,” due to the animatronic dummy lurking inside. Needless to say, after I saw that blast from my past, I knew Existing Conditions was my new home.

What do you know now that you wish you’d known five years ago?
Kohala Bay rum will go extinct. The rum that brought the magic to the Black Magic cocktail and other Mai Kai classics today no longer exists. Hopefully, in the next five years I can work with someone to recreate it. The category of black rum is criminally overlooked by rum producers.

Weirdest cocktail experiment you’ve ever attempted:
At one of my early tiki nights, I married fresh watermelon to Underberg in a swizzle called the Water Pistol. I have never revisited that cocktail but I still wonder how that combination came to fruition.

What’s your favorite thing to do when you’re not eating, drinking or drink-making?
I love to listen to new albums. I have a queue too large to ever fully listen through, but I enjoy when I can pick out five or 10 albums that I’ve never heard and relax. I resisted Spotify for a long time but I am now fully hooked and enjoy making playlists on there.

Weirdest drink request you’ve ever gotten:
Mint Julep, little ice.

Your favorite bar, and why:
I am torn between the Mai Kai and the Tiki-Ti. With a group of friends, there is nothing better than roaming the vast paradise of the Mai Kai especially after bellying up at the Molokai bar for that first round. When I am alone and want to meet new people, I seek out the Tiki-Ti and its vast mystery box of 90-plus cocktails. The Tiki-Ti hosts a true community of regulars that will make you feel at home. Both bars have inspired many of my cocktails and continue to motivate my work.

Best meal you’ve ever had:
The bar at Eleven Madison Park, New Year’s Day 2018. A flight is delayed. A group of friends goes to EMP on a whim. Cocktails are had. Steam is blown. Many laughs are shared. It was the kind of meal where details of the food and drink are hazy but the memories shared are crystal clear.

What’s your go-to drink in a cocktail bar?
I will usually pick something with rhum agricole to start. I’m still shocked when a “cocktail bar” doesn’t carry any agricole.

Wine bar?
Lambrusco, funky whites, French rosé. If it is bitter cold, I will enjoy a nebbiolo.

In a dive bar?
Session IPA, a utility Scotch and soda, or a gin on the rocks with lime.

Your preferred hangover recovery regime:
Sleep, followed by B12, potassium gluconate and milk thistle supplements. A green shake later in the day is also a godsend.

The one thing you wish would disappear from drink lists forever:
Overly specific verbiage. Cocktail menus often choose to use more elaborate language to bolster the amount of work that went into the cocktail while sacrificing guest understanding of what the drink actually tastes like. For example, one could refer to a house-made cardamom extract as “N2O-infused cardamom 151 white rum” or just “cardamom” in a menu description. I would prefer the latter. Tiki menus of the early 1960s often kept language simple and distilled the profile of the drink down to its key points, leaving an air of mystery to many libations. We could learn from that practice.

The last text message you sent:
“Borage.”

The post Garret Richard | Bartender, Existing Conditions appeared first on PUNCH.

Tiki’s Goth Streak

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tiki bar noir last rites false idol

Darkness, these days, is a cottage industry. We’ve got dark musical comedies (Crazy Ex-Girlfriend), melancholy superheroes (Batman vs. Superman), morose cartoons (BoJack Horseman), noir comic reboots (Riverdale) and studies that point to a record number of contemporary songs written in minor keys. “______ but dark,” could stand in as the tagline for almost any aspect of our current pop cultural moment.

Given our lean-in toward malaise, perhaps it’s fitting that our most beloved fantasy bars have gone a little dark, too.

Consider “goth tiki,” a term writer Camper English bestowed upon a group of establishments that opened last year all with theatrically morbid themes. For example, Last Rites, a new tiki-inspired bar in San Francisco, enacts a “plane-crash-in-the-jungle” theme, with a rickety fuselage ceiling, fraying airline seats and a giant skull embedded in one wall. Owner Justin Lew describes the aesthetic as a nod to “Polynesian noir,” a niche in midcentury pulp adventure novels and Americana. “We wanted to present an immersive concept that sidestepped tiki,” he says.

For decades, tiki has been trending lighter and more evocative of a tropical getaway, says Lew, but he wanted a way to honor the doom and danger in classic tiki without getting into the appropriation of cultural artifacts trope. And perhaps this moody version of tiki is on the rise now because our time seems to call for it. It’s tiki, but the gritty reboot—the drink world’s version of a pop song sung in a minor key.

That this interest in darker iterations of tiki has coincided with the revival of classic tiki may be no coincidence. After all, the midcentury version of tiki was always meant to be mysterious and other-worldly. Daniel “Doc” Parks, the general manager of Zombie Village in San Francisco, says that the intention behind his bar, despite its moniker, wasn’t tiki-noir. “I believed that we have been lumped into that genre because of our name,” he says. Zombie Village was, in fact, designed with classic tiki in mind (its name nods more to the classic Don the Beachcomber creation than the living dead), employing artisans to create woodcarvings and thatched huts. But between the fiber-optic night sky and skull-studded “Voodoo Lounge,” the bar is undeniably suffused with dark elements when juxtaposed with the brighter, banana-leaf-clad iterations of tiki.

At San Diego’s False Idol, a classic tiki revival bar, leaning into tiki’s dark side was intentional. “We wanted to illuminate the mysterious and dark intrigue in design rather than go bright and pastel,” says lead bartender and partner, Anthony Schmidt. He notes that total immersion into a new world was the goal. “It’s so hard to feel ‘lost’ or immersed in a patio bar with a tropical beverage in hand, or in a bright pastel location with art deco shapes and accessible décor,” he says.

How this dark moodiness gets translated into tiki cocktails is a less linear equation; tiki drinks, by nature, are tropical and fruit-forward. But they do have their theatrically morbid monikers—Zombie, Scorpion, Painkiller. Just add an opaque skull mug and the occasional pyrotechnic and you’ve got a crushed ice drink masquerading as a brooding adventure fantasy.

But many tiki drinks are also a solid example of the ambiguous camp-but-serious feeling that infuses so much of dark pop culture. It’s fruity but super high-octane. It’s sweet but served in a skull-mug with dry ice. It has an umbrella garnish but is wickedly complicated to make. And these “goth” tiki bars take those contradictions a step further by dragging the traditional tiki recipes and concepts into the 21st-century bar paradigm. There are high-proof tequila-based tiki-style drinks instead of just rum or a Zombie rebuilt with actual Jamaican ingredients. It’s not unlike Riverdale, the noir Archie comic reboot: modern day sensibilities against a dark, retro set-piece leading to that uncanny feeling of Which decade are we in again?

But the question remains: Why exactly is all of this getting lost in the fantastically morbid so appealing to us now? Looking at the rise in sad pop music may give us a few clues. One theory goes that an aesthetic of sadness and ambiguity rather than just plain-old happy makes us feel smarter, while others say that the Top 40’s tendency toward minor keys is a byproduct of us being more in touch with all of our feelings, both happy and sad. Another posits that pop music is darker because people are worried about “economic struggle and limited prospects for the future.”

There’s certainly an element of escapism to “goth” tiki, as there was when classic tiki was created. The 20th-century tiki experience is often described as an immersive escape from The Great Depression, World Wars and cultural upheaval. It doesn’t take much to extrapolate that logic to our current era of political instability in which we’re equally thirsty for distraction.

But can it really be the same sort of escapist effect given that the audience has changed so much? Bar builders might be able to approximate the phantasmagorical experience of walking into a midcentury bar, but drinkers today know more about the cultures tiki was attempting to evoke. We know more about how the world turned out post-World War II. We know what climate change will do to island communities. And we know the narratives on exploration and colonization have shifted. Today, when we experience the trappings of classic tiki, we may not be looking so much for a tropical island escape as we are role-playing a certain kind of 1950s American ordering a Mai Tai.

And it’s that particular element of “goth” tiki—and by extension, the dark Batman and Archie reboots—that may be the most escapist and melancholy part: It’s a safe darkness because we already know how that era of history or that story turns out—unlike, perhaps, our own.

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Getting Dressed With Tiki Pirate Brian Miller

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brian miller tiki

When the average bartender gets ready for their shift, the process is, for many, much as you’d expect—they put their pants on one leg at a time like the rest of us. But for Brian Miller, the self-proclaimed tiki pirate and the co-owner of The Polynesian in Midtown, Manhattan, there are other factors to consider.

“Sometimes when I wear the lighter color sarongs, I have to coordinate my underwear,” says Miller as he walks me through his collection of around 30 sarongs, which, along with war-inspired face paint, skull-bedecked headbands and custom-printed Vans, have become a signature of his style.

It all started when fellow bartender Joaquín Simó returned from a trip to Bali with a sarong as a gift for Miller. “I was like ‘Oh this is fucking cool’,” says Miller, who donned the newest addition to his wardrobe at the inaugural Pouring Ribbons edition of “Tiki Mondays with Miller,” his bygone tiki pop-up. (Simó also sported a sarong that night.) “After that I started buying more sarongs,” he says. 

Currently, half of the closet space in his one bedroom Brooklyn Heights apartment is dedicated to aloha shirts, sarongs and sashes (a preventative measure used like a belt to ward off would-be prankers from pulling the sarong down), though it’s easy to imagine the percentage increasing before long. His home already has the aura of a captain’s stateroom: paper parasols resembling enlarged cocktail umbrellas double as light fixtures, a rattan peacock chair occupies one side of the living room and skulls and crossbones abound. “I started making tiki drinks and then all of a sudden it just took over my personality,” says Miller, “and now I just can’t get away from it, and I’m not sure if I want to.”

On any given day, Miller might be dressed in an amalgamation of Polynesian-inspired garb—a sarong bearing the sovereign flag of Hawaii, a tiki totem necklace and a replica of the headband worn by Johnny Depp’s character, Jack Sparrow, in Pirates of the Caribbean. It’s an ensemble that has ruffled more than a few feathers, and Miller is no stranger to funny looks from passersby—especially when it comes to the sarong. But he remains unfazed. “It’s fun and silly—and, frankly, it’s the most comfortable piece of clothing I’ve ever worn.”

Mornings at Brian Miller’s Place

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Does Anyone Really Know What Tiki Is?

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Tiki Cocktail

When the first-ever Pearl Diver Punch emerged from a discreet bar at Los Angeles’ Don the Beachcomber in the 1930s it signaled a dramatic shift. The drink, festooned with a geranium leaf and edible flowers and served in a bespoke glass, was the antithesis of the spartan three-ingredients formulas—Manhattan, Martini, Old-Fashioned—that had defined the bar world’s status quo for the last half-century. It belonged to an entirely new category of cocktail.

Today we call it tiki, but it wasn’t always so. “Back in the day, during the Golden Age of what we now call tiki drinks, they were never called that,” explains Jeff “Beachbum” Berry, the genre’s leading historiographer. (It was only after the drinks had faded from mainstream phenomenon to cultural artifact that the name emerged, borrowing from the central motif of the genre: tiki totems.) During their midcentury heyday, what we now refer to as tiki drinks were known interchangeably as exotic cocktails, tropical cocktails, Polynesian drinks or, in Don the Beachcomber’s parlance, “rhum rhapsodies.”

It was, in part, the very drama of these eye-catching drinks—the Shark’s Tooth, Missionary’s Downfall, the Zombie—that allowed the specifics of the genre to evade codification for so long. The formulas themselves, with their complex blends of rums and unusual modifiers like falernum and orgeat, were ruled by a certain behind-the-scenes rigorousness. But from the outside, the imprecise notion that “you know it when you see it” has long dictated the limits (or lack thereof) of tiki. “When you start calling something a tiki drink, now you have to define that,” says Berry, “but nobody did define that right when the drinks were being created.”

Tiki began as a contrived fantasy borne from the mind of a single individual: Don the Beachcomber. It didn’t take long for imitators to crop up, broadening the fantasy world to include an even wider array of drinks and décor in cities across the country. Not unlike today’s Star Wars or Marvel franchises, the rich source material of Don the Beachcomber’s original vision has allowed the genre to continue evolving, bound together less by hard-and-fast rules than by a broader core identity. To try and retroactively apply constrictions to the genre proves challenging because, as Berry puts it, “you’re creating parameters that never were for a category that never was.”

But there’s a reason—beyond the human need to label, sort and categorize—that we continue to quibble over the meaning and parameters of tiki; it’s the same reason that the library of volumes dedicated to the topic grows larger by the day, and new bars devoted to its legacy are on the rise: There’s something singular about tiki drinks—something that gets lost when tossed under the umbrella term “tropical” or the notion that “you know it when you see it.”

So what is a tiki drink, exactly?

“It all comes down to the punch formula,” says Berry, referencing the classic Planter’s Punch, a West Indies staple since the colonial era, the components of which are immortalized in a well-trod-out rhyme: one of sour, two of sweet, three of strong and four of weak. Tiki takes this baseline recipe and fractures each requisite component into multiples of each. It is, as Berry concludes, “a Caribbean drink squared, or cubed.”

Where a typical punch recipe might call for lime as the sole sour element, tiki will call for lime and grapefruit, or even lime, grapefruit and passionfruit. For the sweet element, in place of just simple syrup, honey or maple syrup might also make an appearance. But perhaps most significant is the amplification of the “strong” component. Never before in the history of the cocktail had a mixed drink doubled down on the base spirit by splitting it into multiple rums, or even multiple spirits, like rum, Cognac and gin in the case of Trader Vic’s Fog Cutter. Doing so would become a hallmark of the style.

“It’s a baroque Planter’s Punch,” says Martin Cate, owner of San Francisco tiki mecca, Smuggler’s Cove. “Tiki has a clear definition of what it’s supposed to be,” he continues, “it has to have sour, sweet, spirit working in equal and interesting ways, complex ways, and it has to have—in my take—some kind of spice component to it.”

Indeed, spice is a key component of many tiki recipes, particularly those drawn from Don the Beachcomber’s library of work. (His proprietary syrup, known as Donn’s Mix, was a central component to many of his recipes and consisted of grapefruit juice and cinnamon syrup.) But can tiki’s entire identity rest on such a minute detail as a dusting of nutmeg or cinnamon atop a multi-rum base?

Yes and no. But a more concrete answer begins with explaining why, for instance, a Piña Colada is categorically not a tiki drink. With its pineapple wedge and umbrella it certainly looks the part. At its core, however, its rum-pineapple-coconut construction lacks the requisite sour element of a Planters Punch (and, in fact, many Caribbean classics like the Daiquiri and the Mojito). Created in the 1950s at a resort in San Juan, the Piña Colada slots better into a category known as “resort drinks” or “boat drinks,” which, by the 1970s, had subsumed the title “tropical.”

This conflation of terms undermined another key point of differentiation between tropical and tiki—namely, that the latter sparked a robust culture that went well beyond a genre of cocktails, to span architecture, decor, sculpture, glassware, cuisine and apparel. At one point the difference between a tropical drink and a tiki drink was defined by where it was served.

Today, however, the two find themselves once again intertwined, this time under the elevated umbrella of “craft cocktails.” The same forces that rescued both the stalwarts of the Golden Age of cocktails and the maligned disco drinks of the 1970s have worked their magic on their tropical brethren. What happens, then, when the Piña Colada borrows from the tiki textbook and adopts a multi-rum base as it has in so many modern variations? Served at a tiki bar—as it often is—it starts to look a lot like a tiki drink.

Tiki’s very adaptability has allowed it to not only imprint on tropical drinks, but other non-tiki drinks as well. Which is why, at bars like Chicago’s Lost Lake or New Orleans’ Latitude 29 you’ll find a Painkiller—essentially a Piña Colada with orange juice—or a Daiquiri comfortably alongside updated versions of the Mai Tai or Fog Cutter. It’s made the line between tiki and non-tiki ever harder to distinguish, prompting the question of whether there’s even really a need for one.

We can agree to some of tiki’s essential ingredients, formulas and techniques, but the patterns that repeat are just as important to tiki as those that don’t. Perhaps the most critical facet of tiki, like any great fantasy genre, is its adherence only to the limits of our own imagination.

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Old Scratch

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“It’s a tiki-style serve, of course,” notes Ramage. “But I wanted to reach for something different,” instead of the usual rum. Hence, a Scotch-based tiki drink.

The drink also was inspired by Ramage’s ongoing search to find coconut flavor that didn’t come in a can. The answer? Dried coconut, “the dehydrated, desiccated coconut like the kind your mom used to make coconut drops when you were a kid,” hydrated and enriched by whey, a by-product of cheese manufacturing. Just as the whey is upcycled and enlivened, Ramage says the “Old Scratch” name harkens back to taking something traditional — in this case, Scotch — and giving it new life as a tiki drink.

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What the Fez?

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smuggler's cove tiki bar fez

A primary prerogative of the modern tiki revival has always been the recreation of the past. Devotees of the genre have spent countless collective hours unearthing and deciphering cryptic recipes, reformulating extinct rums and tracking down original 1950s bric-a-brac in the name of restoring the tiki bar to its former midcentury glory. You’d be forgiven, then, for thinking that the fez—the traditional Turkish headdress that appears as a recurring motif across tiki mugs, backbars and atop the domes of dedicated bar goers—boasts a historic tie-in to the tiki world, perhaps even to Don the Beachcomber or Trader Vic himself.

“It’s not connected in any way to the original era—stylistically, culturally or anything,” says Martin Cate of the headgear in question. Yet at Smuggler’s Cove, Cate’s award-winning San Francisco tiki bar, the Rumbustion Society—an internal club that promotes rum education—bestows a signature embroidered crimson fez, as well as the title “Guardians of the Cove,” to second tier participants. So how did the fez cross over into tiki’s modern iconography?

The answer goes back only as far as the 1990s, a time when tiki was undergoing an early revival. Josh Agle, a Southern California–based artist better known as Shag, was exhibiting several of his midcentury-inspired paintings at a tiki-themed exhibition in Hollywood, some of which featured Shriners drinking at tiki bars. “Shriner iconography and apparel was a minor fascination for me since the early 1990s,” explains Shag of his interest in the Shriner fez, something the order officially adopted in 1872 in a nod to the fraternity’s Arabian theme. “My very first art show in 1997 featured paintings of both tiki culture and Shriner scenes, but it wasn’t until I did a painting called ‘Two Heavy Drinkers’ in 1998 that I decided to combine my two interests and feature Shriners in a tiki bar,” he says. Shag’s crossover with the tiki world only increased when he began designing collectible tiki mugs in the early 2000s.

While “Two Heavy Drinkers” is a fictional depiction (“Both Shriners and tiki were associated with drinking, so it seems like a natural fit,” says Shag), Cate notes that it’s more than plausible that Shriners, among other secret society members, drank at tiki bars, citing the proliferation of both society culture and tiki culture in midcentury America. “One thing we do know is in the 1950s, fraternal organizations and secret societies were a lot more popular and a lot more common than they are now,” he explains. “Whether you were a Lion, an Elk or a Freemason or a Shriner—whatever it was, chances are you had cocktails at a tiki bar.”

At Smuggler’s Cove, Cate adopted the headdress for his Rumbustion Society simply as part of the “gamification of the concept,” which involves bestowing tokens on guests after reaching certain checkpoints in their rum-drinking journey. It’s a prime example of how the felt headdress—which sits at the center of a Venn diagram of secret societies, role-playing and tiki—has become a sort of shorthand for a large swath of fantasy culture. To underscore this point, at Fez-o-rama, a specialty online retailer of bespoke fezes, popular designs include an icosahedron, a twenty-sided die associated with role-playing games, and a purple-and-copper-colored dragon from Dungeons & Dragons, described as the “perfect fez for your next dungeon campaign.” When the Fraternal Order of Moai was founded in 2005 as a social club for tiki fanatics, with chapters across the country, naturally they commissioned a distinctive fez for senior members.

Tiki’s adoption of the fez as a leitmotif in its modern iconography might seem, at first glance, entirely random—a conflation of concurrent trends that have little in common other than sharing an era and an inquisitive painter in the 1990s. But on closer inspection, the fez—a symbol of tradition, luxury and the exotic—fits. It is, in some ways, the perfect emblem for the genre, which has fantasy baked into its core, and which has long drawn on the visual identities of other cultures to further its own fantastical vision. Even drinking through a tiki menu feels like a choose-your-own-adventure game in which users must navigate the hazardous world of the Ankle Breaker, the Shark’s Tooth and the Zombie. With each successive order, you’re buying deeper into the fantasy. A few more Scorpions and you, too, might become befezzed.

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Scotty Schuder | Owner, Dirty Dick

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bartender scotty schuder

A former brothel in Paris’s 9th arrondissement may not seem like an obvious destination for Painkillers and Daiquiris. But at Dirty Dick, the California-born Scotty Schuder has transformed the red-light destination into a modern day tiki oasis.

After visiting Frankie’s Tiki Room in Las Vegas, a tiki revival bar that opened in 2008, Schuder was drawn to the theatrics of the drinks and was immediately determined to create his own tribute to the genre. Back in Paris, he took over the shuttered mafia-run brothel and cleaned up the space—keeping only the name. Since opening its doors in 2013, Dirty Dick has become a fixture in the city’s cocktail scene and a worthy port of call for any tikiphile.

A key player in the modern tiki revival, Schuder’s drinks call on fresh fruit and house-made syrups, bringing the quality of his cocktails back in line with what Don the Beachcomber would’ve served before tiki’s decline in the 1970s. Schuder, who sports a bicep-sized tattoo of the Beachcomber’s likeness, hews closely to the original formulas of tiki’s bygone greats, rebalancing recipes only when differences in modern ingredients call for it. One of the bar’s most popular recipes is his take on the Missionary’s Downfall, which swaps out lime juice for lemon and dials back the honey mix to account for the concentrated sweetness of crème de peche. While Paris is far from tropical, Schuder has created a bar to help guests forget about that—even if lasts for just one drink.

So what does Schuder do when he’s not perfecting his tiki chops? Here, he tackles our Lookbook Questionnaire to share the weirdest drink request he’s ever gotten, his universal bar order, and the first time he got drunk in Vegas. —Tatiana Bautista

Current occupation:
Owner of Dirty Dick.

What do you want to be when you grow up?
Bartending on a beach.

Best thing you ever drank:
Havana Club Silver Dry Daiquiris at Sweet Liberty for Stuart Hudson’s birthday with John Lermayer. Surrounded with friends and bar family. It was so bittersweet.

Worst thing you ever drank:
The Hurricane at Pat O’Brien’s. I was warned, but I’m a glutton for punishment, I guess. It should come with a shot of insulin.

First time you ever got drunk:
My brother took me out to (still my favorite dive bar) The Double Down Saloon in Las Vegas. We were celebrating my graduation from High Desert High School. Beers and shots later, I don’t think I even made it two hours before being taken home. I remember everyone on The Strip laughing at me while I projectile vomited from the window of the car.

If you had to listen to one album on loop, for the rest of your life, what would it be?
Songs for the Deaf by Queens Of The Stone Age

What’s the weirdest hobby you currently have or have had?
Bartending.

What do you know now that you wish you’d known five years ago?
How much money it costs to own a bar. SACRE BLEU!

Weirdest cocktail experiment you’ve ever attempted:
Making cocktails without alcohol.

What’s your favorite thing to do when you’re not eating, drinking or drink-making?
Whooping my son’s ass at ping pong or pinball.

Weirdest drink request you’ve ever gotten:
A grown man asked me for a strawberry milk, and yes, he was alone. Second contender is when I was asked to microwave this man’s beer because it was supposed to be drunk at room temperature. NAH BRO.

Your favorite bar, and why:
Dirty Dick. We have been through so much together!

Best meal you’ve ever had:
I believe that anytime I’m lucky enough to feast with friends and family, that is the best meal ever.

What’s your go-to drink in a cocktail bar?
Beer, a shot and a Daiquiri.

Wine bar?
Rillettes, Camembert, and a bottle of Bourgogne.

In a dive bar?
Beer, a shot and a Daiquiri.

Your preferred hangover recovery regime:
Beer, a shot and a Daiquiri.

The one thing you wish would disappear from drink lists forever:
The word “speakeasy.”

The last text message you sent:
“I didn’t plan on drinking so much but the mushrooms were not as strong as I would of liked them to be.”

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Mastering the Blue Hawaii With Garret Richard

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Blue Hawaii Tiki Cocktail Recipe

Created at the Hawaiian Village Hotel in 1957 by bartender Harry Yee, the Blue Hawaii is perhaps the most misunderstood cocktail in the tiki canon. Originally made with rum, vodka, pineapple juice and sour mix, its reputation was sullied by the same forces that brought tiki to its knees in the 1970s: artificial juices and a deference to corn syrup. The Blue Hawaii suffered a second blow by its conflation with the saccharine, yet similarly named, Blue Hawaiian, a cobalt-tinted take on the Piña Colada. But Garret Richard saw the cocktail’s potential.

“This drink telegraphs a specific time and place, 1950s and ’60s Hawaii,” says Richard, a torchbearer for the modern tiki revival. “I felt it was my duty to craft a drink that brought guests back to that era with one sip.” Having served other people’s versions of the drink as well as his own personal riffs for years, Richard eventually went back to the drawing board. “I thought . . . maybe I should just take it back from square one and see what the true intention of this drink is,” he remembers. “I needed to get it to a place where nobody could say anything about it—a classic cocktail drinker would like it; somebody who is color-blind would like it.”

With this as his guiding principle, it took Richard more than a year to arrive at his perfected recipe, which hews closely to the original; where Yee calls on sour mix, Richard opts for his own sweet-and-sour combination of lemon juice and lime cordial; for the all-important blue Curaçao, Richard relies on Giffard’s version, which supplies layers of orange flavor—candied, sweet, bitter—and, of course, the signature ultramarine hue.

In a slight departure, Richard reduces the pineapple juice from three ounces to an ounce and a half. It’s a move that prevents the drink from becoming overly diluted (and overly frothy) when he flash-blends the mixture with crushed ice—another departure from Yee’s original drink, which was simply built in the glass. “An ounce and a half is more than enough to get the pineapple across,” explains Richard.

But perhaps the biggest liberty Richard has taken is in the base spirits. Traditionally made with an equal split between unaged rum and vodka, Richard maintains the rum component—he uses Plantation 3 Stars for its relatively heavy body compared to other young rums—but swaps gin, specifically Plymouth Gin, for vodka. “I always thought that the Blue Hawaii had a really interesting use of vodka, which is there to sort of dry out the rest of the cocktail,” explains Richard. “But I’ve found that Plymouth Gin works even better.” The gin in question, however, is fat-washed with coconut oil, a move that yields what Richard describes as “a whisper of coconut.” It both tempers some of the harsher flavors of the gin, leaving just the botanical profile, and doubles as a subtle nod to the rival Blue Hawaiian. “There’s sort of a war between those two drinks,” explains Richard. “I wanted to be able to satisfy all of those expectations.”

Lastly, Richard serves the drink in a Hurricane glass (“something tall that will show off the foaminess of the pineapple”), and, in keeping with the original, tops the whole thing with an orchid, a pineapple wedge and pineapple leaves. “A fan of the drink shouldn’t know that any changes were made,” explains Richard. “They just should know that it’s really good.”

Garret Richard's Blue Hawaii

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Garret Richard’s Mai Tai

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The winning cocktail in our recent blind Mai Tai tasting comes from Garret Richard. It had richness, flavor to burn and personality. With a few drops of saline, each and every one of the ingredients pops.

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In Search of the Ultimate Mai Tai

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best mai tai cocktail recipe

After years in the wilderness, when the drink ranked at best as a has-been—a faint memory of a more carefree, fun-filled drinking era—and at worst as a liquid punch line, the Mai Tai has finally come home.

“I think it’s in a good place,” said Paul McGee, co-owner of Chicago’s Lost Lake and a judge in a recent PUNCH blind tasting of 10 different Mai Tais culled from bartenders across the United States.

Jelani Johnson, most recently of Clover Club, and a tiki torchbearer of note, agreed. “I think it’s timeless,” he said. Austin Hartman, owner of the tropical bar Paradise Lounge in Ridgewood, Queens, where the tasting was held, appended that: “A timeless, but unsung, hero.”

The drink certainly wasn’t unsung that day. The three tiki titans, joined in the judging by me and PUNCH senior editor Chloe Frechette, spent two hours delving into the finer points of the cocktail. So, what makes for a good Mai Tai? Turns out, a good many things.

“It’s supposed to be dry, but it should have body,” explained Johnson. “It should showcase the rum. It should have a good backbone of almond-y, syrupy fat, and it should be refreshing.”

“Rum. Weight. Dryness,” agreed Hartman, distilling Johnson’s assessment down to CliffsNotes size.

The twin garnishes of mint and lime, too, were important. “Your nose should be buried in that mint,” said McGee, while pointing out that the herb is strictly there for the nose’s benefit. “There’s no mint in the drink. It’s exclusively aromatic.”

A classic Mai Tai is often topped by the spent hull of a lime that has just surrendered its juices to the drink. Many bartenders shake the drink with the lime shell, believing it adds a little something extra flavor-wise. McGee called the first time he shook with the lime shell “revelatory. It added to the drink.”

A bed of crushed ice was important to most of the judges, who believed that the drink needed to stay cold, and that dilution led to a desirable evolution of the flavors. (Frechette and I, living our lives on the other side of the bar, respectfully disagreed. We preferred to enjoy the drink while it was fresh, cold and potent.)

Unexpectedly, given the Mai Tai’s status as a long-standing classic, and all the adjustable parts in the drink—two rums, orgeat, simple syrup, lime juice, Curaçao and mint—the panelists did not think the cocktail lent itself to variations and modern spins. The submitted recipes reflected this stance. Where past “ultimate” tastings staged by PUNCH have typically included a few curveball entries and outright losers, the ten Mai Tais largely hewed to the classical model.

“It’s a hard drink to riff on because it’s so solid,” said Johnson. “The only thing you can riff on is the choice of orgeat and choice of rums.”

Of course, choosing those rums—one Jamaican, one Martinique, according to Trader Vic’s original 1944 recipe—is critical. (Though the battle over authorship of the drink is long and tangled, no one on the panel disputed Victor Bergeron’s claim of ownership. “It has his stamp all over it,” declared McGee.) Following Vic’s original formula, however, is not an option, as he used 17-year-old Wray & Nephew as his Jamaican rum, a potion no longer available.

“For me it all comes down to the rum,” said Johnson, “because you’re trying to create this rum that none of us have ever had.” Hartman opined that neither of the two rums in the recipe should dominate, but that the drink should represent “a beautiful marriage of the two rums.”

Not surprisingly, the ten competing recipes called for many different bottlings, the most common ask being various expressions of Appleton Estate.

All were acceptable expressions of the drink, and most were downright pleasing. Still, when the ninth of the ten selections arrived, it was greeted with a unanimous chorus of “oohs,” “aahs” and “yums.” The contest was over.

This was the Mai Tai of bartender Garret Richard. It had richness, flavor to burn and personality. You could taste each and every one of the ingredients, and also, the panel suspected, a little something else. They weren’t wrong. Richard added five drops of saline to a mix that including one ounce of lime juice, ¾ ounce Latitude 29 orgeat (specifically made for the New Orleans bar Latitude 29), ¼ ounce Grand Marnier, ½ ounce Clément Créole Shrubb (a blend of agricole rhums, Créole spices and bitter orange peels), ¾ ounce Coruba Jamaican rum, 1 ½ ounces of Denizen Merchant’s Reserve and the aforementioned spent lime wedge.

Denizen also had a starring role in the drink that came in at number two—the recipe from Martin Cate of San Francisco’s Smuggler’s Cove. In fact, Cate consulted on the production of Merchant’s Reserve, a blend of eight-year-old Jamaican pot-still rum and molasses-based rhum grande arôme from Martinique, with the aim of creating a spirit faithful to Trader Vic’s formula. Joining two ounces of the rum in the drink were ½ ounce Pierre Ferrand Dry Curaçao, ½ ounce of Smuggler’s Cove’s own orgeat, ¼ ounce of the bar’s “Mai Tai rich simple syrup” and ¾ ounce lime juice. It was deemed a benchmark Mai Tai, though less dry than numbers one and three.

Third place went to one of the judges, Jelani Johnson, who offered a combination of 1 ½ ounces of Appleton Estate 12 Year Rum, ½ ounce Rhum JM Blanc 100, ¼ ounce Worthy Park Single Estate Reserve Jamaican rum; 1 ounce lime juice, ½ ounce Clément Créole Orange Shrubb, ¼ ounce of the Brooklyn-made Orgeat Works T’Orgeat, ¼ ounce Orgeat Works Latitude 29 orgeat and a teaspoon of 2:1 rich cane-sugar syrup. The judges found a fruity abundance of mint, lime and orange in the glass and a long finish.

All three winning drinks answered the panel’s collective Mai Tai needs, leaving the judges in a blissed-out reverie in which they kept sipping at the winning drinks long after the contest was over. Even Tom Roughton, the bartender who prepared all the cocktails, joined in on the lovefest.

“It’s like sour rum nut candy,” he said, helping himself to another sip.

The post In Search of the Ultimate Mai Tai appeared first on PUNCH.

Bring Back the Queen’s Road

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queens road tiki cocktail recipe

We live in an age of tiki transparency—an age in which falernum is a backbar staple, and Gardenia Mix is no longer an inscrutable mystery whose composition is known only to Don the Beachcomber insiders. But for every Zombie, Pearl Diver or Test Pilot that’s earned newfound notoriety, dozens of other recipes originating from tiki godfather Donn Beach still fly beneath the radar. Take the Queen’s Road, a Daiquiri deviation buried deep within the Polynesian panoply that’s overdue for its moment.

Lynnette Marrero, bar director of New York’s Llama Inn and the newly opened Llama San, came upon the royal build in the pages of tikidom’s sacred text: Jeff “Beachbum” Berry’s 2007 Sippin’ Safari. “I was always playing around with the recipes he had. I just found the Queen’s Road, and it really stuck,” says Marrero, who first poured it for paying customers around a decade ago, at the short-lived Manhattan lounge Woodson & Ford.

The cocktail can be traced back to the Hollywood location of Don the Beachcomber, where, in 1941, it was priced at 85 cents (about $14 today). Likely named after the colonial thoroughfares tracing Hong Kong’s northern coast, the Queen’s Road is an anomaly even within Beach’s own oeuvre.

Instead of an intricate base comprising numerous rums, the Queen’s Road relies on just one: an ounce and a half of Puerto Rican gold rum. Where many tiki drinks of the time demanded elaborate barware, this one called for a simple stemmed glass—downright demure compared to the kitschy vessels typically associated with the genre.

Subtle as its composition may read, however, the Queen’s Road is not lacking in personality. Honey, a signature Donn Beach touch, joins the rum; rounding things out are lime and orange juices, shaken with a tongue-tingling ginger syrup, which Marrero believes is the key to its charm. “It’s funny—I started putting this drink into the rotation before the whole Penicillin and Moscow Mule kick really hit,” says Marrero, noting the crowd-pleasing nature of the two ginger-forward cocktails.

In her updated version of the Queen’s Road, Marrero makes one significant tweak from the version Berry extracted from the scribblings of Mariano Licudine, a revered, prolific Beach protégé who’d go on to open the Mai-Kai in Fort Lauderdale. “That’s the thing when you’re demystifying the drinks in Jeff’s books. Often, you’re trying to find products that don’t exist anymore,” says Marrero. She notes that the Puerto Rican gold rums available today bear little resemblance to the ones Beach and his contemporaries worked with in tiki’s midcentury heyday, so she opts instead for a much older spirit. “Aged rums are far more rich and robust, and the ginger works well with all those natural flavors,” says Marrero, who counts Guatemalan Ron Zacapa and Guyanese El Dorado among her go-tos.

In another slight deviation from the original, Marrero prefers a rocks glass for serving—“I just like this drink with ice down, instead of tall,” she says—but otherwise sticks to the original plan unearthed by Berry’s detective work, down to the orange juice. “Orange juice is kinda taboo as an ingredient. It doesn’t ever seem like it adds anything,” says Marrero. But here, alongside the rum’s underpinnings of citrus peel and zest, she observes, “it’s a beautiful note.”

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The Secret Lives of Tiki Fanatics

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Wendy Dan Cevola Tiki Collector Sacramento

If Wendy and Dan Cevola opened the windows in their Sacramento area home, jungle-like greenery accompanied by an otherworldly glow would immediately come into street view. From the outside, it looked distinctly like a marijuana grow room. But the Cevolas weren’t growing weed. For the past two decades, the couple has been stocking their home with one of the world’s greatest tiki collections, illuminated by bespoke mood lighting.

“We had to warn the police,” recalls Wendy, noting that their “Jungle Room”—a Rainforest Café lookalike with tiki mugs scattered throughout—ran the risk of rousing suspicion. “We didn’t want them to kick down the door!”

The Cevolas began their tiki collection in 1997, eventually acquiring around 10,000 pieces—mugs, carvings, plates and artwork—worth nearly half a million dollars. While Dan had long been a collector of vinyl records, he made the crossover after picking up a copy of Tiki News (Otto von Stroheim’s seminal tiki publication) on a whim at Tower Records. “[It] totally just clicked with him,” explains Wendy.

As is so often the first step with tiki collectors, the Cevolas began looking for mugs at garage sales. Their first score was a bucket mug from Stockton, California’s The Islander, a tiki hot spot in the 1960s and ’70s. It didn’t take long after that first acquisition for tiki to take over their lives, despite the fact that neither of them particularly liked to drink, apart from a glass of Champagne here and there. Nevertheless, the two would make a point to visit tiki bars on their travels, picking up souvenirs along the way. “We thought of buying tiki mugs the way other people think of going to the movies,” explains Wendy. “You have your entertainment, and then it’s gone. But ours was there to entertain us for years to come.”

Eventually, Wendy, a nuclear medicine technician by day, started designing her own mugs—a topless hulu girl in a coconut “hot tub” in particular has become a sought-after item amongst collectors. (“Men love that one because she’s bigger than a triple-D,” Wendy notes.)

As of two years ago, before they decided to downsize, the Cevolas had built the biggest tiki mug collection in the world. Ceramic mugs and tiki paraphernalia packed their backyard, part of their garage, their dining room, their kitchen, and their family room, where totems surrounded the TV; they were in downstairs bedrooms, upstairs bedrooms, every hallway and, of course, Dan’s “man cave.” A total of 27 7-foot-tall bookcases, spread throughout the house, were packed to the verge of overflow with tiki mugs, numbering in the thousands.

“We have no children and we started thinking, ‘What would it be like for our heirs to deal with this when we pass away?’” says Wendy, who is only 68. Just last year, they decided to downsize, inviting tiki mug collectors over for a series of eight garage sales where they sold around 8,000 items.

At Home With the Cevolas

Their first buyer was a local friend, Vance Klinke, who acquired about 200 pieces to add to his personal mug collection, which now totals just under 800. The regional director of admissions for a college, Klinke has a passion for the work of Michael “Gecko” Souriolle, known for his mixed medium artistry that extends to larger tiki vessels and serving bowls. After having discovered Gecko’s work on Facebook, Klinke reached out to the Hawaiian artist to commission a bespoke item: a Mr. Bony Trophy Skull mug, which has become his most prized piece in the collection.

If the Cevolas collect mugs as souvenirs, Klinke collects mugs for their artistic value. “I particularly enjoy developing relationships with the artists,” he explains, listing other creators he admires, including Scott “Beachbumz” Taylor and “TikiRob” Hawes. “I feel a sense of pride that I can own great examples of their work.”

But it wasn’t just locals who looted the Cevola stash. Eric Allred flew down from his Seattle-area home and returned the same day with a suitcase packed with 40 of their mugs, including some one-of-a-kind Tiki Bob Maori mugs that Wendy herself had made. (Tiki Bob is one of the most ubiquitous styles of mugs, with his dotted eyes and oversize grin.) Unlike the Cevolas, Allred, a Google technical program manager by trade, is a recent tiki convert, but his descent into mug madness has been rapid. Today he has over 600 mugs, many of which live in his “Sneaki Tiki Lounge,” a converted toolshed in his backyard that doubles as a home tiki bar.

Unlike the Cevolas and Klinke, Allred actually drinks out of his collection. “It horrifies other collectors,” he says of using his mugs, some of which are worth hundreds or even thousands of dollars. His collection includes a number of designs from contemporary artists, like Munktiki, a family-run manufacturer from Astoria, Oregon, as well as rare and unusual designs like a Boba Fett coconut mug and a zombiefied Skipper and Little Buddy, which certain diehard collectors might view as falling outside the bounds of traditional tiki. But, Allred reasons: “If I can drink a Mai Tai out of it, it’s a tiki mug.”

Not far from Allred, in Lake Stevens, Washington, Jeff Nelson has amassed around 230 mugs, though he takes a different tack—exclusively seeking out vintage tiki mugs from bars that no longer exist. He has one from Aku Tiki, a long-forgotten bar in Lincoln, Nebraska; another from the once-famed Kahiki Supper Club in Columbus, Ohio. His crown jewel is a crudely made, hand-scratched mug from the Trader Vic’s that was once located in Waikiki. He displays his findings throughout his entire home, which he’s dubbed Hala Kahiki Tiki Hale (Hawaiian for “The Pineapple Tiki House”). With scores of Polynesian artworks adorning the walls, blowfish lamps, wooden parrots and a bamboo ceiling, the space functions as a sort of private club for tiki enthusiasts.

Like Allred, Nelson chooses to use his mugs. “One thing I love is grabbing an old mug, making myself a drink in my home tiki bar, holding it in my hand, and thinking, ‘Gosh, this came from the Bali Hai [in San Diego] in 1962, but now here I am drinking from it,’” he explains. “It makes you feel differently about your cocktail, drinking from something so nostalgic—and such a great piece of art, too.”

For Wendy, however, there is another allure to collecting. “The most fun part is when people come over to our home for the first time, and they see the Jungle Room,” she says. “I still pull out my camera and take a picture, because their mouths just fall open.”

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All the Tiki That’s Fit to Print


Amaro’s Tiki Moment

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amaro tiki cocktail recipe

According to conventional bartending wisdom, you can’t run a tiki bar without a bottle of Angostura bitters. Since Don the Beachcomber mixed his first Zombie in 1934, Angostura has brought its signature spice-laden aromatics to countless tropical drinks, doubling as decorative adornment atop mountains of crushed ice. But when it comes to the bitter profile, aside from the Campari-laced Jungle Bird, you’d be hard-pressed to find many drinks in the tiki canon that call for amaro. A look at the cocktail menus at some of the country’s top tiki bars, however, indicates that a shift is underway.

“I have yet to meet an amaro I didn’t want to make work,” says Anthony Schmidt, beverage director of San Diego’s compact tiki den False Idol, where 35 percent of the drinks on the current 20-drink menu feature amaro. While the familiar yellow-capped Angostura remains in heavy rotation at False Idol, Schmidt considers introducing “bittered and spiced ingredients” like amaro “the new move.”

The classic tiki formula, which consists of layers of spirits, spice, fruit notes and aromatic ingredients, is the ideal companion to the inherent complexity of amaro. In addition to viscosity and varying levels of bitterness, amaro can also offer warming background notes of citrus along with tiki-friendly herbs and spices like licorice, allspice and cinnamon.

“Our cocktails are all about layers, and the herbaceous, bitter flavors of amari are the perfect foil to ripe, tropical fruits and round, funky rums,” say Shelby Allison and Paul McGee, co-owners of Chicago’s Lost Lake. In addition to amaro’s natural-born ability to play nicely with rum, Allison and McGee turn to the flavorful Italian liqueurs to lower the proof of a cocktail without sacrificing flavor. Coming in at 16.5 percent ABV, the versatile artichoke-based Cynar has become a gold-star amaro on the tiki backbar. Schmidt is drawn to the ingredient’s “deep, round flavor” and “intense bitterness,” while McGee finds its bittersweet and savory profile especially complementary when used alongside key components of tropical drinks, such as aged rums, coconut, coffee and grapefruit.

Cynar is likewise a key ingredient in Chris Elford’s 2020 Visions, a drink created to ring in the New Year at Seattle’s Navy Strength. “It’s one of the most crushable drinks we’ve ever created,” says Elford. “It reads so sweet, but the bitterness and savory qualities of the Cynar and the acid of the pineapple, grenadine and lemon all balance it out.” Across the street at Rob Roy, Elford, who is well versed in amaro from his time working at New York’s Amor y Amargo, recently added the Volunteer Park Swizzle as a tribute to the drink’s creator, the late and beloved Seattle bartender Marco Haines. This sharp and bitter take on the Queen’s Park Swizzle is spiked with the aggressive, fernet-like amaro Santa Maria al Monte—a 40-percent-ABV amaro made with aloe ferox, juniper, myrrh, rhubarb root and bitter orange peel—alongside a spicy ginger syrup, honey and lime. “Marco understood working with amari at a preternatural, Inception-type level,” explains Elford. “At the end of the day, you don’t have to be an adventurous drinker to like this drink, despite almost every ingredient being polarizing.”

Bartenders are also reaching for bottles from beyond Italy’s borders to add complexity to tropical drinks. Germany’s infamous Jägermeister, for example, makes an appearance in Music That Stays On for Extra Days, a Zombie-like creation that Allison and McGee call “a sessionable take on a notoriously non-sessionable tiki cocktail.” It was only after trying the Flaming Jäger at New York’s Existing Conditions, a simple drink consisting of hot Jägermeister and a lemon twist, that McGee warmed to the idea of taking the German liqueur seriously as a cocktail ingredient. “We use it along with Suze and Campari not only because we want layers of bitter herbaceousness, but because we want this cocktail to hit all the parts of your tongue beyond that up-front bite,” says McGee. “That funny little German amaro turned out to be the exact perfect ingredient that ties this low-ABV Zombie riff together,” adds Allison.

The overlapping spiced profiles of amaro and traditional tiki templates proved the most compelling draw for the team at False Idol. “Tiki cocktails tend to be perceived as sweet or confectionary,” says Schmidt, “but the bitterness lightens the drink and begs guests to have more.” Among the favorites of the many amaro-spiked tiki drinks at False Idol is the Tuscan Toucan, which pairs Amaro Montenegro, a sweet and lightly bitter bottling with notes of tangerine, cucumber and black cherry, with high-proof Jamaican pot still rum, cinnamon syrup and a trio of fresh citrus juices. “Montenegro has lovely mild savory green herb, peppery tasting notes, adding a dynamic twist on the typical baking spices commonly found in exotic cocktails,” says Schmidt. “It adds intrigue. It’s a thing you taste but can’t quite explain. It’s mysterious and lovely.”

As the amaro market continues to expand in the United States, the category is creating deeper footholds in the tiki world. The inherent terroir of many bottles of amaro adds to the sense of escapism and adventure often evoked by tiki and tropical drinks. As Elford explains, “If the purpose of the drink is to transport the mind, why not reach for an ingredient that features spices from faraway places?”

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Now Entering the Virtual Tiki Bar

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Animal Crossing Tiki Bar

In many ways, Trader Francis’ seems like a typical tiki bar. There are bamboo stools and lanterns. Tiki torches, of course. The laidback owner wears a Hawaiian shirt and an Indiana Jones hat and welcomes you from behind his bar. But other elements seem slightly askew: A mounted wooly mammoth skull hangs on one wall; a complete skeleton lingers in another corner. The floor is made completely of sand. Also, an anthropomorphic raccoon dressed in boardshorts might just wander in as you pick up your cocktail. That’s because Trader Francis’ is not real, but a user-designed tiki bar on the Nintendo Switch game Animal Crossing: New Horizons.

“The first weekend [it came out] we were sitting around, drinking tiki drinks, playing the game,” says Cliff Lungaretti, a tech producer who lives in Brooklyn. “Our character was laying in a hammock on the beach. That led to, ‘We should design a tiki bar.’”

Quarantined since March 15, Lungaretti and his wife Mary Frances (for whom the bar is named), have been passing time with Animal Crossing: New Horizons since its release on March 20. The latest installment in the simulated-life video game series, Animal Crossing became an immediate sensation and, like Tiger King and Fetch the Bolt Cutters, a pop cultural pandemic touchstone.

Like The Sims, the game really has no “point” beyond designing your own private island within a larger network of bespoke islands. (Other players can visit you if you “open” your island airport.) The ability to customize has, of course, led to players recreating the places they most miss in the real world—namely, tiki bars.

“This is exactly how I’ve been building my island,” says Regina Belmonte, who lives in the Philippines, where there is currently an alcohol ban. “Miss pizza, build pizzeria. Miss coffee, build café. Miss clubbing, build a club. Miss cocktails by the beach, build a tiki bar.” Her tiki bar isn’t based on one spot in particular, but rather the collective vibe of beachfront tropical bars on Filipino islands Boracay and Siargao. Set on a large rock, her “sunset” tiki bar has Zen cushion chairs and bamboo tables, coconut drinks and a DJ booth.

Trader Francis’, however, is inspired directly by some of Lungaretti’s real-world favorites. Places like Dirty Dick in Paris, Otto’s Shrunken Head in Manhattan, San Francisco’s Last Rites and the Disney-based Trader Sam’s Enchanted Tiki Bar, the latter of which he and Mary Frances had been planning to revisit, prior to shelter-in-place orders.

Likewise, Justine Hamer, a professional 3D artist, patterned her basement tiki bar after some of her favorite haunts in California, notably Tonga Room in San Francisco, Stowaway in Costa Mesa and Twisted Tiki in Orange County (“I’m not one to turn down a Scorpion Bowl,” she says). She created a thatched roof for her stall, set moody lighting, and raided the Animal Crossing Nook Stop—a catalog where islanders can buy everything from clothing to homeware—for any and all “vacation-themed” items. “If only I could find those glass buoys or some fishing nets,” she laments.

By scouring Reddit, Facebook and Instagram, I’ve realized the game must be embedded with hundreds, if not thousands, of user-designed tiki bars. However, it’s not simply a matter of populating a basic bar template; Animal Crossing is rated appropriate for children, so bars and alcoholic drinks aren’t built into the game’s infrastructure. To build a tiki bar requires repurposing—a dark den desk becomes a bar top, bamboo stools become side tables, a wooden vendor stall becomes an al fresco walk-up bar. Lungaretti excavated Trader Francis’ mammoth skull from his island and, rather than donating it to the local museum, stuck it on his wall. For most, their island’s coconut shells are transformed into what look like cocktail vessels.

More skilled users like Hamer, who works in visual design for a living, can render their own elements. Using the Island Designer app allows players to create and upload their own custom designs. For her bar, Hamer painted a blank canvas to appear like a backbar of bottles. (On a popular private Facebook group, Animal Crossing Designers, players share custom designs, like neon signs and Margarita menus, providing unique QR codes for other players to download.)

These workarounds may seem complicated, but one Redditor, who goes by the handle Litleboony, looks at it like an aesthetic escape. She’d been planning a vacation to Montenegro when COVID-19 hit, and so dove into the game, modeling her “little” tiki bar after the beach bars she’s visited in Bali. “Animal Crossing has been a really useful tool to get away from the mundane interior of my own house and imagine that I’m somewhere else, soaking up the atmosphere over a cocktail,” she says.

Perhaps it seems silly—the idea of building a virtual bar only to invite other gamers’ virtual characters over for virtual drinks, but in many ways, it aligns with the well-trodden territory of tiki culture. Tiki has always been about escapism, and those drawn to it have been conjuring up portals to imaginary worlds for decades. The tiki bars of Animal Crossing simply take it one step further: escapism within escapism.

The post Now Entering the Virtual Tiki Bar appeared first on PUNCH.

Mapping the Mai Tai

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mai tai cocktail

Few classic cocktails come without their historic trials. The Martini has been shaken, stirred and thrown, and struggles with an ongoing gin-vodka identity crisis. The Old-Fashioned has tussled with oranges and cherries and gets mistaken for a brandy drink whenever it crosses the Wisconsin state line. The Daiquiri’s run-ins with various members of the fruit family are legion. But the Mai Tai, its fun-loving reputation notwithstanding, can match them woe for woe.

It is, as Martin Cate observed in Smuggler’s Cove, “the most bastardized drink of all time.” With the revival of tiki culture during the last decade, the king of tropical drinks has recently returned to form. It is “in a good place,” as Paul McGee, an owner of the tropical Chicago bar Lost Lake, observed during a 2019 PUNCH blind tasting of the drink.

It took a long time to get there, and this may be the first comfortable spot the Mai Tai has enjoyed in half a century. During that fraught interval from the 1950s to the ’00s, the simple (by tiki standards, at least) mixture—just a half-dozen components, including two rums, orgeat, simple syrup, lime juice and Curaçao—has had to fend off pretender ingredients of every sort, including any juice you can think of, every rum in the book, falernum, Pernod, bitters, grenadine and, God save us, gin.

Most cocktail historians maintain that the Mai Tai was born in 1944 at Trader Vic’s in Oakland, where Victor Bergeron, aka Trader Vic himself, invented the world’s best-known tiki drink on the spur of the moment for two friends visiting from Tahiti. But the drink was not an instantaneous hit. Little was written about it until the mid-1950s, according to Jeff “Beachbum” Berry, tiki author and historian. When it did eventually catch on, the true recipe was difficult to parse from the countless imitators. “Since the recipe was a Trader Vic trade secret,” said Berry, referencing the extreme furtiveness that accompanied proprietary tiki recipes at the time, “bars could just throw whatever they wanted into the glass and say it’s a Mai Tai. Back then, there were no cocktail geeks with iPhone recipe apps to argue with them.”

But when Bergeron took the drink to Hawaii, the trouble really began. In 1953, he taught the genuine article to bartenders at the Royal Hawaiian Hotel in Honolulu, but that recipe did not hold for long. In order to satisfy increasing tourist demand for the drink, hotels throughout the islands cut corners. Cheap rum and pre-mixes (“Mai Tai mix” was heavily advertised and easily bought beginning in the 1960s, in Hawaii and elsewhere) came into play and most recipes substituted softer and more place-appropriate pineapple juice for the original spec of tart lime juice.

“On the 50th anniversary of the birth of the Mai Tai, the state of the most popular tropical cocktail in the Pacific is shaky,” wrote journalist Rick Carroll, reporting from Hawaii for the Santa Cruz Sentinel in 1994. “Some taste like gasoline, others like cough syrup. They burn the throat, produce terrible headaches and generally give Hawaii a bad name. They should be served with a surgeon general’s warning.”

There was at least one bartender who tried to turn the Mai Tai tide in Hawaii. In 1986, an ex–New York bartender named Danny DePamphillis had been hired at Moana Hotel’s Beach Bar and was appalled by the variety of Mai Tais he encountered. “Everybody had a different Mai Tai recipe,” he told Carroll. In an attempt to restore order, DePamphillis tracked down Vic’s original recipe and began to serve it. It didn’t last long, however; patrons preferred the faux Mai Tai, which, according to DePamphillis, contained cheap rums and orange concentrate.

Things weren’t any better in other parts of the world, either. In 1977, the Sydney Morning Herald ran a recipe that read more like a catch-all fruit salad than a Mai Tai: “Cut up pineapple, glazed cherries, papaw, grapefruit, orange, sliced peaches, bananas. Add orange juice, grapefruit juice and pineapple juice, then gin to suit.” Around the same time, the Los Angeles Times printed a formula for a “Mai Tai Punch” that called for “pineapple-grapefruit juice,” orange juice, almond extract and corn syrup. This mixture was anchored by a “fruit ice ring” made of a frozen hoop of mandarin oranges, pineapple chunks and maraschino cherries. A 1968 cocktail guide published by Time-Life thought the drink required apricot brandy. A 1980 British book, meanwhile, called for orange juice and orange slices, and omitted orgeat.

The Mai Tai didn’t right itself until around 2010, when the serious bartending approaches of the cocktail renaissance finally reached the tiki canon of cocktails. Berry began to see correct Mai Tais—that is, formulas that hewed closely to the Trader Vic original and featured Jamaican rums, orgeat and fresh lime juice—at U.K. cocktail pioneers like The Merchant Hotel bar in Belfast and Trailer Happiness in London, and European bars like Door 74 in Amsterdam and Nu Lounge in Bologna. (According to Berry, in the aughts, tiki in Europe wasn’t seen as old-fashioned and hokey like it was in the States, allowing for the continent to lead the charge in its revival.)

By the early 2000s, American bars followed suit. Cate, drawing on Berry’s scholarship, began serving genuine Mai Tais in the Bay Area, first at Forbidden Island in Alameda, then at Smuggler’s Cove in San Francisco.

“When we opened Forbidden Island back in 2006, there was a decision to be made,” remembers Cate. “I wanted to offer a more purist Mai Tai, but we still had a lot of consumer expectations about what Mai Tais had become—frozen and pink when you landed in Honolulu,” he recalls. “So we offered both. We called them the Classic Mai Tai and the Island Mai Tai.  And yes, we would get the occasional Classic Mai Tai sent back because it wasn’t red or didn’t have a float.”

By the time Cate opened Smuggler’s Cove in 2009, he was making his own orgeat, and eventually used a rum he consulted on, Denizen Merchant’s Reserve, a blend of 100 percent pot-still Jamaican rum and molasses-based rum from Martinique, that was meant to mimic what Trader Vic once used, a 17-year-old Wray & Nephew that is no longer produced.

By the mid-2010s, there was an entire tiki bartender army across the United States—Brian Miller, Paul McGee, Garret Richard, Shannon Mustipher, Jelani Johnson—ready to fight for the Mai Tai cause. McGee—who, during early stints in the hospitality business in the ’90s and ’00s, remembers serving Mai Tais made with everything from Crème de Noyaux to amaretto—closely followed the Trader Vic original recipe when he opened the tiki bars Three Dots and a Dash (2013) and Lost Lake (2015), both in Chicago. These considered takes, which lean on a wealth of cocktail knowledge and, of course, rums that were simply unavailable in the preceding decades, have helped restore the Mai Tai to its proper perch as the king of tropical cocktails, a drink once again worthy of contemplation.

Still, some bartenders continue to stray from the straight and narrow. Berry had a Mai Tai just last year made with orgeat derived from avocado pits. “It tasted just as good as that sounds,” he said.

The post Mapping the Mai Tai appeared first on PUNCH.

Elusive Dreams

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Elusive Dreams

The Elusive Dreams, Demi Natoli’s spin on Cuba’s Hotel Nacional cocktail—rum, pineapple, lime, apricot—takes a decidedly tropical turn as she swaps out the apricot in favor of banana liqueur. Natoli then doubles down on the pineapple, using fresh pineapple juice and splitting the rum component between the traditional white rum and Plantation pineapple rum, which is infused with both the rind and fruit of Victoria pineapples. Cinnamon syrup provides a baking spice note for added depth and a nod to Don the Beachcomber’s secret weapon.

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Quarantine Order

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Quarantine Order

Building off the quintessential flavor combination created by Don the Beachcomber, William Prestwood marries cinnamon and grapefruit with passion fruit, lime, Angostura bitters, and heady Jamaican rum in his Quarantine Order. “I wanted to create a drink that could highlight the cinnamon notes in Angostura bitters,” says Prestwood. “I added some lime, passion fruit, and my favorite rums for mixing,” he says, citing the blend of Appleton Estate Signature and Rum-Bar Gold, a go-to mixture his team has since dubbed “Jam Tropics.”

The post Quarantine Order appeared first on PUNCH.

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