2737BC. The passage of time from 2737BC to 2014 is almost incomprehensible to me. The change, the modernisation, the evolution. What is the significance of this date?
This is the year tea was discovered.
Yes, in 2737BC, in China, the Chinese emperor stumbled across a mysterious potion after leaves from the camellia sinensis plant accidentally fell into the water his servant was boiling for him to drink. As a herbalist, he embraced the opportunity to try a new concoction, sipped the delicate liqueur and immediately fell in love; a love that has been shared by billions of people since.
But it is mind blowing to think that tea has been consumed by people for over 4000 years. And perhaps even stranger to think that in Britain, we have only been drinking tea (our saviour, our comfort, our 'pack-your-kettle-last-so-it's-the-first-thing-out-the-lorry') for a short 400 years.
Even so, this is an incredible amount of time to develop the traditions and conventions associated with drinking it, and the tea drinking ritual is one steeped in cultural customs.
It is perhaps a generalisation, but when we think of tea drinking rituals, it is the Chinese and Japanese tea ceremonies that immediately spring to mind: formality, silence, connections to nature, tea as a gift, a way of offering thanks or apologies to a relative.
Rule-governed and purposeful tea drinking? The officialism appears alien to us.
On reflection though, perhaps there is ritualism in our own tea consumption. Doesn't tea follow meal times, help calm our nerves, welcome us home after work, or welcome friends over (imagine not offering a friend a brew after knocking on your door. Ultimate social faux pas), lift our spirits and console us? Although we do not wear robes or kneel down, tea does have significance: comfort, safety, friendship. If this isn't our tradition, then I don't know what is.
Tea is not just enjoyed in the countries mentioned above. Tea has successfully bewitched people in every continent across the globe, which has led to it being branded as the second most widely consumed beverage on the planet after water. Tea's ability to permeate cultures has arguably enabled it to survive these 4000 years, each bringing their own traditions and quirks in which to celebrate this distinctive liquid.
And this is what we will here explore; how tea drinking traditions differ in some of the top tea drinking regions of the world.
China
As mentioned above, in China the consumption of tea is ceremonial. Not only do the Chinese people celebrate tea, but they use tea to formally celebrate or consolidate occasions, such as serving tea at family gatherings, as a symbol of formal apology and as a way of politely addressing and thanking parents for the giving and receiving of partners at weddings.
It is the tastes and aromas of the tea which are at the heart of the ritual. Each utensil is carefully washed or cleansed using the first infusion of the green tea leaves to ensure that the second infusion's taste is not coloured by any foreign bodies, like dust particles, so the tea is pure.
Importantly as well is the way the tea is poured; slowly, in one motion, across all cups (which are small clay pots) and only half full. The other half of the cup is said to be filled with friendship and affection; therefore binding host and guest in their tea drinking experience.
Japan
In Japan, the tea ceremony centres around the making of Japanese Matcha tea; a green tea ground to a fine powder which is world renowned for its excellent healing powers, high concentration of antioxidants and rather bitter taste.
The ceremony is named Chanoyu and focuses on the aesthetics of tea making rather than the taste or smells, making the experience more of a choreographed performance than a quenching of thirst.
The ceremony's composition dates back to the twelfth century and involves the host's serving of the tea, as well as the presentation of the utensils and ceramics used to prepare it, the arrangement of flowers in the space and calligraphy. These items can all be modified by the host to best fit the occasion for which the tea is served. It is also the host's task to have considered their guests' view of the tea at every angle in the space, to ensure that their experience will be one of purity, serenity and tranquility: a weighty responsibility.
The thoughtful consideration that is required for a successful ceremony often ensures that the bonds of friendship between the hosts and their guests are strengthened after the experience is concluded.
India.
In India, tea is served on the streets by Chai Wallahs, or 'tea makers', who blend their spicy chai tea on their stalls at train stations, bus stations and on every street corner.
Authentic chai is milky, sweet and spicy, made from thick buffalo milk, Assam tea, cardamom pods, ginger, cinnamon and often what seems like a ton of sugar. The ingredients can vary, but the ritual of serving generally stays the same: the Chai Wallah brews up all of the ingredients in a large metal pot over open coals which are placed on the stone ground. Once simmering, he pours the liquid through a sieve into a teakettle, then pours the chai into small terracotta pots from a great height. The drinking cups are only used once; consumers throwing them to the ground once they have finished, smashing them to pieces, to allow the clay to get trampled back into the ground.
Chai's popularity in the UK has steadily grown in the past year (it's one if our best sellers!) and it's easy to see why. Chai tea is delicious; warming, spicy, soothing, it's like Christmas in a cup and yet I drink it all year round! OK, we like to have it our way- we tend to brew Chai with hot water rather than in hot milk and individual consumers choose whether to sweeten delicately with honey- but the resulting comfort is the same.
Equally, much of India's tea is renowned for its medicinal properties, mainly because of the strong ties to Hinduism and Ayurvedic tradition: a system that inspires us to live by alternative medicine, ultimately governed through a healthy and balanced lifestyle. Tea blends are therefore steeped in a philosophy that inspires the 'art of living wisely'.
Russia
Rather like the UK, Russia was introduced to tea in the mid-1600s, but whereas we strove to steal the idea from China, the Russian Tsar was given tea as a gift from the Chinese ambassador to Moscow. Of course, he loved it (who doesn't), and quickly a line of trade was organised between the two countries.
Tea in Russia is not just about the liquid itself but about the heat that brewing the tea gives rise to, and the warmth felt through consumption (Russia can get a little chilly at times). Russia's tea ceremony is therefore centred around the use of a samovar; a large metal tea urn with decorative handles and a spout.
Typically, the samovar has more than one layer to it. Simple samovars have a bottom layer housing the hot water, which is actually heated by filling the small soldered pipe that runs through the centre of the urn with hot coals. Above this sits a small metal teapot, often of the same metal material, and a concentrated form of brewed tea, zavarka, is made here before being diluted by the hot water from the urn.
Russian Caravan tea (so named as a result of the camel trains that first brought tea to Russia) must be mentioned here. It is the perfect blend to brew in a samovar as the teas used have strong, dark flavours: Chinese Keemun and Formosa Oolong tea, sometimes with hints of Indian black teas like Assam to add a maltiness to the blend.
Morocco
Inshas Allah, 'with god willing, all good things come with time.' This is the proverb by which Moroccan people brew their tea and signifies the respect they show to the timely process of making the perfect cup.
Morocco is famous for its Moroccan Mint tea; a blend of Chinese green tea, fresh mint leaves and a lot of sugar (often five times the amount of sugar to the amount of tea!)
The tea making ritual is one of leisure in Morocco and if invited to assist in making the tea, you are honoured. Incense is lit and those who are taking part in the serving wash their hands in orange blossom water before they begin.
Firstly, loose green tea leaves are placed in a round bellied teapot with a conical top and long curved spout, and hot water added. Much like in China, the first infusion (left to brew for just one minute, before being poured into a tall glass) is used as a cleanser, this time for the leaves rather than the flasks, to rid any impurities the leaves may have picked up through travel. After this, the loose tea is brewed before adding the sugar and mint.
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The spout is one of importance to the teapot. Curvature to the spout allows for the server to pour the tea from a height of around half a metre into the small glasses below, to create a frothy foam on the tea's surface.
Tea is served often in Morocco: after each mealtime, when entering some shops, to welcome guests in the home and even to mark business deals.
Iran
Tea is also the national beverage in Iran, with tea drinkers enjoying mainly green tea and black tea to quench their thirst or as a comfort, respectively. No occasion can take place without tea being served and, in many regions of Iran, light coloured tea is a marker of disrespect from the host to the receiver. Principally, Iranians like it strong.
Perhaps it is the liking for a keen strength to tea that has led the people of Iran to discount the water as a part of the tea. Through the use of a samovar, Iranians heat the water and simply use and see it as a way of extracting the aromas and flavours thickly from the leaves.
Typically, tea is drunk from glassware and this is held by the rim of the glass between the thumb and forefinger with the pinkie used to balance. Often, held in the other hand, is a large pipe connected to a hookah, or qalyoon as it's locally known; a tall, ornate smoking device that uses hot flavoured tobacco and water. In the absence of alcohol, tea houses, where tea and the qalyoon are served hand-in-hand, act as a social hub where young Iranian people can relax and socialise, much like us westerners would do in our local pub.
Kazakhstan
Kazakhstan is another of the world's biggest tea-drinking countries, with its tradition once again being rooted in the giving and receiving of tea as an act of welcoming and politeness. Guests are offered tea on arrival into a host's home and it is considered impolite to refuse the beverage.
Kazakhs are known, much like the Russians and Turks, to use samovars to brew and serve the tea; however, differently to the Russians, the server only fills the kasirs (which are small, wide-mouthed saucers), to around half full. This ensures that the tea is always served hot: no one likes a cold cuppa (unless it's iced, of course).
The guests to the ceremony are then required to pass their empty kasirs back to the female host as a way if thanking her and showing her respect for that which they have received. She then 're-half-fills' the cups and passes them to her guests once more; a process which continues, creating a graceful, rhythmic and visual ceremony, beauteous to behold.
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Britain
In Britain, (one might have known!) our tea traditions involve food. These customs were developed in the early 19th century, first by the upper classes who championed Afternoon Tea as a way of bridging the gap between lunch, at 12 o clock, and dinner at 8 o clock. Tea was served at around 4 o clock in the afternoon along with small sandwiches, scones and cakes. Heaven.
High Tea is different, although sometimes (incorrectly) the terms are used interchangeably.
In industrial Britain, workers home from the factories and mines would require immediate sustenance after a day of physical hard labour, and so a substantial meal would be served to them accompanied by a cup of strong, sweet tea at around 5 o clock. This became known as 'tea' (which us northerners still to this day sometimes use), and the 'high' aspect is a reference to high backed chairs and higher table the lower classes would sit at to enjoy their tea (whereas the upper classes would be seated in low lounge chairs and have their tea served on smaller, occasional tables.)
Taking time to enjoy tea has always been important in this country regardless of class, right up until the invention of the teabag. When the teabag was born, a dip in quality occurred. Beautiful unfurling leaves slowly releasing layers of flavour no longer existed: a throwaway pouch of powdery black dust, bitter to taste and quick-to-brew lay in its place. We are committed to changing that. Lovers of loose leaf, we are promoting taking time out from your day to enjoy the perfect cup of tea, slowly brewed from high quality leaves. We are bringing back the 'good old days'.
To indulge in a wide variety of high quality loose leaf tea blends, including some of those mentioned in the rituals above, visit The Tea Alchemist at [http://www.teasandremedies.co.uk]
Article Source: http://EzineArticles.com/8764601It's 5:12 am in this peaceful, remote area on the far reaches of Los Angeles. Inside a sprawling, lit-up residence, record label owner Michael Jones types furiously at his laptop while assistants are already buzzing about.
Since 2012, the residence, nicknamed the Kompound, has functioned as a retreat for artists on his dGenerate Records label and KounterKulture Mgmt roster. Danish pop singer Francis Bowie recently spent a month there writing a new album, and the house has been the location for three music videos in recent months.
This morning, instead of listening to music, Jones is facing it. Two young men pack boxes nearby while Jones fires off emails about the Kompound's impending closure. "While we're saddened by its closure, we're also freed," Jones writes. But the expression on his face tells a different story. "I know it's Pollyanna-like, but it's true. At least that's what I keep telling myself, " Jones says.
Keeping his chin up has, at times, been difficult for the music entrepreneur whose efforts to build a full-scale, state-of-the-art recording studio fell apart when investment capital dried up. "There just hasn't been a lot of willingness out there to invest in a project like this and I knew that from the start," Jones explained. "But I've never been afraid of a challenge. I also haven't lost many of them, so this one has been tough to accept."
Indeed, the guy who started out as a freelance music journalist in Los Angeles has built and sold a string of success stories- management, promotions, media and technology-over the last 25 years. I spoke with Jones that early September morning, just after his 50th birthday, to learn how he's turning this loss into a victory.
First, happy birthday!
(Chuckles.) Thank you! It's so nice to be 29!
You don't look a day over it, either. That's remarkable considering the pressure you're under.
Well, even under pressure I take care of myself. Granted, I have an odd lifestyle. I work 20-30 hours in one "workday" sleep a bit then get up and start again. It's just the merging of my hyperactive nature and my drive.
Let's start off with this place, the Kompound. What happened?
The Kompound was one of my pet projects. I owned a couple of properties on the outskirts of LA and thought this one would be a natural. So in 2012 we started the project, restructuring the interior to accommodate a world class recording studio on the first floor. Then the complications ensued. We came up significantly short due to overruns and the investment well was dry. Residential studios are a high-risk proposition in the first place as the business and production of music has changed. But I held tight and gave it my best shot. But the capital wasn't there to continue and the Kompound couldn't generate enough revenue to stay afloat without the new studio. Siphoning money off from my other businesses just didn't make sense. We tried negotiating the loan terms with the bank and that fell apart because there's sufficient revenue overall. They didn't seem to understand a lot of things about what we were doing. By the end of July, it was over. We had to cut our losses.
That leads us to your new project, "Stand Your Ground." How did that come about?
Dealing with the bank helped me understand what people nationwide have been dealing with in the housing crisis here. I had three attorneys working with me and it was a mess. I imagined what folks who haven't got those resources must go through. In our case, for instance, the bank would cite revenue numbers that were foreign to us. I still haven't a clue where they got their information. At bottom, it was clear they didn't want to deal with any of this. It's insane. Of course, we've all read the horror stories of the banks' bad behavior in the foreclosure crisis, but seeing how they dealt with us helped me understand how the system just eats up middle-class and working-class people. I'm not angry that I have to give up a pet project; that's just a business idea that -didn't fly. I'm criticizing the system.
Then one morning around 4 am I was writing the script for a music video when the concept of "Stand Your Ground" just hit me. I jumped up and told my assistant to get every artist we work with online for an emergency meeting. Mind you, I hadn't even sent word about the Kompound's closure. So I held a series of meetings and in the end, every artist signed on to "Stand Your Ground." The support has been gratifying.
The full title is "Stand Your Ground: Music from the New Resistance," is defiant. Are you encouraging people to fight back?
I'll always encourage anyone to fight back, but it's about being able to maintain happiness and hope in the midst of a crisis. "Stand Your Ground" is really about standing up for yourself against any adversity by refusing to be consumed by it.
Were you consumed by your standoff with the bank?
For a cool minute, I was. Luckily I have so many projects underway that I simply can't spend much time wallowing in my anger or sadness. Plus I'm very fortunate to have people around me, including my two sons, who were a huge source of support in my darker moments. But as with everything, it's all grist for the mill. Out of that struggle came an album. Who knows what other good things will come from it.
That's a positive outlook.
I really do believe that everything, even our so-called tragedies, are the foundation for something that will benefit us.
What do you hope to accomplish with "Stand Your Ground"?
That people will hear the underlying message: you can choose to transform the obstacles or losses in your life into something good, or you can let them drag you down.
Who has signed onto the project?
Right now, Francis Bowie is re-recording "Robin Hood" for the project. It's a cool protest song which really spoke to the Occupy movement. In fact, Occupy Netherlands was posting it on their site. Vegamoore and Ze have contributed the sexy dance track "Take You Down."
Are you working with Ze now?
She's not signed with dGenerate yet, but we're working on that. Are you reading this Ze? (Chuckles.) She's collaborating with Vegamoore and we're sending them on a European tour together soon.
At the outset I thought about a compilation mixing a few major artists with performers like Bowie. I thought I'd make these emerging artists the stars of the project, particularly since they used the Kompound the most. I also recognize star power and the benefits it could offer newer artists.
So are you going to include any superstars?
I'll leave that unanswered. We might have a surprise or two, or three, in store. I'll let you know. (Grins.)
Fair enough. You have another project in the works, a compilation early next year?
Early 2015 or late 2014 we'll be releasing the first in a series of compilations called "dGenerations." Very edgy, underground stuff.
You've worked with major label as well as independent, breakthrough artists. Who would you prefer working with?
First, I'd point out that today's indie artist may be tomorrow's superstar; that's my job as manager. But do I prefer them as a manager or label owner?
As manager.
Obviously, your revenue is much greater when your selling millions instead of thousands. If you extract money from the picture, it's a draw. With an established artist you have a much more labor intensive client and problems like bad behavior onstage or off, stalkers, and, of course, the focus of the work is entirely different. It's more exciting.
But working with a roster like I have at the moment is very rewarding. I love artist development, which is a lot of what we did at the Kompound. It's demanding, but really cool.
The biggest challenge when working with new artists is helping them keep their faith in the process. Overnight sensations usually only happen after a lot of groundwork. Nothing just happens like that.
While we're on the subject, do you have any management advice for the unsigned artist?
One rule of thumb is that you only sign artists as management clients when they've been approached by a label. Then they definitely need representation. Prior to that, it's up to the artist and what they need. Some have very little understanding of the music business and need guidance. Do they need management? Absolutely. They need to learn all the ropes of branding, image, publicity. Just learning how to speak with the press is a skill you need to learn. Meanwhile, others have a five-year plan out of the gate, but no deals on the table yet. Do they need a manager? Probably not.
You left all business behind several years ago and went off on a spiritual journey. You once described a female spirit guiding you. Can you talk about that?
I've had this strong feminine presence near me my entire life. I've only encountered her a few times in my life, but it's life-altering every time.
Much like MGMT's "Electric Girl"?
(Laughs.) Similar, but not as sexy at that time. I've got a better understanding of her now. It probably sounds weird to a lot of people. But yes, this feminine presence has been over my shoulder for years. And she is a sexy energy.
Afterwards you walked away from everything and went to graduate school.
That's what I felt I needed to do. I got a masters in psychology and worked in it for a few years. I learned what I needed to and then I was finished with it.
How does that impact you as a manager today?
It's made me a far stronger artist manager. A huge portion of that role is being therapist to the artist.
You've recently started blogging at thatmichaelj.com. It's surprisingly personal.
It's very personal, mainly so it holds my interest. I get bored easily and writing about the industry would, to me, be drudgery. I'm a writer at heart, but I can't envision writing about the business every week. Besides, unless I have something original to contribute to the dialogue about the industry, I'd rather not be another hack shooting his mouth off. When I have something to say, I do speak out.
I also think it's a good platform for me to play with narrative and experiment. Writing about personal issues is wasn't easy for me at first, but it's liberating.
You have quotes on your office wall. One of them is from Facebook founder Mark Zuckerberg: "Unless you are breaking stuff, you are not moving fast enough."
Yes, that's pretty much the energy level I function at for 20 or so hours a day. I'm constantly moving knocking over lamps, drinks, you name it.
You also include the lyrics to Foster the People's "Helena Beat."
(Chuckles.) Yeah, but I prefer Mark Foster's original title, "Hell In A Beat." I included lyrics from a few songs that have some special meaning to me. "Helena Beat" is such a personal song for me. I've lived that song a thousand times, especially when I was that industry guy blowing through a couple thousand dollars' worth of coke every week. At bottom, it's a song about redemption and I can relate to it.
You talk and write about drug use openly. What has your experience with drugs been like?
Usually pretty good! (Laughing.) In all seriousness, drugs are what they are. I know that people around me would describe me as a partyboy of sorts. I work really hard and I do play really hard. I encourage people to be responsible partiers. Don't lose sight of what's important. I've abused drugs like crazy in the past, but never believed I needed them. To me, they were for fun or for some creative exercises. My real addictions are nicotine and caffeine.
I do think certain drugs are useful, really. I think all the psychedelics are good for creativity, but it takes discipline.
You've certainly had your share of adversity as well as success. What wisdom would you pass on to readers?
My "wisdom," I'm afraid, isn't very original. A few things do jump to mind. One is, "This, too, shall pass." Everything, including your problems, is temporary. If you look down the road a year or two, you might imagine pissing yourself with laughter over today's catastrophe. All you can do now is your best and let the universe take care of it.
Another lesson I've learned is to mind your own business. Don't try fixing others or their lives unless you're asked to help; stay focused on doing you. Everyone has a path they have to walk, to learn the lessons they need. If you interfere, you cheat them out of the lesson and you've gone off your path. So, give everyone the freedom to do what they need to do. I think that's been the overarching theme of my entire life, really - freedom.
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