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Meet the Women Behind the Heritage Food Revival
THIS ARTICLE IS ADAPTED FROM THE MARCH 18, 2023, EDITION OF GASTRO OBSCURA’S FAVORITE THINGS NEWSLETTER. YOU CAN SIGN UP HERE. This Women’s History Month, Gastro Obscura is celebrating some of the women chefs, restaurateurs, and entrepreneurs drawing on generations of culinary knowledge and tradition in innovative ways. From the duo who launched their pop-up during the height of the pandemic to a grad student who started a plantain empire while finishing her doctorate, the following visionaries use food as a powerful vehicle for storytelling. While all of these businesses were born and based in the United States, their roots encompass influences from East Africa to Eastern Europe and beyond.Each of these interviews has been edited for length and clarity. Jessica and Trina Quinn, co-founders of Dacha 46 Restaurant industry veterans Jessica and Trina Quinn first started selling pelmeni and other Eastern European–inspired dishes out of their Bed-Stuy apartment during the height of the COVID-19 pandemic. Dacha 46, named after the Russian word for a welcoming second home and 1946, the year Jessica’s mother was born, has grown through a series of highly successful pop-ups. Menus from Dacha 46 draw on both Jessica and Trina’s Eastern European and Irish heritage, with a few creative twists rooted in their years in professional kitchens. The pair are currently on the hunt for a brick-and-mortar home for the operation.How did Dacha 46 come to be?Jessica: COVID changed the landscape of restaurants overnight. Both Trina and myself had been working in this industry for many years and we were both at a crossroads with what to do. So we found ourselves at home, cooking comfort food, which for us, leans more towards my background, which is Eastern-European Jewish. We were just drinking wine, hanging out with our cats, and making dumplings all day long. Could you walk me through the origins of some of your signature dishes?Jessica: My dad is from Ukraine and my mom is from Riga, Latvia. They both immigrated here in the early ’80s. Some of my siblings were born there; I was born here. I grew up heavily entrenched within the culture. Both my parents are Jewish. The practice of tradition and obviously food within both the Eastern European and Jewish background is the focal point of everything in my family. I think that what we do [at Dacha 46] is a strong interpretation of these traditional dishes. There's definitely a couple of dishes where I didn’t want to mess with them because they're perfect as they are. With our pumpkin spice honey cake, I was cracking up when we put that on the menu because I was like, my family would be dying right now. This is bastardization in its finest form. But at the same time, it's fun and it's playful and it doesn't take itself too seriously. Neither do we. What do you hope people take away from Dacha 46’s food?Jessica: A lot of these dishes started with me recounting a memory. I grew up eating medovik. I grew up eating pelmeni quite often, like most Eastern Europeans do. The two of us are a same-sex married couple and we're not exactly the most traditional sort of family unit. So we take these concepts and try to figure out how to evolve them. They’re a reflection of who we are as a business, as a couple, and as a family because that's very heavily steeped in what we do. Trina: What makes Dacha 46 so special is these dishes are made by our hands. They're made from our perspective, through our lens and our experience. Jess was very distant with her culture for a long time because she didn't feel like she had a place in it. When we first started dating, I didn't even know she was Eastern European for almost a full year. The biggest experience for Dacha is that we are creating a space for people that also feel excluded from spaces within their own cultures. By creating this business, it's also paving a way for people to feel included and a part of that conversation, to celebrate themselves and the food and the culture they have every right to be part of. Rachel Laryea, founder of Kelewele After leaving a career in finance to pursue a dual Ph.D. in African-American Studies and Socio-cultural Anthropology at Yale University, Rachel Laryea found herself wanting to create a business of her own. Inspired by the culinary traditions of Ghana, she launched Kelewele, a New York–based pop-up selling ice cream, chocolate cookies, and other vegan desserts that all revolve around plantains. Since closing her brick-and-mortar Brooklyn location, Laryea has been preparing for the publication of her first book, Black Capitalists, and working to transform Kelewele into a national brand available in supermarkets. Until Kelewele cookies start popping up at your local store, they can be ordered wholesale online. Why plantains?I have a plantain love story of my own. My family is from Ghana in West Africa, and plantains are a staple. Kelewele, long before was the name of my business, was and is the name of a popular plantain street food in Ghana. It's basically diced plantains, marinated with spices and ginger, fried and often served with groundnuts. My mom would make me kelewele from time to time as a treat. As I got older, plantains had different levels of significance for me. As an undergrad at NYU, I was always looking for affordable meal options. And so plantains became, yet again, something that I relied on because you can get them for around four for a dollar. In Harlem, I would often go to the Schomburg Center for lectures, and I could get them on the corner from the market sellers. Wherever there were communities of color, I could find plantains. When did that love story morph into a business? I had this lightbulb moment of thinking about plantains as a medium for culture. I can be West African. The next person can be from Latin America or the Caribbean, and we all have a shared familiarity with plantains, and we prepare it differently in our own kind of cultural customs. I realized when I would talk to people about plantains, very quickly, the conversation would get to memories about a mom or a grandmother making somebody plantains or a particular plantain dish. It would evoke these feelings of belonging and memory and community. What is your relationship like to Ghana these days?Both of my parents were born and raised there. Soon after I was born, I actually lived in Ghana [for some time]. Ever since, I've been back and forth and definitely call Ghana home.Over the last few years, I've been really intentional about doing things within the community in Ghana to also grow the business and share the message there. I've just been trying to build out this transatlantic connection. All of our operations are here, but I have plans to definitely do more on the continent as well. How does your experience as a small business owner influence your forthcoming book, Black Capitalists?Oftentimes, just given the history of American capitalism, there's this prevailing thought that only certain people can benefit from capitalism because we've seen that show out in the racial wealth gap that exists today. But the argument that I'm making is to consider that if we take just the tools of capitalism, we can apply that within marginalized communities to rethink the role that we can have within it. Ashleigh Shanti, chef/founder of Good Hot Fish After leaving her post as chef de cuisine at Benne on Eagle in Asheville, North Carolina, in 2020, this James Beard semi-finalist set out on her own. Since then, Ashleigh Shanti has been hosting highly successful pop-ups, which draw on her childhood in coastal Virginia, her family heritage in Appalachia, her travels in East and West Africa, and beyond. Currently, Shanti is working on her first cookbook and preparing for the opening of her restaurant Good Hot Fish in Asheville later this year. Where did your interest in food stem from and how did that lead you to fine dining?Like a lot of girls who grew up in the South, I found myself at the knees of my mom and my aunts and my grandmother when she was around. The kitchen was a very integral part of my upbringing. It was the gathering place. My mom can cook the best pot of greens I've ever tasted. My parents are very much intellectuals and big on education. It was a big surprise to my family when I decided to go into the food space. I think mostly because a lot of us often equate service and hospitality with servitude. Throughout my career, I can certainly see where their concerns were valid. I think a lot of Black women will say that we do have to work a little harder to gain any sort of recognition. My professional experience early on did not necessarily reflect the warmth of my grandmother's kitchen, but by learning these amazing techniques, going to culinary school, and being on the line, I was able to put the food of my upbringing on a platform. I still pride myself on the food that I put out [at Benne on Eagle]. It was just this confirmation that while this food can be seen as so humble and not necessarily deserving of a platform, that isn't necessarily true. There is a place for all cuisines, I think, in the culinary world. What culinary traditions have influenced your work?My maternal side is from southwestern Virginia, and the food that they cook is very much Southern Appalachian. Being in [Asheville] brought up those nostalgic feelings of my great-grandmother's food, of her making hominy and her stringing britches and doing all of those things that are so specific to Appalachia. This is an entire food region that is so unique from any other region in the South. We have a bounty of wild foods that grow here. The agriculture is rich and diverse. It's a place where the food kind of speaks for itself. It's just so easy to elevate something as simple as a sweet potato that grows in this amazing mineral soil and has all of these flavors of chestnuts and molasses. I'm originally from Virginia Beach, so there are a lot of coastal Southern influences in my cooking. Four generations back, I have family in Sierra Leone, in West Africa, and ensuring that everything that I do in my cooking honors that and speaks to that is also really important. I spent a gap year in Nairobi, Kenya. I was incredibly inspired by the cuisine there and discovered things like sukuma wiki, which reminded me so much of my mother's stewed greens. Finding those parallels are so cool to me. What inspired your upcoming restaurant?Good Hot Fish is not only a nod to my coastal Virginia upbringing, but also to the fish camps of this region. There's still fish camps around [Appalachia], but they're kind of a dying breed, sadly. There was a time when [people] in this region would gather more or less weekly. You’d put fish in a refrigerated truck or in coolers and have a friend or a family member set up a camp where the fish was gutted and fried. Fried fish brings me joy. It makes people happy. This would also happen with lake trout just fresh out of the river here in the mountains, where the first business that women in my family had was just selling bags of fried fish in paper brown bags. My dad often tells the story of my aunts, my great aunts, and my grandmother just going through their communities and yelling, “Good, hot fish! Come get your good, hot fish!”
https://www.atlasobscura.com/articles/women-heritage-food-revival-dacha-46-kelewele
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(Image: An Ossabaw hog in captivity in Savannah. CHRISTOPHER LANE FOR ATLAS OBSCURA)
Saving the Hogs of Ossabaw Island
More than six million feral hogs roam throughout at least 35 states across America, but none of them are quite like the hogs of Ossabaw Island. That’s because their DNA remains virtually unchanged from when Hernando de Soto and his fellow conquistadors brought 13 pigs with them to North America in 1539. Other feral hogs interbred with their domestic counterparts. Not so with these swine, who remained isolated by their island habitat for centuries. Even as the DNR has waged war on them for decades, others have fought to save them from extinction.
As genetic refugees from the past, Ossabaw hogs are invaluable. Chefs prize their meat for charcuterie and barbecue. Medical scientists view them as a vital research tool. Preservationists at the Livestock Conservancy view them as a crucial heritage breed. Historians have deemed them the pig of choice at Colonial Williamsburg and Mount Vernon, because they represent the closest living link with the agrarian past of the early American colonies. Meanwhile, the Slow Food Foundation lists them in its Ark of Taste, a compendium of culturally significant foods in danger of disappearing.
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Okay, real quick before the Canadian pairs (btw, why is the opening ceremony 2/3 into the event?). VAST costume improvements by both the Lithuanians and the Finns, both teams looked really hot, and Allison and Saulius probably had the performance of their lives here, good for them! I was gonna roast the dance teams more but the stream got taken down, it looks like. I started watching midway through and when it ended, a thumbnail with F/G on it popped up and I was clenching for the rest of it, fearing the worst. Small mercies, but the comp sadly isn't over yet, and the teams are too close for my comfort at least. But even I have to admit the Italian RD is merda. Oh, am I'm pretty sure Carol went to Euros with S/F because she was worried they wouldn't get their minimums again 😩. I have to say, Dirty Diana skating to song titles such as Bad and Cheater is just 👨🍳's 💋. Btw, can you believe there's a Selevko brother on a Euros podium? Roman could make it a good day for Ukrainians if he so chose, I'm just saying.
And yay, Alicia and Paul! I was worried B/B would be pushed but they are sooooo slooooow ooooh myyyyy gooooood whyyyy are they so slow? Is it because the rink they train at has no boards and they're afraid they'll fly out? Seriously, why isn't this being addressed? They clearly have the power to skate faster, I just don't understand. Questionable choreographic choices and really messy transitions from them here. I'd prescribe a summer under mother hen Madison Hubbell, but she'll be on mat leave. Btw, the brain trust at Skate Canada with yet another cockamamie idea to have Charlie Bilodeau, notorious partner-ghosting turd, commentate. I swear, k2sh's outfit is carrying this broadcast on it's sparkly little shoulder pads. Damn, I hate to say it, but this even has the production value of a Wild Rose Invitational or something. I guess Alberta can't have more lighting because they elected a Nazi-adjacent government and now can't afford power. Alas, you reap what ye sow.
Opening ceremonies usually don't happen first, which is always funny, but it's like that for some reason. Love all your thoughts, the fear pun made me go "HA!" real loud, and Carol Lane got them their minimums, her power bob made the judges be kind. Although it's still utterly ridiculous that they got level 3 twizzles without mistakes, c'mon Carol, get them their features, what are you doing?
Of course, Albert is to blame for everything, they only pay GST on their taxes so they think they can get away with hosting Nationals in a basement. Sure, if I make 100$ here in Nova Scotia, I'll take home 86.96$, and in Alberta they would take home 95.24$, that doesn't mean they are allowed to get away with this! Fuck you, Alberta! And your oil rigs!
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iamo programs 2023-24
Christina Carreira/Anthony Ponomarenko
RD: Stevie Nicks, Whole Lotta Trouble, Edge of Seventeen
FD: Perfume
Lily Hensen/Nathan Lickers:
RD: Devo, Whip It; Men WIthout Hats, Safety Dance; Bonnie Tyler, Total Eclipse of the Heart; Rob Base, It Takes 2; (a-ha, Take On Me
FD: Jeremy Dutcher, Oqiton, Pumok naka Poktoinskwes
Alyssa Robinson/Jacob Portz:
RD: Irene Cara, Flashdance (What a Feeling), Michael Sembello, Maniac
FD: NF, Trauma; Sia, Bird Set Free
Haley Sales/Nikolas Wamsteeker:
RD: Air Supply, Power of Love; Loverboy, Working for the Weekend
FD: kept Phantom from last season
Charlie Anderson/Luke Anderson
RD: Journey, Open Arms, Don't Stop Believing
FD: Jason Mraz, I Won't Give Up
Leia Dozzi/Pietro Papetti:
RD: Diana Ross, Muscles, Upside Down; Earth Wind and Fire
FD: Ludovico Einaudi and Daniel Hope, Petricor; Hauser and London Symphony Orchestra, Nessun Dorma by Puccini
Samantha Ritter/Daniel Brykalov:
RD: Billy Idol, Eyes Without a Face, Flesh for Fantasy, Dancing with Myself
FD: Ekaterina Shelehova, Earth Melodies; Rok Nardin, Where is Your God Now; Kaia Jette, Medusa
India Nette/Eron Westwood:
RD: Jan Hammer, Axel Foley Theme
FD: What a Wonderful World
(Layla Karnes/Liam Carr)
RD: Eurhythmics, Missionary Man, Sweet Dreams
FD: 2WEI, Hit the Road Jack
Layla Veillon/Alex Brandys:
RD: RunDMC, Walk This Way, It's Tricky
RD2: Kenny Loggins, Footloose; Foreigner, Waiting for a Girl Like You; Bonnie Tyler, Holding Out for a Hero (starting w Nov sectionals)
FD: Chaplin: Carl Davis, City Lights Overture; Nat King Cole, Smile; Andre Rieu, Limelight
choreo: Cara Moir, Sheri Moir, Madison Hubbell
Jordyn Lewis/Noah McMillan
Olivia Corneil/Alexandre Emery
Starlight Waltz: Game of Thrones Theme
Paso Doble: Queen, Another One Bites the Dust
FD: Bruno Mars
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m2x2: ISU Grand Prix of Figure Skating Final / Torino 2019
Ice dance competition, senior and junior 📸 - Maria Evteeva @m2x2
#Torino2019#GPFTurin2019#GPFigure#FigureSkating#фигурноекатание#icedance#танцынальду#figureskater#sports@isufigureskating@torino_2019
(26.12.2019)
#ice dance#gpf 2019#gabriella papadakis#guillaume cizeron#papadakis cizeron#alexandra stepanova#ivan bukin#stepanova bukin#madison hubbell#zachary donohue#victoria sinitsina#nikita katsalapov#elizaveta shanaeva#devid naryzhnyy#diana davis#gleb smolkin#elizaveta khudaiberdieva#andrei filatov#shanaeva naryzhnyy#davis smolkin#khudaiberdieva filatov#posts#both#competitions#programs#rd: fame#m2x2#maria evteeva
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2021 CS Autumn Classic International, US International Skating Classic, & JGP Russia: Info & Streaming
It's another busy week with three competitions - subscribe to our calendar to get event times in your own time zone!
AUTUMN CLASSIC INTERNATIONAL
Results | Schedule | Entries | Website | ISU
Type: Challenger Series
When: Sept. 16-18
Where: Pierrefonds, QC, Canada
Level & disciplines: senior women, ice dance, pairs, men (non-Challenger)
Schedule (UTC-4)
9/16: Pairs’ SP 14:10; Women’s SP 16:20
9/17: Men’s SP 13:00; Rhythm Dance 14:00; Pairs’ FS 15:45; Women’s FS 18:15
9/18: Men’s FS 11:00; Free Dance 12:30
Notable entries: Emily Bausback, Gabrielle Daleman, Alison Schumacher, Seoyeon Ji, Young You, Starr Andrews, Karen Chen, Vanessa James/Eric Radford, Riku Miura/Ryuichi Kihara, Ashley Cain-Gribble/Timothy Leduc, Piper Gilles/Paul Poirier, Marjorie Lajoie/Zachary Lagha, Carolane Soucisse/Shane Firus, Olivia Smart/Adrian Diaz, Caroline Green/Michael Parsons, Nam Nguyen, Conrad Orzel
How to watch: Free livestreams on Skate Canada’s Dailymotion channel
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US INTERNATIONAL SKATING CLASSIC
Results | Schedule | Website & entries | ISU
Type: International B competition
When: Sept. 16-18
Where: Norwood, MA, USA
Level & disciplines: senior women, men, ice dance
Schedule (UTC-4)
9/16: Men’s SP 8:20PM
9/17: Rhythm Dance 4:00PM; Women’s SP 6:00PM; Men’s FS 7:40PM
9/18: Free Dance 6:00PM; Women’s FS 7:55PM
Notable entries: Michal Brezina, Daniel Samohin, Donovan Carrillo, Jimmy Ma, Maxim Naumov, Camden Pulkinen, Yeonjeong Park, Alexandra Trusova, Paige Rydberg, Yura Min/Daniel Eaton, Diana Davis/Gleb Smolkin, Madison Hubbell/Zachary Donohue, Lorraine McNamara/Anton Spiridonov, Eva Pate/Logan Bye
How to watch: Paid livestreaming on Peacock Premium ($4.99 USD/month, available only in the USA)
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JGP KRASNOYARSK
Results | Schedule | Entries | ISU
Type: Junior Grand Prix
When: Sept. 16-18
Where: Krasnoyarsk, Russia
Level & disciplines: junior women, men, ice dance, pairs
Schedule (UTC+7)
9/16: Rhythm Dance 14:15; Pairs’ SP 16:55; Men’s SP 19:00
9/17: Women’s SP 12:15; Pairs’ FS 16:30; Men’s FS 18:00
9/18: Free Dance 11:30; Women’s FS 14:30
Notable entries: Wesley Chiu, Artem Kovalev, Gleb Lutfullin, Egor Rukhin, Lucas Broussard, Sofia Akateva, Elizaveta Berestovskaia, Elizaveta Kulikova, Sofia Samodelkina, Anastasia Zinina, Maryn Pierce, Kate Wang, Ekaterina Chikmareva/Matvei Ianchenkov, Natalia Khabibullina/Ilya Knyazhuk, Ekaterina Petushkova/Evgenii Malikov, Ekaterina Storublevtceva/Artem Gritsaenko, Hannah Lim/Ye Quan, Irina Khavronina/Dario Cirisano, Sofia Leonteva/Daniil Gorelkin, Olga Mamchenkova/Mark Volkov, Angela Ling/Caleb Wein
How to watch: Free livestreams on the ISU JGP Youtube channel
#figure skating#autumn classic#autumn classic 2021#challenger series#us skating classic#us skating classic 2021#b comps#jgp russia 2021#jr grand prix#events#season: 2021 2022#how to watch
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Madison Hubbell and Zachary Donahue of the US skated first, and ended up first after the Rhtyhm Dance at the US Classic. Diana Davis and Gleb Smolkin of Russia are a very solid second, and Yura Min and Daniel Eaton of South Korea are in a tight battle for third, .65 ahead of Eva Pate and Logan Bye of the US.
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USIC 2021
Jenna HERTENSTEIN/Damian BINKOWSKI - I'm having a hard time getting past the music. No falls. They got through it.
Mariia NOSOVITSKAYA/Mikhail NOSOVITSKIY - Okay, they sucked me in. Whatever they were selling, I was buying. From the music to the costumes. The interpretation, imo, was perfect. I loved it. Calming, soothing, melodic, sweetness galore.
Shira ICHILOV/Laurent ABECASSIS - They had their moments. If you are dancing to a lyrical slow song, every missed movement, lift, glide, etc. is noticeable. Luckily, it is the beginning of the season and they can continue polishing it.
Lorraine MCNAMARA/Anton SPIRIDONOV - Wow! That was so dramatic. They really got into character. He was really into it. His hands are so expressive.
Chantelle KERRY/Andrew DODDS - Nice skate. I'm not going to rag on teams. It's been a difficult time and we are all doing our best. They are out here competing. That's a win for me.
Eva PATE/Logan BYE - That was fun! Costume change was cool (get rid of the hanging straps please). I wasn't sure at first, but it grew on me. Not bad ss either. Some rough patches but easily fixable
Yura MIN/Daniel EATON - Lovely. They lost me about half way through. The first half flowed beautifully. I didn't notice any glaring mistakes. Their twizzles looked good.
Diana DAVIS/Gleb SMOLKIN - Oh no they didn't. I don't like it already. Opening move was balls to the walls though.
Madison HUBBELL/Zachary DONOHUE - It was okay. Gosh, I wish I loved it. As Burno and Anderson say, I'm gonna leave the door open. Let me sit with it for a minute and give it a second look. Gold for sure in this comp...but against some other big guns....is this enough?
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Hubbell and Donohue are skating to Kissing You from Baz Luhrmann’s Romeo and Juliet for the free dance. Thoughts?
between this and soucisse/firus’s dirty diana program, marie france is just GIVING AWAY all the music i wanted vm to skate to to teams that can not possibly do it justice. like giving caviar to a fuckin cockroach 😒also zach remains horrifically off-putting. i’d kill myself too if i were juliet
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This Depression-Era Science Trick Transforms Water Into Pie - Atlas Obscura
Diana Hubbell for Gastro Obscura ... So, armed with several recipes and Gastro Obscura's blessing, I set out to bake both a water pie and a Sprite ...
from Google Alert - gastro https://ift.tt/QzXo3cy
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The Feminist History Behind the Ladies' Entrance
THIS ARTICLE IS ADAPTED FROM THE MARCH 11, 2023, EDITION OF GASTRO OBSCURA’S FAVORITE THINGS NEWSLETTER. YOU CAN SIGN UP HERE. In the 1970s, Shirley MacLaine strode up to the bar at Farrell’s Bar & Grill in Windsor Terrace, Brooklyn, and demanded a drink. The other patrons paused to stare—not so much because she was a famous actress, but because she was a woman. From 1933 up until that point, the bar had a strict policy against “unchaperoned ladies.”That’s not to say women weren’t allowed in the bar at all. “It used to be that they would serve women, but they had to sit in the back and the men had to order their drinks,” says cocktail historian Amanda Schuster. MacLaine, who was there with journalist Pete Hamill, would have none of it. “Shirley was like, ‘Hey, Pete, what do you want?’” Schuster says. “And everybody was just kind of watching her, slack-jawed. And from then on, they allowed women.”Bars may be societal watering holes, but they have rather famously not always been for everyone. Public spaces are often inherently political and, for much of history, there were strict social rules—or even laws—about where women were and were not welcome. Some bars also still carry physical markers of times when women weren’t allowed. In honor of Women’s History Month, Gastro Obscura would like to encourage you to visit the secretive rooms, side entrances, and formerly men-only bars where women can now drink freely. Snugs For much of the 19th century in the United Kingdom, the local pub was no place for a well-to-do lady. Yet Victorian women, even those in the middle and upper classes still found ways to frequent them. In order to keep women away from prying eyes—particularly if they happened to be somebody’s mistress—pubs installed small, often well-decorated private rooms known as snugs attached to the rest of the bar. Snugs weren’t just for women, of course. Plenty of people, from politicians holding clandestine meetings to local vicars, had reasons for wanting to drink a pint without an audience. For women, however, snugs offered a reprieve from social judgment and constraints. And while some female patrons visited a snug with a male suitor, others went just to have a moment of peace with other women.Pubs across the U.K. and Ireland may be very much co-ed affairs these days, but many of the historic ones have kept their old snugs. Today, it’s still possible to enjoy an ale in a space that once offered social refuge. Ladies' Entrances Across the pond in the U.S., patrons in bars from Madison, Wisconsin, to Philadelphia may notice the occasional “Ladies’ Entrance” signs hanging over side doors leading to backrooms. These were once the only ways for women to slide in with less public observation. Plenty of American men of the mid-1800s to early 1900s saw the local bar or saloon as the place to get away from their spouses. Leading up to Prohibition, “there was a proliferation of these gentlemen-only clubs,” Schuster says. Many of these establishments would be associated with a particular type of activity, be it cards or cigars. In other words, where, and with whom a woman could drink became more tightly controlled. It didn’t help that across much of the United States around the turn of the 20th century, moral panic still reigned. Unaccompanied women were liable to be seen as loose, and bars where genders fraternized freely became associated with a kind of societal decay.In some cases, women who broke the rules faced more than just social stigma. As Sascha Cohen writes in JSTOR Daily, police departments in Los Angeles, Portland, and Atlanta, among other cities, targeted, surveilled, and criminalized women who appeared in drinking establishments without a chaperone around the turn of the 20th century. In short, they prosecuted those who refused to play by the rules—to enter through the back door or sit where they were told to. Surprisingly Recent History So how did all this change?Prohibition shook up a lot of things in American drinking culture, including some of the gender segregation. After all, if bootleggers and their customers were already breaking the law, there wasn’t much point in worrying about respectability. But after World War II, a number of American bars stubbornly remained boys’ clubs. “In New York, you had these places that very famously did not let women in. They were well known for it,” Schuster says. In 1969, Betty Friedan stormed into a men-only lunch service at the Oak Room in New York's Plaza Hotel, flanked by more than a dozen angry feminists. “This is the only kind of discrimination that's considered moral—or, if you will, a joke,” she told Time magazine, which declared that the action “shook the very foundations of the fortress.”In 1970, a New York City ordinance forced bars to cease this form of gender-based discrimination. Barbara Shaum, a resident of the East Village, became the first woman to walk into McSorley’s Old Ale House, which had been strictly male-only since it opened in 1854. Even as late as 1982, a British bar called El Vino prohibited women from standing at the bar, supposedly as a form of “chivalry.” When two women journalists violated the rules, the owners barred them for life. It took a court case to overturn the decision.Being allowed to order a drink might seem like a small thing, but visibility matters, as does the right to move unimpeded through a space. It’s worth remembering the women who spoke up to make that happen.
https://www.atlasobscura.com/articles/feminist-history-saloon-pub-ladies-entrance
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The Once-Extinct Aurochs May Soon Roam Europe Again
After a decade, scientists are getting close to bringing back the massive wild cattle.
— Gastro Obscura | By Diana Hubbell | January 26, 2022
Part of the breeding herds from the Auerrind Project. Photo Courtesy of The Auerrind Project
When the Swedish armies descended upon Poland in 1655, they laid waste to the kingdom and pillaged whatever they could. Among the spoils stolen from the city of Jaktorów was one of King Sigismund III’s most prized possessions: an ornate drinking horn, longer than a grown man’s arm and as thick as an elephant tusk. Although the artistry was exquisite, the horn’s true value had little to do with the metal wrapped around its circumference. In life, the horn had belonged to the last aurochs bull, who died in 1621.
Today, the horn, which resides in Stockholm’s Royal Armoury, is one of the few surviving remnants of the wild cattle that roamed Eurasia and North Africa for more than 250,000 years. Like so many of Europe’s megafauna, the aurochs met their end at the hands of humans. Their horns were such coveted hunting trophies that by the Middle Ages, their numbers had already fallen. The species officially went extinct in 1627, when the last cow died in Poland.
Standing six feet tall and weighing more than 3,000 pounds, with horns more than 4.5 feet from tip to tip, these mighty herbivores were once a sight to behold. Paleolithic people painted them on the walls of caves around the region. The Celts associated them with Cernunnos, a god of the underworld. The ancient Romans pitted their finest gladiators against them. “These are a little below the elephant in size, and of the appearance, color, and shape of a bull,” wrote Julius Caesar in Commentarii de bello Gallico. “Their strength and speed are extraordinary; they spare neither man nor wild beast which they have espied.”
Ancient cave paintings in Lascaux, France, depicting aurochs. Getty Images/ DEA/C. Sappa
For more than a decade now, scientists have been seeking to bring back this keystone species—and they’re getting close. While the aurochs themselves may be gone, their genes live on in most modern European cattle breeds. Somewhere along the way, our Neolithic ancestors in Iran and what is now Turkey managed to domesticate aurochs, rather than simply hunt them for food. The Chillingham white cows of northern England, the Spanish fighting bulls of the Iberian Peninsula, and the Chianina of Tuscany all carry substantial portions of their DNA. Since 2008, the Tauros Programme in the Netherlands has been working to back-breed aurochs. The Auerrind Project, which launched in 2013, currently has five breeding herds in Germany. Both organizations share research and, occasionally, breeding stock.
“Looking at the calves from this year, especially the bulls, they have a lot of potential,” says Claus Kropp, a trained archeologist and leader at the Auerrind Project. “We’re really on the right track. If we continue a careful selection for the next 10 years, we could potentially have a stable population by then.”
Indeed, the third generation of animals currently grazing in southwestern Germany look an awful lot like their Neolithic predecessors. The largest of the bulls clocks in at just shy of six feet and more than 2,200 pounds, with horns that rival those ancient skulls in size. Most of the bovines in question are a mix of Sayaguesa, Watusi, Hungarian steppe cattle, Maremmana, and Chianina genes.
Fortunately, the Auerrind Project has a large amount of data on the animals they are striving to recreate. Extensive written documentation and illustrations paint a clear picture of the size and appearance of Europe’s aurochs. Along with historical records, the Auerrind Project has the fully sequenced DNA of three aurochs. Thanks to data obtained by DNA testing bones at the University of Kiel and radiocarbon dating of bone material found in the Upper Rhine Valley, the scientists even have a sense of the genetic variations in different regional populations of aurochs.
Thando, a pure Watusi breeding bull. Photo Courtesy of Claus Kropp
“We know the DNA of this animal and we can compare that with the modern-day cattle DNA, which can yield some pretty surprising results,” Kropp says. For instance, the Holstein, otherwise known as the humble dairy cow, shares about 95 percent of its DNA with an auroch. With older breeds, that percentage is even higher. “The distance from the aurochs to the Pajuna cattle from Spain is just 0.12 percent, so there is more than a 98 percent overlap.”
Genetic distance isn’t the only factor when it comes to successful back-breeding; scientists also have to look at phenotypic traits. A number of heritage cattle breeds still visually resemble aurochs, even if none is a perfect match. For instance, those Spanish Sayaguesa cattle are a dead-ringer when it comes to coloring, but have the wrong horn size, while the Italian Chianina boast enormous horns, but with shaggy, white coats.
“When you take all the breeds that are supposedly close from a genetic side, but also from a phenotypical point of view, you have a chance to maybe get to results in quite a fast amount of time,” Kropp says. Speedy results in genetic terms translates to years, given that a pregnant heifer spends 10 months gestating. Still, that’s soon enough to start considering the potential ramifications.
Bringing species back from extinction is often a contentious business. It’s also an increasingly urgent topic, given that most experts believe we’re living through a mass extinction. By some estimates, human negligence robbed us of half the earth’s biodiversity in the last half century.
A mother and calf from the Auerrind Project. Photo Courtesy of M. Thumm
The Auerrind Project and the Tauros Programme are far from the only organizations trying to bring back species from oblivion. Last year, a startup called Colossal scored $15 million in initial funding to try and bring back wooly mammoths using CRISPR technology. The Australian Lazarus Project has been focusing on a species of frog that birthed its young through its mouth, while the Passenger Pigeon Project hopes to bring back the birds that were once so numerous that their migration once blocked out the sun. Ever since scientists genetically sequenced the Tasmanian tiger, which died out in 1933, using a set of teeth in the Australian Museum, they’ve been talking about trying to clone them back to life.
Much like with still-living endangered species, time and financial resources in de-extinction often go towards charismatic megafauna. Yet Kropp and his colleagues insist that their focus on aurochs isn’t simply because they’re, well, cool. In contrast to cloning mammoths and other species, back-breeding programs are decidedly lower in risk. For one thing, there is no danger of reawakening ancient pathogens. For another, scientists have little concept of how the Tasmanian tiger or wooly mammoth behaved; with no living populations to draw on, teaching herds of clones to survive in the wild is a daunting task.
More importantly, in ecological terms, aurochs haven’t been gone long enough for nature to fill the gaping hole left in their wake. Like their counterparts on the North American and African continents, large grazing herbivores such as European bison and aurochs played a critical role in biodiversity.
“A grazed landscape with large herbivores looks very different from a modern meadow from an industrial agricultural company,” Kropp says. The Auerrind Project has been closely monitoring both the flora and fauna in controlled environments with their bovines. “Even in these small environments, the biodiversity is exploding even within a couple of years. I don’t think it’s by chance that our first grazing site was the first sighting of the beaver again.”
“Even in these small environments, the biodiversity is exploding within a couple of years.”
Both the Auerrind Project and the Tauros Programme are part of Rewilding Europe, a nonprofit which has been reintroducing bison, lynx, elk, and wolves around the continent. Thanks in large part to the foundation’s efforts, European bison, which were once all but wiped out, have increased in numbers to more than 7,000 over the last decade. More than 12,000 wolves—more than in the United States—now inhabit Europe, including Iberian wolves in Portugal and Italian grey wolves in the Alps. At the core of the whole project is the European Wildlife Bank, which relies on large herbivores to restore habitats and usher in the return of other species.
“We often call grazers ‘landscape engineers,’ because they play a vital role in shaping landscapes and driving natural processes,” says Laurien Holtjer, head of communications at Rewilding Europe. By disrupting forest growth, these mammals created varied terrain, all the while fertilizing the ground and distributing seeds with their droppings. “The natural disturbance of large grazers in low, natural numbers play a pivotal role in restoring mosaics of vegetation [and] stimulating more biodiversity.”
But reintroducing large animals is not without its problems and pushback. Both politicians and farmers often resist rewilding and its inherent disruption. Wolves in particular have drawn all sorts of ire, despite clear evidence that they’re a boon to healthy ecosystems. In 2017, the first European bison to make its way into Germany in 250 years was almost immediately shot dead. Once a breeding population of modern-day aurochs exists, the challenge will be convincing humans to live with them. “With wildlife coming back, we also need to ensure that we learn again how to live with them,” Holtjer says. “And in such a way that people benefit from wildlife returning, for example through tourism and wildlife watching.”
Heck cattle in Oostvaardersplassen, the Netherlands. Getty Images/Arterra
“If you do it right, of course, coexistence can be possible,” Kropp insists. While the Auerrind Project’s breeding population is not meant for domestication, they’re going to great lengths to avoid creating animals that might attack humans. That’s why Spanish fighting bulls, which bear a striking physical resemblance to aurochs, aren’t in the mix.
Also noticeably absent in the Auerrind Project’s stock are Heck cattle, the striking, aggressive breed created in the 1920s by two German zoo directors, Heinz and Lutz Heck. Despite the lack of modern-day knowledge of genetics, the Heck brothers both claimed to have recreated aurochs through back-breeding. Heinz even wrote, “The wild bull, the aurochs, lives again.” Disturbingly, these early attempts at creating aurochs dovetailed with the fascist politics of the time. Lutz in particular, who was a member of the Nazi Party, convinced Hermann Göring that the return of ancient European beasts like aurochs and tarpan, or wild horses, fit with the the National Socialist Party’s ideological push to recreate an imagined European past.
Educating the public at the Lauresham Laboratory for Experimental Archeology. Phot Courtesy of M. Thumm
Genetically speaking, the Heck cattle are still a far cry from aurochs. A small number of their surviving descendants can be found in Oostvaardersplassen, an experimental rewilding area in the Netherlands. Both Dutch and German scientists are, understandably, quick to distance any current efforts from this dark period in European history. Back-breeding any species is not about misguided attempts at nationalism, but rather about an attempt to restore balance to environments devastated by humans.
“What is unique to our project is that we’re coming from that museum background,” Kropp says. “We have a strong viewpoint on the educational side. We want to inform the public why these large herbivores play an important role in these ecosystems.”
So far, the Auerrind Project’s efforts at promoting ecotourism are going well. Since the project is connected with the Lauresham Laboratory for Experimental Archeology in the UNESCO Global Geopark Bergstraße-Odenwald, part of its mission is to showcase what a Medieval European landscape would have looked like. On guided cycling tours, visitors have the chance to see some of the ecosystem that was all but lost.
“It’s not hard to impress people when you have these really large bulls in front of you,” Kropp says. Most of these gawkers have never experienced the sense of wonder that the presence of these giants evokes. “You actually have that safari feeling. It’s something they wouldn’t expect from our landscapes anymore. You don’t see these really wild animals anymore. Most of our large herbivores and carnivores have been gone for so long.”
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Okay, here comes the ice dance roast.
I'm calling this first team Olivia and a Half, because dude is barely there. I liked her previous costume too but she's also a smokeshow in this one. I'm convinced they're putting her in distracting costumes so we won't be looking at Tim, who desperately needs to discover that there's an audience there that he should be projecting to. Good outing, but it made me miss Adrian.
I'd give anything for Katerina's skirt lengths not to give me anxiety for one (1) season, and now she's added a long ponytail as well - why does she hate me so? These costumes are giving 2000s more than 80s. They desperately need our mother hen Madison Hubbell to take them under her wing, these unpointed toe kicks are not it.
Why are the Browns skating in what are essentially practice outfits to the famously flamboyant Elton John? Give these talented children funding! Otherwise they slayed, which is why I'm annoyed at the packaging. Best sibling team here, I said what I said.
HanYe with the costumes of the event and possibly the field. Only guy with an actual outfit. I wish her sleeves were attached to the bodice more in the front, we don't need armpit cleavage, but other than that, best dressed. Levels were oof. IAM needs to leave their teams with Paul Mac over the summer to learn how to execute their turns, they've got pretty much everything else figured out.
Holly and Jason looking hot af. I prefer her golden butt to Olivia's in the free. His corset-y mesh top - cunty af. Her bodysuit seems very intricate up close, but I wish that same level of attention went into getting their levels.
Taschlers look okay for a European team and the costumes are accurate for the music choice, but why oh why is the cutout on the side of his stomach round instead of matching her pointed one? Love their attack and unison but wish them better programs moving forward.
I actually like this French team this season and I hate that for me. His boatneck I'll allow because he isn't a broad boye but I'm not quite sure what his top has to do with the 80s. Her outfit is cute but I wish she'd move on from the Slutskaya cut and the henna dyejob to a more contemporary pixie or bob or something, they need to look more polished because they are indeed very trained and technically strong.
Marjo and Zak - my loves. The only ones I genuinely care about, not gonna lie. Seemingly the only team that read the ISU Communication on the theme this year. Fantastic campy costumes, killer performance ability, couldn't take my eyes off them. Noticed in the warmup that the costume designer shaded his butt crack as well and for that, that mofo need Jesus. They need to sort their levels situation out because they're the stars of the discipline, really, but we're not allowed to talk about that just yet (🤫).
Now for the crime of the night - the grand larceny that was Green/Parsons' score. They were the strongest team here across the board, they're the most complete all around, and I was fuming when I saw 4th. They def need to rework the cut but I like this better than the Paula, it suits them, the costumes weren't revolutionary but they both looked fine af. I know he's old enough to be her great uncle but at the same time I don't want them with lesser partners. The judges went out of their fucking way to prevent last year's situation when H/B (let's be honest) obliterated C/B. Maybe if G/Pa weren't coached by human silver medal and Canadian trophy husband Charlie Allen White, they wouldn't be in this mess.
And now for the grand finale - I'm dispatching a firing squad for the tech panel because are you seriously telling me that this team that graduated with honors from the Diana Davis School of Edgework is best-in-class??? And I can see what she was trying to do with the dress but she didn't quite nail it, the front is awkward, the mid-buttcheek zipper-like split in the back is a choice, and the skirt flaps around awkwardly. Meanwhile, Evan's outfit is just low-effort and perfunctory. They should've just put him in a white tank top and lightwash jeans to highlight his white basicness, since he wears her like a jacket for most of their programs anyway, it would've been apropos. They were out-skated but most of the teams here, they had no energy, speed, power or ice coverage, and to top it all off, they were on the edge of disaster in the lift again, and that was the only edge they were on the entire program. They deserve a surprise P/C comeback at this point, I can't take this anymore.
A masterpiece of a roast.
Anon, I want you to know I got three OTHER anons that were excited to hear about your fashion opinions.
Olivia and a Half is beyond correct, I can forget he's there if I squint, and I enjoy the program so much more. I honestly don't think the Browns have ever had a good costume, and that's a damn shame. If Paul MacIntosh cam to IAM, I would cheer for years, they really need a kick in the ass in terms of tech, and quickly. Holly looks so good in that gold outfit, it's wILD. French team I can't even get into, they are never not So Deeply French Looking. You are spot on with G/Pa, they do not deserve to be sitting in 5th right now. I also can't even get into C/B, cause it's just Too Much at the moment when I'm trying to switch into women mode for the short program that starts in 5 minutes.
Anon, you're a damn icon.
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One of the Most Famous Victorian Dishes Is a Hilarious Lie - Weirdness Wednesdays January 19, 2022
One of the Most Famous Victorian Dishes Is a Hilarious Lie – Weirdness Wednesdays January 19, 2022
Here’s a nice post for this week’s Weirdness Wednesday post; saw it recently on One of the Most Famous Victorian Dishes Is a Hilarious Lie: https://www.atlasobscura.com/articles/victorian-brown-windsor-soup. Slightly longer article.
BY DIANA HUBBELL January 12, 2022
Brown Windsor soup was reportedly a favorite of the Queen. The only problem? It may not have existed.
“GOOD HEAVENS! ISSUE…
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2021 Grand Prix Entries
ISU documents: Women, Men, Pairs, Ice Dance
Entries by event under the cut. This post will be updated as entries change.
Last updated: Nov. 22, 2021
SKATE AMERICA (Las Vegas, USA: Oct 22-24)
Ladies:
Satoko Miyahara (JPN)
Kaori Sakamoto (JPN)
Yuhana Yokoi (JPN)
Ekaterina Kurakova (POL)
Yelim Kim (KOR)
Young You (KOR)
Kseniia Sinitsyna (RUS)
Alexandra Trusova (RUS)
Daria Usacheva (RUS)
Amber Glenn (USA)
Bradie Tennell (USA)
Starr Andrews (USA)
Audrey Shin (USA)
Men:
Nam Nguyen (CAN)
Michal Brezina (CZE)
Kevin Aymoz (FRA)
Adam Siao Him Fa (FRA)
Daniel Grassl (ITA)
Shun Sato (JPN)
Shoma Uno (JPN)
Artur Danielian (RUS)
Daniil Samsonov (RUS)
Nathan Chen (USA)
Vincent Zhou (USA)
Yaroslav Paniot (USA)
Jimmy Ma (USA)
Pairs:
Evelyn Walsh/Trennt Michaud (CAN)
Riku Miura/Ryuichi Kihara (JPN)
Aleksandra Boikova/Dmitri Kozlovskii (RUS)
Alina Pepeleva/Roman Pleshkov (RUS)
Evgenia Tarasova/Vladimir Morozov (RUS)
Alexa Knierim/Brandon Frazier (USA)
Chelsea Liu/Danny O’Shea (USA)
Jessica Calalang/Brian Johnson (USA)
Ice Dance:
Laurence Fournier Beaudry/Nikolaj Sorensen (CAN)
Carolane Soucisse/Shane Firus (CAN)
Misato Komatsubara/Tim Koleto (JPN)
Natalia Kaliszek/Maksym Spodyriev (POL)
Annabelle Morozov/Andrei Bagin (RUS)
Tiffani Zagorski/Jonathan Guerreiro (RUS)
Olivia Smart/Adrian Diaz (ESP)
Madison Chock/Evan Bates (USA)
Madison Hubbell/Zachary Donohue (USA)
Molly Cesanek/Yehor Yehorov (USA)
SKATE CANADA (Vancouver, Canada: Oct 29-31)
Ladies:
Emily Bausback (CAN)
Madeline Schizas (CAN)
Alison Schumacher (CAN)
Wakaba Higuchi (JPN)
Rika Kihira (JPN)
Mai Mihara (JPN)
Mana Kawabe (JPN)
Haein Lee (KOR)
Alena Kostornaia (RUS)
Elizaveta Tuktamysheva (RUS)
Kamila Valieva (RUS)
Alexia Paganini (SUI)
Karen Chen (USA)
Alysa Liu (USA)
Men:
Keegan Messing (CAN)
Roman Sadovsky (CAN)
Conrad Orzel (CAN)
Morisi Kvitelashvili (GEO)
Keiji Tanaka (JPN)
Sota Yamamoto (JPN)
Makar Ignatov (RUS)
Alexander Samarin (RUS)
Evgeni Semenenko (RUS)
Jason Brown (USA)
Nathan Chen (USA)
Tomoki Hiwatashi (USA)
Pairs:
Vanessa James/Eric Radford (CAN)
Lori-Ann Matte/Thierry Ferland (CAN)
Kirsten Moore-Towers/Michael Marinaro (CAN)
Wenjing Sui/Cong Han (CHN)
Minerva Fabienne Hase/Nolan Seegert (GER)
Zoe Jones/Christopher Boyadji (GBR)
Daria Pavliuchenko/Denis Khodykin (RUS)
Ashley Cain-Gribble/Timothy Leduc (USA)
Ice Dance:
Piper Gilles/Paul Poirier (CAN)
Marjorie Lajoie/Zachary Lagha (CAN)
Haley Sales/Nikolas Wamsteeker (CAN)
Lilah Fear/Lewis Gibson (GBR)
Charlene Guignard/Marco Fabbri (ITA)
Diana Davis/Gleb Smolkin (RUS)
Elizaveta Shanaeva/Devid Naryzhnyy (RUS)
Olivia Smart/Adrian Diaz (ESP)
Christina Carreira/Anthony Ponomarenko (USA)
Caroline Green/Michael Parsons (USA)
GRAN PREMIO D’ITALIA (Torino, Italy: Nov 5-7)
Ladies:
Loena Hendrickx (BEL)
Hongyi Chen (CHN)
Shan Lin (CHN)
Yi Zhu (CHN)
Nicole Schott (GER)
Lara Naki Gutmann (ITA)
Lucrezia Beccari (ITA)
Mai Mihara (JPN)
Satoko Miyahara (JPN)
Yelim Kim (KOR)
Eunsoo Lim (KOR)
Maiia Khromykh (RUS)
Sofia Samodurova (RUS)
Anna Shcherbakova (RUS)
Bradie Tennell (USA)
Men:
Yudong Chen (CHN)
Boyang Jin (CHN)
Han Yan (CHN)
Paul Fentz (GER)
Daniel Grassl (ITA)
Gabriele Frangipani (ITA)
Yuma Kagiyama (JPN)
Kazuki Tomono (JPN)
Deniss Vasiljevs (LAT)
Junhwan Cha (KOR)
Dmitri Aliev (RUS)
Petr Gumennik (RUS)
Mikhail Kolyada (RUS)
Pairs:
Cheng Peng/Yang Jin (CHN)
Wenjing Sui/Cong Han (CHN)
Annika Hocke/Robert Kunkel (GER)
Nicole Della Monica/Matteo Guarise (ITA)
Rebecca Ghilardi/Filippo Ambrosini (ITA)
Sara Conti/Niccolo Macii (ITA)
Iuliia Artemieva/Mikhail Nazarychev (RUS)
Alina Pepeleva/Roman Pleshkov (RUS)
Ice Dance:
Carolane Soucisse/Shane Firus (CAN)
Hong Chen/Zhuoming Sun (CHN)
Shiyue Wang/Xinyu Liu (CHN)
Evgeniia Lopareva/Geoffrey Brissaud (FRA)
Gabriella Papadakis/Guillaume Cizeron (FRA)
Katharina Mueller/Tim Dieck (GER)
Carolina Portesi Peroni/Michael Chrastecky (ITA)
Alexandra Stepanova/Ivan Bukin (RUS)
Caroline Green/Michael Parsons (USA)
Madison Hubbell/Zachary Donohue (USA)
NHK TROPHY (Tokyo, Japan: Nov 12-14)
Ladies:
Olga Mikutina (AUT)
Nicole Schott (GER)
Rika Kihira (JPN)
Kaori Sakamoto (JPN)
Rino Matsuike (JPN)
Mana Kawabe (JPN)
Eunsoo Lim (KOR)
Seoyeong Wi (KOR)
Young You (KOR)
Alexandra Trusova (RUS)
Daria Usacheva (RUS)
Amber Glenn (USA)
Alysa Liu (USA)
Men:
Nam Nguyen (CAN)
Matteo Rizzo (ITA)
Yuzuru Hanyu (JPN)
Shoma Uno (JPN)
Kao Miura (JPN)
Sota Yamamoto (JPN)
Junhwan Cha (KOR)
Makar Ignatov (RUS)
Alexander Samarin (RUS)
Daniil Samsonov (RUS)
Tomoki Hiwatashi (USA)
Camden Pulkinen (USA)
Vincent Zhou (USA)
Pairs:
Miriam Ziegler/Severin Kiefer (AUT)
Evelyn Walsh/Trennt Michaud (CAN)
Minerva Fabienne Hase/Nolan Seegert (GER)
Riku Miura/Ryuichi Kihara (JPN)
Anastasia Mishina/Aleksandr Galliamov (RUS)
Evgenia Tarasova/Vladimir Morozov (RUS)
Ashley Cain-Gribble/Timothy Leduc (USA)
Audrey Lu/Misha Mitrofanov (USA)
Ice Dance:
Marjorie Lajoie/Zachary Lagha (CAN)
Shiyue Wang/Xinyu Liu (CHN)
Lilah Fear/Lewis Gibson (GBR)
Kana Muramoto/Daisuke Takahashi (JPN)
Misato Komatsubara/Tim Koleto (JPN)
Victoria Sinitsina/Nikita Katsalapov (RUS)
Sara Hurtado/Kirill Khaliavin (ESP)
Alexandra Nazarova/Maxim Nikitin (UKR)
Madison Chock/Evan Bates (USA)
Kaitlin Hawayek/Jean-Luc Baker (USA)
INTERNATIONAUX DE FRANCE (Grenoble, France: Nov 19-21)
Ladies:
Ekaterina Ryabova (AZE)
Maia Mazzara (FRA)
Mae-Berenice Meite (FRA)
Lea Serna (FRA)
Wakaba Higuchi (JPN)
Yuhana Yokoi (JPN)
Haein Lee (KOR)
Yeonjeong Park (KOR)
Alena Kostornaia (RUS)
Anna Shcherbakova (RUS)
Kseniia Sinitsyna (RUS)
Starr Andrews (USA)
Mariah Bell (USA)
Karen Chen (USA)
Men:
Keegan Messing (CAN)
Kevin Aymoz (FRA)
Adam Siao Him Fa (FRA)
Romain Ponsart (FRA)
Gabriele Frangipani (ITA)
Yuma Kagiyama (JPN)
Shun Sato (JPN)
Deniss Vasiljevs (LAT)
Dmitri Aliev (RUS)
Artur Danielian (RUS)
Andrei Mozalev (RUS)
Jason Brown (USA)
Pairs:
Vanessa James/Eric Radford (CAN)
Cheng Peng/Yang Jin (CHN)
Yuchen Wang/Yihang Huang (CHN)
Camille Kovalev/Pavel Kovalev (FRA)
Coline Keriven/Noel-Antoine Pierre (FRA)
Ioulia Chtchetinina/Mark Magyar (HUN)
Rebecca Ghilardi/Filippo Ambrosini (ITA)
Iuliia Artemieva/Mikhail Nazarychev (RUS)
Aleksandra Boikova/Dmitrii Kozlovskii (RUS)
Alexa Knierim/Brandon Frazier (USA)
Ice Dance:
Piper Gilles/Paul Poirier (CAN)
Adelina Galyavieva/Louis Thauron (FRA)
Gabriella Papadakis/Guillaume Cizeron (FRA)
Evgeniia Lopareva/Geoffrey Brissaud (FRA)
Juulia Turkkila/Matthias Versluis (FIN)
Jennifer Janse van Rensburg/Benjamin Steffan (GER)
Allison Reed/Saulius Ambrulevicius (LTU)
Annabelle Morozov/Andrei Bagin (RUS)
Alexandra Stepanova/Ivan Bukin (RUS)
Tiffani Zagorski/Jonathan Guerreiro (RUS)
Christina Carreira/Anthony Ponomarenko (USA)
ROSTELECOM CUP (Sochi, Russia: Nov 26-28)
Ladies:
Olga Mikutina (AUT)
Ekaterina Ryabova (AZE)
Loena Hendrickx (BEL)
Viktoriia Safonova (BLR)
Madeline Schizas (CAN)
Eva-Lotta Kiibus (EST)
Rino Matsuike (JPN)
Elizabet Tursynbaeva (KAZ)
Ekaterina Kurakova (POL)
Elizaveta Tuktamysheva (RUS)
Kamila Valieva (RUS)
Maiia Khromykh (RUS)
Mariah Bell (USA)
Men:
Brendan Kerry (AUS)
Roman Sadovsky (CAN)
Michal Brezina (CZE)
Morisi Kvitelashvili (GEO)
Nika Egadze (GEO)
Matteo Rizzo (ITA)
Yuzuru Hanyu (JPN)
Keiji Tanaka (JPN)
Kazuki Tomono (JPN)
Mikhail Kolyada (RUS)
Evgeni Semenenko (RUS)
Mark Kondratiuk (RUS)
Maxim Naumov (USA)
Camden Pulkinen (USA)
Pairs:
Miriam Ziegler/Severin Kiefer (AUT)
Kirsten Moore-Towers/Michael Marinaro (CAN)
Annika Hocke/Robert Kunkel (GER)
Ioulia Chtchetinina/Mark Magyar (HUN)
Nicole Della Monica/Matteo Guarise (ITA)
Anastasia Mishina/Aleksandr Galliamov (RUS)
Daria Pavliuchenko/Denis Khodykin (RUS)
Iasmina Kadyrova/Ivan Balchenko (RUS)
Audrey Lu/Misha Mitrofanov (USA)
Ice Dance:
Laurence Fournier Beaudry/Nikolaj Sorensen (CAN)
Adelina Galyavieva/Louis Thauron (FRA)
Maria Kazakova/Georgy Reviya (GEO)
Charlene Guignard/Marco Fabbri (ITA)
Natalia Kaliszek/Maksym Spodyriev (POL)
Victoria Sinitsina/Nikita Katsalapov (RUS)
Anastasia Skoptcova/Kirill Aleshin (RUS)
Elizaveta Khudaiberdieva/Egor Bazin (RUS)
Sara Hurtado/Kirill Khaliavin (ESP)
Kaitlin Hawayek/Jean-Luc Baker (USA)
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