According to the U.N. Food and Agriculture Organization, Mexico has 300 to 550 species of edible insects, more than any other country.
The ancient tradition of eating insects is steeped in culinary tradition, not lack of other foods. In pre-Hispanic days insects were an easy power house of protein to gather as ingredients and enjoy as a convenience food.
The UN report in praise of entomophagy— insect-eating — as a promising source of sustainable protein stressed that “The case needs to be made to consumers that eating insects is not only good for their health, it is good for the planet.” After all, insects outnumber all other living creatures – and many are edible.
In the past decade there has been a revival in Mexico from street vendors to celebrity chefs reincorporating insects into the cuisine. What was dismissed after the Spanish conquest is chic again.
AtRestaurante las Piramides within the UNESCO Zona Arqueológica de Teotihuacánthey serve a traditional Mexican menu with some ancient exotic foods. An appropriate introduction is a Mexcal cocktail with Chapulines (roasted grasshoppers – they do have a nutty taste and texture). Chapulines have been a popular fast food since the ancient Mayan days, especially in southern Mexico.
From their starter menu there is a selection of dishes that would be a perfect introduction to tasting insects.
Fried corn cakes with quacamole y chapulines.
Excamoles al epazote (sauteed ant larvae with wormseed herb)
chinivuiles (red Maquey caterpillars) and gusano blanco (white Maquey caterpillars)
The Mercado de San Juan Gourmet is Mexico City’s food mecca for the serious eater and chef. Among the food stalls are small attractive cafes where locals frequent and visitors can experiment with new tastes.
I will not address the “disgust” factor when it comes to “exotic” foods. I’m interested only in the “wow” factor that there is so much to try. The world is a pantry.
When you go: Mexico City is well served by international air. For accommodations I recommend the historic Hotel Geneve (1907). It maintains and polishes its glory every day.
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History is not about the past; it’s about the present.
We only remember yesterday because we’re alive today. We can only understand today if we dissect what occurred yesterday. It’s with that rubric a visitor to Corfu, if interested, can glean this Ionian island’s reality.
If the first time visitor is already familiar with the classical heartland of ancient Greece encircling the Aegean Sea than the beautiful streetscapes of Corfu Town are in an Italian city. The island’s premiere museum perhaps belongs in London. The charming Casa Parlante offers insights into the daily life of the Venetian nobility.
Yet this is Corfu, and it’s just a short distance from the mainland of western Greece. The reason has everything to do with geography, which means it has to do with politics and trade. The regions that comprise Hellenic civilization for the past several thousands of years were the bridges and battlefields between Asia and Europe, and Corfu represents that reality.
Even olive oil, the gift of Athena to the Hellenic world, has a story. During its 400 year reign over Corfu (1383-1797) the Venetian Empire mass produced olive oil for international export. As a result the island has over four and a half million trees, more than any other region in Greece.
If you watched the BBC series The Durrels in Corfu you may recognize the top photo as the house of the fictional character Sven. The 18th century stone building used to be an olive press and is surrounded by 400 year old trees in an idyllic setting. It’s currently for sale – history alive – and Sakis Gianniotis of X Adventure Clubwill take you there to revel in its tranquility.
Case Parlante, the multi story townhouse dating from 1620, details the life of a 19th century Venetian noble family. This was the social class that ruled Corfu for 400 years until Napoleon conquered and ended the fabled Venetian Republic in the 1790s. Since 2013 the museum’s docents provide room by room tours bringing the family to life.
“To life” is almost real. From the patriarch to the cook, life-size animatronic figures bow, sip tea, read the news paper and chop vegetables. These entertaining figures were created by the Alaxouzi Brothers, Greeks whose business is based in London. As a guest in this noble house, visitors are greeted with kumquat and rose mint liquors – an homage to Corfiot’s Venetian inspired love of excessive sweets.
Several insights into life at that time are notable. An only daughter of a noble family could inherit wealth in her own right as well as arrange their own marriage, as long it was to another aristocrat. This was a particular freedom granted only to Corfu women.
Mirrors and hallways were ingeniously positioned to keep eyes on the movements of the servants.
Cooks in aristocratic houses were often at the top of servant status and trusted as “spies” for the owner.
The Palace of St. Michael and St. George
The Corfu Museum of Asian Art and the Municipal Gallery of Corfu are housed within the impressive neoclassical Palace of St. Michael and St. George. The history of the palace is as interesting as the art on display. The fall of Venice led to a brief period in Corfu of French control. Upon Napoleon’s defeat, Corfu was ceded to the United Kingdom and was administered by the British Empire for 50 years (the Greek nation did not exist at this point.)
Constructed in 1819, the palace served as the official residence of the British Lord High Commissioner. After present day southern Greece gained independence from the Ottoman Empire in the 1830’s it was still not until the 1860’s that the United Kingdom ceded the Ionian Islands. Over the next century the palace served various functions including a royal residence for the Greek monarchy.
The transition of the palace into a world class museum started in 1928 with a vast donation by an avid Greek collector of Oriental art expanding over the years to include southeast and central Asia. Today its collection numbers in the tens of thousands of objects, which, fortunately, are not all on display creating a tranquil setting to wander the quiet rooms without feeling overwhelmed.
The Municipal Gallery of Corfu’s art collection ranges from priceless medieval Cretan works influenced while Crete was also under Venetian rule (15th – 17th centuries). The fall of Crete to the Ottomans in 1699 resulted in a flood of artist and intellectuals settling in Corfu.
A sizable portion of the collection is of 18th through early 20th century artists inspired by the the Romantic and Impressionist movements expressing individual life and events developing into Corfu’s distinctive Ionian School of Art.
Twenty-first century artists are well represented especially through special exhibits.
Encouraging artistic expression in the newest generations of Corfiots, the gallery sponsors “One Saturday, One fairytale” events for children to display their art and study the artist whose paintings are exhibited. In honor of Greek Orthodox Easter the gallery recently displayed a special exhibit of photos taken by Corfu boy scouts. The quality was stunning!
History is more than facts, and a nation is more than geography. In his epic poem The People, Yes, the great American poet Carl Sandburg expressed it succinctly. I am the history; I am the present; I am the culture. Go to Corfu and discover so much more than an island.
When you go: Corfu International Airport (CFU) serves direct flights from many European cities including London, Frankfurt and Rome. Frequent flights connect the island to Athens and Thessaloniki. Ferry and coach bus connections to major Greek cities are frequent as well.
“In Thessaloniki we live our history.” Sofia Bournatzi
Of course that statement could almost be a cliché if it wasn’t applied to Thessaloniki. It has greater impact for the city simply than having eighteen UNESCO World Heritage Sites. It has more to do with resilience. Despite wars, earthquakes and fires, Thessalonians are doing what they have been for 2,300 years.
Thessaloniki is still what King Cassander, its founder, planned:
Largest city in Macedonia
Greece’s second largest
The port city of the northern Aegean
Gateway to the Balkans
Commercially connected to Asia Minor
Strategically located on both Spice and Silk Roads to the Orient
This reality has made the city coveted and popular over the millenniums by conquerors from Rome to the Ottomans, and their presence is palpable now. It’s under your feet; it’s towering over your head, and soon you’ll whiz by more on the new state-of-the-art underground subway/tube system. The past is an integral component of Thessaloniki’s urban fabric because it’s in your face.
Looking out to the Thermeic Gulf from Thessaloniki’s new Waterfront Promenade merchant ships are anchored waiting their turn at the modern docks just north of downtown. Behind are the Ladadika, Ano Poli and the “acropolis” – the imposing Heptapyrgion fortress. These districts are the commercial, cultural and culinary heart of the city. They offer postcards onto the past …
The Palace of Galerius
The Palace of Galerius was not a large luxurious house. It was an “Imperial City” within the city – administrative, residential, religious and public entertainment venues. Depending on interpretation, it was such a vast complex it could well be considered a rebuilding of Thessaloniki
The Romans were enamored with Thessaloniki ever since they had absorbed Macedonia into the Empire in the 100s BCE. Four hundred years later the port city was the largest in Rome’s Greek provinces and one of the wealthiest in the empire. By the end of the 3rd century Thessaloniki was poised to become central to the new Eastern Roman Empire.
Gaius Galerius Valerius Maximianus (Caesar: 293-311) newly appointed “assistant Emperor” in the Tetrarchy created by Diocletian, preferred Thessaloniki over his region’s official capital. Construction on his palace complex started in the late 290s.
(video published 02/02/2016, Vladimiros Nefides)
It was a vast site covering a good portion of Thessaloniki’s historic core and composed of numerous interconnected components, most of which today are lying underneath streets, parks, residential and commercial buildings as the city morphed over the centuries. The complex was enclosed by stonewalls from the port waterfront up to the newly fortified acropolis. The most visible examples of the complex today are the stunningly preserved Rotunda and the Arch of Galerius.
The cylindrical Rotunda was built in 306 AD and has served as a public building ever since. It was originally a temple, possibly to Zeus. By the end of the 5th century Christianity had been established in the Empire and for over the next thousand years the Rotunda was the Byzantine Church of St. George. After Ottoman conquest in 1430 it became a mosque (note the 16th century minaret in the photo) until 1912 when with Greek-Macedonian reunification it was designated a national monument. (Ottoman era buildings are protected by historic designation throughout Greece.)
Arch of Galerius
The Arch of Galerius stands on a busy intersection (Egnatia & Dimitriou Gounari streets) just as it did when constructed. Thessaloniki’s Egnatia Street is a portion of the 2,000-year-old Roman Via Egnatia, which still connects Macedonia to Istanbul (aka Constantinople, aka Byzantium). Significant remains of its intricate carved marble panels detail the military prowess of Galerius and Rome.
The Heptapyrgion towers above downtown Thessaloniki where the ancient acropolis was located on the foothills of Mount Chortiatis. The massive fortress guarded the city for nearly two millenniums. Started by the Romans in the late 4th century along with rebuilding the defensive walls to encircle the city, it was substantially expanded by the Byzantine Empire in the 12th century and the Ottomans in the 15th.
Oddly both its Greek and Ottoman name (Yedi Kule) mean “fortress of seven towers” even though it has ten and at no time in its construction phases did it ever just have seven. Despite that anomaly, the impressive relic today serves as an UNESCO World Heritage site, a park with panoramic views of the city, and a backdrop for the historic Ano Poli (Upper Town) neighborhood , which survived the Great Fire of 1917.
The Baptistery of St. John
The Baptistery of St. John the Baptist of Thessaloniki (c.400) is a peaceful hidden sunken garden with an art deco apartment building and outdoor cafe overlooking the site. The sacred spring still flows but is channeled inside a modern chapel. It’s considered the oldest Christian baptistery. It is close to the 5th century Hagia Sophia and within the Galerian Palace complex.
Surrounded by popular cafes in the shopping district of the Ladadika is one of Thessaloniki’s most beautiful medieval buildings. The 15th century Bey Hamam, an Ottoman public bathhouse, is testament to the sophistication this city has enjoyed during its long history. Only ceasing its original use in the 1960s, its intricate brick and tiled facade is an architectural sculpture dramatically lit at night providing a stunning visual backdrop as café patrons dine.
The unrestored street (left) in the Ladadika is on purpose to preserve the facades of what this major international commercial district was like prior to the 1917 Fire. (right) A busy historic district of cafes, commerce and culture today.
The White Tower
The White Tower’s infamous history as a notorious Ottoman prison fades in the mist of time when viewed today at its photogenic location on Thessaloniki’s historic waterfront. The current tower, constructed in the 15th century replacing an earlier Byzantine fortification, anchored the city wall’s southern corner on the waterfront. The tower is a fascinating museum of the historic district and offers panoramic views of Thessaloniki.
(video published 28/01/2010, flat13onfire)
Within the prisons of the Heptapyrgion and White Tower many famous rebetika songs of love, loss, resistance and survival were written by Greek prisoners during the last 30 year period of Ottoman rule. The mournful yet captivating music of rebetika still reverberates in many Greek cafes bonding music, food and friends and in 2017 UNESCO listed rebetika music as an “intangible cultural heritage” of Greece.
Epirus is a rugged, heavily forested and mountainous region largely made up of the Pindus Mountains. Considered the “spine of Greece,” the Pindus Mountains separate Epirus from Macedonia and Thessaly to the east.
Even though the clothing, architecture and food may have a Balkan feel, today generally older men and women gather on benches around Metsovo’s church of Agia Paraskevi to observe life on the Central Square and speak the ancient Aromanian dialect.
Livestock grazing on the green Pindus mountain slopes and crafts are still a part of life in Metsovo. To that foundation, tourism has had a significant impact over the past half century. Winter skiing, summer hiking, vineyards, unique foods, charming hotels and restaurants with a view add to the allure of this northwestern Greek enclave.
Inspired by the allegorical 1924 Thomas Mann novel The Magic Mountain, Frederico Lazaridis takes seriously the primal interplay of mythic forces and human reality. Wine was essential to the Greek psyche and had its own god, Dionysus. In everyday life Eastern Macedonia and Thrace was its motherland.
More to the point, Chateau Nico Lazaridi sits opposite Eastern Macedonia and Thrace’s own magic mountain – Mount Pangeon. Its magic was both mythic – a favorite party mountain for Dionysus – and tangible. Its vast gold deposits funded the empires of Philip II and Alexander the Great, paid for the construction of the nearby legendary city of Philippi and, sitting on the Via Egnatia, was at the crossroads between Eastern and Western cultures for centuries.
During the Roman Empire era (100s BC – 500s AD) retired legionaries were often settled in the region producing high quality agricultural products shipped as far as Rome. The Via Egnatia spanned the length of today’s northern Greece from Thessaloniki to the Dardanelles. It was the “super highway” for the distribution of goods between the Mediterranean and Asia.
Frederico takes all of this personal. Nico Lazadidis, Frederico’s father, is from the region – the historic city of Drama. His mother was from Florence, Italy, which added a cultural influence already common in the lands along the Via Egnatia. Nico’s profession was also ancient – stone and marble purveyor. Their roots are, literally, in the building blocks of civilizations.
Nico learned to make wine during his years in Italy. In 1974 the family and business returned to Drama but continued perfecting their wine making techniques as a “garage art.” In the early 1980s Nico explored commercial possibilities and in 1987 established Chateau Nico Lazaridi.
They were one of the only wineries at the time in the Drama region of Eastern Macedonia and Thrace. It’s ironic that for seven millenniums, Thrace has been the mother terroir of wine grapes. Yet wine production virtually ended in the 15th century under Ottoman Islamic rule coupled with the phenomenal profits earned from “King Tobacco” followed then by the devastation of 20th century wars.
Of course it was precisely the devastation and upheavals of 20th century wars that ended the preeminence of tobacco as an economic engine. Macedonia and Eastern Macedonia and Thrace are once again regaining the wine reputations they held since ancient days. Eleven wineries dot the Drama area while seven labels are in the nearby Kavala region.
The Kingdom of Thasos, which the region was a part in the 1st millennium BC, established the first quality control system for grapes, wine and olive oil. Today the Drama area is within the Protected Geographical Indication (PGI) Agora.
Chateau Nico Lazaridi is between three mountains, which funnel steady winds ventilating the grape vines helping to prevent mold. The vineyards lay on an ancient riverbed, which provides soil rich in minerals. The region’s flat riverbed land was made arable only as a result of 1930s drainage and land reclamation projects. The famous Battle of Philippi (1st century BC) fought nearby was on wetlands.
Chateau Lazaridi proves that bigger can be better. Its 1.1 million bottle production consists of over a dozen wines and tsipouro, the classic distillation from wine must. One hundred sixty acres in the Drama area (PGI –Agora) contain the main vineyards. Thirty-seven acres are contracted from area growers.
Their Mackedon Winery in Kavala is 25 acres and a new small ten acre winery will soon open on Mykonos Island.
Neither bio-dynamic nor organic farming methods are used in the vineyards because Frederico feels they’re best in an enclosed growing environment such as the islands where it’s easiest to maintain proper conditions.
The new wine cellar, for me, is the centerpiece. It has exposed earthen walls that maintain climate and temperature with 85% humidity. French and American oak barrels fill the vast room, but acacia wood is now being used especially for the whites. Acacia imparts a floral note. An impressive curved ceiling mural looking upward at the sky through a grape arbor graces the length of the cellar.
Chateau Nico Lazaridi is a multidimensional company of several divisions today. A demo kitchen, which will feature area guest chefs, will offer cooking and wine classes. It will be the forerunner of a future restaurant on site.
A lab is on site to maintain quality control. They research developments in vinification in the quest for the next generation of Greek wine.
The Magic Mountain Art Gallery is the family’s great pride. It is both the private collection of the Lazaridi family and, in many cases, the designs for wine labels. Twenty-five years ago Nico established an artist partnership to contemporize Greek wine marketing. The Magic Mountain Art Gallery works with and patronizes contemporary Greek and European artists who express interpretations of the primal link between this drink of the gods and its role in Greek life.
Lunch with Frederico offered hearty northern Greek dishes and two of Chateau Lazaridi’s most popular wines both from the PGI-Agora. Cavalieri Lazaridi White (Assyrtiko 70%, Sauvignon Blanc 15%, Ugni Blanc 15%) has the dry yellow fruit notes with hints of honey emblematic of assyrtiko. It spends six months in acacia barrels adding floral accents.
Greek fashion designer Andria Thomais designed both labels for F- EY, a dry red of the PGI-Agora (Merlot 85%, Grenache Rouge 15%). The original paintings in the Magic Mountain collection are of two contented men and women. Ey (εὖ in Greek) is a descriptor for all that’s good and creative in a person’s life. It’s an apted descriptor for Chateau Nico Lazaridi and one that Dionysus sitting on his magic mountain would bestow.
The god would probably want his portrait on a label.