Dicktales or Thanks and Sluggings by Jared Brown

THIS IS THE LONG-AWAITED BOOK

written by Mr. Dick Bradsell. AKA Soho Cocktail Legend, Father of the London Cocktail revival, The Bartenders' Bartender, Cocktail King, Creative Genius, are some of the titles attributed to him-though he would have introduced himself as Dick or perhaps Rosie Smudge or Cassandra the Wizard or Dungeon Master or.... This is not a cocktail book or a bar manual. Dick believed that others were better at writing those than him. Although incomplete and missing his final signature of approval, this book of thoughts, soundbites and (many) cocktails is part of his legacy. Compiled and carefully reconstructed from his own writings, his words (and his opinions) from his incalculable notebooks, personal letters, and scraps of paper span almost four decades are reproduced in the raw so all the feeling and emotion of his thoughts are left in their finest unedited, unpolished form. Photos from private collections and his own artwork are sprinkled throughout as playful as they appeared in his notebooks. A tribute to his family and many friends who shaped his tread in life and supported him for better and � for worse, in mind, spirit, and body. Ultimately, it is a celebration of the life and work of a proud British bartender, named Richard Arthur Bradsell. fff_r"-: --- ') So, pour yourself your favourite drink and let Dick stroll you through his life!

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Dicktales or “Thankyous and Sluggings”

Dicktales

or “Thankyous and Sluggings”

The Irony of Not Being Able to Invent a New Good Drink

by Dick Bradsell

Illustration and photo credits: Alamy 20-21; Anistatia Miller 6-7, 61; dreamstime 1, 2-3, 4-5, 8, 34-35, 36-37, 38039, 40-41, 42-43, 44-45, 46-47, 48-49, 50; Eline Soo Yun Bosman 12, 32-33, 62-63, 224-225; the estate of Dick Bradsell 5, 8, 14, 17, 18-19, 22-23, 25, 27, 28-29, 30-31, 35, 36, 37, 38, 39, 40 41, 42, 43, 44, 45, 46, 48, 49, 52, 53, 54, 56, 57, 64, 66, 67, 68, 69, 70,71, 72, 73, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 155, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198 199, 200, 201, 203, 204-205, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 200, 221, 222, 223; Jared Brown 11, 162, 163, 164-165, 166-167, 168-169, 170-171, 172-173, 174-175, 176177, 178-179, 180-181, 182-183, 226-227; Ned Conran 2; Olimax 206-213; Rita Keegan 130; shutterstock 6-7. 54-61, 64-75, 76-95, 96-109, 110-161, 162-183, 186-203; The Cocktail Lovers: 184, 185; Rachel Matthews 12; Claire Lawrie 47, 50, 51; Dick Jewell 74; Christopher Nolan 85; Edited by Anistatia Miller and Jared Brown Text designed by Anistatia Miller Cover design by Mateus Teixeira Copyright © 2022 Eline Soo Yun Bosman and Bea Bradsell. All rights reserved. Printed in the United Kingdom. No part of this book may be used or reproduced in any manner whatsoever or by an alectronic, mechnical or other means without written permission except in the case of brief quotations embodied in critical articles and reviews. All correspondence should be addressed to the publisher’s attention at: Mixellany Limited, The White House, Nettleton, Chippenham SN14 7NS United Kingdom. Email: mixellanyltd@googlemail.com First edition British Library Cataloguing in Publication Data Available ISBN: 978-1-907434-57-0 (hardcover); ISBN: 978-1-907434-58-7 (tradepaper); ISBN: 978-1-907434-63-1 (street edition); ISBN: 978-1-907434-59-4 (ebook)

for Bea

contents foreword by Jared Brown & Anistatia Miller • 9 preface by Eline Soo Yun Bosman • 13 introduction by Bea Bradsell • 15

chapter one

from the beginning • 16

chapter two

How far has the bar scene changed? • 54

chapter three

A cocktail Dicktionary • 64 chapter four

Dick’s cocktail course for beginners • 162

chapter five

WHERe Was Dick?• 186

chapter six

Let Your Freak Flag Fly • 206

chapter seven

Dick’s MUSIC Playlist • 218 epilogue by Dick Bradsell • 224

foreword

ICK CALLED ONE AFTERNOON AND and said we needed to have lunch. A few days later, he and Eline sat across from us in a London sushi restaurant. “I want to open a bar with you two,” he started. It was like Pélé saying he was putting together a five-a-side and wanted us as wings. There could only be one answer: Yes. We reached out to Mal Evans in Leeds. London needed a MOJO bar— one with a hidden bar inside, Dick’s Bar. Dick said we would tend bar together a couple nights a week and leave the place to ‘the kids’ the rest of the time. He was already reaching beyond our wildest dreams. He was unquestionably among the world’s top bartenders and bar mentors. He had so much more to share. He was just hitting takumi-level—a craftsperson who is unrivalled in their particular field of expertise. 9

Dick was a true master of the crafts of making drinks, taking care of guests, and running a bar day-to-day. Then Dick fell ill. The doctors thought it was epilepsy at first, but the truth was far worse and even harder to handle—incurable and terminal.The bar was for him and about him, and there was no thought of going forward without him. Dick’s creation, the Espresso Martini, is arguably the most popular drink invented in the last fifty years. But it is a bare fraction of his legacy as a bartender and mentor, and as the father of modern British bartending. Following are Dick’s stories in his own words—in his own handwriting wherever possible. Here are the photos he collected of his life and throughout his life. Here are the recipes he created and illustrated. This book is his, assembled after the world lost him at age 57, but compiled by Dick with help from his loving partner Eline in the last year of his life. It arrived in binders and envelopes and scrapbooks—enough to fill two carry-on suitcases. It took years to arrange all the pieces. Dick wanted his book on drink to resemble a classic cocktail volume, Nip Ahoy. If he had lived to handwrite and illustrate it, it would have been— except with far better content. (And if anyone out there has the time and talent and energy to pay respect to him with a graphic novel, we invite you dive in.) As it was, we reached back to the styles of the magazines that wrote about Dick, created by writers and editors and publishers who drank Dick’s drinks, who loved him and loved his work. Dick was by his own admission a punk: a punk who shaped and was shaped by the birth of the London scene. Thus, magazines like the FACE and ARENA and even Smash Hits influenced the design of this book. But mostly, it was Dick’s intensity, his energy and his style that gave life to these pages. Dick always carried a reporter’s spiral notepad. Frequently, when he created a new drink for a guest, he would write and illustrate the recipe and give it away—though putting scraps of paper in drunks’ hands doesn’t assure they will endure. Thankfully, many of those drinks, such as the Wibble, took on lives of their own and outlived those first pencil sketches. May this book stand testament to a life lived to the fullest. —Jared Brown and Anistatia Miller

Got memories of Dick or one of his recipes to share? Visit http://www.mixellany.com/dick-s-page.html

a book of dick: a preface

HIS IS THE LONG-AWAITED BOOK written by Mr. Dick Bradsell. AKA Soho Cocktail Legend, Father of the London Cocktail revival, The Bartenders’ Bartender, Cocktail King, Creative Genius, are some of the titles attributed to him— though he would have introduced himself as Dick or perhaps Rosie Smudge or Cassandra the Wizard or Dungeon Master or…. His name is short for Richard, and with multiple Richards in the school yard, the nickname Dick was the only one left for him to choose. It stuck with him for the rest of his life. It is not a cocktail book or a bar manual, because he believed that others were better at writing those than him. Although incomplete and missing the Author’s final signature of approval and his inimitable voice, this book of thoughts, soundbites and (many) cocktails is part of his legacy that he had in life by way of reputation. Compiled and carefully reconstructed from his own writings, his words (and his opinions) from his incalculable notebooks, personal letters, and

scraps of paper span almost four decades are reproduced in the raw so all the feeling and emotion of his thoughts are left in their finest unedited, unpolished form. Photos from private collections and his own artwork are sprinkled throughout as playful as they appeared in his notebooks. This book is a tribute to his family and many friends who shaped his tread in life and supported him for better and for worse, in mind, spirit, and body. Ultimately, it is a celebration of the life and work of a proud British bartender, named Richard Arthur Bradsell. So pour yourself your favourite drink and let Dick stroll you through his life! —Eline Soo Yun Bosman

introduction

EFORE PROCEEDING WE RECOMMEND gathering the tools of every good bartender—3 pens, 2 lighters, and a waiter’s friend. Dick Bradsell was an influence to so many and continues to be so; however to those who knew him he was so much more than the Espresso Martini or the Bramble. He was the party starter, matchmaker, anarchist, the inventive mind but beyond that he was the advisor, ally in your corner, shoulder you could always rely on, and the trusted ear. How does one put into words the life of a character such as my father? In truth, it was a challenge that we only briefly fretted over as we quickly realised no one would be able to tell the story better than the man himself. Gathering his words and works were really the only option that made any sense. In this book we welcome you to not just experience his creations (of which there were many) but also the surrounding elements that made up his full character. —Bea Bradsell

CHAPTER ONE

FROM THE BEGIN

ello, my name is Richard Arthur Bradsell and I was born in Bishop Stortford, Hertforshire on May the 4th 1959. (I am told this is the Star Wars birthday “May The Fourth Be With You”? But it’s a bit tenuous.) I share my birthday with a 6ft5in transsexual called Sybil Rouge but I am a lot older than her (I think) [did you know Miss Brighton was won by a man once?]. Funny old world innit! 16

NNING

hen I was sharing my flat with a Jewish mystic lady, she asked me to find out my exact time of birth so she could produce/formulate a star chart of astrology. But when I asked my mum she said “I was busy at the time”. I guess she was! I was almost born in a bathroom at the hospital because they forgot my mum was having a bath and left her there. My mum said the first word I would have heard was “bitch” cos that is what she called the nurse. But my mum doesn’t swear (she fucking well does, just not very often).

grew up in East Cowes, on the Isle of Wight, off the South Coast of England, next to Queen Victoria’s Osborne House, across the river from West Cowes; the UK’s yachting centre. [listening to the fog horns late at night. And once to Jimi Hendrix’s final concert, 25 miles away, literally shaking my window panes with his guitar in 1970?] 18

BTW: Jimi Hendrix’s final concert took place on 31 August 1970 at the Isle of Wight Festival.

ike a lot of UK catering folk I failed at school.I was a punk and foolish and failed to value education. I started washing up in hotels. I needed a better job and my parents sent me off to work for my uncle at the Naval and Military Club, the “In & Out”, an old military and naval officers club on Piccadilly in London, opposite Green Park as a trainee assistant manager: Live in, £21.96 a week.

y mother was not looking at me. A bad sign. She was sitting, reading She magazine smoking a cig’ and drinking Cinzano or Martini Dry and lemonade at our light THE STORY blue Formica kitchen OF HOW THIS table whilst she waited HAPPENED TITLED for her patient visiting “THANK YOUS her surgery at our home. AND SLUGGINS” [THE IRONY OF She was a medicallyNOT BEING ABLE trained chiropodist. TO INVENT A NEW Why she was not looking GOOD COCKTAIL] at me was cos I had (WITH ADDITIONAL had a wild party at the SCENE) house when the parents were away. Crashed my sisters’ allowed party. Redecorating had to take place (again). “You are going to London to work for your uncle at The In and Out, The Naval and Military Club.” “What, Uncle Oscar? Evil Uncle Oscar?” [RIP] “He prefers to be called Peter,” she replied. At least she was speaking to me.

THE ‘FICTIONAL’ SCENE I am scared of doing things like this. Attending my interview. 20th of May 1977, 11:30 am, Fleet and Air Force Club Piccadilly. I had to meet Uncle Paul in a pub in Shepherds Market. I was half an hour early. The pub had just opened but it already had a few men in various states of insobriety leaning at the bar. I got a coke. Mumbled at the camp bartender. Got confused with my money and my order. Was discounted as an idiot. Their conversation resumed. I sat at a table and hoped the coke would not make me want to pee during the interview. I was wondering about visiting the pub facilities when my Uncle came in. Tall with an eye patch and glasses. Grey pinstriped trousers and waist coat, white shirt, black tie and black jacket. A club manager’s uniform. He was in off-duty mode. “All right Nick. How are you mate?” “I am fine Uncle Paul” I said, carefully putting out my hand. “Never mind that.” He said, grabbing me by the arm and dragging me to the bar. He seemed to know every one. They all scowled at him. He greeted them and bought a double vodka whilst waving a tenner. “What are you having Nick?” “Er, I’ve got a coke over there” I said imply. He looked confused staring at me for a couple of seconds. “Make it two doubles. One with coke,” he said carrying on and trying unsuccessfully to bum a fag.

END SCENE

“You have an interview with a Brigadier Walker next week. He runs the finances. You meet your uncle at Waterloo at 2pm.” So we set about arranging my goods and chattels. New suit, pants, socks, fresh hankies, crisp + white plus new shirt (to me anyway) and several smart ties that were not school ties. My school ties were grubby and inauspicious. We got a really cool 3-piece thin blue white striped suit from a charity shop plus a yellow button down collar shirt like Mick Jagger had. And with a mean thin tie. Long with room to do a groovy knot. I reckoned I looked both smart and….well cool I guess. So the next week I set off from East Cowes, Isle of Wight for Portsmouth HIS JOB WAS QUITE PRESTIGIOUS BUT A SERVANT OF SORTS. AND HE WAS A ROGUE.

and the train for London by the Wightlink Ferry. My new life was about to start. Meet my uncle and go to the interview. He was easy to find at Waterloo. Tall with glasses. The “Gurney look”. My mother’s brother—very smartly dressed in a Gentleman Club’s uniform, a morning suit like a wedding best man. Grey striped trousers, a black jacket. Smart shirt, waistcoat with chains and buttons – grey too and a cravat tie. All smacking of expense. We got a taxi cab to Piccadilly, opposite Green Park. He went to make arrangements and do business in the club. The manager ranked number 3 there, Major Anderson superceded him, as did the financial director. His job was quite prestigious but a servant of sorts. And he was a rogue. Sorry but he was. Do the opposite of what he said and you’d probably be on the right track! The job I was up for was trainee assistant manager. I basically knew nothing. I had washed up glasses and dishes in kitchens in the South Coast hotels, Eastbourne etc. I was here to learn. To learn everything. Bit by bit doing everyone’s two weeks holidays. Trying to be useful. Get an education in the hospitality industry. Very green but willing. And, of course, my uncle had not

mentioned my relationship to him. I was ushered through a highly polished brass stepped doorway into a reception past a switchboard with a bubbly and efficient receptionist [name forgotten] behind the scenes thru a side door where (as usual in the business) it all got a bit manky carpet and a bit drab to Brigadier Walker’s office. He was a tanned man with pointy nose like mine, little glasses and eyes that scoured you. An army guy. No fool, certainly. He shook my hand and introduced himself. First question. “Exactly what is your relationship to Mr Gurney?” “Sir?” I replied. “As in how does he know your mother?” “He is my uncle sir, my mother’s brother.” His next statement pended but pleased me. “You’ve got the job. We’ll give you a go.” “I like that you were honest” “I think your uncle will not. He kept that quiet.”

I said “I really want to apply myself and learn here.” “I think I have a lot to offer and I work hard and am diligent. I’m not afraid of getting stuck in. I hope you understand I have to be discreet and know my place and be secretive and keep my mouth shut.” Brigadier Walker (said) “…I do appreciate that. Very much. Your job will be to cover everyone else’s holidays. So you’ve got to learn the lot! We have fixed ways here and you have to come up to scratch straight off. But we are used to teaching folk. “You will have to learn a handshake. Yours isn’t good enough. Sorry. Will be a lot of handshaking too. Hellos etc. with important folk. Major Anderson will teach you. “I’ll just go see him. Tell him, then introduce you.” Major Anderson ran the place with the help of the esteemed special police constable who worked reception at the grand entrance past the “In” and “Out” signs (hence the nickname), past the much needed car park at the front. Major Anderson grabbed my hand. He was about 60 something with wig like hair. Army turnout suit. No stinting on his clothing. Super smart shoes. Grabbed hand. “One, two, three, shake. Thank you very much. That’s it. Right every time. But don’t kiss the hand. Ever. I hear you passed The Truth test. We checked you out. Welcome to the job Richard.” He smiled reptileanly. I was pleased.

“You live in. We have staff rooms very top of the building. You get £21.96 a week. And don’t hang out with the other staff. Can be quite a mixed lot. Especially the summer extras. And the hire ins for functions. To be frank, they steal stuff. The silver etc. You’ll get duties every day. One will be to occasionally search the ladies in black and whites doing functions. Won’t make you popular. Derek has to do it too. He runs the buttery. Old gay very camp. He’ll teach you a lot. Cappuccinos, teas, espressos. Crumpets, buns. Toast as the members like it. On a tray in their way. Just be formal and friendly or pleasant you’ll do.”

IT WAS 1977, AN AWESOME YEAR IN LONDON HISTORY. I LEARNT EVERY ASPECT OF THE HOSPITALITY INDUSTRY AND CATERING TRADE IN JUST ONE YEAR.

It was 1977, an awesome year in London history. I learnt every aspect of the hospitality industry and catering trade in just one year. I worked everyone’s holidays. Reception, switchboard, chamber maiding, table service. The making of classic drinks. Breakfast service. Goat room luncheon and Smoking Room duties. Function rooms service. Stock control and cleaning. A hell of a start. Silver

service on day 3. I was useless, thrown in the deep end. Ended up in the kitchen poisoning the poor members with my inept cooking until I learnt. Spoon round the back of the head style. At the club they made Pink Gins. Where else would you get Pink Gins in the mid-70s? I had to buckle down, learn how to make Pimm’s, Martinis, gin and tonics. I worked there for a year and went from being chef to do front of house. But I was paid so little. A lot of catering is slave labour, I went from there to train with a friend of my uncle’s to be a chef, until I realised I’d much rather work front of house and meet people. It’s far more exciting.

“My father Peter Bradsell, a physicist and electrical engineer. A man who has done no harm. A man of great thought and principal, super intelligent from very young. Runs his life properly and with positive hope.”—Taken from email

interview in 2015 in which Dick was asked who were his role models

CHAPTER TWO

DOWN AND

OUT IN HONG KONG AND LONDON

left when my uncle did and started in the small kitchen of The Little Ship Club in the city of London. Then my flatmate’s girlfriend Sophie Parkin got me a job as “the runner” (making coffees, bringing the waitresses the plated food, etc.) in the amazing Zanzibar Club. It was the perfect cocktail club. Based on a speakeasy’s plan. 34

Full of actual celebrities EVERYONE HAS like David Bowie, Catherine A FIRST DAY Deneuve, Elaine Paige, BEHIND A BAR! etc. I tried to make myself indispensable and loved the place. It was so glamorous. I was so shy. I made all my mistakes early. Everyone has a first day behind a bar! My most formative experiences in my professional career... Well, they were the year at The Naval and Military Club, a great background and career “backbone” and training at the Zanzibar Club in the fine art of mixing drinks with Ray and

Pat. The senior bartender Ray Cook and the day bartender Pat Hassan taught me “the way of the bar”. I tapped into a long line of drinks mixers.

was very lucky. Pat’s uncle had been senior bartender. Ray made me read The Fine Art of Mixing Drinks by David A Embury. And it was a lot more fun making drinks behind a bar than cooking in a kitchen with psychos. Instant gratification for your client. So, I guess bartending chose me.

IN THE CITY

IN HONG KONG

MEETING

VICKI

“Now life has settled into a routine. He has lost a famously manic toothless grin by visiting a dentist and is now a family man. He met his wife Vicki at a notorious party in the All Saints Road three years ago which ended in blood and tears. Some journalists from Italian Vogue were taken on a tour of London’s hippest parties. A fight broke out and the journalists had to be pushed into a fireplace to avoid people hitting each other with bottles. At some point during the battle, Bradsell met Vicki. ‘It was a momentous meeting and love at first sight,’ he says.”—Andy Harris, Evening Standard, December 1989 50

HOW FAR HAS THE BAR SCENE CHANGED?

CHAPTER TWO

THE FANTASY OF FASHION.

THE INTRODUCTION OF FRESH LIMES, CRANBERRY JUICE AND GOOD HAVANA RUM.

GETTING DRUNK AND GLAMOUR. BUT IT WAS VERY “LOOKING FOR MR GOODBAR”.

VERY FEW PLACES FOR THE ORDINARY DRINKER TO GO. APART FROM PUBS.

WIDENING OF COCKTAILS AWAY FROM THE USA [CHEERS AND “FERN BARS”], MEXICO, FRANCE, ITALY AND PERU, JAPAN. LONDON IN 1977 WAS SURPRISINGLY BORING.

1970s THE RERELEASE OF THE SAVOY COCKTAIL BOOK AND THE FINE ART OF MIXING DRINKS.

PEOPLE FINDING PARTNERS FOR LIFE OR THE NIGHT OR JUST FINDING THE GUTTER [PRE AIDS].

THERE WAS A MINI COCKTAIL REVIVAL IN LONDON.

LONDONERS HAD FUN. THEY KICKED OFF THE CHAINS OF THE PAST. LOTS OF WAREHOUSE PARTIES. HEDONISM.

A REVOLUTION STARTED. PUNK, ROXY MUSIC, THE HUMAN LEAGUE, DAVID BOWIE.

HOW FAR HAS THE BAR SCENE CHANGED?

MOST PLACES DIDN’T HAVE A F***ING CLUE, SO WE FOUND THE PLACES THAT WERE MAKING GOOD COCKTAILS, THAT DID HAVE A CLUE. LIKE THE SAVOY: YOU DIDN’T JUST GO THERE FOR THE

BARTENDING AND CATERING GOT PROFESSIONAL AND GAINED PRIDE.

DRINKS, YOU WENT FOR THE ATMOSPHERE. THE RITZ: THE GUY THERE WAS IN HIS 70S, MAYBE

AND DUKE’S: AMAZING, YOU FELT YOU HAD WALKED OUT OF LONDON AND INTO SOMETHING REALLY GRAND.

OLDER, HE WAS SO GOOD AT HIS JOB. HE MADE A GREAT STRAWBERRY DAIQUIRI, I COPIED IT. HE WOULD EXPLAIN WHY IT WAS GOOD AND WHAT HE WAS DOING.

CUSTOMERS BECAME EDUCATED VIA STYLE MAGAZINES AND WE

KEPT OUT THE

GOT STYLE BARS.

WORKING MAN. WE MAYBE

IT SPREAD

TOOK ON THE VALUES OF OUR

ACROSS THE UK. EDINBURGH,

PARENTS AND UNCLES.

MANCHESTER OXFORD ETC. [THE UK ROD] THE FIRST STYLE BARS WERE UP NORTH AND SCOTLAND, THEY WEREN’T IN LONDON.

THE “E” GENERATION.

UP THERE IT WAS A

LONDON ROCKED AFTER

WAY OF KEEPING BUILDERS OUT.

THE “SUMMER OF LOVE”.

IN LONDON THEY JUST MADE BEER EXPENSIVE.

FILM FANTASY IN BAR CULTURE. THE COSMOPOLITAN. DESIGNER BEER. ABSOLUT VODKA.

THE END OF BAR VIOLENCE [IT WAS A REAL PROBLEM!]

SHOTS AND SHOOTERS. PARTY TIME AGAIN

WE HAD A FINANCIAL CRASH BUT SOME STILL HAD

ENGLISH PEOPLE

THE MONEY. OR LET’S PRETEND

THOUGHT IT OK TO SERVE SOMEONE.

WE ARE RICH.

THE BUSINESS GUY WAS ICONIC. BUT IT WAS OK TO BE A SERVER. IT ACTUALLY BECAME A COOL JOB. TRAINING AND OLD SCHOOL VALUES.

1980s 57

HOW FAR HAS THE BAR SCENE CHANGED?

“CLUBBING” GOT TO BE AN ENTERTAINMENT. THE BAR SCENE GOT PROFESSIONAL. BARTENDERS OPENED THEIR OWN BARS. VERY GOOD TRAINING.

THE USE OF INTERNET COMMUNICATION TO SPREAD IDEAS. THE GOOD ROSE TO THE TOP.

THE BAR INDUSTRY AS SUCH TOOK OFF. PEOPLE SAW IT AS A WAY OF MAKING SERIOUS MONEY.

MANY NEW DRINKS + MANY NEW PRODUCTS. SUPPORT FROM LIQUOR OR SPIRIT COMPANIES IN BARS AND CHAINS.

SO MANY NEW BARS OF DIFFERENT TYPES. SIMON DIFFORD OF CLASS. THE TEAM AT THEME MAGAZINE. THE BAR SHOW. INTERNATIONAL BARTENDING.

1990s I STARTED DOING CONSULTANCIES AND WE GOT PR COMPANIES TELLING US WHAT TO DO.

BECAME A GOOD PLACE TO MAKE A BUCK. BEFORE FASHION AND CATERING WERE MOST HIGH RISK VENTURES. WE STOPPED LOOKING TO US FOR IDEAS AND LOOKED TO EUROPE. WE GOT CONFIDENT.

HOW FAR HAS THE BAR SCENE CHANGED?

IT IS IMPORTANT TO BE POSITIVE. IT IS A NEW GENERATION.

THE RETURN OF TGI FRIDAYS STYLE FLAIR BARTENDING.

WE GET CULINARY COCKTAILS. NOT AS MUCH FUN. THE BARTENDER AS STAR. I PREFER TRADITIONAL VALUES BUT THAT IS ME. IT ALL GOT A BIT MORE COMPARTMENTALIZED. HIDDEN SPEAKEASIES BEHIND COKE MACHINES. 1870S DRINKS. VERY OPINIONATED FIXED IDEAS. [YOU KNOW THE ZANZIBAR WAS A DIRECT COPY OF A SPEAKEASY’S PLANS!]

THERE ARE LOTS OF GREAT NEW PLACES AND I CAN’T WAIT TO SEE WHAT IS NEXT. EXCITING.

A LOT OF OUR BUSINESS RUN BY SOCIAL MEDIA: PR. “YOU DIDN’T EXCEED OUR EXPECTATIONS”. THE BLIGHT OF THE CUSTOMER REVIEW.

THE BAR SCENE

NOW (2015) I LOVE A LOT OF THE NEWEST ONES. BRAVE NEW WORLD. LOTS OF GREAT SPIRITS AND LIQUEURS AND QUALITY STUFF. NEW GINS AND BAR DISTILLING ETCETERA, MORE KNOWLEDGE AND TRAINING.

MORE HISTORY! MORE MYTHS AND INACCURACIES! BUT THAT’S THE WORLD OF COCKTAILS!

L I A T K C O C

DICKTIONARY

CHAPTER THREE

Here are 131 of Dick’s drink recipes...

ALEXANDER AMARETTO SOUR AMERICANO AVIATION BACARDI COCKTAIL BLACK RUSSIAN BOURBON SOUR BRANDY ALEXANDER CADILLAC MARGARITA CAIPIRINHA CLASSIC MARGARITA CLOVER CLUB COFFEE CHASER DARK & STORMY DRY MARTINI GIMLET GIN+IT/GIN MANHATTAN HARLEM DRY GIN MARTINI HARLEM VODKATINI HARVEY WALLBANGER HOT BUTTERED RUM HOT WINE PUNCH JUNEBUG COCKTAIL KUMQUAT & ALMOND CAIPIRINHA

53•CLASSICS

DIC FROM H K’S COCKTAI LS IS TAK ES ON CLASS ICS AND CONTE TO DIC M P O RA K’S OW N VERS RIES IONS O F HIS O WN

MARTINIS MARY PICKFORD MONKEY GLAND MOSCOW MULE NEGRONI NEW YORK SOUR OLD FASHIONED PING PONG PISCO SOUR RAFFLES GIN SLING RAMOS GIN FIZZ SCORPION PUNCH SIDECAR SING SONG SLOE GIN FIZZ SMOKEY MARTINI THE STINGER STRAWBERRY CAIPIRINHA SWEET MANHATTAN SWEET MARTINI TOM COLLINS VESPER VODKA GIMLET ZOMBIE

Want more recipes? Head to http://www.mixellany.com/ dick-s-page.html or click the QR code. We’ll be adding more to this list until we publish Dicktales 2. Stay tuned.

This first Brandy Alexander on your left uses cognac and adds more liqueur than the second one below.

Each of these Amaretto Sours uses different proportions of the main elements and offers a straight up or rocks version.

The first Aviation uses less crème de violette than the one below it and calls out the brand used to make it.

‘Rosso’ means sweet red vermouth

Now, according to global trademark rules if you call this drink a ‘Dark ‘n’Stormy™’ it has to contain Gosling’s rum. If you do this Dick’s way...

The Sandwich Quiz #73 with Sandi Toksvig,21 July 1984. Dick won a sandwich! Watch it here: https://www. youtube.com/watch?v=_ Z82P_4y6Y8

“Daring, dazzling, deathdefying dull, devastatingly dangerous, delectbale, delicatessen-able, divinely decadent Sandwich Quiz!” —the show’s opening line

Dick drew this, Absolut used it as an ad on the back of Butterfly magazine.

We may never know which drinks got an X or a check or nothing. Only the cover was left.

If you like your Sidecar spirituous, the one on the left suits the brief.

26•CONTEMPORARY

Now, you could call some of these contemporary drinks classics. But we guess we’ll wait another decade or t wo before we call them true classics.

BAHIA CHOCOLATE BATIDA CHOCOLATE MARTINI COSMOPOLITAN ELDERFLOWER MARTINI GOLDEN DRAGON HONG KONG FUEY LONG BEACH ICED TEA LYNCHBURG LEMONADE MARGARITAS MARQUEE NORTH SEA BREEZE PASSION FRUIT MOJITO QUIET STORM THE RASPBERRY MARTINI RASPBERRY MULE RUSSIAN BRIDE TATANKA TEQUILA OLD FASHIONED VANILLA DAIQUIRI

100

101

102

103

104

105

106

107

108

109

‘Whats’ the proper way to make a drink? Exactly as the person drinking it would like to have it.’— Dick Bradsell

110

MIXED BERRY JULEP MORELLO CHERRY COSMOPOLITIAN ORANGE & ESPRESSO MARTINI PINK CHIHUAHUA PINK MOJITO PLUM SOUR POLISH MARTINI POMEGRANATE & KAFFIR FIZZ ROSE PETAL MARTINI RUM SHACK PUNCH RUSSIAN SPRING PUNCH SNOW ON EARTH STRAWBERRY MARTINEZ SUMMER BREEZE THE THUNDERER TIGER WOMAN THE TREACLE THE WIBBLE

Want more recipes? Head to http://www.mixellany.com/ dick-s-page.html or click the QR code. We’ll be adding more to this list as we find them. Stay tuned.

111

53•DICK’S OWN

ALL-SPICED DAIQUIRI THE BRAMBLE CAROL CHANNING CARSON MCCULLERS CHILLI-PINA-RITA DEVIL’S ADVOCAAT ESPRESSO MARTINI / PHARMACEUTICAL STIMULANT / VODKA ESPRESSO GODDESS OF THE BRONX GOLDEN RETRIEVER HAVANA SUNRISE HEDGEROW SLING LADY BOY COCKTAIL LEMON MARTINI THE LEMON COCKTAIL LAVENDER HONEY SOUR MANDARINE & PASSION FRUIT MOJITO MATCH SPRING PUNCH

112

113

Proust wrote about an involuntary memory of eating madeleines as a child in his novel In Search of Lost Time

114

115

116

117

118

So one Chilli-Pina-Rita is frozen and the other is a natural just like Daiquiris come in frappeéd and natural versions. Up to the customer’s taste, really.

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120

121

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123

124

125

126

127

128

129

130

131

A “dangerous glass’ is a tall, skinny, tippy pilsner glass...really popular in bars for while until one too many drinks tipped over.

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133

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135

136

This letter confirms the birth of the Match Spring Punch.

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138

139

140

141

142

143

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147

“What a party! The drink was dangerously lethal. Two divorces/relationship breakdowns. Two people in hospital: one fell down the stairs and the other got run over outside.”

148

“...And the hostess got woken up by her mother in the morning in bed with the wrong guy...It’s good for using up an open bottle that’s past its best.”

149

150

Wish Dick had put the measures on this shooter. (Probably equal parts with cream on the top.)

151

152

153

There’s a typo in this recipe. This ‘one’ DID win!

154

This was Dick’s last creation for someone—Celine Hispice who wrote a musical based on the 2014 book Tiger Woman: My Story about West End singer/dancer Betty May.

155

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’S CK DI cocktail

E S R U O C

Dick put together this training course back in 2003. While some bartending methods and techniques have changed, most of what is in this chapter is still very relevant today. A few tips and handwritten thoughts appear, too.

E R S

G I N N

R B E

162

CHAPTER FOUR We a re go ing to te ach you th e b a sic sk il ls you n to wor k be h in d ee d a co ck ta il b a r. —H ow to sh a k e, st ir, muddle a n d blen d, laye r bu ild . and —H ow to be cl ea n, sp ee dy a n d effic ie n t —H ow to re ad a re ci pe —H ow to re ad a n orde r —H ow to m a k e some b a sic co ck ta il s (Tom C ol P la n te rs Pu n ch li n s, , M a rg a ri ta, Te qu il a S un ri se , C osmop ol it a n, S ea Bre eze, M a ri tn i & B52) 1. S et Up t up... g ti me. A H ere is a b a r se en a ro un d a lo n be ve a h s up ok t1. Ba r se 993 wou ld a ll lo 1 d n a 9 5 9 1 , 6 b a r in 192 ve ry si m il a r. a b a r. ways to se t up y n a e m re a e er 2 . Th en t nee ds, so th er ff di s a h g n rten di w ine 3. C oc k ta il b a tl y to a pub or en er ff di up t k itch b a r w il l be se ee ds . It is lik e a n e es th r fo r b a r to cate en, it is a b ou t: • Effic ie n cy • Ec on om ic s n se l and • C ommon se ade qu ic k ly, wel m be to d ee n s • Th e dr in k lay— w it h st y le . a lways on di sp re a rs de en rt a 4. C oc k ta il b rt of th ei r jo b. t th e th is is a v it a l pa t be av a il a ble a us m e ir qu re ou y 5. Ever y th ing b a r. e b a r sp ace l nee d to us e th il w se el e n eo pact on 6. S om h a s a di re ct im k or w ou y ay to o. Th e w lis t o th ers. h ing proc edures is fin g/ in rt a st preYou m ay h ave a ou w h at to do to y s ll te h ic h w r ll ow th is . fo r you r b a ld le a rn a n d fo ou sh ou y ; up pa re /s et

163

on ) 2 . S et Up ea n s. ..p re pa rati m d n a ch en Fr (Th is is be : de r’s k it wou ld /Pa ri s A ty pica l b a rten bi n ati on, Fren ch om C , n to os B s: , Ju le p • 2 Sh a k er th or n (Pro nge d) w a H s: er in ra te d” ) • 2 St , Spi n dle (“Tw is er dl ud M s: on • 2 Ba r Spo • Mea su re s • Ic e sc oo p • To ngs 3. G la ss wa re • Ble n de r • S ie ve Th ere a re sp ec ifi c gl a ss es fo r sp • C or k sc re w ec ific dr in k s; so h a ve th e n am me e of th e dr in k s a • St ir ri ng jug tt ach ed: • C ol li n s • P itch er • Old Fa sh io n ed • S li ng Th ey a re di ff er en t be caus e of : • S ize • St y le • Iden tific ati on O ve r th e ye a rs la ngu age a n d fa sh io n h ave ch a th e ch oice us ed nge d in b a rs: • M a rt in i or C oc k ta il G la ss • Old Fa sh io n ed , R oc k s, Wh is k ey G la ss • S lim Ji m , Tu m bler, C ol li n s • S li ng , P iña C ol ada, H ur rica ne • M a rg a ri ta , C ou pe • Bra n dy Ba ll oo n • C h am pg ne (F lu te , “V”, Stem , S auc er)

164

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—Tuesday, 22 Ap ri

l 2003

We are going to te ach you the basic skils you need to cocktail bar: work be

hind a

1. How to Shake 2. How to read a

recipe

3. How to work b

ehind a bar = you r station

4. How to read a

n order—from the

till printer and fro

m a written docke t 5. What is a cock tail? • Original cockta il is a short drink in a cocktail glass • Cocktail = all m ixed drinks nowa days • “Martini”—how the word has cha nged to be less p are not a precise recise. Cocktails science. 6. The importanc

e of the glass

7. How to stir—usi

ng a pitcher or sh aker to stir

8. How to layer 9. How to flame 10. Clean up

166

u i pme n t

di ffim ade & n d y l d a b be hi me is g o o d , s o e t h e e u i pme n t r j o b is t n e yo u u i pm nsur S ome e q . Yo u ne e d t o e o u t o do y w lo l a se o c u l t t o u g o o d e n o ugh t is r yo u r b a y. prop e r l , as i n k s c o ld r d g n i t er ge t a ) Sh a k e r is us e d f o r k LL . a is a SK I le d • A sh s p o s s i ble . t i , t n a e co up im p o rt f as t a h a k e is t h ro ugh p rac t ic s u o y • H o w re de ve lo p e d ls a e d. • Sk i l t o s uc ce l l i w a with

Eq 4. Ba s ic

gl as s B o s t o n o ne me t a l , o ne — 2 p a rts at io n C om bi n n s t ra i ne r b ow Has i ts

p li t s i n u i l t i n, s

Pa r is Fre n ch/ rt s l pa 2 me t a

to 3 par

All this stuff was typed out as handouts for students to take home.

ne r b) St ra i g H aw t h o r n on • 2-p r g H aw t h o r n ro n • 4 -p p • Ju le s c) Sp o o n (“Tw is te d” ) d le • Sp i n r d le • Mu d le rs d) Mu dd p i n ng • R o l li r s p o o n d le • Mu d e ) St i r r

M a rt i i ng Jug /

f ) S ie ve

n i P i tch

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5. Ju ic es

3 ty pe s of ju ic es ve a h to d n te rs C oc k ta il b a ezed • Freshly sq ue th e su pp lie r • Fresh from es • C a rt on ju ic

ezed on zed ora nge ) is sq ue es a ) Freshly S quee im et om (s e a n d le mon le d. • Usu a ll y lim rra ined a n d b o tt ch il le d at th e co t a ju ic er th en st ep k be T S U 3 days, a n d M • L a st s 2 to re . of th e re ct te m pe ratu ng to th e qu a li ty di or cc a ge n a ca n ch • NOTE: Th is EXP ENfr ui t b ough t. qu a li ty bu t it is T EN LL CE EX y us ua ll • Th e re su lt is ordi ngl y. SIVE. you r dr in k s acc st co ou y t a th en su re • You nee d to

e S uppl ie r ju ic e su pp lie rs . b) Fresh from th h es fr y n a m a nre ere a ui t (n ow even cr fr pe a • In Lo n do n th gr , ge n a mon, lime, or • Th ey se ll le to ato). il y a n d su pp lie d da be rr y a n d tom y or ct fa a a re ju ic ed in uc t. • Th e prduct s a s a da ir y prod er n n a m e m sa b a rs in th e ic es . mon a n d lime ju le e th in ra st ld y) NOTE: You sh ou ju ic e la st s 1 da to a om (t ys da ) L a st s 2 to 3 y a n d old st oc k th pi t, en st si n co (L oo k ou t fo r in of b a rs a n d th ey ay st c) C a rt on in a m e th re ju ic es a re esh bu t some a fr om fr Te tra pa k ca rt on ay w g Th ey a re a lo n ge ) a re ea sy to fin d. tom ato & ora n y ll ia ec sp (e s er be tter th a n o th • O ra nge • G ra pe fr ui t • P inea pp le • Tom ato • Lych ee • C ra n be rr y •

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6. Pu reés In stead of fres h fr ui t, b a rten de rs of te n us e in te n de d fo r k it pu reés, or ig in a ch en /p ati ss er ie ll y us e. • S ome ju ic e su pp lie rs n ow m a k e th em . • Pu reés te n d to be 10% suga r & fresh fr ui t a come frozen in n d th ey of te n 1L pack s. • Th ey a re of te n mos t co st— a s wel l a s ti me— effic ie n t. • Wh ite pe ach • R a spbe rr y • M a ngo • Pa ss io n fr ui t • St raw be rr y • K iw i L a st a fe w days one op ened/def ro sted . Frozen produc t h a s a le ng th y sh el f li fe—plea se in di v idua l pack ch ec k each fo r exact ex pi ry date s. 7. Nec ta rs S ome nec ta rs a re us ed in co ck ta il s • Pe ach • m a ngo • G uav a • Pa ss io n fr ui t Th es e ca n be lik ened to ‘wate ry ’ pu reés a n d te n merci a l produc d to be comts, of te n fu ll of fl a v ou ri ng a n d st Sh el f li fe is be t a bi lis ers. wee n 7 a n d 10 days on ce op en P le a se ch ec k ea ed . ch in di v idua l pa ck fo r exact ex pi ry date s.

169

8. S y ru ps In th e (n o t to o di st a n t) pa st, b a rten de rs h ad grou n d or sh ave to us e lo af suga d do w n to w h ic r, h th ey wou ld a produc e a sy ru dd wa rm wate p fo r dr in k s. Th r to is ca n n ow be b is ca lle d sy ru p ough t b o tt le d a de gomme, b a r nd suga r or si m ple sy ru p. You ca n m a k e it (ch ef s do) bu t it is ch ea p to bu y. tage of th e b ou Th e ad v a ngh t produc t is pr im a ri ly co n si st sav ing. en cy a n d la b ou r Th ere a re a ls o flav ou re d sy ru ps : • Mos t comm on is gren adi ne (a re d sy ru p or from pomeg ra n ig in a ll y m ade te s) orge at, a n d a lmon d sy ru p • O th ers in cl ude: pa ss io n fr ui t, m a ngo, st ra NOTE: Th ere is w be rr y, ra spbe a w ide v a riet y rr y in qu a li ty 9. C ordi a ls Th e co rdia l is a n old Vic to ri a n fav ou ri te . It is fr ui t dr in k prod a way to pres er uc ts . Th e mos t ve d common is Li m re m a in s po pu la e C ordi a l—R os r amongs t b a rt e’s en de rs . It is th th e 1800s. Fl a e la st su r v iv or v ou rs in cl ude B of lack cu rra n t. 10. Bit te rs • Ango st ura : Ango st ura, Ve nez ue la • Pe ych aud: H er be sa in t-b a se d re d bi tters fr • O ra nge : H op om New O rlea n pe , H ol la n d s • Pe ach : H oppe , H ol la n d NOTE: C am pa ri is a ls o a bi tter.

170

11. M il k Produc

eam m ixed a lf m il k , h a lf cr rrec t H : 2 1/ d n a 2 ch il le d at th e co • 1/ it p ee k T, H U t o esh n • M il k : Use fr ippi ng te m pe ratu re is be st, n o t w h e gl n si or e bl g w h ite ou • C re am : D em , h owever eg th e us s k in . dr fe w to produc e fro th it • Eg gs: Ve ry ir sp to us tr ng ci us e is us ed fo r bi n di me pe op le il l, so so e k a m ay m es ti ss er ie s. Fresh eg g w h it g w h ites fo r pa eg d se ri eu st pack age d pa 12 . Spi ri ts

it s a co ck ta il a n d w h ite sp ir s it • Th e b a se of ir sp rk da sp li t in to th e ir it th e be tter • Th ey ca n be sp e th of ty li a th e qu • Th e be tter in k qu a li ty of th e dr im po rt a n t w h en re a ts gh ei w d n v it ie s a • Spe cific gra dr in k s m a k ing ce rt a in : ej o a ) Da rk Spi ri ts ra, Jam a ic a n, añ a er m de le ub do , , Ir ish R um : da rk rum a lt, rye, b ou rb on m h, tc o sc y: k is wh c, Arm agn ac Bra n dy: C og n a : d b) Wh ite Spi ri ts on a ll y-flav ou re ti di a tr d, re ou v a Vo dk a : pl a in, fl , sl oe mou th, ge never ly P , n do n Lo : cach aça G in ca rdi, agr ic ole, a B , n a ub C : m Ligh t ru po sado, mes ca l re o, ej añ , ld go , Te qu il a : si lver

171

13. Liqueu rs

Th ey ca pe s of liq ue urs. ty y n a m y, n a Th ere a re m y of ways: ri se d in a v a riet

n be cate go -

Ba ile ys By M a k er: C oi n treau a n d , a ri a M ia T : mel pe ch e a n d k um • Prop riet a ry de e èm cr o, ça cu ra • G ener ic: bl ue OR v ou r: s By St y le of Fl a a is e a n d Arch er Fr u, ol ate ea tr n oi C d cacao & ch oc n a • Fr ui t: a lu h a K , ys ams: Ba ile no • C of fe e, C re re us e a n d G a ll ia rt a h C , el m um • H er bs: K OR By Ba se Spi ri t: eau, Va n de r H um tr n oi C d: se a b ster • Bra n dy mel , Jaeger mei um fo rt K d: se a b t ri ie , S ou th er n C om • Spi bu m ra D , ys ile se d: Ba ok o K a n u • Wh is k y b a a ri a, M a lib u, K M ia T d: se a b • R um OR C re ati on : By Met h od of v ou re d • Es se n ce fla re d • Ju ic e flav ou • M ace rate d

172

A template Dick used to develop a drinks menu.

173

CO CKTAIL 1: FR

ESH LEMONADE

on s ly sq ue ezed le m Ve rs io n 1: Fresh t le mon ju ic e Ve rs io n 2: B ough Ingredie n ts: mon ju ic e hly sq ue ezed le es Fr l m 5 3 to 25 ga r sy ru p 3 b a r sp oo n s su w it h ic e Met h od: a sh a k er fil le d to in ts n ie ed gr Po ur in esh ic e Sh a k e er fil le d w it h fr bl m tu a to in St ra in To p w it h so da St ir sl ic e G a rn ish : le mon Add 2 st raws in S er ve on a n a pk ta il s: fo r o th er co ck Th is is th e b a se ol li n s ou ld be a Tom C w it is th to n gi o ts (50 m ls ) lo ur). If we add t wo sh es added fo r co im et m so is ry (a ch er n ch . be a P la n te rs Pu ld ou w it s er tt rum a n d bi If we added da rk ou ld be ic ti ne float it w ed en B a d n a dy , ch er ry bra n If we added gi n ng. a S inga po re S li Lo ng k e it wou ld be a co h it w ed pp to sp ir it s a n d If we added five . Is la n d Ic ed Te a th e same. b a se sh ou ld be e th in t en er h Th e b a la n ce in

174

175

CO CK TAI L 2

: TOM COLLI Th e d NS ir nk h as i t t his d so r b e t te i n k we a r w n hi s t o e r r coc k t a i l g o i ng t o l y a nd i ts s. o e ar n m a ny w n s t y le I ng re of le s s o die n t n s a n g l a s s . Fr s: 50 m om d how l to ma 25 m g i n ke l 3 t s p le mo n ju ic e s ug a r Me t h o Sh a k d: e Po u r in To p w t o a g l a s s i th so Gar n d ish: c a he r r y An e x p c l a s s e r ie n c e d b ic . a r te n de r w o u ld r e c o gn ise t h is dr i nk as a f am o us U ILA CO CKTAIL 3: TEQ

SUN R ISE

Ingredie n ts: 50 m l Te qu il a O ra nge ju ic e e 3 ts p G re n adi n O ra nge sl ic e G a rn ish : ch er ry Met h od: w it h ic e Fi ll a ta ll gl a ss Po ur in te qu il a a nge ju ic e To p uo p w it h or Add st raws ‘s un ri se ‘ ef fe ct a te ea cr to e n di S in k th e gren a sl ic e & ch er ry ge n G a rn ish : ora

176

CO CK TAI L 4

: SEA BR EE ZE Th e c ock t a i l we t ail . O no n be e n e of t he m w k no w as t h av a i l a i n re e ia om n i p re s e ble f o r ve a s o n s w h S e a Bre e z r e is a y is t n t at y lo ng r y an ha mo pa d . i n ve n c o u ld e a s rt ie s a n d Thi s s i m p t c ra n b e r de r n c o c k r y ju i i l y de le , e a b a rs t a dr ce sy a d i de s c r i be d a n k as s imp e s cr i be d a t t h e e nd o , t a l l dr i n h as n o t k s le dr i n k s f s a re “t h e h o l y a n d p o p u “t h e dr i n k t h e l a s t c b e c ame ra re . e l ar as gra i l m n t uos t of ba rte n d t h e S e a B s e r ve d”. T Wh y o re i ng”. G wa s i o o d , p e ze h a s b t so p een op ul a op ul a r? r, s i m C us t o p le me rs lik con ta i n i ng e t h e t as te n o h id v de n “ o d k a w i t h , i t wa s n k ic k”, e n o hid a c le a n fla w, l o ng a n d e as v o u r. Ba rte de n i n y T n g re di e n t s . h e re wa s t o dr i n k , i m p o r de rs e n j o y no se e d i ts t an t l c re t t y a lc oh s o i t, o l , i t , i t us e s ju i m p l ic i t y is a l l s t i ng and s ne at l p r e e die n ed o y p ac I ng re k e d i n ts a n d ic e f m a k i ng die n t . , so a s: c a rt o 50 m p a rt Mo s t ns. l v o dk f rom t C ra n b a he e G rap e r r y ju ic e f G a r n r u i t ju ic e ish: li me w e dge ‘ Bu i ld ’ Me t Fi l l a h t a l l g o d: l as s w Po u r in i t h ic e Add j v o d k a u ic e s in a r St i r a at n Add 1 d g a r n i sh i o o f 2 p a rts w or 2 s t raw i t h l i me w c ra n b e r r s e dge y to 1 p a rt grape f r ui t mo re

177

>>>>>>

BR CO CKTAIL 4: SEA

EEZE—co n ti n ue

: ‘Sh a k e Met h od a sh a k er a n d ju ic es in to ic e Po ur th e v od k a a tum bler fu ll of to in ur po d n a Sh a k e gr n ish a s be fo re Add st raws & a h od: ‘L ayer ing’ Met it h ic e a ss Fi ll a tum bler w ju ic e in to th e gl t ui fr pe a gr e a sh a k er Po ur th be rr y ju ic e in to n a cr d n a a k ju ic e Po ur th e v od th e gra pe fr ui t er ov ur po d n a Sh a k e t in 2 laye rs Th e m ix w il l floa re G a rn ish : a s be fo Va ri ati on s: ju ic e w it h pi nea pp le • Bay bree ze: rflower it h ora nge ju ic e a pp le ju ic e & elde ) dy ou • M adra s: w cl , sh re eze: w it h (f • S ummer Bre

CO CK TAI L 5 : COS MOP OLITA I ng re N die n t s: 35 m l 25 m le mo n v o d ka l cra n b 20 m l C o i n e r r y ju ic e t Da sh o f l i m re au e Gar n i sh : F ju ic e , l i me l ame d c o ra ng o rdi a l & o ra e s lic e Me t h o (t w i s nge bi t te Po u r d: rs t) all in g re die ic e n t s (e xc e p t Sh a k the o e & st ra nge r Gar n ish w a i n i n t o a s lic e ) i t h fla in to a cock t me d o a sh a k ra nge i l g l as s er fu ll of s lic e

178

CO CK TAI L 6 : B52 K ahlu a p o u re i s t h e h e a d in to v ie s t G ra n d M a t h e b o t t o l iq ue u r. An m of r n ie r d be i n maki t is on ng i t t h e t h e g l a s s . B g de n s e a n t he li op gh te s a d t i ng r due t o i t s i le ys i s i n s we e t, i t I ng re t e die n is h h die n t igh e r e t. s: Eq u a l a l c o h m idd le a n m ol con d K ahl u e a s u re s o te n t, f: a Ba i le y ’s I r i s G ra n h d M a C re am r n ie r (o r C o i n t re Me t h au) o d: Po u r K F l o at ahlu a i n t o the B a a i le y’s 50m l sh L aye r ot the G o ra n d n t op us i n g l a s s Mar n g ie r o n a b a r s p o on top

179

S SIC CO CKTAIL 7: CLA

DRY G IN MART

IN I

s be caus e it se em st la l ti un i in rt a e e C la ss ic G in M y, it is in fact th ll a ic on We h ave le ft th Ir r. a fe a en de rs w it h n d st ra ined in to a e ic er ov d to fil l m a ny b a rt re st ir a n d ve rmou th si m ples t—gi n ta il gl a ss . pre- ch il le d co ck ou th ich gi n a n d ve rm h w ou y ll te n th ey k m a rt in is of te y to te ll you h ow el lik o Pe op le w h o dr in ls a re a much). Th ey to us e (a n d h ow m pler !) it co uldn’t be si o (s d ve r se it t wa n r: es . a m a rt in i orde dr y w it h 2 ol iv ry ve , up t An exam ple of h ig rt M a rt in i, st ra Ta nqueray Ex po

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