Coffee

What counts for greatness? By what measure do we decide which is best?

A friend of mine runs a food blog (Simon Food Favourites) that is currently ranked by Urbanspoon as the #1 Sydney food blog. He mentioned to me recently that another ranking site, Beanhunter – ‘Find the best places for great coffee’ – had similarly ranked as the #1 Café in Sydney a little place in my home suburb of Mona Vale by the name of Coffee Brothers. Mona Vale is quite a drive from Simon’s usual stomping grounds so, knowing I was fond of a nice coffee, he suggested I might like to drop by and sample their product sometime. Perhaps if I was impressed he would schedule a trip north into his seemingly endless rounds of culinary explorations.

Suffice to say I was curious. I had seen the café in my local travels but never taken the opportunity to stop in for a cup. But #1 Top Café in Sydney! That must be worth a try surely? So I dropped by one weekend, ordered a ‘double ristretto of your best coffee please,’ (Their special that day was a Sumatran Sidalogan Honey-Processed, roasted in Manly Vale) and was browsing the store portion of the establishment when I was approached by one of the owners, ‘Anthony Macri: Brother’ as it says on his business card. I recognised his face from somewhere (We worked out eventually that we saw each other at the beach every morning but had never actually said Hi!) and we got to talking, so I mentioned my blogging friend’s comments. Tony invited me to spend some time with him one day to sample some coffee and hear the Coffee Brothers’ story, so we made a date for an early morning rendezvous the following week.

Now, I’m no ‘foodie’ blogger and as much as I like a good coffee, I’m no connoisseur. I confessed as much to Tony as soon as I arrived on the appointed day and told him with some little embarrassment that at home, whilst I do daily use a counter-top espresso machine, it’s not what you could call a top-of-the-line model. Plus I buy my coffee ready ground in vacuum-sealed foil packs at the supermarket along with all my other weekly groceries. It’s a 100% Arabica bean variety, the strongest blend available from this particular company and is marketed as ‘Strong & Intense’, ‘For those who love the pleasure of a genuine Italian espresso.’ And I normally have a double shot espresso to start my day – so I’m no stranger to strong or intense. To be honest though, part of it’s appeal is the simple convenience and the fact that it seems to be the perfect grind for my machine, but there are certainly times when this is not the case – when it is too fine and creates pressure problems – or worse, when the roast has clearly gone too long or too high and the flavour is burnt. But I figure ‘swings & roundabouts!’

But back to Coffee Brothers and back to Tony (who’s still standing patiently with me as I ramble on) who tells me I don’t need a big expensive electric grinder to enjoy the extra flavour of freshly ground beans because it’s possible to buy nifty little one or two cup hand-grinders that will get you going with a minimum of time or effort. At this point I make confession number two, that I have a sweet tooth and have over the years adulterated my morning brew with just about everything from leatherwood honey through to Demerara sugar (my latest fancy is granulated panela, with its soft caramel flavour). Though to be honest, part of the attraction of sugaring my coffee is less about the sweetness than it is about the silky smooth texture it imparts. To my surprise, Tony doesn’t condemn this practice either but simply suggests that everyone has their own preferences.

So what are Tony’s preferences? He has now started to gather together onto a large table toward the rear of the café (scattered with newspapers, decorated with coffee ‘fact sheets’, and shared with some other happy customers enjoying their morning brew), the various tools to brew the particular coffee he’d like to enjoy with me today – Coffee Brothers ‘Vanuatu Gold’, their house roast. He places a small cup onto some electronic scales and measures a precise 20g of fresh grounds which he tips into the paper filter cone sitting atop a Chemex Classic Series borosilicate glass coffeemaker. He then uses a kettle with equally precise digital temperature settings to bring 200ml of water to 98°C before gently pouring about a quarter of it onto the grounds in a slow spiral pattern and leaves the grounds to steep for about 45 seconds before continuing in a similar fashion with the rest of the softly steaming water, which soon drips down into the bottom of the crystal-clear ‘flask’. Written in this fashion, it all sounds a bit fiddly, confusing or even pretentious, but it’s actually very simple and straight-forward – certainly no more involved than making a good cup of tea! And then he pours and proffers a cup to me.

So what does it taste like? This is the first ‘drip-brewed’ coffee I’ve had in the many years since the counter-top home espresso machine supplanted the earlier incarnations of instant coffee, stove-top percolators, Breville drip brewers or Pyrex plungers in many Australian homes. So I’m in no hurry – I start with a long and deep inhalation of the aroma before I take my first tentative sip. Well? This is not espresso! This is not the strong, almost aggressive, punch of flavour I’ve become accustomed to in recent times. This needs a different mindset. This is not ‘good coffee’ (to mis-quote that dreadful Al Pacino advertisement for another coffee brand), this is great coffee. Why? Because it still has all the elements you look for in coffee – aroma, texture, flavour, warmth – but they have a crispness and clarity I’m not expecting. This is strangely ‘light’ in the mouth, but with all the strength and character you want. All the elements seem to have been separated and given the opportunity to stand, and be judged, on their own terms. It’s quite a revelation. Not what I remember ‘drip-brew’ to be. Certainly nothing like the ‘bottomless cup’ of drip or percolated available in every American diner.

More importantly though, it’s not actually the coffee that I’m most interested in just now. Because as we’ve been preparing and savouring the brew, Tony has been filling me in on the Coffee Brothers’ story and it also is not at all what I expected. My assumption was that the Brothers were siblings and that the café was simply another attempt at making a buck in a highly competitive market in difficult financial times. Nothing could be further from the truth. For these ‘Brothers’ (a little like ‘The Blues Brothers’ perhaps) are on a mission, or several missions in fact. Tony already has another job and I’m pretty sure his business partner Mark does too. So why are they putting so much time and effort into Coffee Brothers? It’s simple. Passion. Belief. A genuine desire to ‘make a difference’. That’s why.

You see, Tony is passionate about coffee and he wants to make the best coffee he possibly can to share with his customers. But he also wants them to be able to make the best coffee they possibly can at home too. But then, he also wants to do those things in a way that’s ‘right’ … Ethically, environmentally, socially. So he thinks it’s right to fly to Vanuatu and meet the coffee growers, promise them a good working relationship … Quality beans for a fair price. Supporting the growers and their families in attaining a quality of life. He thinks it’s right to use the Flagstaff Group in Wollongong to roast his Vanuatu Gold, not just because they roast great coffee but because they employ people with disabilities to handle all their packaging … Great coffee and a social conscience. Supporting a marginalised, even almost invisible, sector of our society in likewise attaining a quality of life. He thinks it’s right to spend most of his morning with me, not because I can offer him anything in exchange for his valuable time, knowledge and passion but because he believes in something called community … People from all walks of life sitting, talking, drinking great coffee, sharing and supporting each other. It really is quite a mission (or three) that the Brothers have set themselves but I think their passion is equal to the task. I think they are starting to succeed in their missions.

Back to the coffee once more, Tony is excited by my enthusiastic response to the Vanuatu Gold and instantly starts to prepare a second brew – this time a roast of ‘Tercio Wood Fired’ Brazilian beans. Whilst steeping, its aroma has a distinct similarity to the delightful smell of freshly sawn hardwood (perhaps a Honduras mahogany?) which matures in the cup to a bright, warm caramel nose. The taste, whilst rich with flavours, is almost ‘leafy’ or ‘green’ (Tony suggests the roast is perhaps too young) but soon mellows to a fuller flavour with a crispness and dryness that lends a clarity but is still soft on the tongue. Again, totally unlike my usual espresso, but extraordinary for just that reason. What value exists in each new day if our experience of it is simply a repetition of those that came before? My interest and enthusiasm for savouring ALL the many possibilities that coffee can offer has been awakened. These are, I can see now, just the first steps on a new journey of discovery and I think I shall enjoy each and every new vista.

And where to tread next? Well there’s plenty on offer in this store … café … ‘temple’ to coffee that the Brotherhood have created, even if you are not a coffee drinker: There’s equipment like kettles, espresso machines (including ‘Otto’, the new and improved ‘Atomic’ stove-top espresso maker), scales, cups and glasses, teapots and milk jugs; there’s filter papers, special barista cloth sets, cleaning tablets and beans, beans and more beans; and there’s Prana Chai Masala Blend in 1 kilo. packs, Koko Deluxe drinking chocolate or Cascara organic coffee fruit tea, made from the husk of the coffee berries. Wow, I just have to try that!

So, what counts for greatness? By what measure do we decide which is best? I believe it is passion. And I believe it is a genuine desire to share that passion with a community. (A real community, not some on-line virtual substitute.) And these guys, the Brothers … the Coffee Brothers, have both these things in bucketloads. That, quite aside from the great coffee, makes these guys great. It does indeed make this café the best. Number 1! Seriously … visit Coffee Brothers. Try their coffee. Talk to them. Share their passion. You will not regret it.

http://coffeebros.com.au/Home.php

Music

I have allowed myself of late to become enmeshed in the 'world of dust', with familial and work commitments over the festive season and the commencement of the new business year – so it's been some time since I last published to this journal. However the recent rain drove me once again to the bus and my iPad, whence I discovered anew an almost completed musing on music. Here's the finished piece:

Some years back the Sydney Opera House advertised a forthcoming concert simply as 'The Philip Glass Ensemble'. Being 'in the know' and not wanting to miss an opportunity to see one of my favourite composers and performers live on stage, I snapped up my ticket and eagerly awaited the day. Come the night, after making my way to the Opera House, milling about in the foyer, shuffling up the stairs under the grand concrete sails and finally taking my seat in the centre of the concert hall, I took the opportunity (as many do) to look around at what I initially assumed to be my fellow enthusiasts, only to be somewhat surprised at the apparent diversity of the make-up of the crowd. Certainly many music genres appeal to a wide cross-section of the community - but I was a little suprised at the number of seemingly conservative elderly couples in attendance. I formulated a theory (later borne out by a significant reduction in audience numbers after intermission) that these were people unfamiliar with Philip Glass, who had purchased tickets (or perhaps were season ticket holders) based on the strength of the word 'ensemble' and its conotations of some small orchestral instrument group playing popular classics. Nor was this assumption necessarily contradicted by the appearance of the stage - a formal arrangement of some high music stands, a keyboard of some description, an air of order and restraint. Even the entry of the musicians did little to dismiss such notions as they were, all four, similarly attired in traditional black and white with neat ties as they took their bow of acknowledgement of the applause from the auditorium and sat with quiet solemnity at their respective stations.

The house lights dimmed, the audience hushed, a brief anticipatory pause elapsed - and then, like some apocolyptic onslaught, this vast, dense wall of greatly amplified sound rushed from the speakers, engulfing the audience as it advanced at speed across the ranked seats in a giant wave that crashed against the rear wall of the hall, almost threatening to blast it from the foundations and send it crashing into the waters of Sydney Harbour beyond. My sigh of contentment and sly smile of joy as I slowly slid down into my seat, letting my eyelids drift closed as the music filtered through every fibre of my being was countered only by the sharp intakes of breath by the mature couple to my immediate right, who seemed to tense every muscle in their bodies in inverse proportion to my own relaxation.

To be honest, I forget exactly which piece of music the concert commenced with, but in my recollection I like to think it was one of the more dynamic passages from his soundtrack for the wonderful film by Godfrey Reggio, 'Koyaanisqatsi' (the first of a trilogy for which Glass contributed the music and perhaps my favourite film of all time). What I most recall are both my sheer pleasure in immersing myself in the rushing, rolling, pulsating rhythms, melodies and syncopations of the piece, and my surprise (and delight) that my immediate neighbours, after their initial shock, settled into this new musical experience and were not among those that abandoned the building at the first opportunity.

I consider myself to have a reasonably broad musical taste, ranging from some of the better known popular classics, through the greats of the early R&B days and 1960s rock and roll. I was not a big fan of disco come the seventies but certainly attended my fair share of early electronica, new wave and punk (or what passed for punk at that time in the Sydney pub and club scene). In my early twenties I had a disposable income that saw me buying one or two albums every week - often based on little more than the sleeve artwork and a quick listen to a couple of tracks picked at random in the store. In this way I discovered (among many, many other fine recording artists) the likes of XTC, Ultravox, OMD, Grace Jones, Gary Numan, Kraftwerk and other exponents of the pared back sound and unique soundscapes possible with new musical technologies. A friend one night challenged me to stay awake through the entirety of Brian Eno's first Ambient album 'Music for Airports' and a whole new world of aural possibility started to open in my head. I still remember where I was sitting, listening to my work radio (tuned to Sydney's Triple J - as it always was) when I heard for the very first time Laurie Anderson's 'O Superman' - I was astonished, convinced I'd head the future of music.

My partner (not yet met in those distant days) was deeply entrenched in the local Sydney pub-band culture, and to this day, still an avid JJJ listener, keeps me abreast of the contemporary music scene, which I would otherwise miss in my almost single-minded preoccupation with my small collection of favourites. Thus the family collection has the entire suite of JJJ Hottest 100 compilations and a diverse range of contemporary pop/rock the likes of Muse, Eminem, Gotye, Daft Punk, Birds of Tokyo, Simian Mobile Disco, Yuksek, etc. Plus I'm a sucker for any truly astounding voice, so I love my small horde of Bjork, Jeff Buckley, Sigur Ros, Regina Spektor, Florence and the Machine, Katie Noonan, Sarah Blasko, et al.

But, despite all that, I keep returning to my handful of favourites - Philip Glass, Brian Eno, Michael Nyman, Eric Satie, JS Bach ... Their compositions share something that I respond to - be they big, bold, brash, dense, cacophonies that wash over you or small, quiet and simple melodic threads that weave their way through your mind and heart - they all have the power to soothe. Srangely, even those building crescendos of rushing sound that accompany the destructive footage in Koyaanisqatsi actually have a calming influence on me. Is it simply the freedom they give you to become so totally absorbed in their sounds that lets you relegate other concerns to the rearmost sections of your mind? I'm not a big fan of music simply filling the background - I feel if it's playing I should listen. Indeed I get annoyed with myself if I become preoccupied with another task and fail to hear favourite passages through inattention. So much do I enjoy actively listening to music that I've always been a little disappointed that no-one other than Brian Eno (to my knowledge - which is admittedly quite scant) has truly explored the region of music deliberately composed for playing at almost sub-audible levels. His ‘Discreet Music’ is a favourite still with its insistence that you tun the volume way down – and really pay attention. Likewise, one of my true musical delights is the experience, only occasionally happened upon, of being somehwere (preferably outdoors) and hearing, oh so faintly, a gentle whisper of sound emanating from some nearby performance. Just light, drifting snatches of gentle melodies, wending across the landscape to my ear - painting pictures in my head of the event for which they are properly intended but from which I have stolen some pleasure for myself.

And, if I might be permitted a little hypocrisy (when I repeatedly advocate being fully present in the reality of the moment) my latest guilty pleasure, one that I seemingly share with an ever growing majority of my fellow beings since the first introduction of the Sony Walkman compact cassette player all those years ago, is to 'plug myself in' to my iPad with a suitably moody piece playing through my ear buds (perhaps Philip Glass's 'Mad Rush') as I wander through the city streets between bus-stop and office. I find such moments can transform my experience of 'now' from a simple journey through the sights, sounds and smells, hustle and bustle of early morning commuter crowds and angular modernist structures, to an almost cinematic experience wherein I deliberately bring my attention to a considered focus on compositions of forms and light and textures and motion - creating the 'movie' for which I already have the soundtrack cascading through my conciousness. I'm genuinely not sure if this is an escape from the now or a heightened perception of, and presence within it?

I sometimes promise myself that one day I'll bring a video camera along with me and capture these moments to share with others, creating mini sound and vision compilations of simplicity and beauty and quietude. But to do so would simply dilute their worth by removing them from their prime strength - being there to experience the moment in person. If you don't already do similarly yourself, I highly recommend it!

Water

There's a light spatter of rain in the city at the end of the working day and everyone is ducking about with umbrellas and rain jackets and newspapers held over their heads. I'm just in my jeans and T shirt, come from the warmth of the office, and strolling leisurely toward the bus stop with my hands in my pockets and my eyes intermittently closed as I lift my face to the sky to feel the drops on my skin. I'm unavoidably reminded of a very memorable passage, read many years ago, from Tom Robbins' 'Another Roadside Attraction' describing exactly this behaviour by the protagonists of his narrative, and realise this is the inspiration for my own action. 'It's only water' I say in my head, 'I’m pretty sure I won't shrink.’

As a child, I was not fond of water. I was happy enough sitting in a nice warm bath but if it was hair washing night, my Mum or Dad would insist on rinsing the shampoo from my scalp by turning on the taps and ducking my head under the flow, with my eyes squeezed shut to avoid the chemical sting. But so often, the water would run hot and the instinctual jerk of my head from the scalding stream would bring the back of my skull a mighty whack against the spout. Showers I was OK with and, like many a young teen, would happily have run the tank dry languishing in the rush and steam as the bathroom mirror fogged beyond redemption.

But at the local swimming pool I was terrified. The sheer scale of the body of water and my almost complete incompetence with swimming meant I would, at most, gingerly lower myself down the ladder at the shallowest corner of the pool and stand there immobile, clinging to the edge tiles. And the beach, on those days the family would make the long trek to join our friends for a day spent idling at Northern Sydney's Whale Beach, was little short of terrifying. I recall hours of playing on the sand or among the rock pools, but the mere thought of entering the surf among the crashing waves scared the daylights out of me.

Somehow, all that eventually changed. After I left home and moved to the inner city, my spare time was frequently spent at whichever public pool was most close – Prince Alfred Park when I lived in Surry Hills; Ashfield Pool during my time at Burwood and Victoria Park when I was sharing a house in Annandale. For a few years, Andrew 'Boy' Charlton Pool became almost a second home - the venue for my daily pilgrimage, making sure to avoid the early morning or lunchtime crowds of 'lappers', I would cycle there each day for a couple of hours spent slowly breast-stroking my twenty lengths of the main pool, or lazing in the sun, or gazing over the perimeter wall at the naval ships at Garden Island, or simply enjoying watching my fellow idlers - all tan and lithe and slothful in their skimpy briefs and sunglasses. All of us simultaneously parading our own bodies whilst wistfully admiring everyone else's.

So swimming pools became somewhere I felt happy and safe and relaxed. Even when my partner and I bought our first home in Thirroul on the South Coast, it was rarely we swam in the surf, preferring instead the security of the beachside seawater pool. But then, one day, we acquired some cheap body-boards and she took me down to the beach to try them out in the small shore break. I still recall to this day the thrill of joy when I experienced for the very first time in my life the lift and push and fall and rush of catching a wave, surrounded by foam and the press of water, all the way to the crunch of the sand.

All these years later, water now has this amazing pull on my psyche and my soul. We are extraordinarily privileged to live near the beach and my every morning is begun with an almost compulsive desire to simply be near the water. I don't even necessarily have to get wet - I just need to feel the presence of the ocean. I love to stroll along the sand and watch the waves roll in, rushing up the sand and over my bare feet. Or simply stand and stare at the rising sun over the gently undulating expanse, perhaps to glimpse a pod of dolphins playing as they glide past. Or wander across the rock platform to witness the swell crashing against the edge, throwing plumes of pure white to the sky.

Now, as I sit on the bus home, the rain streams down from the low grey sky and there's a quiet solemnity to the world beyond the window. I'm reminded of the Japanese expression 'mono no aware' (moh-noh noh ah-wah-ray) which approximately translates as 'a melancholy awareness of the transient beauty of nature'. It is indeed melancholy, yet transient, this day of rainy weather from which we all hide - scurrying from home to work and back; sheltering in our cars, busses and trains; cowering under our umbrellas; ducking from the shelter of one awning to the next; ultimately, on gaining the security of our homes and families, shutting and locking the doors behind us and retreating to the false warmth of the glowing television or snuggled under our doonas with a good book to read. But it's beautiful too - the rain, in all it's natural inevitability and I suspect a part of that beauty is the simple reality of its being water. Water, in all its many impositions into our daily environments - rains, rivers, puddles, ponds and lakes, right through to the vast oceans that cover seventy percent of the surface of our planet - the blue planet, the water planet. Water has a special quality that seems to affect us all. Somehow there's a calmness to it that can rub off on those of us who embrace its beauty and solemnity and melancholy.

I revel in it! Be it a simple morning shower, or a relaxing bath after a day of labour, or a joyful splash with the friends or family in a backyard pool, or drifting downstream in a dinghy with a line dangling over the side to a baited hook, or watching the glassy surface of the ocean change through a spectrum of mauves, scarlets, oranges and palest lemon hues at sunrise, or best of all, sitting on my favourite surfboard 'Tigger', out the back of the swell at my local beach - gently rising and falling with the passing waves, soaking up the quiet morning ambience and most of all, simply being aware of the all encompassing 'presence' of the water. It lifts me, supports me, refreshes me, calms me, and then, with a rush, it pushes me shoreward with a thrill and an inner yelp of joy.

Jump in, the water’s nice!

Beer

Serendipity – the happy accident – author of so very many of the advances or discoveries we think of as our own when perhaps, at first, we were little more than fortunate bystanders to circumstance.

At least 5,000 years ago a quite extraordinary chain of happy accidents involving grain, water, natural yeasts and glorious warm sunlight combined to produce a thick and pungent porridge in some village storage vessel in the kingdom of Sumer. Rather than tip the contents on the ground in dismay at the waste of so much harvest labour and in resignation to an empty stomach deprived of that day’s bread, some brave soul scraped aside the foamy scum and scooped a handful to their mouth. To their great surprise it had a pleasant toasty sweetness and a strange warming sensation on their tongue. Several greedy mouthfuls later, their hunger satisfied and with a lightheaded glee, they shared their fortune with others in the small community and the drink to become known as beer was born.

My partner and I spent several happy hours last Saturday at The 7^th Annual Australian Beer Festival held at The Rocks in Sydney. I’m pleased we arrived as early in the day as we did (12:30pm) and I suspect if the festival continues its increasing popularity into future, they will need to close a greater portion of the streets surrounding the Australian Hotel to accommodate the large and enthusiastic crowd. With offerings this year from 24 Australian brewers, a good third of the space seemed to be occupied by the display stalls, so by the time we left a few hours later it was a long, slow squeeze past the band and through the jostle of noisy participants to find the exit. Additionally, there was an almost complete absence of seating and inadequate toilet facilities which, combined with the sporadic presence of smokers, made it difficult to actually ‘enjoy’ the beers with any degree of leisure.

The beers themselves however were certainly, on the whole, most enjoyable. The entry price of $15 got you a tasting glass and ten tickets, with additional tickets available at 10 for $10. With each ‘taste’ being about 65ml, it adds up to what you’d expect to pay for a pint of craft beer at the pub anyway – but with the bonus of getting to sample a wide variety of brews without making yourself either poor or sozzled! Besides which, we cheated (as did others we observed) by sharing our glasses to double our sample count to 20. Most of the brewers had more than one style on tap so there could well have been close to 100 alternatives to choose between. Therefore we elected from the outset to preference brewers we’d not seen at our local suppliers or styles with which we were unfamiliar.

A wide spectrum was on offer from a bock, through lagers and pilseners, wheat beers, golden ales and IPAs, to the darker amber or brown ales and porters – though I don’t recall seeing a stout. Twenty beers with different aroma and flavour characteristics are a lot to keep in your head without confusion and I wanted this experience to inform future purchases, so I made notes from the outset in my ever-present notebook (a real one – made of paper). My partner and I would compare impressions and give independent scores out of 10, whilst I attempted with my limited experience or descriptive vocabulary to write something that would help me recall the positives when it came time to select a six-pack at the local bottle shop. We were perhaps being harsh in our judgements since we scored nothing over 8, despite there being some very good beers to savour, whilst we did both score a 2 and even a 1!

The standouts? For us the top three (with an 8/10 from both of us) were:

Endeavour True Vintage Beer – Reserve Pale Ale (Their Reserve Amber Ale is superb too!)

Murray’s Craft Brewing Co – Punch & Judy English-ish Special Bitter (Beware their Grand Cru hybrid Belgian Trippel – it really does pack a punch at 8.8%!)

Balmian Brewing Company – Bock (Clean, dry, toasty, chocolate & cool – brilliant.)

Bottom of the pile? There was one offering from a company that may perhaps need to spend less time surfing and more time refining their brewing technique. It tasted dirty and watery and could only loosely be described as beer. I poured mine out and we both scored it a 1/10. But keep trying guys – you can only improve from here!

Funnily enough, after all that, the thing we both most desired was to sit somewhere quiet and enjoy a nice cool glass of good beer. So we retired to Harts Pub, just around the corner and home of Rocks Brewing, where we had a half-pint each of their pale ale and red ale to share and compare. (The pick of the two for me is the pale.) Unfortunately, like so many pubs, clubs and bars, it was almost impossible to find a seat without a TV screen beaming some idiot game of football at you non-stop, so we decided to move on yet again. We knew it was just a short walk to Sydney’s oldest pub and Australia’s oldest pub brewery – The Lord Nelson. This time we found some comfortable seats in a quiet corner and slowly savoured another half-pint each. I was going to have a Nelson’s Blood (Porter – 4.9%) but they’d just run dry. Bugger! So we went for a Victory Bitter (British Pale Ale – 5.0%) and an Old Admiral (Old Ale – 6.1%) to wash down some sea-salt crisps. Just perfect and a great finish to the afternoon – just a nice walk back to the bus-stop and home in time for dinner … and a nice beer.

So, immerse yourself in the sensible enjoyment of finely crafted amber brews. Relax, chat, savour the aromas and flavours of roasted malts and delicate floral hops, soak up the atmosphere and always keep at least a small part of your senses alert for happy accidents – you just never know what they may lead to.

Walden

I think it is time to introduce some other voices than mine to this journal. It's early days as yet but I still hope that I might be so lucky as to receive submissions from readers for possible inclusion also. In the meantime, I mentioned in my first entry that I'd just read Henry David Thoreau's 'Walden' for the first time and suggested I'd publish an article on that topic. I have decided instead to let Thoreau speak for himself (through the filter of my choice of extracts from his best known work).


There are many, many passages in 'Walden' that I marked as I read, but the two that follow have been chosen particularly for their relevance to the AEON premise. I hope you enjoy them as much as I do. They are taken from the Project Gutenberg eBook which requires I include the following brief paragraph:



This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

Enjoy ...


'I went to the woods because I wished to live deliberately, to front only
the essential facts of life, and see if I could not learn what it had to
teach, and not, when I came to die, discover that I had not lived. I did
not wish to live what was not life, living is so dear; nor did I wish
to practise resignation, unless it was quite necessary. I wanted to
live deep and suck out all the marrow of life, to live so sturdily and
Spartan-like as to put to rout all that was not life, to cut a broad
swath and shave close, to drive life into a corner, and reduce it to its
lowest terms, and, if it proved to be mean, why then to get the whole
and genuine meanness of it, and publish its meanness to the world; or
if it were sublime, to know it by experience, and be able to give a true
account of it in my next excursion.'
From 'Where I Lived, and What I lived For' p.94


'A lake is the landscape's most beautiful and expressive feature. It is
earth's eye; looking into which the beholder measures the depth of
his own nature. The fluviatile trees next the shore are the slender
eyelashes which fringe it, and the wooded hills and cliffs around are
its overhanging brows.

Standing on the smooth sandy beach at the east end of the pond, in
a calm September afternoon, when a slight haze makes the opposite
shore-line indistinct, I have seen whence came the expression, "the
glassy surface of a lake." When you invert your head, it looks like
a thread of finest gossamer stretched across the valley, and gleaming
against the distant pine woods, separating one stratum of the atmosphere
from another. You would think that you could walk dry under it to the
opposite hills, and that the swallows which skim over might perch on it.
Indeed, they sometimes dive below this line, as it were by mistake, and
are undeceived. As you look over the pond westward you are obliged to
employ both your hands to defend your eyes against the reflected as well
as the true sun, for they are equally bright; and if, between the two,
you survey its surface critically, it is literally as smooth as glass,
except where the skater insects, at equal intervals scattered over its
whole extent, by their motions in the sun produce the finest imaginable
sparkle on it, or, perchance, a duck plumes itself, or, as I have said,
a swallow skims so low as to touch it. It may be that in the distance a
fish describes an arc of three or four feet in the air, and there is one
bright flash where it emerges, and another where it strikes the water;
sometimes the whole silvery arc is revealed; or here and there, perhaps,
is a thistle-down floating on its surface, which the fishes dart at and
so dimple it again. It is like molten glass cooled but not congealed,
and the few motes in it are pure and beautiful like the imperfections in
glass. You may often detect a yet smoother and darker water, separated
from the rest as if by an invisible cobweb, boom of the water nymphs,
resting on it. From a hilltop you can see a fish leap in almost any
part; for not a pickerel or shiner picks an insect from this smooth
surface but it manifestly disturbs the equilibrium of the whole lake.
It is wonderful with what elaborateness this simple fact is
advertised--this piscine murder will out--and from my distant perch I
distinguish the circling undulations when they are half a dozen rods
in diameter. You can even detect a water-bug (Gyrinus) ceaselessly
progressing over the smooth surface a quarter of a mile off; for they
furrow the water slightly, making a conspicuous ripple bounded by two
diverging lines, but the skaters glide over it without rippling it
perceptibly. When the surface is considerably agitated there are no
skaters nor water-bugs on it, but apparently, in calm days, they leave
their havens and adventurously glide forth from the shore by short
impulses till they completely cover it. It is a soothing employment,
on one of those fine days in the fall when all the warmth of the sun
is fully appreciated, to sit on a stump on such a height as this,
overlooking the pond, and study the dimpling circles which are
incessantly inscribed on its otherwise invisible surface amid the
reflected skies and trees. Over this great expanse there is no
disturbance but it is thus at once gently smoothed away and assuaged,
as, when a vase of water is jarred, the trembling circles seek the shore
and all is smooth again. Not a fish can leap or an insect fall on the
pond but it is thus reported in circling dimples, in lines of beauty, as
it were the constant welling up of its fountain, the gentle pulsing of
its life, the heaving of its breast. The thrills of joy and thrills
of pain are undistinguishable. How peaceful the phenomena of the lake!
Again the works of man shine as in the spring. Ay, every leaf and twig
and stone and cobweb sparkles now at mid-afternoon as when covered with
dew in a spring morning. Every motion of an oar or an insect produces a
flash of light; and if an oar falls, how sweet the echo!'
From 'The Ponds' p.190

Henry David Thoreau, 'Walden', First Published 1854

Simple

Seems to me, the desire for ‘a simple life’ is largely born of the excess and priveledge of the modern developed world. The greater bulk of humanity struggle simply for a life at all – day to day; hand to mouth. It can get no more simple than the constant scrabble for food, shelter, companionship. It seems almost perverse, arrogant, contemptuous, to be among those who – sometimes through little more than the good fortune to be born to it; sometimes through a determined fight against adversity – having managed to surround themselves with the bounties of our consumerist society, profess a desire to rid themselves of the burden of possessions they have acquired and find serenity in frugal living. Yet I count myself amongst this number.

Certainly there are many who don’t share this sentiment. Many who have bought into the mindset of consumption at any price – preferably on credit. But what is it they actually purchase? Gadgets that complete tasks with less effort and greater speed, allowing them more liesure time to spend with other gadgets expressly designed to distract them such that they are not budened with the weight of ‘time passing’ – in a vicious and ever accelerating cycle of consumption-distraction-boredom-discarding-and further consumption. And most of the time wasting paraphernalia is manufactured in third-world sweatshops by those who are frantically struggling to survive. What must they make of it all – the bizzare assortments of plastic gewgaws, cheap and ugly domestic nic-nacs and ever more incomprehensible and miniturised electronic crap? All of which, having been shipped out this month, will come back to their shores with the next and be piled into vast mountains of waste to be picked over and scavenged from by others in similar straights?

So I think I can live with the perversity of desiring less than I could perhaps attain. Maybe, just maybe, by ‘making do’, by ‘going without’, by enjoying the pleasure of simply sitting and allowing ‘time to pass’, by genuinely desiring a more ‘simple life’, by truly believing that ‘less is more’, - maybe I’m actually making a difference? Somehow I suspect it’s not enough of a difference to stop the ugly, fuming juggernaut of contemporary Western society. Not on my own at any rate. But perhaps others might feel the same way?

A good friend recently coined a new turn of phrase. Quite literally ‘turned’ from the staple recitation of my parents’ generation and those before them that lived through the depression era, ‘Waste not, want not’ went the standard advice of my childhood. Keep the crusts and they’ll be handy for making crumbs. Save the newspaper to line the kitchen waste-bin. Wash and save the plastic bags and they’ll serve to take lunches to school. These were the thrifty ways we made our incomes stretch further. But my friend turned the words around and gave them a whole new relevence. ‘Want not, waste not’. Suddenly this is not about thrift – this is about saying no to the marketing behemoth forever berating you to ‘desire’, to ‘consume’, to believe that needless acquisition is a right that comes with no responsibilities attached (and probably with batteries NOT included).

Maybe (before it’s too late and the decision is taken away from us), we can reverse the connotation and put a positive spin on the previously dismissive assertion ‘He’s a bit simple’?

Golden Moments

It seems the right time to publish a pictorial feature, so I've selected a dozen images of a particularly enjoyable activity inspired by one of my favourite artists, Andy Goldsworthy. From viewing many of his images of completed works and documentary footage of him bringing a piece to fruition, it is difficult not to have extraordinary admiration for a man so clearly able to immerse himself in a time and place; so in touch with the elements, materials and forms he finds; so embracing of the ephemeral, that he can bring all of these together so beautifully in his creative endeavours.


My own efforts are clearly derivative and not nearly so graceful but I thank him sincerely for the inspiration to spend many happy hours of physical, mental and emotional occupation, engrossed in crafting transient treasures for others to perhaps discover and enjoy. The following are simply titled with the various locations in New South Wales, Australia where they were assembled and photographed. I hope you enjoy them also. 

Mittagong

Avalon

Mittagong

Warriewood

Warriewood

Avalon

Warriewood

Palm Beach

Palm Beach

Palm Beach

Palm Beach

Warriewood

One Hundred Thousand

Riding to work today on my beautiful Dio, the odometer clicked over (Can you still say 'clicked' when it's a digital LCD?) to 99,000kms - just 1,000kms, or about three weeks of riding, from the big One Hundred Thousand. It's a bit of a fake climax really, since it's not the original instrument cluster and the bike has actually done an additional 7,500kms to what's shown on the read-out, but that's not the point. The point is that I'm absurdly excited about it. Why do we, culturally, get so excited by numbers?

Part of the funny aspect for me with the bike is that the odometer has been designed and manufactured in such a way that it's clear they (the people at Ducati, or Magneti Marelli who make the component) never really expected the bike to do a great deal more distance than mine has. At most it can do twice this distance before the read-out reverts to zero, because the digital display is only set up with the two little vertical strokes to make the figure 1 in that column. I've known that ever since the original instrument cluster got very wet (hence its replacement) and revealed every single element in the display simultaneously. Should I be (or have been - all that time ago) concerned by their assumed very finite limit on the bike's capabilities? Or should I just see it as a funny quirk and a challenge to in fact make or exceed the limit. I think the latter approach is more appealing, which is why I'm so excited I guess.

Maybe it's an insight to the Italian mentality that can be thus assumed to underlie the entire raison d'etre of the Ducati marque - 'We may not take you very far, but we will do so very fast and with great style.' (all said with a wonderful Italian accent) Which is a disservice to Ducati and the wonderful machines they make and clearly only intended as a joke. It's also a disservice to Miguel Galluzzi, the designer of the original Ducati Monster, unveiled to a gob-smacked public in 1992. Because the Monster was not about style at all. It was (and, until the more recent models, still is) all about beautiful, functional, minimal, design - which is a very different animal to style. And the style v's design discussion is one I should maybe have another day.

That's Dio in the picture. I love my Ducati. It's a red and metallic grey, 2003 build, MY02 Monster 620 i.e. It cost $12,750.00, or about twice what I could have paid for a comparable Japanese bike but my long-suffering and supportive partner knew I would never be happy with anything else. We both saw it as a beautiful design classic that, with care and good maintenance, would mature over time much like ourselves and acquire a delightful patina that spoke of the many miles of road travelled and many hours of washing and polishing endured at my hand. And, though he has a few non-original components occasioned by incidents that have seen us both sliding across the tarmac, that's pretty much how he is mellowing into the latter years of his first decade.

But this post isn't about numbers, or design, or dollars - it's actually about why I ride a motorbike. If AEON is indeed about living in the moment (and I'm trying hard to maintain that brief) then motorcycling, especially on a raw, naked bike like the Monster, is certainly up there as a contender for an activity where absolute focus on the 'now' is imperative. Even on my daily commute to work in the city, this is not an activity where you can afford to let your mind wander off topic - indeed, at the end of a busy and sometimes fraught day at the office I find the concentration of the ride home provides a form of enforced 'meditation' that allows me to leave a lot of the stress behind and de-clutter my mind before I rejoin the family for the evening meal and a relaxing night with a beer and a movie.


And on the occasions when I'm out on the highway by myself, or with my partner riding pillion, or perhaps riding alongside my neighbour and his son (Ducati GT750 & MotoMorini 3 1/2), it's all about enjoyment of the moment. This type of riding is not about the destination - it's about the journey. I'm not thinking about whether I'll 'get there on time' or how many kilometres there are still to go - I'm enjoying the sound of the air whistling past my helmet, the crisp note of the engine, the shift of weight as I round a bend, the warm sun on my leathers, the blur of road surface under the front wheel, the sharp focus of my attention to every crest and corner, and the big sly grin that progressively spreads across my face with every passing minute until it threatens to split my head just like the Oral B toothbrush 'flip-top' guy.


And it's not a race. This isn't about going stupid fast and pissing off the other road users or threatening life and limb. This is about a quiet stretch of winding black ribbon draped across the landscape and relishing every deserted straight that gives you the freedom of the cleanest line between bumps or potholes, every hairpin that makes your shadow squirm around on the road under the tyres, every crest that reveals a new vista as yet unexplored. This is about riding just for the sheer pleasure of experiencing the unique symbiosis of man, machine and good old Terra Firma in perfect harmony for this brief span of time. This is about shouting silently in your head 'I am. Here. Now!'