Events Magazine

E v e n t sM a g a z i n e

SpringTable

Layouts

Best Hostests

Gifts

Issue 16April 2013

$3.99

Spring Centerpieces

Blueberry Bites

Eventsmagazine.com

Events Magazine | 3

E v e n t s | April 2013C o n t e n t s

Features

10 The 2013 Harbor Gala A backstage look into a Karson Butler Event.

14 Wedding Winner 2013 A breakdown of our winner's Wedding reception.

Fashion

19 Clean and Simple Three simple silhouettes for you to wear this Winter.

Recipes

20 Blueberry a Whole New Way Try these new spins on an old classic.

Q&A

22 Etiquette Your questions answered by etiquette coach Emily Anderson.

Mood

Etiquette

8 Rules to Party By We asked our readers what they thought of these Party dos and don’ts.

8 What's your name again? Tips to help you remember names.

9 What Should I Bring? A guide to the most thoughtful hostess gifts

Find you Center Three centerpieces that capture the spirit of this Spring’s trends. When to Save and When to SpendFive party essentials to save or spend on.

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6

4 10 14 20

4 | April 20134 | April 2013

OPERATIONSDirector of Operations JULIO FARHAT

Production Director MAX DELARIVAProduction Manager HUGH GRIZZELL

MOODExecutive Mood Editor CODY FOULKSSenior Mood Editor ALANA DOETSCHExecutive Assistant Sarah Micahels

FASHIONFashion Director NAMEFashion Editor NAME

RESEARCH Research Chief JAMIE BOURKE

Research Editor CHRISTIAN CHARTERS

Editor in Chief Kathrine StratmanPublisher House Publications

E v e n t s

FOODFood Director JESSIE CONDRONExecutive Food Editor NELSON SOUTHWARDSenior Food Editor EMILY HALPERT Food Assistant ALLISON SCOTT

ADVERTISING SALESAccount Development Director KELLY GALIPEAUExecutive Assistant SAUNDRA RAMEROAccount Manager MAX BOURDEAUExecutive Assistant DARRYL SCHEIDLER

ETIQUETTE Etiquette Director BENITA TROTTIERExecutive Etiquette Editor CODY FOULKSSenior Etiquette Editor ALANA DOETSCHEtiquette Assistant CHRISTIAN BERES

EDITORIALSenior Editors NOREEN PATILLO, MARGERY

BRUNSWICKAssociate Editor ALLIE RASCOE

Editorial Assistant JULIO COWLING

ARTSenior Art Director MARCIE GILLS

Art Director CODY BONFIGLIOSenior Designers LONNIE ENO, CLAYTON NAAB

Art Assistant KELLY SAINZ

MARKETINGConsumer Marketing CHRISTIAN HOUTZ

Retail MALINDA BIVONAMarketing Director KURT GRANA

Financial Director ALLYSON PAVONE

PRODUCTIONDirector of Operations JULIO FARHAT

Production Director MAX DELARIVAProduction Manager HUGH GRIZZELL

FEATURESFeatures Director JESSIE CONDRONExecutive Feature Editor Nelson SOUTHWARDSenior Feature Editor NAME

Dear reader,

It is with immense excitment that we bring you our spring 2013 is-sue. Our staff has been working tirelessly to make the best possible first impression we can, and I think we have succeeded in that. If you are reading this it means you have taken a leap of faith with us and I thank you for that.

So, what is Events? Events is a place where you can find unique, inex-pensive decorating solutions to make your house a home. It is a stylist. It is a way to take your life and make small, easy steps to improve it. It makes the best of it all.

In this issue, we enter the exciting world of vintage furniture, because why would you buy full priced and new when you can have a timeless for less? Every issue we will profile someone who has decorated their home on a dime and who still made it look absolutely stunning. We’ll also let you in on some great winter recipes and the five things that you absolutely need in your pantry.

So enjoy, and let us know what you think. Hopefully this is the start of a wonderful, long friendship.

Kathrine Stratman

From the Editor

Events Magazine | 5

Celebrate all of life's special occasions with our exclusive collection of custom invitations!

Custom Invitations

paper-source.com Available at all locations.

FASHIONFashion Director NAMEFashion Editor NAME

ETIQUETTE Etiquette Director BENITA TROTTIERExecutive Etiquette Editor CODY FOULKSSenior Etiquette Editor ALANA DOETSCHEtiquette Assistant CHRISTIAN BERES

FEATURESFeatures Director JESSIE CONDRONExecutive Feature Editor Nelson SOUTHWARDSenior Feature Editor NAME

6 | April 2013

Find Your Center

Earthy ModernClassic

In Charlotte Perkins Gilman’s The Yel-low Wallpaper the reader sees through the eyes of a depressed woman who has been isolated in a room at the direc-tion of her husband, a physician, with the hope of being cured. This isolation causes the woman to go insane and become increasingly obsessed with the wallpaper, which covers the walls of her room. Gilman’s story shows how the culture of her time affected the roles of a man and his wife. John, the narrator’s husband, has an attitude that is simply a symptom of his time. As the reader sees everything through the eyes of his wife, John comes off at first as a husband who is deliberately overbearing and controlling.

Alberta’s loneliness has to do with the very literal way her husband leaves her, by dying. Alberta is just coming to terms with her husband’s death and is washing his clothes for the first and last time since his death. She had planned to make an event out of it, a way to move through the grieving pro-cess and a ritual by which she could accept his death. By coming in at three in the morning she is looking to be alone and have the place to herself. Her demeanor, and behavior suggests she is of a higher class than Deedee and is someone who would have a laundry machine.

Norman writes of two charters who seem very different but quickly come to find they are more alike than they think. Deedee appears to be a low class, rough around the edges woman who does not have much class, at least compared to Alberta who the audience finds out was a teacher. Alberta ap-pears to be well kept, speaks in a con-trolled and educated manner and does not seem to be the kind of person who does their laundry in a Laundromat and much less one who does it at three in the morning. Despite these wom-en’s differences, they come to realize they are in similar situations; they are perpetually lonely because the men in their lives have left them in some form.

We’ve chosen three centerpieces that capture the spirit of this Spring’s trends for your next event.

Mood

Events Magazine | 7 Events | 7

When to Save and When to Spend

5

4

1 Don’t spend the money on expensive confetti, when you can entertain your kids by having them cut up your own.

Banners may seem old fashioned, but they are an easy way to add color to the room yourself.

2

3 Express yourself with personalized name cards which make for a great conversation piece

Save yourself the trouble of trying to master the art of macaroons, buy your own and leave it to the professionals

Inexpensive, colored paper bags are a festive touch to any gift bag.

Mood

8 | April 2013

The two women reveal personal thoughts and feelings about their lives and husbands and bond in their understanding of where they are in their lives. She is moving through the grieving process by washing his clothes and Deedee is refusing to sit around at home waiting for her husband to come back from his affair.

What’s Your Name Again?Tips and tricks to help you remember names.

Rules to Party ByWe asked our readers what they

thought of these Party dos and don’ts.

57%

Say showing up an hour late without notice is rude.

48%Say you should always bring a hostess gift.

38%Say a thank you card is necessary.

67%Say responding to an R.S.V.P. is a must.R.S.V.P.

Say having an open bar for a private event is a must.92%

Etiquette

Alberta’s loneliness has to do with the very literal way her husband leaves her, by dying. Alberta is just coming to terms with her husband’s death and is washing his clothes for the first and last time since his death.

Distinguishing Features Put it on RepeatHer demeanor, and behavior suggests she is of a higher class than Deedee and is someone who would have a laundry machine so the audience assumes she cannot stand to wash her husband’s clothes in the home that she shared with him.

Focus IntroduceNot only does she not want to be disturbed, but she also has to give herself a little pep talk before she can put her husband’s clothes in the washer. Her loneliness is found in the lack of her husband’s presence and her inability to fully come to terms with his death.

Events Magazine | 9

A guide to bringing the most thoughtful hostess gifts

For the In-laws....For the co-worker...

For the Coffee Lover... For the Tea Lover...

For your close friend... For the family friend...

Give the gift of luxury with Gourmet Coffee grinds for home brewing.

This book is a nice addition to the coffee table and a good conversa-

Buy your friend her favorite specialty choco-late and give her the gift of indulgence.

Specialty Jam is a nice thank you, and they’ll be begging you for more.

What Should

I Bring?

What’s Your Name Again?

Tea is a prized possession for any tea love so treat them with their

Wine is a good default for any host or hostess and can be shared at the

Etiquette

The 2012Harbor Gala Karson Butler Events is a two woman team changing the event scene. We bring you a backstage look into what they do and how they do it. From decor to lighting, these women know what they’re doing.

10 | April 2013

Behind the ScenesKarson Butler Events

By Cara Michaels

Events Magazine | 11

American Men have gone through less fashion changes that have been much more subtle than women’s fashion changes throughout history. The ideas and features that are considered

normal for the genders have changed and been challenged throughout time, but for a large part we are still a society with a hegemonic male view. Clothing is one of the most prominent ways in which we identify gender, and therefore the way in which we identify the qualities of a person based on gender. Although we live in a very modern society, we still live in a society where the Male privilege exists meaning more power and rights are given if you identify as male. These rights are typically denied to women (acknowledged or unacknowledged). American men will not wear skirts as part of their everyday clothing patterns because it would be giving up the power that is automatically given when identifying as male and the skirt has been socially constructed to symbolize the female gender.

Jenifer Craik discusses the changing role of men and how it reflects in their fashion in The Face of Fashion: Cultural Studies in Fashion. Published in 1994, it covers

the changing roles of men in relation to women and how those shifts in roles have affected fashion. It also discusses how some social changes have allowed for change in menswear. This has resulted in more variety for men in terms of color, fabric, and more casual pieces. However, she concludes that rules defining the differences between the genders and what is acceptable for them to wear still remain.Challenging Gender Symbols recounts and compares the introduction of bloomers or pants for women in mid-nineteenth century and compares it with the introduction of long hair on men in the 1960’s. Shelly Foote goes over the history of the origins of the looks and then explains how society reacted at the time. Bloomers were rejected at the time and long hair was eventually accepted. This, she says is because different social conventions were happening at the time and there was different support or rejection for each. She also says that the reactions show that our culture includes appearance as a big part of defining masculinity and femininity.

Valerie Steele debates clothes as well as the meaning and significance we give them in Appearance and Identity. First Steele discusses the fact that clothing is not inherently gendered, but that we have assigned genders to them. She compares several cultures and how they dress and adorn themselves. By going into the history of bifurcated verses un-bifurcated bottoms, she leads into the different standards for men and women’s clothing and the reasons, both supposed and real behind them. She then goes into different body types and how the preferred body type has changed from culture to culture and period to period. These changes in body type she said were linked to the greater social and cultural ideas of each period.

In American culture and society, the skirt has become a female form of dress. This has been the dominant belief in American culture for centuries. Today we even signal public bathroom differences by posting a picture of a figure in a skirt for women and a figure in pants for men. It has been deeply ingrained and cultivated into the American identity, men wear pants, and women wear skirts. Valerie Steele mentions in Appearance and Identity, that while there is rarely a single meaning attached to each piece of

Karson and Butler pause for a moment to take a photo and tell us how the night is going.

12 | April 2013

clothing, in almost every place and time men and women have dressed differently. Because history has denoted the skirt as female and we still abide by that today, American men will not wear skirts because it represents femininity.

Although we live in what is probably the world’s most advanced and equal culture in terms of gender, the rules of gender division remain. Jenifer Craik explains in The Face of Fashion: Cultural Studies in Fashion, that although there have been many changes for men’s clothes involving more variety in cut, color and fabric, a significant amount of men and women refuse to accept blatant decoration and display of the male body. Put simply, the rules still stand true. Craik also goes into example about when high fashion designer Romeo Gigli produced a line in the 1980’s and 1990’s with more androgynous clothing including feminine fabrics and skirts for men. Each time they sparked controversy because they opposed the masculine identity by creating clothes that were traditionally feminine and putting them on men.

Gender and the clothes assigned to them are not biological, but rather they are a social construct. We have assigned specific behaviors, traits, and appearances to the different sexes. Steele wrote, “Only when we stop believing that biology determines clothing behavior can we begin to understand how men and women have created the clothes they wear” (Steele 11). She goes on to explain that the biological differences between men and women are not direct causes of roles or assigned clothing. Instead it is the culture and society that has decided who should wear what and why. This is witnessed across cultures; the color white in America symbolizes purity and chastity, but in India White is worn during a time of mourning. Different cultures assign different meanings to articles of clothing; it is not through genetics that something is feminine or masculine. Our society for centuries now, has deemed the skirt as a feminine symbol that should go unworn by men.

Masculinity and femininity are shown in part through appearance. Freud says that gender is the first thing we notice about someone. Every inference we make is made

based on gender first. We assume that person will have certain qualities based on what gender we assume them to be. We presume that someone wearing a tie in the business realm is a male, and then we treat them as one, just as we presume that someone wearing a skirt is a female and we treat them as one. The example here is not in how we treat the person based on what gender we believe them to be acting out, but on the fact that we change our assumptions based on what we assume them to be.

We might be tempted to look at how women have adopted men’s clothing little by little and infer that men will reciprocate. The pants, the shirts, the fabrics, and the cuts have all been copied but, as Steele mentions, men have not done the same thing. This is only logical when dealing with a hegemonic society. The male image is given more power, authority, and consequently respect so a person who already has the male image (a consequence of biology) would keep it and reaffirm it. That person would not align himself with

the female image, which is less powerful, less authoritative, and consequently less respected, by wearing a skirt, which has been established as a feminine symbol. The person who lacks the male image and instead projects a female

image because of biology would likewise try to attain it because it means power. Steele notes that as women stepped into the workplace and fought to become more equal, they started to adopt the male style in order to project a male image because that image automatically assumes power. Men already have the power; they will not give it up by projecting an image that has less power and authority to exert over others.

Craik explains that for men to wear skirts there would have to be a great “re-alignment of categories of gender in America holds onto hegemonic masculinity today and therefore the man is more powerful. Being a man is imperative and men will not willingly identify themselves with a traditional American female garment..masculine identity, is still rooted in the hard workingman who provides for a family. He exemplifies this behavior through clothes.✽

We had no idea that the business would

grow the way it did. At one point we were

calling the florist every half hour.

Left to Right: Cards, table settings, chairs, gift basket, room overview. Each has been picked out or created just for the event.


14 | April 2013


Wedding

2013

After thousands of submissions and pain-staking decisions, Bash has chosen Kate and Sam to be this year’s Wedding Winner! We are thrilled to show you the breakdown of their beautiful wedding, and a few pictures of the new couple!

By Jennifer Miller

Winner

16 | April 2013

Tennessee Williams’ Suddenly Last Summer contains striking illustrations of the construction of the “other.” Williams displays

this concept in several aspects including dialogue, dramatic structure, and character construction. In this play there is a sphere created by and defined by Violet, while the people around her are defined by their position in relation to her. The normative formed by Violet is one of money, control, and supposed moral character; anything outside of this world, which can be found in the characters of Catherine and Sebastian, are ignored, smoothed over, or made out to not exist.

The entire conflict of the play derives from whose version of the truth will be agreed upon as the actual truth. The action of the play is driven by Sebastian, a character who does not appear or speak in the play, but instead is spoken about. Catherine and Violet each project their own impression of behavior on him and ultimately fight for control of his reputation. The audience learns about him from one source who reveals herself to be biased and blinded, and then has a revelation when Catherine tells the story they have been waiting to hear all along. The suspense comes with the vague references of Sebastian’s death and why people are so concerned. When the truth is revealed there is an even bigger sense of horror and confusion. Sebastian’s character is the focal point of the play without actually being a presence.

Violet is first and foremost, a wealthy woman. She has money, and she knows how to use it to get what she wants. Her outward projection of her wealth is deliberate and takes its first form in a broach on her chest, a “starfish of diamonds.” Her first discussion with the doctor is about taking care of the plants left behind by Sebastian. The prehistoric plants require insects that need to be imported. She is explicit in letting the doctor know that she is not doing it because of the expense, but because of the effort. She wants the doctor to be especially aware of her money because it is her first method of control. Money is a recurring factor in Violet’s relationships. When we are

introduced to the reason for the doctor’s presence, we learn

that he is there to evaluate the situation with Catherine and essentially determine if she is an acceptable patient for a lobotomy. However, we also learn that the doctor is not entirely confidant that a lobotomy is the right treatment, and that Violet is holding a sizeable endowment for the hospital. When the doctor brings up his hesitations, she explicitly explains her motivations. “You’re such an innocent person that it doesn’t occur to you, it obviously hasn’t even occurred to you that anybody less innocent than you are could possibly interpret this offer of a subsidy aswell, as sort of bribe?”She is not uncomfortable with her use of money, and is in-fact rather proud of it. She is described as laughing and throwing her head back while saying, “Name it that—I don’t care.” Her position as a result of money is one she readily uses to her advantage.

Violet’s monetary control is also exerted over Catherine who is “recovering” at Saint Mary’s. Violet has essentially quarantined her there to prevent further spread of her story of Sebastian’s death. The bill is being paid by Violet and the family is under the impression that this is a good thing, and they are grateful. In order to stop Catherine’s “babblings” which Violet insists are not true, she is bringing in the doctor as a threat of lobotomy. She is in such refusal of Catherine’s story, because it does not line up with her own image of her son, that she is willing to physically prevent Catherine from ruining his reputation. We begin to see that her power knows little bounds and that she is prepared to give or withhold it for her own means. When the doctor asks about a possible motivation for Catherine’s story she plays the martyr. “We put the bread in her mouth and the clothes on her back. People that like you for that or even forgive you for it are, are—hen’s teeth Doctor. The role of the benefactor is worse than thankless, it’s the role of victim. Not only is her money a physical and literal power, but under the right circumstances it becomes an emotional power. Her money is now part of her identity


Bryan RafanelliBrian Rafanelli is the owner of Fafanelli events and has planned several high profile events.

The Venue Viansa Winery

Viansa Winery was the couples chosen location in Nappa Valley, California.

Our team requested the help of renowned florist Elizabeth Smith who has worked with the White House and Oprah.

The Couple Kate & Sam

Cakes Studio

The Cake

The FlowersMichelle Smith

Kate and Sam's story was so touching we thought they deserved everything we could provide.

Cakes Studio donated their services in the form of a vanilla and buttercream cake.

The Planner

Clockwise: Table centerpieces, reception hall, Kate and Sam.

and a source of manipulation on the sentimental field. Violet also exerts her control in the form of money

over Catherine’s family, and as a result Catherine. The only reason Catherine’s mother and brother show up is to try to convince her to stop saying the things Violet doesn’t want to hear, so that she will release the money left to them by Sebastian. “George inherited Cousin Sebastian’s wardrobe but everything else is in probate! Did you know that? That everything else is in probate and Violet can keep it in probate just as long as she wants to? It is in the withdrawal and withholding of money that Violet maintains her power. Not only is she insisting that Catherine stop talking about his death, but she is manipulating her family into pressuring her as well.

Catherine’s story seems too far-fetched for her family too. George begs her to stop the story and yells at her explaining that Violet will keep the money tied up in the courts for as long as it takes. Because they also believe she is making up the horrific story, she has become the “other” to them and they begin to reject her. “Cathie, why, why, why!—did you make up such a tale? Her mother is rejecting her account as false and questioning her grasp on reality. George’s rejection of her comes in the form of pure anger. “I repeat it, a bitch! She isn’t crazy, mama, she’s no more crazy than I am, she’s just, just—preverse! Was always!perverse.” Catherine has become an outsider to her family and is not accepted or understood by them. There is no sympathy for her, only strong rejection and insistence that the only reasons she could be claiming something

18 | April 2013

"We came prepared to give them everything they could want, anything they could imagine, we would do for them."

Jonathan Swift became known in his time for his opinions and analysis of politics. Through such stories as A Battle of the Books and A Tale of a Tub he brought to light many fallacies and injustices. Swift’s intended the readers of his most well-known work, Gulliver’s Travels to have their eyes opened to the social shortcomings of their society. Through the use of satire Jonathan Swift criticized European society and politics in an effective manor in Gulliver’s Travels. Encyclopedia Britannica defines Satire as, “Artistic form, chiefly literary and dramatic, in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque,

irony, parody, caricature, or other methods, sometimes with an intent to inspire social reform.” The techniques of satire are many and complex and the intricacies are what make it so brilliant. One must first examine the various intricacies before understanding how it is used in a particular instance. Leonard Feinberg wrote in Introduction to Satire, “The first problem of the satirist is to hold the reader’s interest, while doing something other than what he is pretending to do." He explains that because satire is for the mind, it must be done through humorous diversions. This is all in an effort to keep the readers attention. Feinberg goes through four techniques of satire, each of which have their own elements and components that are examined further.

The first is the technique of incongruity, which takes advantage of the amusement at some kinds of inappropriateness. Elements of incongruity are exaggeration, understatement, contrast, despairing comparison, and epigram. Exaggeration involves highlighting one aspect at the cost of another. Understatement is a reversal of exaggeration, by amplifying a lack of concern it ignores reality and in turn brings the truth back into light. Contrast is an inconsistency or discrepancy other than what the audience intended to be told that must occur suddenly. Despairing comparison is seen when the satirist makes a connection between subjects that appear to most as

unrelated. Epigrams are brief memorable statements. It is through these elements that a satirist can emphasize the nonsensical behaviors of a society.

Feinberg goes over the technique of surprise, which he says happens when, “One has been prepared to think along a certain channel and is trustfully proceeding on that path when he is abruptly switched to a totally unexpected direction.” This he says, causes a total change in mindset and allows for rethinking. This technique is made of the elements of unexpected honesty, unexpected logic, unexpected letdown, and unexpected event. Unexpected honesty is a technique of surprise because civilizations require pretense and politeness. ✽

Kate and Sam say their vows infront of family and friends.


Club Monaco $140

The Work Party The In-law’s PartyThe Friend’s Party

Banana Republic

$200

Anne Klein $450

J. Crew $240

Anne Klein $300

French Connection$400

DKNY $180

Calvin Klein $150

J. Crew $500

C l e a n a n d C l a s s i cDon’t pull apart your closet this season. Our Fashion Contributor

Caitlin Collins has picked three simple sillouettes for you to wear this

Fashion

20 | April 2013

BLUEBERRYCHEESECAKE

Recipes

BLUEBERRY

Try these new spins on an old classic

a whole new way

Crust:

2/3 cup graham cracker crumbs (about

5 cookie sheets)

2/3 cup reduced-fat vanilla wafer

crumbs (about 20 cookies)

3 tablespoons sugar

3 tablespoons butter, melted

Filling:

2 1/2 cups fresh or frozen wild blueber-

ries, thawed

1 tablespoon cornstarch

2 1/2 (8-ounce) blocks fat-free cream

cheese, softened

1 (8-ounce) block 1/3-less-fat cream

cheese, softened

1 cup sugar

2 tablespoons cornstarch

1/4 teaspoon salt

5 large eggs

Topping:

1 1/2 cups fat-free sour cream

2 tablespoons sugar

1/2 teaspoon vanilla extract

Sauce:

1/4 cup sugar

1/4 cup water

1 cup fresh or frozen, thawed, wild

blueberries

To prepare crust, combine first 3 ingredients in a medium bowl. Drizzle with butter; toss with a fork until moist. Firmly press mixture into bottom of a 9-inch springform pan coated with cooking spray. Bake at 325° for 10 minutes; cool on a wire rack.

To prepare filling, combine 2 1/2 cups blueberries and 1 tablespoon cornstarch in a food processor, and process until smooth. Place puree in a small saucepan; bring to a boil. Cook 6 minutes or until slightly thick, stirring constantly. Cool slightly. Reserve 1/2 cup blueberry puree for sauce; set remaining 1 cup blueberry puree aside.

Place cheeses in a large bowl; beat with a mixer at high speed for 3 minutes or until smooth. Combine 1 cup sugar, 2 tablespoons cornstarch, and salt. Add sugar mixture to cheese mixture; beat well. Add eggs, 1 at a time, beating well after each addition. Pour batter over

prepared crust. Pour 1 cup blueberry puree over batter; gently swirl with a knife. Bake at 325° for 1 hour and 10 minutes or until cheesecake center barely moves when pan is touched. Remove cheesecake from oven (do not turn oven off); place cheesecake on a wire rack.

To prepare topping, combine sour cream, 2 tablespoons sugar, and vanilla in a small bowl, stirring well. Spread sour cream mixture evenly over cheesecake. Bake at 325° for 10 minutes. Remove cheesecake from oven; run a knife around outside edge. Cool to room temperature. Cover and chill at least 8 hours. Remove sides of springform pan.

To prepare sauce, combine reserved 1/2 cup blueberry puree, 1/4 cup sugar, and water in a small saucepan. Cook over medium heat for 8 minutes or until sauce is thick, stirring constantly. Gently fold in 1 cup blueberries. Remove from heat, and cool. Serve sauce with cheesecake.


HOMEMADE BLUEBERRYICE CREAM

BLUEBERRYCOBBLER1 (16-ounce) bag (2 cups) frozen blue-

berries

1 1/2 cups sugar, divided

1 cup all-purpose flour

1 teaspoon baking powder

1/2 cup (1 stick) unsalted butter,

3/4 cup milk

Ice cream, for plating, optional

Blueberries, for garnish, optional

In a large bowl, combine the blueberries and 1/2 cup of the sugar. Toss to combine and set aside.

In a medium bowl, combine the remaining 1 cup sugar, the flour, and baking powder.In a large bowl, beat the butter and milk together until smooth. Gradually beat in the flour mixture until smooth. Pour the batter into the prepared pan, then scatter the blueberries over the batter, letting them sink in, without mixing. Bake until the top is golden brown, 35 to 45 minutes. Let cool slightly before serving. Spoon the cobbler into bowls and top with ice cream.

4 cups fresh or frozen blueberries

2 3/4 cups sugar, divided

2 tablespoons lemon juice

2 large eggs

2 cups heavy whipping cream

1 cup milk

In a large saucepan over medium heat, bring blueberries, 2 cups of sugar and lemon juice to a boil. Reduce heat and simmer, uncovered, until sugar is dissolved and the blueberries are softened, about 6-8 minutes. Cool slightly.

Pour blueberry mixture into a blender and purée until smooth. Pour purée through a fine mesh strainer into a bowl, pressing on solids with back of a spoon. Cover and refrigerate 2 to 3 hours or overnight.

Once the blueberry mixture is cold you can continue to make the ice cream. In a large bowl, whisk eggs until light and fluffy, 1 to 2 minutes. Whisk in 3/4 cup of sugar, continue whisking until completely blended. Pour in cream and milk, whisk.

Chill in freezer) about 30 to 60 minutes.

Start ice cream maker and add the milk mixture. Mix until ice cream has the consistency of soft serve ice cream, about 20 to 25 minutes. In the last 5 minutes of mixing, add the blueberry mixture.

Recipes

22 | April 2013

Q A &

Your trickiest questions answered by Etiquette coach and Event Planner

Emily Anderson

What is the best way to usher my guests out when they have over stayed their welcome? - Sandra in Ohio Kate Chopin and Edith Wharton were both woman novelists at the turn of the 20th century, neither of whom was a known feminist in the traditional sense. However, they both voiced the discontent and anxiety many women were experiencing at the time when modern society was emerging and new moral values were in conflict with older Victorian standards.

What is a good rule of thumb to figure out how much food I will need for my event? -Kristen in New York A woman living in the late 19th century was seen as a symbol of her husband’s financial and material success. She spent all of her time caring for her household and purchasing goods and services for her family in order to create and maintain an image of great comfort and personal wealth.

I want to throw a themed party but I don’t want it to be too young or immature, what should I do? - Meredith in Pennsylvania All of this was done solely to support her husband’s reputation as a businessman and successful provider. However, women began to express their resentment at being denied the freedom to define themselves.

I’m throwing a party but I’m only inviting people from work, how do I explain it to my non-work friends?- Rachel in CaliforniaEdna realizes that in her heart and in her mind, the only person she belongs to is herself. Edna wants something more than most of the other women in the social world around her. She feels drawn to Robert Lebrun, a man who is not her husband and with whom she spends a lot of her time while vacationing on Grand Isle. She feels like her true self when she is with him.

My mom insists on “helping” me plan my husband’s 40th birthday party, how do I tell her I don’t want her help?-Katherine in MaineHe leaves Grand Isle for Mexico, presumably because he loves her and wants to escape the trouble their relationship would cause. After the Pontellier family returns to New Orleans, Edna moves out of her family’s home, leaves her husband, and takes a lover, Alcee Arobin.

I'm having my family over for Easter and I am looking for a modern twist on classic looks.- Kelly in ColoradoWhen Robert returns and expresses a desire to marry her, Edna realizes that he sees her as something to possess, just as her husband does. Robert is taken aback by her dismissal of him.

How do I get my overly casual friends to dress up for my party?-Michelle in Rhode IslandLawrence Seldon is the one man she is truly attracted to for reasons other than money. In fact, there is a part of her, albeit small, that would like nothing better than to marry for love. When Percy Gryce and Simon Rosedale, both of whom qualify in both wealth and status, ask her to marry them, Lily declines. Seldon is a constant reminder to her of the possibilities that are there for her if she chooses to live an authentic life based on love. That type of life appeals to her when she can get her mind off of money and comfort.

“People get stuck on

one detail and let

it throw them off.

Remember that if you

aren’t having fun people

can tell and it will affect

the mood."

How long should the appetizers go around?- Mary in Indiana I was not completely engaged by this article or won over by the argument. Based on the many sources I believe the author has a valid argument. When reading the play I was completely unaware of any symbolism about the decline of American values and individuality in exchange for conformity and success.

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