Lindsay Marie Morris

Prized for its bulbs, leaves, and even seeds, fennel is the ultimate zero-waste food. It's also rich in fiber, potassium, vitamin C, and manganese. 

 

To explore the origins and uses of fennel, I reached out to "I Love Fruit & Veg from Europe," a global initiative that promotes the mindful consumption of high-quality European fruits and vegetables both within Italy and abroad. Their purview includes organic produce and products with PDO (Protected Designation of Origin) and PGI (Protected Geographical Indication) certifications, advocating for healthier, safer, and more sustainable diets. The initiative is supported by Italian producer organizations such as Agritalia, A.O.A., La Deliziosa, Meridia, and Terra Orti and is co-funded by the European Commission.

"I Love Fruit & Veg from Europe" Campaign Manager and Coordinator Manuela Barzan shared more about this flavorful vegetable.

 

 

Where does fennel come from originally?

Common fennel (F. vulgare) or finochietto is native to Southern Europe and countries bordering the Mediterranean Sea but has become naturalized worldwide. To the ancient Greeks, fennel was a symbol of victory, known as "marathon," lending its name to the Battle of Marathon (490 BC), where legend has it the battle unfolded in a fennel field. The Romans, too, embraced fennel as a symbol of achievement, fashioning its leaves into wreaths to crown champions in their games.

 

Florence fennel, or finocchio (Foeniculum vulgare var. azoricum), is a cultivated variety from the same family as wild fennel. Developed in 17th-century Italy, it resembles wild fennel at the top with similar stalks, fronds, and flowers, but at the base, it forms a white, layered structure often called a "crown." Although commonly referred to as a bulb, it's not a true bulb—its layers are crisp and carry a mild anise flavor.

 

Where and how is fennel typically grown?

India is the largest producer of fennel, which is grown for its seeds and is widely used in cooking and traditional medicine. Spanish missionaries brought fennel to North America, cultivating it in their medicinal gardens. In California, it is now commonly referred to as wild anise and grows abundantly along roadsides and in pastures across the U.S., where it is often regarded as a weed.

Bulb fennel (finocchio) is grown globally but thrives in warm, moist environments. Various cultivars can be harvested at different times based on their growing location, with the general harvest season in Italy spanning from spring to fall.

In the U.S., fennel is considered a cool-weather crop and is typically available from fall through early spring, although grocery stores stock it year-round. However, since fennel is a relatively minor crop in the U.S., any out-of-season supply not sourced from California or Arizona usually comes from a greater distance.

 

What parts of the fennel plant are used and how?

Every part can be used in some way! Bulb fennel is grown for its seeds, essential oil, fronds (leaves), and swollen leaf base, which is consumed as a vegetable. While the stalks can be tough and somewhat stringy, they are often used to flavor stocks. The fronds can serve as a garnish or be incorporated into marinades and sauces.

Common fennel is primarily cultivated for its seeds, which possess a more aromatic quality than those of cultivated fennel and have a robust flavor reminiscent of licorice.

 

What are the nutritional benefits of fennel?

Fennel is a nutrient-dense, low-calorie food that offers several health benefits, including:

• Rich in antioxidants: Fennel is abundant in various antioxidant compounds that help shield cells from damage caused by free radicals, potentially lowering the risk of chronic diseases such as cancer and heart disease.
• Colic relief: Colic, a frequent issue for newborns, can be effectively alleviated with fennel, whether used alone or combined with other herbs. Fennel seeds are commonly included in gripe water, a well-known remedy for this condition.
• Menstrual pain relief: Research indicates that fennel might lower the production of oxytocin and prostaglandin, hormones linked to painful periods.
• Enhanced digestion: Traditionally, fennel is consumed after meals in many cultures to support digestion and minimize gas. Studies suggest that fennel may help by reducing inflammation in the intestines and decreasing the levels of gas-producing bacteria. Additionally, fennel oil has been found to alleviate symptoms of irritable bowel syndrome.

 

What are some favorite Sicilian recipes that feature fennel?

• Sicilian sausage: Known as salsiccia, these sausages are made from coarsely chopped pork mixed with fennel seeds. They are typically sold in coils on skewers, weighed by the pound.
• Pasta con le Sarde: This dish is a staple in Sicilian cuisine. According to legend, when Euphemius of Messina returned from exile in Tunisia to lead a military campaign in 827, his Arab cooks created this recipe using the first ingredients they found upon landing at Mazara's harbor. The combination included wild fennel, raisins, pine nuts, and the freshest sardines available.
• Pork and fennel ragù: For this dish, start by removing the casing from Sicilian sausages, squeezing out the pork, and cutting it into pieces. Sauté shallots in a bit of wine, then add the sausage and combine it with tomato sauce and a teaspoon of fennel seeds. For a twist, you can substitute the tomato sauce with fresh ricotta. This ragù pairs beautifully with casarecce, a short, twisted pasta native to Sicily.
  
  

How do you recommend preparing fennel to bring out its best flavors?

Fennel bulbs can be prepared in various ways, including steaming, grilling, roasting, or braising. They are often served with olive oil or butter. They offer a sweet, subtly anise-like flavor that pairs especially well with fish.

To enhance the flavor of Florence fennel when using it raw in salads, slice the bulb and let it soak in ice water for an hour in the refrigerator.

Antonio Carluccio said in Complete Italian Food, "Fennel has such a sweet taste and pleasant aroma that it was often served at the end of a meal as a dessert in Italy. It is delicious in every form, raw or cooked, and indispensable in pinzimonio [tender spring vegetables served sliced and raw to dip in newly pressed olive oil with a little salt and pepper]." 

 

Can you share any tips for selecting the best fennel?

When selecting fennel bulbs, look for those that are white or pale green, firm, and heavy. Steer clear of any that appear yellowing, dry, or starting to shrivel. The fronds should be vibrant and crisp, not wilted.

As fennel ages, it becomes drier and tougher, with a more intense anise flavor. However, removing the outer layers will make the inner part less tough.

 

How do you store fennel?

Sturdy fennel bulbs and stalks can be stored in the refrigerator for an extended period. However, the fronds may lose their crispness, so it's advisable to detach them, wrap them in a paper towel or newspaper, and place them in a container in the fridge. Keeping the fronds dry can help extend their freshness.

 

What other ingredients complement fennel in recipes?

Fennel pairs especially well with fish.

The chopped young leaves can enhance the flavor of salads and various dishes, and they are commonly enjoyed alongside oranges.

 

Why should people try fennel?

Fennel is a highly versatile vegetable that can be enjoyed raw or cooked. It is easy to incorporate into various dishes without generating waste. It is rich in fiber, low in calories, and boasts numerous health benefits. 

Here are some common ways to include fennel in your meals:

• Sip fennel tea, a soothing herbal infusion made by steeping fennel seeds in hot water. This traditional remedy is often utilized to promote digestion and reduce bloating and gas. You can find it in tea bags or make it by steeping whole fennel seeds.
• Incorporate fennel into salads for an extra crunch.
• Substitute fennel stalks for celery in soups or stews.
• Wrap fennel with other root vegetables in foil and roast in the oven until tender.
• Use the bulb, stalks, and fronds as a flavorful base when roasting chicken or pork.
• For a tasty side dish, roast fennel wedges seasoned with salt, pepper, and butter.

 

 

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Drawing on the more than 1,000-year tradition of Sicilian hand embroidery, Palermo-based luxury lifestyle brand Manima offers such exclusive, high-end products as home decor, linens, resort wear, and wearable art, all crafted using traditional techniques.

With a beautiful atelier in the city's historic center, Manima, which takes its name from Mani + Anima, meaning hands and soul, was founded by the husband-and-wife team of CEO Carolina Guthmann and Executive President Piero di Pasquale. The company focuses on combining female artisanship with technology and social impact with a platform to connect embroiderers across villages to Manima headquarters, allowing women to be included remotely while maintaining control over the quality, deadlines, and design.

Carolina recently took time out of her busy schedule to share more about Manima and the Sicilian hand-embroidery tradition. 

 

 

Tell us about Manima and how it started.

It was born from the desire my husband and I had to do something meaningful in the second part of our lives, after a long and successful career in multinational corporate companies and RAI Television on my husband's side.

We left our careers, studied and researched for over a year, and then found the project that would satisfy our wish to generate social impact, work with high-end artisans, and preserve a cultural heritage. That was hand embroidery because it has a market that never dies out; it is typically female in Italy and had a very important social role in the past until globalization hit local artisanship. It is also a form of artistic handicraft that can be done in groups and even large groups; it creates strong social bonds and can be re-interpreted endlessly. 

 

What is your background?

I have a degree in macro-economy and worked for many years in top management roles in multinational companies, such as Procter & Gamble, Bristol-Myers Squibb, and Merck.

 

My husband is a former TV journalist and was, among other things, an anchorman in the U.S. for RAI public TV. He has a background in political sciences and international relations and was the Director of RAI News worldwide.

 

What are the unique characteristics of Sicilian hand embroidery featured in your products?

Sicilian hand embroidery is rich and diverse, reflecting the island's history of 26 different conquests, each leaving its mark on local craftsmanship. This eclectic mix of influences has shaped a wide range of styles and techniques, making Sicilian embroidery truly one of a kind.

 

One of the standout techniques is pulled thread embroidery, a traditional Sicilian method that we incorporate in a modern and distinctive way. For instance, this technique is central to our Saline resort line, as well as our collection of colorful and vibrant table linens, giving a fresh twist to classic craftsmanship.

 

Moreover, throughout Sicily, many small villages have preserved and perfected unique embroidery methods over generations. We have carefully selected and partnered with some of these master artisans, integrating their extraordinary skills into our project. Their expertise ensures that each piece carries the authentic spirit of Sicilian heritage while embracing contemporary design.

 

When and how did the tradition of embroidery as part of a dowry originate in Sicily?

The tradition of embroidery as part of a Sicilian dowry is a reflection of the island's rich and diverse history. It evolved through centuries of cultural exchange and was a testament to the bride's skills, her family's status, and the importance of craftsmanship in Sicilian life.

 

This practice likely originated during the Middle Ages, influenced by the various cultures that conquered and ruled Sicily, including the Byzantines, Arabs, Normans, and Spanish, each contributing to local customs and aesthetics.

 

Already under Byzantine influence, Sicily saw the rise of luxurious and intricate embroidery, especially with aristocratic families, and embroidery was a way to showcase wealth and status, becoming an important element of bridal trousseaus prepared for marriage.

 

This further evolved under Arab influence and later in the Norman and Spanish periods. It was in later periods that embroidery flourished within Sicilian noble families and started to spread among middle-class families. 

 

Dowries had of course also a social role as a reflection of a family's social status or as a symbolic value featuring religious or protective motifs intended to bring good fortune, fertility, and protection to the marriage. 

 

What do the various motifs and patterns in Sicilian embroidery represent?

Apart from religious motifs like crosses, sacred hearts, and others, the rich nature in Sicily has inspired many motifs. 

• Flowers and Leaves: Floral patterns are very common in Sicilian embroidery, often symbolizing beauty, fertility, and growth. Flowers like roses or pomegranates may represent love, life, and renewal.
• Wheat: Sicily has a strong agricultural tradition, and wheat is often a symbol of abundance, prosperity, and good harvests. Wheat motifs in embroidery might also evoke wishes for the family's financial success and stability.
• Olive Branches: The olive tree is a symbol of peace and longevity, as well as a representation of Sicilian heritage and the importance of agriculture.
  
  

How is the tradition of embroidery passed down through generations in Sicilian families?

In the past, embroidery was part of a girl's upbringing and traditionally regarded as an essential skill for women, particularly in rural Sicilian communities, where it was a reflection of a girl's domestic ability, patience, and creativity.

 

Furthermore, in some Sicilian villages, embroidery was not just confined to the family but extended to a whole community of women across generations, and many villages are known for their specialization in specific embroidery techniques. Families in these villages would take great pride in perfecting these methods and passing them down, ensuring that unique regional styles were preserved and celebrated across generations. 

 

What efforts are being made to preserve and promote the tradition of Sicilian embroidery today?

Locally, in some places there are efforts by small groups of embroiderers, sponsored by mayors or churches. There are many little museums in Sicily, but they are almost unknown and rarely visited. As of my knowledge, there is no other project like ours that uses advanced technology to preserve an ancient tradition.

  

 

 

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Potatoes are not commonly used in Sicilian cooking. For my nonna, there were two exceptions: her insalata vastasa and a main dish called gattò di patate. 

The name gattò comes from gâteau, the French word for cake. The rich dish was created in the late 18th century by French chefs who served at the Bourbon court. These so-called monsieurs or monzù were brought to the Kingdom of Naples by Queen Maria Carolina of Habsburg, wife of King Ferdinand IV of Bourbon and Marie Antoinette's sister.

 

I recently stumbled on a recipe for a gattò created by Letizia Mattiacci, a Rome-based food writer, cookbook author, and Madonna del Piatto cooking class instructor. While Letizia uses ham, this potato cake can easily be made vegetarian by substituting spinach.

 

Letizia and I spoke about her winding path from entomologist, a biologist who studies insects, to agriturismo owner and then cooking class instructor. She told me about her gattò recipe and shared tips and tricks for achieving the perfect gattò structure.

 

 

What is your background?

I was born in Perugia, but my mother was from Librizzi, Sicily. She moved to Perugia in the 1960s for work, and there, she met my father, who was a local in Umbria. So, I spent my youth there. 

 

Then, I started a Ph.D. program in insect ecology. I didn't speak a word of English, and I had never been anywhere. In the second year of my Ph.D. program, I took a plane for the first time to move to the United States for six months of lab work. And that was the first big adventure of my life.

 

I worked in a couple of labs in Washington, D.C. I worked in Beltsville, Maryland, at the USDA lab, and then I worked at Texas A&M University. I loved it so much that I went back in the second summer to finish some of the experimental work I had done there. 

After that, I started traveling for work. I found my first postdoc in the Netherlands. I met a lovely, tall, and skinny Dutch guy who, at some point later, I married. He's also an entomologist. 

We worked as scientists in the Netherlands for three years and did some field work in Zimbabwe. I worked with the United Nations in Vienna and then got a job as an associate professor in Switzerland.

By then, we both had jobs in Switzerland and spent five years there. But then we discovered that an academic career with all the politics involved was not really our calling. So we did the romantic thing: We bought a farmhouse back in Umbria, in a beautiful place above the hills of Assisi. 

We bought this place in '97, and it took us five years of hard work in Switzerland to finance the renovation. Then we went back to Umbria, had our baby, whose name is Tea, and started the adventure of innkeeping and cooking classes. 

We had friends everywhere, and I've always loved to cook. I discovered that people always ask you for a recipe when you are Italian. 

I always cooked with my mom or with my family. My Sicilian family mostly lived in Perugia, so we always had big Sicilian parties.

 

We had an agriturismo for more than 22 years, and it was marvelous, but we had to stop for many reasons. We sold it, and we moved it to Rome. 

 

Tell me about your gattò recipe.

In the south of Italy, you won't find many recipes with potatoes. The original gattò was made with some sausage there, probably some salami. But my mother made it with cheese and ham because when we grew up in the 1960s, the concept that you should have had lighter food started to come in slowly. By the mid-70s and 80s, food had probably started to be less oily and less rich, while between the 1960s and the 1970s, it was very rich. 

My mother made this lovely potato puree. She cooked the potatoes and then riced them with a vegetable mouli. She then added eggs, a bit of olive oil, and quite a bit of Parmigiano. She then layered it in an oil pan with breadcrumbs and put some cheese and some ham in it. When you cut it in the middle, you have this sort of melting cheese that comes out of it.

My daughter is also very fond of the dish, so this is a tradition. I probably make it once every three weeks or so in the winter. 

 

Can you speak to the 18th-century history of this dish?

In that period, a lot of things happened. There is a dish called sartu, a rice dish. This is another dish that comes from French chefs and has been adopted in southern cooking. For a very long time, rice was not especially popular in Italy, and it was considered a food for the sick. 

Then, the French cooks at the Bourbon court elaborated on these exotic ingredients. They realized they had to offer them in a way that reflected the local tradition. Most likely, the French wouldn't have made a rice casserole with tomato sauce, but they put tomato sauce in it, which made it more palatable for the local court.

What are some other Sicilian potato recipes you would recommend?

While in the past, potatoes were indeed not common in Sicilian cuisine, there are a handful of recipes that might be nice to consider. My grandmother Rosaria made whole-baked potatoes stuffed with meat and cheese.

 

Here are a couple more examples:

• Patate Vastase from Trapani
• Patate apparecchiate from Siracusa

 

What are some important tricks for achieving the right gattò structure?

It's important to cook the potatoes just right so they don't absorb too much water, and it's important to have good-quality potatoes. Your equivalent in the U.S. would be Yukon Gold potatoes. If you have floury potatoes, they will absorb too much water, and your gattò will not have the right texture because you want it to be fluffy. In recent years, I have microwaved the potatoes because they do not absorb any humidity except their own.

If you boil your potatoes, do so with the peel on so they don't absorb too much moisture. If you feel they've gotten a little bit overcooked, you could put them in the oven and dry them a bit after that. 

It's important to do a good job with the ricing. Just smashing will not give you a good structure. The easiest way is actually using a vegetable mouli. 

Then, you beat the eggs in there quite soon while the potatoes are still warm. You beat all the ingredients together, but what matters is the eggs because they will hold it together.

After that, you can just put it in a bowl so it doesn't stick and let it cool off. This is the most important part. It's also important to taste it for seasoning because it has to be sweet. If you use ham, it is sweet; if you use some melting cheese, it is also sweet. If you don't give it a little bit of salt and pepper and maybe a dash of nutmeg to contrast, then you will have something that is a bit bland.

  

The rest is very easy. Oil or butter your pan and sprinkle it with breadcrumbs—good breadcrumbs, not store-bought. [Get Letizia's breadcrumbs recipe here.]

To keep the shell whole, take two spoons and spoon the potato all over the top. Then, wet one of the spoons and very lightly push it down. If you start moving your potatoes around, the crust will break.

For my recipe, I normally make three layers of potatoes, so you also have to decide how many potatoes to use for that size of pan. I like to use a Pyrex circular pan, but it works in many different pans. 

 

Then, I layer my cheese and ham. I like to use Scamorza, but it's not easy to find in the United States. A good-quality cow's milk cheese that melts easily without becoming watery is ideal. 

I make two layers and then sprinkle again with breadcrumbs, a little bit of Parmigiano, and a few dots of butter. 

 

What do you hope at-home cooks will take away from your gattò recipe?

This is an easy family food. It is good the day you make it and gives you good leftovers. You can make it for a party. It is a very easy, practical, and inexpensive dish to make nowadays. And it makes children very happy.

After a certain age, we worry about calories and blah blah. But it is good food; I don't know anybody who doesn't like it.

 

>>Get Letizia's gattò recipe here!<<

 

 

 

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Oriana Lamarca creates vibrant jewelry, channeling over 100 hues and dozens of motifs inspired by her Sicilian heritage. Her brands, Oriana Lamarca Designs and My Sicilian Love Affair, have together served as a colorful beacon that kept her going even through the lowest points in her health and personal life. 

"My hashtag is #addictedtoarmcandy, and I love to say that my addiction to designing these bracelets and this passion that I have for what I do truly did save my life," says Oriana. "And through it all, I've just had so many amazing experiences."

Oriana shared with me her deep connection with her Sicilian roots and how that shapes her designs, how she got started, her passion for color, how she balances the trendy and the timeless, and more. 

What is your connection to Sicily?

My parents were both born and raised in Sicily. They both came over as teenagers. My mom's from Castellammare del Golfo; we still have the house she was born and raised in, and we recently did some renovations. And so she and I went back and forth.

My dad is from Agrigento, so a little farther south. My grandparents, up until pre-COVID lived there from September to June. So, growing up, I always would spend a couple weeks at a time staying with them and spending time in Sicily. I have beautiful memories of that and continuing the Sicilian traditions through everything we do, including holidays and food.

 

What role does your Sicilian heritage play in your designs?

Pretty much everything revolves around that. I have another website dedicated to my love for Sicily, which is called MySicilianLoveAffair.com. And there's also an Instagram attached to it. My Sicilian heritage is the basis of everything I do and design and my storytelling.

 

I was actually married. I got married in Taormina, Sicily, in 2014, when social media started to kick off. So people saw that I was going back so often, and I found myself planning trips for people every summer. And I said to myself, "I need a reference point to be able to send these people so I don't have to just keep repeating myself." So that's kind of how the idea for My Sicilian Love Affair was born, as a reference point for everything from where to go, where to stay, what to eat, traditions, travel, and fashion.

 

That ties into Oriana Lamarca Designs. I'm designing my collections and storytelling and translating my life experiences, values, and roots, all through my designs and creations. I have a My Sicilian Love Affair collection in which I incorporate pieces of ceramics handmade in Sicily. The ceramics I've selected highlight Sicilian culture, whether it's the cassata cake, a traditional Sicilian dessert, or the carretto Siciliano, the wheel of the cart. I have teste di moro, of which there's a male and a female. It's a traditional Sicilian legend. And so I've utilized these ceramics to highlight little bits and pieces of our culture and all the stories that go along with it. 

 

How did you start Oriana Lamarca Designs?

My parents have a tile and stone design center, so I grew up working for them. I went to college, graduated, and decided to stay and help them. I was designing kitchens and bathrooms and working with stones, but I always loved fashion a little bit more. My grandmother was a seamstress for Ralph Lauren and Halston, so it kind of runs in my veins.

I would go to work for my parents during the day, and at night, I would go shopping. I came across these beaded bracelets and thought, "I'm not going to spend a hundred dollars on one. I can make it for myself." So, I started ordering beads. I taught myself how to tie the knot.

 

I started selling to friends and family from 2013 to 2014. I took a break because I had planned a wedding overseas. Once I got back, six months after I was married, I was diagnosed with Bell's Palsy. And so I was home for three months. During that time, I built my website and solidified the concept for the collections and the idea for the brand. Once I got better and started going out again, I did a lot of pop-up shops, like home shopping parties.

 

The website was picking up a little traction. In January 2016, I decided to leave work for my parents to pursue this full-time job for about three years. It was kind of still just a thing that was keeping me busy. I was growing this brand, which I love, but at the same time, I was a wife, and I thought I'd be starting a family. And so it wasn't as serious, I'll say, as it is now.

In 2019, I went through a divorce right before COVID. Again, at this low point in my life, my business gave me the strength and focus to pull through, and I dedicated every second of my life to making it work and bringing it to where it is today.

Color plays a huge role in your work. Share with us the story behind the various shades.

I love color. Actually, that stems from both my mother and working at the tile store, where my mother is one to have always really worn a lot of black and just beige and neutral colors, as well as designing kitchens and bathrooms. Everybody wanted just neutral colors, and I just loved color.

Color plays a huge role in our everyday life, mood, confidence, and so much else. With these bracelets, the idea was to effortlessly add color to your outfit, whether you're wearing all black but want to add a pop of color without it being too much or you don't want to wear a strong-colored top. You can add a little bit of color with your accessories—not just the bracelets, but the earrings, the necklaces, and the bags to complement the entire look.

 

At this point, I have over a hundred different colored gemstones, which allow people to mix and match and create their own "arm party," as I like to call it, to compliment your outfit or add color. I like to wear a lot of color, so I will often compliment all the colors I'm wearing and kind of wrap that all up in one little storyboard in my arm party. Or if I'm wearing just my classic Sicilian black lace go-to type of outfit, I'll accessorize with colorful bracelets to give it a pop of color and fun.

 

When I started with six or seven signature collections, each of which was created during the time that I was sick, my brain organized the colors together into six collections inspired by different destinations I had traveled to.

 

So I live in New York, which has more of an edgier vibe with metallics, white, and black. Everybody wears black in New York. The Miami collection has a lot of brighter colors, like the neons—the lime green and the bright magenta pink, which reminds me of Miami Vice. The Greek collection was inspired by my honeymoon. I had been to Greece, and there were a lot of white houses, blue roofs, and blue water in the Mediterranean. So that was what inspired that collection. But basically, I organized the colors—over a hundred of them—through these signature collections, through the culture of that destination I had been to.

 

How do you source the materials and stones for your collections?

I do a lot of research online. I order from all over the world. The ceramics are made in Sicily. A lot of the beads come from India, some from Greece. My suppliers are based in the U.S., but it depends on where the stones originate. But that's as far as the beads.

 

As far as the other products, a lot of the collection I'm now moving more toward is made in Italy. We just got a new collection called the Gaia bag, a beautiful leather bag made in Tuscany. A lot of our other bags are made in Florence or Italy. Also, the beaded bags are made in India. I pay attention to where I'm sourcing my material and make sure I give my client a product that is not only affordable but quality as well. We make our bracelets in-house in my studio in New Jersey.

How do you balance creating trendy pieces with maintaining a timeless appeal?

A lot of the collections that I've developed, aside from the signature collections, are collections that I like to tell a story through to represent something. These trendier pieces may have a little more of a timeline to them, but I like to incorporate the classic pieces that I use throughout the signature collections, even when designing the trendier collections. Because color is so important in what I do, even when sourcing the charms, I want people to be able to mix and match the bracelets without any reservations. That's why the focus of the bracelet is on the color. So the charm doesn't hinder whether you can pair it with another bracelet or not. It's really just the color of the stone that will stand out.

 

But then I do have another collection called the Expressions Collection, in which there are over a hundred charms that are more specific to a theme or a way to express yourself with something you like. For example, I have a lipstick charm if you're in the beauty industry. Or if you're a hairdresser, I have a pair of scissors charm. So that's where I focus more on the charms. But as far as the other collections I design are concerned, I always try to portray style, class, and elegance through whatever I'm designing.

 

What are your future plans?

One of them, which is coming into fruition in 2025, is focusing more on bridging the gap between Sicily and New York and some travel planning, which I started through my other website, My Sicilian Love Affair, and sourcing products that are not just made in Italy, but also more specifically in Sicily. Because Sicily is such a rich island of culture, we have so many stories to tell and beautiful products to choose from. One product that was just brought to my attention is from a woman who designed a collection of bags using prickly pear leaves, which is really innovative and different. And so I want to bring all of these unique pieces Sicily has to offer here stateside. Along with the bracelets and the jewelry, it is a lifestyle brand, so I'm incorporating more food, travel, and fashion altogether. 

 

What do you hope your customers take away?

I want my customers to feel fashionable, confident, part of a community, and just good when they wear these bracelets and know that they are wearing a bracelet that has a purpose, a bracelet that represents them, and a bracelet that, for the woman who doesn't feel like getting decked out head to toe daily, she can throw this on and feel like she has a fashionable look effortlessly.

I have a collection called Armcandy for a Cause. It's the philanthropic side of what I do, which I started about 10 years ago. I design a bracelet dedicated to a certain organization. I design the color and the charm to represent that organization, and then I donate the proceeds back to that organization. So, through all of it, we're also making a difference together and helping our community. 

 

 

 

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My Sicilian mother always says that a meal isn't complete without a side salad. Her green bean, tomato, and potato salad remains one of my favorites. The recipe was inspired by my nonna's own insalata vastasa. 

 

In true Sicilian tradition, you worked with what you had; if you didn't have potatoes, you could still enjoy a green bean and tomato salad. Sometimes, we'd have it with just potatoes and beans. 

 

The recipe was so popular at family gatherings that I included a mention of it in my first novel. 

 

I was delighted to find a similar insalata vastasa recipe on A Quaint Life, a blog run by Roxanna Shadd. Roxanna and I recently chatted about her version of this classic Sicilian salad. She shared the right way to cook green beans and potatoes, her preferred potatoes, and what she hopes readers will take away from this recipe.

 

 

Tell us about your background.

I am not Italian; I am more of an Italiophile. Their lifestyle, food, and culture speak to me. Ethnically, I have a mixed background of Puerto Rican, Mexican, and caucasian descent. All of which have influenced me in different ways. But it was my travels to Italy some years back that woke something up in me. The slower-paced lifestyle and love for simplicity and food felt sacred in its own way. I brought back that feeling and decided to embrace it in my home, my work, and my lifestyle as much as a born-and-raised Californian can.

 

I am a full-time blogger and YouTuber who shares a simple life, is approachable in cooking from scratch, and loves homemaking. Life is beautiful; every day, there is an opportunity to engage with it. I want to share ways to fall in love with life, food, and the beauty of creating a home that feeds the soul.

 

How did you discover this recipe?

I like to cook authentically because, frankly, I want the real thing. Not the American made-up versions. So, I scour the internet for those wonderful nonnas who share what they are making and the history behind it. Once I feel inspired by something, I write my own version of it, making sure to include the traditional ingredients and not take away from its authenticity. This one I came across after trying to find a non-American mayo-based potato salad and found one that used only potatoes,  green beans, and olive oil, which caught my eye.

 

What makes this recipe Sicilian?

This is insalata vistasa, or an "eye-catching" salad, and that it very much is. It is a classic Sicilian potato salad that is made all over Sicily. I have seen slight differences in other recipes. Some call for anchovies, while others serve quite a plain version of potatoes, green beans, and olive oil. 

 

You recommend Yukon Gold potatoes. Why?

They have a nice creamy texture that works well with being dressed in olive oil. As a bonus, the peels are fine to keep on if you don't feel like peeling the potatoes. 

 

How do you ensure the potatoes and green beans are cooked perfectly for this salad?

Well, using potatoes that are about the same size helps for an even cooking time. You want to cook them until they are just done, not until falling apart. The green beans turn bright green and are ready fast, so I put them in to blanch last at the tail end of cooking the potatoes and make sure I don't walk away. Otherwise, they can overcook and lose the crisp texture that is so good in this salad.

 

What Sicilian meals would you pair with this salad?

This salad is so versatile that you could pair it with just about anything. A crisp, pounded-out chicken cutlet or a Sicilian salt-baked whole fish would work wonderfully. 

 

How and when do you typically serve it?

I like serving it at room temperature. Allowing it to sit a little after making it allows the flavors to develop. It is a great recipe whenever I am asked to bring a dish to a luncheon. 

 

What do you hope at-home cooks will take away from this recipe?

This recipe perfectly represents my food philosophy. Good cooking is about fresh, quality ingredients put together in a simple manner. They make the very best dishes. I think we need to remove the home cook's misperception that cooking from scratch is difficult or complicated. 

 

>>Get Roxanna's recipe here!<<

 

 

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Growing up in Messina, Sicily, greatly impacted Massachusetts-based jazz singer, pianist, and composer Daniela Schächter. Drawing from her experiences within a musical family and the Mediterranean views of her former home, her music has led her to prestigious jazz festivals and renowned venues, from the Hollywood Bowl to the Kennedy Center. Along the way, she has collaborated with acclaimed artists and won several awards for her contributions to jazz music. 

 

Daniela and I recently chatted about her musical influences, her decision to pursue jazz as a career, her role as an associate professor at Berklee College of Music, and more.

How did your experiences in Sicily shape your career?

I had a musical family. My father was a piano player. He didn't turn that into a career, but he played all the time, and my mom sang. So, I grew up with music around my house, and my brother, Davide, is a jazz guitar player. So I started studies in classical music, took lessons, graduated from the conservatory, and then started teaching and playing. I did lots of different jobs: accompanying singers, working for the Philharmonic Academy, and playing ballet pieces. Then, I started playing with rock bands and jazz groups. That was really fun. I had lots of friends and lots of concerts; it was beautiful.

There is lots of jazz still going on in Sicily; it's really a land full of talents. I was there until I was 28, when I moved to the U.S. I thought I would stay for six months, but then I decided to stay longer. 

 

What inspired you to pursue jazz?

That's probably because of my mother's influence. She listened to lots of Ella Fitzgerald, Oscar Peterson, Louis Armstrong, Tony Bennett, and all the great singers of the jazz era. She would take me to a little jazz club back in the day, and she would go there and sing with other musicians.

I loved listening, and then I took lessons in jazz piano. My brother started playing in little jazz groups, so there was a lot of jazz in the house.

I felt that jazz was closer to my soul in a sense and harmonically closer to the classical composers that I felt very attracted to.

 

When I was in Sicily, I was actually doing lots of different styles. But then, when I moved to the U.S., I just decided to marry the jazz world. I didn't really continue with rock groups. I still love lots of the music that I played, but I just don't play it anymore.

 

Which musicians or composers have the biggest influence on your work?

Well, classical, definitely Ravel and Debussy and also Bartók and Stravinsky. So lots of contemporary composers. But of course, I also love Rachmaninoff and Chopin. For jazz, I have lots as well. So, from Gershwin to more contemporary stuff. Of course, I love Sarah Vaughan and Mel Tormé; those vocalists are very dear to me. But, of course, great pianists like Keith Jarrett and Bill Evans. They really made an impression, and probably, they're still in my sound.

 

From where else do you draw inspiration?

I am inspired by lots of different things. First of all, nature. My second album is dedicated to the colors of the Mediterranean Sea, so it's called I Colori Del Mare. And that is my favorite album that I recorded because it really brings me back to all the colors of Sicily, the sea, and the beauty of nature.

 

Nature is definitely my main inspiration, and everything related to the sea because I grew up in Messina, which is surrounded by sea. 

 

 

You've won several awards. Which is most meaningful?

I think of the Mary Lou Williams Jazz Piano Competition because that was the first. That was really promoting women and women in jazz. It was very competitive, and I felt that everybody really deserved it as much as I did. Everybody was really good, and I didn't really feel that I was going to get it, so it was a great joy when that happened. I was really happy that the judges found something a little bit different and something special in me. Pianists Geri Allen and Billy Taylor were among the judges, jazz legends for whom I have so much respect. Sadly, they are not with us anymore.  

 

You're an associate professor at the Berklee College of Music. What do you enjoy about your role?

I enjoy it when I have foreign students who come to me and need guidance. Most of them are super talented, but they need guidance in finding themselves in a place they don't know, which is new to them. I love helping them get used to a new environment and explaining my experience because I went to Berklee College of Music myself. So, I can totally understand what they go through, how they process things, and how overwhelming the whole system can be. 

 

How do you see your music evolving?

My music is going to evolve with my own person, evolving and finding more balance. I often go to Italy because I want to keep the connection. I want to remind myself who I am, what I love, and where I'm coming from. I want my daughter to feel the same. She actually feels Italian, which is something that makes me really happy. 

 

I want to find a balance between my professional life overseas and my professional life here. Since I have a 7-year-old daughter, she took a lot of energy, and I couldn't commit to several engagements. Between that and the pandemic, I've not really been performing as much as I love to. So, I would like to find myself performing more often, especially in my own country. 

 

What do you hope to deliver to your audiences through your music?

What I try to communicate is images of, for example, nature. So, the way I see it, and in many of my compositions, I describe a lake, pond, or leaves that fall. And I would like my audience to feel the way I feel.

 

I also write lyrics, and sometimes, the message is easier to understand through words. Writing more songs with lyrics will also help me in that sense. I love to write wordlessly, but at the same time, I have a few songs with lyrics, and I would like to continue with that and even include more lyrics in my pieces. 

 

 

 

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Wood has fascinated Noemi Schembri since adolescence, about the same time she picked up playing the guitar. Her interests collided, sparking a curiosity about how the wooden instrument was built.

Inspired, the San Cataldo, Sicily native, moved to Canada, where she studied under the guidance of renowned Master Luthier Sergei De Jonge. Noemi had the opportunity to learn modern building techniques for both steel-string and classical guitars.

It was a new way of looking at her favorite instrument, which inspired her, after her apprenticeship, to return to Italy, where she opened her first workshop in Solighetto. She has since moved production to a larger space in Susegana, where she builds guitars entirely based on customer needs: desired sound, wood choice, ergonomics, playability, and aesthetics. 

 
Noemi shared with me her journey and approach to lutherie, materials she uses, challenges she's faced, and more.

What inspired you to pursue guitar-building?

It was mainly the combination of my love for wood and woodworking and the fact that I started playing the guitar when I was 11. Over time, thanks to scholarly studies based on wood—from secondary school to university—my curiosity about how guitars are built and who builds them grew inside me.

 

 

How did your time studying under Master Luthier Sergei De Jonge influence your approach to luthierie?

My time with Sergei De Jonge left a fundamental imprint on me. I had no experience and no references, and his open approach to guitar-making is what I still follow today while building my guitars: trying different ways and learning from my results.

 

How has your experience working in both North America and Italy impacted your guitar-making?

Steel-string guitars have deep roots in American culture, and classical guitars have ties to Italian culture. I naturally started exhibiting in both places, lately more often in the U.S.A. Now, my market is 90% in the U.S.A. with steel strings only and 10% in Europe with mainly classical guitars.

 

My goal is to bring classical guitars to the U.S., learn their needs from the classical guitar player's perspective, and respond to them.

 

Tell us about your workshop. You recently moved to a larger space.

It was time to move to a bigger one and have proper spaces dedicated to the building process and to the customers who come and try my guitars. It took me a couple of years to find the one I liked, so even if it was bigger than what I was looking for, I decided to keep it and have extra space for the future. You never know!

 

Can you describe the most challenging parts of building a guitar by hand and how you overcome them?

Well, in the beginning, you think that steps like bending sizes, carving the neck, and routing the dovetail joint are the most challenging, but the more you build, the more you learn how to realize those physical parts and the more you focus on the main thing: the sound! Making a guitar sound as you "hear" it in your mind is the most challenging part, and while working on it, at the same time, you are building your personal sound, the sound that players will identify as their sound.

 

 

What materials do you use?

The only material is wood, except for the strings, tuners, nut, and saddle.

 

I use different wood species, grain directions, and ways to cut every piece of wood according to its function. Sometimes, I work with wood species that I have never used before, and in that case, I have to learn how to work with them.

 

Can you share a challenging request?

It wasn't a customer request but a challenge that I gave myself: building the smallest body guitar I have, with the brightest sound wood I had at that time for the back and sides, adding a cutaway (which means taking off air volume from inside the guitar box), and achieving a big warm sound as if it was coming out of a big body guitar with a warm tone wood.

 

I was very happy with the result and even happier seeing people's reactions when they realized how small the guitar was!

 

What do you hope people will take away when they purchase one of your guitars?

Inspiration, wider explorations of the field, and joy while playing it!

 

 

 

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Set in Milwaukee's Bay View, a historic Italian enclave, Semolina MKE proudly carries on old-world pasta traditions while catering to an appetite for regional flavors and staples. 

Owner Petra Orlowski's maternal grandparents were Sicilians from Chiusa Sclafani and Vicari. She credits her grandmother with teaching her how to cook pasta, among other things. 

Today, Petra gives that knowledge back to her community, teaching pasta-making classes and showcasing high-quality Italian specialty items like olive oils, vinegar, honeys, salts, wine, and cheeses.

 

"I'm all about sharing," she says. "I want people to make food. I don't want to be a gatekeeper holding these recipes for myself. Everybody should be cooking."

Petra took time to chat with me about her journey to starting Semolina MKE, popular products and classes, and her hopes for her customers, many of whom she considers friends. 

 

 

Tell us about your background and what inspired Semolina MKE.

I worked as a dental technician for years, and then I got married, got pregnant with twins, and stayed home with them for four and a half years until they went to kindergarten. Then, I wanted to get out of the house again, so I started working at Sanford Restaurant as a host. I worked there for about 15 years and did everything but the kitchen. I did two years as a pastry chef for a different restaurant. Then, I was managing another restaurant prior to COVID, and that shut down. 

So, when I was sitting at home alone with no work to do, I started doing a really deep dive into pasta-making. I had always made pasta, but this was me making more intricate shapes and just kind of trying to keep myself busy. Then, I was making so much pasta that people started wanting to buy it.

I realized that pasta does not fall under the cottage food laws in Wisconsin. I had to actually find commercial kitchen space, and that's how Semolina was born.

 

You carry quite a few specialty items in addition to pasta. What are you particularly proud to showcase?

There's a brand, Bona Furtuna, in Corleone, Sicily. As far as I know, we're the only store that carries their products in Wisconsin. We actually just visited the farm, and the president of the company was there. We got to go out into the olive groves and pick wild fennel from the side of the road. Their olive oils are top-notch. They are a wonderful organic 1% for the Planet, B-Corp, the whole nine yards. So we're very proud to carry those products. 

I also carry olive oil from a company called Mandranova, which is another farm in Agrigento that we visited. 

Both farms are very modern. Everything is temperature-controlled, so the oil doesn't get too hot as it's being crushed and mixed. The polyphenols stay at their highest levels, and they are doing everything to make the highest-quality ingredients or products. 

We also carry some fantastic honeys from Sardinia. It's a mother-and-daughter team, Maria and Daniela. Maria is around 80 years old. She was a little spitfire and yelled at me for not knowing more Italian.

I love working with these small producers we get to visit and get to know. Also, while we were there, we went to a winery called Quignones in Licata. I can't carry Alfredo's wines, but I can carry some of his food products. So we are able to go there and have a wonderful afternoon with him. It's so great to be able to build these relationships with producers, and they're so happy to have their products in the U.S., too.

 

 

What are the most popular products you offer?

Probably the most popular is the culurgiones [Sardinia's answer to the ravioli]. I make them every Sunday, and people have gotten used to having those available. My favorite is probably pappardelle, the simple egg pasta. I like the wide noodles. 

 

How did you learn to make pasta?

My grandma used to make pasta. Not often, but it's one of those things that I took upon myself to learn. I didn't take any classes. I just started making it and just figuring it out on my own. 

My husband and I went to Rome about six years ago and took a cooking class. It was about pasta-making and a bunch of other things, which really bolstered my confidence that I could do this myself and show other people how to do it as well.

 

Tell us about your pasta-making classes.

The classes in the shop are limited to a maximum of six people. I offer three different classes: classic egg dough, hand-shaped pasta, and ravioli. 

Each class starts out with making the dough from scratch. While the dough rests, we go into the kitchen. I show everyone how to make a sauce, and then we cook up pasta I had made earlier in the day. Everybody sees how I cook, sauce, and serve it. Then, they get their bowl of pasta and a glass of wine or some Italian non-alcoholic beverage. When we're done with that, I answer all of their questions about olive oil and cheese and whatever. During that time, we go back to the pasta room and do all of the rolling out and shaping. They can see the salt I'm putting in the water to boil and how I'm not rinsing the pasta. They can see my method of cooking so that they can replicate that at home.

 

What do you hope participants take away?

I want people to actually learn and walk away feeling like they can do it at home. And I know a lot of them do because they come back and buy flour to make everything at home. So, I am confident that people leave with the knowledge they need.

I try to teach them about the ingredients we're using so that they know how to buy olive oil and how to use it. They don't let it sit in their pantry for a year because they want to save it for a special occasion. It's food; you use it. 

I also just want them to feel comfortable and have a really fun time while they're doing it and that they can call me and ask me things. When they come into the shop, I want them to know that we have carefully curated, we have tasted things, and we have talked to the people who grow these things, so you can trust us when we tell you this is a good product. 

 

 

 

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Sicilian olives, particularly those grown in the Mount Etna region, benefit from long, hot summers and mild winters—something the western Sacramento Valley's semi-arid climate delivers.

That's where Bondolio olive oil producers Karen and Malcolm Bond grow their Sicilian olives. The couple first purchased their farm in 1986. Back then, it was an almond farm. However, the trees were never big producers, so they pulled them out in 1999 with an interest in starting anew.

A chance encounter with a particularly good fresh olive oil inspired them to set their sights on olive growing. 

Getting started was far from easy, but through persistence and self-taught craftsmanship, the couple is not just growing certified organic Sicilian olives but producing award-winning olive oil. 

I spoke with Karen to learn more about Bondolio's start, why she chose Sicilian olives, and her favorite ways to use her olive oils. 

 

Tell us how you decided to grow olives.

We were in Naples for Christmas between 1999 and 2000. We stayed in a villa east of Naples. Just as we were leaving, the owner said, "We just made our fresh olive oil last night. Would you like to taste it?" And I said, "I've always cooked with olive oil, but I've never tasted fresh olive oil." 

Being a nice Italian girl from South Jersey, I was very anxious to taste it. She took us to their farm, where all the trees were over a thousand years old and had huge gnarly trunks. She took us to a little stone building with a wood-burning stove. She toasted some bread and poured this wonderful liquid on top with a little bit of sea salt, and I fell in love. I said, "This is what we're doing on our farm."

 

Why did you choose Sicilian olive cultivars?

After deciding to do olives, we went on a two-year mission to find the right olive oil that met my needs. I always bought Italian olive oils because they tend to be fruity—especially southern Italian oils. And so we went all over Italy tasting oils at farms. If we saw a sign for olive oil, we would stop and buy some. We would go to grocery stores and farmers markets all over Italy to taste the oil. My husband would put olives in brown paper bags for me to taste, and I always picked the same three olives: Nocellara, Biancolilla, and Cerasuola. It's your typical Sicilian blend that most families have. 

We asked nurseries in California if they had these trees, and they said no. It would take two to three years before they could sell any to us; they would have to import them. So we got our own import license and imported the trees. 

 

Karen Bond holds her prized olives.

 

Tell us about that process.

We found a grower who said they had imported trees to the U.S. When the trees arrived, the FDA called us and said, "We have a problem; come down to the San Francisco airport."

So we had to go to the Department of Agriculture at the airport, and they took Malcolm through a series of clean rooms, opened the box, and showed that the little baby trees had soil on the roots. They then opened an incinerator and threw our trees away. So that was heartbreaking. 

We had to find a grower who could prove they had imported to the U.S. We finally found someone. In the meantime, the University of Florence helped us design our orchard, and they recommended that we bring in a fourth tree type, a Pendolino. Even though olives are self-pollinating, the Pendolino is a pollinating tree, and we'd have a higher production.

Our little baby trees arrived on Christmas Eve, 2006, six years into the process. I always tell people we were born during a time when delayed gratification was a good thing.

We took the baby trees home on Christmas Eve. They arrived on a Lufthansa flight at around one o'clock. We were just praying they would get through customs and then the Department of Agriculture because they were only packed in vermiculite. It was a three-day holiday, so everything would be closed, and we wouldn't be able to pick them up. They arrived at the Department of Agriculture at ten minutes to five o'clock, and they got cleared. So we were able to bring them home.

The next day, I cooked dinner, family and friends came over, and we planted 1,250 trees in two-inch pots. The problem was that they had to be quarantined, so we had to put them in a greenhouse.

 

The state and the feds would come and pull a tree out with its roots and take it with them to test for pests and diseases. 

Because the trees were growing, we had to transplant them to five-gallon pots. And finally, after two and a half years, they said we could plant them. 

So that's 2008. I think they went into the ground in the spring of 2009 because they were cleared in late summer, and you just can't plant at that time. It's too hot. 

In the first year, 2010, we actually had little olives on all the trees, so we picked them all. We only got about 300 pounds.

Malcolm made his own homemade mill, and we milled them, and it tasted good. So we said,
"Okay, let's move forward." 

The very next year, we got around 3,000 pounds. There was a mobile mill then, and the oil tasted great, so I said, "Let's enter the Yolo County Fair." Malcolm said, "No, we're going to New York and L.A." They're the two big international competitions where everyone from around the world enters their olive oil. We won gold in New York, gold in L.A., Best in Show in Yolo County, and Best in Show in Napa County in our very first year.

Our phone started ringing off the wall, and people wanted to buy our oil. The same thing has happened just about every year.

Malcolm and Karen Bond

 

What sets Bondolio apart from other California olive oils?

California olive oils are Spanish, French, northern Italian, or Greek, which have different flavor profiles. Arbequina tends to be a very mild oil, and so many people grow Arbequina. I wanted ours to be different from everyone else's.

Some people have brought in Biancolilla, and some people have brought in Nocellara, but no one has brought in Cerasuola. It's very difficult to propagate. They told us we would lose 80%, and we did not. We probably lost only 10%. Because we have such rich soil here, they were happy growing here. But I think that's what sets us aside. It's a totally different blend from everyone else in California. 

 

Karen Bond sips her liquid gold.

How do you use your olive oils?

I use olive oil every single day. For example, we normally have poached eggs and roasted potatoes for breakfast, so we roast the potatoes in olive oil and pour olive oil on the eggs. I use olive oil in just about everything I cook, including pasta, risotto, and fish.

 

We make mandarin oil with our Pendolino. We pick it on the very last day of milling and throw fresh whole mandarins in as we're milling. So it's a great orange oil. I put that over halibut and bake with it. Then, when it comes out of the oven, I pour a little bit of oil over it. 

When Nathan Norris was the head chef of Zuni Cafe, he told us that we had the most versatile olive oil. They always have an olio nuovo dinner in December; he did a whole dinner with our oil. He started with a persimmon salad with goat cheese and pomegranate seeds on the top and poured our oil with a little bit of salt on it. He then made a salad, then he made fish, and then he made a dark chocolate sorbet with our oil on top. And it was to die for. Our olive oils don't have a bitter flavor, so they can go with a lot of different foods.  

 

Bondolio olive oil served with crostini.

 

You give tours by appointment. Tell us about those.

On our tour, we serve food. If there are 10 or more people and they request it, we'll do pizza on the patio for them. Our biggest tours right now are from retirement communities. They'll come up with 40 people on a bus, and we'll do a tour, and then we'll do pizza for them.

They'll get to taste our oils and vinegar, but sometimes, I serve it with hummus. In the summer, when there are cherry tomatoes because we have a big garden, I will do what I call caprese shooters with our olive oil. I sometimes do crostini, where I'll take fresh tomatoes with garlic and basil with our olive oil and put that over toasted bread. I try to give people ideas on how to use the oil. 

 

We are open to the public one day a year, the second Sunday of December, when we introduce our new oil and have other vendors there. We have pizza, beer, wine, and sodas on the patio, rain or shine. 


Bondolio olive groves

What do you hope people take away from your olive oil?

How to use our oil and to use it quickly: Many people have the misconception that olive oil is like wine in that it ages well. It does not. The longer you keep it, the flavor profile goes down. Ours usually last two years, but it doesn't have the oomph it initially has.

 

I also try to make people understand how healthy olive oil is for them. There's so much evidence coming out now about how olive oil reduces breast cancer, reduces cholesterol, and helps prevent Alzheimer's disease. Both my husband and I are in our seventies. Neither one of us takes any medications. We're extremely healthy. We exercise every day, and we ride our bikes every day. We do Pilates and things, and we go to the doctor, and they say, "We can't believe that you don't take any medications." But I think it's partly because of the olive oil.

 

 

 

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Search for the phrase "Sicilian sea salt" online, and you'll stumble on Sicilian Sea Salt. When you learn that the company's co-owner, Joe Styler, works in tech, it's no wonder the brand has optimal search engine results.

The senior marketing manager of GoDaddy's Domain Academy runs Sicilian Sea Salt with his wife, Leslie Styler, in Phoenix, only fitting for a product once harvested by the Phoenicians. 

Joe's grandmother was from Western Sicily, where he first encountered Sicilian sea salt production. After one taste of the product, he was hooked. As a trained chef, he's fully incorporated it into his food preparation. He's confident other people will have the same experience. 

Joe and I recently chatted about the Sicilian Sea Salt Company and sea salt from Sicily. He shared what sparked the development of the business and what sets his salt apart from that of other salt producers and purveyors. 

 

 

What inspired Sicilian Sea Salt's start?

It was kind of an accident. My son really liked science, and he loves geology. We were in Sicily with my parents and brought my mother-in-law. My dad wanted to take my son out to do what he wanted. He wanted to see rocks. Where are you going to see rocks? They went to the salt museum. They came back with salt, and it was unbelievable how good the salt was.

I've cooked my entire life, worked in many restaurants, and tried different salts. I know salt's importance in different seasonings, but this salt was just different. 

We got some from the museum, and when we went back home, I needed to figure out how to get more of this salt. We couldn't get it here. So, I started reaching out to people in Sicily, and I found a way to get the salt. Then, I started giving it out to people as gifts, and I'd have to get more and more and more salt because everyone wanted it. So, we started getting it in bulk and just giving it away. 

I was talking to one of my friends to whom I gave salt, and they said, "You should sell this because everybody who has it likes it, and there's not enough for you to give out. You should just try and figure out a way to sell it."
 

What makes Sicilian sea salt unique compared to other salts on the market?

There are a couple of things that are really cool about the salt. First, really, there's something that I think is indescribable about it. We call it "magic salt" because everything you put it on tastes better than it would with a different salt. 

What makes it special is that it's harvested in a protected space, a marine reserve in Sicily. So the water where they get the salt from is really pure, and they've been doing it there for thousands of years. We live in Phoenix now, and it's funny because the Phoenicians started it there. For thousands of years, Sicily was conquered by different people, and everybody used the salt. That was one of the main things of importance that they would take from there.

 

When you drive on the coast from Trapani to Marsala, you just see miles and miles of salt pans, and they've been there for thousands of years and have windmills. Those are not really in use; they're decorations now, but they had those windmills to pump the seawater in these flats. 

Sea salt is made from evaporated ocean water, which is solar evaporation. They put it out into big flat spaces called pans, and then the sun and the breeze from the ocean evaporate the water. Then, what's left is the salt. So it's really pure; there's nothing added to it.

It would be organic. The FDA regulates salt, but the USDA does not because it considers it a rock—and this was another challenge when we started to figure out the regulatory issues of running a food business. The FDA regulates anything you put in your mouth. The USDA designates things as organic, and since they don't recognize salt as something that comes under their purview, you can't get an organic designation. But it is really very pure the salt that we get. 

I think that that's different than what most people get. The stuff that you get off the shelf is made by giant chemical companies, and it's really processed to be the same no matter what. They need to do chemical processes to make it like that. Then, they add different chemicals for anti-caking and make sure that it can pour out if it's humid. They also make sure that it's white. They do a lot of processing to it, which makes the bland, almost metallic flavor of normal salt compared to a salt like ours, which is special.  

 
Even the kosher salt is processed in most cases. It has a more bland taste to it. They also strip out a lot of natural minerals, which are trace elements. 

Since each batch that you pull comes from the ocean, it will vary. But there are different amounts of trace elements in there. Some people say it's beneficial for your diet, and there are studies on that, but I think that it just gives a different flavor profile.

What makes Sicilian salt special is its long history. The ancient Greeks, the Phoenicians, and the Romans all used salt pans and the grain they grew there as key ingredients in their empires. It's just been a natural way of life for thousands of years. 

It's also environmentally friendly to use salt from the ocean. It has been there for thousands of years and doesn't hurt the land. There's no erosion. 

If you buy Himalayan salt, it's fine; the pink salt is good and helps people, typically in poorer communities, make money. But they do a lot of deep mining and destroy much of the earth. 

Ours is sustainable, which is another thing we like about it.  

 

How have you incorporated sustainability into your packaging?

We try to use paper as much as possible instead of bubble wrap or other things like that so it can be recycled. Then we have these jars that we bought, which can be reused. We just did some packaging with paper envelopes so that you can refill those jars and reuse the jars over and over. We actually recently upgraded to a different jar from France, and it's a little sturdier. You can use our jars for canning or holding other spices, and there's really not much waste.  

 

You source your salt from Trapani. Tell us about its production.

We have a supplier there whose family has been harvesting salt for 50 or 60 years. They do everything by hand. You see them out there with rakes. 

 

There are different types of salt: fleur de sel, which is the French word, and fiore del sale, which is Italian.

 

It forms when the water's still there, and the salt separates and floats up to the top. That has to be really carefully skimmed because if you bump it, it will sink. And that is really crunchy, almost like Maldon, but Maldon's different. It's thin; it's very expensive and labor-intensive to pull it out, but that's all done by hand. I don't know if there's any machine that can do that. So, across the world, that part is done by hand, but as it evaporates, it just gets into these big clumps that have to be broken up.

 

Your core salt comes from what's broken up, and then you have to grind it down further. So all that stuff is done by hand in the same way it's been done for thousands of years with the company we work with. So they're out there with rakes, raking or shoveling the salt into wheelbarrows, and they make it the same way that it's been made for thousands of years. 

For us, that's important too because you can get a lot of salt from Sicily. Many different types are for sale. There are many bigger conglomerates, and they make it in a large-scale manufacturing process. They're not doing it the same way that it's been done. It's not artisanal, and you can taste the difference. You can actually see the difference. The salt's good, but it's not great. It's not that next level. You can look at the two salts by side and just know, just by seeing them, that they're different. When you try them, you can taste the different flavor profiles that they provide. So, it's important for us to have something that's really at the highest level.  

 

How do you enjoy your salt?

I like it in a lot of different ways. I use coarse salt as a finishing salt. We made roast vegetables yesterday, and we used it on top.

We have the coarse salt that we use for a margarita; we put it on the rim. Then, we use the fine salt if we're going to do something like a sauce or if we're baking.

 

I also use it if I'm going to make rubs for barbecue, age steaks, or try to tenderize things like lamb. I use the coarse salt, put it over that, and let it sit.

 

It really makes a difference in almost anything you eat. In fact, my mother has this little salt shaker in which she grinds her own salt, which she brings around now. After trying it from Sicily, she won't use any other salt.
 

What experience do you hope customers will take away?

I hope they have some connection to the Sicilian people, even if they're not Sicilian.

 

One important thing is that there's still high unemployment in Sicily. So, I think it would be good if people were more aware of Sicily as a part of Italy that they could visit. It definitely doesn't get the same amount of attention. It gets quite a bit of Italian tourists, but outside Italy, not many tourists come. I think the more recognition it can get, the more it can help their economy.

If we can make the connection to Sicily and the unique food culture there, I think that's important. Sicily has a really different food culture from the rest of Italy. The one thing I like about Italians is that they're really strict about what qualifies if you make something. If you don't make the exact right ratio of ingredients, then it isn't right. You made it wrong. They have protections over their food. Those things are good because they keep traditions alive. As a chef, I like experimenting with things and changing things up. So, for example, I make pizzas. If I'm not using the right flour, the right tomatoes, and the right cheese, then it doesn't count as a true Neapolitan pizza. 

 

Because so many cultures have ruled over Sicily, there's a lot more flexibility in the type of food that's there, and it's a much more diverse food culture. I like that about Sicily, too. And I think that that's something that people don't really realize. They think of Italian food as spaghetti, meatballs, pizza, or things like that. And there's such a wide variety in Sicily. If you look around at different restaurants or marketplaces, they'll say, "This is Sicilian style," or "These came from Sicily." Italians hold Sicily, in some ways, in high respect as far as their food goes.

I think we can bring more awareness to Sicily as a whole and have more investment there by having people say that they want to go. Former Starbucks CEO Howard Schultz was in Partanna, Sicily, and he started olive oil and coffee. That didn't go well, but it was good because he said, "This is what I discovered when I was in Sicily," and it brought more attention to the island. 

I think it's really important for people to do more to help the economy overall and continue the culture. So that's the one thing I hope people take away when they try our salt. I also hope that they start to think more widely about their ingredient choices, how that impacts their health, and how it impacts the flavor of their food. 

 

 

 

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One of Maria Gallo's fondest memories is of her grandmother asking her to fetch a handful of mint so they could make iced tea to serve with supper. Today, Maria, an entrepreneur from Albany, New York, is happy to share Nani's Iced Tea, which is sold in a mason jar bearing a photo of her kissing Nani, who came to the U.S. from Castiglione di Sicilia.

 

"It's thrilling to me to be doing this in her name and her honor," Maria says. "And I feel like she's been with me the entire time before it even started. Obviously, she gave me this, right? She always took care of me, and I feel like this is her way of still taking care of me."

Nani must have been watching over Maria as, after a challenging start, the brand has become a favorite in Upstate New York stores where it is sold. Expanding that reach is part of the plan, which Maria shared with me, along with how she got started and how she chooses to stand out in the crowded beverage market. 

Tell us about Nani and how she inspired you.

We were always very close. When I was in my early 20s, I lived with her, and later, I lived next door to her. And so, just as I had been in my childhood, I was always in her kitchen.

The iced tea was something that I loved to do with her because she had a routine. My grandmother's house was immaculate. She would get up in the morning and have breakfast, and then she would begin her housework. After her housework was done, she would shower, and then in the afternoon, she would read, say her rosary, and then start to prepare for dinner.

Before she started cooking dinner, she would steep the tea in a pan on the stove. As we got closer to prepping dinner and setting the table, she would ask me to run outside and grab mint. Then, I watched her make it.

Those smells and those memories just always stayed with me. And also it was delicious, which doesn't hurt. She made one pitcher every night when it was warm in the summer months.

I started making it when my kids were little. I would have friends who would say, "I'm coming tomorrow to visit. Make the iced tea." So luckily—I mean, it's not luck by any stretch; it's her hand—I was able to recreate the taste of her tea.

It was something that I loved to do, and I was thrilled to be able to replicate it and make it for my friends and people that I was close to. That led eventually to me bottling the tea.

We have five flavors now. When I first began this, I just had her original iced tea, which was just sugar, lemons, mint, tea, and water. But then, when I was out, people requested it unsweetened, so I added a few more flavors.

On the side of every jar, I always tell the story of my Sicilian grandmother. The tea was part of everything that she was, and that's now ingrained in me.

 

Share your start and the challenges you faced.

I was teaching at the time. I would bring it to school. In the summer and on weekends up in Saratoga, I would waitress and bring it in for staff. I would bring it in a five-gallon drum, and everybody loved it, which made me feel great. It was fun. It was a good couple of summers.

The restaurant owner and I had been friends for some time, and he came to me and said, "Let's get this going. I know a bottler, and let's talk about bottling it. The guy I want you to talk to is bottling some things for me. I spoke to him this morning, and we were talking about doing the tea in a plastic pinky jug."

 

I kind of paused and didn't say anything. And he said, "What?"

 

I said, "Well, I don't want to do plastic. I just always pictured a glass mason jar with her picture on the front, maybe black and white."

Instantaneously, I was thinking, "Oh my God, Maria! Here's somebody you love and respect who is calling you and saying, 'I'm going to get this going for you.'"

He said, "This is your story, and don't compromise for anybody."

I began working with the bottler, and when we met and sat down, he just said, "This is amazing, and you'll be bought out in five years. There's nothing like it on the market packaging-wise or taste-wise."

I asked him whether his R&D team could replicate the tea without chemicals or artificial preservatives. He said, "Oh, yeah."

But they just couldn't nail it. We tried everything, and chef friends of mine tried to help. We tried cheesecloth and simple syrup. The problem was that every time we heated it up, it tasted like Sleepy Time tea. We couldn't get it to be where it needed to be to be shelf-life stable in stores without affecting the integrity of the taste, so we parted ways. 

I have a lot of friends in the restaurant business in Albany, and someone had given me the name of a second bottler. I went up to see her. She was about two hours away, and she was amazing. Within three weeks, she nailed it.

You know how when you make sauce or sausage and peppers, it's always better the next day? It's the same thing with my grandmother's iced tea. So I put a pitcher in the refrigerator, and then the next day, I took that tea to her and said, "This is what I want it to taste like."

She was wonderful. She found an extract company, and everything was all-natural. It was amazing. We started bottling together.

 

I was teaching then and got a notification on my Facebook page: "Hi. We were just in the shop in Delmar. My name is blah, blah, blah. I work for Whole Foods. We're coming to Albany. Would you like to meet at Whole Foods?"

All my little local guys who had been with me from the beginning were like, "Girl, this is it. This is so great!"

Five minutes later, my bottler shut down. New owners came in. They decided they didn't want a co-packing plant's liability, so they took the production facility in a different direction. So, I was back to square one.

In the interim, the restaurateur I'd mentioned got me a sit-down with a distributor, the biggest distributor in our area at the time. So, in about 2015, I met with this guy, and he just said, "Look, I love the product. I love the story. I love your tenacity. I'll put the money up. When you find a bottler, let's do this. This is going to be great. It's going to be such a great story."

It took me a year to find a bottler. I went to a bottler downstate in New York, and the bottler botched the whole run that we did: 1,200 cases.

My distributor took off and was not happy. That was a brutal summer. We were renting a house that I thought I was about to buy. We lost the house, and my car got repossessed. It was a pretty ugly time.

In the interim (after the bottler debacle downstate), I had reached out to a few bottlers, but besides being very costly, I would have been at their mercy as far as a production schedule goes. Eventually, I decided it was time, so I took my last few thousand dollars and secured the space for Nani's.

So many people loved the story, but no one wanted to cut a check. Every time they would tell me no but that they loved my story, etc., I would say, "No worries; thanks so much." Then, I would tell them that someday I was going to have a ribbon cutting at that space, and I'd wear a lemon dress. I felt like they were probably thinking, "Okay, crazy girl. You have no money, no credit, no house, no job, and no machinery."

Eventually, I found capital. This group around here works with entrepreneurs, and I got capital for the machinery in the summer of 2022. I started bottling shortly after my ribbon cutting last winter. And I wore that lemon dress!
 

Maria Gallo wore her lemon dress to her ribbon-cutting ceremony.

Tell us why avoiding plastic is so important to you.

When I first started, all the numbers guys I met with said, "You can't use glass if you want to do a mason jar. You have to use plastic."

I never compromised on that. As soon as I was out doing demos at Whole Foods and even smaller places, everybody loved and appreciated the glass. And now, over the last five or six or seven years, everybody's back to realizing how bad plastic is and how good glass is.

The thing for me about glass is that, like so many people, I drank Snapple when I was at work or out to lunch, and I did not like the transition to plastic. It didn't taste the same. I wanted a tea that, if you left it in your car overnight, whether it was 10 degrees out or 95 degrees out, it would never change the integrity of the tea. That glass jar and not adding chemicals were just two things that I wouldn't compromise on.

 

What else sets you apart from other teas on the market?

I haven't found anything comparable since I started this tea company in 2011. I don't taste every iced tea out there, but it's still basically the staples: PepsiCo makes Pure Leaf iced tea, and Coke makes Gold Peak. I don't find either comparable.

It's because of the ingredients in the tea, the extracts that we source, and also the way I make the tea. At some point, I may have to move to a concentrate, but right now, I make the tea on a grander scale, the same way my grandmother made it. That's how my scheduled process was made through my first bottler.

I still soak tea bags in drums overnight in the refrigerator, pull everything out that morning, pull the tea bags out, strain it over and over and over, and throw it into the kettle of hot water. The kettle takes about two hours and 15 minutes to get up to temp. And I bottle at 190 or 191, so it's a shelf-stable product. When I bring it to places, I can say, "It can sit in your back room for a couple of weeks because it's safe to be out of the refrigerator."
 

What are your plans for the future?

I'm hoping we can eventually get the tea on a national scale. I'm about 40 minutes from Saratoga Springs. A lot of people come here in the summer for the track and the baths; it's a beautiful area.

Every summer, people tell me, "I had your tea this summer in Saratoga." Or, "I had your tea this summer in Albany." They ask, "Do you ship? When are you going to be here?" When I was in Whole Foods, I had someone who worked at that store who then moved to the Boston store say, "Oh my God, I miss your tea so much. Can you get it here?"

National distribution obviously is quite a challenge both financially and logistically, but it can be done. We're talking about getting into some places in New York City with my distributor. And for me, that's as thrilling as having Nani's available on a national level. We're talking about meeting with Italian wholesale grocers down there and getting into the Italian delis in the Bronx and Brooklyn. My dad was from the Bronx. Nani had cousins in Brooklyn. So, for me, that would be so thrilling. I would be so honored because I know that those people are paying homage every day to their aunts, uncles, and grandparents.  

 

What do you hope your customers take away?

When I get out, dressed up and in front of people, and talk about the teas and my grandmother, that rejuvenates me.

It goes a long way; it validates everything for me. Whenever I do a demo, people tell me, "This is the best iced tea I've ever had. I love this story so much." They hold the jar, and they look at my grandmother. And I love it, and they love it. It validates for me that there's a reason why I wanted the jar and her face on it and not just another iced tea in plastic.

Besides physically making the tea, my favorite part of doing this is hearing people respond to it. I mean, people will message me and text me, and they'll tag me on Instagram and say, "Oh my God, I love this tea so much," but really, being out and pouring tea for two or three hours at an event and hearing the feedback is wonderful. That really goes a long way for me.

 

 

 

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Railways have long been a part of Sicilian entrepreneur Giovanni De Lisi's life. The 39-year-old started at a young age, working for his family's maintenance company, De Lisi Costruzioni Ferroviarie. There, he observed problems associated with traditional railroad ties, called sleepers, which are made of concrete and subject to high wear and environmental impact. Giovanni investigated the potential of using recycled materials, such as plastic and rubber from used tires. That led him to found Greenrail Group in 2012, with offices in Milan and Rome.

"The goal was to create a more innovative, sustainable, and high-performance railway sleeper," says Giovani, who divides his time between Palermo and Milan.

We recently corresponded via email, during which he shared Greenrail's innovations and benefits, current and upcoming projects, and his optimism for the future of smart technology in the railway industry.

 

 

Can you explain how Greenrail's smart sleeper technology works?

The Greenrail railway sleeper is an innovative sleeper designed to combine sustainability, efficiency, and durability. This railway sleeper is a combination of traditional and recycled materials, aimed at enhancing performance and reducing environmental impact.

Key technical features:

• Hybrid structure: The inner part is made of reinforced concrete, ensuring the structural strength and stability of the sleeper. The outer coating consists of a mixture of recycled rubber and plastic obtained from used tires and other plastic waste, thereby reducing the need for virgin raw materials and contributing to recycling.
  
  
• Durability: Thanks to the outer coating made of recycled materials, Greenrail is less prone to wear compared to traditional concrete sleepers. This outer layer protects the internal structure from weather, erosion, and chemical action, extending the lifespan of the sleeper. The estimated lifespan of a Greenrail sleeper is over 50 years, making it a long-lasting solution compared to conventional options.
  
  
• Mechanical and vibrational resistance: The mechanical properties of reinforced concrete ensure high resistance to compression and dynamic loads typical of railway lines. The rubber coating acts as a natural shock absorber, reducing vibrations transmitted to the ground and improving the comfort and stability of train passage.
  
  
• Electrical insulation: Greenrail provides better electrical insulation compared to conventional sleepers, reducing the risk of electrical leaks and ensuring better operation of electrified railway lines.
  
  
• Environmental sustainability: Each individual Greenrail sleeper recovers approximately 35 kilograms of recycled rubber and plastic, reducing waste accumulation. During its lifecycle, it helps reduce CO₂ emissions through the use of recycled materials and increased durability compared to traditional solutions.
  
  
• Compatibility: The Greenrail sleeper is designed to be compatible with standard railway technologies and can be installed on existing railway lines without significant modifications to the infrastructure.
  
  
• Advanced versions: In addition to the basic version, Greenrail also offers variants such as Greenrail Solar, which integrates photovoltaic modules into the design, allowing for solar energy generation, and Greenrail Linkbox, which integrates sensors to monitor the state of the railway lines.

These features make the Greenrail sleeper a cutting-edge solution in the railway sector. Its strong focus on sustainability and technological innovation revolutionizes its ability to improve safety and reduce operational costs.

 

 

What are the key benefits of integrating sensors and solar panels into railway sleepers?

The integrated sensors allow for constant monitoring of the network's status, improving safety and reducing maintenance costs through predictive interventions. Solar panels, on the other hand, generate up to 44 megawatt-hours of energy per kilometer per year, transforming railway infrastructure into sources of renewable energy. This has a significant impact on environmental sustainability and energy efficiency.

 

How does Greenrail's use of recycled materials contribute to sustainability?

By using recycled plastic and rubber, Greenrail significantly reduces its environmental footprint. Our sleepers reduce CO₂ emissions by 40% and decrease noise, energy consumption, and water usage compared to concrete sleepers. This circular economy not only limits waste but also extends the operational lifespan of the sleepers.

 

What impact do Greenrail sleepers have on the passenger experience compared to traditional sleepers?

Greenrail sleepers contribute to a reduction in vibrations of up to 40%, ensuring greater comfort for both urban residents and passengers. Additionally, the smart technology will help prevent failures and service interruptions, ensuring greater reliability and safety.

 

What has the response been?

The response has been extremely positive, both from railway operators and environmentalists. Our pilot projects in Europe have confirmed the effectiveness and sustainability of our solutions. Greenrail Solar, in particular, has attracted a lot of attention for its ability to generate renewable energy, in addition to all the other advantages of Greenrail technology for railway infrastructure.

 

What are the next steps for Greenrail in terms of market expansion?

We are aiming to expand into international markets, especially in Europe and North America. We have already patented our technology in over 80 countries and plan to build industrial plants to meet demand. Our strategy also includes licensing our technology to local manufacturers, who will use local recycled materials.

 

How do you see the role of smart technology evolving in the railway industry?

Smart technology will be the future of the railway sector. Predictive maintenance and real-time monitoring will become the norm, improving safety and operational efficiency. I foresee an increasing integration of artificial intelligence and IoT technologies to further optimize infrastructure management and minimize human errors. Our smart sleeper technology is just the beginning.

 

Are there any projects or collaborations that you are particularly proud of?

One of the most significant projects is the pilot installation of Greenrail Solar in Emilia-Romagna. It was the first concrete example of our solar technology applied in the real world, with very promising results in terms of energy production and durability. We are also proud of the collaborations that are being concretely activated in the short term with some operators of European subway lines to modernize their outdated systems.

 

What kind of experience do you hope to provide for your clients and partners?

We want to provide an innovative, reliable, and sustainable solution that brings long-term benefits to both our customers and the environment. We guarantee our partners a smooth collaboration process, from design to implementation, with the shared goal of modernizing railway infrastructure. We focus on trust, transparency, and a constant commitment to improvement.

 

 

 

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There are countless ways Sicilians have touched, inspired, and vivified American culture, one of which is through music. 

I recently discovered the introspective yet energizing works of Chicago-based composer and pianist Maria Rago, who hails from the small Sicilian town of Santa Caterina Villarmosa in the province of Caltanissetta. Atmospheric and even otherworldly, the title track of her latest album, Red Land, blends electric guitar thrashing with symphonic sounds. Like so much of her music, it defies genre constraints with vibrancy and texture drawn from her Sicilian heritage. 

"My Sicilian roots have significantly influenced my identity as a pianist and composer," says Maria. "The way I perceive the world—its sounds, colors, the contrasting shadows of tragedy and beauty, the allure of history, the relentless sun, and the vibrant spirit of the Sicilian people—shapes my artistic vision. Being an islander allows me to create an 'island' of sound, a smaller haven within a broader context."

 

Maria took time out to share her music inspiration, creative process, favorite composition, future projects, advice for musicians, and what she hopes listeners take away.

 

 

What inspired you to pursue a music career?

Music has always been central to my life, but it wasn't until I turned 24 that I transitioned from being a listener to becoming a musician, ultimately deciding to dedicate my life to music. It happened during a cello concert when I found myself immersed in the notes of "Suite No.2 in D Minor" of J.S. Bach. Amid those vibrations and melodies, I realized this was the world I longed to be a part of—a realm of infinite possibilities where I knew I was a unique piece of that puzzle. When you write or perform, you expose your inner self; it feels as if you are recounting your own story through another's voice, sharing, rediscovering, and sometimes concealing the experiences that shape you, all through the medium of music.

 

Who are some of your biggest musical influences?

In my musical journey, the music of J.S. Bach and his infinite being, the earthly conception that meets the universal—the divine that is revealed among his compositions—has a fundamental role. There is a sacredness that runs through his work, a human logic that transforms into a spiritual path, a path that leads you elsewhere. The divine manifesting itself in man. This path impacted my compositions not in the stylistic sense but in the spiritual sense. 

I also admire Ludwig van Beethoven and his human testament, a project around man and where man dares, challenges, chooses, free from every chain. The divine manifesting itself in nature. Here are two composers who approach, through music, the concept of life differently. 

 

Can you tell us more about Red Land?

The album Red Land emerged from the desire to blend two musical languages: classical orchestration and the electrifying sound of the guitar, masterfully played by Martin Szorad, among other amazing musicians. This album paints the world in hues of red, reflecting a tumultuous environment filled with conflicts and strife—a world where life is hard to come by, yet death is all too easy. Red Land embarks on a journey through such a reality, with the electric guitar serving as a poetic explorer seeking the lingering beauty within.

 

Do you have a favorite piece you've composed, and what makes it special?

Typically, after completing a piece, I try to distance myself from it. When I revisit it later, I often feel as if it no longer belongs to me; it becomes a "free creature with its own life," one that I no longer recognize, a "being" detached from its "creator." However, there is a piece titled "Lullaby on the Sea," composed just as I was leaving Sicily—a farewell to my homeland, where I felt that "creature," which is me, started to separate from its origin: Sicily. 

 

What upcoming projects or performances are you most excited about?

I recently composed soundtracks for two projects: one called The Rebellious River with Studio Dance Arts New York, aimed at supporting young talent in the Bronx, and another, called Two Hands, with the organization Unity Freedom Power in collaboration with an English production, using hands as a symbol of either unity or destruction depending on one's decisions. I'm particularly excited about a new theater project exploring the lives of remarkable women throughout history, guided by the exceptional mediator Leonardo da Vinci.

 

What advice would you give emerging musicians?

Being a musician is a privilege that demands love, dedication, and relentless practice. My advice for emerging musicians is to cultivate the ability to listen, remain curious, and not take themselves too seriously. Let the music lead you; ultimately, it's the music that transcends time when everything else fades.

 

What do you hope listeners take away from your music?

Writing or performing opens you up to vulnerability; you lay yourself bare, taking risks in communicating your intended message, never knowing how an audience will interpret it. My hope is that listeners walk away with an idea, a thought, or a mindset—not always positive, but rather a perspective that prompts reflection. Indifference is the greatest enemy, and it's what art, music, and humanity simply cannot afford.

 

 

 

 

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One of my Sicilian mother's signature dishes is stuffed peppers. But unlike regular Italian stuffed peppers, she loads hers with veggies. It never occurred to me that her style was uniquely Sicilian until I stumbled on Ada Parisi's Sicilian stuffed peppers recipe.

Ada, who was born in Messina, Sicily, blogs at Siciliani Creativi in Cucina from her home base in Rome. 

She recently shared with me memories associated with this dish, what makes her stuffed peppers Sicilian, the recipe's key ingredients, and her serving suggestions. 

 

 

What does this dish remind you of?

Stuffed peppers are a traditional Sicilian recipe, but I cherish the family version I inherited from my great-grandmother. A completely vegetarian version that was prepared at home every summer as soon as the peppers were in season.

 

What makes this recipe Sicilian?

The Sicilian characteristic is certainly the filling, which is not made with minced meat, as in the rest of Italy.

 

What are the key ingredients used in the Sicilian-style stuffed peppers?

The filling is made with a mixture of breadcrumbs, oil, parsley, capers, garlic, grated and chopped cheese. Many also add anchovies, olives, or some chopped tomatoes.

 

Why do you use breadcrumbs?

The use of breadcrumbs in fillings in Sicily is linked to the fact that peasant cuisine was a poor cuisine made of ingredients that farmers always had at home. Nothing was thrown away. Vegetables were stuffed with this old bread seasoned with oil, cheese, and aromatic herbs. Meat or fish were foods for the rich.

 

What do capers add to this dish?

Capers add a very interesting salty note and are typical of Sicilian cuisine (we produce capers in Pantelleria and Salina). Many use salted or oil-preserved anchovies instead of capers, a very common combination with peppers also in northern Italy.

 

If you're vegan or lactose intolerant, can you omit cheese?

Of course, you can omit the cheese and add a larger amount of aromatic herbs.

 

Do the types of peppers matter for this dish?

The most suitable peppers for this recipe are round peppers, usually red, green, or yellow. I think the red ones are the most suitable, but in terms of color, it is nice to use all three.

 

Are there any specific tips for ensuring the stuffed peppers turn out perfectly?

First, you must not spare the extra virgin olive oil because it is the oil that makes the filling soft and fluffy. Then, cook in the oven at a temperature that is not excessively high, 180 degrees Celsius maximum, so that the peppers cook without drying out.

  

How do you typically serve your stuffed peppers?

We usually serve them among the appetizers or as a side dish for meat or fish. In fact, since the filling is carbohydrate-based, they are also an excellent main dish if accompanied by a rich salad.

 

>>Get Ada's Sicilian stuffed peppers recipe here!<<

 

 

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Harper Alexander had little experience with Italian food before traveling to Italy and meeting his wife Eva Santaguida, who is from Calabria. But today, as co-founder of the Pasta Grammar YouTube channel and co-author of The Italian Family Kitchen: Authentic Recipes That Celebrate Homestyle Italian Cooking, he's doing his part to educate the masses about the food and culture that's inspired him. 

I sat down with Harper and Eva to discuss their new cookbook, why and how they started Pasta Grammar, what goes into recipe writing, the biggest misconceptions about Italian food, which Sicilian recipe is their favorite, and more. 

 

 

How and why did you start Pasta Grammar?

Harper: We started shortly after we got married and right as COVID hit. It was one of those COVID hobbies that a lot of people did during the pandemic when they weren't working.

 

I'd been to Italy a few times to visit Eva when we were dating, but food wasn't something I deeply cared about or knew very much about. And so, at first, I made these videos joking around with her because she was new to America and getting her reactions to American food, whether it's Domino's Pizza or the prices at Whole Foods, whatever. At the end of every video, Eva would cook to show how she would do things. And more and more people started asking for recipes. As we did more of these videos, I realized something I didn't even know when I married her: "Oh, you're a really amazing cook, and Italian food is very different from what I thought." and "I really like it, and I want to know more about it."

 

For me, it was an evolution of not really understanding what I had at home, which was a very talented cook and discovering this whole world of Italian food.

 

Behind the scenes of a Pasta Grammar video.

What goes into writing your recipes?

Harper: As the native English speaker, it is always kind of a fun challenge because part of my job is translating what Eva does, which is a very home-cooked Italian style. Nobody measures anything. You ask any Italian cook how much cheese they use. And they'll look at you. You're absolutely crazy for even asking such a silly question. But of course, when you publish recipes for people unfamiliar with that kind of food or write a cookbook, you have to translate something she does intuitively into a recipe. So we work very closely together when we're developing recipes. And so obviously, she's doing the cooking and coming up with the food, but then I'm measuring, seeing how much cheese she actually used, and then translating that into a recipe.

 

Eva: This is also very useful because if I write the recipe, I write from my point of view, whereas Harper's recipes are very detail-oriented. He writes for every kind of home cook.

 

What are common misconceptions about Italian cooking?

Eva: What I discovered coming here is that people think we love garlic. Yes, we do love garlic in Italy, but we don't love garlic as much as Americans think. In Italian food, the taste of garlic is very, very mild. Even if we cook with a lot of garlic, we usually remove it or let it cook for such a long time that it becomes completely delicate.

 

Harper: Another big misconception that a lot of people have is that Italian food even exists because Italy is so regionalized. When people visit Italy, they think, "I'm in Italy. I am going to get good pizza at every restaurant."

 

You sometimes need to go to a specific town to get a dish made properly. Don't go to Sicily and order a carbonara. It's not the place for that.

 

Our second-highest viewership on our channel is Italians. They watch the channel to learn about food in other regions they don't even know about. Someone from Naples might not even know what they eat in Milan. So, a lot of people need to disabuse themselves of the idea that there is Italian food. 

 

Which kitchen skill should everyone master?

Eva: The first thing people should understand is that you need to put salt in the food and taste it. You need to taste everything you cook to understand if you made a mistake and if it actually needs more salt or spices.

 

Harper: Unless it's a very specific baking thing where you kind of need some specific chemistry, we never give an amount of salt to any recipe. It's always to taste because that's a really important skill. When you see a recipe that says "a half teaspoon of salt," it is like, "Well, what kind of salt are you using? Some salts are saltier than others. Are you using professional Diamond Crystal salt?" 

One of our biggest pet peeves is recipes that give specific salt measurements. You really need to learn from every step. Also, with pasta, people are used to following the package instructions, where you just put a pinch of salt into the water. But people don't understand that you need to actually taste the pasta while it's boiling and make sure that it's properly salted even before you incorporate it into the sauce. So, we put all of that in the cookbook because I know, as someone who knew nothing about cooking before I met Eva, my approach to salt was always, "I just have to put a pinch of salt in my dish. It's just a mandatory thing." But I never tasted it and never added nearly enough to make the ingredients really stand out.

 

You feature several Sicilian recipes in your cookbook. Which is your favorite?

Eva: One of my favorite recipes in the cookbook is pasta alla Norma. 

Harper: Pasta alla Norma probably takes the cake because we consider it to be the perfect pasta dish. When we talk privately about trying a new pasta, our conversation always ends with, "Well, it was good, but is it pasta alla Norma good?" On an objective level, it's just kind of the perfect pasta, and that's why it's actually on the cover of the book.

It is just the balance of flavors. It's a tomato sauce in which you incorporate some of the oil you use to cook the eggplant. The combination of eggplant, tomatoes, ricotta salata (dried grated ricotta), basil, and olive oil just sums up that southern Italian flavor.

 

Why is incorporating the historical and cultural context of recipes important to you?

Eva: This is very important because if you understand the history of a dish, you can appreciate the dish by itself. A lot of people think that we Italians don't like to change our recipes. That's not true because what we have today is just the evolution of what we've discovered through tradition.

So knowing why, for example, they use these ingredients more than others makes sense in the dish. For example, the food of Venice: In the Veneto region, they use a lot of spices like cinnamon and cloves. Venice was one of the main cities during the medieval age that had the availability of all these spices. So they started to use them, and what we have now are spiced dishes that you don't have in other regions. Knowing the history gives the food a new meaning.

 

Harper: I have a dish that is tremendously important to me, which is just a really crappy grilled cheese on white bread, like Kraft American cheese dipped in Campbell's tomato soup. It's not that the food is particularly good, but it brings back memories that I had as a kid out in the snow in Maine. You would come back in from the cold and have this hot grilled cheese and tomato soup. So, the story informs how we eat and changes how the food tastes. I don't think food is ever objective. Those stories matter a lot.

 

You introduce people to experiences on tours. Tell us about them.

Harper: We do a couple of different tours. The one we started doing years ago is a more traditional tour through Southern Italy. We start in Naples and go all the way down through Calabria and into Sicily. What makes it unusual is that we wanted to make a tour that took people off the beaten touristy track. I'd actually visited Italy before I met Eva, so I thought I had the place figured out.

 

But then, when I started traveling with a local, she would take me to the places she wanted to go, and it was a completely different experience. So when we started that tour, the idea was to share a lot of those experiences that most tourists would never have, but in a way where it was accessible to someone who doesn't speak the language and doesn't even know about these places or foods to try or things to see.

The second one that we do is expanding off of that idea. We do something called the Week in Dasà, which is where a group of people come to Eva's small village in Calabria and spend a week living there with us. We cook together, we eat together, and we party together Calabria-style. It's a project that we're really proud of, something that's very unusual. People come to a place where there's never been any tourism, and they get the real deal of what it's like living in a small Calabrian village.

 

What experience do you hope people take away from Pasta Grammar?

Eva: What I see right now is that a lot of people treat food like something just to put in the stomach. It doesn't matter where you are or where you are eating. This is very bad because it's a moment that you need to use to take care of yourself and of the people that you actually love. So I hope they understand spending more time in the kitchen is a very important time of your life.

 

Harper: I went from being someone used to convenience food culture where I would say, "I'm busy. I'll just grab a sandwich or get takeout." And now I've gotten to the point where I can't imagine not spending time every night cooking food and eating together. It's something that is very important. And I didn't realize how important it was, and now I can't imagine going back.

 

 

 

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Driven to rejuvenate Pezzolo, the Sicilian community her parents once called home, Mariagrazia LaFauci founded Trinacria Theatre Company in 2016. While the company's shape has changed, its focus on community building, placemaking, and intercultural exchange has remained in a way that defies convention. 

Unlike most theater companies, Trinacria doesn't perform in theaters. Instead, they've been known to take over piazzas, terraces, and even soccer fields to perform pieces rooted in tradition as well as original productions. 

I had the opportunity to speak with Mariagrazia, who also serves as Trinacria Theatre Company's artistic director, to learn more about its important work and what she hopes audiences will take away. 

 

 

What inspired the creation of the Trinacria Theatre Company?

In the summers, I spent most of my life going back and forth to Pezzolo because my family lived there. 

Around the time I was getting ready to graduate college, I started thinking about doing a project to help the village. Sicily has gone through a real diaspora, with many people leaving and many businesses going under. 

In 2008, the year I graduated high school and went to college, the last bar in Pezzolo slowly shut down, and life screeched to a halt. Nobody had a place to meet up. That kind of really important cultural community space was just gone. I saw the population plummet after that. 

Then, there was a really massive storm here in 2009 that really impacted people, and actually, quite a few people died in Giampilieri Superiore, which is the next town over, and a lot of homes were destroyed. 

All of that together was just terrible and devastating. When I graduated from college, I started looking for opportunities to do a fellowship or something that would let me give back to this community. In 2016, I started the theater company here in Pezzolo to do that. 

 

How did the company evolve over the years?

It's gone through many different iterations. In 2016, it started out with just an all-volunteer cast out of Boston and New York City. I held auditions in both places and found this group of actors. We were like, "Okay, let's go do this. Let's spend four weeks in Sicily and create a piece of theater about it."

It was such a beautiful piece, called La Storia di Colapesce, based on a local myth that's really closely connected to Messina. We toured it around Sicily and brought it back to the U.S., where we did it in Boston and New York. 

Then there was a year gap because I went and did my master's during that year. But when we came back, I was sort of like, "That was beautiful, but how do we expand beyond just dropping a bunch of people here, doing a show all on our own, performing it, and then leaving? How do we make this a community event and space?"

So, we started to play around with this festival format, where we did workshops and storytelling circles. We put on an exhibit by a local artist, created pieces, and featured these local theater companies. Then it was like, "Oh, there's something here."

 

Since then, there's been more of a festival format to it all. And so it's gone through different iterations. Sometimes, we do create shows; sometimes, we don't create shows. This year was an open residency, which we've done twice now, where we just look for artists, they apply, and then we bring them in for residency. They get to kind of use the time and the space to create on their own independently, and then they share that in the festival afterward.  

 

Tell us where you perform.

We don't use traditional theater spaces at all. We use piazzas, streets, and abandoned spaces wherever we can find them. This year, we held events on a terrace and a soccer field. 

I love theaters. I genuinely love them and will always love sitting in a seat, the lights going dark, and all the bells and whistles that come with it. But I think that space can be intimidating for people sometimes if it's not the kind of space you regularly engage with. Sometimes, it can feel a little bit like you're going into the temple or church of a religion you don't belong to, and you're kind of like, "When do I sit? When do I stand? What are the rules? What do I say?" And that feels intimidating for people. 

We take it from that context and just plunk it into, "This is your piazza. If you're going to answer a phone call, your kid's going to run across the piazza, or you're talking in the corner, we can't stop you, but we will also put on a show for you. So, if you also want to sit and watch that, great." It's a very different vibe.

 

How does that unconventional style translate to your performances?

Necessity is the mother of invention. We've got no stage, we've got no lights, we've got no speakers, we've got nothing. How are we going to put on the most incredible show possible? So, you take a show like Colapesce, which will take place 80% underwater and also in a volcano, and all of these things that are completely impossible to stage. How are you going to do that with absolutely zero lights, sound, set, or props to indicate we're underwater? It was like, "Cool. We have our bodies and voices. We have some music that we can make using these three instruments that we brought. Let's do it. What are a million different ways that you can make someone look like they're swimming when they're not really swimming?" And so that was how our first piece was made. It's very physical, it's very playful, it's very silly at times. 

 

How does communal living during the residency foster creativity?

The artists who come here always live together in a shared house, sometimes even shared rooms, depending on the number of people and what they've agreed to. 

For me, it's two things. One is Italian households. They're intergenerational. There are often a lot of family members. I've got my aunt, who lives five minutes down the road, and I'm probably at her house eating dinner two to three times a week. Communal meal times are so important; that family connection is so important. It's part of Italian culture. It would be weird if we didn't all eat together as a company. I always make sure you're living together or sharing meals together. And then, often, what comes out of that is people who find these points of connection. 

One of the other things I do as part of the residency is each artist leads a morning warmup. They get a chance to present their practice in some way. And the people who come here are some visual artists, some of them are writers, and some of them are theater majors. They all go at it from such different angles, but they get this morning of "Hey, you're going to engage with my creative practice today, and that's going to set you up for whatever it is that you're going to do for the rest of the day, or how you're thinking."

So, these really wonderful synergies come out of that often where somebody says, "What you did today really resonated with me. I didn't realize that you did that. I want that in my piece. Can you help me? Can we collaborate on this?"

These cool little collaborations naturally and organically emerge, or people just bring wild talents, and suddenly, you figure out that this person can play a kazoo in this piece. 

 

What impact did the pandemic have on the company?

It was tough. We had decided to do the open residency for the first time that year. We'd chosen four really incredible artists, but obviously, they couldn't come to Sicily that year. 

What was really miraculous was they all waited the two years that it took for us to finally be able to travel again. And so they came in 2022, which was amazing.

It was a tough year. I had been living in London up until that year. In February, I found out that we'd gotten an Arts Council England grant to do a research and development period on a show we'd been creating called the Hades & Persephone Project.

We'd gotten this amazing grant, and I had these incredible actors ready to do it. Then, the pandemic shut the whole thing down. So, I got to go back to London in 2021, and we were able to use those grant funds to do the project.

One of the really cool things that happened during the pandemic was we created an audiobook. We took the Colapesce story we created in 2016 and turned it into an audio story. We had music, and we did all the sound effects.

During the pandemic, many people said, "Oh, Shakespeare wrote King Lear during a pandemic." But I had this feeling: We have to take care of ourselves first. We can't just be creative when things are hard just because we've suddenly got time and space to do it. So, it was also important to put the brakes on and make sure that everybody was taken care of first and foremost. 

 

How has your work bridged cultural gaps?

One of the things I am most excited about is seeing some of the folks here who really want to get involved. For example, there's this wonderful young woman who doesn't live in Pezzolo, but her grandfather, Stephano, does. Her name is Giada. Giada speaks beautiful English. She's going to go to school for translation. 

She's 18 years old but is so put together, articulate, and smart. She has come in and done translations, gotten involved with the performances, and taken on many directing roles over the years. It's been cool to see her develop this way. 

Her grandfather, Stefano, was an incredible artist. He works with wood. He used to work a lot with steel, but he'll find beautiful pieces of twisted olive wood, and they'll turn into an octopus lamp or something incredible like that. A lot of people in Pezzolo didn't know that he had this incredible museum of his work in his house. And so he started featuring his stuff and putting it out there during the festival.

The two of them are a really great example for me. Every year, somebody has this incredible connection with Stefano, where they wind up at his house every day working in his shop, having coffee with him, helping with a piece, and putting his stuff on display. It's this wonderful interaction. 

I feel like these micro-interactions happen all over the village when we're doing this residency.  

 

How else have you involved the community in your shows?

Whatever we do has to involve the community in some way. And so when I'm looking for artists, I'm looking for artists who have some sort of a community focus to their work. I tell them that it can be part of the process, especially for the open residency where they're creating their own pieces. It could be part of the final piece of what you perform, but in some way, you have to engage with this community and have them be a part of what you're doing, which isn't always easy. Sometimes, people just want to sit back and be audience members. 

So it's about finding people like Giada and Stefano who really want to be up on the stage, in the audience, and in the crowds. Finding ways for people who don't often go to museums or theaters to feel like they can engage is such an interesting artistic challenge.

Sometimes, it can be a really low-stakes engagement. Instead of sitting back, you'll be walking around and following the narrator. Last year, the piece that we built went through the whole village. It took you through a tunnel, and there were calls and responses to it and things like that. Some of those can be really low-stakes ways to engage, and some can be really high-engagement. 

We had this one incredible artist, Heloise Wilson, who is just so phenomenal. She did this whole storytelling workshop. With the stories told through that workshop, she created these beautiful little posters that were put up around town with snippets of the stories, photos, and images. Then, she created a chorale piece that members of the community performed. She crafted this beautiful Greek chorale poem using their words, and they performed it as part of the festival. They did an amazing job, and she guided and facilitated that.

 

Your pieces tap into folklore and mythology. Tell us about a particularly inspiring one.

My brain immediately goes to the story of Mata & Grifone, the last full theater piece we created last year. We created this piece based on the Hades & Persephone Project. The story of Hades and Persephone is the most well-known outside of Sicily, but here in Messina, Mata and Grifone is the best known.

It's the story of these two giants. Mata is a Sicilian princess, and she's white. Grifone is a Moorish conqueror, and he's black. This is set during the time when Sicily was an Arab Emirate and had been conquered by North African Islamic conquerors. And so the two of them see one another and fall in love. Her father objects, and he locks her away in a tower.

Her father would only accept it if Grifone converted to Christianity, which he did for them to be married. And so the two of them become the rulers of Messina.

They're now the pagan deities of Messina.  Every summer during Ferragosto, these massive paper mâché statues of these two giants parade through the streets.

They're known as the ancestors of all Messina people because we're all said to have descended from them. They had so many kids together. I love this story so much, first of all, because it's the story of this interracial couple on an island where I think xenophobia and racism are quite present today.

Also, Sicily itself has an incredible multicultural background. It was Arab for 200 years. It's been Spanish, French, Greek, and everything in between. There are so many cultures. It's a continent and island, and that's where we come from.

At a time where now we're facing these really harsh lines drawn, politically, especially for people who are refugees or who are emigrating from the African continent into Europe through Sicily. Seeing the really beautiful presence of these two lovers, who are the ancestors of all Sicilians, reminds us that this is where we all come from. 

There's a harshness to it, a difficulty to it. Grifone had to give up a part of his cultural identity and religion to be with this person. So it's complex, it's nuanced, and it's celebrated throughout Messina.  

 

How do you ensure your productions remain authentic and respectful to other cultures?

It's always about talking to people authentically and respectfully. If it's always rooted in a truly excellent intention, "I believe that your story is worth telling, and it's worth telling with honesty, respect, and integrity."

You're always approaching it with that lens. I'm part of this group called ITDS (Indie Theatres Dismantling Supremacy). We're this cohort of artistic directors of small independent theaters that came together in 2020 to talk about how our organizations exist in a world where there's white supremacy, and there's oppression. There are all of these systematic things that we all have to deal with, and we all have to consider how they show up in the worlds where we're working. 

Something about showing care and kindness to the people you're around is so simple. When you take that care and kindness and implement it into the systems you're building—because we're all building systems—to function or survive and be sustainable, we have to systematize certain things. But when that kindness and that care are embedded in you, it's a part of what you do. 

I think we've never approached it without the angle of, "We do this because we love these people, and we're going to listen to these people and listen to these stories, and we want to involve you and not force you into being involved if that's not what you want." We always bring it back to kindness, which has been a much more powerful driver than I think I would've ever thought it was.

 

What do you hope audiences take away?

There are different parts of an audience. There's the local audience, the Pezzolo people. And I think what I really want them to leave with is, "I live in a place that is capable of producing great art and great beauty."

Every day can be activated, brought to life, and turned into something beautiful if you just apply a creative lens to it. And the place where I live is capable of being that spark and being activated into that beauty. 

 

 

 

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Ksenia Molostvova lives between two churches, where she sees plenty of weddings each month. However, the founder of Sicilian Wedding Lab doesn't typically plan Sicilian weddings for Sicilians. Instead, she caters to those individuals who might have a connection with Sicily, whether it's through heritage or simply because the island is a favorite destination.

 

"The world is discovering Sicily," she says. "People always want to search for authentic destinations. And Sicily can offer a lot."

Ksenia shared more about her Palermo-based business and background, the differences between Sicilian weddings and Sicilian destination weddings, the most popular wedding destination, her favorite wedding sites, and her wedding planning goal.  

 

What's your background?

I'm from Moscow, and I've been living in Italy since I started coming here in 2006 because I was responsible for Italy as a journalist. I met my future husband, and we started dating, flying back and forth for six years. And then, I moved to Sicily in 2012. In a couple of years, I left my news department and stopped working for Russian TV channels. But I still create documentaries for different European YouTube channels. So I've continued this work as a producer, but I also started doing weddings in 2015, so now I can say I've become a "wedding producer!"  

 

How did you get started?

First, I had friends say, "Organize our wedding in Sicily." I said, "I'm not a wedding planner. I'm a producer." They said, "Well, if you are a producer, you can do anything."

So I did one wedding, a second, and a third. I was focused more on small weddings, up to 50 people. And then, at some point in 2021, there was a royal wedding in Sicily, and it came to me in a strange way. I knew the man who was organizing this wedding. The bride was the daughter of an earl from Scotland, and the groom was the Spanish prince, the direct descendant of the last Bourbon King of Sicily. And this man I knew asked me to be an interpreter here. So, we started doing this wedding together. I was just his local assistant. But then, he had to quit the planning at some point due to health issues, and I was left alone with this wedding. And it wasn't just a normal wedding, it was a Royal Wedding!  I had a chance to say no to that. But then, after some reflection, I said, "Well, if it came to me for some reason, I have to go forward."

I formed my team. We did bring it to life. It was extremely challenging, but it worked. At that point, I understood that I may have to fully dedicate my time to weddings. 

 

 

Describe the differences between your weddings and typical Sicilian weddings.

I have to bring to life some ideas that are not real. A normal Sicilian wedding doesn't look like a Sicilian wedding for American or Australian clients. It could have more traditional elements than the modern Sicilian wedding; for example, the modern Sicilian wedding wouldn't have a folk band, some really Sicilian elements, or Sicilian food.

Food is extremely important for Sicilian weddings, but it must be something particular, not just simple traditional recipes. For example, you wouldn't serve the simple caponata at a Sicilian wedding. Whereas Americans look for traditional Sicilian recipes and venues like Tonnara di Scopello, an old tuna fishery. It's just like a shed where you keep boats and fishing nets. But the place itself is spectacular. And it has become really popular and expensive just because of foreign weddings.

Local Sicilians would never, ever, ever go to a place like that for a wedding. They need a palace, something chic, some really fancy-looking venue. They don't see the beauty in some rustic place.

 

What goes into one of your weddings?

We work with many local artisans who make handmade ceramics for guest favors and local bands that perform and feel that people seek them out. There is plenty of stuff that you can give to your guests, like local honey, jams, or other typical local products or objects. 

 

What services do you offer to wedding couples?

Each couple is different, so I'm against packages. I offer a full planning service because it's important to me. A destination wedding is about the destination. So it's not just about the couple and the family.

 

Normally, it's at least a two- or a three-day wedding because most couples and their parents come here for a long period. We organize a lot of experiences before and after the wedding. It can be a beach day, a wine tasting, or a pizza party. It can be a tour of some beautiful place like an archeological site. It's always about an experience because showing a destination is important. So, everything that Sicily can offer, including beaches, wine, and nice food. It's a holiday, and it's also a holiday that will never ever be repeated in their life because all their friends come here. This is something I like to focus on all the time. It's not just the wedding, it's the experience.

 

What are the most popular Sicilian wedding destinations?

Taormina is probably one of the most popular destinations because it has been a tourist destination for a long time. When tourism began to develop in Sicily in the 19th century, Taormina had hotels and infrastructure, and it was easy to reach.

 

Maybe the couples Google "Weddings in Sicily," and Taormina is what they see at the top of the search. Personally, I do think Taormina is a beautiful place, but logistically, it's quite complicated to have an event there.

 

On top of the town, the mountain is all pedestrian. It's really complicated with the delivery of all the stuff, the transportation—well, everything. And Taormina is not really a beach destination. Many people get confused because they see that Taormina is on the coastline. You do have beaches there, but, at the same time, if you are staying on the beach, you are not staying in the town. So, you have to take a taxi, which takes time and is expensive. And the other way around, if you're staying in the town, you are not staying at the beach. Also, Taormina is close to Mount Etna, so the beaches have gray sands or pebbles, and the sun hides behind the mountains, so you cannot enjoy long sunsets on the beach.

 

What is your favorite Sicilian wedding destination?

Scopello is really picturesque. And the coastline from Castellammare del Golfo to San Vito lo Capo and until Trapani is probably the most beautiful.

 

The Province of Trapani boasts white, sandy beaches and beautiful rocks. The color of the water there is turquoise, and the sunsets are really stunning! This part of Sicily is still quite authentic, as mass tourism has never reached it, which is why I love it so much.

 

What is your goal for weddings you plan in Sicily?

The goal, obviously, is to satisfy, to find out what each couple wants and their values, why they chose a destination wedding, and why they chose Sicily. So, what would they like to find in Sicily, and what would they want to share with their guests about Sicily?

 

In September, I had a wedding for a Canadian couple with Italian origins, not Sicilian. They spent two weeks here, traveling all over the island with all their friends. I was so pleased to get their review and see how much they enjoyed the time they spent here. They had so many activities in these two weeks. So, I think that the goal was reached. It wasn't about the wedding, but it was about the experience. 

 

 

 

  

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My Sicilian grandmother always tossed a bay leaf or two into her tomato sauce, and my mother does as well. But lately, I've found myself forgetting to add the bay leaf and wondering what purpose it really serves. 

So, I was intrigued to find an article in the International Journal of Gastronomy and Food Science that addressed this very question. 

I reached out to its author, Charles Spence, an experimental psychology professor at Oxford University and the author of Gastrophysics: The New Science of Eating, to discuss bay leaves, why they spark such debate, and how his own bay leaf use has changed since his research.

 

  

Why did you choose to research bay leaves?

It was initially a debate with my brother, who's a chef in Oxford, about what they do or what they add. I've got other papers on cinnamon and coriander. So, I am interested in the historical introduction and disappearance of different herbs and spices around the world over the decades, centuries, and millennia. What, exactly, are they doing in our food? 

I've got a verdant bay tree just outside the window here, so I've got thousands of bay leaves, but for others, they can be extra expensive to purchase. My brother is convinced bay leaves add something, and I am, too. I always stick them in whatever I'm cooking. But what, exactly, does it add? 

It's a curious question. It got me searching through the literature, and that brought up the fact that many chefs and others have a big debate about whether bay leaves have a taste/flavor or not. It's interesting to have an ingredient that could be reasonably expensive and for which lots of people don't know why they're using it. 

 

Tell us about the work you do.

As a psychologist, I've always been interested in the senses and how they interact with and apply to the real world. For the first 15 years, I mostly worked on technology, talking window screens, mobile phones, car warning signals, and that kind of stuff. Then, Unilever funded me to help with their fruit teas. I'd never done anything on flavor at all, but they were paying the bill, so I said, "Okay, I'll do some experiments on that."

Suddenly, it got interesting. Flavors are probably the most multisensory thing we experience. They engage all our senses, but flavor is something that psychologists typically don't study. 

Here in Oxford, we'd do experiments on how the senses contribute to flavor and how we can make things sweeter by coloring them pink or red or adding certain scents. But my experience was that the food company chefs could never make anything very exciting from the science.

Then, I was introduced to the world's top chef, Heston Blumenthal, and suddenly started doing experiments around the "sounds of the sea," which thereafter led to one of his most famous dishes. Diners wear headphones, and they hear the sounds of the sea while they eat sashimi plated to look like the seashore.

That got me more work in food, working with chefs, mixologists, and baristas rather than food companies. These latter creatives turned out to be very interested in trying to apply science and psychology to food as a multisensory object, always doing so in ways that ask how people today perceive these things and what they mean. 

Over the years, I've had a few interdisciplinary grants with anthropologists, historians, art historians, philosophers, and a wide range of disciplines. And I guess through some of those workshops, which have been on other things like what aesthetics is, I keep coming up against the anthropologists who say, "You psychologists. When you try to understand sensation or flavor, you don't seem to understand the importance of culture and history."

I've come around to starting to be interested not just in how we perceive things but also in how we have perceived things in the past. Tracing the history of herbs, spices, and fruits allows me to do so. 

Maybe bay is not an expensive or luxurious spice in the same way that saffron is. It's a ubiquitous spice or herb in this part of the world. I'm curious about the history of flavor and psychological history, which lets me better understand how we perceive from a broader social, historical, and cultural perspective. 

 

What have you found interesting about the bay leaf?

Bay is the only herb I have encountered so far where some people say it tastes like nothing and don't know why they use it. That doesn't happen anywhere else, and this debate has even made it into the culinary and trade press; there's this debate going on about what bay is doing.

It could be that a third of people are unable to smell one of the chemical compounds, or it could be that it doesn't really have a perceptible flavor. It just does something to the flavor of everything else. It's like a flavor enhancer. I'm interested in other things like kokumi, the next thing after umami, or monosodium glutamate (MSG). Kokumi has no taste when you add it to food. But when it's added to things that have umami (e.g., mushrooms and Parmesan), it amplifies the other taste sensations. 

Maybe bay leaves are doing that. So, is this difference genetic in what we can smell? Some people can, some can't. What the bay leaf does for everything else is interesting. 

Maybe some people who say it doesn't do anything are focusing on what it smells like itself. They think it doesn't smell like anything; therefore, they think it does nothing. Others say, "I always add it to my cooking because of the end result and total flavor." 

It may also depend on where you get your bay from, what part of the season it was grown in, whether it's California Bay or Laurel, how it's been stored, and whether it's been frozen, dried, or fresh.

What's also interesting about bay to me is the question of whether dry or fresh leaves are better. For most things, you think fresh is better than dried. And yet various people say, "No, dried bay is better than fresh."

So, which is right? How do you answer that when the thing itself doesn't taste very good? 

I've been going to my tree here, picking them, and putting them in boiling water for a while, which, again, may not be the right thing to do. Maybe it needs fat to release all of what it can contribute to a dish.

I also have been putting them in a cup of bay leaf tea and then trying to almost do the blind taste test on myself with a cup of hot water that has bay leaves steeped in it and another one that's just hot water. Can I discriminate?  I haven't done the official taste test because it's a bit too messy and time-consuming. But yeah, there is something there, a curious sensation.

 

How did your bay leaf use change as you were researching the topic?

Well, I never had bay leaf tea before, and then, through the research, I now think differently about picking them. Before, I just picked them whenever the bowl of dried ones ran out, and now I think there's no point in doing that just yet; I should wait till the end of the year.

I switch between the dried and the fresh, trying to decide which is better. Before writing the article, I probably would've only used the dried ones. But now I'm thinking back and forth. They say it makes a difference.  

 

What do you hope people will take away from your bay leaf research?

My hope is that people will come away thinking, "Well, yeah, now that you mention it, I do wonder why I do that. Why do we add our herbs and spices to our food?"

I think there's a whole world that's not really been studied much. A few food historians are doing research on spices, but not anything from the psychology or sensory angle. Growing awareness and appreciation, perhaps particularly in the case of herbs, might be advantageous moving forward. These sorts of herbs can have interesting effects on taste and flavor and also maybe interesting impacts on our ability to absorb other nutrients.

Although I'm not sure bay necessarily serves that function, it is undoubtedly a culinary curiosity that I think gets people interested and thinking this is much more fascinating.  

 

 

 

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Growing up, we never had jarred pasta. My mother was known for her sauce, something she'd mastered by watching her mother and grandmother. In less than half an hour, she'd whip up a simple marinara that was rich in flavor, thanks to a couple of cloves of garlic, a bay leaf, a pinch of nutmeg, and another pinch of sugar. She's always maintained that one doesn't need to sweat over the stove for hours. 

 

Jersey Girl Cooks blogger Lisa Grant agrees. Her "25-Minute Easy Marinara Sauce" doesn't require fancy ingredients or cooking techniques. She simply sautées garlic in olive oil before pouring in a large can of crushed tomatoes, a few herbs and spices, and a pinch of sugar. 

Lisa shared her background, her childhood association with tomato sauce, her favorite way to enhance marinara sauce flavor, why making your own pasta sauce is better, and her favorite ways to enjoy red sauces.

 

 

What is your background as a cook?

I am a home cook and have loved cooking since I was 10 years old. I became a blogger over 15 years ago and have since written two beginner cookbooks: The Super Easy Cookbook for Beginners and The 5-Ingredient Dutch Oven Cookbook. I love helping people cook easy meals!

 

Do you have Italian family?

My dad was from an island in Croatia (Susak) that once belonged to Italy, so the cooking is very Italian-influenced. On my mom's side, some of the family was from northern Italy, including Trieste. 

 

What memories do you associate with tomato sauce?

We typically had Sunday dinner, which included a huge bowl of pasta with "gravy." This was a red sauce with various meats in it. 

 

Can you share any tips for enhancing the flavor of the sauce?

I love using fresh-grown New Jersey crushed tomatoes that I keep in my freezer, but I don't have them all year round, so a good brand of crushed tomatoes works well, especially during the winter months. 

 

Why should you make your own instead of buying a jar?

It is so much better, and you can regulate the salt and spices. 

 

How do you use this marinara sauce?

I love this sauce with any type of pasta, but it is also terrific as a dipping sauce for recipes like oven-fried zucchini. 

 

What do you hope people take away from your recipes? 

You can cook good food at home without stress. I love socializing at the dinner table!

 

>>Get Lisa's 25-minute Easy Marinara Sauce recipe here!<<

 

 

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Maria Rapicavoli says she isn't a journalist, but her works of art tell a story about global events tied to Sicily, encouraging viewers to form their own opinions. She's covered issues ranging from the militarization of airspace and immigration to the mafia and the Second World War. Each piece offers arresting and interactive visuals to provoke thought and further conversation. 

One of Maria's many evocative pieces stands out to me for its subject matter: Crooked Incline. For this piece, Maria created porcelain geometric shapes resembling bombs dropped by the Allies during World War II. The work serves as a haunting reminder of the damage wrought on Palermo, particularly by the Americans, who escalated bombing frequency and intensity in 1943. 

Maria, who was born in a town on Mount Etna, has lived in New York for 13 years. She's currently doing an artistic residency program in Palermo organized by Istituto Svizzero.

 

I recently had the opportunity to chat with Maria, who shared her art inspiration and what went into the making of Crooked Incline. 

 

 

What influence does your Sicilian heritage have on your art?

I use Sicily as a starting point for all my projects. I've been doing a lot of projects related to structures of power, economic issues, and socio-political issues. I am constantly taking inspiration from Sicily. Starting from a personal and familiar point of view, I try to make works that have a wider perspective. 

 

What inspired Crooked Incline?

I was invited to have a show in an old Palazzo in Palermo as part of a project called Cassata Drone during Manifesta 12, an itinerant international art exhibition that in 2018 took place in Sicily. I've already done projects about how the sky is controlled and the militarization of the sky above Sicily—even above New York. I've always been interested in the common idea that the sky is open and accessible to everybody, but it's not. There are borders similar to those that are geographical, but the difference is that the borders are often arbitrary in the sky. They're just lines drawn, not based on geographical borders but on what is below the sky. 

I was born in an area near military bases. Some of them are American bases and have existed since 1943 when the Allied forces arrived in Italy, first in Sicily. So, the militarized sky has always been part of my background. As a child, I remember hearing the roar of military planes, but I couldn't see them because they were super fast. However, this doesn't exist anymore because drones are very silent. 

 

While doing this project in Palermo, I was supposed to remake a site-specific installation called A Cielo Aperto, an artwork related to drone corridors. The idea was to recreate the airspace above Sicily. 

 

Because I usually spend one day or night in the place where I work on my installation, I asked the curator if I could sleep in the exhibition space. When I woke up in the morning, I realized something was wrong. I asked the owner of the building, and they told me that the palazzo was tilted because of a bomb that the Americans dropped in 1943 during an air raid. The building was damaged, but it wasn't destroyed. 

Based on that, I decided to change my project. Because my family has a background in construction, I was familiar with plumb lines, which were widely used to create perpendicular lines. 

 

I decided to make visible this damage related to 1943. I recreated plumb lines, but I used porcelain instead of metal. I made a hundred plumb lines and installed them in the space. Of course, the plumb lines were falling straight, but because the room was tilted, there was a sense of disorientation, so I made the plumb lines a little bit bigger, and they looked a little bit more like missiles or bombs. They looked like they were ready to explode or were about to be dropped.

 

Why did you use handmade white porcelain elements?

So, porcelain is fragile, the opposite of metal and stainless steel. I was also playing with the contradiction that they would break and could not damage anything. They would be damaged if dropped, so it's the opposite of real bombs or missiles. 

I've been using porcelain a lot in my practice. I usually use white porcelain and don't decorate it. I wanted to create this contrast because a bomb is usually never white.

 

How do you incorporate historical narratives into your works?

I research a lot, and then I get inspired by one element that strikes me as urgent. I work on that. And usually, it's always about making visible something that otherwise is not really visible. 

 

What is the impact of power structures on your work?

It's all based on a critique and then an analysis of the strongly connected structures. Economic, military, and political structures are all part of the same system. I like to talk about them because I like to talk about the daily consequences of these structures and what affects our lives.

 

Tell us about your current project.

I am working on a piece related to a criminal trial against the Sicilian Mafia, the Maxi Trial (Maxiprocesso), that took place almost 40 years ago in Italy. I have already documented all the folders of the Maxiprocesso. What I'm doing here now is to research the courthouse designed and built specifically to host the trial. I don't know the outcome yet because I just started my research in Palermo as part of the residency Palermo Calling: Art & Science together with architect Fabrizio Furiassi, who is also researching the courthouse. 

 

What do you hope viewers of your art take away?

I don't want to force anyone to share my view. Every time I make a work, I have an urge to bring up something that bothers me or is relevant to make visible. But that doesn't mean that the viewers have the same approach as I do. 

When I make a work, I like that the viewer will have their own interpretation and view. I would like them to have a broader view. For example, I made a video (The Other: A Familiar Story) about the story of a woman from my family who was a victim of domestic violence and was forced to move to the United States. This is a specific story that belongs to my family, but I tried to make it more universal and ensure that the viewer could appropriate it. It could be any woman anywhere in the world. And that's the approach I have with every project I make.

 

 

 

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Wheat first arrived in Sicily around the 3rd millennium B.C. Due to its ideal cultivation conditions, the region became known as the Breadbasket of the Roman Empire.

 

By 2021, the island had become Italy's second-largest durum wheat-producing region, with 343,500 hectares under cultivation and a production of 931,800 tons.

 

You may have seen durum on the back of a box of pasta. It's frequently coarsely ground into semolina, a common ingredient in Sicilian bread and pasta. 

 

One of the more popular semolina pastas is cavatelli, also known as cavateddi. This Sicilian version of gnocchi is served with plain red or meaty sauce. I recently caught up with private chef and cooking instructor Antonella La Macchia to learn more about this specialty and what differentiates her cavatelli recipe from typical gnocchi. 

 

 

What is your background?

I was born in Catania, Sicily, and live in Florence, Tuscany. I moved here 23 years ago because I married a Florentine, and I have been teaching cooking classes in Florence for more than 10 years now. 

What is the difference between cavatelli and gnocchi?

It's funny. When people take the class, they usually talk about potatoes and gnocchi because they are the more traditional or famous.

 

If I talk with my mother, gnocchi are completely different. Our gnocchi in Sicily, cavatelli, are made with semolina and water. The dough is very chewy and has a nice consistency. Of course, the flavor is completely different because we have the semolina flour. Also, the sauce that they require is different. Most of the time, Sicilian gnocchi are served with meat sauce because they have this consistency and want a strong sauce.

 

The shape is different because when we make gnocchi, we use a tool called rigagnocchi. You use the board to make a little cavity that holds the sauce. That's the reason why they're called cavatelli.

 

Semolina pasta can also be a little bit trickier than regular pasta. The regular pasta, the pasta from the north—ravioli and tagliatelli—has the classic dough with flour and egg. When we talk about pasta from the south of Italy, from Puglia to Sicily, it's important to balance the right amount of water to obtain the right consistency. This shape is usually made by pushing the pasta on a wooden board with your hand or knife. If the consistency is not perfect, it won't be easy to have the shape of the pasta you want.  

 

Once you have a good dough, you can make the cavatelli with your hands or use the rigagnocchi. It is important to get the right shape because, of course, if this pasta is thicker, it can be pretty chewy.

What makes this recipe Sicilian?

When I teach about pasta, I always say that through the pasta, we can see the difference between the countries. You can see easily that this country was divided for many years, and the food from the north and the south is very different.  

 

When we talk about fresh pasta, the first difference that we can say is that most of the fresh pasta that we find in the north is made with white flour. What makes this pasta really Sicilian for me is the use of semolina and, of course, the sauce. We don't have butter and sage; ours is mostly red, so tomato-based.  

What do you hope the readers will take away from this recipe?

What I like, and I always talk about this during my class, is that at the end of the day, the most important thing is when a recipe becomes yours. It makes the food real and, in a certain way, eternal.

 

>>Get Antonella's Sicilian gnocchi recipe here!<<

 

 

 

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Pina and Rosemarie Sparacio showed up to our interview wearing red—like mother, like daughter. In their case, it's more like being a part of the same winning team. Since September 2021, the New York-based duo has amassed millions of views on TikTok. They also have more than 242,000 followers on Instagram and have a new and growing YouTube channel. 

"The most surprising thing has been walking in the street and someone stopping their car and saying, 'Oh my God! You're Pina's Kitchen!'" laughs filmmaker and content producer Rosemarie. 

"I feel so privileged, so honored to be recognized by them," says her mother, Pina, who came to the United States from Roccamena, Sicily, in 1970.  

The thrill ride started with a few simple, raw videos Rosemarie filmed of Pina cooking her favorite Sicilian specialties. And it just took off.

The three of us sat down to discuss more about how Pina's Kitchen got started, their favorite recipes, surprises, and their next steps.

 

 

Tell us more about how Pina's Kitchen began.

Rosemarie: I'm a filmmaker, so I'm always filming or wanting to come up with something to film or a story. I had this idea of a cooking show for a long time with my mom, but it was always too big in my head to put together. I was being very perfectionistic about it, so I forgot about it. And then, when COVID hit, I was just dancing on TikTok like everybody else was and having fun. I garnered a little bit of a following. 

I wasn't serious. I was working in film production. Then, one weekend, my mom was cooking something: caponata, a Sicilian dish. I was like, "I'm just going to record it for fun on TikTok." I didn't really think much of it. The way I recorded it was not very cinematically, just in the moment. And I posted a month later. It got 100,000 views. I was like, "That's something! Let's try it again. Maybe sometimes on TikTok, you get one hit, and then that's it."

So we tried it again, and the second video was a dish in the oven: baked ziti. It got 500,000 views. I said, "Welcome to Pina's Kitchen!" And that was the start of it. 

Then we did a third video—polpette di ricotta.

Pina: It's a very old recipe. When people in Sicily had no money to buy meat and make their Sunday dinner, they would come up with different ideas for something to serve with the sauce. So, if it was spring and a lot of people made ricotta, they'd make something with that ricotta. They used to make it in my town. It's got a lot of mint and sugar, plus breadcrumbs.

Rosemarie: You could imagine the controversy when she was throwing sugar into this ricotta thing, putting it in the sauce, and eating it with pasta. It got a million views, which was kind of its takeoff. And we just kept going with it. 

 

You draw your recipes from your family. Can you share any fond cooking memories?

Pina: My earliest memory is watching my mother cook.  My mother was a great cook. She had a knack for cooking; it tasted good, even if it was simple. 

I remember her making sausage and drying it for the winter, and I remember watching her making bread. 

When I was little in Sicily, my mother had a brick oven, and she would make a big batch of bread because bread was everything in those days. That was how you supported yourself: with bread, pasta, and vegetables. She would make all these breads, and then, in the end, she would always make pizza—not the American pizza you see: the sfincione on which my mother would put the tomatoes, sardines, cheese, and breadcrumbs on top. 

She would start in the morning; by the time she finished, it was night, and that would be what we had for dinner. I was very little because I could hardly reach the big table that she was working on. 

I also remember my grandma. She and my mother would sometimes bake a very big batch of bread together. Or she would get together with her sisters, and they'd make it together. They always did things together—even in America. They were very close. 

 

Pina and her mother in the kitchen

Did you two cook together?

Rosemarie: When I was younger, my mom worked, and my grandmother lived downstairs. I would go downstairs and stay all day with her, and she would make the pizza, cookies for Christmas, and rice balls. I was next to her, and I would kind of just watch, and I would try to help, too.

I know how to make homemade pasta, and I know how to make all the big stuff. I've observed a lot, but I feel like I've been surrounded by Italian women who can handle the kitchen. And they're like, "But you're busy!"

Pina: The short answer is yes, we cook together. When I broke my arm, she did Christmas by herself. Her father helped cut stuff, but she cooked. And I was telling her, "Okay, do this, and don't forget to do this." And she cooked the whole meal.

 

Rosemarie and her grandmother

What impact has filming your mother had on you?

Rosemarie: I used to take for granted how good a cook she was and how good my homemade meals were. I didn't realize how good they were until I started filming her, observing, watching, and paying attention. And then that caused me to be like, "I should be learning this." 

I realized she learned from my grandmother, and there's so much already lost and so much we're trying to hold onto. Now I'm like, "Okay, let me jump in and help you so I can learn."

Pina: Yeah, because my mother never really wrote anything down.

Rosemarie: So it's really all that she remembers from her mother and mother's mother. And there's already so much lost in that word-of-mouth.

 

Pina, which of your mother's dishes have you shared on social media?

Pina: My mother used to make stuffed artichokes, and we had a lot of views on that video. She used to make it plain, and sometimes, she would put them in the sauce. That was Sunday dinner. This comes from the old days when we didn't have any meat, so they had to come up with stuff.

You stuff the artichoke and dip it in the egg, fry that part so the stuffing doesn't come out, and then put it in the sauce. The sauce takes on the flavor of the artichoke, and it's so good!

We just made eggplant rollatini, according to her recipe. Here, they stuff them with ricotta. My mother used to stuff them with cheeses, cured meat, or whatever we had on hand. She would stuff them, roll them in the sauce, and bake them.

 

When I think of my grandmother, the famous ones are the fig cookies—cuccidati—for Christmas. We film that every year because it's such an important recipe. Many people don't even do it anymore because it's a lot of work.

 

I remember her every December making Christmas cookies, and everyone was helping. She'd probably make 10 pounds. 

Rosemarie: We have made 15 pounds of Christmas cookies all by hand, from the mixing and rolling to the cutting and filling.

Pina: It's a lot of work! That's why you only do it once a year.

 

What's been most exciting or rewarding so far on this journey?

Rosemarie: Probably the level of recognition when we go to events with the community of other food influencers that we've connected with. They've been so great. And then there are people who are fans, which is so weird to say that there are fans. I am still shocked!

We're technically filming just cooking videos, but it's more than that. People write us the most beautiful messages, like, "I lost my mom when I was 13 years old, and I remember she used to do all these things, and Pina's like my mom now." 

They also remember recipes that they forgot about and that their grandmother used to make, but now she's no longer alive. And they say, "Wow, I've been looking for this recipe for 20 years!" It makes you realize that food and recipes are a connection to history, family, and culture that can be easily lost. Recipes are stories. That's probably been the most rewarding. 

Pina: You can give that kind of memory back to somebody. At first, I was nervous because nobody really wants to be judged by people. I asked, "Why will people be interested in my recipes and what I cook?" But then, when people started to really be very positive and loving it and saying how much they appreciate it, I felt that I was giving them something, which made me feel good.

 

We're doing it because now we like the community that we have. We have all those people that are following us. They're good people, and I just love it. It's making friends. 

 

What are your plans for Pina's Kitchen's future?

Rosemarie: I hope that we can grow a bigger following. We're starting this YouTube channel, and I want to create a longer format show where we could really show the recipe so it feels more real, like you're stepping into the kitchen with us. Because you only get a minute and 30 seconds on Instagram versus a 20- or 30-minute YouTube video where you feel like you're in the kitchen and cooking with us. And then, hopefully, we can kind of expand to having different guests and having people showcase their recipes and share something with other influencers or maybe just other people in our lives who show what their family used to do—even past being Italian. 

I love promoting Sicilian and Italian culture, but I think what's more important is telling the story of immigrants and showcasing everyone's culture because we're all connected in that way, and recipes are very connected. Even Sicilian food is very connected to the Middle East, Greece, and Spain. So having it expanded past just Sicilian cuisine would be cool, too. 

We're slowly working on a cookbook, and it would be great to build the brand and reach more people that way.

 

Rosemarie, you've worked on music videos. Tell us about that.

Rosemarie: So, I started in film production, and I was on this track to be like, "Okay, I want to make connections. I want to be a director. I need to be in the industry." I focused on making a documentary and growing our page. Then, I stepped away from the industry completely, and I was just in social media, working for social media marketing and working on Pina's Kitchen. I started to feel kind of low, like, "I don't know. Maybe I'm making the wrong choice. I'm out of the industry. I'm not working on films anymore or big shows, and I'm losing those connections. Maybe it's not the right choice."

Then I got this random message from Tina Baione, who owns Keep Good Company Records with her husband, Matt. She was like, "We have this artist. We want to make this music video in Italy. I want you to direct it. We'll fly you out to Italy." 

From there, I'm now working on another music video, directing that music video. 

It's not the same as it used to be. Social media is the new push forward that creatives need to get their work out there. 

 

What do you hope people will take away from your videos?

Pina: For me, it would be positivity; they could connect with their memories and families. Maybe their loved ones have passed, but they can reconnect with them spiritually. That's a beautiful thing to do. And I want people to realize we're just normal people.

Rosemarie: I think that it's kind of like a call to action. I want people to honestly get back into the kitchen with their grandmother, grandfather, mother, father, or whoever it is. Because, like I said, there are so many stories and recipes, and you don't realize how fast time goes, and you could easily lose the things that keep you connected to your heritage, culture, and family. 

I think people won't regret getting into the kitchen with their loved ones and learning those family recipes. It's just a good time to spend with your family. So I hope it inspires people to be closer to their family and to sit down for dinner together.

Pina: You're going to build so many memories just being together, sitting around the table, even if you don't say anything, and if you just eat. It's that energy of togetherness and love that vibrates around the table from your family. That is memory. It's important. 

 

 

 

 

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