By Whitney Bauck for The Guardian.
Broadcast version by Edwin J. Viera for New York News Connection reporting for the Solutions Journalism Network-Public News Service Collaboration
Chef Joseph Yoon is used to people reacting negatively to his creations: he’s watched a child cry when she realized the pumpkin cake in her mouth was made with cricket powder, seen a grown adult spit out his bug-laden bite of food, and endured racist online comments aimed at him for suggesting that scorpions or mealworms are worth eating.
But none of that seems to faze Yoon. If anything, it just reaffirms the importance of his work destigmatizing entomophagy. As the founder of Brooklyn Bugs and a self-described “edible insect ambassador”, Yoon is on a mission to prove that eating bugs is good for the planet – and the palate.
Yoon’s work includes giving presentations everywhere from elementary schools to Harvard, partnering with institutions like the Smithsonian and Nasa on sustainable food initiatives, and occasionally cooking for journalists like me, all in an effort to raise awareness about the planetary benefits and culinary joys of eating bugs.
“I like to share the sense of hope and optimism and to be able to capture people’s imagination through cooking insects,” Yoon said from his kitchen table in Queens over a bite of stir-fried cicadas. “The question is: how do we start changing the perception from insects as pests to something that’s sustainably farmed, nutrient dense and that can add a tremendous amount of flavor to your food?”
Insect consumption has been highlighted by the UN’s Food and Agriculture Organization as an important tool in addressing food insecurity for a growing global population. And since agriculture is the second-largest greenhouse gas emitter after the energy sector, insect eating presents a compelling climate solution, too – crickets, for example, can provide the same amount of protein as cows for less than 0.1% of the emissions.
Yoon pointed out that people have been eating insects since long before the practice was recognized as a climate win. “There are over 2 billion people in 80% of the world’s nations that are already regularly consuming insects,” he said. But the stigma and yuck factor that persist in many places, including much of the US, are what Yoon is interested in changing.
His approach is to lead with the joy of eating. Learning to enjoy consuming bugs might require some retraining of your palate depending on where you grew up, he said, but we apply that training whenever we try new foods from unfamiliar cultures or admonish our kids to eat veggies.
“There are over 2,000 types of edible insects with wildly different flavor profiles, textures and functionality,” Yoon said. “Take garlic, for comparison. Say someone was like, ‘I love garlic, try a piece raw,’ and you’d never had it before, you’d probably be like, ‘This is really intense, I don’t like this.’ You have to learn to work with the ingredient, to roast it, to saute it … We’re just at the very tip of understanding how to truly work with insect protein.”
So where might the entomophagy-curious get started? And what do all these varieties of bug actually taste like? Yoon and I sat down together over a beautifully plated bug tasting menu served in his home kitchen to dig in to those questions and talk through a few of his go-to insect ingredients.
Crickets: a nutty flavor
“Crickets are commonly referred to as the gateway bug,” Yoon told me, serving up a few different varieties of his homemade kimchi that substitute cricket powder for fish sauce. “I’ve cooked easily over 100 unique dishes with crickets.”
Available in both whole and powdered form, crickets are farmed in indoor settings and given a savory, “nutty” flavor by roasting. Yoon noted that crickets are remarkably versatile – you can add the powder to smoothies, baked goods or hummus to increase the protein content, or use them to form a crunchy crust on fried foods.
Grasshoppers: a savory snack
There are many flavor and texture similarities between grasshoppers and crickets, Yoon said, though grasshoppers tend to be a bit meatier. But the grasshoppers he served me, nestled on a bed of delicately arranged avocado and mango, were something special: they were chapulines, seasoned with lime, chillies and salt. Gathered from Oaxaca, Mexico, these are some of the only insects that are caught outside in specially designated fields, Yoon said.
“These are also sold at [T-Mobile Park] in Seattle, and they sell out of grasshoppers every ball game,” he said of the stadium where the Mariners play. They were so tasty that I found that easy to believe – and they were the first insects I looked into buying for myself after leaving Yoon’s kitchen.
Ants: ‘insect caviar’
Yoon described black ants as “insect caviar” and “almost like Pop Rocks” while sprinkling them as a garnish over soft-boiled quail eggs. Their formic acid content gives black ants a bright, citrusy tang, which is why Yoon uses them in “virtually any application where I want a citrus flavor”, he said, whether that’s a vinaigrette or a cocktail.
Weaver ants, while similar to their ebony counterparts, are bigger and “a little woodsier, with a little bit of a lemon flavor”, said Yoon. They’re particularly popular as an ingredient in chutneys or salsas, he added.
Manchurian scorpions: a shrimp-like taste
Despite being some of the more intimidating-looking critters in his pantry – those stingers! – Manchurian scorpions actually have a rather familiar flavor, Yoon noted. “These are brined in salt and sun-dried. They’re arthropods just like shrimp, so they have a baby-shrimp-esque quality and flavor,” he said. The scorpion he served me was tantalizingly dripping in gochujang, but he said he also enjoys eating scorpions in the form of a dashi stock that combines them with mushrooms and kombu.
Bamboo worms, weevils and wasps: creamy, coconutty, sweet
Bamboo worms, which hail from south-east Asia, aren’t worms at all, but caterpillars that live in bamboo thickets. Yoon said that they’re so mild and creamy that they’re tasty enough to be eaten straight out of the bag.
Another creamy variety is the palm weevil: besides being a low-carbon protein source, palm weevils are also an invasive species that causes damage to palm trees, which is all the more reason to eat them. Yoon served the slightly coconutty critter toasted on a bed of roasted beets with a cricket-powder-infused green goddess dressing and a sprinkling of black ants.
For a different kind of sweetness, look to Japanese wasps. Their flavor “starts a little bit sweet and finishes with this really fascinating minerality,” Yoon said. In Japan, people sometimes add the wasps to sake to infuse the alcohol with their unique flavor.
Mopane worms: pungent and earthy
Popular in Botswana and Zimbabwe, mopane worms are actually the caterpillar form of the emperor moth. Gathered from the mopane tree, they are commonly enjoyed in stews or maize porridges. For the western palate, Yoon recommends using aromatics like onions and garlic to balance their pungent flavor.
Cicadas: a meaty treat
The surprisingly meaty cicadas Yoon served on a bed of rice are “the most buggy” item on the menu: with legs and wings intact, there’s no mistaking them for anything else. But their flavor, enhanced by stir-frying with chillies and garlic, was enjoyable enough that I’d happily eat them again. These specimens were extra-special for a few reasons – first off, Yoon foraged them himself, and second, they were part of last summer’s Brood X emergence, an occurrence that only happens once every 17 years. He also served some cicada kimchi to showcase other ways they can be eaten.
Superworms: nature’s cheese puff
When eaten alone, superworms have a somewhat cheesy flavor that makes them a nice pairing for fruit, Yoon said. Tasting one by itself, I could see what he meant – it was a little like nature’s cheese puff. He then pulled out brownies for dessert that he told me contained both mealworm powder and whole mealworms, which he described as tasting “nutty with a hint of cacao and dried mushrooms,” and though I could sense a bit of a unique crunch, the truth is they just tasted like deliciously chocolatey but otherwise normal brownies.
Yoon laughed. “That’s very commonly the reaction when people try my food. They’re like, ‘Oh, that’s just food.’ It’s not this crazy thing. And that’s really what I’m trying to help people appreciate, so they can see insects as a new ingredient they can integrate into the things they already like to eat.”
Whitney Bauck wrote this article for The Guardian.
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By Rose Vance-Grom for Arts Midwest.
Broadcast version by Farah Siddiqi for Ohio News Connection reporting for the Arts Midwest-Public News Service Collaboration
Akron, Ohio has been a hotbed for jazz in the Midwest since the 1930s. Its central location between bigger cities like New York and Chicago made it a perfect stop for traveling musicians. Many renowned artists, including Duke Ellington and Ella Fitzgerald, performed in Akron as they passed through; but there was also a thriving local scene, the roots of which can still be felt today.
For much of the 20th century, Akron was an industrial powerhouse. People flocked to the “Rubber Capital of the World” in search of jobs causing the population to jump, growing from 70,000 in 1910 to nearly 210,000 by 1920. Akron’s Black population increased eightfold in that time, and many of them settled along Howard Street between Downtown and West Akron.
Where It All Began
This neighborhood – dubbed “Little Harlem” – became the center of the business and entertainment district along Howard Street, with Black-owned hotels, restaurants, clubs, barbershops, and beauty salons that served the tight knit community. According to the Ohio Informer, Akron’s short lived Black newspaper, there was always music and dancing at the clubs down “Rhythm Row” from the Cosmopolitan, to the Hi-Hat Club, to Benny Rivers, just to name a few.
By the late 1960s the rubber industry was dwindling and much of Howard Street, like the rest of Akron, was in decline. A 1968 “urban renewal” project to build a highway spur linking Akron to the larger interstate network would seal the fate of Howard Street. Construction on the Innerbelt began in 1970, resulting in the destruction of the predominantly Black neighborhood within the decade. Adding salt to the proverbial wound, the project was never fully completed and is now mostly abandoned. In 2023, the City of Akron issued an apology for the lasting harm the project caused for generations of Akronites.
The loss of the Howard Street neighborhood was devastating but it was not the end of the jazz scene. It lived on in small clubs and church basements, and through the people who continued to play anywhere they could.
Where It Lives On
When Justin Tibbs, a local saxophonist and composer, was a teenager in the 2000s his mom snuck him into a blues bar where he met local legends Jim Noel, Waymon “Punchy” Atkinson, and Donald Stembridge.
“Growing up, I always had to ask one of the legendary guys, ‘where’s the jam session at?’, and it would be in some church somewhere. We would go there and play tunes and watch ‘em all play. I didn’t know how big they were,” Tibbs said of his early experiences. This exposure led Tibbs to enroll in The University of Akron in 2006, later joining the Jazz Studies program.
The University of Akron Jazz Ensemble has a direct link to Howard Street. It began in 1978, under the direction of Roland Paolucci, a jazz pianist who played on Howard Street in the late 1950s and early 1960s. He led the program for 22 years before Jack Schantz, a UA graduate and jazz trumpeter, took over for the next 20 years.
The program continues today, co-chaired by Theron Brown, a jazz pianist and two-time UA graduate. Brown moved from Zanesville, Ohio in 2005, unaware of Akron’s jazz history and Howard Street until about 2009, “That’s when I just heard of the names like Punchy Atkinson and Jimmy Noel.”
Brown was part of a Howard Street tribute concert in 2019 at BLU Jazz+, one of Akron’s premier live jazz venues. He played with 91-year-old Jimmy Noel for the first time, only months before his death. Brown reflected, “That’s when I really woke up… There is literally nobody else that can tell the story. We need to go out and find out … there’s a spirit in the air for this music, there’s a vibe, you can call it whatever you want.”
It was similar for Tibbs, who grew up in Akron, “I would talk with them, and they would tell me stories… And I wish I would have had an iPhone at that time to record everything because it’s gone to history… It’s sad that history is gone, but I feel like I’m a part of it in a way because I know their story.”
Jazz for the Future
This sentiment has been shared in recent years as more attention than ever is being paid to this era of history. In 2016, Brown started the Rubber City Jazz and Blues Festival to celebrate Akron’s musical legacy. Now in its ninth year, it has grown into a cultural festival featuring dance, performance art, digital art, and a celebration of Black musical traditions.
Students at The University of Akron are now further documenting this history with the Green Book Cleveland Project, started by Mark Souther of Cleveland State University with the Cuyahoga Valley National Park in 2021. The restorative history project is rooted in the “Negro Motorist Greenbook” published between 1936 and 1966 for Black travelers and documents the entertainment, leisure, and recreation sites available at the time.
In addition to his Jazz Studies courses, Brown recently co-taught a project-based class with Dr. Hillary Nunn, called “Round Howard Street: Telling the Story of Akron Jazz” in which students studied jazz culture in connection with the City of Akron to bring about a fuller understanding of its Black History.
Both Brown and Tibbs credit The University of Akron for fostering an environment for young musicians to meet and play together. “I wouldn’t know any of my buddies that play if it wasn’t for that. It centralized the community in a space even though Howard [Street] didn’t exist,” Brown said. Tibbs similarly reflected, “It’s a whole new generation of musicians… that play original music”. Brown and Tibbs are just two of many musicians playing in the area, all of whom will tell you that Akron still has a unique sound.
Rose Vance-Grom wrote this story for Arts Midwest.
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By Kate Mothes for Arts Midwest.
Broadcast version by Kathleen Shannon for Greater Dakota News Service reporting for the Arts Midwest-Public News Service Collaboration
On the five-acre campus of the Cheyenne River Youth Project (CRYP), a unique, community-wide graffiti art event—the first and only in Indian Country—aims for more than just the walls. Located in Eagle Butte, South Dakota, on the Cheyenne River Reservation (one of nine Native Nations in the state), the organization has focused on providing youth with opportunities to get creative, develop healthy habits, work together, and learn new skills since its inception in 1988.
Executive Director Julie Garreau, who has been with CRYP since the beginning, is no stranger to balancing numerous aspects of the program. On the day Garreau spoke to me from her office, she and the CRYP team were preparing to welcome artists from around the nation—and this year, New Zealand—to kick off the tenth annual RedCan Graffiti Jam.
Far more than just an art showcase, RedCan promotes collaboration and community initiatives through pairing artists with teen interns of a CRYP Lakota Art Fellow. “CRYP created the Lakota Art Fellowship in 2019 so it could provide opportunities for teens on the Cheyenne River Sioux Reservation who have an interest in pursuing careers in the arts, and who have completed multiple internships through the nonprofit youth project’s dedicated art institute,” says communications director Heather Steinberger.
An Evolving Event
Garreau remembers RedCan as “a risky kind of project to initiate, but I feel like with CRYP we really understand kids, and you’ve got to take some risks sometimes to keep them interested and motivated and you have to do things very differently.”
Starting with the evening they arrive, the artists enjoy a traditional Lakota meal of buffalo soup, wojapi (a berry sauce), and fry bread. The four-day event, which includes performances, skateboard painting, music, and community meals, serves to not only engage but keep kids’ attention while celebrating Lakota identity and culture.
This year, buildings in the mural lineup included the animal shelter, veterans building, radio station, and food pantry. Garreau takes time to discuss with the artists what the buildings are used for and their history within the community. Murals are also installed in the Waniyetu Wowapi Art Park, an open-air space where a series of wooden panels, shipping containers, and walls host constantly revolving graffiti compositions.
Returning artists include, among many others: East, an artist of Cherokee descent from Denver; CYFI, a Yaqui and Azteca artist from Minneapolis; and Natasha Martinez, a.k.a. Rezmo, a Diné and Mexicá artist currently living in the Salt River Pima-Maricopa Indian Community in Arizona. New to the event this year are Māori artists Phat1 and Lady Diva, from Aotearoa (New Zealand); Midwestern artist Brady Scott; and Kansas-born Ponca artist Amp.
Celebrating Connections
Rezmo had just arrived in Eagle Butte when in an email she wrote, “What I look forward to the most this year is painting in the community and making connections with the community members that come out and talk to us throughout the week.” At home in Arizona, she works in youth services and teaches art to kids ranging from pre-K age to teens, so partnering up with interns and young artists at RedCan sparks her energy. “It makes me happy to teach them and share what I know,” she says.
Garreau relates a story she heard from artist Hoka Skenandore, a Lakota artist who painted a mural spelling “Lakota” in both the Lakota language and in sign language, depicting each letter in hands of varying skin tones. “He said, this little boy came up to him and was watching him for a while,” Garreau shares. “Then the little boy went up to the mural and put his hand on the wall. And he said, ‘Huh, just like me.’ That’s the other part of this, right? Seeing yourself in these spaces and knowing that you are part of this, you know that this is for you—for us.”
Kate Mothes wrote this story for Arts Midwest.
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By Randiah Camille Green for Arts Midwest.
Broadcast version by Chrystal Blair for Michigan News Connection reporting for the Arts Midwest-Public News Service Collaboration
A waft of what smells like fresh cut grass and burnt oil hangs in the air of Detroit's East Canfield neighborhood. The eerie smell comes from the nearby Stellantis Mack Assembly Plant, which has received repeated air quality violations for paint and solvent odors over the last several years. In March, Stellantis agreed to pay a $84,420 fine from the Michigan Department of Environment, Great Lakes, and Energy (EGLE) for air quality violations for one of its plants in the same neighborhood. This neighborhood has one of the highest rates of asthma hospitalization of children under 18.
Despite its foreboding presence, residents like sisters Kim and Rhonda Theus are finding intentional ways to erect beauty. They run the nonprofit Canfield Consortium, which repurposes vacant lots for things like community gardens and public art. They're even renovating a former corner store into a coffee shop and art gallery, and carving out a future bike path.
Honoring Place and People
Their latest project is the Detroit Remediation Forest, a forest bathing installation located in the East Canfield Art Park that they hope will help mitigate air pollution from the Stellantis complex. The forest is anchored by a gold sculpture called "New Forest, Ancient Thrones" by New York-based artist and activist Jordan Weber. The piece has an air quality monitor that tells residents the particulate matter levels in the air.
It's shaped like two crowns, as an ode to Queen Idia of Benin (modern-day Nigeria) and Queen Ranavalona III of Madagascar who fought colonization. The crowns also honor Kim and Rhonda as modern-day queens.
"It's a strong symbolic representation of the African diasporic experience and the trauma that's in the land in both Africa and the U.S.," Weber said. "There's the 2008 housing crisis where you see what happened to the legacy of Black homeownership in Detroit, for example. Queen Ranavalona was exiled from Madagascar and forced to live in Europe for the remainder of her life, and that's no different to me than us being displaced in our communities where we have [generations] of families who literally sweat and bled to get that land."
Weber's sculpture was unveiled to the public in May. A second phase of the forest installation will include planting air-purifying conifers like white pine and fir in partnership with the Greening of Detroit, and installing an elevated walkway. It will also host outdoor programming for the Barack Obama Leadership Academy across the street.
"New Forest, Ancient Thrones," is the newest addition to the East Canfield Art Park, which the Theus sisters opened in 2021 on a vacant corner. Kim and Rhonda wanted to leverage the power of art to spark conversations on environmental issues, gentrification, and Black representation.
The first art piece in the park was a bronze sculpture by Detroit sculptor Austen Brantley called "Boy Holds Flower." In that piece, a young Black boy sits cross legged as he gazes in admiration at a flower he's just picked. It's important for the children attending the Barack Obama Leadership Academy to have this image of joyful Black boyhood. The park also includes a "Hood Closed to Gentrifiers" sign by artist Bryce Detroit.
Guided by Purpose and Legacy
Kim and Rhonda remember when the neighborhood was a bustling, Black middle class area - before the Stellantis plant expanded its footprint and displaced their neighbors and before Detroit's foreclosure crisis caused families to lose their homes.
"There was a middle school that we went to, a [recreation] center, playgrounds, and all those things are gone," said Kim "People who are building families won't move to a neighborhood where they don't have those types of amenities, so a lot of the work that we're doing at Canfield Consortium is addressing things like that."
Weber was selected as an artist-in-residence by Sidewalk Detroit, a place-keeping organization championing public art and urban greenspace. Sidewalk Detroit Director and Founder Ryan Myers-Johnson said that during planning meetings, East Canfield residents stressed that any art brought to their neighborhood should address issues they are facing instead of beautification.
"We started to really understand the problem with Stellantis and the air quality issues and how [the plant] is touted as bringing in jobs and not something that is actually destroying health and the fabric of this neighborhood," Myers-Johnson said. "So, we needed somebody rooted in understanding spatial trauma and environmental justice issues."
Reclaiming their neighborhood is Kim and Rhonda's way of preserving the legacy of families like theirs who moved to Detroit to escape the Jim Crow South.
"Our parents were born and raised in Tennessee ... The only jobs they could get there were either domestic work or sharecropping. They wanted to buy a home and build a family, so they left everything they knew in Tennessee to move to Detroit and bought a house in East Canfield Village," Rhonda said. "The majority of people that live here come from the same situation... so these houses have a powerful legacy."
Randiah Camille Green wrote this story for Arts Midwest.
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