Tag Archives: innovation

Some condemn immigrants; many benefit from them

28 Nov

dim-sum-garden2

As a twist to what is current, I’m writing positively about immigrants.

 

Whether we acknowledge it or not, newcomers have always played a role in improving American’s special brand of capitalism. A recent innovation I stumbled upon involved food, a truck and a series of parking lots around the Philadelphia suburbs.

 

The participating entrepreneurs are Chinese and the heart of the operation is

a Chinese app called We Chat. This single app, available in English and Chinese, is something like Facebook but has been built out so it is many apps in one. It is used by millions of Chinese people around the world to do things for which Americans use multiple apps. Now it is being used to find and organizing markets for products.

 

Business people from Philadelphia’s Chinatown section use it to sell food products to people in the suburbs who might not want to drive into Chinatown. There are a number of groups doing this.  I’m not sure how many, but I know one sells just mushrooms, one vegetables, and one food from Xian province.

 

The seller I did business with was selling frozen dim sum products. They buy from wholesalers and sell in bulk, mostly on the weekends.

 

As the weekend approaches, We Chat is used to tell buyers what products are available in the upcoming delivery. Most important, they are informed of the the times the food truck will arrive and depart from each parking lot on the delivery circuit.

 

The customer orders using a phone and is given an order number.

 

The closest stop to my house is about 20 minutes away, and the truck would be there Sunday from 10:20 a.m. to 10:50 a.m. It’s a small window because the truck has to move on to the next lot and new customers, like a bus on a schedule. I arrived around 10:15, and saw an unmarked truck at the far end of the lot, away from a large shopping center. That was it.

 

The back of the truck was open and loaded with boxes labeled with numbers. There was a man inside.

 

On the ground was a woman with a clipboard.

 

“I’m number 56,” I told her.

 

shanghai-house-xiao-long-bao

I had ordered two 5-pound bags of something called Shanghai Xioa Rong Boa. In English they are called soup dumplings. These dumpling have become a big hit in several newer restaurants in Chinatown.

 

Not long ago, Chinatown in Philadelphia was a tired, weary, unexciting place. The restaurants were dirty and the menus hadn’t changed in years. Most, I believe, were owned by long-established Cantonese. Now, after a whole different wave of Chinese immigration, there is a new breed of entrepreneurs in Chinatown. They have opened stylish eateries with fresh, fun, unusual offerings. Some are inexpensive and have attracted large numbers of urban hipsters.

 

As a result of this renaissance, soup dumplings are found all over Chinatown. They come in several varieties. To properly enjoy them, you have to master the technique of eating them.

 

The soup dumpling exterior skin is made from dough. Inside is the filling, usually meat and soup. If you eat them wrong, you risk scolding your tongue on the hot soup, or exploding the dumpling and having soup cascade onto the table and your clothes.

 

One way to eat them is to use a Chinse soup spoon. Put the dumpling on the spoon and take a small, gentle bite of the skin. Let some of the hot soup leak out onto the spoon, where it can cool. In addition to cooling, this releases the pressure and prevents an explosion. Sip the cooled soup then, after a moment, bite fully into the dumpling or put the whole thing in your mouth.

 

At Dim Sum Garden on Race Street you can get an order of eight pork soup dumplings for $6.25. These are fresh, not frozen. You can even watch them being made. At the truck, a bag of 100 frozen dumplings is $20.

 

“Only two bags?” the woman outside the truck asked.

 

“Yes, just two.”

 

The man inside put my order in a plastic bag. From the looks of things, all the other orders were in larger boxes.

 

“And, I heard you get a free drink,” I said.

 

The man in the truck put a can of Sacred Lotus Leaf Herbal Tea in my bag. As required, I paid in cash.

 

The tea was from Fujian province in China but the frozen dumplings came from a factory in the Maspeth section of Queens, right near Brooklyn. The commercial neighborhood was established in the 17th century by Dutch and English settlers. I guess immigrants continue to operate strongly there. In fact, Queens – the home of President-elect Donald Trump – may be the most diverse town in all of America, maybe the planet.

queens

“There are 1 million immigrants and a mix that is perhaps unprecedented in this borough’s history,” said Joseph Salvo,  a demographer with the city Planning Department.

 

He said the population is almost equally divided among Asian and Hispanic groups from countries such as China, Guyana, Ecuador, Colombia, the Dominican Republic, India and Korea.

 

Either way, someone there in Maspeth was working a job that helped bring soup dumplings to my table, and people closer to my home have come up with a great and inventive alternative to food shopping in the city.

 

The whole thing seems pretty good, and my thanks go out to the immigrants – or sons and daughters of immigrants – whose hard work and clever approach made it happen. They were attracted to the U.S. because of our system. They learned it, and grew it, and allowed many to benefit from it.

 

Bon appetit! Or maybe I should say, hen hao chi!

 

Lanny Morgnanesi

 

 

 

 

 

 

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Danger – I’m talking about race (but also art)

26 Mar

cab calloway-2

I sat down to write about creativity but will begin with race. I’ll get to creativity later.

Normally, race is a subject best avoided. Even good-intentioned statements can offend. I don’t mind offending, as long as I offend everyone. When I discuss race, I generally keep these three precepts in mind:

  • All people are basically the same.
  • Even so, likes prefer likes.
  • Whether acknowledged or not, every group thinks it is better than the other.

I’m told that, historically, each tribe of Native Americans referred to themselves as “the human beings” or “the people,” while the names they gave other tribes were epithets describing creatures who were less than human.

That’s us! Is it not?

Dividing us by race and setting us against each other seems like a cruel thing for the Creator to do, but I guess there was a reason for it. Giving us the capacity to enslave others, however, is too harsh to even remotely understand. That capacity is what rightfully gives racial issues their hypersensitivity.

I can wish everyone wasn’t so sensitive, but there is too much working against it.

While smart people don’t discuss race, I have to admire those who do. One is Bob Huber, a writer for Philadelphia Magazine. In the March edition of the magazine, he wrote a piece called, “Being White in Philly.”  In it he tells stories of race from a white perspective.

“Everyone might have a race story, but few whites risk the third-rail danger of speaking publicly about race, given the long, troubled history of race relations in this country and even more so in this city,” he wrote. “Race is only talked about in a sanitized form, when it’s talked about at all, with actual thoughts and feelings buried, which only ups the ante.”

So let’s talk!Philly Mag

After Huber’s article, many did. This was his intention. There were a number of public forums around town and the online version of the article – as of March 25 – had 6,292 comments.

The article, among other things, mentions how whites, upon entering a local convenience store, hold open the door longer for blacks than for whites in order not to offend them. Later, Huber quotes a Russian woman who thinks blacks do nothing but sit on their front porches smoking marijuana. It’s that kind of material.

In response, the only full-time African-American employee at Philadelphia Magazine wrote a counter piece for the Philadelphia Inquirer. She described her coworker’s message as: “black people are essentially what’s wrong with the city and that white people who live here are afraid of them.”

My test of the article’s validity is not its truthfulness but its honesty. Fair or unfair, right or wrong, the piece accurately describes how some white people feel. It would be dishonest to argue they don’t feel that way. Whether or not they accurately portray blacks is a totally different issue

I think it is good to know how people feel. I want to know how people feel about me, even when they don’t like me. My natural assumption is many will not like me, or at least think I am less that I am, certainly less than they are.

In the extreme, this may anger me, but I can live with it.

I understand that others may not, cannot and will not.

But that’s not why I’m writing. I’m writing about creativity. Mainly, I want to know if one race is more apt to be creative than another – specifically whether minorities are more willing and more capable than the majority in advancing art.

In the past I’ve had thoughts on this. They resurfaced recently when I heard a radio interview with a black record producer. By his own admission, this producer is not your normal black record producer. In order to set up a story about his style of producing, he told the show’s host that black artists create something then quickly leave it behind to create the next thing. White people, he said, go back and revisit what already has been created.

Then, in a twist, he said, “I’m that white guy.”

Twist aside, I saw truth in his stereotype, especially in the progress of music. By the time white bands, for example, took up the blues, black artists had left it way behind.

Shortly after this interview, PBS aired an American Masters episode called, “The Blues Brothers Band Remembers Cab Calloway.” The Blues Brothers movie, of course, clearly depicts the tendency for whites to revisit the old. More interesting was a specific story in the documentary about the legendary Cab Calloway.

John Landis, the movie’s director (white), told how he wanted Calloway (black) to sing his 1931 classic  “Minnie the Moocher” in the movie and to do it in the original style. When Calloway saw the music charts, he expressed disgust and said something like, “What the hell is this?”

He could not comprehend why anyone would want to put a near ancient rendition into a contemporary movie. Landis eventually talked him into it, but it was completely foreign to Calloway.

I was amazed at how closely this little story paralleled what the black record producer had said. The record producer might not fit the stereotype, but Cab sure did. I wondered just how deep this pattern went, or even if it were true (Little Anthony and the Imperials, after all, still perform their hits.)

One of the shockingly bad things about art in any form is that it so often is a copy of something done by an innovator. I believe it was Paul Gauguin (not a minority but definitely off the path) who suggested that there are only two kinds of artists: plagiarists and revolutionaries. It could be said that the plagiarists have a stake in the status quo while the revolutionaries want to destroy it.

Could this be the case with the white-black creative dichotomy described by the record producer and illustrated by Cab Calloway?

While few want to discuss race, I’d like to hear from people on this. Let’s forget about Philly Mag and the suppressed hostilities of whites for a while and talk about whether muses favor those who have been pushed outside the mainstream. What drives a person to originality and risk when so many others are content to stay stuck on what’s popular?

Is white innovation a rarity? Surely there are white revolutionaries. In a pinch I could name 10. (Pollock yes; Presley no.) Do white innovators have to try harder, or must they – unlike blacks – possess a genetic mutation or be social misfits?

I can’t speak first hand to this. I’m hoping others can. Please write.

By Lanny Morgnanesi

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