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Summer Moscow Mule Recipe: Wild Raspberry & Watermelon Featuring the Kamojo Moscow Mule Copper Flutes Set

August 19, 2017 · Leave a Comment

Looking for the perfect drink for an end of summer party or festive occasion? There are always the quintessential classics, but it’s fun to customize some drinks with a new, signature twist. Summer is filled with such luscious fruits, the perfect opportunity to change up some of our favorites! One drink that’s especially adaptable is the Moscow Mule. You only need a few key elements for a successful Moscow Mule, and the rest of the ingredients allow for creativity and customization. Our current Moscow Mule obsession? Raspberry Watermelon Moscow Mules! See our recipe below.

The inspiration for this summer drink comes from two things: the wild raspberries are out in full force the garden this time of year, and we want an excuse to use our new pure copper Kamojo Moscow Mule Copper Flutes Set

Serve an end-of-summer Moscow Mule in these Kamojo Copper Champagne Flutes

WHY A PURE COPPER DRINKING VESSEL IS IMPORTANT FOR MOSCOW MULES

While you can serve a Moscow Mule in just about any kind of glass, copper is preferable. I prefer the Kamojo Moscow Mules because the pure copper has a tarnish resistant coating, so they stay beautiful and shiny without having to polish them, making them easy to clean. We previously touted what we love about the classic mug style Kamojo Moscow Mules in a beginning of summer Moscow Mule recipe, Kamojo also makes a copper champagne flute set for a festive, more formal, or celebratory event.

Kamojo Moscow Mule Copper Flute

I also like the pretty hammered pure copper with its’ tarnish-resistant high-shine and the beautiful shape, it adds something to the overall visual appeal of the drink and looks so distinctive!

The beautiful hammered copper pattern

The hammered copper of the Kamojo Champagne Flutes looks beautiful in many festive occasion tablescape color palettes

What’s a good type of drink to serve in a copper champagne flute? As a rule: if it’s bubbly or fizzy – copper kicks that carbonated or bubbly action it up a notch: any seltzer, soda, beer and of course, champagne or prosecco. Also, if it’s a drink best served cold, copper is your best bet.

The reason for this is copper does two things: it quickly makes cold ingredients colder, and bubbly ingredients bubblier. That’s why a copper vessel is a key to a good Moscow Mule, especially for a summertime drink.

Pure copper immediately chills the drink and keeps it cold on contact

Copper also enhances the flavor of some ingredients, enhancing the crisp, citrus and sour notes of go-to ingredients like ginger, lime, and cucumbers.

The pure copper in the Kamojo Moscow Mule Copper Flutes Set enhances the flavors of mint, berries, lime, and ginger and even makes vodka taste better

INGREDIENT CHOICES

A key ingredient to a Moscow Mule is ginger beer. Ginger adds the kick to the mule and is generally obtained from ginger beer or in a pinch, a quality brewed ginger ale. The ginger ale is sweeter, the ginger beer is tarter and for some, might need the addition of simple syrup. I also like to add a thin slice of fresh ginger as part of a garnish or muddled at the bottom of the drinking vessel, or if you prefer your drinks a bit sweeter, a ginger simple syrup can be used.

Copper enhances the taste of fresh ginger and ginger beers and ginger ales

FRUITY INCLUSION OPTIONS

Lime and ginger are the core classics of the mule, and plenty of fruits taste great with both of them.

Copper enhances the lime and berries taste and increases carbonation of ginger beers and ales

Store bought and wild raspberries are abundant and delicious this time of year.

Reed’s brews both a gluten-free ginger beer and ginger ales with real cane sugar and they are pretty good in mules. Their raspberry ginger ale has all the kick and fizzy features of a ginger beer.  Raspberry Ginger Beer or Ale  makes sense in a mule, as so many of the ingredients in a Moscow Mule taste great with raspberries: raspberry and lime, raspberry and mint, raspberry and ginger. But it still needs something to make it more summer, and a bit juicer and sweeter: like watermelon!

Ice cold Ginger Beer or Ale blends well with summer fruits and vodka

Raspberry Ginger Ale or Beer brews taste great in a fruity Moscow Mule when paired with fresh berries, mint, and lime

But lots of fruit combinations work: blackberries, lime, plum or pear and cantaloupe is a delicious alternative option, the cantaloupe and plum sweetly temper the ginger and the blackberries add a nice sweet but tart note. Or another option that goes surprisingly well with the ginger is lemon and fig!

Cantaloupe mellows the sharp ginger and citrus notes, mint and blackberries add a subtle sweet taste to the blend

Substitute cantaloupe juice for watermelon juice in the recipe below, and pair it with blackberries

Cantaloupe and blackberries paired with lime, mint and ginger taste wonderful in a copper flute

Summer fruits peak Ginger Beers and Ales and contrast nicely with the citrus flavor of the lime. Any berry works wonderfully to add some flavor to this traditional drink

THE STYLE CHICKS WILD RASPBERRY MELON END OF SUMMER MOSCOW MULE RECIPE

Just in time for your final farewell end-of summer soirees, summer picnics, a signature drink for summer weddings and celebrations, and for your end of summer blowouts.

Ready to make a summer fruit Moscow Mule?

INGREDIENTS:

• crushed or soft ice (see recipe below)
• Wild or purchased raspberries (or blackberries if preferred)
• mint sprigs
• 2 ounces vodka
• 4 ounces of ginger beer or tart ginger ale (we chose Reed’s Brewed Raspberry Ginger Ale and skipped the simple syrup)
• 3/4 ounce freshly squeezed lime juice
• fresh ginger (optional)
• 1/4 ounce simple syrup (optional)

Summer watermelon, fresh ginger, lime, combined with raspberries and mint fresh from the garden make for tasty combination

• Juice the limes. Set aside remaining lime slices for garnishing.
• Make watermelon juice. Put watermelon chunks in a blender, discard pulp if desired, pour the juice into a jar or glass, put aside.
• Muddle together a few raspberries, and lightly press a mint leaf and a thin slice of ginger (if desired). Pour the resulting mix into the copper mule.
• Add the lime juice over the muddled mix.
• Fill mule champagne with crushed or slushie ice, over the muddled mix. Halfway through adding ice, I like to toss in a few more berries and then another squeeze of the lime to fully infuse the drink.
• Add the vodka
• Add the melon juice
• Add the ginger beer
• Add simple syrup if desired for sweetness
• Garnish with plenty of fresh mint sprigs, berries, lime or even a small watermelon wedge if desired!

Garnish with plenty of mint sprigs!

Close-up aerial view of the raspberries, mint and lime garnish in a Raspberry Melon Moscow Mule served in a Kamojo Moscow Mule Copper Flute

ALTERNATIVES

• Some may prefer a “neater” approach to mix the lime juice, vodka, melon juice, and in a shaker with the spent limes and giving the mix a good shake, then pour that shaker mix through a strainer into the ice filled mule glass, and then add the ginger beer to the mule.
• Adjust measurements to taste, some extra lime particularly enhances the berries and watermelon!

Extra lime enhances the berry and watermelon flavors, we added a halved lime to each mule

Notice reference to soft ice above. Soft ice is not as hard as ice cubes, but harder than slushie ice. It is often served at Drive-In type restaurants, which remind me of the summers of my youth.

Due to the lovely flute shape of the Kamojo Moscow Mule Copper Flutes Set, you may prefer crushed or soft ice. It is easy to make yourself at home with a big bottle of carbonated water like seltzer water.

Fill smaller to medium-size ice-cube trays with the seltzer, let them set a few hours. Right before using them, give them one or two hard whacks to break them up a bit. While soft ice tends to melt quickly in a regular drink, the copper mules keep them suspended in soft ice form for much longer without melting.

The Wild Raspberry Melon Moscow Mule in the Kamojo Moscow Mule Copper Flute

So many events and milestones are worth celebrating, engagements, promotions, graduations, weddings, just to name a few. Champagne is often the go-to libation for celebrating, but it is fun to change it up a bit with a mule themed drink, and it still feels festive and celebratory when served in Kamojo Moscow Mule Copper Flutes Set.

A traditional bakery not far from the Yale University Campus, we get all our special occasion cakes here! From now on, any event or celebration worthy of a bakery cake qualifies as an excuse to use the Kamajo Copper Champagne Flutes

Kamajo Copper Champagne Flutes are ideal as wedding flutes for the bride and groom or even the entire bridal party, or to serve appetizers such as shrimp cocktail.

Summer fruit-filled Kamojo Copper Moscow Mules Champagne Flutes: Icy cold, satisfying, festive, and definitively summer!

WHERE TO BUY

Find the Kamojo Moscow Mule Copper Flutes Set at  https://www.amazon.com/dp/B01M0LN1YQ/

Find the Kamojo Pure Copper Mug Set (seen below and featured here ) at  https://www.amazon.com/dp/B06X8YPS1H

Kamojo Copper Mugs

Style Chicks received the Kamojo Moscow Mule Copper Flutes Set in exchange for our unbiased review. However, our experience with the product and the opinions expressed in this review are 100% ours.

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Marc Chagall and Jewish Theater, Part One

by Jeanne Willette | Nov 11, 2016 | Modern , Modern Art

Marc Chagall in Moscow

The murals for the jewish theater.

To the end of his life, Marc Chagall remained circumspect about his ouster from the People’s Art School in Vitebsk. And the coup against the artist was no small event. Chagall had been appointed by none other than the People’s Commissariat of Enlightenment, Anatoly Lunacharsky (1875-1933), an old friend from their days in Paris, living in the artists’ building, known as La Ruche. Moe than the friendly connection with the new government, there was the symbolic gesture of Lunacharsky appointing a Jewish head of an art school for the people, indicating the end of the Pale of the Settlement, or the erasure of the line that had kept Jews cordoned off and separated from non-Jewish Russians since 1791. Under Catherine the Great and Alexander II, areas beyond the original borders of Russia had been annexed, especially Poland, which continued a large number of Jews. The “Pale of the Settlement,” a phase coined by Nicholas I, scooped up, so to speak, much of this new population, which was subject to restrictions on their movements. For the most part, these restrictions were to eliminate economic competition from Jews and the travel restrictions were based upon a policy of restricting the comings and goings of Russians in general. After centuries, suddenly, in 1917, all Russians were equal, opening unimaginable vistas for Jews who were filled with hope for the future. Therefore, to remove a friend of Lunacharsky and a Jewish artist over aesthetic differences could have been a dangerous move for Chagall’s “enemies,” Kazimir Malevich and El Lissitzky. But, Chagall, embittered, removed himself from the unpleasant situation and left Vitebsk for Moscow and a new project. Writing sadly about these difficult days, the artist later wrote sadly,

I would not be surprised if, after such a long absence, my town effaced all traces of me and would no longer remember him who, laying down his own brush, tormented himself, suffered and gave himself the trouble of implanting Art there, who dreamed of transforming the ordinary houses into museum and the ordinary habitants into creative people. And I understood then that no man is a prophet in his own country. I left for Moscow.”

Marc Chagall. The Fiddler (1912)

Chagall walked into a pause in the historical Russian penchant for anti-Semitism. For the Russians, the war had just ended but during the Great War, local prejudices against Jews ran high. Over six hundred thousand Jews were ousted from their homes by the army and the historical pograms led by Cossacks increased–all because Jews were being scapegoated and blamed for the military’s difficulties with the Germans.  But after the War, the government policy towards Jews changed abruptly. The significance of the sudden surge or influx of Jewish culture into the mainstream of Russian society rests upon political changes that went beyond the Revolution itself. When one looks at a list of prominent Bolshevik leaders of the October Revolution, it become clear that the majority were Jewish. According to Mark Weber’s article “The Jewish Role in the Bolshevik Revolution and Russia’s Early Soviet Regime,”

With the notable exception of Lenin (Vladimir Ulyanov), most of the leading Communists who took control of Russia in 1917-20 were Jews. Leon Trotsky (Lev Bronstein) headed the Red Army and, for a time, was chief of Soviet foreign affairs. Yakov Sverdlov (Solomon) was both the Bolshevik party’s executive secretary and — as chairman of the Central Executive Committee — head of the Soviet government. Grigori Zinoviev (Radomyslsky) headed the Communist International (Comintern), the central agency for spreading revolution in foreign countries. Other prominent Jews included press commissar Karl Radek (Sobelsohn), foreign affairs commissar Maxim Litvinov (Wallach), Lev Kamenev (Rosenfeld) and Moisei Uritsky. Lenin himself was of mostly Russian and Kalmuck ancestry, but he was also one-quarter Jewish. His maternal grandfather, Israel (Alexander) Blank, was a Ukrainian Jew who was later baptized into the Russian Orthodox Church. A thorough-going internationalist, Lenin viewed ethnic or cultural loyalties with contempt. He had little regard for his own countrymen. “An intelligent Russian,” he once remarked, “is almost always a Jew or someone with Jewish blood in his veins.”

According to Weber, over time, when anti-Semitism inevitably returned to this land of the pograms, this early history of active Jewish participation in the Revolution was obscured. But at the time, outside observers such as Winston Churchill were well aware of the role played by Jewish revolutionary leaders. “With the notable exception of Lenin, the majority of the leading figures are Jews. Moreover, the principal inspiration and driving power comes from the Jewish leaders. Thus Tchitcherin, a pure Russian, is eclipsed by his nominal subordinate, Litvinoff, and the influence of Russians like Bukharin or Lunacharski cannot be compared with the power of Trotsky, or of Zinovieff, the Dictator of the Red Citadel (Petrograd), or of Krassin or Radek — all Jews,” Churchill said–and his observations were not necessarily positive.

The most famous member of the inner circle was  Leon Trotsky, targeted by an anti-Semitic cartoon from the White Army

This connection between Jews and Communism or leftism or revolutions was made by others, thus linking Bolshevikism with the Jews, with what would be tragic consequences. Rival factions in the Soviet Union were resentful of the sudden favoritism, and perhaps most unexpectedly, the ranks of the secret police were filled with Jews, also certain to former more discontent. However, in 1920, when Marc Chagall arrived in Moscow, he was part of a vanguard that would attempt to knit the Yiddish culture into Russia, an empire that once kept Jews within the Pale. Once the Jews became full citizens and were granted their rights as citizens of the Provisional Government, the explosion of Jewish culture was immediate. As  Jewish Renaissance in the Russian Revolution , written by  Kenneth B. Moss, explained,

Most Jews in Russia and Ukraine no doubt spent the years of the Revolution and Civil War merely struggling to survive, like most of their countrymen. But a disproportionately large minority participated in Revolutionary Russia’s  tumultuous political life.Most famously, many played important roles across the spectrum of Russian radical and liberal politics..Yet for a significant cohort of intellectuals, writers, artists, patrons, publicists, teachers, activists embedded in this national intelligentsia, February also bore a second imperative..some o Russian Jewelry’s most talented men and women also threw themselves into efforts of unprecedented scale and intensity to crate what they called a “new Jewish culture.”Between February 1917 and the consolidation of Bolshevik power in 1919-1920, European Russia and Ukraine became the sites of the most ambitious programs of Jewish cultural  formation that Eastern Europe had yet seen or indeed would see again.

This Yiddish culture that Chagall would animate and illustrate in the Moscow theater, the Yiddish Chamber Theater, was a folk, rather than an elite, culture. Based upon a distinctive language, Yiddish, that emerged around 1000 CE, emanating from the Ashkenazic Jews or the Jews of Central and Eastern Europe, clustered in large numbers in the Russian Empire by the beginning of the twentieth century. This hybrid language, a mixture of Medieval German and Hebrew, was used exclusively by the Jews of this part of Europe. Jews from the Western nations, such as Germany, could understand smatterings of this very old language but, for Gentiles, the words would be impossible to comprehend. This point is important because the Jewish Theater, moved from Petrograd to Moscow by Lunacharsky, was intended to not just preserve and formalize a part of Russian society, previously excluded, the productions also had to be integrated and assimilated by a non-Jewish audience. For this audience, the task of interpretation was made easier by the fact that the performances were pantomime like. Given that the reception of these Yiddish literary creations would be directed to a mixed audience, the images created by Chagall had to the iconic but not stereotypical and instantly recognizable as paradigm figures of Jewish culture.

When the theater was transferred to Moscow, its name changed slightly, and, indeed, would change off and on until it was extinguished in 1949. In Chagall’s time the theater, which was unexpectedly avant-garde and experimental, was called State Yiddish Chamber Theater or GOSEKT. Under the leadership of Alexei Granovsky, the Theater in Petrograd came into being before the Revolution, the presentations were very sophisticated, devoid of kitsch and imbued with the influence of the German theater director and producer, Max Reinhardt (Maximilian Goldmann), an Austrian who worked in Berlin and reformed the naturalism of the turn of the century into a self-conscious total work of art or  Gesamtkunstwerk . As Curt Levient wrote, “Granovsky had trained in Berlin with legendary director Max Reinhardt and developed a vision of theater that melded acting, set design, costumes, lighting, music, dance, movement, and gesture — even silence — into an organic whole.” In his important book on  The Moscow Yiddish Theater: Art on Stage in Time of Revolution , Benjamin Harshav noted that Granovsky was persuaded by theater critic, Abram Efros, to ask the distinguished artist to paint the back drops. The “theater” was actually a confiscated home of a wealthy merchant who had fled the Bolshevik distaste for the moneyed class. The site of the actual performance was small, holding less that a hundred people who were lucky enough to enjoy the remarkable combination of Marc Chagall and Sholem Aleichem, whose play would be the inaugural production.

Recreation of Chagall’s Box: the Back Wall and Frieze

Working with a young group of players, none over the age of twenty-seven, Chagall had a unique opportunity in a nation at a new starting point to reset the conventions for theater, a desire he shared with Granovsky, to drag theater into the twentieth century. More than that, according to the 1993 catalogue from the Guggenheim Museum on the work of Chagall for GOSEKT (or GOSET), “Chagall presented a unique, and uniquely Jewish, approach. Through specifically Jewish visual puns, Yiddish inscriptions, and references to the festivities of Jewish weddings and Purim — a Jewish analogue to carnival in its emphasis on ludicrous masquerades and outrageous intoxication — he posited a distinctive model for the Jewish Theater.”  For this occasion, Chagall produced what would later be called “Chagall’s Box,” murals which bound the theatrical world inhabited by his sets and costumes. The main set piece was a twenty-sux foot mural on the left wall, “Introduction to the Jewish Theater,” that formed the main backdrop for the three one act plays. He also painted four panels, representing the arts, placed between the windows opposite. Leaving no surface untouched, Chagall painted a frieze and the ceiling and then produced a mural called “Love on the Stage” for the back of the “theater.”

The production was so elaborate and the costumes of painted rags and dotted face make up so Chagall specific, Granovsky accepted the unique contribution but did not invite the artist and his complex and expensive schemes and motifs to do another production. And yet, the spell of Chagall lived on and subsequent set designers were impacted by his unbridled imagination that activated a magical Yiddish cast of characters. The artist was inspired by the nineteenth century authors who created Yiddish literature, Sholem Yankev Abramovitsch, who wrote under the nom de plume, Mendele Moykher Sforim, often referred to as “Mendele,” and Yitzhak Leib Peretz, both of whom elevated and incorporated a folk culture into high literature. The writer whose stories were featured in the 1921 production designed by Chagall is perhaps the most famous, Solomon Rabinovitch, who also wrote under a name other than his own, Sholem Aleichem, which is a play on an old Yiddish greeting of “peace be upon you.” On the evening of January 1st of 1921, “Evening of Sholom-Aleihem” presented two one act plays, “Agentn (Agents)” and “Mazltov,” word that needs on translation.

Set for Mazltov

The plays may have been classic Yiddish literature but the action was totally avant-garde , based upon Granovsky’s idea that theater began in silence and a dark room and that the actors emerged in and out of the dream space. The actors were directed or guided, as it were by a “system of dots,” something like pantomime, in which the actors would freeze and pose in place, following “an assembly of dots,” as Abram Efros put it. In other words, theater was de-naturalized and flattened with the actual actors mimicking the painted figures of Chagall, binding the surrounding “Chagall Box” to the audience and to the actors, negating the theatrical stage and turning it into a dark non-space from which characters emerged as if from a canvas, becoming the artist’s creations.

The next post will discuss the famous murals, displayed until 1925 and hidden away for another five decades.

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette and  Art History Unstuffed.    

[email protected]

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• Moscow Mule Mugs

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Old Dutch 2-Pack 20 Oz Hammered Copper "Brass Knuckle" Moscow Mule Mugs with BONUS Shot Glass

Antique Copper, 16 Oz

Barrel Style, 16 Oz

Brass Knuckle, 20 Oz

Flared Lip, 16 Oz

Flat Handle, 16 Oz

Hammered Brass Knuckle, 20 Oz

Hammered, 16 Oz

Hammered, 24 Oz

Smooth, 24 Oz

Soda Fountain Style, 14 Oz

Straight-Sided, 14 Oz

• Solid Copper construction with a hammered finish & "brass knuckle" style handles. 20 oz. Capacity. Built to last with lacquered coating to prevent tarnishing & nickel lining for easy maintenance
• The Copper in a Moscow mule mug is essential because of its temperature conductivity. Chilled beverages in Copper mugs offer a long-lasting cooling sensation
• The two 20 oz. Mugs are designed with "brass knuckle" style handles. Perfect for any Guy (or gal) to make a strong statement. The stylish cast brass handle is also comfortable and easy to grip
• This set of 20 oz. Mugs includes a free bonus 2 oz. Shot glass, made of lacquered and unlined solid Copper. Have an Extra shot of your favorite brand of vodka with the bonus shot glass
• When not in use to serve your favorite Moscow mule recipe, this brilliant set makes for an excellent decor piece at your home or any bar

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Product information

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What better way to serve the timeless Moscow Mule than in an Old Dutch Moscow Mule mug? the Moscow Mule is a classic cocktail usually served in a Copper mug that has been refreshing taste buds since the 1940's. That famous blend of vodka, ginger beer, and Lime juice can be enjoyed, especially so, with our set of two 20 oz. Brass knuckle Moscow Mule mugs with a bonus 2 oz. Solid Copper shot glass. Featuring a hammered finish to please the eye, each 20 oz. Mug is also made of solid Copper, which not only keeps your drink cool, but brings out the flavors of your Mule recipe. Designed with a "brass knuckle" style handle, it's a perfect set for making a strong statement! the stylish cast brass handle is also comfortable and easy to grip. The bonus shot glass is also made of solid Copper with a smooth finish. These items are built to last with Lacquered coating to prevent tarnishing. The 20 oz. Brass knuckle mugs are also lined with nickel for easy maintenance. These items are not intended for dish washer use. Doing so will cause Product discoloration. Hand wash with warm soapy water, and dry thoroughly with a dry cloth. These products are not microwave safe. Look for the "ODI" stamp on the bottom of your mug to guarantee you're drinking out of an original Old Dutch Product.

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