Triple sec. Grand Marnier. The three Cs (curacao, Cointreau, Combier). Whether it's a popular drink such as the Margarita, an underrated oldie such as the Burnt Fuselage, or an original such as my Cancer Killer #1, a lot of recipes call for one of these orange liqueurs. So what are the differences? And why should you care? This article from Tim McKirdy distills (pardon the pun) this liqueur category into some key facts.

So back to the second question ... why should you care? Because the liqueur you use will affect your cocktail. For example, an orange and cognac or brandy hybrid such as Grand Marnier or Gran Gala has a thicker, richer taste. That makes it great for a whiskey based drink such as a Dubliner, but not so much for a vodka based drink such as a Cosmopolitan. Of course, it all depends what you prefer, and what you have in your liquor cabinet.

In the past we compared apples to apples. Now that we've compared oranges to oranges, you'll use your new knowledge to make which cocktail?

Juneteenth commemorates June 19, 1865 (some Americans would write the date as 6/19). On that day enslaved people became legally free in Texas, so slavery became outlawed throughout the United States (permanently banning slavery, the 13th Amendment was ratified later). My close friend Doug asked me to create a Juneteenth cocktail in memory of his late colleague Ray, whom I did not know.

1.5 ounces bourbon
.75 ounces Aperol
.75 ounces glorious grenadine
Juice from 1/4 lemon (.5 ounces)

Combine in a shaker with ice, shake with the excitement you would feel as if you learned you were finally free, and strain into a chilled glass. Strawberry or other red fruit garnish optional.

Think of the Ray's 619 as an enhanced Whiskey Sour. Bourbon is the base because it is legally an American spirit. I used Aperol, which pairs nicely with bourbon in cocktails such as the Paper Plane, for two reasons. First, it is red. So what? Like many Americans, I largely was ignorant about Juneteenth until relatively recently. Among other things, I learned red is a big color for Juneteenth related food and drinks. It symbolizes the blood spilled during slavery, as well as African crops such as hibiscus. Second, Aperol's bittersweet taste fits right in with what the day is all about. Grenadine, which is dark red, brings some sweetness to the Ray's 619, and the lemon juice adds some tartness.

Raise a Ray's 619, and honor what (and who, if you knew the man) it represents.

Can you devote a week to the Sazerac, a liquid national treasure from New Orleans? Of course (and you can drink them year round). Running from June 20 through June 26 this year, Sazerac Cocktail Week is the brainchild of the Sazerac House. Think of the Sazerac House as an approachable, interactive, and really interesting museum about all things Sazerac. How interesting is it? My mother-in-law enjoyed her experience there, and she doesn't drink.

So how am I celebrating Sazerac Cocktail Week (besides the obvious)? By speaking with Matt Ray, the Sazerac House cocktail expert and experience team leader. Displaying his Southern upbringing and his experience as a former teacher, Matt graciously spoke with me and Ms. Cocktail Den about Sazerac topics ranging from historical to technical to personal. Keep reading because I'll ask you the same question I asked Matt at the beginning of the interview.

First, the historical. The past affects the present, and it's no different with the Sazerac. Emphasizing why the Sazerac is important in the American cocktail pantheon (my phrasing), Matt pointed out the Sazerac is an "old, old cocktail," as newspapers mentioned it as far back as the 1830s.  As the Sazerac evolved from its roots of using a cognac base to using a rye base, it became what Matt characterized as the "most lovely expression of an elevated Old Fashioned." Similarly, the profile of a Sazerac drinker evolved over time, in my opinion for the better. Matt hilariously noted Sazerac drinkers used to be "old grumpy white men," then "younger grumpy bartenders." Now people of all ages, races, genders, and occupations are likely to kick back with a Sazerac.

Second, the technical. A Sazerac doesn't require many ingredients, but it "takes a small level of precision to make it." The key word is small. If I can do it, you can do it. Matt astutely compared making Sazeracs to baking cookies - few ingredients, tasty when done right, and many ways to screw them up. What are the most common mistakes according to Matt? Overdoing the absinthe or Herbsaint (a homegrown New Orleans spirit still used today and used when absinthe was illegal), and over-stirring. Surviving the former, Matt described it as "punishment for being drunk at 1:00 a.m. in the French Quarter." For the latter, Matt recommended a quick, soft stir so as not to water down the drink.

Third, the personal. Here's the compound question: where did you have your first Sazerac, and when did you have it? For me and Ms. Cocktail Den, it was the bar at the Dauphine Orleans Hotel in 1999. That began our ongoing love affair with the cocktail. For Matt, it most likely was at Loa, the first craft cocktail bar at which he worked, in an undetermined year (no judgment, as I'm well aware drinking in New Orleans can be antithetical to perfect recall).

In addition to appreciating and spreading the word about the Sazerac, there is another important aspect to the week. Sazerac Cocktail Week benefits Feed the Second Line, a non-profit organization focused on supporting the people who are the culture creators of New Orleans. Some bars and restaurants around the country are running promotions during Sazerac Cocktail Week. If you can't make it to one, this curated playlist provides a great musical background as you sip your Sazerac.

All of this talk about Sazeracs is making me thirsty. Care to have one with me?

Real New Orleans drinkers love a Sazerac, the city's official cocktail and Ms. Cocktail Den's favorite drink. Although the Sazerac's exact birth year is a bit hazy (as are many things if one properly experiences the city), Billy Wilkinson and Vincent Miret created it in the late 1890s at the Sazerac House. Its popularity endures and expands over time.

2 ounces rye
.25 ounces super simple syrup
2 dashes Peychaud's bitters
Teaspoon of absinthe

Coat the inside of a chilled glass with absinthe, discard the remainder, add the other ingredients, and stir with some New Orleans style. Lemon twist garnish optional.

The Sazerac is many things. Weak is not one of them. Some early versions used cognac as the base, but most modern versions use rye. Think of the Sazerac as an absinthe enhanced twist on an Old Fashioned with special bitters. Both the Peychaud's bitters (another New Orleans creation) and absinthe, used in my When Ernest Met Mary, are indispensable parts of the cocktail. You can serve the Sazerac at room temperature. It's also quite good if you stir it with a couple of ice cubes and then remove the cubes before serving (this is how I do it). If you're still in a New Orleans cocktail mood, try my Len Bon Temps Roulé.

Want something assertive, alcohol forward, and utterly magnificent? Then make yourself a Sazerac.

December is a popular time for celebrations. This December I had the honor of designing the cocktail program for a party celebrating the 30th anniversary of the Dulles Triangles, a local LBGTQ+ social group. Dubbed the "Gay-la," the party's theme was a Venetian masked ball. Ms. Cocktail Den and I love Venice, the inspiration for my Venetian Kiss. So what did the stylishly dressed partygoers drink? A creative mix of alcoholic and what I call 3/4 (non-alcoholic) cocktails.

Acqua Alta -- Italian for "high water," this is how the locals refer to the floodwaters that periodically soak the city (Ms. Cocktail Den and I literally got caught in historic flooding in 2019). The drink is a minimally modified Frank Sinatra. Combine 2 ounces vodka, .5 ounces blue curaçao, .5 ounces lemon juice, .25 ounces super simple syrup, and ice. Shake and strain.

Canareggio -- Named for the low key and fun district a little off the tourist path. The cocktail is a non-alcoholic Cosmopolitan. This one has .5 ounces lime juice, .25 ounces cranberry juice, .25 ounces super simple syrup, and ice. Shake and strain, then top with 2 ounces sparkling orange water.

Gondola -- I don't need to explain what a gondola is, do I? Ms. Cocktail Den persuaded a skeptical me to take a gondola ride at sunset, and the experience turned out to be sublime. This non-alcoholic drink has a vague tiki vibe. Combine 2 ounces pineapple juice, .5 ounces lime juice, .5 ounces super simple syrup, 2 dashes Angostura bitters, and ice. Shake and strain.

Grand Canal -- The key waterway snaking past Venice's major landmarks. Add one ounce of dark rum to the Gondola. This was the Gay-la's "secret" drink, meaning you had to ask the bartender for one.

Palazzo -- These former palaces are the stately homes overlooking the Grand Canal and other parts of the city. Who says bubbly drinks need booze? Combine .5 ounces of lemon juice with .5 ounces of grenadine syrup and ice, shake and strain, then top with 2 ounces sparkling apple cider and edible cocktail glitter.

Sprezzatura -- This wonderful Italian word roughly means making something complex and difficult look effortless. Think of an elite athlete or artist doing what they do best. The drink is a renamed Champagne Cocktail. Place a sugar cube at the bottom of a champagne flute, add 2 or 3 dashes of Angostura bitters, then add sparkling wine and edible cocktail glitter.

St. Mark's Square -- The focal point of Venice. If you've only seen one picture of Venice, it probably was of this. I renamed my Flattening Curve here. This one has 1.5 ounces bourbon, 1 ounce Aperol, .25 ounces super simple syrup, 2 dashes Angostura bitters, and ice. Stir and strain.

The Gay-la was a great mix of old friends, new friends, elaborate masks and costumes ... and elegantly simple cocktails. The end result? Fun. To the Dulles Triangles, I say grazie mille for letting the Den be a part of the Gay-la. Cin cin!

Due to a job change, a few people asked if I would create a cocktail with a judicial theme. Ms. Cocktail Den cleverly suggested I create a 50-50 cocktail -- two spirits in equal proportions (and sometimes bitters). Just as a judge balances the competing interests of parties in court, a 50-50 cocktail balances the competing flavors, strengths, and sweetness of its spirits. After deliberating over many different combinations, I ruled in favor of the Scales of Justice.

1.5 ounces clear rum
1.5 ounces Averna
2 dashes orange bitters (optional)

Combine in a mixing glass with ice, stir with authoritative and knowledgeable precision, and strain into a chilled glass. Orange peel or amarena cherry garnish optional.

Rum gives the Scales of Justice some strength and a hint of sweetness. Averna, an amaro used in other drinks such as the Pura Vida and the Sicilian Manhattan, adds complex and rich flavors. If the combination of rum and Averna intrigues you, try a Drop Seed. So why add bitters? When a judge rules, usually someone is bitter about the result. In the Scales of Justice orange bitters nicely complement the Averna, and as we see in drinks such as the classic Daiquiri and my When Ernest Met Mary, citrus and rum go well together.

Have a Scales of Justice, and answer this question: what's your verdict?

Art can be words on a page, images on a screen, liquids in a glass. Ernest Hemingway was a famous author (and drinker), and Mary Pickford was a trailblazing actress at the dawn of the Hollywood film industry. Named for one of his novels, The Sun Also Rises is an absinthe enhanced twist on the Hemingway Daiquiri, a famous twist on the classic Daiquiri. She had an eponymous drink created during one of her movies. Crillon Importers generously provided a free bottle of Absente Absinthe Refined so I could play with it, and the When Ernest Met Mary is my resulting attempt at cocktail art.

2 ounces rum
.5 ounces maraschino liqueur
.25 ounces absinthe
.5 ounces pineapple juice
Juice from 1/4 lime (.25 ounces)

Combine in a shaker with ice, shake with passionate and artistic flair, and strain into a chilled glass. Lime wedge and/or Luxardo cherry garnish optional.

Like its predecessors, the When Ernest Met Mary uses rum and maraschino liqueur. Half an ounce of maraschino liqueur might seem like a lot, but it leads to a balanced cocktail. The pineapple juice comes from the Mary Pickford, and the lime juice comes from the Hemingway Daiquiri. Use fresh juices if you can. Absinthe adds a splash of anise to this cocktail canvas. I decided to use absinthe directly in the When Ernest Met Mary as you might in a Millionaire, not a rinse as you would in a Sazerac. A little absinthe goes a long way.

Ms. Pickford, meet Mr. Hemingway. Mr. Hemingway, meet Ms. Pickford. And to you ... cheers!

A new corporate client and a new original creation are auspicious signs. Late last year Government Marketing University asked me to present about successful branding, and design a signature cocktail for its GAIN 2020 conference. Guided by my previous experiences such as rocking the red carpet with Cognitio and a golden jubilee with Government Executive Media Group, the result was the unique Everything to GAIN.

2 ounces vodka
.5 ounces triple sec (I prefer Cointreau)
.5 ounces maple syrup
2 dashes Angostura bitters

Combine in a mixing glass with ice, stir with a positive feeling, and strain into a chilled glass.

I was delighted when the people at Government Marketing University requested I use vodka as a base spirit. Using vodka presents sort of a challenge. It can act as a blank canvas for a cocktail, so you really have to tinker with the other ingredients and the ratios. For the Everything to GAIN I added Cointreau to bring a hint of citrus. Maple syrup is an unusual sweetener in cocktails, but it works nicely here just as it does in drinks such as the Japanese Maple. Like every other ingredient in the Everything to GAIN, maple syrup is easily accessible. 

Presenting at GAIN 2020 was a lot of fun even though it was different. Thanks to the COVID-19 pandemic (which is still around despite efforts towards the Flattening Curve), the presentation had to be pre-recorded, so there couldn't be any of the spontaneous give and take that I love so much.

When you have an Everything to GAIN, you have nothing to lose ... except your worries.

It could be a meeting. A movie. A date. A year (I'm looking at you, 2020). After it's over you're just stunned, annoyed, or something else. The Time I'll Never Get Back is the antidote to that feeling. The Wulf Cocktail Den has a tradition of unveiling a new drink in the new year. Considering the general catastrophe that was 2020, at the dawn of 2021 the Time I'll Never Get Back continues this tradition.

2 ounces bourbon or rye
.5 ounces sweet vermouth
.5 ounces triple sec
2 dashes Angostura bitters

Combine in a mixing glass with ice, stir with a sigh of relief, and strain into a chilled glass.

Veteran cocktail enthusiasts, and most novice ones, immediately will see the Time I'll Never Get Back is a simple variation on a Manhattan. Using Old Tom gin instead of bourbon or rye makes the drink a riff off a Martinez. To use one of my favorite drink euphemisms, the Time I'll Never Get Back is "alcohol forward." That's deliberate. If you want to try to erase or suppress the memory of wasted time, why waste your time on a watered down drink?

The Time I'll Never Get Back lends itself to experimentation. The type of whiskey will use will make a difference. So will the triple sec, a term that generally refers to orange liqueurs. For example, I'm a big fan of Cointreau, which I use in the 24601, but I figure Grand Marnier, an indispensable part of the Burnt Fuselage, also works quite well.

Spend some time with a Time I'll Never Get Back, and you won't want the experience to end.

Attending the Tales of the Cocktail conference inspired me and Ms. Cocktail Den to launch this blog in 2014. Since then, we've attended numerous Tales conferences in New Orleans, as well as Tales on Tour in Edinburgh and San Juan. We've met fascinating people, learned a lot, and had great experiences such as when we mixed beats and drinks that led to the creation of the Les Bon Temps Roule.

This year was different. The COVID-19 pandemic made it impossible to have Tales in person.  So what did Tales do in this extraordinary and challenging time in history? It went 100% virtual for the first time. Adapting to a dynamic situation, this Tales involved another first -- it was 100% free. This made Tales available to anyone with a computer or smartphone and a decent Internet connection. 

Catalyst was the theme of this year's Tales. Everyone is a catalyst in their own way, and human catalysts affect everyone. Maybe you listen to a presentation or read a post on a website that leads you to try a new drink. You get the idea. Compared to years past, this year's Tales programming had an increased focus on the people in the cocktail industry. This is a good thing. As with many other industries around the world, the pandemic has had a devastating effect on people's livelihoods. People are resilient, but no one truly knows how how the landscape of the cocktail industry will look once the pandemic subsides.

I couldn't see the iconic Jackson Square in New Orleans this year, so I'll wait until the next Tales.

The sessions I attended generally fell into one of three categories -- spirits (e.g. Amaro 101, Low ABV Cocktails), history (e.g. The Man Behind James Bond, The Rat Pack), and topics that transcend  the cocktail community (e.g. You Sell Cocktails Now Sell Yourself, Storytelling Behind The Bar). As with sessions at live Tales conferences, I learned all sorts of interesting things. For example, did you know Ian Fleming was a big fan of bourbon? I didn't, and I'm a James Bond geek.  

So what were the pros and cons of the first virtual Tales? The big pro for me was the flexibility. You could absorb the presenters' content as it occurred or later. This convenience meant you didn't have to run (occasionally literally) from event to event. Sometimes a live Tales or Tales on Tour gives you a sense of underlying FOMO. As in, "I want to hear ____ talk about ____ but it's the same time as the session on ______." That wasn't an issue this year because you had the convenience of seeing and hearing everything and everyone you wanted. All of the sessions were on demand (https://www.youtube.com/playlist?list=PL60KktNa23J0tn7NAf3-NSLigFRYjJy9W). A silver lining pro that's actually the result of a con? I didn't gain weight from eating really good local food.

The con of the virtual Tales has nothing to do with the people involved in the conference or the sessions. It was the inability to have the spontaneous and serendipitous in person encounters that make Tales truly memorable. For example, Ms. Cocktail Den and I always will remember meeting Vodka Girl ATX, who we had been following online, in a small conference room at the Hotel Monteleone, or bonding in Edinburgh with a diverse group who became the self-anointed Inebriants. I miss having opportunities to connect like that. Meeting people virtually is fine, but it's a poor substitute for meeting in person. Thanks a lot, COVID-19. Of course, the virus also prevented me from being in the unique city of New Orleans.

There was one aspect of the virtual Tales that, depending on your perspective, was a pro or a con. To what do I refer? No mandatory controlled day drinking. During the days of Tales or a Tales on Tour you're always trying new spirits and cocktails. I'm not saying I abstained from booze during this year's Tales. I'm simply saying I drank far less than I did at any other Tales or Tales on Tour.  

As for Tales, here's my wish -- next year in New Orleans!