Meat & Market

Two market trips today, as this was also my monthly meat CSA pickup day. New vegetables appeared for the first time this week, and a few are already on the way out. Cucumbers (new, time to make pickles!), carrots (finally a usable size), sugar snap peas (the last of the season as they turn into shell peas), baby yukon gold potatoes (first of the season), cherries, raspberries, strawberries, cherry tomatoes, and the elusive triple berry pie.

I noticed that two people – a chef and her manager – were just ahead of me at each stand I visited, buying up huge amounts of produce: fava beans, garlic scapes, baby potatoes, and summer squash. They were Mary Catherine Diebel of Upstairs on the Square and one of her chefs, buying for the evening’s menu, which they would plan around the day’s purchases. We talked about the local restaurant business, and they recommended a few places I should try.

I had just enough time to put away my veggies before driving to Cambridge to pick up this month’s meat share: two racks of spare ribs, a chicken, a ham steak, pork chops, and a jar of tangerine-lime marmalade from Hi-Rise Bread Company. (I must occasionally satisfy She Who Must Be Obeyed’s marmalade craving.) So, it looks like toast for breakfast and barbecue for the holiday weekend. Maybe I’ll bust out a Bacon Explosion while I’m at it.

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Crimes Against a Cuisine

As a parent, I’ve leared how to say no to requests from He Who Will Not Be Ignored that originate from watching television commercials. It’s easy to deny requests for toys or games, but it’s harder to refuse suggestions about food, not because I think the advertised product has any merit, but because He Who Etc. seems to be particularly susceptible to food ads.

I know, because I was once suckered by a TV commercial when I was a kid. Maybe you remember ads for SpaghettiOs: “The neat round spaghetti you can eat with a spoon, uh-oh, SpaghettiOs!” Even though the “uh-oh” should have been a tip-off (Who says “uh-oh” t o positively reinforce a point?), I saw those ads and begged my mother to let me have SpaghettiOs for dinner. Mom, who makes the world’s best tomato sauce, finally broke down and bought a can, which she dutifully heated up and served me for dinner.

It was awful, almost indescribably so. The “sauce” was more orange than red, sickly sweet, and watery. The Os were mushy and tasteless. After one spoonful I realized I had made a mistake, but the lesson didn’t end there. Mom made me finish the entire bowl, and served the rest of the can to me for lunch the next day, reminding me “We don’t waste food in this house.” She cured me of my desire for canned pasta, and I can claim to be SpaghettiO and Chef Boyardee free to this day.

What reminded me of The SpaghettiOs Incident – as it is still referred to in the family chronicles – was this article about a Campbell Soup recall of 15 million pounds of SpagehttiOs. When I saw the amount, all I could think was How many kids re still being sucked in by those ads? About 30 million cans, whose absence will hardly be noticed, were made as part of a yearly production run. Either the stuff has gotten much better over the years, or there are a lot of beleaguered mothers with less fortitude than Mom.

Right on the heels of the unsafe SpaghettiOs news  was this article in The Guardian, brought to my attention by one of my readers. I’ll leave the details to the original report, but the gist is that Tesco, the largest convenience store chain in the UK, now offers a lasagna sandwich. It will sell at least as well as SpaghettiOs (hey, maybe the 30 million cans are sold overseas.), but why are the biggest food crimes against Italian cuisine? I’m resigned to the existence of bad pizza, bad pasta, and lousy bread – I’ve even eaten lasagna that had cinnamon and nutmeg in it – but none of those compare to this latest abomination.

And the scary part is that some tasters found it “quite nice.”

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A Critic Is Born

Today was the last day of school for He Who Will Not Be Ignored. Included in the sheaf of art projects, returned tests, and other work sent home from his classroom was a stack of poems from his most recent unit of language arts. A note from his teacher explained that he really enjoyed the free-form style poetry allowed him, citing the following as her favorite example of his work:

The Noisy Reastaurant

Blah blah blah blah,

Blahblahblahblahblahblahblahblahblahblahblah,

Annoying chatter everywhere!

I once went to this restaurant with annoying talking everywhere!

I could have yeled in my loudest voice

SHUT UP!!!!!!

The food was good, but the atmosphere was horrible!

When I went home, I tried to forget about dinner.

I realized it was his review of our dinner at pizzeria Posto.

I’m considering encouraging his foray into food criticism, but dreading the possibility of finding an evaluation of a meal I cooked on the refrigerator door. I don’t think any of the parenting books have a section on responding to a one-star review.

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Market Restrictions

Too much work, not enough cooking, and a flat-out refusal from He Who Will Not Be Ignored to eat any more leafy greens for a while (and I did manage to get him to eat kale, chard, and spinach in the span of a single week) have all conspired to make today’s market trip a brief one. Still there were some things I couldn’t pass up: Napa cabbage, asparagus, sugar snap peas, cherry tomatoes, raspberries (first of the season), broccoli (the new challenge for He Who Will Not Be Ignored), chocolate banana bread, and a small blueberry pie that She Who Must Be Obeyed insisted I buy for Father’s Day. Shouldn’t that have been my choice? I know better than to argue.

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Braised Pork in a Rich Glaze

It’s the start of a new season of Hell’s Kitchen, and already I have to remind myself that chef Gordon Ramsay is an accomplished cook and restaurateur, not just some ex-footballer who yells at slack-jawed “executive chefs” with delusions of adequacy. What better antidote to endless cries of “Move your arse, you donkey!” than to cook a Ramsay recipe.

My choice of this particular recipe, from In The Heat Of The Kitchen, was inspired by a lucky find in the Belm Utility Research Kitchen Deep Storage Facility: a rolled and tied pork butt that reminded me of the rolled and tied pork belly that the recipe requires. I had prepared this dish once before, for She Who Must Be Obeyed’s Third Annual Birthday Dinner, and was all too happy to skip the painstaking rolling and trimming steps.

In addition to the rolled butt (heh), I needed one each of a chopped carrot, onion, leek, and celery stalk, six large peeled garlic cloves, a half cup of sherry vinegar, seven ounces of soy sauce, six cups of chicken stock, five star anise, twenty coriander seeds, ten white peppercorns, and ten black peppercorns.

I browned the pork in a dutch oven with olive oil over medium-high heat, turning the roll until all sides and both ends were deep brown.

I removed the pork and sweated the vegetables for five minutes before deglazing with the sherry vinegar.

I placed the pork on the bed of vegetables, then added the stock, soy sauce, and spices. I brought the mixture to a boil before partially covering the pan and placing it in a 325 °F oven.

After two and a half hours I removed the pork from the oven. It had reduced in size due to the fat rendering out into the braising liquid.

I strained the vegetables and spices out of the braising liquid, skimmed off a considerable amount of fat, and set it to boil and reduce.

During the last half hour of braising I prepared truffle-scented pommes pureé, then during the reduction I steamed some asparagus and wilted some spinach. I removed the string from the pork, sliced it into three sections, and placed each on a plate. I surrounded the pork with the spinach and asparagus, made a giant quenelle of the potatoes, and finished with the sauce.

I could have let the sauce reduce more to thicken it, but we were all hungry and impatient. (If I had used a parchment lid, the sauce would have been partially reduced when the braising was done.)

How did it taste? In the time between the first and second preparations of the dish, I had become much more familiar with Asian flavor profiles. Star anise, pepper, coriander, sherry vinegar, soy – these are all classic ingredients, and, in fact, what we ate was a very refined char siu pork. Substitute bok choy for the spinach and asparagus and the dish wouldn’t have been out of place on any Asian/French fusion menu.

The memory of this dish will carry me through a few more weeks of manufactured kitchen drama, but I’m already looking ahead to preparing Ramsay’s shrimp risotto and spaghetti with lobster, just to prove that any competent cook can make them. As long as someone isn’t screaming at me.

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Rock That Font (Slight Return)

After writing yesterday’s post about the remarkable Rock That Font blog, I sent them a one-sentence email: “Submitted for your approval, my homage to your remarkable blog,” along with the link. Less than ten hours later I had a reply from Shawn O’Keefe, one of the founders, asking if he could publish my Joy Division piece as a guest contribution.

As of this morning, I’m a guest on Rock That Font. How cool is that?

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Market Promise

Today was another Saturday at the farmer’s market when it was threatening to rain, but it didn’t deter the locals. I’m using a different approach to my shopping this season, buying only what I’m absolutely sure I plan to cook within a week, rather than picking something because it looks god and i might be able to use it.

Tonight’s dinner (recipe post will follow soon) requires spinach and asparagus, so I got a bunch of each. The kale and pork chops will be a weekday meal along with some leftover grits. The strawberries are for dessert, and the tomatoes will go into a salad or two.

My favorite baker is back, so I bought a bag of her cranberry-almond granola and a small loaf of banana bread. The pain d’epi is from Iggy’s and will complete tonight’s meal.

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Rock That Font

A friend and reader of this blog sent me this email about a month ago:

About the typography of rock album covers:

http://rockthatfont.com/

I have never seen a website that seems more precisely designed for [you] — except that there are no recipes, alas.

A visit to the site confirmed his description; it was as if someone had designed a blog exclusively for me. More to the point, it was a blog I happily could have written myself, if only the ideas had occurred to me first. But it didn’t, and the crew at Rock That Font are doing a great job so far. They endeared themselves to me as soon as they posted the entry about Joy Division’s Unknown Pleasures, one of the most iconic album covers in the history of popular music.

As synchronicity would have it, I have been reading and watching a lot of media about Joy Division; Factory, their record label; and Peter Saville, Factory’s first graphic designer. Saville designed Unknown Pleasures, and somehow managed to follow up that feat a year later with another Joy Division icon, the cover of Closer, seen above. (The title is pronounced with a soft “s,” as in “more intimate” or “nearer to a goal,” not with a hard “z” as in “one who closes or concludes.” Pedantry, yes, but mispronouncing the name of this album will not put you in my good graces.)

As with their first album, the band’s name doesn’t appear on the front. They explained to Saville that their name ion the cover was self aggrandizing, not cool. At Factory’s insistence, the briefest of credits appears on the back:

Peter Saville Associates (PAS) consisted of Saville, Martyn Atkins, Ben Kelly, and a small stable of photographers including Trevor Key. But this particular design — like the album before it — was a brilliant combination of stark type and a riveting image. I can’t do better than the description provided in Matthew Robertson’s Factory Records: The Complete Graphic Album:

The now-iconic image on the cover of Closer is a photograph by French photographer Bernard-Pierre Wolff. Taken in 1978, at the Staglieno Cemetery in Genoa, it shows a crypt filled with figures in mourning. This Neo-Classicist imagery was complemented with typography based on a 2nd-century Roman alphabet. These elements combine with the textured stock to create a visual experience that mirrors and enhances the music. The imagery on the cover took on greater significance after the suicide of lead singer Ian Curtis, which happened during the manufacturing of the album. Although the concept for the sleeve had been approved by the band before his death, both the label and the designers were accused of exploiting the tragedy when it was decided not to withdraw the artwork.

As a sleeve design, it’s an absolute tour de force. If you purchased the vinyl album in the pre-CD days, you had no choice but to confront the photo, which was just as haunting if you had no knowledge of Curtis’ death. That image, that title, were inseparable from the music; they irreversibly colored your perception of the songs. I can’t imagine that those same tracks, purchased as a digital download without the artwork, could possibly have the same impact on the listener.

But this isn’t supposed to be about the music, the band, or the photograph, it’s supposed to be about the typography. At first glance, most designers would identify the font as Trajan, a typeface designed by Carol Twombly for Adobe, based on the inscription at the base of Trajan’s Column. Careful inspection will show marked differences between Trajan and the face Saville used.

There’s a clue in the preceding description of the cover: “…typography based on a 2nd-century Roman alphabet.” What is the source of that alphabet? How did Saville find it? I was not the only person interested in that question, in fact, some diligent Googling revealed a discussion thread at Typophile that resolved the mystery:

The original lettering for the ‘Closer’ album was taken from ‘The Development of Writing’ by Hans Eduard Meier, which I believe was first published in the late 1950s and then in the late 1960s. The later reissue no longer shows this piece of lettering, though you can find it here http://www.textism.com/writing/?id=6. Its a very nice piece of work, even though the letter J is a little unconvincing. Perhaps its unfamiliarity makes it more appealing than the ubiquitous Trajan.

Saville then made PMTs [photomechanical transfers] of the lettering and then composed all of the lines. The use of Roman numerals on ‘Closer’ is a give away that Saville could not draw letters (or numerals). In the 1990s Tobias Frere Jones was interested in making a digital revival, but nothing came of it I understand. A digital version was made I believe for the reissues.

Mystery solved. If a digital version of the font was made for CD reissues, it isn’t publicly available. Dan Gayle, who originated the discussion, has designed a complete font set, but can’t release it due to his inability to obtain the necessary permissions.

Maybe that’s a good thing, insuring that Closer‘s typography is as one-of-a-kind as its music.

Thus concludes my humble homage to Rock That Font. If they’re reading this, I’d love to write guest posts about Saville’s use of Bembo on Section 25’s Always Now, or how Ray Lowry’s cover for London calling is a homage to the cover of Elvis Presley’s debut album. I’m available.

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Chocolate Terrine with Custard Sauce and Pistachios

At long last, we come to the dessert for the Fifth Annual Birthday Dinner. I knew that it would have to be something with components that I could prepare in advance, requiring only a final plating before service. I also knew that it should be chocolate, especially after asking my guests to try something as unusual as the Dry Caramel, Salt transition from savory to sweet. I found the Marquis au Chocolat, Crème Anglaise et Pistaches in the Bouchon cookbook; it met all of my requirements and gave me an excuse to buy a fancy terrine mold I had my eye on.

I made the crème anglaise first, starting with a cup of heavy cream, a cup of milk, seven tablespoons of sugar, a split vanilla bean, and five large egg yolks.

I combined the cream, milk, and four tablespoons of the sugar in a saucepan, adding the vanilla bean dn the seeds scraped from the bean’s interior.

I brought the mixture to a simmer, then covered and removed it from the heat, letting it infuse for half an hour.

I whisked the yolks and remaining sugar until the mixture thickened and lightened in color.

I whisked some of the hot cream into the yolks to temper them, returned the mixture to the pan with the rest of the cream, and cooked over low heat for about ten minutes until the custard thickened and coated the back of a spoon. I poured it into a bowl set over ice and stirred until the custard had cooled.

I stored the crème anglaise in the fridge until final plating, and moved on to the terrine. Once again, ingredients were assembled: twelve ounces of bittersweet chocolate (Valrhona Manjari 64%), eight and a half ounces of unsalted butter, four large eggs (separated), four additional egg yolks, one and a third cups of confectioner’s sugar, a third of a cup of cocoa powder, a half cup plus one tablespoon of heavy cream, and two teaspoons of granulated sugar.

While the chocolate and butter melted in a double boiler set over hot water, I sifted together the confectioner’s sugar and cocoa powder.

I let the chocolate mixture cool slightly, then stirred in the egg yolks and the sugar/cocoa mixture.

I whipped the cream to soft peaks,

and put it in the fridge while I whipped the egg whites and granulated sugar into soft peaks.

I folded the whites, and then the cream, into the chocolate mixture.

I poured the chocolate into the plastic-lined terrine mold, covered the top with plastic, and stored it in the fridge with the heavy lid in place. At this point there was absolutely no room left in the fridge for anything else — the entire dinner menu was in there.

While the chocolate chilled, I prepared a cup of raw shelled pistachios by blanching them in boiling water to loosen the skins, then spent the next hour slipping skins off of about a hundred pistachios. I toasted them on a sheet pan in a 350 °F oven for about seven minutes, let them cool, set aside thirty six whole nuts, and roughly chopped the rest.

For the final assembly, I sauced each plate with the crème anglaise, unmolded the terrine and cut it into quarter-inch slices (using a meat slicer heated in hot water), arranged them over the custard, topped with three whole pistachios, and garnished the edges with chopped nuts.

I served a Taylor Fladgate twenty year old tawny port with the terrine, not wanting to mess with the classic chocolate/port combination.

I don’t need to tell you how it tasted: you already know, because it’s chocolate. A very dense, deep, velvety chocolate that absolutely needed the lightness of the crème and the astringency of the port to keep it from overwhelming the palate.

I basked in the glow of another successfully (for the most part) executed dinner for about a minute, when, to my utter horror, I found my self thinking: What will I serve next year?

Sources:

Chocolate, pistachios, cream, butter: Whole Foods

Vanilla: Penzey’s

Eggs: Feather Ridge Farms

Port: The Wine and Cheese Cask

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Dry Caramel, Salt

It would be cool if you could figure out a way to use these,” said She Who Must Be Obeyed, dropping a package of sterile culture tubes on top of my Bouchon cookbook. I was still in the planning stages for her Fifth Annual Birthday Dinner, and now she had made her first — and only — suggestion about the menu.

I had used tubes like those every day during my biotech research career, so I immediately thought of using them as serving pieces for a transitional dish between the main course and dessert. I remembered a recipe from the Alinea cookbook that I thought would be appropriate, something that looked strange but tasted very familiar.

To make the caramel base, I measured out 375 grams of sugar, 350 grams of glucose, 50 grams of heavy cream, and 100 grams of butter.

I combined everything in a pan set over medium heat and cooked it until it reached 230 °F.

The mixture was at the correct temperature, but clearly not at the caramel stage, so I turned up the heat a bit and eyeballed it until it was the correct color.

I poured the liquid napalm (don’t ever get that stuff on your skin!) onto a sheet tray lined with a silicone mat, and let it cool to room temperature.

To make the “dry caramel,” I weighed out 210 grams of cooled caramel chunks. I also weighed out 65 grams of tapioca maltodextrin, which produced another science flashback, this one to my research position at General Foods. The chemical is a very light fluffy powder that gets everywhere as you try to weigh it out. I also measured out 15 grams of Maldon sea salt.

I combined the caramel and maltodextrin in a food processor and whizzed it until the caramel was “completely absorbed” — at least that whet the recipe said. In reality, I still had tiny caramel bits that wouldn’t get any smaller.

I spooned the powder into a dozen tubes, sprinkled the salt on the top, capped them tightly and returned them to the styrofoam rack in which they were originally packaged. As I offered a tube to each guest, I recommended that they tip the contents into their mouths.

How did it taste? The dish is supposed to be served in a glass with a much wider mouth than my tubes, so there was a very concentrated salt hit at the beginning. Once past the salt, however, the powder reacted with the moisture in my mouth and reconstituted what was obviously a very buttery salted caramel. It was a culinary magic trick that made everyone laugh.

I still have a container full of unused caramel as well as a pint of the caramel powder. Now I need some new unsuspecting guests.

Sources:

Glucose, tapioca maltodextrin: L’Epicerie

Butter, cream, salt: Whole Foods

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