The Art of Eating is not a magazine for the easily distracted. If you want to read up on the trendiest new eateries in New York, the top 10 summer cocktails or a profile on the latest Food Network star, look elsewhere. Because if Bon Appétit is the food media’s Newsweek and Saveur is the Economist, then the Art of Eating is the New York Review of Books: sometimes impenetrable, often spellbinding, and never, ever reductive. Within the course of a typical article, it’s not unusual to move from a detailed discourse on culinary history to an apples-to-apples comparison of production methods to a chemical analysis of the specific compounds responsible for giving a particular type of food its unique flavor. The 2002 feature “Twelve Restaurants in Tokyo” not only explained where to get the tastiest okonomiyaki, but also how to best spend $750 on traditional haute cuisine, and why department store basements are a culinary anthropologist’s dream come true.
Edward Behr — an ex-carpenter with a passion for journalism — founded the Peacham, Vt., quarterly just over 20 years ago. It may be his craftsman’s eye that draws Behr into the nuts and bolts of food at such an elemental level. Behr finds few questions too trivial to answer completely — this is a man, after all, who once penned a 13,000-word treatise on Roquefort. But the result is sprawling works of analysis and research, and articles that actually teach readers something. Behr’s writers’ guidelines state: “Be short: Say it all and no more” — but, hey, sometimes you can’t properly describe the French relationship to the baguette without spilling a bit of ink.
Salon spoke to Behr by phone about “civilized” eating, bad coffee and the ongoing redemption of American chow.
What drove you to start the Art of Eating?
The one-word answer I always give is “naiveté.” I had no idea what I was getting into. I’d been a carpenter for maybe a dozen years and I wanted to do something more interesting.
I was looking for something else, and my girlfriend at the time thought I was much more interested in food than I was aware of — so I began to think of opening a restaurant. Considering my naiveté, that would have been a really bad idea — I would have opened it, promptly lost a lot of money, and closed. Instead, first I began to write a black-and-white eight-page newsletter, and then six months or so after that, in November of ’86, the first issue of the Art of Eating came out.
Did you have any journalism training or writing experience?
No, but my father was what used to be called a rewrite man for the Wall Street Journal, so I had some writing in my background. But I’m a two-time college dropout — I just had the courage to think I could do it, and I don’t know where that came from.
How has the magazine sustained your interest for 20 years?
People used to say: “Are you going to run out of things to say?” But food is just a huge topic, and I try very much to keep focused on taste. We don’t do things like food history for its own sake. History should illuminate the way things taste or explain something that somebody might actually want to go out and eat or drink.
Also, food is a vast topic — it has to with geography, it has to do with nature, it has to do with history, it has to do with culture, it has to do with the fundamental human appetite! And there’s enough variety in all that, that I think I could go on forever and never repeat a subject.
How big is your subscriber base, and do you have a sense of who they are and what they do?
It’s somewhere in the range of 6,000. They tend to be in university towns and affluent zip codes in general. When I first started out, a subscription cost $14 a year [it's now $48], and I thought I’d have back-to-the-land sort of impoverished hippies raising their pigs and curing their hams — but alas, they never signed up. At least not in any noticeable number.
The magazine doesn’t carry ads, and I don’t see it promoted anywhere. Have you consciously chosen not to commercialize the Art of Eating?
Well, there seems to be a real desire for a product that doesn’t have ads, that risks saying things from time to time, and is clearly is not in anybody’s pocket. A reader not long ago wrote to me saying: “You are the guy who had the courage to say all coffee in North America is over-roasted,” and I probably did say something nearly like that.
You wrote in your 20th anniversary issue that part of the magazine’s purpose is to promote what you call a civilized life, at least in a culinary sense. So how do you define “civilized”?
I suppose it has to do with a couple of things. Your own personal satisfaction, but also some sense of doing good in the world and not eating cruelly raised meats and food raised through unsustainable agricultural methods and all of that. But it’s also about things that have an appealing aesthetic value. An uncivilized meal would be a salad that tastes of the long chain of refrigerators from harvest to supermarket to your plate. Civilized would be a salad of perhaps just some mixed greens from half a mile away. Then you have the association with knowing the person who made the food — you have the fact that it doesn’t come from far away, the pleasure of having something growing nearby — the freshness, the quality, the organic methods, and hopefully skilled, not just organic, but skilled methods. Which is a little different than a starched napkin, although that could be part of it too. But that’s not really what I’m thinking of.
A lot of food magazines are chockablock with very easily digestible bits of information — top 10 lists and, on the Web sites, audio interviews and slideshows — so why do you still eschew the Web and run such long articles?
Well, print — to go back to the word “civilized” — I think it’s more civilized. You can read a lot more well-designed words on paper than you can onscreen.
As to why so long — well, when you have top 10 lists or really distilled advice, the problem is that that advice tends to be misleading because some things can’t be distilled. Many things can’t be distilled. It’s a flawed concept much of the time. Sure, Cook’s Illustrated just sent me an e-mail saying what the best ice cream maker is. And you can just go buy their top-listed ice cream maker, and sure, that’s maybe well-suited.
But you can’t list the best sauvignon blanc. Because first of all, sauvignon is at least two distinct kinds of wine in my view, a much riper and a much less ripe style, and it depends completely on what the occasion is. You know, do you want it with fish? Do you want it with whatever? And that’s a real can of worms.
Some of the leitmotifs of the Art of Eating are terroir, traditional methods of harvesting and production, and getting back to a simpler, more organic ideal. To what extent do you consider the Art of Eating a love letter to the slow food movement?
I’m a huge admirer of slow food and of Carlo Petrini. I’m a great believer in it. But I think the model applies much more to Italy and Europe and certain countries with excellent, well-established traditions that can benefit from support. Whereas in the U.S. I think the model doesn’t work as well. We’re kind of inventing traditions or pointing to things that were never so important or so well-established.
Good food is a pop-culture craze these days. Has the idolization of chefs and popularization of cooking and eating had any impact on your magazine?
I don’t think it’s had anything to do with my magazine, because it’s such an ink-on-paper traditional type of publication that its readership is not going to be deeply influenced by TV or popular media in general.
What’s your sense of what it’s done to the culinary landscape here in America?
I think that overall the effect on food has been positive. I’m sure it could be better and that things tend to get dumbed down, but I think that most people’s standards for freshness and for what tastes good have hugely increased over the years.
There are many specific things that aren’t any better, though. I don’t think people’s standards for olive oil are really any better than they were, for all that’s been written about olive oil and for all the high prices. And coffee, for instance, is another one where things aren’t any better. Overall, that may be worse.
Nonetheless, I remember being taken out by my parents when I was an early teenager, in the early ’60s, and I remember thinking to myself: “Boy, if you ate this way all the time, it would be really bad for you. I don’t know if you could survive.” Things were full of fat, there wasn’t that freshness — you got that the feeling that everything had been sitting on the back of the stove, even at a white-tablecloth restaurant — whereas it’s hard not to find food that seems to be at least halfway toward being fresh these days. If you pay just a little bit more than the average and if you look just a little bit, it’s pretty easy to eat healthy food. And that’s a huge improvement.
Who are the heroes who influenced you and helped shape your vision for the magazine?
No one help me conceive of the magazine as a magazine. I have no hero who guided me as to how to turn the information into a usable magazine form. But I have big heroes — two writers about food: Patience Gray and Richard Olney. To me they are just the standouts. Those are the people who when I want to know the truth about something, I turn to them, hoping that they’ve addressed the topic. And they write so very well. Richard Olney’s style may be a little, I don’t know, stiff or old-fashioned now, but he writes so clearly. It’s just wonderful. He’s been dead a few years now, and most of his important stuff he wrote some time before that. Sometimes there’s a subject — like brining or pre-salting of poultry — that I assume, “Oh, he probably didn’t address that.” But then I realize, by golly he did it in the 1970s. It can be humbling.
NEW YORK (AP) — “Pink slime” was almost “pink paste” or “pink goo.”
The microbiologist who coined the term for lean finely textured beef ran through a few iterations in his head before pressing send on an email to a co-worker at the U.S. Department of Agriculture a decade ago. Then, the name hit him like heartburn after a juicy burger.
“It’s pink. It’s pasty. And it’s slimy looking. So I called it pink slime,” said Gerald Zirnstein, the former meat inspector at the USDA. “It resonates, doesn’t it?”
The pithy description fueled an uproar that resulted in the main company behind the filler, Beef Products Inc., closing three meat plants this month. The controversy over the filler, which is made of fatty bits of beef that are heated and treated with ammonium to kill bacteria, shows how a simple nickname can forever change an entire industry.
In fact, beef filler had been used for decades before the nickname came about. But most Americans didn’t know — or care — about it before Zirnstein’s vivid moniker was quoted in a 2009 article by The New York Times on the safety of meat processing methods.
Soon afterward, celebrity chef Jamie Oliver began railing against it. McDonald’s and other fast food companies later discontinued their use of it. And major supermarket chains including Kroger and Stop & Shop vowed to stop selling beef with the low-cost filler.
Bettina Siegel, a food blogger who posted an online petition asking the USDA to stop using the filler in school lunches, said the controversy isn’t based on the term alone. She said consumers are just upset that the filler is not what they think they’re getting when they buy “100 percent ground beef.”
But Siegel acknowledges that the name doesn’t hurt her cause, either. She said the term “filled a vacuum” in the public arena about the filler; her petition, “Tell the USDA to STOP Using Pink Slime in School Food” had more than 200,000 signatures within a week.
Beef Products, which makes the filler, blames its plant closings on what it calls unfounded attacks. About 650 jobs will be lost when plants in Amarillo, Texas, Garden City, Kansas, and Waterloo, Iowa close on Friday. Another plant in South Sioux City, Neb., will remain open but run at reduced capacity.
Still, the company, based in South Dakota, said it’s not considering changing the filler’s name. Instead, Beef Products set up a website, beefisbeef.com, to combat what it calls “media-perpetuated myths” about the filler.
Meanwhile, the author of the term “pink slime” makes no apologies about his creation. Zirnstein, who has since left the USDA, said he thinks “pink slime” is a better descriptor than “lean finely textured beef.”
“It says it’s lean. Great. But it doesn’t describe what kind of lean it is,” said Zirnstein, who doesn’t think the product should be mixed into beef. “Textured. What does that mean?”
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PREY VENG, Cambodia, and SAMUT SAKHON, Thailand — In the sun-baked flatlands of Cambodia, where dust stings the eyes and chokes the pores, there is a tiny clapboard house on cement stilts. It is home to three generations of runaway slaves.
The man of the house, Sokha, recently returned after nearly two years in captivity. His home is just as he left it: barren with a few dirty pillows passing for furniture. Slivers of daylight glow through cracks in the walls. The family’s most valuable possession, a sow, waddles and snorts beneath the elevated floorboards.
Before his December escape, Sokha (a pseudonym) was the property of a deep-sea trawler captain. The 39-year-old Cambodian, his teenage son and two young nephews were purchased for roughly $650, he said, each through brokers promising under-the-table jobs in a fish cannery.
There was no cannery. They were instead smuggled to a pier in neighboring Thailand, where they were shoved aboard a wooden vessel that motored into a lawless sea. His uncle had fallen for the same scam five years prior and escaped to warn the others. But Sokha told his son, then just 16, that this venture would turn out differently. He was wrong.
“We worked constantly, for no pay, through seasickness and vomiting, sometimes for two or three days straight,” he said. “We obeyed the captain’s every word.”
Near-daily death threats reinforced the captain’s supremacy. So did his Vietnam War-era K-54 pistol, and the night he carved up another slave’s face in view of the crew. “For 20 hours a day, we were forced to catch and sort sea creatures: mackerel, crabs, squid.” It’s back-breaking work, under the searing tropical sun. “But the fish wasn’t for us,” he added.
So who was it all for?
The answer should unsettle anyone who closely examines Thailand’s multi-billion dollar wild-caught seafood industry and the darkest links in its supply chain.
“It’s an export-oriented market. And we know the countries where these products are exported to,” said Lisa Rende Taylor, chief technical specialist with the United Nations Inter-Agency Project on Human Trafficking or UNIAP. “Do the math.”
For Americans, the calculation is worrisome. Thailand is the United States’ second-largest supplier of foreign seafood. Of America’s total seafood imports, one out of every six pounds comes from the Southeast Asian nation.
In 2011 alone, Thailand exported 827 million pounds of seafood worth more than $2.5 billion to the US, according to National Marine Fisheries Service figures. The only nation that consumes more Thai seafood exports is Japan.
Murder is an occupational hazard. But a monotonous job assembling iPads is heaven compared to slavery on a Thai trawler, where conditions are as grueling and violent as any 19th-century American plantation. The lucky escape within a year or so. Less fortunate are those traded several times over for years on end.
Denying that the fruits of forced labor reach the biggest importers of Thai seafood — Japan, America, China and the European Union — has become increasingly implausible.
The accounts of ex-slaves, Thai fishing syndicates, officials, exporters and anti-trafficking case workers, gathered by GlobalPost in a three-month investigation, illuminate an opaque offshore supply chain enmeshed in slavery.
A long trail of offshore operators — slave boats, motherships and independent fishmongers — can obfuscate the origins of slave-caught seafood before it ever reaches the shore. While the industry’s biggest earners rely on clannish and violence-prone fishing crews for raw material, they’re distanced from the worst abuses by hundreds of nautical miles and several degrees of middlemen.
The result is that many Thai factory bosses have no idea who caught the seafood they process for foreign consumers.
There are caveats. The majority of Thailand’s two largest seafood exports to the US — tuna and shrimp — are sourced differently. Most “Thai” tuna is actually imported from overseas and processed for re-export. The shrimp industry, though routinely accused of abusing poor migrants, is at least vulnerable to spot checks on seaside farms.
The same cannot be said for deep-sea trawlers, the favored vessel of slave-driving captains.
The species caught by Thai trawlers legal and illicit alike include sardines, mackerel, cuttlefish, squid, anchovies and “trash fish,” tiny or foul-tasting catch ground into animal food or preserved to create fish sauce. Americans consume these breeds en masse. One in five pounds of America’s imported mackerel or sardines comes from Thailand, according to US government records. For processed fish balls, puddings or cakes — made from trawlers’ trash fish — the figure is one in three pounds. Thai fish sauce supplies nearly 80 percent of the American market.
All that trawler catch ends up in familiar American fare: anchovy pizzas, squid linguine, smoked mackerel salads and fish fillets on ice. Even pets are entangled: trash fish is a common dog- and cat-food ingredient. But industry representatives in Thailand admit there’s often no way to tell whether a particular package of deep-sea fish was caught using forced labor.
Using bar codes, American shoppers can track packaged Thai-exported seafood to its onshore processing facility, said Arthon Piboonthanapatana, secretary general of the Thai Frozen Foods Association. “You can trace it back to the factories.”
But exporters, he said, are not in the business of policing the fishing syndicates that supply their factories. “We only have the power to enforce our members,” Arthon said. “We have no power to enforce other stakeholders such as boats or fishermen.”
American seafood importers consider themselves similarly powerless in overseeing far-flung Thai boats. “Western regulatory agencies have little or no reach, or authority, over various parts of the value chain,” said Gavin Gibbons, spokesman for the National Fisheries Institute, America’s chief seafood trade organization and lobbying group based outside Washington, DC. The institute will promptly respond to allegations against specific factories, he said. But so far, it has not found an effective way to monitor conditions on deep-sea boats catching US-bound fish.
“We have started discussions with our members about just how far an audit could realistically go and whether, perhaps, there are dockside audits that could be developed,” Gibbons said.
The “nature of boats being at sea,” he said, presents a major challenge to industry’s self-policing efforts.
International pressure to rid Thailand’s seafood trade of slavery is mounting. Thailand teeters just above the US State Department’s worst human-trafficking ranking and could be downgraded this summer. Last year, during a visit that vexed Bangkok officials, a UN rapporteur declared that forced labor is “notoriously common” in Thailand’s fishing sector and even alleged police complicity.
“It’s not like monitoring brothels, plantations or factories … all this labor is at sea,” Rende Taylor said. “So it’s essentially a universe where captains are king. Some are out to make as much money as possible by working these guys around the clock and being as cruel as they want to be.”
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Would Americans eat less meat, and would animals be treated more humanely, if slaughterhouses were made with glass walls and we all could see the monstrous killing apparatus at work? This is the query at the heart of Timothy Pachirat’s new book, “Every Twelve Seconds” — the title a reference to the typical slaughterhouse’s cattle-killing rate.
Before you think this is a column merely about food, recognize that Pachirat’s question isn’t (only) about the immorality of the cheeseburger you had for lunch. It’s about the larger phenomenon whereby modern society has reconstructed itself to hide so many horrific consequences from view.
Calling this the “politics of sight,” Pachirat’s blood-soaked experience inside a slaughterhouse spotlights only the most illustrative example of how we’ve divorced ourselves from the means of producing violence — and how, in doing so, we have made it psychologically easier to support such brutality. Sadly, billions of factory-farmed animals dying barbaric deaths are just one subset of casualties in that larger process.
Today, for example, free trade policies that promote offshoring allow Americans to enjoy consumer goods at ultra-low prices without having to see that those low prices represent companies taking advantage of the developing world’s poverty wages, environmental destruction and human rights abuses. A veritable slave may have assembled the iPad you are reading these words on, but thanks to the supply chain’s geography and Apple’s lack of transparency, you can easily avoid dealing with the ethical implications of that reality.
Another example: Many Americans drive gas-guzzling SUVs, proudly slapping patriotic declarations on their bumpers. This seems perfectly reasonable, but only because many either don’t live near polluted oil-drilling sites or don’t have to personally experience the ramifications of our petroleum-focused military policies. Ultimately, by separating the consequences of gas consumption from the driver, we’ve created the psychological conditions for fossil fuel consumption to seem like an honorable statement of strength rather than an endorsement of environmental degradation and war.
Speaking of war, the politics of sight sculpt our martial policies. We ended conscription, separating most of our fellow citizens from the consequences of military action; we conduct combat via unmanned aerial vehicles that remove the pilot-shooters from the populations being bombed; and both the military establishment and the media themselves suppress photographs of coffins or battlefield viscera that might show us what war really looks like.
Some of this, of course, is an inadvertent byproduct of larger trends like globalization that stretch supply chains across the planet. Some of it comes from a culture narcissism that teaches us to consider only on our immediate surroundings and nothing else. Much of it, though, is a deliberate effort to hide the truth. From the Pentagon’s photo policy to agribusiness now championing so-called ag gag laws to punish activists who expose factory farm atrocities, vested interests are exploiting the fact that “out of sight, out of mind” is a default setting in the human mind.
For his part, Pachirat ends his brave journey unconvinced that, unto itself, removing the veil will be enough to make us a more thoughtful — if not moral — society. He’s almost certainly correct. The atrocities that power modern life are now integral to what we define as the norm. And whether that norm is eating meat, driving massive cars or flippantly waging war, changing the status quo warrants more than just knowledge — it requires the will to change once knowledge is available.
Fortunately, history proves Americans can summon that will. However, without knowledge — without an end to the moment’s deceptive politics of sight — the most important changes can never happen.
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Jazmin is 27 years old and beautiful. She has the fierce, dark beauty of a Mexican Indian, but she’s tall, and when you see her move, you think Masai warrior or maybe ninja. And it’s true: She does have ninja skills. When I first met Jazmin, she’d just killed a pheasant. She was sitting on the deck talking with a friend when she spotted the bird at the edge of the yard, 20 feet away. She casually picked up a two-by-four and hurled it. The missile hit the pheasant in the head, a neat kill. Jazmin walked over and picked it up. “Dinner,” she said.
She says she doesn’t particularly like killing animals, but she does kill from time to time, if she has good reason. A deer invaded her garden and she killed it with a machete, and she sometimes nets fish in the surf near her home on the coast of Guerrero, Mexico. It’s a skill born from practice and necessity: She grew up rural and poor. Her father abandoned her family when she was 8, and her mother, Esperanza, had to find a way to support seven children. “We ate a lot of natural things,” she says. “Things from the forest. My brother used to kill iguanas. I’ve got a good iguana recipe if you want it. It’s the best meat as far as I’m concerned. There are two types of iguana: green and black. The black is good to eat. The green is too beautiful to kill. Last winter I found a big black one in my house! Can you believe it? The way you kill them is you step lightly on their heads and then pull on the tail.”
Humans worship athleticism, talent and perfection. We have a fascination with the tiny fraction of people who stand on the other side of the line that separates life from art: the grand master, the prima ballerina. We are drawn to people who embody something of the divine; the ones who, through their grace and inspiration, remind us that to be alive is majestic. Often these heroes in our spotlight are athletes. Sometimes they are leaders — warriors, politicians or rebels. Sometimes they are great chefs or composers or guitarists. But outside the spotlight and the enchantment of our collective worship, there are other artists, who turn mundane actions into magic, who approach humble tasks with perfect artistry. The masters of skills born of necessity and perfected to fulfill a pride that is autonomous from credit or accolades, a pride based on the perfection of the action itself, the economy of movement, the swiftness of results.
Jazmin Rudin is one such person. She possesses the grace and determination to execute any task at hand with astonishing efficiency. For example, she hunts shrimp in the river with a homemade metal spear. ”You take a long sharp piece of metal, filed at the end. It has to be really sharp. You attach that to a piece of surgical tubing so it snaps back to you when you throw it,” she says. She mimes aiming a spear, and remarks that on a good day she can spear two kilos of shrimp this way. I express disbelief. She shrugs.
“It’s a cultural thing. If you learn when you’re really little it’s easy enough. You have to learn because the shrimp are not going to come to your house and knock on your door.” She explains her technique: “The shrimp are under the rocks. You go underwater, and lift each rock. Don’t lift it all the way. You need to lift gently so they don’t see you.” She’s a demonstrative teacher. She talks slowly, and pauses to make eye contact. She’s checking to make sure I understand her. To help me get it, she uses hand motions. “They also like to hide in the roots of the trees that grow into the river; they hang out in there, caved up. Before you go for it, you have to check out all the potential exits they might have.” She mimes looking around and adds, “Sometimes you have to grab them with your hand, which can be prickly. But I say no! You’re for me. I don’t care if you bite me, you’re not escaping me!” She laughs. “But really, it’s all about taking aim. Just like hunting with a gun. When everything is correct you’ve got your shrimp.”
But hunting isn’t Jazmin’s only talent. The lectures on killing iguanas and spearing shrimp are just digressions: I’m here in her Oregon kitchen for a lesson in grilling chicken, estilo Mexicana. She learned this recipe for pollo asado from her mother, who raises chickens. Her mother learned it from her grandmother. Both women have lived their entire lives in the same small Guerrero village. Jazmin describes her grandmother as “muy antiquada,” or very antiquated. “She has Indian ways, folk ways,” Jazmin says. “There’s something a little witchy about her.”
Jazmin starts by butterflying a chicken thigh with a deft stroke of her knife. When I admire her technique she says, “My mother always says: ‘I know how to cook chicken, but you are the chicken maestro.’” There’s too much delight and humor in Jazmin’s countenance for this revelation to sound boastful. Besides, as I watch her demonstration, I realize she’s just stating a truth. “Take the leg,” she says. “Find the thickest part and slice it open, like so. Don’t cut it all the way through. Leave a layer of flesh so that you can fold the meat back. When you fold it open, the bones and meat are on one side, and there’s pure meat on the other side. You want to cut it so both sides are of equal thickness.” She slams the chicken leg flat on her cutting board. “Chickens prepared this way absorb more sauce,” she says and gives me a challenging look. I’m not about to argue with someone who can kill living shrimp with a handmade spear.
After salting the butterflied chicken legs and breasts, she sets the meat aside in a bowl and works on the sauce. “You’ll want to put seven dried chiles guajillos to soak in a bowl of water,” she says, helpfully adding, “It’s important to soak the chiles first, because it helps the chile to retain the red color.” She assembles her spices: powdered oregano, cumin seed, ground cloves and whole peppercorns, which she’ll grind in a stone mortar and pestle, or molcajete. The basalt bowl stands on its own three legs; the grinding stone is the size and texture of an avocado. “In Mexico everyone has the rock,” she says, laughing. “But if you don’t have a molcajete, use the blender. It’s not quite the same, but it works.” To make the sauce, she places two cloves of garlic and strips of wet chile in the molcajete, and then deftly adds spices and water a little at a time. The finished result is a uniform liquid, which she ladles over the chicken.
While the chicken marinates and the grill heats, we talk. Jazmin’s pueblo on the coast of Guerrero sounds a lot like the village in coastal Jalisco where I spent part of my childhood. It’s a rural culture, rooted in farming and fishing and family. Jazmin has always felt different from the other girls in town; she’s never cared for makeup or clothes. “I’m old-fashioned like my grandmother,” she admits. But although her values may be old-fashioned, she’s not exactly a textbook campesina: Her great joy in life is surfing, she raves about Hank Williams III, and she’s taught her dog, Rambo, to ride on the front of her four-wheeler. She married Mark, an older guy from Oregon, when she was 19, so that could help explain her cultural idiosyncrasies. But as I watch Jazmin laugh uproariously at a silly joke, it strikes me that even without the foreign influence, she would have been an oddball. She’s one of those rare individuals who always cleaves true to some inner compass.
“The secret to barbecuing chicken is to make sure the flame isn’t too hot,” she says, holding her hand over the gas grill, which she views with some contempt. We’re standing on a back porch in Bend, Ore., and Jazmin has been waxing poetic about the superiority of Mexican chickens. “In Mexico, we get a chicken that’s been killed that day. And it’s double good when you grill it over real coals; these gas grills have nothing on real charcoal.” She slaps a chicken thigh on the grill. “Keep turning the chicken over and over again,” she instructs. “It’s a totally different style. Not as juicy maybe, but more flavorful.” She’s right; when we pull the chicken off the grill a scant 20 minutes later, the meat has a satisfying, chewy texture and the flavor sings, savory and complex. Jazmin gives me a look, as though to say, “I told you so.”
“What do you call this recipe?” I ask.
“It’s called pollo asado,” she says, grinning. Grilled chicken. The answer is pure Jazmin: no nonsense and uttered with the easy confidence of a maestro. Like any great artist, she knows to let her work speak for itself.
Ingredients
- 1 chicken, cut into pieces
- Salt
- Soy sauce (optional)
- 7 dried red chiles guajillos
- 1 teaspoon of ground cloves
- 1-2 cloves of garlic
- 1 teaspoon of cumin seed
- 1 teaspoon of whole peppercorns
- 1 teaspoon of powdered oregano
Directions
- Butterfly chicken.
- Splash chicken with soy sauce and sprinkle with salt.
- Rinse chiles and put them in a bowl. Fill the bowl with water until the chiles are covered. Let soak for 10 minutes. Reserve water.
- When the chiles are the consistency of wet satin, grind or blend them with the garlic and spices.
- Add the water left over from soaking the chiles to the spice/chile mixture.
- Pour liquid over raw chicken and leave to marinate for an hour.
- Heat your grill.
- When chicken is marinated and grill is hot, throw your chicken on the grill.
- Turn the chicken every minute or two until it’s done.
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The battle over “pink slime” is getting messier. Blaming an “unfounded public outcry over the use of boneless lean beef trimmings” in the nation’s commercially sold ground beef supply, meat processor AFA Foods Inc. filed for Chapter 11 bankruptcy protection on Monday. Beef Products Inc. — the South Dakota-based meat titan that invented the pink slime manufacturing process — is also reeling, idling plants in multiple states. In response, Iowa Gov. Terry Branstad, a politician who hails from a state where there is a whole lot of boneless beef extrusion going on, called for a congressional investigation into the causes of the public uproar.
“We have a smear campaign going on against a product that is healthy and safe,” Branstad said. “If they get by with this, what other food products are they going to attack next?”
Score another scalp for social media. Because when Terry Branstad inveighs against “they,” that’s exactly who he’s talking about: the easily outraged masses of Twitter and Facebook. We’ve known about “pink slime” for years. Food Inc. took us into a Beef Products Inc. factory and showed us the repulsive stuff back in 2008. The New York Times referenced the name (coined by a USDA researcher as far back as 2002) and devastatingly punctured the safety claims in a breakthrough piece of reporting in 2009. Celebrity chef Jamie Oliver blasted it on his reality TV show a full year ago.
But only in the last few weeks has pink slime captured the national consumer consciousness, and in doing so provided us with just the latest example of how quickly social media grass fires can become conflagrations with real dollar-and-cents consequences. On March 5, the Daily reported that the USDA was holding firm to its plans to buy 7 million pounds of pink slime for its national school lunch program. The very next day Bettina Siegel, a blogger who writes extensively about food and kids, created a petition on Change.org titled “Tell USDA to Stop Using Pink Slime in School Food.” Within a week the petition had over 200,000 signatories and an Internet frenzy had been born.
Fox News columnist Dan Gainor would have us believe that the real villain here is ABC News, which jumped on the anti-pink slime bandwagon with particular passion, but make no mistake, “pink slime” is a semantic framing that was born for the Twitter era. When you have only 140 characters to spread the news, “pink slime” packs all the wallop you need. The process itself, in which fatty trimmings left over at the slaughterhouse are heated, disintegrated via centrifuge, and then dosed with ammonia, is easy to express in a simple Facebook illustration. We saw it with Susan G. Komen for the Cure and we saw it with SOPA — when the social media masses get a bee in their bonnet, they can’t be stopped.
Certainly, the beef industry knows whom it is blaming.
From the Kansas City Star:
The outrage over pink slime registered the sort of quick and virulent response that seems to characterize a new media age. Janet Riley, spokeswoman for the industry group the American Meat Institute, said she’d never seen anything like it — not with E.coli outbreaks, passing worries about so-called mad cow disease or sundry health studies.
“It’s been a social phenomenon,” she said. “Twitter just made it crazy.”
The beef processing industry is trying to fight back, with websites – Beef Is Beef, Pink Slime Is a Myth – and even a catchy slogan, “Dude, it’s beef.” Pink slime contrarians are also eager to point out that if we want low prices for our burgers and “efficient” use of our beef resources, we should learn to embrace pink slime. But I suspect that the defenders of “lean, finely textured beef” are unlikely to see a social media wave of support break in their favor.
I may be the wrong person to make this argument, as I am a Berkeley, Calif., resident who feeds his children hamburgers made from grass-fed cows raised in Marin. But the questions of whether “pink slime” is safe or efficient or guarantees us low-cost patties are all beside the point. It is impossible to look at the beef trimmings being transformed into pink goo in “Food Inc.” without being revolted. And when American consumers are revolted, they don’t reach for their wallets. Gov. Rick Perry can warn all he wants about how “social media rumors” and “hysteria” threaten to destroy any industry. Maybe that’s even true. But it’s not social media’s fault that pink slime is getting a bad rap. It’s the inherent disgustingness of the process that deserves the blame. When you see it, or think hard about the process that creates it, you just don’t want to eat it.
What’s amazing about the current social media revolution is that it is bringing to pass something that food activists have been dreaming about for decades: If only consumers were more informed about the nature of the industrial food system, they would change their behavior. Well, guess what, with a little help from grass-roots viral marketing, the activists turn out to have been right.
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