Tradicionalni recepti

Pogledajte mesarske gaćice Chrisa Cosentina

Pogledajte mesarske gaćice Chrisa Cosentina

Chris Cosentino dizajnira čarape od mesnih nogu.

Muškarci koji žele mesarske rezove po celom donjem vešu mogli bi samo da dobiju tu priliku; kuhar Chris Cosentino udružio se s Betabrandom kako bi stvorio opremu inspirisanu kuharom, uključujući i Gluttony Pants, koja je debitirala prije nekoliko godina.

Novi proizvodi su, međutim, jednako kičasti; postoje cijevne čarape "Meat Feet" s otiscima mortadele i pršuta i kuharske traperice koje imaju "zračeno područje međunožja, zbog dugotrajne blizine plamena". Šta, on se ne nosi u kuhinji?

Najvažnije, međutim, moraju biti ove mesarske gaćice, sa mesarskim rezovima duž cijelog, ajme, paketa. "Žene, radujte se! Ove sportske gaćice čine savršeno u redu tretirati muškarce u vašim životima kao komade mesa. Isprekidane linije reza i numerirani dijelovi nasumično padaju na svaki par", kaže se u izvještaju. "Pretpostavljam da će to s vremena na vrijeme rezultirati smiješnim efektima u određenim područjima."

Čarape od mesnih nogu već su dostigle svoj cilj u proizvodnji, dok su mesarske gaćice na 98 posto do cilja (u vrijeme tiska). Pređite na glasanje u Betabrand.


Govedinu

Među najjednostavnijim i zadovoljavajućim tehnikama konzerviranja je goveđe meso: isjecite trake nemasnog goveđeg mesa (što je jeftiniji rez, to bolje), posolite ih i začinite, ostavite da se stvrdne jedan dan u frižideru, a zatim ih rasporedite na rešetku osusiti. Kad me kći zamolila da kupim nešto u trgovini, umjesto toga sam napravila gore navedeno.

Sviđa mi se činjenica da je to koristan oblik očuvanja. Prijatelj kojeg sam sreo u drvenom brodogradilištu bio je prije kauboj koji je obrađivao zemlju od Teksasa do Kanade, čuvao i štitio stoku, rađajući telad na ogromnim prostranstvima, često sam na duge staze. Kaže da je trzao ili sušio meso kad god je ubio bilo što, poput jelena. Kad mu je nestalo hrane, zakoljao bi jedno od stoke. Da je sam ili čak putuje s nekoliko drugih, ostalo bi mu previše mesa. Tako bi Robert narezao meso na tanke trake, solio bi ga ako ima soli, držao ga na hladnom, sjenovitom mjestu danju (postalo bi užeglo na suncu), a zatim bi ga objesio noću. Da je u pokretu, rekao je, trzaj je bio važan jer ste ga lako mogli nositi - imao je toliko manje težine od svježeg mesa.

Iz tog razloga, jerky ostaje izvrsna stavka za duga kampiranja. Ova ista metoda dobro funkcionira s divljači. Obično se koristilo nemasno meso, koje se temeljitije sušilo i tako trajalo duže, budući da čak i konzervirana mast može užegnuti. Krug je otprilike tako bljutav i neukusan rez koji možete pronaći, ali sušenjem, začinjavanjem i sušenjem možete ga pretvoriti u nešto vrhunsko i korisno.

Sljedeći recept je prilagođen iz Charcuterie. Počeli smo sa sojom kao jednim od začina. Brian ga je promijenio u chipotles u adobu. Budući da sam u mlinu začina imao samljevenih chipotlesa, to sam iskoristio. Tehnika je beskonačno promjenjiva. Začinite je ukusima koje volite.


4 stvari koje svako može naučiti iz male svinje

U redu, pa možda je to lijepo veliki svinja. Prošle nedelje sam sa vama podelio četiri lekcije koje sam naučio u štreberskom, futurističkom svetu visokotehnološke nauke o hrani. Možda sam trebao prethoditi ovom postu, o mnogo primitivnijoj praksi: kasapljenju. Ipak, za hakiranje svinje nije potrebno ništa manje vještine, iskustva i ozbiljne strasti nego za pretvaranje umaka u glupu žicu. Zahvalan sam što sam naučio ove lekcije na rasprodanom tečaju iskasapljenja svinja u Brooklyn Kitchen-u, pod stručnim vodstvom Toma Mylana.

Prije svega, izvinjavam se onima koji ne jedu meso i mogu biti uvrijeđeni ovim fotografijama. Za vas ostale koji ćete rado raskomadati komad svinjskog trbuha ili carnitas taco, ne dopuštam vam izgovore. Ako ćete jesti meso, uzmite u obzir krvavost kao i ljepotu svježe zaklane životinje. Ovo je svinja Berkshire, podignuta na pašnjacima u sjevernom dijelu New Yorka i prema Tomu, pomalo sa male strane. Ovo zapažanje govori o velikoj razlici između većine svinjskog mesa proizvedenog u Sjedinjenim Državama - nije klonirano i projektirano tako da ima istu težinu kao ostale svinje na farmi (ili bolje rečeno, tvornici) i ima jedinstvenu DNK. No, o tome ćemo malo kasnije.

Nešto poput bruklinskog gurmana, Tom je stalni mesar u sestrinskim restoranima Diner, Marlow & amp Sons i Bonita, a uskoro otvara i mesnicu u blizini. (Možda se sjećate i Toma kao sukreatora Unfancy Food Showa, kolege sudije na najnovijem Chili Takedown-u i sa njegovog bloga Grocery Guy.) Za razliku od većine restorana, Diner, Marlow i Bonita su pre nekoliko godina promijenili svoju proteinsku proceduru naručivanjem samo cijelih životinja od lokalnih proizvođača. Organskiji pristup s farme bio bi od koristi svim stranama, ali bi također zahtijevao vrijednog mesara. Tu se Tom pojavio. Najnoviji dodatak ovoj vezi za meso, njegova nova mesnica je mjesto gdje možete kupiti but iste janjetine čiji se kotleti poslužuju u jednom od restorana.

Za ovaj uvod u osnove mesarstva, prošlog smo utorka započeli nastavu govoreći malo o nasljednoj pasmini svinja. Dodajući primitivnu prirodu razreda, Tom je zaboravio ponijeti električnu pilu. Tako je tokom večeri razbijao trup na poznate posjekotine golim mišićima, dobivajući "sve srednjovjekovno" na toj ogromnoj strani. Usput smo dobili objašnjenje za svaki dio. Za svaki odrezani komad uvijek je postojala mnogobrojna upotreba, na primjer, traka "svinjske masti" mogla se istopiti i upotrijebiti za izradu nevjerojatnih peciva. (Pite od svinjskog lonca, bilo koga?) Nakon što su svi prilozi i kasači bili isprepani i uredno složeni, završili smo s glavom. Iako mnoge kulture imaju metode kuhanja životinjskih glava i njihovih različitih utroba, Tom misli da su potpuno ukusne. (Znam jednu osobu, međutim, koja je prilično revna oko toga da okusi i izgleda nevjerojatno. Provjerite šta je Winnie radila s glavom na prethodnom satu.)

razred bira svoje komade za ponijeti

slani bubrezi su se dinstali kao međuobrok nakon časa

Nakon što su odrezali uši (kako bi ih pretvorili u pseću užinu za Woodyja, crnu laboratoriju Brooklyn Kitchen Kitchen) i uklonili obraze (koji su, poput goveđih obraza, odlični za pirjanje), svinja je bila potpuno iskasapljena. Ja i osam -tinjak kolega iz razreda stajali smo ispred radne površine prepune raznih rezova. Svako od nas mora ponijeti kući u vrijednosti od oko osam funti, naizmjence birajući željene dijelove. Ovo vjerovatno svrstava najvrjedniji aspekt klase-postižući toliko visokokvalitetnog mesa. Bilo je malo zeznuto donijeti stvari kući sa sobom na biciklu, ali moji ogromni komadi slabina i ramena sada se sigurno spremaju u moj hladnjak. Koristit ću ih za pripremu obilnog čilija za Chilian Takedown na godišnjoj festivali čileanske paprike u Brooklynskom botaničkom vrtu ... whee!

Na stranu digresije, ima toliko toga za naučiti o likovnoj umjetnosti kasapljenja da mi zapravo nije bila namjera doći na nastavu u nadi da ću naučiti kako bolje rukovati sječom. Došao sam da se upoznam sa prastarom tradicijom, u nadi da će se kasapska umjetnost bolje upoznati sa ostatkom prosječne populacije. Mogu zamisliti da će otvaranje Tomove mesnice učiniti mnogo za promociju ovoga, kao i nastavak ovih časova, naravno. Dakle, bez odlaganja, evo nekih od najvažnijih stvari koje sam naučio.

Teško je pronaći dobrog mesara.

Većina mesara, ako imate sreće da ih imate u svom susjedstvu, jednostavno ne znaju što učiniti s cijelom lešinom. Većina mesa reže se ogromnim tračnim pilama i distribuira se u pojedinačnim komadima u mesnice (ili supermarkete ili restorane) u koje idu. Ali prije nekoliko generacija to nije bio slučaj - rastavljanje životinje bilo je nešto što je većina ljudi znala raditi.

Za početak na svom polju, Tom je proveo jednomjesečni kamp obuke u mesarstvu u kući Josha i Jessice Applestone iz Fleischer’s Meats-a, koji opskrbljuju dio mesa restoranima. "Bilo je to otprilike četiri mjeseca prekratko", priznaje Tom, ali nakon što je bačen na ogromno radno mjesto koje su restorani zahtijevali, hakirajući cijele životinje, kaže da je stigao do ovog geštalta u kojem odjednom sve ima smisla, a vi shvatite način na koji životinje rastu mišiće. U današnje vrijeme Tom kaže da ne može gledati živo biće bez razmišljanja o tome kako ga rastaviti.

Ne postoji jedan, pravi način da se podijeli životinja.

Mnogo je razlika između čak i britanske i američke kategorizacije rezova. Na primjer, Britanci nazivaju duži dio bočne strane "svinjskim trbuhom", dok je američki standard manji. To su u suštini dvije kuhinje koje slijede isti pravilnik kada su u pitanju rezovi, pa zamislite samo sve kulture izvan zapadnog svijeta - potpuno različite preferencije, potpuno različiti običaji.

Ovo mi je bilo posebno intrigantno, i odjednom sam se osjetio neobrazovanim za svjetske načine iskasapljenja mesa. Pretpostavljam da je početak tog znanja jednostavno znanje da ovaj oblik iznad nije kraj svih svinjskih kotleta. "Postoji isto toliko načina sječenja svinja koliko i zemalja koje imaju svinje", rekao je Tom.

99% svinjetine na tanjuru je zlo.

Znam, ta posljednja riječ zvuči pomalo maloljetno ekstremno, čak i za pomalo subverzivan blog koji je napisao netko tko ne bi jeo u restoranima dvije godine. Ali, ako će se GOP nastaviti bacati oko takve arhaične psovke tamo gdje joj nije mjesto, onda je s njom u PURGATORIJI, ajmo samo nazvati "drugo bijelo meso" zlom.

Dopustite mi da objasnim na šta mislim time: Još u vrijeme kada je ova kampanja krenula, smatrajući svinjetinu proteinom s niskim udjelom masti, ovu tvrdnju je omogućilo genetsko inženjerstvo koje je isisalo veći dio prirodnog okusa svinjetine, ali štoviše, pojednostavljeno njegovu proizvodnju na takav način da bi uplašio i najvećeg ljubitelja slanine. Nazvan "bijela svinja", proizvod koji je izbacila industrijalizirana većina proizvoda za pakiranje mesa napravljen je od genetski identičnih svinja odabranih zbog brzog rasta i niske masnoće, a koje nikada nisu provele dan na otvorenom. Mnogi od vas vjerovatno već znaju mnogo o ovome, a ako ste čitali knjigu Michaela Pollana Dilema omnivora, možete se prisjetiti takvih uznemirujućih detalja kao što su svinje cijeli život naslagane od glave do pete u kavezima, često se uznemiravajući i grizući jedni drugima repove te uzrokujući infekcije.

S druge strane, svinje uzgojene sa pašnjaka savjesnih farmera, poput one koju je Tom klao u razredu, neuporedivog su okusa. Što je meso tamnije, prema Tomu, to bolje. Dok je skidao dio masti sa slabine, primijetili smo da je mast imala žućkastu nijansu. "To je iz beta karotena, iz trave", objasnio je Tom. Takođe je priznao tokom časa da bi, ako umjesto toga, morao mesati normalno, industrijalizirano meso za život, odustao.

Svinjska koža čini dobro odelo za zečeve.

U redu, nisam mogao odoljeti da ovo vrlo malo otkriće ne podijelim s malo relevantnijim. No, nakon što smo završili demonstraciju iskasapljenja, počeli smo razgovarati o sljedećim koracima - kuhanju reza. Bilo je dosta komadića sladića isprepletenih za pečenje, premazanih velikim slojem masti. Šta učiniti sa zaostalom kožom? pitao je neko iz razreda. Čvrsta vanjština životinje, koja se mogla pažljivo ošišati, bila je slasno masna i aromatična, te savršena za omatanje pečenja zeca. Zečje meso, objasnio je Tom, vrlo je nemasno i stoga ga je teško ispeći jer se lako suši. Dakle, jedna stvar koju kuhari rade da riješe ovaj problem je oblačenje u odijelo od svinjske kože. Dodaje okus i održava meso zeca vlažnim, ali što je još važnije, "sviđa mi se ideja da skuham zeca u svinjskom odijelu", rekao je Tom.


Informatori o hrani: Nedelja u životu Chrisa Cosentina, šefa kuhinje, Odjela za drobljenje

Informatori o hrani je tjedan u životu serija koja profilira fascinantne ljude u svijetu hrane. Nadamo se da će vam iz prve ruke dati uvid u mnoge različite dijelove prehrambene industrije. Poznajte nekoga ko bi bio sjajan Informator o hrani?? Recite nam zašto.

Chris Cosentino izvršni je kuhar Incanta u San Franciscu, teškog iznutrica (niste sigurni šta su to iznutrice? Ovdje pogledajte naš Vodič za cijele životinje) rustikalnog talijanskog restorana koji se nalazi u San Franciscu. Ohrabrujući pokrovitelje da probaju različite komade mesa, Cosentino se također zalaže za lokalnu prehranu. Ranije je kuhao u poznatim restoranima kao što su Kinkead's i Chez Panisse, a navodi Jean-Louisa Palladina kao veliki utjecaj na njegov stil kuhanja. On je i suvlasnik Boccalonea koji prodaje različita suhomesnata mesa i domaću salamu. Da biste saznali više o Cosentinu, posjetite njegovu web stranicu Offal Good.

Pročitajte dolje dnevnik Chrisa Cosentina da biste saznali o nekim od njegovih brojnih projekata i o tome koje vrste iznutrica jede za tjedan dana.

U petak, 6. avgusta
10:00: Idite u Incanto na sastanak menija sa Manfredom, našim šefom kuhinje. Provedite većinu dana praveći rasporede i pripremajući se za šator SF Tags Grand Tasting. Punili smo i krivolovali kobasice.
14:30: Završite s pakiranjem hrane za SF Chefove na otvaranju i uskočite u taksi na događaj na trgu Union. Držim govor za ceremoniju rezanja kolača i poslužujem 1600 porcija svinjske estufade, portugalskog paprikaša. Naš štand je prepun cijele noći i na sreću, kabina Anchor Steam nalazi se preko puta naše stanice.

22:25: Idite taksijem u restoran da istovarite naše stvari, provjerite osoblje i pozdravite neke goste. Idite na SF zabavu nakon zabave gdje hvatam rep Davea Mesara kako razbija janje. Razgovarajte s grupom o razlici između klasičnog mesarstva i mesarstva obučenog za kuhara-vrlo različite metode, ali na kraju dobijete isti proizvod i rezove. Odlučujemo da se radi samo o vrsti efikasnosti koja je potrebna za okoliš i koja diktira tehnike.

U subotu, 7. avgusta
7 ujutro: Kafa zatim sa mojim sinom na farmu na pijacu da kupim za restoran. Uzeli smo dvije vrste plodova sa Hamada, rotkvice od lubenice, male rotkvice, brokoli od Dirty Girl i Douglas Fir iz White Cranea. Plus nekoliko lijepih čilija na vinovoj lozi da ih objesim i osušim u restoranu.
14:00: Sastanak menija za kuhinju u Incantu, a zatim odlazak na bitku Iron Chef SF Chefs. Elizabeth Falkner i ja udružujemo se protiv Dominique Crenn i Russell Jackson kako bismo osvojili donaciju od 20.000 USD našoj odabranoj dobrotvornoj organizaciji i pobijedili smo! Ček poklanjamo Meals on Wheels u San Franciscu.
18:30: Povratak u kuhinju u Incanto na servis. Puna je kuća (ovdje je sous chef iz Joe Beefa), a željeznička karta je puna u 10:15. Zadnji tanjir izlazi u 11, a ja idem kući u 1:30 ujutro.
3 ujutro: Probudite se s neotvorenim pivom u ruci potpuno odjeveni na kauču sjedeći.

U nedelju, 8. avgusta
8:30 ujutro: Bagel krem ​​sir i sveži paradajz sa espresom. Družite se s porodicom, pomozite u čišćenju kuće i gledajte televiziju sa mojim sinom. Rijedak je dan za opuštanje.
18:00: Idite u Incanto i radite na večeri koja pomalo ludi. morao pustiti server. Pokažite novinaru kako s nama večera kako pravimo korzete svinjske krvi. Dođite kući oko ponoći, pojedite porciju sardina iz restorana, a zatim idite u krevet.

U ponedeljak, 9. avgusta
07:15 ujutro: Spakiraj ručak mog sina od salame, boranije i čeri paradajza za kamp. Spakiraj odjeću za put u Toronto.
12:10 popodne: Taksi me preuzima za odlazak na aerodrom, a ja se prijavljujem da saznam da mi je let odgođen dva sata. Na brzinu napravite zdjelu s rižom i počnite raditi na upisivanju recepata za kuharicu između radnih poziva. Iznenađujuće, završio sam njih osam.
23:10: Sletite u Toronto i na putu do Crnog kopita. Uživajte u obroku - Grant Van Gameren i osoblje skuhali su mi odličnu večeru, uključujući suhomesnate proizvode poput salame od smreke i nekoliko ukiseljenih mahuna mliječnice koji su bili nevjerojatna poslastica i nešto što nikad nisam vidjela. Takođe, goveđi jezik na briošu je nevjerovatno vjerodostojan.
2:30 ujutro: Srećom, osoblje u Black Hoof -u se opusti prema meni - obilazim obje lokacije od Granta i Jen Agg i družim se i razgovaram. Govorimo o tome kako posao nikada ne prestaje, i zašto se nastavljamo buditi i vraćati svaki dan po još, i razgovaramo o svim stvarima koje liječe i čuvaju budući da svakog ljeta za zimu stavljaju tone proizvoda. Osim toga, sve kuhaju na električnom štednjaku, a ja i dalje pokušavam omotati glavu.

02:45 ujutro: Prijavite se u Four Seasons i srušite se.

U utorak, 10. avgusta
09:45: Cijeli dan snimanja. Ne mogu još reći šta sam jeo, ali vrijeme je bilo ludo ... vruće, onda se slijelo. [Napomena urednika: Ostanite s nama ?!]
21:15: Povratak u hotel, nazovite moju ženu pa krenite na večeru u Bacco s Grantom i Jen. Uživajte u obroku! Kuhar je počeo slanjem runde svog suhomesnatog mesa, prženog obroka male ribe, cvijeća i svinjskih ušiju, zatim je prešao na tijesto od tjestenine špageta od svinjske krvi s burratom i lazanja od patlidžana. Zabavniji razgovor o restoranskoj sceni u Torontu, njihovom nedavnom putovanju u Chicago i njihovom obroku u Alinei gdje još nisam jeo pa mi je bilo zanimljivo čuti o tome.

U srijedu, 11. avgusta
05:20 ujutro: Probudite se i krenite na aerodrom.
7:00 ujutro: Idite doručkovati sok od grejpa, zobene pahuljice i dvostruki espresso u Sky Lounge Maple Leaf i ukrcajte se natrag kući.
8:20 ujutro: Produktivan let. Završilo je 6 recepata nakon kratkog drijemanja i nadoknadite malo čitanja. Pročitao sam članak o krvi u novom Prehrambena umjetnost časopis, Hrana i vino, the New York Times odjeljak hrane i gledajte loš film.
10:40 ujutro: Sletite u SFO i ponovo morate uputiti taksistu kako da dođe do moje kuće.
12:00: Odvezite BART do zgrade trajekta da provjerite Boccalone, a zatim se uputite da upoznate Anthonyja Bourdaina na dan snimanja njegove nove emisije. Otišli smo na zadivljujuću korejsku hranu, pivo i soju.
17:00: Idite na Nob Hill za posljednje snimanje s Tonyjem, a zatim se sastanite s Phillipom Baltzom u Americanu. Večeramo u Nojo - htjela sam odvesti Phila na neko mjesto gdje nije bio i pojeli smo tone: svi ražnjići, pileća koža, matcha i morska sol, gizzard, goveđi jezik, goveđe srce, paradajz cha wan mushi, tsukne i jaje umak od žumanjaka, karate krila i bubnjeva, svinjske čeljusti i svinjski trbuh te puno piva.
22:00: Družite se sa suprugom Tatjanom i idite u krevet.

Četvrtak, 12. avgust
07:15 ujutro: Probudite se i pripremite doručak za Easton: integralni hljeb, pekmez od breskve moje žene i puter od kikirikija i čašu mlijeka. Imam nešto Americana i istuširaću se.
10:30 ujutro: Idemo nabaviti Eastonu neke Pokemon karte, a zatim otići u restoran provjeriti postavljeni meni za večerašnje zabave. S tri noge zvijeri, Manfred i ja razgovaramo o povrću i izboru salate. Stavke menija na tabli se razrađuju pa razgovaramo o sljedećim promjenama menija za sutra.

11:15 sati: Idi kući i napravi Easton ručak od paradajza i paprike. Zovem Sang Yoon da ovog oktobra pogledamo naš događaj za Los Angeles Food & Wine. Radimo ručak pod nazivom "Meso u sredini" gdje svaki uzimamo jedan kraj životinje i kuhamo se kroz nju dok se ne sretnemo. u sredini. TBD na koji kraj dobivam.
13:00: Povratak u Incanto na TV snimanje, zatim ručak osoblja i sastanak o novim jelima i načinima pružanja bolje usluge.
17:30: Vrata se otvaraju i na redu sam do ponoći. Rasprodali smo cijelu ploču. Za naše stalne goste Jaya i Grace napravili smo posebnu šunku od sijena s masumoto breskvama. Usvojili su drvo breskve i ostavili breskve za večeru. Svi gosti su došli u isto vrijeme za ogromno sjedenje odjednom, ali inače sjajnu noć.
12:00: Završite sa čišćenjem i počnite sa izradom novih stavki menija.


Kulinarski češalj

Kelly Weatherly/Flickr

Češljevi od pijetlova kulinarska su poslastica u mnogim zemljama. U Kini se pojedinačni češljevi koriste u jelima od prženja i dim sum (vrsta knedli), dok se u Španiji dodaju umacima i supama. Američki kuhari hvataju se i za svestranost češlja.

Prije nego se češljevi skuhaju, moraju se oprati, blanširati i oguliti. Što je češalj veći, lakše se guliti, kaže šef kuhinje u Minesoti Alan Bergo.

"Čišćenje češljeva je dosadno", kaže on, "ali isplati se za krajnji proizvod: nježan komad piletine koji se topi u ustima." Bergo nudi recepte na svojoj web stranici www.foragerchef.com. Njegov video, Čišćenje petlića, pokazuje kako pripremiti češljeve od nule.

Kulinarski savjetnik Aki Kamozawa iz Ideje u hrani predlaže mariniranje oguljenih češljeva preko noći u sezamovom ulju, soli i feferoncinima. Sljedećeg jutra, prelijte ih maslinovim uljem i pecite češljeve u niskoj pećnici dok im masnoća ne postane, želatina se ne karamelizira i malo zapeče. "Djelovali bi kao odlična zamjena za slaninu u jelu", kaže shwe.

Kuhar iz New Yorka Chris Cosentino preferira češljane kandže sa pijetlovima. Pronađite njegov recept na web lokaciji D'artagnan koja nudi oljuštene češljeve za one koji preferiraju manje praktičan pristup.


Kako: Skuhajte pečene praseće repove

Kako: Napravite svinju kalua (svinjetina u havajskom stilu) kod kuće

Kako: Mesar svinju

Kako: Napravite filipinski tokwa 't baboy (prženi tofu i svinjsko meso)

Kako: Napravite biftek u filipinskom stilu

Kako: Peći svinjski havajski

Kako: Slanina u mikrovalnoj pećnici

Kako: Napravite svinje u ćebetu s tijestom u obliku polumjeseca

Kako: Skuhajte neke ukusne svinje u ćebetu za užinu

Kako: Napravite špagete carbonara

Kako: Napravite svinju od fondanta

Kako: Skuhajte rijedak odrezak poput Gordona Ramsayja

Kako: Napravite filipinski chicaron bituka (prženo crijevo)

Kako: Pecite svinju u porcelanskoj kutiji

Kako: Napravite irsko goveđe meso i kupus za Dan sv. Patrika

Kako: Napravite tepsiju od šunke, brokolija i sira

Kako: Pecite cijelu svinju

Kako: Skuhajte savršeni odrezak

Kako: Mesariti svinju

Kako: Truss piletini

Kako: Napravite alfredo sos sa malo masti

Kako: Mesar jelena

Kako: Napravite punjeni kupus u mediteranskom stilu

Kako: Devein i račići sa salamurom uz Simply Ming

Kako: Napravite filipinski svinjski sisig (začinska svinjska njuška i pojačala)

Kako: Kuhajte s češnjakom

Kako: Napravite slatke nigiri od račića

Kako: Napravite inihaw na liempo (svinjski trbuh na žaru)

Kako: Napravite irsku usoljenu govedinu i kupus

Kako: Napravite svinje u ćebetu za zabavu sa Betty

Kako: Dimiti pastrmku u pušaču

Kako: Skuhajte etouffee od rakova s ​​kuharom Patrickom Moldom

Kako: Brzo napravite svinje u ćebetu s provolonom i salamom

Kako: Kuhajte kupus punjen povrćem na roštilju

Kako: Napravite začinjen gulaš od skuše

Kako: Napravite slatke meksičke churrose s Paulom Deen

Kako: Napravite New Orleans Gumbo

Kako: Peći svinju na ražnju

Kako: Skuhajte ukusne svinjske repove sa roštilja na žaru

Kako skuhati dinuguan: Jednostavan krvavi obrok i miljenik Filipina


My Tastee Tips

Vježba, vježba, vježba …Prvi pokušaj otkopavanja cijele piletine na kraju je izgledao kao da sam “koljao ” jadnu pticu. Ne odustajte ipak, drugi put je prošlo mnogo glatko, a treći još više.

A veoma važno dio otkoštavanja piletine je imati pravi nož! Mora biti oštar! Tup nož učinit će proces otkoštavanja piletine apsolutnom, bijednom košmarom (Znam iz prvog pokušaja i mislio sam da su noževi koje sam koristio pristojni, a#8230 nisam bio u pravu). Naravno, nož za iskoštavanje bi bio dobar (piše u imenu), ali otkrio sam da mi je vrlo oštar nož za rezanje odlično funkcionirao, da ga je bilo lako držati, rukovati i manevrirati (ovaj nož nije baš napravljen za iskopavanje, ali nemam nož za iskoštavanje, radio sam s onim što sam imao …). Ovo je link na detaljnu stranicu Wikipedia o svim kuhinjskim noževima, dobro pročitano.

Pogledajte ovaj recept za pripremu domaćeg pilećeg temeljca s ostacima cijele piletine. Ili ovaj recept za domaći temeljac od puretine.

Nakon što otkostite piletinu, imat ćete nekoliko različitih komada pilećih prsa, krila, butina i bataka. Ako planirate sve njih koristiti sjajno (Nisam baš siguran koji recept ih sve poziva). Međutim, ako ne samo jednostavno uzmite preostale komade i zamotajte ih u papir za zamrzavanje te ih spremite u posudu ili vrećicu za zamrzavanje, a zatim ih zamrznite za kasniju upotrebu! Također možete odvojiti kost od nekoliko cijelih pilića odjednom, na ovaj način ćete imati dosta smrznute piletine i spremne za kasniji datum.


My Tastee Tips

Vježba, vježba, vježba …Prvi pokušaj otkoštavanja cijele piletine na kraju je izgledao kao da sam “koljao ” jadnu pticu. Ne odustajte ipak, drugi put je prošlo mnogo glatko, a treći još više.

A veoma važno dio otkoštavanja piletine je imati pravi nož! Mora biti oštar! Tup nož učinit će proces otkoštavanja piletine apsolutnom, bijednom košmarom (Znam iz svog prvog pokušaja i mislio sam da su noževi koje sam koristio pristojni …Pogriješio sam). Naravno, nož za iskoštavanje bi bio dobar (piše u imenu), ali otkrio sam da mi je vrlo oštar nož za rezanje odlično funkcionirao, da ga je bilo lako držati, rukovati i manevrirati (ovaj nož nije baš napravljen za iskopavanje, ali nemam nož za iskoštavanje, radio sam s onim što sam imao …). Ovo je link na detaljnu stranicu Wikipedia o svim kuhinjskim noževima, dobro pročitano.

Pogledajte ovaj recept za pripremu domaćeg pilećeg temeljca s ostacima cijele piletine. Ili ovaj recept za domaći temeljac od puretine.

Nakon što otkostite piletinu, imat ćete nekoliko različitih komada pilećih prsa, krila, butina i bataka. Ako planirate sve njih koristiti sjajno (Nisam baš siguran koji recept ih sve poziva). Međutim, ako ne samo jednostavno uzmite preostale komade i zamotajte ih u papir za zamrzavanje te ih spremite u posudu ili vrećicu za zamrzavanje, a zatim ih zamrznite za kasniju upotrebu! Također možete odvojiti kost od nekoliko cijelih pilića odjednom, na ovaj način ćete imati dosta smrznute piletine i spremne za kasniji datum.


Direktno dodavanje: stanje queer kuhara u Americi

Kuvao sam, više od decenije i po, u restoranima. 2002. napustio sam kuhinju kako bih se bavio pisanjem hrane, a krajem 2008. dobio sam svoj prvi nastup sa zubima, kao prvi urednik časopisa SF WeeklyJe nezgodno naslovljeni blog restorana SFoodie. Sjećam se kako sam se jednog jutra vozio na posao na mostu Bay (živio sam u Oaklandu, još uvijek to radim), pogledom skrećući s ceste prema magli zaklonjenoj iza Golden Gatea, preko do sivog lica tornja zgrade trajektne zgrade, s užasnom tjeskobom u utrobi. Mislio sam, Sranje.

Odgovornost pokrivanja hrane u San Franciscu težila je na mojim ramenima poput dvostrukog sanduka šparoga. Htio sam iskreno izvijestiti, u pričama koje su govorile o osjećaju da se ovdje jede i zašto je došlo toliko kuvara s talentom. Čak i ako nitko nije znao izgovoriti SFoodie, bio sam odlučan da će znati da ga moraju pročitati.

Do proljeća sam radio na ideji: napisati i urediti seriju, veliki skup priča predviđenih za mjesec ponosa. San Francisco u junu nabubri i pupolji, posvuda izbija u čudnu utopiju koju smo mnogi od nas htjeli pronaći kao tinejdžere, kada smo se pokušavali snaći u sićušnim spavaćim sobama zatvorenih vrata, u usranim prigradskim gradovima koji su nas mrzili. Morao sam to snimiti.

Nazvao sam ga "Queer Food Capital", dobio sam Nedeljnoje umjetnički direktor koji je dizajnirao logotip serije (bio je ružičast i lukav, poput majice koju biste isprintali krumpirom za svoj prvi Dyke mart) i planirao priče: priču o Genevieve Callahan i Lou Richardsonu, lezbijski par koji je dizajnirao Sunset izvještavanje o hrani časopisa 1920-ih, i koje još uvijek traje prelistavanjem teško kodiranog artefakta Lou Randa Hogana iz logora sredinom šezdesetih, Gay Cookbook.

Radili bismo recenzije restorana, barova i kafića prilagođenih queeru. I, mislio sam, intervjuirao bih svakog gay i lezbijskog kuhara u gradu koji je poznat po njima. San Francisco je bio magloviti queer Elysium u kojem je zvijezda kuhar Jeremiah Tower vladao osamdesetima, izgledajući kao da ga je briga što je paparazzovan s nekim ruskim dječakom s turneje Bolshoi. To je grad u kojem je kuharica Elka Gilmore vladala devedesetim u San Franciscu u Elki koja je razbila žanr, mentorirajući šačicu lezbijskih kuharica koje bi nastavile otvarati vlastite kuhinje, po vlastitim uslovima i u svom stilu.

San Francisco je bilo mjesto na kojem ste mogli biti vani i poštovan, slobodan za kuvanje izvan nekog skučenog, nevidljivog bistroa u gejborstvu, neograničen ružičastim getoima i strahom. Gary Danko iz istoimenog restorana Jardinièreov restoran s Michelinovom zvjezdicom, šef kuhinje Traci Des Jardins Elizabeth Falkner, slastičarka koja je srušila barijeru između slanog i slatkog: razotkrio bih njihove priče velike poput zastave dugačke 30 metara koja se vijori oko vjetra Harvey Milk Plaza.

Jedan po jedan, kuhari kojima sam se obratio rekli su ne ili mi se nikada nisu javili. Publicista Traci Des Jardins nazvao me je, brutalnost zaslađena simpatijama. "Traci cijeni ono što pokušavate učiniti, ali odlučuje da u ovom trenutku neće učestvovati."

"Odlučila je da u ovom trenutku neće učestvovati."

Dankov pomoćnik zvučao je zabrinuto zbog intervjua, ali tada sam, misleći da bih joj trebao dati upozorenje, spomenuo Queer Food Capital. Nisam se javila.

Možda sam to bio ja, moj ugled pisca ili sam bio previše zelen da bi kuhari vjerovali. Na kraju sam napisala dva profila: lezbejska sommelierka i vlasnica ugostiteljske PR kompanije koja mi je ispričala sve o svojim Yorkijima, a zatim se uzrujala zbog zvuka
previše pedersko.

Zapravo, Elizabeth Falkner me ipak nazvala. U njenim odgovorima osjećao sam se prekorenim. "Mislim da imate pogrešan utisak o meni i mom restoranu", rekla je (Falkner je još imao Orsona). „Ne kuham samo za homoseksualce, već kuvam za sve. Ovo nije “, rekla je, s naglaskom zbog kojeg sam se osjećala kao da sam na neki način uništila njezine vještine,„ gay restoran “.

"Pa da, očito, znam, ali ..." Predao sam se - posumnjao sam u svoju seriju, pomislio da je glupa, odustao. Posramljen što sam uopće došao do kuhara, sveo sam svoje prvotne ambicije na deset kratkih komada. Moj veliki queer glavni grad gastronomije na ružičastu subotu više je ličio na Castra, šest kratkih, sigurnih blokova sa jajima Benedikta za užinu, koktele sa imenima drag-queen i debele kolačiće obložene čokoladom u obliku kurca sa glavama.

Osim što me neprestano proganjalo, pitanje koje me je mučilo dok je besnila moja oluja odbijanja. Bilo je to razlog zašto- u gradu u kojem je najmoćniji kritičar restorana, Michael Bauer, otvoreno homoseksualac i gdje je mučenički Harvey Milk učinio da izađe ne samo kao građanska vrlina već i kao čin patriotizma- zašto su kuhari, posebno oni na visokom nivou- kraj restorana, ne volite da „gej“ ili „lezbijka“ kvalifikuju njihova postignuća? Šta je bilo toliko ograničavajuće, okaljavajuće ili možda zastrašujuće u vezi sa označavanjem queer u kuhinji? Zašto su se neki kuvari plašili
posjedovati to?

A onda sam pomislio na Jimmyja i mene u Čikagu i sjetio se straha. Kuhinja nije mjesto na kojem želite ukloniti svoje blještave gay poteze navijačica. Kuhinja je mjesto zbog kojeg se ponekad poželite sakriti.

Eileen je bila zubarka koja je prebacivala mnogo koksa, rekli su, i živjela je sa svojom djevojkom u ograđenom objektu na Bliskoj zapadnoj strani, devedesetih godina kada je taj dio Chicaga bio jeftin. Dobar paranoja protutnjao je restoranom u vlasništvu Eileen i gdje sam - jadnih godina svog života, nakon što sam se s dečkom preselila iz San Francisca - bio kuhar.

She’d hired these cooks from Durango in Mexico, guys who scared the shit out of me. I was supposed to be their boss, but I couldn’t get them to do anything they didn’t already want to do. Hector would chop the same size insert of garlic he chopped every day, even if I told him to do less. I’d schedule Roberto for Sunday brunch and he wouldn’t show up. When he came in on Monday he didn’t apologize, didn’t look at me when I yelled and said I’d fire him, just grabbed a sack of Kennebecs and started cutting the fries like nothing had happened.

When I complained to Eileen about them she’d just shrug, stab out her cigarette, and dip her crazy perm back down over the invoices as she lit another. They were good guys, she’d say (I think they were wrapped up, somehow, in Eileen’s dealing), and I needed to figure
it out.

I started cooking brunch myself.

The only other gay guy I knew at work was this server, Jimmy. He was blond and fragile, in his twenties, a twink trying to stay one forever. Jimmy was sassy and kinetic, constantly moving, blasting Ace of Base when he came in to start his side work, pausing only to land these Mariah Carey bitch-goddess poses. He made a brutal place more bearable. I loved Jimmy. And I watched him get chewed up, all the time.

One day, tripping down the stairs to the dank, craggy prep basement, I saw Jimmy with Roberto and Hector. Roberto behind, grinding on Jimmy through his pants, like he was fucking him. “You like this, puta? You want me to fuck your culo, puta?” Hector was leaned up against a table, laughing. Roberto threw his arms back, leaned his pelvis in to mock-machine-gun-fuck Jimmy’s ass.

“Jimmy likes that shit. You like that verga, don’t you faggot?”

Roberto and Hector didn’t even acknowledge me. I looked at Jimmy’s face, twisted to the side, eyes finding mine, but instead of rage or panic I saw a blank, bored-looking kind of acceptance, tongue stuck out in a lackluster mime of passion. And then, slowly, Jimmy raised his hands to frame his face, middle fingers cocked in a fuck-you double salute directed straight at me.

Jimmy’s message was clear: Don’t you even judge me, bitch.

I felt more troubled by what I was seeing than anything else that happened in Eileen’s restaurant, and that’s saying a lot. But how could I judge Jimmy? Me, I could pass for straight if I had to, but that wasn’t an option for Jimmy, even if he wanted to. His way was the way of the queer man, everywhere and forever: playing along, being an accessory to your own powerlessness, acting the little bitch they want you to be.

After that, things weren’t so easy for Jimmy and me. In a weird way, I think he judged me for passing. If anybody asked (like Natalie, a lesbian single mom who worked sauté on weekends) I’d talk about my boyfriend—nobody could accuse me of being in the closet. I just wouldn’t offer up any signals, not at work. Not around these assholes I was supposed to be supervising.

Jimmy started teasing me about my bland clothes. He wore tight pants, buttoned-up Benetton polos, a pair of long, shrew-nosed Prada loafers he got secondhand. I’d change out of my cook’s whites at the end of the night, pass through the pantry, past Eileen and her girlfriend smoking at the bar, and Jimmy’d shade me for dressing like I shopped at the Gap outlet, which I pretty much did.

“Anybody feel a draft in here?” he might say, scanning me up and down, from my baggy jeans to the plaid collar poked up around the rib-knit margin of my bulky heathered sweater. “Maybe there’s a GAP in the window. Someone better go close that.” I knew what he was doing. Jimmy was calling me out for trying to pass, keeping my shit underground, like a coward. Hiding in plain sight. Cloaked in fleece.

“Do you have a boyfriend?”

Jeremiah Tower erupts, throwing up his hands like he’s physically blocking my question, across the jagged mosaic tabletop in the cool back room of a house that retreats deep, far from the blazing street. “Nah, I’m not getting into that.”

It’s October 2014. I’m in the Yucatan—at the house in Merida where friends are letting him stay—to interview Tower, the seventy-two-year-old chef who cooked at Chez Panisse in early days, and opened the now almost mythical San Francisco brasserie Stars in 1984.

Tower—tall, still beautiful in a gracefully weathered way, with stately cheekbones and soft, gray eyes—is a man who never seemed to hide his boyfriends. The scene around Chez Panisse in the early 1970s resembled a big bi fuckfest, where you were never very far from drugs, Champagne, and Berkeley-English-major bussers who’d get naked and high and want to quote Anaïs Nin while you blew them. Tower and Alice Waters briefly dated (or whatever you call an intense romantic connection that included sex), then had a major falling out, in part because both were sleeping with the same dude.

At Stars in the 1980s, Tower’s public persona achieved operatic status. His taste-making, physical presence, and cultivated aura of old-money refinement, burned onto the cocaine-and-Chardonnay hedonism he personified, made Tower, himself, a star. Along with Wolfgang Puck, he was America’s first celebrity chef. And he was publicly gay.

“Could I prove it in a court of law?” Tower asks, across the jagged mosaic, flashing his legendary self-confidence. “Not really, but I’m certain that I was the only famous gay chef in America.”

And while Tower made being gay look easy—even elegant—slipping into Zuni Café with his boyfriend (and publicist) Arthur Gallego for late suppers after Stars, it was actually kind of brutal.

The 1980s and early nineties were a time of big public fundraisers, when famous chefs from all over the country would converge on New York City or Santa Monica to cook expensive galas. Tower was a natural, alongside the most famous chefs of the day: Puck, Jonathan Waxman, Larry Forgione, Bradley Ogden. But it wasn’t easy.

“When you’re out drinking after the event,” Tower says, “all the jokes are macho straight jokes,” even if (or maybe, in part, because) they know you’re gay. Less famous chefs resented him he knew what they said about him privately.

“There was like, ‘How could he be so famous and gay?’” Tower says. “Or, ‘What did he do to deserve that? He’s gay.’” No matter how famous or accomplished you got, there were still people who considered you a little bitch, like Jimmy. You had to be tougher than your critics. Look like the badass who didn’t care, even if you were a badass in an Armani blazer, with a silk pocket poof.

“There were two Jeremiah Towers,” he says, “Jeremiah Tower, Inc., and me. That publicity stiff was all business, to get people to come to the restaurant.” All that being spotted out, at Zuni, with a mention next day in Herb Caen, the influential columnist for the San Francisco Chronicle—it was calculated. It flattered San Francisco’s notion of itself as this glittering, cosmopolitan place, where the most famous chef could be a handsome, well-dressed, white, Harvard-educated homosexual.

A handsome, well-dressed, white, Harvard-educated homosexual without—and this is a critical point—any messy queer political agenda.

Tower’s critics in the ranks of San Francisco’s queer activists thought he wore his gayness like he wore his famous red-rimmed Ray Bans: a personal accessory, something to flaunt when he felt like it. ACT UP didn’t give a fuck about Tower normalizing homosexuality in front of the cameras at Stars with a flute of vintage Veuve in his hand, greeting Mr. International Gay Rodeo at one table and the city’s richest and most powerful socialite at the next. They expected Tower to use his celebrity to fight AIDS. Demanded that he do it.

And while Tower did organize a big society AIDS fundraiser in San Francisco, his downfall came, in part, after a wrongful termination lawsuit he lost—a server at Stars who was suffering from AIDS had been fired. Tower said it was because he was a terrible waiter, not because he was sick, but a jury held Stars culpable. Caen’s column blasted Tower, and one by one the socialites defected. Tower lost the support of the straight and powerful, even as he’d lost the support of the gay and powerful, and Stars eventually crumbled. People would confront Tower and his boyfriend when they rolled into Zuni.

Tower was both too gay, and not gay enough. Well, San Francisco’s politics have always been tortured. No wonder I didn’t get any takers for mayor of Queer Food Capital.

“Sexuality for me is not political,” Tower says, not long before
I click my laptop closed and we leave for lunch. “It’s private. Screaming in the street is not my style. Fucking shut up about it.”

Tower means the queer activists, but what if he’s also talking to me? What if I should just fucking shut up about it? Like I said, this story started with my own desire—my own need, maybe—to find some thread of connection with gay and lesbian cooks, people who survived years of taking shit on the line, the gay slurs and misogyny, of being somebody’s Jimmy. But what if chefs refused to fucking shut up about it? Are there queer chefs refusing to shut up about it in their food? Refusing to apologize?

“Sorry, John.” David Nayfeld is on the phone from Los Angeles. “The guys did not want me to put their name up for it. This one buddy of mine,” Nayfeld says, “was kind of like, ‘I don’t know if I want to be known as the gay chef.’”

Nayfeld used to be a sous chef at Eleven Madison Park in New York City, and was the opening chef of Fifty Seven in LA. He is not gay. Last year I reached out to see if Nayfeld could scout queer chefs who work in high-end places, guys he knows who might want to talk to me.

Surprise, surprise: He struck out.

There are chefs, of course, who look comfortable being out and open. Susan Feniger. Suvir Saran. Art Smith. But they’re established, comfortable in their careers. They’ve been around. I was hoping Nayfeld could recruit some younger sources, chefs just coming up, working in that most regulated, militaristic, and testosterone-jacked segment of the restaurant industry: fine dining.

Fancy restaurants run on the engines of a hierarchy welded in the nineteenth century, with a discipline as precise as the one that propelled the armies of the Franco-Prussian War. There’s a commander—the chef—whose supremacy is buttressed along the descending flanks of an organizational tower: chef de cuisine, sous chef, chef de partie, etc. You step out of line, voice an opinion when nobody asks, or complain when someone whose rank is above yours called you a cock-sucking faggot and you find yourself in some de facto brig of ostracism and disappearing shifts.

As a green cook you already get enough scars in the kitchen. Why would anybody volunteer for more by pulling out a fucking bullhorn, talk some Harvey Milk bullshit about homophobia in the workplace? You want to get through it, learn what you can, and hope to someday be the chef of your own brigade, in your own restaurant.

“When you work hard and finally get somewhere,” says Jim Christiansen, the openly gay chef at Heyday in Minneapolis, and a Hrana i vino 2015 Best New Chef who bio open to talking, “you have that thing like, ‘Don’t fuck with me.’”

It’s the coming up part—the grind to get where Christiansen is—that can be harder when you’re gay.

Johnny Maher is the chef and owner of The Rogue Gentlemen, a restaurant in Richmond, Virginia. Maher went to school at Johnson & Wales in Rhode Island, then nailed an internship at The French Laundry in Napa. Being gay at a famously disciplined three-star place wasn’t this huge source of trauma for Maher. It just opened another avenue for pressure to come find you.

There were nights after his shift at The French Laundry, unwinding over beers with another gay cook, when Maher wanted to cry. He says it would’ve been good to have a queer mentor, to help deal with what he calls the stress and the bullshit, the little cuts from casual slurs and micro-aggressions. “More of a public figure,” he says. Somebody who wasn’t hiding.

Later, when Maher cooked in San Francisco, he looked for a social network of other gay chefs. He didn’t find anything—there’s a pretty strong informal one for lesbians, but not for queer boys.

“It’s really different,” Maher says, “the boys’ world in the kitchen.”

Yigit Pura, a pastry chef in San Francisco, owner of Tout Sweet Pâtisserie and the author of Sweet Alchemy: Dessert Magic, had to brawl on the battlefield of fancy Manhattan restaurants to protect his right to establish that world. It was ten years ago, when Pura was in the pastry department at Daniel.

“One of the cooks over on the savory side was this big French guy,” Pura says. “He’d always say homophobic shit to me, he would pick on my staff all the time.

“I was juicing pure ginger juice—if you’ve ever tried that you know that if you even drink a tiny bit it burns,” Pura says. “I probably had a few quarts in front of me, and I saw this French guy picking on someone on my staff, somebody who’s gay. I said, ‘Fuck this.’ I took some ginger juice and put food coloring in it. I went over and said, ‘Stéphane, you have such a great palate, can you taste this saffron infusion for me?’ He drank it and was on the floor crying—he gasped for air for like half an hour. Sure enough,” Pura says, “he never did that shit in front of me again.”

Sometimes, in a system where you pretty much have to fight for yourself on your own, you need to make the assholes cry, the ones who made ti plakati. Send the message: Push a faggot, faggot will push you back.

But look, says Pichet Ong, a gay pastry chef in New York City who got his start in San Francisco in the early 1990s: Queers don’t have a lock on taking shit in restaurants. “When you walked into a kitchen with an Asian face back then it was very unusual,” Ong says.

“Homophobia, people calling names—it was very common back then. The culinary culture has never been politically correct, or intellectual. It’s always been kind of brutal. Making fun of Latinos, Asians, gays, weaker people—it was the norm.” That thing about not wanting to bear some stigma of being a queer chef: Ong says nobody in this business wants to be pegged as any kind of outsider, not if they can help it. It might make potential investors nervous.

“It’s still easier,” says Ong, who’s opened several businesses in his career, “for a white, straight, male chef to get investors, and after that straight women, and then gay women.” Out, vocal gay men hardly even rate. Maybe, if you can pass for straight—if pretty much only gay people, consumers of LGBT media, know you’re gay but you don’t make a point of calling it out to a general audience. Maybe it’s better, in the end, to pass, if you can. And in the privacy of the back of the house, refuse to be anybody’s bitch, but still: Keep things to yourself, like it’s nobody’s business what you are, or who you clutch at night.

“I think,” says Clark Frasier, who in 1988 founded The Arrows restaurant in Ogunquit, Maine, with his co-chef and life partner Mark Gaier, “if you look at TV, at all the shows that everybody worships, cooking and our industry—our profession—is still an intensely competitive, macho thing.” Frasier and Gaier themselves competed as a gay couple, on Season Four of Top Chef Masters, which aired in 2012 on queer-friendly Bravo. The experience did nothing to temper Frasier’s view of television as a medium that loves to hype straight, fist-bumping chef-bros who walk with ball-hang swagger.

And this, ironically, at a time when upscale American food has never been so expressive.

The same season of Top Chef Masters that sent Frasier and Gaier packing in the early rounds ended with San Francisco chef Chris Cosentino cooking love letters to his wife, Tatiana Graf.

“The challenge from the Bravo producers,” says Cosentino, who ended up winning, “was to cook four dishes that each represented a letter: a thank you letter, an apology letter, a love letter, and one to ourselves.” Cosentino addressed two dishes to Graf, one to say he was sorry, and another to express his love—beef heart tartare with foie gras and puffed tendon.

“I put my heart on the plate,” he says.

That’s not uncommon these days, when a lot of high-end tasting menus unfold as personal narratives—impressions of landscapes, seasonal mood pieces, even flashes of autobiography. It’s how a fine-dining chef like Dominique Crenn of Atelier Crenn in San Francisco thinks.

In the Spring 2012 issue of Lucky Peach, writer Karen Leibowitz describes a dinner at Atelier Crenn as an intimate thing, courses resonating like chords from tuning forks, expressing the chef’s past (her childhood in Brittany, or a walk in the woods), even her heart. “At Atelier Crenn,” Leibowitz writes, “food is offered up as a tactile poem that registers both emotionally and intellectually, though personal expression is primary.”

But when I call Crenn, who describes herself as someone who dates women, to ask if she ever thinks about expressing her love for her partner in her cooking, I feel like she’s scolding me, like it’s absurd to suggest she’d express her sexuality in food.

“Sex is extremely personal,” she says. “How would I even do it?” she asks, only I get the feeling she’s querying herself as much as to me. “That my food would become political in some way?” She tells me my question is a terrible one, that I should be writing about how tough it is to be a woman in fine-dining kitchens. “That’s the story you should be writing.”

David Lebovitz wants to make sure I’m hearing him, despite cell-phone coverage that keeps dissolving into evil static.

“I don’t like to be portrayed as a gay chef because that has nothing to do with myself as a cook,” Lebovitz says from Paris. He says he cringes when he reads articles about women chefs, ones that call them out specifically as females, that seem to qualify their accomplishments with a gender descriptor, “so I never identify myself as a gay chef because it doesn’t matter to me.”

Lebovitz started working in the pastry department at Chez Panisse in the 1980s, when Jeremiah Tower was in his prime, across San Francisco Bay at Stars. Since 1999 Lebovitz has authored books (his latest is My Paris Kitchen), and a popular food blog, Living the Sweet Life
in Paris, where he’s developed recipes for two decades.

“You could say, ‘Oh, you should fight for visibility,’ but I write about my boyfriend on my blog,” Lebovitz says, then again so he makes sure I hear him: It’s on my blog. “I don’t hide from it,” he says, “it’s just a part of my life. It’s not a part of my job description.”

I hear this over and over, talking to queer chefs: Being gay is a relatively small part of who they are, like having brown eyes or hating Igra prijestolja. Kontam. I don’t want to be known as a gay food writer, specifically—to have that stick in the minds of editors who’d maybe peg me for certain assignments only, limit me. I just want to be able to write what I want to, traverse the range of my interests.

But I’m also aware that my experience of being gay has somehow shaped everything I do. From middle school, when I wrote “I love Ricky Vega” on a piece of paper a dozen times and then burned it in a panic, terrified somebody would find it, to my wedding, a decade before same-sex marriage was legal in America, abandoned by some of the people I loved most. The rejection still stings, the ashes of that crush note to Ricky Vega are scattered through all my work, smudging the margins of every page I write.

For gay and lesbian chefs, coming up in kitchens that despised them, or merely treated them with mild disdain, how much has the experience shaped them, in ways they don’t even realize? Anita Lo, chef at Annisa in New York City, first-generation Chinese-American, doesn’t feel like being a lesbian consciously influences her work, but acknowledges that it could. “One could argue that me growing up as an outsider on so many levels—mostly cultural—has set the stage for me to look at culture and food outside of the box,” she says. “One could argue.”

From the outside, David Lebovitz’s expat narrative is the quintessential gay story: You unhook yourself from the existence you knew in order to live your life on your own terms, in the service of creating beauty and meaning. You make your own family. Maybe being gay je an essential part of Lebovitz’s job description, only he’s too close to it to see.

And anyway, what if, instead of “gay” or “lesbian” next to a chef’s name being a limiting thing, what if the opposite is true? What if it gave us the freedom to be untethered, unafraid to be ourselves? What if it gave cooks who aren’t queer a freedom to be more expressive? What if it moved cooking forward? If we were in solidarity with straight chefs like Roy Choi or James Syhabout, finding meaning by digging deep into themselves, their personal histories, no matter how scarred or imperfect they might seem from the outside.

In a piece for Lucky Peach, I wrote about the influence three closeted gay food writers had on American food in the mid-twentieth century. James Beard, Craig Claiborne, and Richard Olney freed American cooking from necessity, converted if from the grayscale of blandness, expediency, and soulless thrift into four-color glory.

I remember hearing Armisted Maupin on NPR once, saying that the tragedy of gays and lesbians being shut out of mainstream movie making is the stories we’ve lost. Even small stories, from voices we’d never heard, grounding us to a familiar humanity in ways we couldn’t have predicted and will never know.

I think of food that way—as a galaxy of potential stories, some we get to see, others we’ll never be aware of. A piece of food writing I love is “The Imaginary Meal” by James Patterson. A friend of Patterson’s—a mentor—has a serious illness, and as the chef realizes she will die, he wonders what he’d cook for her to express the sweep and depth of their connection. “How could I compress fifteen years of emotions into a few small plates of food?” Patterson writes. “How could I say goodbye?”

She dies before Patterson can even try. What happens to the dinners we never get to cook? The stories we never get to tell?

Preeti Mistry sets her empty pint glass down on the table in her restaurant that, so far tonight, has no customers. Well, it’s early, still light enough to see the lush pink paisley of Juhu Beach
Club’s wallpaper frame Mistry’s tight black fauxhawk.

Mistry grew up in London and Ohio, daughter of parents born in India, and went back to England for chef school before coming to San Francisco. Two years ago, she and her wife Ann opened Juhu in my neighborhood in north Oakland (which is also where they live). She’s become a friend.

Over beers, I tell her about the story I’m writing, mentioning the chefs I’ve talked to, searching for an ending. “See,” she says, “most of the people you just talked about are white, and every one is passing.” She doesn’t mean passing in the active sense, but straight-seeming enough—like me—to live with the general assumption we’re straight.

“Unless you’re in the know,” Mistry says, “or have some level of gaydar, how would you know that they’re even queer?”

There’s no risk of this with Mistry. “Last week there was this table of Indians here from London,” she says. “They asked to talk with the chef, and when I came out they were, ‘Where’s this Chef Preeti Mistry listed here on the menu?’ I was wearing a pretty tight T-shirt, and they were, ‘Oh, you’re a woman?’ They would rather think I’m a young man with moobs than an Indian woman with a mohawk and tattoos.”

For Mistry, being a lesbian isn’t some sentence—a fun fact—in the “Personal Life” section of her Wiki-bio. Being a brown-skinned, punked-out, tight T-shirted Indian-American who cooks chaat—Indian street food—in a modern vernacular is intrinsic to her identity. No downplaying, no minimizing. No hiding in plain sight.

“Maybe for some chefs it doesn’t matter, they can choose, but I can’t. Look at me,” she says. “I don’t have a choice and I’ve never had one, so I’m just gonna own that.

“There is clearly a hierarchy, a system, in this industry,” Mistry says. “When you talk about the James Beard Awards and Michelin—I don’t subscribe to that. I don’t look for validation in those things. I wasn’t so successful in the traditional restaurant environment. My time in those kinds of restaurants was so short because I was like, ‘I can’t fucking stand this,’ fine dining—it wasn’t an environment that motivated me, because it’s not an environment that ever supported me. It’s like the military.”

Just like Clark Frasier and Mark Gaier in Maine, Mistry’s solution included taking a drive down the road of self-exile, to a place where nobody can call you a dyke or a faggot.

Of course, not everybody needs to take that trip. I think about Jim Christiansen in Minneapolis, saying it’s not that big of a deal to be gay, to have his husband come to the restaurant and hang out. Then I think of all the other gay and lesbian chefs who didn’t even respond to my calls and emails about being interviewed for this story.

If the culture of the kitchen won’t change to make you feel cool about being there, it might be on you to change things, in your own place, with a mohawk and tattoos. And not hiding, banishing fear from the place you work has a way of affecting everything.

“The people who took a chance on me saw past what I looked like,” Mistry says, “so it’s important to me that people who wouldn’t succeed in the traditional restaurant get a chance here. LGBT,
hue, safe space: If that’s where you fall, this is where you can get a job and not
get harassed.”

She points her chin to the cooking line, where a Latino guy in a ball cap is setting up the sauté station. She says when he started, he’d make the noises a lot of macho guys who cook in restaurants make, scoping out hot women, making comments.

“He would be staring at a customer,” Mistry says, “and I’d be like, ‘Dude, you’re creepy.’ After a while he stopped. Being here, cooking with mostly women, he’s just a sweet fucking kid who’s twenty-six and has two kids and used to be in a gang. Now he wants to talk to me about how sad it is because of the earthquake in Nepal.”

You can use transparency—visibility—to change the culture of the kitchen, even a forty-five-seat modern Indian place like Mistry’s, sharing a strip-mall lot with a check-cashing place and a shitty
taqueria, near the freeway in north Oakland. Not exactly the grandeur of the queer food capital I’d imagined, but it feels like home. ///


Best Type Of Steak To Use

When it comes to steak quality matters. There’s a reason some steaks are significantly less expensive. Save these cuts for a Salisbury steak recipe.

This recipe calls for a 4-6oz sirloin steak which is a petite sirloin. This cut can be tricky to find in many grocery stores. Can’t find this cut and want to stay faithful to the recipe? Ask the butcher at the meat counter. They will happily trim steaks to size. However, if you are me you get a bigger steak!

This recipe will work with any cut of steak. Sirloin, ribeye, NY strip, T-Bone even. Personally, I love a good ribeye.

Should You Let A Steak Rest Before Cooking?

There are multiple schools of thought about letting your steak rest at room temp before cooking. I fall into the category that 30 minutes at room temp will help you cook a perfect steak.

If you put a cold steak in a hot pan it will cook unevenly and you run the risk of overcooking the outside of the steak before the inside of your steak is the temperature you want. This’ll run the risk of tough leather and nobody want that. So let that bad boy rest at room temp for 30 minutes.

The Best Pan To Use

Ideally, a cast iron skillet is the pan of choice. Caring for a cast iron skillet is easier than you think. Take a look at this cast-iron skillet guide. Don’t have a cast-iron pan? Invest in one. You’ll thank me. However, you can also use a grill pan which can help you achieve grill marks. If you are a purist like me, I only prefer grill marks from an actual grill. In a pinch, any heavy-bottomed skillet can work for this recipe.

Pre-Heat The Pan

Now that we’ve selected our pan, the most important thing to get a good sear and a golden crust is to preheat your pan. Heat your pan and then add the oil. Let the oil get hot before adding your steaks. Similar to letting the uncooked steak rest at room temperature before cooking, if you start to pan sear your steak in a cold skillet while the pan slowly heats it will slowly cook your steak and again run the risk of overcooking and never giving you a good sear.

The trick to a good sear is a high heat to give you a beautiful crust and seal in all those precious juices.

Do Not Overcrowd The Pan

Just as important as preheating your skillet, do not overcrowd your pan! Your steaks need air around them to achieve a perfect sear. If you overcrowd your pan, your steaks will steam rather than sear. If you need to make more steaks than will fit in your pan, sear them in batches and transfer them to a warm oven and cover them with foil.

Let Steaks Rest After Cooking

Lastly, use a meat thermometer to check your temps. Keep in mind once removed from the heat your steak will continue to cook. Remove them from the skillet on the lower end of your ideal temp. Most importantly, let your steaks rest for at least five minutes after cooking. This will let them finish cooking and allow the juices to redistribute giving you the perfect juicy pan-seared steak.

Best Oil for Pan Searing Steak

Canola oil is the ideal oil for steak searing. Don’t have any canola oil? Peanut oil or vegetable oil will work just fine.

You want to avoid searing your steak in extra virgin olive oil or butter. To achieve the perfect sear your pan needs to get HOT. Extra virgin olive oil and butter have a lower smoke point than canola, peanut, or vegetable oils.

If you attempt to use extra virgin olive oil or butter they will burn long before your pan even gets hot enough. Not only will you ruin the flavor of the olive oil, butter, and steak, you’ll fill your kitchen with smoke. So make sure you use an oil that can withstand high heat such as canola, vegetable, or peanut oils.

Internal Temp for Steak

This is probably the most important section of all. These are the internal temperatures of steak that you need to reach for each level of “done-ness.”

Rare

Sear the steak for 1 minute per side. (Yes only one minute per side in a preheated skillet for the perfect rare) Spoon the butter mixture over the steaks and cook an additional 30 seconds per side. Remove the steak from the pan when the internal temp reaches 115 degrees and allow the steak to rest 5-10 minutes. The steak is rare when the internal temp is 120 degrees.

Medium Rare

Sear the steak for 3 minutes per side. Spoon the butter mixture over the steaks and cook an additional 30 seconds per side. Remove the steak from the pan when the internal temp reaches 125 degrees and allow the steak to rest 5-10 minutes. The steak is medium rare when the internal temp is 130 degrees.

Medium

Sear the steak for 6 minutes on one side, flip and sear 4 minutes on the other. Spoon the butter mixture over the steaks and cook an additional 30 seconds per side. Remove the steak from the pan when the internal temp reaches 135 degrees and allow the steak to rest for 5-10 minutes. The steak is medium when the internal temp is 140 degrees.

Medium Well

Sear the steak for 7 minutes on one side, flip and sear 5 minutes on the other. Spoon the butter mixture over the steaks and cook an additional 30 seconds per side. Remove the steak from the pan when the internal temp reaches 145 degrees and allow the steak to rest for 5-10 minutes. The steak is medium when the internal temp is 150 degrees.

Well Done

Sear the steak for 9 minutes on one side, flip and sear 7 minutes on the other. Spoon the butter mixture over the steaks and cook an additional 30 seconds per side. Remove the steak from the pan when the internal temp reaches 155 degrees and allow the steak to rest for 5-10 minutes. The steak is medium when the internal temp is 160 degrees.


Pogledajte video: Be Careful What You Wish For. Chris Cosentino (Decembar 2021).