Aaron Manter, chef/owner at The Owl, aka the Only Greenville Restaurant That Matters, drops some wisdom:
Bear this in mind the next time someone tells you about a lunch special that is a BLT, but the bread, and the L and the T are made out of different kinds of bacon, and you eat the sandwich in a bacon fuck swing, covered with bacon lube. (All of this is a leadup to a post where the Cod argues that Benton's bacon is health food.)
In this case, DI/DO and the Post readers are united in their blithe unconcern for NY state game laws, which are, for both constituencies, "technicalities." Perhaps this can be a building block for a new era of concord and amity among Times and Post readers!
Late to the party on this one, but as the running around killing oysters sojourn ends, want to rewind to the Moskin piece on Southern chefs that dropped a couple of weeks ago:
IT’S not hard to get Emile DeFelice riled up. Just mention Paula Deen, the so-called queen of Southern food, who cooks with canned fruit and Crisco. Or say something like “You don’t look like a Southern pig farmer.” He’ll practically hit the ceiling of his Prius.
Allow me to explain. If you consider the Socialist movement in the US in the early 20th c. and professional wrestling, the issue is clear. The most badly misread book in US literary history is Upton Sinclair's portrayal of an immigrant family being chewed up and spit out by capitalism, primariy in the form of industrial meat production. Folks read The Jungle, however, got grossed out by the rat shit in the potted meat, and ignored the larger message of the book, passed the Pure Food and Drug Act, and transformed other folks' class/economic problems into their problems as consumers. What the Jungle lacks, in retrospect, is a villain. Here, perhaps, Sinclair could have taken some lessons from professional wrestling, where there is always a face and a heel.
Especially when Bourdain is beating the drums, Paula Deen emerges as the face of industrial meat. In other words, if artisan/heritage meat needs a villian to codify what it is and what it ain't, then Paula Deen makes a pretty good heel. To this end, here's an artist's conception of what it would look like if Paula Deen joined legendary wrestling crew the Moondogs. Thanks to The Artist Formerly Known As Penny Pascal for the peerless Photoshopping.
Via Google Alerts, the Cod saw where the St. Louis Post Dispatch had picked up on the Whole Hog kerfuffle. It's a curious piece. The thrust is "St. Louis native writes cookbook," but they do mention the issues w/ Smithfield and Caw Caw Creek Farm, documented here and elsewhere -- sort of:
"Summers also works as a producer, writer and stylist for journalistic and commercial clients. One of those, the multimillion-dollar international pork producer Smithfield Packing Co., helped to sponsor the publication of "The Whole Hog Cookbook." Some of the book's recipes specifically call for Smithfield products.
The sponsorship — and the subtle way it's revealed in the book — drew online rebukes from food bloggers and from Emile DeFelice of the small-scale heritage-pig specialists Caw Caw Creek Farm in South Carolina, whose animals are pictured in the book. Summers apologized to DeFelice after he commented on a post on the Gurgling Cod, a blog that took her to task. Soon thereafter, however, the controversy was fanned when chef and multimedia food personality Anthony Bourdain condemned the sponsorship from his @NoReservations Twitter account.
During the interview for this article, Summers singled out Caw Caw Creek as a great example of a heritage-breed farm."
This is how the story looked when I saw it this morning. Earlier in the piece, there had been a link to the cookbook itself. I emailed the author of the piece, asking "why you offered a link to Summers' own blog, but not to my post that raised the initial concern about the Smithfield connection, or Bourdain's tweet, or Eva Moore's article that fleshed out DeFelice's (quite legitimate) objection that Summers had taken pictures of his humanely raised animals to promote Smithfield's factory animals?"
Not long after, I got a pleasant response from Joe Bonwich, the article of the piece, who added these links:
"Summers apologized to DeFelice after he commented on a post on the Gurgling Cod, a blog that took her to task. Soon thereafter, however, the controversy was fanned when chef and multimedia food personality Anthony Bourdain condemned the sponsorship from his @NoReservations Twitter account.
During the interview.... etc."
On one hand, it's nice to be able to register a complaint w/ a major metropolitan daily, and have it acknowledged and fixed. On the other hand, there are issues that remain about what, when, and how this story says what it says.
The what is probably the least complicated -- the food pages of the St. Louis Post Dispatch are not exactly Woodward and Bernstein territory, but it's odd to see the issues with this book acknowledged and dismissed, rather than a) ignored b) discussed. Let's look at the key sentences:
"The sponsorship — and the subtle way it's revealed in the book — drew online rebukes from food bloggers and from Emile DeFelice of the small-scale heritage-pig specialists Caw Caw Creek Farm in South Carolina, whose animals are pictured in the book. Summers apologized to DeFelice after he commented on a post on the Gurgling Cod, a blog that took her to task."
Subtle? The book is not Smithfield branded on the exterior, but from the exhortations to buy pork from Smithfield in the preface, to the logos for Smithfield products on ingredient list, the effect is about as "subtle" as Jeff Gordon's relationship w/ DuPont. More importantly, Bonwich appears to miss the point of DeFelice's objection, which he spells out in his comment -- Summers used pictures of his humanely-raised animals to promote industrial feedlot pork. I do not know if DeFelice and Summers have had any communication via attorney, but Bonwich's mention that Summers apologized to DeFelice again misses the point that the book exists, and the apology does not undo or mitigate Summers's misappropriation of the images. Speaking of the materiality of print, that raises a whole other set of issues, which we can save for another post.