Creative Juices and Solids

Reflections on taste-ings.

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On vernacular “ethnic” foods and my problem with “authenticity,” with some insults directed at Japan.

Posted by John Manzo on September 28, 2009

I’ve been seeing inspiration for lots of stuff today, including a manuscript that I’d been trying to wrap up this week (sounding like a proverbial broken record here, I know, forgive me, future self), and it occurred to me that a blog post might clear the ol’ writer’s block. And then I had a BLOGGING writer’s block, which is like, I don’t know, getting an injury while stretching for a workout. No, that makes no sense. I mean that blogging is supposed to impel my creativity and to be my “fun” writing outlet, one not encumbered by having to do real research or literature reviews, but sometimes it feels every bit as burdensome as “work.” Having to be creative in public is daunting, even if only 47 people (self not included) actually ever read this.

But anyway, I fell on a topic over lunch, and of course decided to make lunch my topic and build on that. See, I had a spectacular and obscenely huge donair from Sammy’s, which is a couple of blocks east of my house at 1235 17th Avenue in the retail level of an apartment building. Sammy and his wife are from Egypt but the food they serve isn’t really Egyptian but is what Canadian consumers in these parts have come to expect from “shawarme” (that’s how they spell it; shawarma is from the Arabic شاورما‎ and can be transliterated into many spellings) places; in Sammy’s case, that means chicken, beef and lamb shawarma and beef donair. Now, any meat-on-a-spit sandwich can be called a “donair,” but in Canada, whole, un-ground meat is used for “shawarma” and “donair” refers only to those sandwiches containing a mixture of finely ground meat, bread crumbs and seasoning that is very much like the meat used in American “gyros.” Toppings here are normally lettuce (which I hate), tomatoes, pickled cabbage, pickled hot peppers, picked cukes, sometimes pickled turnips, and  parsley, and then the sauces. Sammy’s offers garlic, sweet (“sweet sauce” is a uniquely Canadian ingredient in the donair world; it’s made from condensed milk, sugar and vinegar and is a lot better than it sounds), hot, a sort of thin tzatziki, and tahini. I get sweet, garlic, tzatziki and hot and it is a huge pile of mess to eat. It is served on Lebanese style pita (not Greek style) and is crisped up after construction in a panini press; unlike gyros, the bread is not grilled on a burger grill before assembling.

Donair is not done this way in other parts of the world and thanks to Rick Steve’s Greece travelogue I caught a few weeks ago I also know that the US style of gyro isn’t traditional Greek either, because what he purchased was made with spit-roasted pork, not beef or lamb and looked killer good. Now, in Germany I practically overdosed on the amazing version of “Döner Kebap” served by swarthy Turkish gents there and it’s in some ways drastically different from that served here. Most different, I’d say, is the bread. Instead of pita, a German-Turkish style Döner is served on bread that I’d describe as Armenian bread, the kind you see in huge sheets at Persian markets, and it’s fluffy compared to pita and it gets crispy and mmmmm so good in a sandwich press. The meat LOOKS sort of like our donair meat but it’s always (in my experience) either chicken or veal and not always or often ground. Toppings are yogurt, herb and hot sauces (hot I do not like, it’s very floral tasting and to my taste it’s distracting) and veg toppings include fresh, not pickled, cabbage. The whole affair is more than delicious and I’d love to have the style here, though I do love our Alberta version too. Now this is the thing: The Döner they serve in, say, Berlin is nothing (so I’ve heard) like what one would find in Turkey proper; the German version is a vernacular transformation, an evolution, of the food. So is what we consume in Canada. So is the American spin on gyros. And I am here to declare that THERE IS NOTHING WRONG WITH THAT. Part of what is fascinating about travel is not only to taste local dishes but also to see how “local” has transformed imports from other parts of the world. So when I travel I love to taste how locals interpret and modify “Chinese,” for example. And I am always fascinated by how well (or poorly) they might manage “authentic” foods despite not having the proper ethnic credentials, as when I have a really good Thai curry or a really good butter chicken (and I know, butter chicken is probably inauthentic too) at, say, a non-Thai or non-Indian pub. It’s neat and is part of what makes life so damn enjoyable.

So there are different, radically different, spins on many examples of ethnic foods co-opted and altered and made local, around the world, but some examples stand out as massive shape-shifters. Most obvious among these are the huge array of versions of “Chinese” food, but there are others: Donair has been discussed, as has Indian; other examples are the many versions of “pizza” as well as regional spins on what do put on and do with pasta around the world; another would be the more recent and bewildering- I would say “mesmerizing”- growth in rococo sushi, with sushi bars serving creations that would never be seen in Japan and that purists decry for inauthenticity.

I have a huge problem with the matter of Japan here. I know that it’s not the only culture that would complain about its being watered down or altered outside its borders (well, with respect to sushi and to a much lesser extent other of its cuisines). One hears all the time from Chinese and non-Chinese about how such-and-such a dish isn’t “really Chinese,” for example, and how “Indian” food in the UK is almost always prepared by Bangladeshis, but the most screeching heights of this sort of xenophobia (yes, XENOPHOBIA) that I’ve seen is around sushi, and the xenophobes are almost never actual Japanese people. They are rather Japanophiles, almost always American or Canadian men with an obvious fetish for Japanese women, they spend time travelling or teaching English in Japan and return with the most enraging and haughty, disproportionate obsession with all things Japanese and they decry any sushiya that isn’t Japanese-run, and they snicker at what hoi polloi are eating, reminding the lowly non-Japan-visiting, non-Japanese-girlfriend-having locals that “it’s so much better in Japan,” “this i the sort of thing they serve in Japan,” or my pet peeve, “they don’t eat maki like those in Japan.” Okay, I have no problem with pursuing authenticity if it somehow enhances one’s dining experience, and this is (for me) key around issues of table comportment and etiquette. I am really obnoxious about getting people to eat Thai and Vietnamese curries with SPOONS not only because that’s how Thai people eat curries but because in eating curry the right way you actually get to EAT it. Thais don’t use chopsticks for curry because it’s impossible to eat a wet curry with chopsticks. Same thing with eating sushi with one’s fingers: It’s not only perfectly proper; it’s also a superb way to EAT and enjoy the food. So I am not a non-stickler. The problem with the Japan worshipers is that their take on Japan is usually nothing but abeyance to and wholesale acceptance of Japan’s cultural myths of superiority- the same set of myths that made it acceptable for Japan to slaughter millions of Chinese civilians during WWII. I love lots of things Japanese but will not honour creepy, outdated and dangerous notions of cultural superiority and will (for example) eschew vernacular spins on sushi, like huge maki, SOLELY because they don’t abide by Japanese tradition.

Fuck Japanese tradition. My concern is that my food taste good. I’m not going to turn down a donair because they’re not served this way in Egypt. I didn’t refuse to let Brian take me to a Chinese resto in Tobago because the food was modified drastically to suit the tastes of Tobagonians. I am not going to go to fucking JAPAN and not eat pizza with whole garlic cloves or squid on it because that’s not how pizza is done in Italy! And I am sure as hell not going to refuse the out-of-this-world good “w-crunch spicy roll”at El’s Japanese Fusion (my fave sushiya in Calgary) because chef Mike is Korean or because, for Christ’s sake, “they don’t serve rolls like that in Japan.” Arguments like those are the racist remnants of a society that, for all its delights, is xenophobic as part of its essence. I won’t be moved by those arguments and neither should you.

Posted in Culture, Food, Rants | 1 Comment »

RIP, Mary Travers

Posted by John Manzo on September 16, 2009

Mary Travers, of Peter Paul and Mary, died today. She was 72.

I started kindergarten in 1969 and like every child of that generation sang “Puff the Magic Dragon” in class. I cried to it then, I cry to it now. But the song (and video) I want post here by way of memorial is even more beautiful and somber; “500 Miles”:

If you miss the train I’m on, you will know that I am gone.
You can hear the whistle blow a hundred miles.
A hundred miles, a hundred miles, a hundred miles, a hundred miles,
You can hear the whistle blow a hundred miles.

Lord I’m one, Lord I’m two, Lord I’m three, Lord I’m four,
Lord I’m 500 miles from my home.
500 miles, 500 miles, 500 miles, 500 miles.
Lord I’m five hundred miles from my home.

Not a shirt on my back, not a penny to my name
Lord I cant go a-home this a-way
This a-away, this a-way, this a-way, this a-way,
Lord I cant go a-home this a-way.

If you miss the train I’m on, you will know that I am gone.
You can hear the whistle blow a hundred miles.

Posted in Culture | 1 Comment »

Prairies Regional Canadian Barista Competition®, and some taste-y reflections

Posted by John Manzo on September 13, 2009

Sorry for the my absence (that’s to future me more than present you, but if you really missed me, sorry); if you’ve been checking my twitter feed (here or on twitter) you know that I’ve been increasingly fond of the act and utility of the micro-blogging thing, especially with my new phone, but tweets aren’t narrative even if they’re, you know, dialogical, and I do have some stuff to write more than 140 characters about, so here we go.

Yesterday was the prairies barista comps, held as they were last year at Fratello Coffee Company here in Calgary. I dropped Brian off at the airport for a trip to Anchorage AK via Vancouver at around 9am and then scooted over to Fratello, what I thought was a straight shot down Barlow Trail from the airport, but it wasn’t quite that simple and I was a few minutes late, not a problem since I did not, as it turned out, judge this year. I didn’t signal my intentions to do so in time, the slate was full, and I know to inquire earlier next year. BUT I was a good audience member, stayed for the whole thing (until past 6pm, surviving on coffee, cookies, and chips), and had a great time. Make that a GREAT time, an emotional experience really. There were 11 competitors which is two fewer than last year but I can confidently say that the level of competition was higher; for example, last year’s winner only placed 3rd this year, and last year’s second-place finisher finished too low to qualify for nationals, a feat he’s managed several times now. Add to this the fact that, among all four regional qualifiers, our first-place finisher (and maybe our second-place and third-place as well) had the single highest score of any barista in the country. Calgary (and Edmonton) has not only arrived in the coffee scene- we might take the whole thing this year.

Here are the results:

6: Jimmy Oneschuk from Museo Coffee (Saskatoon) – 476
5: Mike Tam from Phil & Sebastian Coffee Company (Calgary) – 602.5
4: Josh Hockin from Transcend Coffee (Edmonton) – 607
3: Chad Moss from Transcend Coffee (Edmonton) – 628
2: Joel May from Fratello Coffee Company (Calgary) – 628.5
1: Ben Put from Phil & Sebastian Coffee Company (Calgary) – 632

Josh, Chad, Joel and Ben will be representing the prairies (but really Alberta) at nationals next month in Vancouver. This event was one day, unlike last year when the top six competed in a day-two round and the top three qualified straightaway for nationals, with four and five (last year this was Joel, who ended up 3rd in the country at nationals, and Phil of Phil and Sebastian, who ended up fifth at nationals) getting in due to other contestants not being able to make it. So it’s possible that Mike and even Jimmy will end up in Vancouver. In any case, I found the final announcement and Ben’s incredible, nation’s-best showing to be just an amazing thing to witness; it was hard not to cry. Happy, happy moment. Congrats to all.

With respect to the reflections on “taste” I mention in this post title, I’ve been working (as always) on manuscripts and have two that I’m trying to finish by the end of the month. One is based on the talk that I have last February in Berlin and it’s about how machines in third-wave cafes (and non-third-wave, with some crucial differences) are oriented to by interactants at those shops; I use photographic “data” for this one and so while I’m writing I have one eye on the web, searching for journals that are accommodating of visual sociology and that would reproduce my evidence well. Since Berlin I’ve seen some superb examples of the phenomena I’m describing at shops here and in Toronto, but yesterday I also go to play, for the first time (for me) on the “Slayer” espresso machine that has been developed by a Calgary/Seattle consortium and was originally conceived of by the boys at Fratello, right here in Calgary, and I hasten to mention this as I’ve seen the Slayer described on the net and in print as  a “Seattle-produced machine.” It is in part, but it’s also a Calgary-based invention and I want everybody to know this. (Except I’m wrong- see Eric Perkunder’s comment below). Here’s a pic:

slayerprbc

But getting back to my introduction to it: one thing that I want my ethnography to capture is the pleasure, the FUN, that’s involved in using professional equipment, like the Slayer or the Synesso or the various beauties put out by La Marzocco or, honestly, just about any cafe-level equipment, especially by a wide-eyed coffee geek like me. I cannot see how a superautomatic, dumbed-down machine, like those used at horrible cafes where the coffee is an afterthought, could ever be FUN, never mind how it could be a focus for conversation and sociability and even the topic of conversation itself. So I’d like to address the human-machine sort of interaction and not only the human-human version and seeing as I have very little experience in this area I have to start to learn it.

I’m also working on a paper on connoisseurship and am looking at narratives in which coffee aficionados discuss how they arrived at their current taste for coffee and (this goes back to what I saw as the theme for this whole project) how burdensome “taste” can be. Now one nice development I have for this part of my project is some survey data that Brian collected as part of a larger study on consumer habits that he’s doing and he asked people about coffee-drinking habits and where people buy their coffee. He surveyed more than a thousand respondents and found that (1) only 9% of Canadians normally get coffee at “locally owned independent coffeehouses,” and (2) more than 70% of Canadians drink Tim Hortons style brewed coffee when they drink “coffee.” 4% drink espresso; fewer than 2% drink French press. These are interesting data that give some quantitative weight to the qualitative insight gleaned from my narratives, which are about how lonely it can be to be as oriented to coffee as self-described coffee geeks are.

So to stitch parts 1 and 2 of this entry together: it’s indeed lonely to have particular (I can’t say “good” because, well, I try not to be an ass all the time) taste in things, but sharing a whole day with people who share your passion? It was downright religious. In the Durkheimian sense.

Posted in Calgary, Coffee, Culture | 2 Comments »

“Hear all the bombs, they fade away”: Folk Fest 2009

Posted by John Manzo on July 27, 2009

This year’s titular line is from “Sons and Daughters” by The Decemberists, whose Friday night mainstage closer was my high point of this year’s Calgary Folk Music Festival and in fact one of the top, oh, three concerts of my life. But first the shot that’s evidence of an overspent fest weekend: the sunburnt face with Kid Koala setting up on stage:

IMG_1111

Since I already blogged about how much Iron & Wine affected crybaby me on Thursday, let me talk a bit about mainstage Friday since it seems sort of contentious. I didn’t actually catch a lot of it since I was watching the “twilight” stage instead, with Chad Van Gaalen doing a beautiful job and then similarly inspiring were the personable, funny and charming Esthero and then the amazing in a Broken Social Scene side project way (which they are so that’s not a complaint) Apostle of Hustle, so all I caught was most of an energetic but somewhat predictable concert by Arrested Development (yes, “Tennessee” Arrested Development, who know how to play a crowd really well- Aimee Mann, I wish you were there to take notes, from these guys or better yet from Esthero), but they didn’t really “wow” me.

And then came The Decemberists. Full disclosure: I had never heard a note from these guys, a Portland (yay!) 5-piece whose guitarist, I find out later, is from Valparaiso Indiana (yay! right near my hometown!) and who went to Coe College in Iowa (yay for Hoosier alumni of quirky liberal arts colleges!); they had two additional members tonight, women vocalists, one in a sort of Maid Marian get up and the other in black leather dominatrix crossed with the dark angel from Angels in America. The rest of the band were in these 1900s suits and dress and looked like, well, folkies. Again, I knew NOTHING about these guys. The show? It was a sort of rock opera, with repeated leitmotifs and an epic feel about it. Since the performers were “in character” and since songs bled into one another, there was zero interaction with the audience. Not very folky, even though the songs had elements of English/Irish ballads (but also, for lack of a better term, glam rock), and for me? It worked like fucking amoxicillin. I was FLOORED. It was absolutely superb, note-perfect, catchy, memorable, thrilling, as perfect a concert as I could hope for. And then- and then- and then, and this is what made it so special in my opinion, they do an encore to appease the 12,000 adoring audience members. And it’s, like, the OPPOSITE of everything we’d just seen. Lead singer Colin Melroy talks to the audience, lays on the love and the charm, makes us love him and ourselves and one another, and exhorts us in a singalong that I NEVER WANTED TO END. It was something I’ll never forget. Here’s a video from “Beasley564″ on youtube:

This is a good video that’s shot clearly from close in and has excellent sound, but it was cut before we got to the singalong part, where we sang the verse in this post’s title over and over and over again. It was a great moment.

And that would have been enough for me, really, but the weekend had not even started, so I trudged back to Prince’s Island on Saturday around 2:00pm and caught a concert (the folk fest has both “concerts” and “workshops” on the smaller stages during the day on Saturday and Sunday; “concerts” are 45-minute shows by one artist/group; “workshops” are mashups of usually three different acts who take turns and collaborate/jam/improvise during one another’s songs. Sometimes it works well; other times, not so much) by Saskatoon’s Deep Dark Woods, which was great even though I couldn’t help but think that these guys were made to do The Band covers, and that’s not an insult. Then I caught another mini-concert, this one by the outstanding, just incredibly talented Mark Berube and the Patriotic Few, from Montreal. They deserved a bigger audience; ours was huddled under what shade we could find (it was HOT!), and then there were something like 6,000 people at a workshop on another stage (there are 6 stages, 7 with the mainstage) with Steven Page and Sarah Harmer among others. THEN I headed over to the odd long tent that is the Ship and Anchor stage to see a workshop featuring- this is good- Esthero, Chad Van Gaalen, Emily Wells and Kid Koala. Yes, THAT Kid Koala, doing his first folk fest. I uploaded a bit from Emily’s “Passenger” and I hope you can view this link. What a beautiful experience.

As on Friday, we eschewed most of the mainstage for the twilight stage to see an inventive, energetic Tom Fun Orchestra and then a beautiful, interesting, engaging set from Kid Koala. This was his first folk festival but he fit the mood perfectly. His last number was mesmerizing and moving, a version of Moon River, that Brian caught in nearly its entirety and that he posted to facebook, and here it is. Thanks, Brian! After KK was the very dense, interesting and challenging Akron/Family… and then I went home, exhausted but happy for the 45-minute walk on a beautiful summer night.

Sunday was a relatively short day as I had plans to only attend one mini-concert and one workshop–mainstage didn’t really appeal to me–and I had my heart set on seeing Emily Wells do her thing again, solo, and made it down for her 12:50 show. And she was just outstanding. I just posted my video of her doing the live sampling she does; this is “Symphony #1″ and it is beautiful. Everything she did was beautiful.

I was feeling sunburnt and dehydrated to the degree of feeling faint-tipsy and I could have absconded at this point, but I stuck around to see a “brass” workshop with Belle Orchestre and friends, which was loud and fun, but I was running on fumes and headed home afterwards.

I have been to every Calgary Folk Fest since 2001 (for at least one day, but usually for all four), and when I consider the sheer emotions I experienced at this years, I have to say that it was the best one I’ve experienced so far. Kudos to all involved, including Brian (whose sponsorship–he does the audience research–nets me not only one of his 4-day all-access passes, but also the ability to enter the artists’ lounge backstage and to meet some of these musicians) for a job very, very well done.

Posted in Calgary, Culture | 1 Comment »

I’ve never done this before, but there’s a first time for many things, so…

Posted by John Manzo on July 24, 2009

…song lyrics.

“The Trapeze Swinger” by Iron and Wine. Brought me to tears at last night’s Folk Fest mainstage. Is doing the same as I type this.

Please, remember me
Happily
By the rosebush laughing
With bruises on my chin
The time when
We counted every black car passing
Your house beneath the hill
And up until
Someone caught us in the kitchen
With maps, a mountain range,
A piggy bank
A vision too removed to mention
But

Please, remember me
Fondly
I heard from someone you’re still pretty
And then
They went on to say
That the pearly gates
Had some eloquent graffiti
Like ‘We’ll meet again’
And ‘Fuck the man’
And ‘Tell my mother not to worry’
And angels with their gray
Handshakes
Were always done in such a hurry
And

Please, remember me
At Halloween
Making fools of all the neighbors
Our faces painted white
By midnight
We’d forgotten one another
And when the morning came
I was ashamed
Only now it seems so silly
That season left the world
And then returned
And now you’re lit up by the city
So

Please, remember me
Mistakenly
In the window of the tallest tower call
Then pass us by
But much too high
To see the empty road at happy hour
Leave and resonate
Just like the gates
Around the holy kingdom
With words like ‘Lost and Found’ and ‘Don’t Look Down’
And ‘Someone Save Temptation’
And

Please, remember me
As in the dream
We had as rug-burned babies
Among the fallen trees
And fast asleep
Aside the lions and the ladies
That called you what you like
And even might
Give a gift for your behavior
A fleeting chance to see
A trapeze
Swing as high as any savior
But

Please, remember me
My misery
And how it lost me all I wanted
Those dogs that love the rain
And chasing trains
The colored birds above there running
In circles round the well
And where it spells
On the wall behind St. Peter’s
So bright with cinder gray
And spray paint
‘Who the hell can see forever?’
And

Please, remember me
Seldomly
In the car behind the carnival
My hand between your knees
You turn from me
And said ‘The trapeze act was wonderful
But never meant to last’
The clown that passed
Saw me just come up with anger
When it filled with circus dogs
The parking lot
Had an element of danger
So

Please, remember me
Finally
And all my uphill clawing
My dear
But if i make
The pearly gates
Do my best to make a drawing
Of G-d and Lucifer
A boy and girl
An angel kissin on a sinner
A monkey and a man
A marching band
All around the frightened trapeze swingers

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