This week the Fat Guys decided to try a trailer offering what they call "Moroccan Burgers." I don't know that I would call them burgers, but they were certainly tasty. We were joined by my close friends, Sean and Laura, for this tasty excursion.
How does one describe Moroccan food? First, in case you don't own a map, Morocco is located on the northwestern corner of Africa, directly across the Strait of Gibraltar from Spain. Its inhabitants are the descendants of the people who ruled Spain from about the year 700 AD until 1492 AD. In 1492, other than Columbus sailing an ocean of some color or other, King Ferdinand of Aragon and Queen Isabella finally drove the Muslims from the Spanish land, completing the Reconquista. Sorry, as a history major, I really couldn't resist adding a little background. Morocco was, in ancient times, one of the major centers of the spice trade coming from Asia going to Europe, and its cuisine shows this fact. Moroccan food has great spice and depth of flavor found only in countries where the spice trade made its mark in a big way. Indian and Ethiopia are other examples of "spice trade cuisine," though markedly different from Moroccan food.
The Flying Carpet serve three different main items: The Moroccan Burger, The Sleek Vegetarian and The Sleek Vegan. The also offer fries or a salad as a side. We were able to cover everything except the salad, because they did not have any available for sale. Oh well, maybe next time. All of the sandwiches come wrapped in a pita and are served with a sauce they call L'Afrique, a tangy, slightly spicy mayonnaise type sauce. The Moroccan is grilled ground beef, a fried egg and mixed greens all in a homemade tomato sauce. This wrap is very tasty, well spiced and beautiful. The richness of the egg compliments the ground beef well and helps to cut some of the acidity of the tomato sauce. The tomato sauce is made, not surprisingly, with Harissa (pronounced ha-ree-sa). Harissa is a type of chili paste common in North African cuisine. It was nice and spicy without overpowering the dish or setting your mouth aflame. In all, it added a nice, balanced tangy/spicy layer to the wrap.
The Sleek Vegetarian is made with eggplant, fried egg, greens and the same tomato sauce; very flavorful if you like eggplant as much as I do. The Sleek Vegan is the same as the vegetarian, just replace the egg with falafel. Personally, I liked the Vegan better. I thought the addition of falafel added a nice crunchy texture to an otherwise soft dish. One nice thing about this one is that it is a very satisfying wrap. When most people think vegetarian or vegan, they may think of something like a salad out of a bag; which is to say not satisfying and not particularly flavorful. In this case both wraps are quite substantial. The eggplant acts as a nice substitute for meat in this case. Not that it tastes like meat or that you'll mistake it for meat. It adds a nice amount of substance to the wrap, much like a grilled or sauteed portabella mushroom can be used to add substance to a vegetarian sandwich. The result is a very tasty and very satisfying dish. The french fries are well fried, just crunchy enough without being tooth-shatteringly hard. This is a difficult technique to pull off, and one that many places fail at - not The Flying Carpet though. In addition to being salted, the fries also have a little black pepper added to them, which gives them a nice touch.
There is one thing I would like to point out that I caught on their website: They use 100% hormone and antibiotic free ground beef that has been vegetarian fed as well as eggs from cage free, vegetarian fed chickens. I know to many people this is not the sort of thing they ever think about, but the difference to the planet and your health is worth it. Cost wise you are looking at $6.50 for the Moroccan or Vegetarian or $6 for the Vegan. Fries are $1.50 for a small basket and drinks are all about $2. All told, you can get a very good dinner for around $10; a great deal, honestly. The Flying Carpet certainly makes a nice addition to to the trailer scene here. I hope to see more ethnic based trailers popping up soon. Maybe an Indian trailer? I'd certainly be okay with that! All things considered, Flying Carpet gets a solid two points of the Lone Star out of five.
Flying ointment is a hallucinogenic ointment said to have been used by witches in the practice of European witchcraft from at least as far back as the Early Modern period, when detailed recipes for such preparations were first recorded.
Ralph Havens says
Thank you for this wonderful article. We are reading the Nutrition and Physical Degeneration and have been using the Nourishing Traditions way of eating and living we learned from Annie Dru. We’re excited to learn more and from what we see the information that the Aboriginal people have is among the absolute best.
Thank you for this information,
Ralph & Jen Havens
Ralph Havens Physical Therapy
There is no such animal as a Koala Bear.
Thanks for the inspiration. You made a previoulsy dull day into one of the good ones. You made my year. Good on you Larry my friend.
“The koala (Phascolarctos cinereus, or, inaccurately, koala bear[a]) is an arboreal herbivorous marsupial native to Australia … The biggest threat to their existence is habitat destruction caused by agriculture and urbanisation.” https://en.wikipedia.org/wiki/Koala
Just what I said… there is NO such thing as a Koala BEAR.
it is a herbivorous marsupial!
Different family completely…
Until 20-25 years or so ago most (western) people in Australia referred to it as a Koala Bear That was just what it was called. I’m not even sure if anyone thought it was a bear really, but I guess some poor explorer did. It could easily be mistaken for small bear if you were not a Marsupial expert, which I’m sure you are not.
trish j says
Tim, Larry is correct. I remember learning 50 years ago that a Koala is not a Bear! So your time frames are incorrect. Nonetheless, pretty awesome factual information going on in this article
Larry is WRONG. He didn’t say a koala is not a bear. He said there is no such thing as a koala bear. Obviously there IS. The experts are liars. There is no such thing as an “arboreal herbivorous marsupial native to Australia”. The Australian people are right: KOALA BEAR.
Weeeeeelll, if you want to get into some interesting facts….. Koalas wean via a backwards facing pouch. The babies pop their heads out and eat mama’s poo. Eeeeewww!
Sorry Larry. You are still, & will ALWAYS BE, WRONG. You have a wrongness about you that stinks up the whole earth. You are a Jabberwocky. No, a skunkawocky.
Once again Larry you are wrong. It is not an ‘herbivorous marsupial’, it is an ‘arboreal herbivorous marsupial native to Australia. Neither of which exist.
Chris Garrett says
Just wondering ….how much can a Koala bear?
I stumbled upon this article trying to find out what Koala’s taste like,
Great read and full of information thankyou.
They taste exactly like chicken.
Found the interesting and educational article really profound as to the highly nutritional content of the Aborigini’s diet. No wonder they are world renowned for their Super Vision, this is something we all need to learn from and prevent and avoid the predicted Fast Food Genocide created by the Western World food industry! It’s now the time for learning and appreciating their ancestoral survival knowledge and self-healing through the hunter & gatherer combination and teamwork of a community. And ONENESS with Nature that provides ALL. We’ve got a lot to learn about ourselves as Humankind is evolving yet again through the New Age of IT & Communications.
See: Hongchi Xiad interview with Anne Margrethe Hess at The Beyond 2012 Conference in Scotland. How to Self Heal with Paida Lajin self-healing techniques. A new era is here for MIRACLES to happen!
Also: The Outback Vision Protocol (healing and preventing macular degeneration and eye defects of all kinds based on ancient Aborigini nutritional knowledge. Dr David Lancaster & Bill Campbell.
I am amazed by the amount of preparation required by the plant foods used by the aboriginal people. Also, I wonder how the discovered that certain plants were better after being buried for a time? What about that first person who thought, “I’m just gonna dig this up and eat it…?” Truly inspiring.
Naomi Norris says
I am in awe of the traditional aboriginals and how they were able to live so healthfully from the land and sooo sad that this was destroyed by so called better western diet. It strongly supports the principles of the keto diet, high fat, mod protein and low carbs. No wonder there is sooo much disruption to aboriginal health. Of any group they really need to be steered back to a high fat diet similar to the one they had only 250 years ago.
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How Putting On 20kg Crushed Joshua Tan's Self-Esteem
The Flying Through Time star also talks about hunting for bras in South Korea. Yes, really.
“Have I met you before?” Joshua Tan asks us after the outdoor press con for his upcoming show Flying Through Time at Resorts World Sentosa. When we remind the actor that the last time we met was also in Sentosa during a promo shoot for an inflatable obstacle course, he jokes, “We’ve an affinity with humid and hot weather. It’s fate ah?” That was back in Sep 2015, when the fit Ah Boys to Men (ABTM) star seemed like the perfect candidate for the super physical course, given his lean physique and impressive stamina. Today, he’s still looking athletic as usual, but a tad chunkier.
For the uninitiated, Josh had piled on a whopping 20kg, tipping the scales at a solid 88kg to reprise his role as recruit Ken Chow for ABTM 4. A surprising move, for an actor known to be extremely particular with how he looks on screen. While his fellow ABTM buddy Maxi Lim famously shed 17kg to avoid being typecast as the chubby sidekick, Josh, on the other hand, piled on the pounds ’cos he was, in his own words, “sick of playing the good-looking guy”. (Producers, are you reading this?)
But he didn’t get to stay pudgy for long. Soon after ABTM 4 wrapped, the 27-year-old had to double down on his weight-loss regimen, shedding 14kg in one-and-a-half-months, to play ancient general Tiger in upcoming theatrical extravaganza Flying Through Time. In the good-triumphs-evil tale, Josh’s warrior time-travels into modern day to reclaim a mythical relic from the villainous Dark X. It’s a role that involves stunts, flips and wire work, which explains his need to get ripped and fit fast. And now, the actor, who went from fit to flab to fit again, hopes to be an inspiration to weight loss aspirants.
8 DAYS: Your upcoming theatre show Flying Through Time features acrobatics, gymnastics and martial arts. You went to South Korea to undergo training for the role.
JOSHUA TAN: Actually, before we went to Korea, we had a starter pack in Singapore where we learnt the basics of acrobatics and gymnastics. Obviously, that didn’t prepare us enough (laughs). ’Cos [the other cast members] are like world class athletes. They’re really, really good. What I can do is very finite. So I had to learn as much as possible within the limited time frame. There’s a lot of choreography, movements and dance steps to memorise. I have to learn basic gymnastics and expand my [martial arts] repertoire. It’s quite daunting, to be honest.
You mentioned that it took three lessons, six hours and a gazillion times falling on your face for you to finally do the back tuck.
(Laughs) (Sighs) Yeah. My personal trainer’s a b-boy. He actually did a lot of unorthodox things, like tie a T-shirt around my waist to help propel me [into the air]. I was like, “Are you sure a T-shirt can hold my weight?” (Laughs) Apparently, it does. But, doing a back flip was really tough. And I’ve a fear of heights. Although I don’t jump very high, but I’m in the air and there’s nothing to hold me up. It was actually a confidence issue. Once I mastered doing it on the padded area, we moved on to concrete. Doing it on concrete is when I knew I had to land. If I don’t land, things can go wrong very fast. I mean, obviously, I was assisted by my trainer at the start. But eventually, he made me do back flips by myself, which I did. And it was great. But I had a bit of a setback in Korea. On the first two days, I did back flips by myself. Then on the 3rd day, my trainer said that my back flip was a bit slanted so I had to adjust [my posture]. I was like okay. But when I jumped, I was so focused on how I should adjust that I forgot to flip, so I landed on my neck. Everyone was really scared ’cos people can suffer serious injuries from doing such stunts. Luckily, our area was padded. So I escaped unscathed. But ever since then, I’ve had a fear of doing back flips (laughs). I’ve been trying to get back into that. It was a mortifying experience I don’t want to go through again. But you’ve got to overcome your fears and move on.
You and your co-star, Melody Low, were in Korea to train for this show. What shenanigans did you guys get up to over there?
Wah! I’m thinking of what can be said (laughs). Okay, we stayed in a really rural area [in Korea] so there weren’t any laundromats in our area. After many days, we accumulated a lot of laundry. So we were looking for a laundry place. We finally found one. And we dumped ten days’ worth of clothing into the laundry machines. After dinner, we collected our clothing. But on our way back to the hotel, Melody said, “Eh, I’m missing a few bras.” So we had to retrace our steps all the way to where we came from to search for the missing bras, one by one. It was quite an interesting experience. How should I put it? I’ve never hunted for bras before (laughs).
You put on 20kg to become 88kg for your Ah Boys to Men 4 role. Why did the role require you to gain weight?
In February, we were having a gathering with Director Jack (Neo). And we discussed a bit about ABTM 4. Then, he was saying to Maxi [Lim], “Eh, Maxi, [in Mandarin] why are you so skinny ah?” ’Cos Maxi lost [17kg]. Then, Jack said that he preferred Maxi when he was fatter ’cos he was very cute then. But Maxi said that it was very tough for him to slim down so much, and he really didn’t want to be fat again. At that point in my career, I felt a bit typecast. I was kind of sick of playing the mummy’s boy, the standard boyfriend or the good-looking guy. So I said, “Eh, boss, what if I were to become fat?” He said he would think about it. A few days later, he told me, “Joshua, I want you to put on 30kg.” I was like, “Okay!” (Laughs) So I embarked on my journey to gain weight. It was really tough ’cos I’m a very active guy. I love to do sports, like Muay Thai, gym, running, soccer, everything. So to not do all these was very tough. But I took my time, and I gained 20kg in six months. I was still trying [to gain weight] when we were shooting but I think there’s a limit to how much I can blossom (laughs). Then, towards the end of filming ABTM 4, I went for the Flying Through Time audition. The director liked me. But I was over 80kg back then. So he said that I looked a bit chubby. I told him that if I got this role, I’ll work my ass off. I got it, and so, I worked my ass off. I went from 88kg to 74kg in about a month and a half. I hope that this inspires people. Like, you know what? I did it. I was fit to fat, and I’m back [to fit]. You don’t have to do it at the pace I did it, but it can be done.
After you put on weight, people would leave comments on your Instagram calling you “fat” or “chubby”, or liken your physique to a “dad bod” or “teddy bear”. Did your self-esteem take a hit?
Obviously. Mirrors were my biggest enemies. I hated to look in the mirror. Before that, I never understood how people with weight issues feel ’cos I had always been skinny or quite fit. I was never fat. So it gave me an insight into the emotional side of what it’s like to struggle with obesity and weight issues. And it was tough lah. Like, when people make comments that are true but also unnecessary. It took a toll on my self-esteem. To me, social media is a tool, but it still affects people. When people say mean things like, “Oh, you are fat as [expletive]” — pardon my French — it never used to affect me so much. But on days when I really felt crappy, and I saw those comments, I was like, “I wish you didn’t say that.” People should know that the things they say online carries the same weight as the things they say face-to-face. Even becoming the butt of all jokes among my own friends hurt. And I used to make those jokes, you know. But now that I’ve been on the receiving end, I understand how to be more sensitive to other people. I can understand and empathise with people who have issues with weight. It’s not easy.
How far away are you still from your goal weight?
When I started gaining weight, I was a bit on the skinny side. For this role, I play an ancient general. So obviously, I need to have some muscles. I think I’m quite near [to my ideal weight]. I’m pretty happy with how I look now. Obviously, I can look better. But I’m not far from where I want to be.
Flying Through Time runs from Dec 9 to Jan 21 at the Resorts World Theatre. Tix from Sistic.
Duke was born at Bellevue Hospital in the Manhattan borough of New York City,  the youngest of three children of Frances Margaret (née McMahon 1913–1993), a cashier, and John Patrick Duke (1913–1964), a handyman and cab driver. 
Duke was raised in the Elmhurst neighborhood of Queens,  where she, her brother Raymond, and her sister Carol experienced a difficult childhood. Their father was an alcoholic, and their mother suffered from clinical depression and was prone to violence. When Duke was six, her mother forced her father to leave the family home. When Duke was eight, her care was turned over to talent managers John and Ethel Ross, who, after promoting Patty's brother, were looking for a girl to add to their stable of child actors.  
The Rosses' methods of managing Duke's career were often unscrupulous and exploitative. They consistently billed Duke as being two years younger than she actually was and padded her resume with false credits.  They gave her alcohol and prescription drugs, took unreasonably high fees from her earnings and made sexual advances to her.  She never saw her father and saw her mother only when she visited to do the Rosses' laundry.  In addition, the Rosses made Duke change her name. "Anna Marie is dead," they said. "You're Patty now."  They hoped that Patty Duke would duplicate the success of Patty McCormack. 
One of Duke's early acting roles was in the late 1950s on the soap opera The Brighter Day.  She also appeared in print ads and in television commercials. In 1959, at the age of 12, Duke appeared on The $64,000 Question and won $32,000 her category of expertise, according to her autobiography “Call Me Anna”, was popular music.  In 1962, it was revealed that the game show had been rigged, and she was called to testify before a panel of the United States Senate. Duke eventually testified before congressional investigators—and broke into tears when she admitted she'd been coached to speak falsely. 
Also in 1959, Duke appeared in a television adaptation of Meet Me in St. Louis as Tootie Smith, the role that had been originated in the film version by Margaret O'Brien. Duke's first major starring role was Helen Keller (with Anne Bancroft as Anne Sullivan), in the Broadway play The Miracle Worker, which ran from October 1959 to July 1961. Duke originated the role of Keller on Broadway.  During the run, Duke's name was elevated above the play's title on the theater's billboard, believed to be the first time this had been done for such a young star.  The play was subsequently made into a 1962 film for which Duke received the Academy Award for Best Supporting Actress  before the film started shooting, the actress and activist Helen Keller briefly met.  At 16, Duke was the youngest person at that time to have received an Academy Award in a competitive category.  Duke returned to television, this time starring with Laurence Olivier and George C. Scott in a television production of The Power and the Glory (1961).
Duke's own series, The Patty Duke Show, created by Sidney Sheldon especially for her, began airing in September 1963. At that time, it was not known that Duke had bipolar disorder, but Sheldon did notice that she had two distinct sides to her personality and thus developed the concept of identical cousins with contrasting personalities.  Duke portrayed both main characters: Patricia "Patty" Lane, a fun-loving American teenager who occasionally got into trouble at school and home, and her prim and proper "identical cousin" from Scotland, Catherine "Cathy" Lane. William Schallert portrayed Patty's father, Martin as well as his twin brother Kenneth- Cathy's father Jean Byron played her mother, Natalie Paul O'Keefe was her younger brother, Ross and Eddie Applegate portrayed her boyfriend, Richard Harrison (though the actor was married and several years Duke's senior).  The show also featured such high-profile guest stars as Sammy Davis, Jr., Peter Lawford, Paul Lynde, and Sal Mineo. The series lasted three seasons and earned Duke an Emmy Award nomination. In 1999, the program's characters were revisited and updated in The Patty Duke Show: Still Rockin' in Brooklyn Heights, with Cindy Williams taking on the villain role of Sue Ellen Turner when Kitty Sullivan was unable to reprise her role.
After the cancellation of The Patty Duke Show in 1966, Duke began her adult acting career by playing Neely O'Hara in Valley of the Dolls (1967).  The film was a box-office success, but audiences and critics had a difficult time accepting all-American-teenager Duke as an alcoholic, drug-addicted singing star. While the film has since become a camp classic—thanks in large part to Duke's over-the-top performance  —at the time it almost ruined her career. In 1969, Duke starred in Me, Natalie, in which she played an "ugly duckling" Brooklyn teenager struggling to make a life for herself in the Bohemian world of Greenwich Village. Duke won the Golden Globe Award for Best Actress (Musical or Comedy) for the role.  
Duke returned to television in 1970, starring in a made-for-TV movie, My Sweet Charlie. Her portrayal of a pregnant teenager on the run won Duke her first Emmy Award. Her acceptance speech was rambling and disjointed,  leading many in the industry to believe she was drunk or using drugs at the time. In fact, Duke was experiencing a manic phase of her bipolar disorder, which would remain undiagnosed until 1982.  She received her second Emmy in 1977 for the TV miniseries Captains and the Kings and her third in 1980 for a TV version of her 1979 stage revival of The Miracle Worker, this time playing Anne Sullivan to Melissa Gilbert's Helen Keller. Her turns in the made-for-TV movies The Women's Room (1980) and George Washington (1984) both garnered her Emmy nominations. In the 1980s, Duke was cast in a number of short-lived TV series: the ABC sitcom It Takes Two, from Soap and Benson creator Susan Harris, was cancelled after one season Hail to the Chief, in which she appeared as the first female President of the United States  and a comedy, Karen's Song, which aired on the fledgling Fox network. 
Duke's film roles in the 1980s included the Canadian film By Design (1981), which garnered her a Genie Award nomination for Best Foreign Actress, and the made-for-TV movie A Time to Triumph (1986), the true story of Concetta Hassan, a woman who struggles to support her family after her husband is injured but who eventually becomes a United States Army helicopter pilot. In 1990, Duke's autobiography, Call Me Anna, was adapted for television she played herself from her mid thirties onward. In 1992, Duke portrayed the mother of Meg Ryan's character in the film adaptation of the play Prelude to a Kiss. Duke received an Emmy nomination in 1999 for her appearances in three episodes of Touched by an Angel.
In 1985, Duke became the second woman, after Kathleen Nolan, to be elected president of the Screen Actors Guild, a post she held until 1988.  Her tenure as president was marked by factional in-fighting and controversy however, she gained respect for managing to maintain solidarity among the guild's members.  During her term, she led industrial actions and contract negotiations and oversaw the relocation of the guild's headquarters. 
Later years Edit
Duke gradually reduced her work schedule in the 2000s but took occasional TV roles, including guest appearances on shows such as Glee  and the reboot of Hawaii Five-0. In 2011, she joined the cast of the drama The Protector.  She also returned to the stage on occasion — in 2002 as Aunt Eller in a revival of Oklahoma! on Broadway  and in 2009 as Madame Morrible in the San Francisco production of the musical Wicked.  In May 2011, Duke directed the stage version of The Miracle Worker at the now defunct Interplayers Theater in Spokane, Washington.  In 2010, she hosted a PBS TV special “When Irish Eyes Are Smiling: An Irish Parade Of Stars”. The special was part of the My Music series, and featured Irish and Irish-American folk music and sentimental standards.
In 2011, Duke appeared in public service announcements for the U.S. Government, promoting the social security website. In several, she appeared as Patty and Cathy using split-screen effects. In others, she appeared with George Takei wearing a Star Trek-like costume.  In 2015, Duke made her final TV appearance, guest-starring on Liv and Maddie as Grandma Janice and Great-aunt Hilary, a pair of identical twins. 
Like many teen stars of the era, and bolstered somewhat by her appearance in the musical Billie, Duke had a successful singing career, including two Top 40 hits in 1965, "Don't Just Stand There" (#8) and "Say Something Funny" (#22).  She also performed on TV shows such as The Ed Sullivan Show. 
Mental health advocacy Edit
In 1987, Duke revealed in her autobiography that she had been diagnosed with manic depression (now called bipolar disorder) in 1982, becoming one of the first public figures to speak out about personal experience of mental illness.  She also suffered from anorexia nervosa and during her teenage years weighed as little as 76 pounds.  She attempted suicide in 1967 and was again hospitalized for mental health problems in 1969, eventually being diagnosed as manic depressive in 1982.  Her treatment, which included the use of lithium as a medication and therapy, successfully stabilized her moods. She subsequently became an activist for mental health causes.  She lobbied the United States Congress and joined forces with the National Institute of Mental Health and the National Alliance on Mental Illness in order to increase awareness, funding and research for people with mental illness.  In 2007, Duke appeared on The Oprah Winfrey Show, talking about her bipolar disorder. 
Duke wrote three books: her autobiography, Call Me Anna (ISBN 0-553-27205-5) in 1987 and Brilliant Madness: Living with Manic Depressive Illness ( 0-553-56072-7) in 1992.  A third book, In The Presence of Greatness—My Sixty Year Journey as an Actress ( 9781629332352) (with William J. Jankowski), is a collection of essays about the actress's experiences with other artists and celebrities. It was published posthumously in February 2018.
Over the course of her career, Duke received an Academy Award for Best Supporting Actress, three Emmy Awards amongst 10 nominations,   and two Golden Globe Awards amongst four nominations.   In 1963, when she won her Academy Award, Duke became the youngest person to ever win an Academy Award in a competitive category. 
On August 17, 2004, Duke received a star on the Hollywood Walk of Fame for her contribution to the motion picture industry.  On December 14, 2007, her 61st birthday, Duke was awarded an honorary Doctorate in Humane Letters degree from the University of North Florida for her work in advancing awareness of mental health issues.  On March 6, 2010, she was awarded an honorary Doctor of Humane Letters degree from the University of Maryland Eastern Shore. 
Duke was married four times and had three children. A Roman Catholic, Duke had dreams of becoming a nun in her youth.  
In 1965, Duke married director Harry Falk, who was 13 years her senior. This led to the end of Duke's relationship with her abusive childhood guardians, the Rosses.  During their marriage, she had repeated mood swings, drank heavily, became anorexic and overdosed on pills a number of times.  The couple divorced in 1969. 
In early 1970, at the age of 23, Duke became involved with three men at the same time — 17-year-old Here's Lucy star Desi Arnaz, Jr.,  actor John Astin, who was 16 years her senior, and rock promoter Michael Tell.   The relationship with Arnaz was widely publicized, due in part to the vocal and public opposition of Arnaz's mother, actress and production company executive Lucille Ball. By late spring, Duke and Arnaz had broken off their relationship.
In June 1970, Duke learned she was pregnant and married Michael Tell on June 26, 1970, during a manic phase,  [ better source needed ] in order to "give (her child) a name".  Their marriage lasted 13 days before ending in an annulment on July 9, 1970  Her son, actor Sean Astin, was born on February 25, 1971. Duke said in her 1987 autobiography that the marriage to Tell was never consummated and that Astin was the actual biological father of Sean. There were several chapters emphasizing the falsehood about her relationship with Tell and the paternity of her son. She later told Sean that Arnaz Jr. was Sean's biological father.  It turned out that all three statements were incorrect: in 1994, when Sean Astin underwent biological testing to determine his paternity, the results showed that Tell was his biological father.   
Duke married John Astin in August 1972. Astin adopted Sean and the couple had a son, actor Mackenzie Astin, in 1973.  Duke and Astin worked together extensively during their marriage and she took his name professionally, becoming "Patty Duke Astin". During this period, Duke underwent a hysterectomy.  Duke adopted Astin's three sons, and years later in 1998 Astin's sons reversed the adoption with Duke's approval.  The couple divorced in 1985.
Duke married her fourth husband, drill sergeant Michael Pearce, in 1986, and remained married to him until her death 30 years later. Duke and Pearce had met during the production of A Time to Triumph, for which Pearce served as a consultant.  The couple moved to Hayden, Idaho and adopted a son, Kevin, who was born in 1988.  From her marriage to Pearce until her death in 2016, Duke occasionally used the name "Anna Duke-Pearce" in her writings and other professional work. 
Duke had three granddaughters by her eldest son Sean, actresses Alexandra, Elizabeth, and Isabella. 
Duke died on the morning of March 29, 2016,  in Coeur d'Alene, Idaho of sepsis from a ruptured intestine at the age of 69.  Sean invited the public to contribute to a mental health foundation in his mother's name, the Patty Duke Mental Health Initiative.  She was cremated and her ashes were interred at Forest Cemetery in Coeur d'Alene. 
"Cherry Bombs" - Gourdough's Copycat
For the Donuts:
Canola oil for frying (enough to fill pan 1 1/2 inches high)
2 cans buttermilk biscuits, quartered
1/2 cup sugar
2-3 teaspoons cinnamon
For the Sweetened Cream Cheese Sauce:
8 ounces reduced fat cream cheese
1/4 cup half & half
1/4 cup powdered sugar
1 can cherry pie filling
2-3 tablespoons yellow cake mix
For the Donuts:
Preheat oil to 325º-350ºF. Roll quartered biscuits into balls. In a brown paper bag, mix together the cinnamon and sugar (roll top down then shake to mix).
When oil is preheated, carefully drop a handful of the dough balls into the oil (it helps to place them in a slotted spoon and then carefully lower them into the oil). Cook until donuts float to the top and become a golden brown color (I gently rotate them with a slotted spoon while they cook to allow even browning). Remove donuts with a slotted spoon and drain on a paper towel lined plate, then place into the paper bag and shake to coat with the cinnamon sugar mixture. Repeat until all donuts are cooked.
For the Sweetened Cream Cheese Sauce:
Add cream cheese and half and half to a small saucepan and heat over medium to medium high heat (whisking until smooth). Add the powdered sugar whisking again until smooth.
Add a handful of cooked cinnamon sugar donuts to a plate. Spoon a few dallops of the cherry pie filling over then and top with a drizzle (or 5) of the warm sweetened cream cheese mixture. Lastly, sprinkle on a few pinches of the yellow cake mix and VOILA! Cherry Bombs up!
Inspired by: Gourdough's Doughnuts
Austin Fat Guys Review The Flying Carpet - Recipes
We're breaking out the wishbones a little early this Thanksgiving season. What began as part of a simple little post about the way '70s television allowed viewers to see more of their favorite male stars than they'd bargained for has snowballed into a major draw for visitors to The Underworld. The posts about the bulges of actors are popular 4 to 1 over anything else. I can understand why. I mean, if I didn't find it interesting myself, I would never have posted about it.
It's not about nudity, per se, or even size, though that does make bulges more pronounced. It's really (for me, anyway, and I suspect for others) more about getting a secret glimpse into that which is typically withheld from us. Any one of us can, with just a few clicks of the mouse, observe thousands upon thousands of naked men doing anything and everything imaginable. However, most mainstream stars did not and do not shuck all of their clothes and let the world see them naked. So the bulge thing is a way for us to get a better idea of what's going on “down there.” It's similar to solving a mystery. Call me the Jessica Fletcher of genitalia! Ha!
This installment is still going to focus on television performers, though there are a few additional shots sprinkled throughout just because I've found them and wish to share. Bulges are always better viewed in motion and can be hard to capture, but we try our best. The prudish among you (what are you doing here?!) may want to skip this one. As always, the pictures on the left or right can be clicked to enlarge.
The 1950s tended to be a difficult time to see bulges (and beefcake) on television. A happy exception is the 1956 installment of Screen Director's Playhouse. In it, manly George Montgomery (a recently profiled actor here in The Underworld) plays a man whose first wife has died and who has remarried to a woman (Angela Lansbury) who has trouble filling her shoes. The dead woman's cat Claire (which is also the name of the episode) has taken a decided dislike to her new mistress.
At one point, Montgomery and Lansbury retire to the patio next to the lake in order to sunbathe and take a picture of themselves. The always fit Montgomery sports a trim little swimsuit that is obligated by the custom of the times to cover up his navel, but which then rides up to reveal plenty of leg. As he joins Lansbury on the lounge chair, he lies back and begins running his hand all across his torso, enjoying the sunshiny weather. Here, we get a rare and surprisingly up close glimpse of his crotch, not that anything specific can be spotted. It's just a great beefcake-y moment in a series that tended to be quite staid.
I can find no record whatsoever of a TV show or even a TV episode of a show called The Green Felt Jungle as advertised in this photo. The star of whatever it was is Mr. Leslie Nielson, shoehorned into some seriously snug tan dungarees. Who knew that Detective Frank Drebin and Captain Harrison of the S. S. Poseidon was carrying around all that extra baggage?
Moving on to another black and white example, we have a 1965 episode of the venerable western series Gunsmoke. The guest star is John Drew Barrymore (aka John Barrymore Jr), the son of The Great Profile and the father of the now-famous Drew. In the storyline, the bearded bounty hunter pays a call on Doc and is placed on the examining table. In this moment, we get a quick look at JD's junk, including the the head of his penis.
The western genre dominated '50s and '60s TV and no show offered better bulgery than Bonanza. Most of it was supplied by Michael “Little Joe” Landon, especially several years in when he adopted a pair of stone-colored trousers that he wore in virtually every episode from then on and which generally left little or nothing to the imagination. The pants were not made of any appropriate natural material from that time like cotton or linen, but no one seemed to mind, then or now, when they were so revealing!
The other king of inappropriate pants on a TV western was Robert Conrad on The Wild Wild West (shown here with guest Sammy Davis Jr.) It's safe to say that no one back then dressed the way his character did on the show, but his body was so fit and tightly packed that it seemed a shame not to show it off to its best advantage. He was roundly admired for the way his rear end looked in those blue and grey trousers, but occasionally a nice glimpse in the front would pop up.
The Mod Squad, a crime-fighting series that ran from 1968 to 1973, can be a fertile bulge breeding ground at times. It concerned three juvenile delinquents who are recruited as police officers, usually going undercover in places where one could easily spot a more typical cop. Series regular Michael Cole, as Pete, was often a decent bet thanks to the snugly tailored pants he favored wearing. (Watching old eps of this show is almost worth it just to see the vintage clothing and hairstyles alone!)
In the pilot, he was shown (here with costar Peggy Lipton) on the beach in some well-worn and shape-defining cut-off shorts. This was not a look that he wore much - if at all - thereafter, which is a shame. Cole's black costar Clarence Williams III was also occasionally shown packing serious heat.
As Linc, the introspective, spiritual one of the trio, Williams was responsible for helping to break down color barriers that had heretofore been fractured by Bill Cosby, who costarred with Caucasian Robert Culp in I Spy, a TV first. Williams dressed surprisingly conservatively much of the time, but every once in a while would sport some very tight white jeans or some otherwise revealing pants that kept viewers awake.
Former physique model-turned-actor Dennis Cole was a performer who could very often be counted on to supply some bulge action. This publicity photo from his short-lived 1971 series Bearcats! (costarring former film star Rod Taylor) is an example of what I'm talking about. (Sorry that the larger photo is so blurry. The smaller one shows far better definition, but it's so tiny I included the blow up.)
A few years later, he guest-starred on The Love Boat and very briefly was seen skulking around the pool deck area in some very short and very revealing white tennis shorts. Sadly, this long shot is all we were allowed to see of them. Perhaps one of the censors was actually paying attention that day? If I recall correctly, he also showed off some snug polyester pants during guest stints on then-wife Jaclyn Smith's series Charlie's Angels.
The long-running crime show Hawaii 5-O nearly always had its male characters in suits despite the often sweltering climate of the island. This never stopped regular cat member James McArthur (playing Danny Williams of the famous line, “Book'm, Danno!”) from showing off a prominent bulge in the left side of his suit slacks.
He played Danno for more than a decade and, as the years went by, his hair got a little longer and a little grayer, but one thing never changed. As he walked towards the camera or planted himself in a chair, his significant stuff could often be seen pressing up against the fabric of his pants. My favorite suit of his was the pale beige one, but the olive green also did the trick on many occasions.
Guest stars on the show, often not held to wearing suits like the series' regulars, could often be afforded more exposure. Here, we have William Shatner in two pictures. The first one shows him confronting an enemy of his in the man's bedroom (and later on the beach) and contains examples of VPL (the phenomenon of the penis outline visible through the pants.)
This other shot shows Shatner prior to the scene above, using the phone to snake out the man he's looking for. This particular camera set-up, with the lens bearing down on the subject whose legs are spread, is one we'll see several examples of in today's post. It's a method that was obviously quite popular in the '70s and '80s, but which has since (sadly) gone by the wayside. Less sad, perhaps, is the demise of some of these strange '70s color combinations in decor.
We're about to head into Starsky and Hutch land, where bulges come at the viewer fast and furiously in nearly every episode. Some examples are far more prominent than others, but in general this was a series that served as a leader in that field. First, we have Paul Michael Glaser (Starsky) in the pose discussed above, legs spread with the camera peering on indiscreetly.
Generally, though, Glaser revealed far less than his costar David “Hutch” Soul. (As I revealed in a post way back about television pilots, Soul got naked in the very first episode and seemingly had no issues letting in all hang out, so to speak, through his clothes thereafter!) Wherever the boys may be, it could generally be relied upon that Soul would be wearing some impossibly tight jeans that left almost no room for his genitals to exist. In these days when guys are trying to get their jeans as baggy and as loose as possible, it seems unbelievable to think that there was a time when the goal was to get one's jeans as skintight as they could be, but it's all true. We sometimes had to lie down in order to zip 'em up!
Even when they weren't crazy tight, Soul's jeans tended to be revealing nonetheless. There's the photo above in a scene with guest star Paul Burke. Then there's this snippet with guest Frank Converse, which takes places in Las Vegas. This sequence really needs to be seen in motion to be believed. It actually looks as if Soul is at least semi-hard as he trots down the hallway of a Vegas hotel shopping plaza. These caps don't do it justice.
Most of the time, though, his jeans were of the more snug variety. Remember what I said about those low camera angles with the actor's crotch getting center stage? How about this shot, in which Soul's character was desolate about the demise of a loved one? The day I saw this, I thought I had hit the mother lode that there would never be anything from this series to top it. (I was wrong, and I'll address that misconception later!)
Bulge watchers of the world tend to be fond of WKRP in Cincinnati's Gary Sandy. Before he had the success of that situation comedy, Sandy was a guest on Starsky and Hutch. He played a zoned out, drugged up lost soul who was coerced into beating certain people to death with a ball bat. Most of his time was spent lying in bed, staring at an uncovered light bulb (which the camera picks up here.)
However, he did occasionally snap out of it in order to go out on one of his murderous rages. The opening sequence of the episode has him hiding in wait for his intended victim. In order to obscure his face for a time, the camera lingers on his crotch. Then, when he's finally ready to strike we see his surprisingly intimidating face (considering his heavily comedic resume) snarling away while he rears back with his (other) weapon.
Actor Robert Wagner (of movies and of Hart to Hart fame) isn't one who traditionally revealed a lot of bulge in his pants. This particular photo is a bit of a fluke. I think there's something in his pocket (perhaps a key chain) that is drawing his slacks in such a way. Still, I include it in case anyone out there finds it interesting. As I type this, the world is holding its collective breath to see if anything sordid about Wagner is revealed in the recently reopened case of Natalie Wood's death.
I'll digress just a moment here in order to toss out a few non-TV bulges of note. First up is Mr. Tom Jones, howling singer of note who lived in tight pants throughout the '60s and beyond. This picture is hilarious for so many reasons. First there's the gravity-defying hair (which Robert Reed of The Brady Bunch seemed to want to copy nevertheless!) Then there's the gun stuffed into his waistband. It mirrors the pistol he's packin' downstairs in these downright lurid jeans. Ya gotta love the '70s!
Another star from the world of music is Eddie Van Halen. Rock stars were often scampering around in revealing spandex or blue jeans. Here Eddie (being interviewed by someone with Entertainment Tonight?) demonstrates the now-defunct method of wearing pants or jeans pulled up so that the seam of them chose one side or another and was flush against the “taint!” Anyone else think he sort of resembles his then-wife Valerie Bertinelli here?! Maybe it's just the hair.
Still one more (fortunate!) example of that “jeans going all the way up” thing is Mr. Paul Newman. Here, Newman in some faded, comfy looking jeans, is dressed left, thereby giving the world a pretty decent idea of what was going on inside. Newman, obviously casual on this day with a denim shirt, a wind-breaker and the ever-present can of beer, still looks sexy as hell. Why, then, does dear Joanne, who is similarly casual in her attire, look like some kind of scrubwoman?
This next one is less of a bulge than a ball slip! Young movie actor Christopher Atkins was out on a photo shoot that involved rowing a boat while wearing only three things: two tennis shoes and a pair of shorts. This entire shoot is kind of sordid and icky anyway because he looks like he's strung out on something, eyes barely open and a crooked grin in place, which may be why he didn't seem to notice he was hanging out of his shorts. (Or did he know all along?)
Now, we come to a “Guess Who.” This big hangin' man was a major movie star from the '50s through the late '60s, eventually having some success on TV in the '70s. The shot above is from one of his most famous films, an enormous, sweeping saga about a swaggering, macho Texan whose eastern-bred wife challenges his sexist attitudes and ways. In this particular scene, he's entering the bedroom of his wife, who's just given birth to their third child (hence the toddler in the foreground.) If you want to guess, don't scroll down just yet because the answer is revealed in the very next paragraph.
Yes, this is Mr. Rock Hudson in Giant (in more ways than one!), paying a post-delivery visit to wife Elizabeth Taylor and holding up their eldest two children for a peek into the bassinet. Hudson's revealing slacks on his TV show McMillan & Wife were covered in an earlier post on the subject. It's fairly rare, though, to see evidence of such a thing in the movies, especially one like this one from 1956.
Okay, now back to the tube, if you'll pardon the pun. Back in his days on The Big Valley, Lee Majors showed off his stuff in some very tight tan britches. By the time he was starring on The Six Million Dollar Man (which ran from 1974 to 1978), the '70s were in full swing and he was strutting his stuff in some very tight jeans. (This horse doesn't know it, but it is one of the luckiest mounts in the world, getting to film a scene with its snout in such close proximity to Lee Jr!)
Looking back at the show now, he's often attired in some really amusing mod wear, with plenty of funky shirts, jackets, belts and so on. Scenes that ought to be quite serious, such as this one with his mother on the show Martha Scott (who seemed to play everyone's mother at one time or another!), in which he's distraught over the welfare of his critically injured fiance, take on a whole different aura when the viewer is faced with his painted-on jeans.
The injured fiancee is, of course, Miss Lindsay Wagner as the bionic woman. Here, they are shown during and after a super-speed jog. I had to include the shot on the left because it shows how he wore his running suit jacket with nothing underneath, unzipped to almost the navel! On the right, you can see a bit of how clingy the pants of the suit were. The episode shows the couple running in slow motion, affording the viewer some nice glimpses of Majors' package.
This red suit, by the way, served as something of an inspiration for the outfit the 12” action figure wore, though that was far more demure. The red tennis shoes and white socks remained, however. My childhood mind could never connect why I loved and adored Steve Austin, the bionic man, but was so disappointed with my action figure. His face looked old and craggy (the sculptor paid a bit too close attention to Majors' weathered fetaures!), his eye was effed up, his chest wasn't hairy and he had permanently fused red underwear on! LOL I do admit that his arm, which had “skin” that rolled up to reveal his electronic parts, was pretty nifty, though.
Anyway, Majors' own special parts were on display in the same two-part episode in which he and Wagner developed their (doomed) romance. As they walked through the grass surrounding a nearby lake, his typical '70s jeans left little to be wondered about. (Amusingly, after one too many interruptions from a pair of football playing kids, Majors used his bionic right arm to send the ball flying into another county!)
It's impossible to carry on any sort of discussion about bulges on television without including John Schneider of The Dukes of Hazzard. As Bo Duke, the blonde half of a pair of cousins who were always mixed up in country-fried shenanigans, Schneider put forth some legendary crotchery. I never watched the show as a child and rarely catch it now, but if I happen upon it, I'm always stunned at what I'm able to see (as you ought to be when you look at this picture!)
Science-fiction, especially from the '60s and '70s, has long been a fertile breeding ground for bulges. The 1979 series Buck Rogers in the 25th Century was great for this. The white uniforms of the futuristic flying corp he belonged to were insanely body-hugging. (This became an issue over the course of the series' two seasons when star Gil Gerard began putting on weight!) For the better part of the first season, Gerard (as Buck) could be seen not only in the glove-like uniforms, but also in various get-ups that revealed his hairy chest.
He wasn't the only performer on the show to wear revealing clothes, though. Far from it. Here we have some nameless actors appearing as the guards of a dreary prison. The costumes are deliciously appealing anyway, but by the time you get to the clingy, tan trousers (very likely leftover from the producers' previous series Battlestar Galactica), they are heaven. Like I said in a previous post, if I have to do hard time, let it be someplace like this!
A show from 1981 to 1983 that also had fantasy elements to it (in more ways than one!) was The Greatest American Hero. Blonde series lead William Katt played a high-school teacher who is given a red bodysuit which gives him the ability to fly along with other super powers, the gag being that he lost the instructions to it. Thus, it wasn't unusual to find him soaring wildly or crashing into walls. (The theme song “Believe it or Not” became a smash hit.) Katt's costume had a tunic that usually covered his naughty bits, but sometimes it would ride up as in this shot.
1980s series T. J. Hooker had the well-built and hunky Adrian Zmed in its cast, but he wasn't the only one who made an impression. '60s singer and actor James Darren was also on hand for 66 of the show's 90 episodes. As shown here, he was still in considerable shape (and also was adept at showing off the shape of his crotch!)
Darren had played small roles in films from the late 1950s, but when he appeared in 1959's Gidget (and crooned the title song), he fell into the trap of being a teen idol. He tried to escape it (taking a more serious role in 1961's The Guns of Navarone), but not very hard. That same year, 1961, he appeared in Gidget Goes Hawaiian and two years later did Gidget Goes to Rome (even though he was in all three films, Gidget herself was never played by the same girl!) Here, he shows off the goods in Gidget Goes Hawaiian with Deborah Walley.
One more '80s crime show that offered up lots of bulge spotting was Hunter. Fred Dryer was a tall, lean, ex-pro football player who occasionally showed up in some eye-popping jeans. From the start of the series (which ran from 1984 to 1991), Dryer could be seen alternating between various slim-fitting dress slacks and his own blue jeans, which were often severely worn on the right side of his crotch from all the punishment they'd taken in the wearing!
No wonder the rather cheap and routine show ran for so long! Dryer, despite having left the L.A. Rams in 1981, capping off a pro football career that began in 1969, was still in excellent physical condition. He is shown above being treated by a doctor for a wound incurred during a strange, small town case. The doctor is really looking at the bandages and not Dryer's pronounced bulge. Really, he is! If you end up seeing any of this show, pay close attention to the brightly lit outdoor scenes when Dryer has his jeans on. It's unreal what can sometimes be viewed in them.
Dryer was not alone in showing off his stuff. In the pilot, guest star David Labiosa played a snarling, nasty pimp who is arrested by Dryer and his partner Stepfanie Kramer (dolled up like a hooker here, as she often was in the early days of the show.) As he is attempting to escape, she trips him and he falls to the ground, then he's shoved up against the car, bent over and frisked by Dryer.
The whole thing must have been quite exhilarating because from that point on, as he's dragged around the back of the car and forcibly restrained by Dryer, his penis is ever so slightly engorged and winds up stealing the scene from all three actors. Find me a TV series on network television these days that allows things like this to pass! Labiosa still pops up, though not to this degree, as a guest on various series, some of which have been NYPD Blue, CSI, CSI: Miami, 24 and The Closer.
Earlier, in the Starsky and Hutch section, I told you I thought I had found the ultimate David Soul bulge shot when he was seen lying forlornly on the sofa. You also know that I try to save the best for last in my posts when I can. Imagine my face when I later came upon a segment in which he was drunkenly blathering into the phone, his ass precariously rested on the edge of a stool. Look at this! Now I ask you. Do you think he “stuffed?” I can hardly wrap my brain around these pictures. If he didn't, he missed his calling as a porn actor! Whether he did or didn't, you can see why my addiction to 1970s TV is not about to dissipate any time soon. There's just so much to see! I hope you enjoyed this latest “round” of actor's assets.
Lists with This Book
A Cook's perspective: Molecular Gastronomy
Do you remember when the most interesting thing you ate was a peanut butter and jelly sandwich? Or maybe it was just the peanut butter because jellied fruit was just too far out of a concept? How about when, even though you didn't want to, your parents had you try a frozen creamy concoction that would possibly turn into one of your favorite desserts ever? What about when you discovered that people would pay money - a lot of money - to eat a a fried fish that has been gingerly wrapped with cotton candy much like a dust bunny from hell, just tastier?
Maybe this last thought is new to you, but then again maybe going to Gourdough's and eating a doughnut that is crammed full of pork and jalapeno jelly is too. Yes my friends, what has the world come to when the current trend is to take a pound of aged stinky French cheese and make it look and feel like noodles with the delicate flavor of a tree ripened peach? Sound far off? Not anymore.
Welcome to the world of Molecular Gastronomy. While mastering French cuisine is still widely considered the pinnacle of all that is cooking, there is a new group of chefs who are taking over from the old guard. Working late at night in what would more closely resemble a mad scientist's laboratory than a kitchen with little test tubes scattered across tables, cluttered with notes that look more like some ancient runic code than anything resembling a recipe for edible food. You would almost expect to catch a glimpse of a hunched over servant lumbering around his master while shouting "It's alive!"
For the last decade this culinary movement has been gaining tremendous momentum with its techniques being used in an increasing number mainstream restaurants, including the two best restaurants in the world. (#1 El Bulli 2004-2009 now #2, 2010 #1 is Noma whose chef trained at El Bulli ). It's almost odd now to turn on Iron Chef on the Food Network and NOT see someone with a 5 gallon jug of liquid nitrogen pouring it into a bowl of liquid to render a smoking ice cream almost instantly.
But what exactly is Molecular Gastronomy? Simply put it is the study of why food works the way it does. At what temperature does an egg white start to coagulate and start to congeal, and why? Why does the protein in meat act the way it does when a very high heat is applied, and whether or not searing meat is actually sealing in its juices (it's not, by the way). Scientists who study in the field of molecular gastronomy want to know the answers to these questions and more. But how does this all lead to me being able to get popcorn made with liquid nitrogen? That's where Hungarian physicist Nicolas Kurti and French physical chemist Herve This come in. These two scientists arranged a series of meetings from 1992-2004 with culinary professionals to discuss everything from sauces and food flavors down to how to mimic and create specific textures using food. Slowly after this, more and more chefs started to become interested with what was being discussed and embraced the science, and started to look to the new technology that was available (including many pieces of equipment that until recently you would only find in a hospital or lab for growing bacteria) and how it could add to their style of food.
But why the big change? Why not stick to the ideals of Alice Waters and just use 'the freshest seasonal ingredients' and cook them simply but perfectly? The answer is simple: people got bored. Chefs got bored. With the availability of restaurant quality cookware at every mall, outlet, flea market, or unmarked van in the back of a parking lot, its no longer amazing that someone can perfectly braise a veal cheek without culinary school training. Chefs want to dazzle patrons. They want to have the feeling of being magicians and having their guests leave with amazed looks of disbelief and whispering, "How the hell did he do that?" Think of it this way- you're the head chef of a restaurant. If you could take a simple dish, tweak it slightly by employing the new techniques that this style of cooking offers and create a plate that now resembles something from a Buck Rogers episode, and induce the ooh's and ahh's from all of your diners would you hesitate? Also, who as a kid - when hearing that liquid nitrogen could allow you to freeze and smash something into tiny bits- didn't want to give it a try?
What effect has this had on the culinary world at large though? The implementation of these new techniques has caused restaurants the world over to produce new and exciting combinations of food that one may never have thought to combine, such as tobacco flavored ice cream, sardines served on sorbet toast, or the combination of caviar and white chocolate. This revolution - which, at first, may have seemed to be no more than parlor tricks cooked up by a few grad students with too much time on their hands - has been hailed as one of the fastest sweeping culinary trends the world over.
Personally, I love this movement. Not only is it interesting to see what people can create with a few grams of agar-agar (an algae extracted gelling agent) but moreover, around the world chefs are not leaving their culinary roots behind but rather incorporating these new techniques to give a new look and feel to the world's most traditional dishes. So the next time you visit a restaurant like Moto in Chicago's Fulton Market and you read through the menu, you might want to try and take a bite of it too.
Mainland Lau Lau with Pork
I may get my mug on a Hawai'i wanted poster for this bastardized version of an island native recipe favorite. And if I end up in the slammer, I hope they serve Lau Lau for jailhouse meals!
I live in Los Angeles and could probably find Taro leaves somewhere. But, I want to make sure anyone on the Mainland can enjoy my cheap$kate version of Lau Lau - which is simply seasoned hunks of pork wrapped in Taro leaves and slow cooked to delicious tenderness.
You can read all about the origins of Lau Lau here. It's similar to Kalua Pig, which I wrote a recipe of a couple weeks ago, just click here to see it. Kalua Pig is wrapped in banana leaves, while Lau Lau is wrapped in Taro leaves and steamed/baked underground think Southern BBQ-style, it's Low 'n Slow.
And to take the comparison further, instead of using hard-to-find Taro leaf, I substitute with Southern Greens! Yep, and collard greens even look like Taro leaf. Both have large ribs with a deep green hue. Even the taste is similar. When cooked you could put them side-by-side and not be able to tell the difference, unless you are a Hawaiian cook. Just compare my steamed Collard Green Lau Lau with real Taro Leaf Lau Lau.
The main difference between Taro Leaf and Collard greens is the texture. Collard greens are a little more firm after cooking. I'm sure you could tell the difference if you tasted each cooked leaf at the same sitting, but my version of Southern-style Mainland Lau Lau is a tasty alternative.
Greens are cheap, I get mine from my local Mexican grocery store for less than a dollar per bundle. Each bundle holds about 5-8 leaves. You could stretch out my recipe (that serves 4) and get away with one bundle, but 2 bundles would give you plenty of greens to go with the pork.
For this recipe I used collard and turnip greens. While collard looks similar to taro leaf, turnip greens get more tender like cooked taro leaf. It's okay to mix and match your favorite leafy greens.
You can use any greens you find on sale at your own grocery or farmers market, including: collard, turnip, mustard, Swiss chard, kale and even spinach.You just need enough to wrap pork into bundles for steaming.
Pork is the main protein. On the Island, they add a little firm fish with the pork. I'm keeping it simple and cheap, by leaving out the fish. For my recipe I used a little over 3 pounds of meaty country-style pork ribs for around 99 cents per pound. I got 4 big ribs.They are ready to go, just trim of any excess fat, but leave some on as it's extra flavor.
Country-style ribs hold much more meat than your typical BBQ rib. And each rib is large enough for a single serving. You could go even cheaper by buying a whole pork shoulder. Just remove the meat from the bone and skin. It's okay to leave the meat in large hunks, for wrapping in greens.
It takes 3 to 4 hours for Lau Lau to steam tender. But it is so simple to make, with few ingredients. Just season the pork with salt, rub on some liquid smoke (optional) and wrap it up with a couple layers of leaves. Finally loosely wrap it with a sheet of aluminum foil.
Lau Lau is a surprise package - lay it out and watch the smile appear on your dinner guests as they unpeel it. My cheap$kate Mainland Lau Lau si going right into my recipe favorites. And you don't need to spring for a plane ticket to Hawai'i to taste my local SoCal Lau Lau.
- 3-4 pounds pork - I used 4 meaty country style pork ribs. Okay to use any pork pieces. Cheapest to use pork shoulder (trim off the meat from bone.)
- 2 bundles of edible greens - Enough to wrap pork 2 to 3 times. For this recipe I used collard and mustard greens. Normally taro leaves are used. If you can find them, then use. Okay to use kale or any favorite edible greens like: collard, mustard, Swiss chard, turnip, kale and even spinach.
- Salt to taste - Get out the Hawaiian salt, if you have any.
- 2 tablespoons Liquid Smoke - optional. Will taste delish, it's all about the leafy wrapping.
- Aluminum foil - about 4 sheets to wrap Lau Lau.
- Water for steaming Lau Lau.
For cheap pork shoulder you need to trim off the meat. It has a thick layer of skin you can discard. It's okay if the meat pieces are left large. They will cook until fall-apart tender.
Rub Liquid Smoke onto pork. Allow meat to absorb Liquid Smoke and rub again to use it all up. This is optional. The greens will flavor the meat too. Season meat with salt to taste.
Wash and set out edible greens. Trim off any yellowing stems or tough ends.
Wrap meat 2 to 3 times. The leafy packages should be big enough for a single serving - about the size of a burrito, or an extra large tamale. Finally, wrap each bundle with foil to keep it from falling apart. Some greens may get too mushy, so foil is a simple way to keep it all together. You can loosely wrap pork and greens with foil. It's okay to let some steam into bundles.
What you want is enough greens to eat with the pork. So you can wrap the pork with as may leaves as you like. Add leaf pieces too, just pile it on.
You can even use spinach leaves. But make sure to wrap spinach packages in foil, as spinach will get too mushy and may fall off pork.
Add wrapped pork bundles to a steamer pot. Add enough water to just reach the foil-wrapped packages. Cover the pot. Bring water to a boil then reduce heat to a low simmer. Cook pork until tender, about 3-4 hours. Check every hour to make sure water doesn't evaporate - add water as needed.
Lau Lau may cook quicker or take even longer it all depends how thick the pork pieces are. You can cook Lau Lau as long as it takes (steam will keep it moist,) so just cook it until very tender. You can keep it warm, until ready to serve, in the steamer pot, too.
If you do not have a steamer pot, just get your largest pot and add a ceramic (or metal) bowl, upside down, on bottom of pot. Stack on the foil wrapped Lau Lau. Add enough water to just cover the ceramic bowl. You can use a small steamer rack on the bottom of the pot, too. Again check water level every hour. Add water as needed. Water can come in contact with foil wrapped Lau Lau.
When done, open one package to make sure meat is fall-apart tender. If not, rewrap and keep steaming in half hour to hour increments. It's hard to over-cook this recipe, so cooking it too long is okay.
Set out packages and allow to cool down for a few minutes so you can remove foil and serve. For a Lau Lau Plate, I like to have Macaroni Salad and Sticky Rice as side dishes. My recipes for those are a click away here. If you serve Lau Lau with above sides, then half a bundle per person may be enough -- so that makes even more servings of Lau Lau!
Also, reserve a cup or so of simmering water that's now flavored with pork and greens (called pot liquor.) You can drizzle some onto cooked meat to moisten it more.
Lau Lau leftovers freeze fine. Heat it up in the microwave. Remove foil and drizzle on some pot liquor before heating.
I used Liquid Smoke, but you can leave it out - the edible leaves will flavor the pork enough.
I steamed the Lau Lau, but if you have a pressure cooker, then use that. It will cook in about 45 minutes to an hour. For a crock pot it will take all day at low temperature.
You can't over-steam Lau Lau. It depends how large the pork pieces are to how long you cook the pork. My country style ribs took about 4 hours to tenderize. In Hawai'i I got some Lau Lau from a food truck. I'm sure the Lau Lau was steaming all day and it tasted fine. Click here to see my Lau Lau truck video.
I used Southern-style turnip and collard greens, but you can use any favorite greens, like: collard, mustard, Swiss chard, turnip, kale, or even spinach. Wrap the pork with enough greens so you get a nice veggie serving. It's okay to mix and match greens.
I noticed collard greens look like taro leaves, but are more firm (when cooked) than taro leaves. Turnip greens are tender like taro leaves.
Food Network: Feeding a Nation’s Voracious Appetite
If the ingredients in Food Network&rsquos success over the past 20 years were to be boiled down into recipe form, it would read something like this:
» 2 cups entertainment value
» 2 heaping tablespoons passion
The Scripps Networks Interactive cabler, which marks the 20th anniversary of its formal launch on Nov. 23, 1993, has whipped all those elements into a TV souffle &mdash a 24/7 meal that is light and tasty for the viewer but a complex operation for its cooks.
The channel that was once given away to cable operators for free was perfectly timed to capitalize on the enormous growth of popular interest in food, cooking, chefs and restaurateurs. Food Network has blossomed during the past decade into a top 10 basic cable powerhouse, one that has seemingly endless opportunities for brand extensions, from the monthly magazine that is a joint venture with Hearst Corp. to its voluminous website to all manner of merchandise.
Food Network is now the profit engine of its parent company, a taste-maker in food trends (kale! quinoa! kohlrabi!) and a career-maker for foodie personalities of all flavors. Gourmands may turn up their nose at Food Network&rsquos &ldquogameshows,&rdquo but there is no disputing the impact the channel has had on the nation&rsquos eating and dining habits.
&ldquoIt&rsquos a virtuous circle,&rdquo says 10-year Scripps vet Brooke Johnson, president of Food Network since 2004, as well as the Cooking Channel topper. &ldquoPeople are more interested in food and that makes them more interested in Food Network, which makes people more interested in all kinds of foods. And unlike a lot of cable networks out there, we really are experts in what we do. We really are on the bleeding edge working with the best chefs in the world.&rdquo
Food Network occupies a uniquely huge niche in the world of lifestyle cablers for the simple reason that everyone eats. That means the sky&rsquos the limit for potential target audiences for its programs, which range from competition-reality shows to exotic travelogues to traditional how-to shows. At the core of every program is a celebration of culinary skills &mdash a movement fostered just as the network was getting off the ground by food minds ranging from Alice Waters to Martha Stewart to Anthony Bourdain.
&ldquoCooking used to be a means to an end,&rdquo says Susie Fogelson, senior VP of marketing and brand strategy for Food Network and Cooking Channel. &ldquoNow it&rsquos a form of self-expression and creativity. Planning meals, preparing meals, shopping for meals has all become a great creative outlet for people. It&rsquos no longer a chore.&rdquo
There&rsquos also a level of accessibility with food-related programming, from non-pretentious personalities like Rachael Ray and Sandra Lee, who are not averse to using packaged ingredients for convenience&rsquos sake, to &ldquoIron Chef&rdquo-level talents like Cat Cora and Michael Symon.
&ldquoBeing into food used to be more of a fancy big-city phenomenon,&rdquo Johnson says. &ldquoThat&rsquos where most of our chefs came from. Food Network helped expose the fun and excitement and the broad array of what food could be to the entire country. Now there&rsquos not many towns you can go to where you can&rsquot find a little Asian fusion. That&rsquos been a tipping point for us.&rdquo
Bob Tuschman, Food&rsquos g.m. and senior VP of programming, calls it a &ldquodemocratization&rdquo movement that has been spurred in part by technology and the ease with which people can learn about new foods, restaurants and cooking techniques. &ldquoPart of our approach has been to open the door wide and let everybody know that they&rsquore welcome here,&rdquo he says.
Fogelson notes that digital media has aided this effort in many ways, from easy access to information and recipes to making once-hard-to-find ingredients available by mail order.
&ldquoThere&rsquos been an explosion of accessibility, empowerment and confidence aided by the digital space. Discussions of food, sharing pictures of food is one of the largest drivers of what goes on in social media,&rdquo Fogelson says.
The question of Food Network&rsquos role in driving the boom in foodie culture and celebrity is a classic chicken-or-egg quandary. From the early days led by its first homegrown star, Emeril Lagasse, to its current deep bench, no entity has been more responsible for turning chefs into rock stars than Food.
“It&rsquos been a game-changer simultaneously across the food and media industries as well as American culture,” says WME’s Jon Rosen, who reps such superstar chefs as Rachael Ray, Giada De Laurentiis, Bobby Flay and Tom Colicchio. “The network has been an incredible platform for food personalities to gain mass exposure beyond cookbooks and traditional means. It’s also paved the way for the numerous food-related programs on all networks.”
The cabler functions like a well-oiled machine when it comes to grooming new talent. One of the biggest assets in developing its stars is the number of opportunities it has to showcase them on any given day. Promising personalities can be featured as a contestant on one show, a judge on another, give a demonstration on a third, write a column for the magazine or website, and eventually move on to fronting their own specials and series.
&ldquoBecause everything we do involves food, we have so many ways to help accelerate their stardom,&rdquo Tuschman says.
Food Network has come a long way from its earliest days, when the cabler carried a slate of studio-bound shows (the on-air name was trimmed from the redundant TV Food Network in 1997). It was dependent largely on Gotham-area talent because there was not much in the way of a budget to fly people in.
The channel was started by a clutch of TV station owners, including Tribune Broadcasting and Scripps Howard Co., cable operators and newspaper owners, led by Providence Journal Co. Control of the channel shifted a few times until Scripps acquired the majority 69% interest in 1997, with Tribune retaining 31%. (Scripps split its newspaper and TV businesses into separate companies in 2008.)
Flay, one of Food&rsquos signature stars, was a presence on the channel from the beginning. He was &ldquoin the right place at the right time&rdquo as the chef at a hip Manhattan eatery, the Mesa Grill.
He remembers taking the subway to a &ldquobeat-up&rdquo studio on 11th Avenue to do guest shots on various shows until he fronted his first Food show, &ldquoGrillin&rsquo and Chillin&rsquo &rdquo Then, as now, Flay saw the exposure on Food as a means of boosting his first priority, his restaurants.
&ldquoIt came at a moment when we were seeing a brand new culture for food,&rdquo Flay says. &ldquoMy (chef) colleagues would say to me, &lsquoWhy are you doing TV? You&rsquore a chef.&rsquo I told them I knew that this was going to put people in the seats of my restaurant. It was really the first time that a chef could use the marketing power of TV other than doing a quick standup on &lsquoRegis&rsquo or the &lsquoToday&rsquo show.&rdquo
Twenty years later, Flay owns six high-end restaurants, and his celebrity has allowed him to realize another lifelong dream: owning a burger joint. &ldquoI just opened my 16th Bobby&rsquos Burger Palace,&rdquo he notes. &ldquoBeing able to do these restaurants outside of big cities is completely a product of the fact that I&rsquove been on Food Network for so long.&rdquo
That most of Food Network&rsquos top stars are successful entrepreneurs in their own right goes a long way toward communicating a sense of authority to viewers.
&ldquoFrom a producer&rsquos perspective, one of the things about doing a show for Food Network is you&rsquore dealing with incredibly creative, accomplished people who are passionate about what they do,&rdquo says Steve Kroopnick, &ldquoIron Chef America&rdquo exec producer.
The evolution of Food Network&rsquos primetime lineup from instruction-based to more entertainment-oriented programming was a natural byproduct of the company&rsquos growth and a widening audience base. It was also undoubtedly spurred by competition from such foodie rivals as Bravo&rsquos &ldquoTop Chef&rdquo and Gordon Ramsay&rsquos brand of agro entertainment on Fox, which exposed audiences to the more pressure-filled, rough-and-tumble aspects of the food profession. Food not only counter punched with &ldquoChopped,&rdquo emcee&rsquod by Ted Allen of Bravo&rsquos &ldquoQueer Eye for the Straight Guy,&rdquo but also with edgier shows that appealed to younger demos like &ldquoDiners, Drive-ins and Dives,&rdquo hosted by spikey-haired rising star Guy Fieri, and &ldquoBitchin&rsquo Kitchen,&rdquo featuring the decidedly punky Nadia G.
The spin-off Cooking Channel was born in 2010 (a makeover of the luxury-focused Fine Living Channel) to take up the slack in Food&rsquos how-to lineup and to revive some classic early offerings like &ldquoMolto Mario,&rdquo as in Batali.
&ldquoMost of our viewers after they&rsquove had their evening meal want to kick back with something more entertaining,&rdquo Tuschman says. &ldquoWe listened to our viewers and found several genres of reality and variety shows that they really respond to.&rdquo
The network also has been quick to respond to criticism, such as Paula Deen&rsquos high-fat, sugar-laden recipes, by rolling out the more health-conscious &ldquoNot My Mama&rsquos Meals,&rdquo hosted by Deen&rsquos son Bobby, the same year (in 2012) she admitted to having Type 2 diabetes.
Despite the occasional setback, the power of the underlying Food Network brand has remained resilient, and is a magnet onto itself &mdash a rare feat for a network. But then again, the stomach is a proven path for winning hearts and minds.
&ldquoIt never ceases to amaze me how many ways fans can interact with our brand,&rdquo Fogelson says. &ldquoThey can watch a show, then get a recipe online, then see our brand when they&rsquore shopping for goods to make dinner that night and finish the day watching &lsquoCupcake Wars.&rsquo In our competitive (cable) set viewers engage when they turn on the TV. Our brand gets lived.&rdquo