- Full Title: 21 Simple Chicken Dinners: Simple, Quick and Easy Chicken Recipes That Will Change The Way You Cook Chicken Forever (21 Recipe Books Book 1)
- Autor: Tiffany Thomas
- Print Length: 65 pages
- Publisher: 21 Recipe Books
- Publication Date: January 1, 2015
- Language: English
- ISBN-10: B00RP73468
- Download File Format | Size: pdf, epub | 1,48 Mb
London SE1 9GF
First published in Great Britain by 4th Estate in 2016
Text copyright © Monika Linton
All photographs © Pippa Drummond
Monika Linton asserts the moral right to be identified as the author of this work.
Design and Art Direction by BLOK
Patterns by BLOK and Jerry Sweet
A catalogue record for this book is available from the British Library.
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Source ISBN: 9780007307180
Ebook Edition © September 2016 ISBN: 9780007307197
to my beloved family Rupert, Dom and Dani
and to my dearest parents
verb. To drink a toast, to wish happiness or good health to someone by raising your glass
noun. masculine. Toast
Sociedad Anónima (S.A.)
noun. feminine. Joint stock company
Brindis + SA = Brindisa
THE STORY OF BRINDISA
DESAYUNO Y MERIENDAS
Breakfast and afternoon snacks
TAPAS Y RACIONES
About the Publisher
Brindisa began, not so much with a plan, more on a shoestring and with an idea, as a salute to the real, largely undiscovered artisan food of Spain. The name, which comes from the Spanish brindis, means ‘to make a toast’, or ‘raise your glass’; and what began over 28 years ago with a few stunning cheeses never seen in the UK before just gathered momentum, as more like-minded people jumped aboard and helped to propel a kind of Spanish food revolution.
People always ask me: why food, and above all why Spanish food? And more commercially hard-nosed people have often said, ‘How on earth did you make it work?’ given the hoops we had to jump through in the early days, before Spain was a part of the EU. I would travel hundreds of miles to seek out small producers and growers in remote regions and mountains, to try to convince them to be brave and let us sell their produce in Britain, where, in the late eighties, the popular notion of Spanish food and drink was still largely limited to holiday resort paella and sangría.
My answer is that, although when I was younger I would never have dreamed my future would be that of a trader, a kind of pioneering spirit, entrepreneurship and lust for travel seems to have run through the generations in our family. My grandfather on my mother’s side, Eric Popper, known as Opa, was a truly inspirational figure who managed a trading post in Kota Kota in Malawi, which eventually became the country’s biggest agricultural/rice co-operative society, while my paternal grandfather, Augustine Lavery, was an old-fashioned, cautious bank manager from Leytonstone, who instilled a judicial understanding of money and business into myself, my twin siblings, Mark and Michele, and sister Moyna.
We were privileged enough to have all our grandparents with us until we were in our twenties, and the stories that echoed among the older folk conjured up pictures that still stay in my mind. Opa’s tales, especially, were rich and wonderful. He was a German of Jewish extraction. All his family seemed to be traders, and his wife’s family were mariners of Norwegian origin. He was trading silk in Hamburg when in the early thirties life in Germany began to become uncomfortable, so they headed for Cyprus, where they bought some land. Opa dug an irrigation system and planted a citrus farm, working with the local communities. When he later found himself a job with the government of Nyasaland (now Malawi), much of what he did involved teaching local rice growers to develop new techniques. Again he introduced a proper regime of irrigation, this time to the natural swamp plains, for the cultivation of rice. He built a mill, traded the rice, and managed the Kota Kota Produce and Trading Society. As the quality of life improved for the growers, Opa set up small general stores in the district, the largest of which became like an old-fashioned department store where the local community could buy everything from sugar, flour and tinned sardines to cloth, haberdashery, needles and watches.
By all accounts he was a fantastic employer with considerable entrepreneurial spiri
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ce the first YO! Sushi opened on Poland Street, Soho, there has been a Japanese food revolution. Today you’ll find packs of sushi available next to sandwiches on supermarket shelves, there are takeaway sushi chains, I can order sushi deliveries direct to my door and my laptop no longer tries to spell-check ‘sushi’ into a girl’s name. All this is beyond my wildest imaginings.
These days, I no longer have to make long treks to find the Japanese ingredients I grew up with – so many are now easily available in even remote towns and villages, and those that aren’t I can order online. This is what helps make the writing of YO! Sushi The Japanese Cookbook so exciting for me – I know that if I am asking you to find a certain ingredient, you’re more than likely going to be able to source it fairly easily. I want to help demystify Japanese cooking at home, the way YO! Sushi has done for the restaurant diner.
To the uninitiated, Japanese food may seem intimidating or overly complicated to prepare. While it is true that some dishes require an attention to detail, there are so many dishes, including the sometimes mysterious sushi, that even the most inexperienced home cook can prepare. The main point to understand is that the basic principle of Japanese cuisine is to enhance, not to change what nature offers. This means that food is prepared and eaten, whenever possible, in its natural form. In Japan, we say ‘less is more’ and this applies to our ways of cooking.
The philosophy of Japanese cuisine is encapsulated by the ‘five principles’: five colours, five tastes, five ways of cooking, five senses and five attitudes. The first three cover the practical sides of cooking so that a meal is balanced and nutritious. The last two are more esoteric and philosophical.
The five colours preach the virtue of having five coloured ingredients – white, red, yellow, green and black (which includes dark brown and purple), to provide a balanced and nutritious menu.
The five tastes means a meal should combine a harmonious balance of saltiness, sourness, sweetness, bitterness and umami – the fifth sense of taste that was first formulated in 1908 by Kikunae Ikeda at the Tokyo Imperial University. Although there is no direct translation in English, umami describes a subtle savoury flavour which is found in many foods such as meat, fish, seaweeds, vegetables and cheeses.
The third principle urges cooks to use five different cooking methods – boiling, grilling steaming, frying and combining flavours.
The fourth deals with the sensual elements of food. Eating Japanese food engages all five senses, not just taste, which is in fact the last element after scent, vision, sound and feel.
The final principle, five attitudes, is more spiritual and is based on Buddhist teachings: a man should respect and appreciate all human efforts and be grateful and humble of nature.
If all of this sounds too profound, you need not worry. Most young Japanese people today would be unable to recite, let alone explain, the big philosophical fives of our cuisine. What we do have is an innate, almost instinctive sense of composing a meal or choosing from a restaurant menu to eat a well-balanced harmonious meal – it is in our culture, it is in our blood!
So, how should you apply these principles in your own kitchen? The answer is to keep it simple. Choose the freshest and the best seasonal ingredients you can possibly buy from your local shops and markets and you are set for a winning start. Remember, the idea is not to change your ingredients but to bring out their best by doing less, not more. Let nature’s offerings speak for themselves.
My aim for this book is to encourage you to take the fun and inclusive YO! Sushi dining experience into your home kitchen. The book is organised so that you can start with the basics and expand your repertoire from chapter to chapter as you gain experience. I invite you to join me in the pleasures of cooking Japanese food and to share it with your family and friends.
The secret to successful Japanese cooking is choosing the freshest ingredients, using traditional Japanese flavourings and mastering the basic techniques. This chapter includes basic recipes, such as dashi stock, explains ingredients that you may be unfamiliar with and shows through step-by-step pictures how to roll sushi, cut sashimi and make crispy tempura.
Many Japanese ingredients are now available in supermarkets or health food stores, and those that aren’t can be found in Japanese stores or ordered online. See page 188 for a list of suppliers.
There are five essential ingredients that are used either on their own or combined with each other to produce the distinctive Japanese tastes and flavours.
soy sauce (shoyu)
Soy sauce is probably the best known Japanese seasoning ingredient and is made from fermented soybean
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re, smoked salmon, the eggs of plovers, ostriches and humming-birds, and fauna and flora completely out of their appropriate seasons, which you will, of course, desire, but to indulge such desires is Gluttony, or Gule, against which the human race has always been warned. It was, of course, through Gule that our first parents fell. As the confessor of Gower’s Amans told him, this vice of gluttony was in Paradise, most deplorably mistimed.
We shall never know what that fruit was, which so solicited the longing Eve, which smelt so savoury, which tasted so delightful as greedily she ignored it without restraint. The only fruit that has ever seemed to me to be worthy of the magnificently inebriating effects wrought by its consumption on both our parents is the mango. When I have eaten mangoes, I have felt like Eve.
Satiate at length,
And hightn’d as with Wine, jocund and boon, Thus to her self she pleasingly began.
O sovran, vertuous, precious of all trees
In Paradise, of operation blest….
And like both of them together:
As with new Wine intoxicated both
They swim in mirth, and fansie that they feel 5
Divinitie within them breeding wings
Wherewith to scorn the Earth: but that false Fruit Farr other operation first displaid….
And so on. But, waking up the morning after mangoes, one does not feel such ill effects as was produced by that fallacious fruit when its exhilarating vapour bland had worn off. One feels, unless one has very grossly exceeded, satiate, happy and benign, turning sweet memories over on one’s palate, desiring, for the present, no more of anything. The part of the soul (see Timæus) which desires meats and drinks lies torpid and replete by its manger, somewhere between midriff and navel, for there the gods housed these desires, that wild animal chained up with man, which must be nourished if man is to exist, but must not be allowed to disturb the council chamber, the seat of reason. For the authors of our race, said Timæus, were aware that we should be intemperate in eating and drinking, and take a good deal more than was necessary or proper, by reason of gluttony. Prescient and kindly authors of our race! What a happy companion they allotted to mankind in this wild animal, whom I should rather call a domestic and pampered pet. How sweet it is to please it, to indulge it with delicious nourishment, with superfluous tit-bits and pretty little tiny kickshaws, with jellies, salads, dainty fowls and fishes, fruits and wines and pasties, fattened and en-truffled livers of geese, sturgeon’s eggs from Russia, salmon from the burn, omelettes and soufflés from the kitchen. I have always thought the Glutton in Piers Plowman a coarse and unresourceful fellow, who, on his way to church and shrift, was beguiled merely by a breweress’s offer of ale. (How ungenteel Mr. H. W. Fowler must have thought her, and all of her century and many later centuries, for using this word, which he so condemns, for beer!) The Glutton asked, had she also any hot spices? and she assured him that she had pepper, paeony seeds, garlic, and fennel. And with this simple and unpleasing fare, Glutton was content, and made merry globbing it until night. Glutton was no gourmet, no Lucullus. Nothing recked he of rare and dainty dishes; nothing out of the ordinary entered his imagination. Not for him the spitted lark, the artful sauce, the delicate salad of chopped herbs and frogs.
There are some sad facts concerning eating and drinking. One is that the best foods are unwholesome: an arrangement doubtless made by the authors of our being in order to circumvent gluttony. It is a melancholy discovery made early by infants, and repeatedly by adults. We all have to make it in turn, only excepting the ostrich. No doubt the Lady
6 / Daniel Halpern
in Comus made it later, after she had more fully grown up, though as an adolescent we find her remarking, sententiously and erroneously, to the enticing sorcerer,
And that which is not good is not delicious To a well-govern’d and wise appetite.
Even the untutored savage knows better than this. They of Dominica, said Antonio de Herrera, that elegant Castilian chronicler of Spanish travels in the West Indies, they of Dominica did eat, one day, a Friar, but he proved unwholesome, and all who partook were ill, and some died, and therefore they of Dominica have left eating human flesh. This was a triumph for Friars, which must be envied by many of the animal world.
Another sad comestive truth is that the best foods are the products of infinite and wearying trouble. The trouble need not be taken by the consumer, but someone, ever since the Fall, has had to take it. Even raw fruit was, to the exiles from Eden, hard to come by.
Their meanest simple cheer (says Sylvester) Our wretched parents bought full hard and deer.
To get a Plum, sometimes poor Adam rushes
With thousand wounds among a thousand bushes.
If they desire a M
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elop your inner chef too (a.k.a. your inner rock star).
So here’s the dealio: I want you to have fun making dinner tonight, and then I want you to sit down with your husband, wife, boyfriend, girlfriend, kids, closest friends, first date, neighbors down the hall, anyone, and eat the delicious meal that you made—from scratch—yourself. I want you to know what it feels like to create lovely food for people you care about and feel confident that you can do it over and over again. I want you to rock out and be the chef of your own kitchen! And I want to help you do it.
THE MAKING OF A GIRL CHEF
Apparently I started on my journey toward becoming a chef at a very early age. According to my mother, when I was three years old I came to her and said, “I have a friend named Julie,” and she asked, “You do? Julie who?” And I said, “Julie Child! I watch her every day on TV.” It was another twenty years before I had the epiphany that led me to make cooking my career, but even as a kid I knew that dinner—making dinner—could be fun.
When I started out in the food world, there weren’t many women in restaurant kitchens, and the Food Network was in its infancy. I started cooking because I was totally passionate about food—the concept of celebrity chefs didn’t even exist yet! I went to culinary school because I wanted to know everything I could about food and become a badass cook. All I wanted to do was work in a restaurant.
After graduating from the Culinary Institute of America, I did a second stint at a culinary school in Italy to learn how to cook Italian food. My time in Italy opened my eyes to a whole other world of food, cooking, and a way of life that I didn’t even know existed. When I got back to the States, I headed straight to New York City—where I’d always wanted to end up—and I was immediately drawn to Lidia Bastianich, the owner and chef of Felidia. I wanted to work for her because I had worked with several women in Italy and it felt like a natural progression to do so back home. I also wanted to learn all I could from someone I respected. I watched how she handled herself, her staff, and her food, and I learned a lot about how to be a girl chef in what is still mostly a man’s world (kitchen). And I learned that I liked being one of the only girls in the boys’ club!
From the very beginning of my career, my mantra was, “I will work harder than any guy; I will stay later and be better than anyone. And no guy is ever going to have to pick up a stockpot for me!” So I worked like crazy to prove myself. You have to be tough in a professional kitchen—playing with fire and knives is dangerous, and I do it wearing a skirt and a smile. I feel very lucky to have found my passion and I love the path I’ve chosen. I can go anywhere in the world and do my job. I love the people who work in restaurants—they’re intelligent, creative, and have a different take on life. And my education is never over. In this business there’s always something new to learn.
LOOK AT YOU, BECOMING A CHEF!
Being a chef is a matter of having a good basic foundation—an understanding of the principles and techniques of cooking. Sure, there’s talent involved, but the majority of it is simply learning the process, knowing the techniques, and practicing them over and over again until they’re ingrained in your being. Cooking is about learning what to look for, what to listen for, how a dish should smell, how it should feel, and, of course, what it should taste like—you use all your senses when you cook and those are tools that we all have at our disposal; we just need to use them.
For the home cook, it’s not so important to know a bunch of culinary terminology. So I’m going to skip a lot of the technical kitchen terms and put everything into everyday language so it makes sense and becomes part of your daily existence in the kitchen. For example, a recipe might tell you to brown a piece of meat and then deglaze the “fond.” But what the hell is “fond”? It’s the crud on the bottom of the pan—the flavor, the stuff you want to scrape up and use to develop your rich brown food! By ditching the fancier cooking terms and speaking in plain English, I’m going to help you to understand why you brown the crap out of things (because brown food tastes good), and how to get the crud off the bottom of the pan (deglazing).
I’m simplifying everything here because I want you to cook! If you’re new to cooking, I want to help you get over the fear factor and bump up the fun factor. If you’re someone who already cooks, then I want to share some of my hard-learned lessons with you so you feel even more empowered at the stove. I have a little saying: Food is like a dog; it smells fear. If you’re nervous, scared, or bunched up when you’re cooking, your food will sense it. But if you embrace cooking with a sense of confidence and an air of fun, your food will taste SOOOOO much bette
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molecules, have a size (although they’re way too small to see even with the strongest microscope) and a shape. The arrangement of the atoms or molecules of a crystal produces the shape of the crystal much as closely stacked bricks can produce only a rectangular stack.
Compare the shape of the rock candy crystals to the crystals of granulated sugar with a magnifying glass. Are they the same shape? Do sugar crystals have the same shape as salt crystals? Would you expect sugar molecules to have the same shape as salt molecules?
ICE POPS AND THE FREEZING POINT OF SOLUTIONS
One question that comes up over and over again in the laboratory is: How do you know when you have a pure substance? One way to answer this question is to see how a substance you know to be pure (usually because a manufacturer says so on the label) behaves differently from a substance you know to be a mixture (because you make it yourself). It’s well established that pure water freezes at 32° Fahrenheit or 0° Celsius. Does a solution freeze at the same temperature as pure water? Do the next experiment and find out.
MATERIALS & EQUIPMENT
•1 cup clear, not cloudy, canned or bottled fruit juice (cherry, grape, or apple work well)
•6 (5-ounce) paper cups
•6 circles of cardboard big enough to cover the tops of the cups
•6 swizzle sticks or wooden stirring sticks
•2 measuring cups (each cup should hold at least 1 cup liquid)
To set up this experiment you will put different amounts of fruit juice in each cup in a systematic way and then freeze all the cups. The first ice pop will be undiluted fruit juice as it comes from the container, the second will be ½ fruit juice and ½ water, the third will be ¼ fruit juice and ¾ water, and so on. This systematic changing of the amount of water in a solution is called serial dilution. Laboratories in many industries use serial dilutions to test the strength of a substance to find out, for example, how much detergent to put into a washing machine or how much aspirin to take when you are sick.
Since this experiment compares the freezing point of the ice pops to the freezing point of pure water, you will also make an ice pop that is pure water, without juice. This ice pop is called the control. A control is treated just like every other part of an experiment but does not contain the thing being tested, so that it can be used as a basis for comparison.
1Start by marking the cups: juice, ½, ¼, ⅛, , and control.
2The purpose of the cardboard circle covers is to hold each stick upright until the ice pop has frozen. The covers should be large enough to cover the tops of the cups without falling in. Punch a hole just large enough to insert a stick in the center of each cardboard circle. Place a stick in each hole.
3Measure ½ cup of water and pour it into the cup marked “control.”
4Measure 1 cup of juice. Pour ½ cup of this juice into a second measuring cup. Then pour the remaining ½ cup of juice into the paper cup labeled “juice.”
5Add ½ cup of water to the second measuring cup to bring the volume up to 1 cup. Mix well. Use the first measuring cup to get ½ cup of this dilution. Pour this into the cup marked “½.”
6Add ½ cup of water to the first dilution to again bring the volume up to 1 cup. Mix well and use ½ cup of this dilution to make the next ice pop in the cup labeled “¼.”
7Follow the same procedure to make ice pops that are ⅛ juice and juice.
8Put a cover and stick on each cup. Adjust the sticks so they touch only the bottoms of the cups.
9Put all six cups in your freezer. It is important to place them at the same depth so they will all be at the same temperature. After about 40 minutes, check to see how freezing is progressing by wiggling each stick back and forth. As freezing occurs, you can feel the ice forming. Keep checking about every 20 minutes.
Which pop freezes first? Which ice pop takes longest to freeze? Does it require more or less time to freeze a solution?
On the basis of your experiment, why is salt put on sidewalks in winter? Why is alcohol put in car radiators before the cold weather sets in? How can the temperature at which a solution freezes be used to tell how pure a substance is? Handbooks for chemists always list the freezing points of pure solvents. If they test the freezing point of a liquid in their lab and they don’t get the freezing point they expect, they know that other substances must be present.
When the ice pops are frozen solid, which may take several hours, your experiment is completed and you may eat them. Although some of the ice pops will taste better than others, even the control can be refreshing on a hot day. Just tear off the paper cup and enjoy!
FRUIT DRINKS AND DISSOLVING RATES
Some solutions form more quickly than others. Can you think of some var
re. You’ll know they’re done when you lift the beater and the whites hold a soft peak that droops a bit at the tip (like a chocolate kiss).
The bold flavor of espresso is important in my recipes that call for it, so do not substitute coffee. If you don’t have an espresso machine, consider making a deal with your local barista, trading a slice of cake for a few shots. Otherwise, I recommend an inexpensive stove-top espresso-maker called a moka pot. Nonpurists can mix 1 heaping teaspoon of instant espresso powder (or to taste, depending on the brand) with ¼ cup (60 ml) of boiling water and use that in place of espresso.
Nearly all of the recipes in this book that use flour use all-purpose flour. Either bleached or unbleached is suitable. There are a couple recipes that call for cake flour and one that calls for buckwheat flour. Buckwheat flour is available in well-stocked supermarkets and natural food stores.
Wheat flour compacts under its own weight in storage. If measuring flour by cup, always use the “dip and sweep” method: scoop it up in a dry measuring cup (a measuring cup made for use with dry ingredients) and sweep away the excess with the back of a knife.
Granules of gelatin need to be softened before they’re heated or added to other ingredients. To soften, sprinkle them evenly over the surface of the cold water called for in the recipe, then let stand for 5 minutes. Once “bloomed,” stir the swollen granules and the liquid over very low heat until just dissolved, or heat the water or liquid called for in the recipe, then pour over the softened gelatin and stir until dissolved.
Gelatin-based desserts need to chill for several hours or overnight to set, so plan accordingly. If you want a gelatin dessert (such as panna cotta or gelée) to set quickly, put the mixture in a metal bowl set over an ice bath and stir constantly with a rubber spatula to promote even jelling and discourage lumps from forming until the mixture is cool but still fluid. Pour it into the serving dishes or molds and refrigerate until set. Chilling the serving or storage containers before filling them will speed things up, too.
Most packets of gelatin contain 2¼ teaspoons (7g) of powder. If you purchase gelatin that’s loose, use that measurement as your guideline.
MILK, CREAM, AND CRÈME FRAÎCHE
In this book, “milk” always means whole milk. Do not substitute lowfat or nonfat milk unless the recipe indicates you can, as you won’t be satisfied with the results.
I strongly recommend finding good heavy cream from a local dairy that has not been ultrapasteurized and has a fresh, sweet taste. Keep it well chilled until ready to use. If you are making whipped cream, it’s a good idea to chill the bowl and the beaters before whipping the cream.
Crème fraîche is cream that has been cultured, giving it a slight tang and a thick, silky richness. You can make your own version of crème fraîche: mix 1 cup (250 ml) of heavy cream with 1 tablespoon of buttermilk (or crème fraîche from a previous batch) and store it in a warm place until thickened, about 24 hours. Crème fraîche is also available in well-stocked supermarkets and online (see Resources). Homemade crème fraîche will keep for about 1 week.
Most of the nuts called for in this book are easily obtainable. Nuts do not improve with age, so buy them from places that sell lots of them and whose supply is constantly refreshed. Farmers’ markets are wonderful sources of nuts, as growers usually sell them as close to harvest as possible.
The primary enemy of oil-rich nuts is rancidity. Pecans and hazelnuts are especially vulnerable. Check for visible mold or signs of infestation before buying. Bakers with lots of freezer space at home, which excludes me, may wish to store them in the freezer.
In a recipe, when nuts are called for—1 cup (100 g) pecans, for example—I mean whole nuts. If coarsely chopped nuts are specified, the pieces should be cut into large, irregular pieces about one-quarter or one-third the size of the whole nut. If you need finely or very finely chopped nuts, make the pieces about the size of peppercorns.
Toasting enhances the flavor of nuts and makes them crisp. Nuts should be toasted on an ungreased baking sheet in a 350°F (175°C) oven for approximately 10 minutes. When done, they’ll smell, well, nutty and have light brown flesh when one is cracked open. Keep an eye on the nuts and stir them occasionally while toasting to prevent burning.
Some recipes in the book call for vegetable oil. Any neutral-tasting, unflavored oil is suitable. One exception to the unflavored rule is Lion & Globe peanut oil, which has the flavor of roasted peanuts. It’s stocked in Asian markets. When available, I like to use it in my Fresh Ginger Cake.
Most of the recipes specify ground spices. But certain s