Think Trains and Giant Baked Potatoes on St Patrick's Day

By Ana Kinkaid

Many of the modern holiday gatherings that celebrate being Irish are centered around raised glasses of Irish whiskey and piles of steaming baked potatoes.

Yet, it’s a little known fact that all those hot potatoes, smothered in butter, are NOT an original Irish culinary creation.

Rather they owe their fame to an American railroad – the great Northern Pacific Railway and an inventive culinary professional who understood a good thing when he saw it.

For several centuries the small Irish Potato was enjoyed by many in the Emerald Isle It became the main food for the poor as they had little else to eat.

But in 1845 a blight destroyed the country’s entire potato crop, prompting a massive immigration of the destitute and now starving to America.

Once in the United States, the Irish wanted nothing to do with the small indigenous potato from their former homeland, though America’s elite restaurants continued to serve the popular petite plate-size potatoes to wealthy diners.

Perhaps the tiny potatoes were just too much of a reminder of the many hardships the Irish had endured in their former homeland. At any rate, the Midwest farmlands were by then producing bump crops of wheat. Bread in every form and flavor was all the rage among citizens well established or newly arrived.

During this period both industrial and agricultural scientists were launching many new inventions and making startling discoveries. Edison had invented the light bulb, Bell crafted the telephone and Luther Burbank, a skilled horticulturist, was experimenting with new crops suited to the America’s heartland.

In 1872 Burbank declared yet another success when he propagated the tawny-skinned Russet Potato. Its firm outer peel made it hardy while its creamy white interior made it a culinary delight.

Enter Hazen Titus, dining car superintendent of the Northern Pacific Railway. While talking to various local farmers during stopovers in Washington State’s lush Yakima Valley, he discovered that the farmers were facing a major potato crop “failure”.

Unlike the Irish, whose potatoes were small and diseased, the western farmers were cursed with “success”. Their perfect Russet Potatoes were unsellable because they were big, too big to serve on the small fine china plates then popular in the leading gourmet restaurants of New York and San Francisco.

In desperation the farmers thought they had no other choice but to feed their entire potato crop to their hogs and hope for a better year next year. Titus, as it turned out, was as innovative as the men who had moved mountains and forged un-crossable rivers to build the railroad he so believed in.

Where others saw failure and defeat when they looked at the giant two plus pound potatoes, Titus saw a way to spread the fame of the great northern rail route to the whole nation - and beyond.

He purchased the large potatoes that no one else wanted, baked them in the steam from the train's engines and then served them with butter to the hungry diners waiting in his westward moving dining cars. And so the baked potato was born – an American creation crafted through ingenuity and insight, a true child of the American entrepreneurial system.

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Almost overnight, the giant non-Irish Russet baked potato became the signature trademark of the Northern Pacific Railroad. Postcards, posters, spoons and letter openers all bearing the potato image proclaimed that the Northern Tracks were the “Route of Great Big Potato”.

Towering electric signs shaped like the giant potato itself, complete with Edison’s blinking lights, soon greeted travelers as they arrived and departed at Northern Pacific Stations. Many celebrities, such as the flamboyant  Lillian Russell, lent their name to promoting this new culinary sensation.

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There was even a song, entitled the "Great Big Baked Potato", written to proclaim to all the wonders of this unique American culinary creation. Its lyrics declared:

“Twas laying on a platter

Sure something just immense

Served with a spoon and butter

And it only cost ten cents.”

Today, the baked potato is part of cuisines around the world including Ireland's. Everyone everywhere can enjoy this culinary creation that was first served on the long-haul trains crossing the vast and beautiful American West.

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Potatoes are still a bargain and a delight today as is train travel. Both trains and potatoes continue to offer a way, no matter the day, to enjoy the best in ease and comfort as we pause to remember the past and look towards the future. Surely, that is something we should all celebrate all year long! 

Your Culinary World copyright Ana Kinkaid/Peter Schlagel 2014

The Copacetic Dance of Creative Cuisine

by Peter Schlagel

The ancient Greek philosopher Heraclitus taught, “All is fire; all is change and flow”. This is the same sage who said, “You cannot step into the same river twice”.

With this point of view, he surely must have had the insights of a chef. Because, for a chef, the conception, preparation and serving of a suite of creative dishes to an appreciative diner is much more than a sequence of static random tastes collectively comprising a meal.

No, it is more like Stravinsky’s multi-layered ballet The Firebird wherein a pure vision is transformed into the ensemble action of an entire company of dancers and musicians, each playing an important role in the creation of a magnificent performance.

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Many diners have the mistaken impression that they will be served a linear procession of different and pleasing tastes as they sit passively consuming the next carbon copy dish in a meaningless parade. This is not unlike an anonymous viewer of a TV sitcom like Gilligan’s Island, complete with its cues of canned laughter after each one-liner joke, demanding no more than half-awake attention between commercial breaks.

And if one is in a hurry (and what modern consumer is not), then one can further shorten the entire process without even having to get out of one’s car to quickly order and consume fast food served in neat little bags and boxes.

This is not dining or cuisine or conscious art. This is simply eating, a necessary function shared by all animals from man to mouse to mite. It requires neither brain nor consciousness, only hunger and a mouth. How the food is prepared is of no consequence, as long as it can be eaten.

However, culinary creations, like all great art, demand a great deal of their audience. They have the capacity to move the conscious soul and change lives forever. Fine cuisine is deeply human and expresses the highest capacity for creative life. And it is inherently dynamic, not static.

A consumer of fine dining must be fully awake and prepared to be challenged, surprised, even changed. Each diner is invited to actively participate in a grand “dance” of shifting melodies and harmonies of flavors, some major and some minor, some rhythmic, some percussive, and all comprising a complex dance of movements and singular experiences that cannot be reproduced again exactly like this unique performance.

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Think of a small local jazz band improvising on a standard composition at a one night show in a small private club, or a modern dance company’s world premiere of a new work. These performance art presentations are not accidental or random. They are as carefully planned and executed as a general’s battle plan or Beethoven’s 9th Symphony because the mind of the general or composer or chef sees the entire vision before the first note or the first table place is set.

Everyone in the kitchen must learn to “chop wood and carry water” before one can create the other kind of magic, for they are one and the same. Or, as the great Zen Master Dogen pithily put it, “Practice IS realization”.

He was the same sage who wrote Instructions to the Cook, giving voice as head chef to the vision and responsibility for leading his creative team through the essential rules for the kitchen, as well as the greater community and a life well lived. Each performance, each preparation expresses completely a unique lived truth.

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A talented chef has the ability to visualize combinations of flavors, herbs and spices before the food is ever procured and prepared. This is part of his or her unique talent and artistic genius that enables the creation of new dishes as well as variations on the classics that delight, challenge and move the diner.

The insightful diner is invited to join in a “dance” with this creative movement of the chef’s vision through a knowing appreciation of their purposeful culinary art. They can then engage in the free flowing river of experiences that the chef and his staff prepare, present and guide them through.

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The diner cannot be a passive semi-conscious consumer of canned familiar post-cards of taste. Instead, he or she must be equal to the great adventure of discovery and satisfaction that comes from true art. They must be brave and awake. They must be open and fully human in order to experience the real full potential of great culinary art.

Yes, Heraclitus, the chef–inspired sage, was right – all is fire and change in the kitchen. Creating new “music” is hard work. When successful, the diner can share in the wonder of experiencing new culinary art that will challenge all their senses as they savor its beauty and know that they can’t step into this same deep river twice.

But fortunately the number of creative culinary rivers is today without limit. With due courage and imagination, another river, another culinary experience is just waiting to be discovered, perhaps just around the corner this very night! Go ahead, accept the invitation and enjoy the dance!

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Your Culinary World copyright Ana Kinkaid/Peter Schlagel 2014