Poor corn. It's been pimped out to animal feed and fructose companies, making it top the most-wanted list of dietary no-nos. But real corn -- and by "real" I mean those delightful yellow and white cobs that come in green husks and not the mass-produced grain in monoculture fields -- is a summer treat.

Corn is at its best roasted on the grill where that direct intense heat makes the kernels sweeter. After eating our fill of grilled corn a few weeks ago, however, I wanted to try something a little different. Soup. Yes, I know. Soup is not a summer standard. But we live in the Bay Area, where hot days are followed by cool, foggy ones, so soup is an every-season dish as far as I'm concerned.

Corn chowder is a favorite of mine. In the past, I have always just cooked the corn on the stove to make soup, but this time I wondered how everything would turn out if I roasted it first. I had to give it a try. Now keep in mind that this is a simple recipe. Unlike other corn chowders, which are usually made in the winter, this soup doesn't include root vegetables, like potatoes, or spices. Corn is now in season so I really wanted it to be the star and adding other ingredients meant it would have to share the stage. I therefore settled on just corn, bacon and onion along with stock and milk. The result was lovely: just-picked corn sweetness caramelized on the grill with a salty bacon accent. You could easily serve the soup just like this, but because I am growing parsley in my backyard, I decided to top everything off with an herb pistou to round out the flavors.

What, you may ask, is a pistou? It's just a fancy name for herbs blended with olive oil and seasonings. I often make a parsley pistou for my lentil soup, so whipped one up for the chowder. The result was more than I had hoped for. Like lime with jalapeno, or coffee with chocolate, the pistou heightened the corn's natural essence and elevated the flavor to a new level.

Roasted cream of corn chowder with parsley pistou has now become one of my favorite summer dishes, with or without a fog bank.

Roasted Cream of Corn Chowder with Parsley Pistou

Makes: 4 servings

Ingredients:
2 strips bacon
1/2 onion diced
3 large cobs of corn
1/2 cup half and half or whole milk
2 cups chicken stock
Salt and pepper to taste

Preparation:
1. Heat grill to high.
2. Place husked corn on direct heat and turn down the grill. If using a charcoal grill, place on indirect heat.
3. Grill for about 5 minutes a side or until the kernels start to brown. You may even hear a popping sound.
4. When corn is thoroughly cooked, remove it from the grill. Set aside to cool.
5. Chop bacon into small pieces and cook in a medium pan. Add the diced onions when the bacon is 2/3 cooked through. Continue cooking until bacon is crispy and onions cooked through.
6. Trim kernels from the cobs. I place my knife at a slight angle, which makes it easier to remove the kernels.
7. Place bacon and onions in a blender along with the corn, chicken stock and milk. Puree until the mixture reaches the consistency you desire. I like it mostly smooth, but with some small chunks. You can also use a hand blender.
8. Place the soup into a medium-sized pot and heat through.
9. Ladle into bowls and top with parsley pistou.

Parsley Pistou

Makes: 1 cup

Ingredients:
1/2 cup parsley
1/2 cup olive oil
Salt and pepper to taste

Preparation:
1. Place parsley and olive oil in a blender and puree until the herb is fully integrated into the oil.
2. Add salt and pepper to taste.

Slim as a finger or big as a fist, wrapped in papery corn husks or supple banana leaves, sweet as spring or spicy as summer -- the humble tamal in all its forms and flavors has become the star of an annual fundraising event in San Francisco. Taste of Tamales By the Bay will be coming again to the Fort Mason Center on Sunday, April 26, 2009.

During the rest of the year, the organizers of the event, the Benchmark Institute, helps develop better quality legal services to low-income communities. With an office in San Francisco's Mission District and with a potent blend of inspiration and hard work, their staff have proved tamales to be as unifying as they are fortifying.

I can still remember the first time I succumbed, one sunny day on a San Francisco sidewalk, to the low and furtive murmur of "hot tamales, hot tamales." Without a word, I followed a man to a minivan parked at the curb. Inside, his wife and teenaged daughter dug into their secret stash, kept warmly bundled inside 5-gallon buckets covered with thick towels. One pork, one chicken. I found a fire hydrant to lean on and ate both tamales straight out of the plastic. That red minivan still appears in my dreams.

So with much excitement, I’m heading to the Taste of Tamales festival. A wide variety of vendors will offer tamales and other tamale-friendly treats, such as hand-fried plantain chips by Estrellita’s Snacks, heritage beans both cooked and uncooked from Rancho Gordo, and coffee by Mama Art Cafe. In between all the tasting, you can browse gifts like colorful tile paintings from Suha Suha Studio or books new and old on Mexican and Southwestern cooking from Omnivore Books.

The margarita competition should be as fun to watch as taste. Family-friendly events include storytelling sessions and a tamale-making demonstration.

Those fascinated by how cuisines crossed the oceans can stop by the stage for my presentation, South By Southeast Asia: Tamales in the Philippines and Guam. Filipinos sailors manned the first Spanish ships that landed on our coast, while the Manila-Acapulco galleons directly connected Mexico to Asia long before California even appeared on maps. I'll be showing how corn deliciousness wrapped inside a leaf moved and morphed across 7,000 islands in Southeast Asia to mash up in Manila with its Chinese counterpart. Along with cheese and pork, peanuts and coconut milk made their way into the post-colonial tamal. For the first couple of hundred who arrive at the talk, there'll be tastings of these unique versions of tamales still enjoyed in the far-reaching Pacific archipelago.

A detailed schedule will be posted soon. In the meantime, mark your calendars for the last Sunday in April. You might want to skip breakfast that day.

Taste of Tamales By the Bay
Sunday, April 26, 2009
12:00 noon – 4:30 PM
Fort Mason Center
Buchanan St. at Marina Blvd.
San Francisco, CA 94123
Map
Conference Center, Landmark Building A

I've had chowder on the brain ever since I attended a rally a couple of weeks ago at which I mistook the crowd's chant of "Louder! Louder!" as-- thanks to people blowing horns into my ears-- "Chowder! Chowder!" I was teased about it by a friend of mine (the proud owner of two hearing aids, no less) who leaned over to me afterward to say, "All this heat and talk of marriage is making me crave a hot, milk-based soup."

Sometimes, we hear what we want to hear.

I've been craving it ever since. Chowder, not marriage, I mean. Popping around the corner to Swan's Oyster Depot is easier said than done, thanks to the usual line several eaters-deep on any given day. And I don't want it from a can-- that's just too single-man-living-alone pathetic. And I'd hate to have anyone find the can in my garbage, because I have a reputation to protect. Since no one has offered me a steaming bowl of the stuff lately, nor is anyone on the horizon likely to, I knew I would have to make it myself.

But what kind?

There are any number of chowders to choose from. New England, Manhattan or Shrimp Chowder from the Gulf Coast? There are chowders made with oysters, with clams, lobster, crab, fish, and even corn. Thin and milky, or thick and creamy? There are as many types of chowder as there are people who make it. No two chowders are the same. There is not one particular recipe that defines the word, no matter what you might hear to the contrary. I have the feeling one could put Rice Krispies in a bowl with some potato, salt pork, and milk, heat it up and still get away with calling it a chowder, however the people of the North Atlantic Coast of this continent might complain.

The word "chowder" is most likely derived from the chaudière, the three-legged pot or cauldron in which it was cooked, in various forms, all along the Atlantic Coast of France in the centuries prior to European colonization of America.. Others might claim that the word is the bastard child of the Old English jowter, or fishmonger. I vote for chaudière, because I am, at heart, a francophile.

Coincidentally, Atlantic Seaboard-residing, pre-Columbian Native Americans made their own form of chowder which the early English colonists were initially hesitant to latch onto, since they seemed as mistrustful of shellfish as they were of just about everything else. Preferring bivalves to starvation, early settlers added their old standbys of ship biscuit and salt pork to the pot. The rest is, I believe, history.

Corn and Clam Chowder with Bacon

Since just about anything is fair game, in terms of chowder-making, I decided to combine two of my favorites, just to see how things went. A lobster chowder sounded wonderful, but too expensive. Crab, which was local, was at about $30.00 per pound. No thank you. I found some lovely Manila clams, which were not exactly local, but neither were they from Manila. The price was good, so I took them home in a little net bag with the thought of steaming them to death in the near future.

I love corn chowders, too, and anything with bacon it. I thought I'd throw all of these things in my own, legless chaudière and see what happened. The results were excellent. Nothing earth- shattering but, then again, I have no plans to change the world by virtue of my chowder-making. Still, I am pleased.

The various amounts of ingredients are approximate, since I was just letting both the creative and clam juices flow. I neglected to write everything down.

Serves 4

Ingredients:

2 lbs. Manila clams, rinsed clean

1 stalk celery, coarsely chopped

1 medium-sized carrot, likewise chopped

1 yellow onion, peeled and diced.

1 bay leaf

3 stalks of thyme

several black peppercorns

1/4 lb salt pork, diced

3 cloves garlic, peeled and minced

3/4 pound ( five or six) red or other waxy potatoes, cut into 1/2" cubes

2 cups fresh or canned yellow corn kernels, depending upon the season.

1 cup half and half

pinch of pimenton, or cayenne pepper

4 thick slabs of bacon, diced

salt and pepper to taste

Preparation:

1. In a saucepan large enough to accommodate them, lay the clams in with enough water to cover the bottom of the pan about 1 inch. Steam them until they are dead and have released their juice. Remove any unopened clams and give them a proper burial. Remove clam meat from shells. You may either discard the shells at this point or save them for a future crafts project. Set meat aside.
2. Add four cups cold water to the clam liquid, along with carrots, celery, peppercorns, thyme, and bayleaf. To make even clammier, you may add bottled clam juice to this mix. I did not. Cover and simmer on low heat for 45 minutes to one hour. Strain stock through a fine mesh sieve. Return to the same pot and reduce by half.
3. To the chaudière of your choosing, add bacon and fry slowly, rendering as much of the fat as possible. Do so until pieces are crisp. Remove and drain. To the hot bacon fat, add diced salt pork, and sauté over medium-low heat until likewise crisp. Drain and remove.
4. Add onions and garlic to the hot, double pig fat. Cook over low heat until soft, about 20 minutes.
5. Add onion mixture to the clam stock, along with the potatoes, salt pork, and corn. Simmer for about 10 minutes, or until the potatoes are tender. Stir in clams, a pinch of pimenton or cayenne pepper, and half and half. Do not boil, or you will regret it, deeply. Simmer for another 3 to 5 mintues.
6. Ladle into warm bowls and garnish with thyme and crispy bacon which you have not let anyone eat prior to serving. Eat with beer and oyster crackers, unless you have found clam crackers, which I have never in my life heard of. If you have, please send me some.

After successful runs last year at the DeYoung Museum and Galleria de la Raza, The Great Tortilla Conspiracy returns for another fantastic show at SomArts Cultural Center. Self-described as "the world's most dangerous tortilla art collective," the father and son team of Rene and Rio Yañez explores a wide swath of themes in their unique medium. Along the way, they recruit other artists as well as creatively minded gallery visitors to join the fun. Immigration and genetic modification, apparitions of religious icons and pop-culture celebrities, free trade and lucha libre -- it's all game in tortilla art.

Artist: Jos Sances

Artist: Rene Yañez

Artist: Anonymous pork lover

The exhibit opens with a reception on WednesdaySaturday, April 5th, 6:00 to 9:30 pm. Throughout the month, SomArts will host a series of interactive tortilla events, including a tortilla fashion show and a panel discussion on the globalization of tortillas and corn. Those who don't want to think about the rising price of Mexico's staple can skip straight to the hands-on art workshop, where you'll create a masterpiece of your very own to contribute to the growing body of tortilla art.

Artist: Nicole Schach. Oh Blessed Virgin Mary, grant me patience for the 14 Mission, the 30 Stockton, the 38 Geary....

Artist: Rene Yañez

THE GREAT TORTILLA CONSPIRACY
April 3rd to 23rd, 2008
SomArts Cultural Center
934 Brannan Strreet
San Francisco, CA, 94103
(415) 863-1414
Google Map

Event Schedule
April 5, 6 – 9:30 pm - Opening Reception
April 11, 5 pm – Tortilla Drawing Rally
April 12, 6 pm – Artist Panel Validating Tortilla Art
April 18, 7 pm – Tortilla Fashion Show
April 19, 5 pm – Special Panel on the globalization of Tortillas
and Transgenic Corn

The divine Morrissey graces a tortilla.

"King Corn" is a new film that premiered in the Bay Area this past weekend. In it, Ian Cheney and Curt Ellis --best friends from college -- plant an acre of corn in Iowa and attempt to track its path into the food chain. I caught up with director Aaron Woolf, whom I knew of from our undergraduate years at a small college in Vermont.

Meghan Laslocky: Can you give us a "before starting the film/after starting the film" picture of your dietary habits?

Aaron Woolf: Before I started working on "King Corn", I don't think I really understood that there was a connection between the way we grow things and the fact that we aren't eating well in this country, which seems pretty obvious now. I came from a family that always ate well, but the way people eat now, like Curt, my cousin [producer and on-screen talent in "King Corn"] who is a generation younger, versus how people ate when I was a kid, is so different. When I was a kid, we went to the wholesale seafood market, mussels were 17 cents a pound because Americans didn't eat them, and we got our meat at a butcher, Mr. Olishefsky, who wore a white gown covered in blood. Behind him in the walk-in cooler were sides of beef. It wasn't a mystery to me as a child where meat came from -- I knew it was a cut-up animal. But I think if you grew up in Curt's generation, the disconnect is pretty major. I think that's one of the lessons of the film: that Curt and Ian are of the cornfed generation, and I am less so, and it took so little time -- the sixteen years that separate us in age -- for that major shift to happen.

Initially, when I started this film, when people asked me about how making the film has changed my eating habits, I'd say, "It's changed the way I wish I ate." But now that the film is done, it's definitely changed the way I eat, and I don't eat fast food. It's instinctive now. What we choose to eat is such a combination of knowledge and religion and training. It's hard to change your diet simply because it's better to do x rather than y, but after seeing feedlots with 100,000 head of cattle -- that's something that's hard to get out of your mind when you look at a hamburger.

Now I try to eat food that lived a life. I'm not a vegetarian, and I don't make much of a distinction between an animal and a vegetable. We derive our life force from eating living things. It's more the way that they lived. For example, I think that eating something that lived in an undignified setting, like pork in confinement that never saw the light of day, is spiritually unhealthy. But the same is true for an asparagus spear that was raised industrially. I wish I could just eat things that were raised in a dignified way that that we would want to incorporate into our own bodies.

ML: Knowing what you know now, what's your take on the rising consciousness of where our food comes from?

AW: I see the benefits of having convenient things to eat, and I still think that's true on some level. And there's a lot of snobbery in the upscale movements, people make a lot of assumptions about other people's ability to choose good and fresh food, even about if they have access to it.

ML: What came as a surprise to you as you did research for the film?

AW: It was a surprise to me how much we have almost consciously created a fast food society, in terms of the Farm Bill and the shift in policy in the 70s. I don't think there is much true evil in the world. I don't blame Earl [Earl Butz, President Nixon's Secretary of Agriculture, whose policies supported large-scale agribusiness and who is interviewed in the film]. I don't blame corporations, but we have gotten to a place where the idea of having more isn't always the best thing.

ML: In the film, you use these great vintage Fisher Price farm toys and kernels of corn to illustrate how the Farm Bill works. What's the back story there?

AW: We were looking for a way to describe obtuse concepts like agricultural subsidies. People are paying to see this film, so we had to come up with something that was at least palatable. We bought one of the Fisher Price barns at Chuck's farm during the auction [see the film for a touching farm auction scene], and the other barn is one that Curtis played with as a child, and probably me as well. Part of the point was that children still play with those toys, but now they're part of a perpetuation of a myth about farming that just doesn't exist. Plus the Fisher Price toys look like food labels on processed foods -- the idealized barn, the livestock -- for a product that contains hog meat from an industrial farm. There was something poignant about that, toys perpetuating a notion about the American heartland that is less and less real.

ML: Has making this film changed your life?

AW: I've made a lot of films, but never before has a film that changed the course of my life as this one has. I'm opening a grocery store in, called Urban Rustic, that incorporates documentary into it, so buyers know where their food comes from. I'm doing this with my partners, Dan Cipriani and Luis Illadeas. On the shelves, there's an LCD or a viewmaster, and you can see where everything comes from. Much in the same way in "King Corn" we've explored where our food comes from, in Urban Rustic, we want people to know where the food comes from. In the store, people even know where the wood flooring comes from -- it's from trees we cut down ourselves on my family's land in the Adirondacks. It's an attempt to take back what the industrial food system has obscured from us.

"King Corn" is currently playing at the Shattuck in Berkeley and at the Red Vic, and it will air on PBS's Independent Lens in the Spring. It was produced with support from San Francisco-based Independent Television Service [ITVS].

Read a review of King Corn in KQED Arts & Culture