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Mirrored from The OEconomist. You can comment there or here.

“Curry” — and I use the scare quotes for good reason — has long been a feature of Anglo-Australian cookery. My Nanna used to make something she called curry, and so did my parents. As far as I can tell, none of them bore much resemblance at all to what you might actually find in India.

The epitome of these curries are the ones you find in places like the Country Women’s Association cookbook. Here’s an example from their “Cooking for 50″ section:

Curry for 50

  • 6 kg (12 lb) topside steak
  • 1 kg (2 lb) brown onions
  • 1 kg (2 lb) carrots
  • 1 kg (2 lb) apples
  • 1/2 tin plum jam
  • 1 kg (2 lb) bananas (optional)
  • small tin pineapple
  • 250gr (1/2 lb) sultanas
  • 250gr (1/2 lb) shelled almonds (optional)
  • 1 small tin curry powder
  • 500gr (1 lb) margarine

Dice onions and fry in margarine. Add curry powder, meat, vegetables, apple, pineapple, and jam, salt and pepper to taste. Cover with water, simmer gently, stirring frequently. Serve with rice, using 2kg (4lb) rice.

I’m sorry. I’m so sorry. It was all okay up until the plum jam and then it just went into a world of “ewww”.

My Nanna’s curries weren’t quite as ghastly as this — I don’t remember plum jam featuring in them — but they did contain things like sausages and sultanas. The classic Australian Nanna curry is semi-sweet, mildly spiced with a sort of nondescript curry powder, and made from very Anglo sorts of vegetables (and, on occasion, fruits).

Well, it might be 2012, but I still make what I call “Nanna curry”, and although I’ve adapted it for what’s in my own pantry it still follows the basic rule of using only ingredients available in the least ethnic of Australian supermarkets.

nanna curry on the stove

Nanna curry on the stove.

Here’s last night’s recipe. Of course I vary it every time, but this one’s quite typical, and came out very tasty.

  • 1 brown onion, diced
  • slosh of vegetable oil
  • 2 spoonfuls curry powder
  • 1 tin diced tomatoes
  • 1 tin coconut milk
  • a little water (enough to rinse the cans out then add to the pot)
  • 1-2 cans chickpeas (or equivalent cooked from dry)
  • 2 potatoes, in 1″ dice
  • 2 carrots, cut into chunks
  • 1/2 cauliflower, cut into small florets
  • 1 cup frozen peas
  • salt to taste

Saute the onions in the oil til translucent. Throw in a couple of spoonfuls of curry powder and stir until fragrant. How big a spoonful? I don’t know. Spoon sized. I used two extra-heaped teaspoonfuls — not a measuring teaspoon, but one I use to make a cup of tea — of this stuff:

The classic brand is Keen’s curry powder, but I bought these other ones just to try them out and they’re not bad. I tend to mix hot and mild together for my Nanna curry. The essential point of a Nanna curry powder is that it shouldn’t say what kind of curry powder it is. It’s just curry powder, okay? (Though if you had to, I think a mild Madras curry powder would be fairly close.)

Once the curry powder is doing that fragrant thing it does, I toss in a can of tomatoes and one of coconut milk, then slosh a bit of water in the cans to rinse them out and pour that in too.

To be honest it doesn’t much matter what liquid you use here — you just want about a litre of it. Could be plain water, stock, whatever. I’ve become a big fan of the creamy sweetness of the tomato+coconut blend, but that’s because I’m a modern Australian cook who has coconut milk in her pantry at all times and to me it counts as a no-brainer. If you’re not that person, then there are other options available to you. The point is that you need about a litre (4 cups) of liquid to cook in, and you’ll want something to creamify the sauce a bit. One classic Nanna option is a couple of spoonfuls of dessicated coconut, which I guess does the same thing as the coconut milk. Or if you want, you can stir in a little cream or yoghurt at the end of cooking, or some cornflour/cornstarch mixed with a little water to thicken it up. If you are using meat, you can flour the meat early on, and that’ll thicken the sauce as it goes.

Wait, meat? Let me explain. My ingredients list above uses chickpeas, but there are all kinds of other protein options. Staying on the vegetarian theme, you could use some diced firm tofu and add it at the same time as the vegetables. If you prefer meat lamb would be excellent, and very typical of a Nanna curry, but if lamb is a costly delicacy where you are, then don’t do that. Use whatever is a cheap staple. Chicken would be fine, beef would be fine, pork would be fine. Curried sausages are a Nanna tradition, and they could be pork or lamb or beef (or tofu for that matter). Just cut whatever meat you’re using into chunks and brown it before you add the onions (or, for sausages, brown first then cut into chunks, so it doesn’t disintegrate). If you want your meat to help thicken up the sauce, non-sausage meats can be tossed in flour before browning. For sausages, you can add a spoonful of flour when you add the curry powder. Then proceed as above.

Once you’ve got the liquid in the pot, go through your fridge and put in whatever vegies need using up. If they’re the sort of vegies that might be found in a 1950s meat-and-three-veg meal, so much the better. Potatoes, carrots, peas, of course. Cauliflower, as I used. Swede (rutabaga) is a classic. Parsnip or celeriac or kohlrabi. Broccoli or zucchini or green beans. Chopped kale or silverbeet/chard or any other leafy thing you happen to feel like. Tomatoes or peppers. Chokoes, also known as chayote in the Americas. Sweet corn kernels. An authentic Nanna would probably add apples and/or sultanas (raisins) at this point, and a bit of sweetness is definitely a nice touch, though I find that the coconut milk and frozen peas I use are enough for me. The less said about plum jam or tinned pineapples the better.

I put the chickpeas in at this point, too. If you’re using any protein that’s pre-cooked or ready-to-eat (including leftover meat from another meal, say, or cubed tofu, or whatever) then you can chuck it in at the same time as the vegies.

Cook until cooked. Your vegies should be however done you like them. For me that’s usually until the potatoes and carrots are fork-stick-able, which is conveniently about how long it takes to cook a batch of basmati. If some of your vegies will cook more quickly than others, put the slow ones in first and add the others a little later.

Right at the end, adjust the flavours by adding salt (it may need quite a bit if none of the ingredients was salted) and, if you didn’t add any earlier and want to, some kind of creaminess for the sauce. As I mentioned, you could swirl in some thick cream, yoghurt, or a spoonful of cornstarch whisked with a bit of water in a glass. If you’re doing the cornstarch, let it simmer a few minutes to thicken, but for dairy it’s better to wait til you’ve turned off the heat before you add it.

Nanna curry served with rice

Delicious Nanna curry, served with basmati rice.

Looks alright, doesn’t it? We ended up eating this with a quite authentic Indian lemon pickle. The quantities I gave make a generous 6 serves, so there were enough leftovers for a few more meals. It tastes even better on the second day.

Incidentally, when I googled “Nanna curry” (as a phrase) before posting this, the only other recipe I found under that name was Beth’s Nanna’s curry, which you’ll see is very much along the same lines, and does actually include tinned pineapples. If anyone else has an authentic Nanna curry recipe, I’d love to hear it.

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Mirrored from Infotropism. You can comment there or here.

Me, elsewhere: this is a crosspost of something I wrote for the Australian feminist blog Hoyden About Town. If you’re interested in comments, you should check there as well as here.

About a week ago, the ABC aired Utopia Girls: How Women Won the Vote, a documentary about women’s suffrage in Australia. I’d seen a few positive mentions on Twitter and Facebook, so this afternoon I went and hunted it down on iView and watched it.

The documentary opens with the narrator, Dr. Clare Wright, stating that:

These days, we all enjoy equal rights and seemingly endless choices. But just one hundred and fifty years ago, women were far from equal.

It’s nice that she thinks inequality is in the past, but she’s deluding herself. It would be facile to list all the groups who don’t enjoy equal rights in Australia (same-sex couples who want to marry being just one current and obvious example) but even if we limit ourselves to women’s rights and choices, it’s far from true. Women still earn about 15% less than men for the same work; abortion is still illegal or effectively so in Queensland; and take a look at the sort of misogynist crap that’s flung at Julia Gillard, Gina Rinehart, or the latest victim of a popular footballer’s rape if you want to see what attitudes to women in our country are really like.

So, no, Utopia Girls, the smug “we all live in a 21st century feminist wonderland” attitude doesn’t exactly fly with me. It’s not just inaccurate, it’s dangerous. Should we really be telling women there’s nothing left to work or fight for, or giving anti-feminists reassurance that women’s current concerns are unnecessary?

If that was all that Utopia Girls had wrong with it I’d be annoyed enough, but it just gets worse. The main focus of the documentary are the stories of a handful of middle class, white Anglo- and Irish-Australian women and their work for women’s suffrage in Victoria, New South Wales, and South Australia. I can’t claim an exhaustive knowledge of the subject matter or the period, but it’s obvious even to me that there are voices missing here.

Read the rest of this entry » )

On my way.

Sep. 1st, 2011 08:15 pm
skud: (Default)
I'm in the Air New Zealand business class lounge at SFO. Yeah, I said fuck it and upgraded to business class. I'm probably never going to take a long-haul flight again with a bank balance that looks like mine does right now. It's doing a lot to assuage my very mixed feelings about leaving SF.

Anyway, I land in Melbourne Saturday morning, and I'm available for social shenanigans from, say, Sunday onward. Looking forward to seeing people!
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Mirrored from Infotropism. You can comment there or here.

In re: yesterday’s post about saving Australian music from obscurity, I have now set up the saveaussiemusic mailing list so we can start discussing the project.

I posted the following in my welcome message, laying out the shape and scope of the project as I see it, and I’m including them here for easy reference (and so this post is more than a paragraph long).

1. The scope of this project is “independent and hard-to-find Australian music”. (My current personal interests are in the indie/alternative/punk/post-punk/etc sort of genres, but I see no reason to limit it to that.)

2. The goal is to make information about this music, and (eventually/hopefully/ideally) the music itself available as freely and openly as possible, to maximise the possibility of people being able to spread the love. To this end we will release everything we can under open source and open content licenses — ideally CC-0 for content and a permissive open source license for any code we create.

3. I want us to use existing infrastructure where possible, rather than creating our own. To that end, I think we should be putting structured data into repositories like MusicBrainz, encyclopedic content into Wikipedia, digital archive material into the Internet Archive, etc. We should give strong preference to data/content repositories that are run by long-term stable non-profits, whose data/content is accessible via open APIs, and whose data/content is widely used by third parties. This will make our material more accessible to the world at large, and won’t wear out our volunteers on maintaining our own servers and databases.

4. This project needs to work within the bounds of copyright law as it currently exists. I personally think said copyright law is deeply deeply flawed, but I also don’t want to be sued into oblivion. So when it comes to media archives, we need to think innovatively and come up with legal ways to do it.

5. We should partner, where possible, with other projects and organisations with similar goals. This can range from public libraries and archives, to groups like Creative Commons, to (just a blue-sky example) crowdfunding organisations like pozible.com.au. Partnering will get us more exposure and awareness of our project, and also save us from reinventing the wheel.

6. We need to involve people from a range of backgrounds: musicians, fans, librarians and archivists, coders, journalists and zinesters, everyone. I want us to share knowledge/skills and make this something that all sorts of people can take part in, regardless of technical background, profession, or degree of indie cred.

Another thing I would say, as a sort of high-level description of the project, is this: librarians talk a lot about preservation and access. This project needs to consider both of those, plus awareness. We should be making people aware of Australian music, and of the set of issues that prompted this project in the first place.

Anyway, if that sounds interesting to you, please join the saveaussiemusic mailing list.

ObRandomPhoto: stencil art on the sidewalk near my house in the Mission District, San Francisco. I was wearing exactly the right sneakers that day.

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Mirrored from Infotropism. You can comment there or here.

EDITED TO ADD: Please see this followup post, and subscribe to the saveaussiemusic mailing list if you’re interested in this project.

So I’ve been thinking about this project for a while, and it doesn’t have a name, but I wanted to tell you about it anyway. At least I have my startup-style it’s X for Y pitch: it’s like textfiles.com for Australian indie music.

Tweet by mendel: @Skud "Like what for Australian indie music?" "Like the Web Archive of BBS era text files, for Australian indie music." "The web what?" :D

Yeah, well, let me explain.

For background, I’d better start by saying I was pretty terminally uncool, music-wise, in the 80s and early 90s. My family weren’t big on following popular music, I lived somewhere with no decent record stores, records were priced out of my range, and even at school the kids I hung with weren’t hip enough to make mix tapes of anything much but Top 40 stuff. Despite this, I somehow got exposed to a certain amount of Australian indie and alternative music. I say “somehow” because I honestly don’t know where I heard most of this stuff. I guess 3XY and EON-FM, early on. Later, I listened to a lot of Triple J, and watched Rage.

These days, of course, I get most of my musical knowledge and exposure from the Interwebs, and the availability of digital downloads and information about musicians is really helping me backfill a lot of the older Australian music I wish I’d known better at the time.

Like, for example, The Go-Betweens, a Brisbane indie band that I was only faintly aware of until a few years ago, when Grant McLennan died and many of my friends online were expressing sadness at his passing. Of course I quickly figured out that they were part of the soundtrack of my childhood and teens, I just didn’t know them.

The Go-Betweens were pretty well known, and it’s not hard to find their albums, but a lot of equally important Australian music from the 70s to 90s is no longer readily obtainable. Much of it’s not available for (legal) digital download. In many cases CDs are out of print, or there may never have been a CD release, and the only version is vinyl mouldering in someone’s garage. Even information about older Australian music is hard to find: now-defunct labels and publications don’t have websites, and bands that would otherwise pass Wikipedia’s notability guidelines often don’t have articles because it’s so hard to find sources/citations. Only a handful of hobbyist websites and generous-hearted bloggers are keeping vast swathes of our musical heritage alive.

So why did this happen? Well, obscure music is always hard to find. That’s what makes it obscure. But in Australia even a bunch of pretty well known stuff, stuff I grew up on in my no-hipster-cred-whatsoever suburban youth, is rare as hen’s teeth now. For some reason, music that was released on the Mushroom and Festival labels was particularly likely to have this problem. So I asked around, and learnt that those labels, which had released some of the best music of my adolescence, had been consumed first by News Corp and then by Warner, who didn’t care enough to keep the back-catalogs available. I don’t even know how many smaller labels were caught up in this, but I’m guessing plenty.

(The good news is that this seems to be clearing up a little now. More stuff seems to be available in iTunes since last time I checked, and I hear that Warner recently sold back Flying Nun Records (NZ) to the original owners. So there is hope.)

So here’s what I want to do. I’d like to start a project for people — techies, music nerds, archivists, whoever — to come together and work on projects to preserve and disseminate (information about) Australian music, in as free and open a manner as possible: open source code, creative commons licenses, non-commercial and optimised for maximum sharing and reuse.

First project (something I’ve been meaning to do anyway) is to extract pertinent facts about artists, albums, and labels from a variety of online sources (such as, for example, the archived website of The Encyclopedia of Australian Rock and Pop) and use it to update MusicBrainz (and from there, hundreds of sites and apps that use MusicBrainz’s data).

Then I’d like to make sure that any Australian musical acts that are sufficiently notable have Wikipedia entries. In many cases this will mean grovelling through pre-Internet dead trees publications, but I’m going to be in Australia and probably unemployed through the summer and I hear that libraries have air conditioning and Internet access these days, so that actually sounds quite pleasant. Along the way, I hope to make a resource list for other Australians who’d like to do the same thing: which libraries have useful collections of music periodicals? Who’s got zines or clippings they’ll scan if you contact them? What online archives already exist for you to trawl through? That sort of thing.

Those two projects are pretty simple, but they’re important because free, open-licensed online resources will be the foundation for later projects. I don’t even know what these later projects are, yet; I just know that having the information out there will make them easier.

So, I’ll take a shot at MusicBrainz and Wikipedia regardless of whether anyone else is interested. I suspect that lots of people are interested, though, and that with a sufficient number and variety of participants there are a lot of other, more ambitious things we could try.

So I’m looking for coders, open data nerds, Wikimedians, librarians and archivists, scholars, music journalists, zinesters, fans, broadcasters, copyright law experts, free culture advocates, and past and present musicians, producers, promoters, and label folks who might be interested in this project. I’m planning to set up a mailing list and/or website for it, so leave a comment below with your email address (which will be hidden, not shown to the public) and I’ll let you know when there’s something to join.

Also, still looking for a name. Ideas welcome.

EDITED TO ADD: Please see this followup post, and subscribe to the saveaussiemusic mailing list if you’re interested in this project.


Image credit: the image used on the front page of infotrope.net to link to this post is a collage of clips from Party Fears, a Perth music zine from the 80s-90s now archived online by its creator, David Gerard.

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