The ProsenPeople

Excerpt: Food & Drink

Thursday, October 19, 2017 | Permalink

This essay, by Sarah Rich, is excerpted from Leave Me Alone with the Recipes: The Life, Art, and Cookbook of Cipe Pineles. Cipe (pronounced “C. P.”) was one of the most influential graphic designers of the twentieth century, and the first female art director at Condé Nast. The following piece is about the innovative magazine, called Food & Drink, that she planned to launch in the 1960s.


In the early 1960s, Cipe decided to more formally and fully incorporate her love of food into her magazine work by launching a new publication entitled Food & Drink. At the time, Gourmet Magazine had been in print for twenty years, but it, along with the few other titles in the same category, targeted female homemakers. In contrast, Food & Drink would be for both men and women; it would not only be instructional but investigative and intellectual, looking at gastronomy through the eyes of some of the greatest writers of that era. The list of planned contributors included Marianne Moore, Eudora Welty, Pierre Salinger, Clifton Fadiman, and Erich Fromm in addition to food greats like M.F.K. Fisher, Elizabeth David, and Craig Claiborne. The editorial team was to be led by James Beard, along with Helen McCully, who had been the food editor at McCall’s and House Beautiful; Tracy Samuels, a Better Living magazine editor and playwright; and Cipe, whose credits at that point included Seventeen, Charm, Mademoiselle, Vogue, and others.

The team had the support of Richard V. Benson, a wealthy directmail advertising magnate who had founded American Heritage magazine and helped start Smithsonian. His introductory letter to Food & Drink began, “Dear Bon Vivants . . . From our ancestors’ primitive foraging for nuts and berries and wild boar, gastronomy has become one of man’s most fascinating and complex occupations. Yet, until now, there has never been a magazine which examined this field regularly, comprehensively, engagingly.”

The editorial team made an extra effort to emphasize men’s potential interest in the magazine, since it could be taken for granted that women would gravitate toward it. Another teaser for the publication, written by Beard, began, “We men like to read about food and drink as much as women do. Maybe more. But we haven’t exactly been encouraged to take a good romp through fine eating territory on the printed page. Most of the material published in magazines seems to be aimed exclusively at women. And only at certain kinds of women, at that. It’s coy and cute. Or frilly. Or dull. Or long-winded. Or meandering, with recipes as leaven for otherwise flighty essays. High time all that was changed, in our opinion. And changed it is, with the first issue of Food & Drink, the new magazine for the inner man.”

Cipe’s archives, housed at the Rochester Institute of Technology, include typed and hand-sketched pages for the first few issues of the magazine. Volume 1 was set to include a piece from mystery writer Rex Stout entitled “Nero Wolfe Cooks an Orchid” (Wolfe being the fictional protagonist of Stout’s many detective novels). Another essay asked, “Is Speed Killing Our Cuisine?” and was to be assigned to M.F.K. Fisher. “Dinner Party at our Embassy in Gabon,” would be written by Mrs. Charles Darlington, the wife of a diplomat stationed in central Africa in the 1960s. To keep things culinary, Julia Child would contribute “The Endless Possibilities of a Properly Poached Chicken,” and Craig Claiborne, the famed New York Times food writer, was writing “Chefs Don’t Eat What You Eat.” In the “service” section, the list of pieces included “Is Your Blender Sitting on Its Hands?”, “The Hot Banana,” and “Sour Cream: The Suave Touch.”

If Food & Drink had been born in the late 2000s, it almost certainly would have been Lucky Peach—a masculine-leaning, irreverent, bold-voiced magazine. Like Lucky Peach, it wanted to win its audience by running counter to what was expected of a publication in its sector. But it was the 1960s, and for whatever reason, a concept that seemed so smart, edgy, and broadly appealing never took off. Perhaps it was due to Benson’s plan to keep the magazine off newsstands and available only by mail to subscribers. Perhaps it was something else. In Cipe’s archives, there is a single-page typed letter from Food & Drink’s president and publisher, James B. Horton, addressed to the magazine’s investors. “Food & Drink, Inc., having no assets, is now considered an abandoned Corporation,” he wrote, “You will notice that we had a cash balance of $109.79 in 1963. This amount has been expended during the year 1964 on legal fees.”

With that tiny financial consideration accounted for, the promising venture dissolved, its amazing potential stored in a time capsule in Cipe’s files. Horton went on to launch Food & Wine magazine in the 1970s while acting as VP at Playboy Enterprises, but as we know, it fell in line as a magazine primarily for women, home cooks, and entertainers. Today we have a few other titles that conjure the spirit of Food & Drink, but one can only imagine what that publication would be now, had it come to life and endured for the next half century.

Sarah Rich is a writer based in Oakland, California. She is the co-editor of Leave Me Alone with the Recipes: The Life, Art, and Cookbook of Cipe Pineles. She is a former editor at Dwell, Smithsonian, and Medium; and co-founder of Longshot Magazine and the Foodprint Project.

Header image via Flickr/Paul Townsend

Updating Old World Foods for the Modern Cook and Eater

Tuesday, October 17, 2017 | Permalink

Sarah Rich is the co-editor of Leave Me Alone with the Recipes: The Life, Art, and Cookbook of Cipe Pineles. Cipe (pronounced “C. P.”) was one of the most influential graphic designers of the twentieth century, and the first female art director at Condé Nast.

Illustration and recipe by Cipe Pineles

When I first flipped through Cipe Pineles’s hand-painted recipe book from 1945, it felt deeply familiar. This was my family’s food—not the food we ate for dinner on an average evening during my childhood, but the food we kept in our cultural pantry.

It was a wonder to see these dishes rendered with so much vibrancy and character in Cipe’s art. In my mind, many Eastern European Jewish foods were fairly plain and monotone. You could paint matzo balls, gefilte fish, potato latkes, noodle kugel, kasha and brisket all within a spectrum from beige to brown. Yet here was a rainbow of beets, carrots, peppers, and tomatoes; not to mention the cool blue enamel and warm clay of the cookware. It was a visual celebration of a cuisine that typically feels nostalgic, comforting, old.

Cipe’s paintings, too, were old by the time we found them—almost seventy years old—but the food felt alive, the aesthetic very current. I remember thinking, Why can’t this food feel contemporary and dynamic? Jewish deli foods were coming back into vogue. Places like Mile End Deli and the reinvigorated Russ & Daughters were New York City destinations, while Wexler’s and Wise Sons were served “appetizing” on the west coast. I figured it must be possible to go beyond deli fare and give a modern update to some deeply Jewish classics.

There were a few challenges to doing this. For starters, the recipes as Cipe had written them did not always hold up as a set of specific instructions. It would take an experienced home cook to read through her writing and know where to adjust and improvise in order to arrive at a tasty result. When I first tried her kalacha (aka meatloaf), for example, I followed her recipe to the letter, and ended up with more of a sauce than something sliceable.

The second challenge was deciding where the line was between modernizing a dish, and fundamentally changing it. What makes these dishes what they are? If you took “hard rolls” and chicken fat from her veal stuffing, and instead used breadcrumbs and butter, would it still contain the DNA of the original? And what if instead of veal, you used steak? The politics of animal rights and emphasis on seasonality that characterize today’s food choices just weren’t factored into recipes in 1945.

To develop the updated versions, I worked with an assistant, Christian Reynoso, who cooks at the famed San Francisco restaurant, Zuni Café. He did not have a background in Jewish food. He did have a deep familiarity and great proficiency with the ingredients of the moment in California cuisine. Together we waded around the grey area in between old world and new, and aimed to make something that would tempt today’s cooks and eaters.

For many of the original recipes, it’s possible to skip the first few steps by virtue of what’s available now in grocery stores. Cipe’s soup recipes often start by making a stock, then removing the flavoring materials, whether vegetable or meat, and moving on to the actual dish. For the new recipes, I provided two basic stock recipes—one vegetable and one chicken—as a foundation for the entire collection, with the idea that if you have this (or pre-made stock from the store) on hand, you’re already several steps into the recipe when you start.

The updates vary in how far they divert from Cipe’s originals. The chicken soup I felt was a revelation almost just as she’d written it. I had never heard of putting a short rib bone (what was called flanken) into a chicken soup but I will never do it another way henceforth.

In the middle ground was the bulbenick, a baked potato casserole of sorts for which Cipe had two variations. As written, it really didn’t turn out too well with either variation, so we developed our own, still using the bare bones of her recipe (grated potato, flour, egg), but leavening it gently with baking powder and throwing in herbs for added dimension.

Finally, one of the updates that departs most dramatically from the original is probably the lamb stew. Certain practices common to today’s cooking, like seasoning meat a day ahead and browning it before simmering, were absent in Cipe’s recipe. We felt the flavor and texture turn out much better using these modern approaches, so we changed up the order of operations, added a few steps, and then finished it off with garbanzo beans and yogurt—two ingredients that often pair with lamb in Middle Eastern cookery.

It was a real creative adventure to develop these updates, and an interesting exercise to think through what are the defining and fundamental aspects of a dish. In the end, I’m glad we were able to publish both the unaltered originals and the modernized collection, so that readers can pick and choose, compare and contrast, and draw their own conclusions about what makes a recipe a recipe.

Below, see Cipe's recipe for lamb stew followed by Sarah's updated recipe.

Illustration and recipe by Cipe Pineles

Sarah Rich is a writer based in Oakland, California. She is the co-editor of Leave Me Alone with the Recipes: The Life, Art, and Cookbook of Cipe Pineles. She is a former editor at Dwell, Smithsonian, and Medium; and co-founder of Longshot Magazine and the Foodprint Project.