After
a bout with a winder cold slave is eager to get back to cooking. Felt
the need for something special for my Master. So this recipe has a
few steps that take awhile. It is old fashioned home style cooking.
Steak & mushroom pie has been called Britain on a plate,
variations are everywhere in that country. This recipe is dedicated
to a LGBT hero painter Paul Cadmus, a short biography fallows.
Slow
cooking beef until it is tender, fresh mushrooms and onions between
layers of pastry can warm the cloudiest day and fill a strong mans
stomach till his toes curl!
Ingredients:
2 lbs good chuck
roast cut into chunks
2 onions
2 cups fresh button
mushrooms, rinsed and quartered
1 large carrot,
peeled and grated
1 prepared pie crust
2 tube crescent
rolls
salt, pepper, smoky
paprika, garlic powder
1 jar beef gravy
cornstarch
egg
Directions:
On
the night before
Preheat oven to 215
degrees.
Spray a dutch oven
and rough chop an onion into eights, place in pot. Cut the roast into
2 inch chunks dust with a mixture of your seasonings: salt, pepper,
paprika, and garlic powder. Place in pot over the bed of onions.
Cover with foil and
a lid. Let slow roast for 3 hours.
Drain the pot and
transfer the beef to a bowl, when cooled, place in refrigerator
overnight.
Next
day:
Pre heat oven to 400
degrees with a pizza stone in the oven!
Take out pie crust,
prick the bottom according to package directions and let bake for
about half of the time listed. Be sure to place the foil pan inside
of a regular metal pan for support.
While that is in
oven take out the beef and let come to room temperature.
Rinse and quarter
the mushrooms. Peel and grate the carrots into a bowl.
Cut up the remaining
onion into the size of the quartered mushrooms. Do the same with the
beef.
This is a good time
to pick over the beef and remove any grizzle or fat.
Mix together in a
skillet over medium heat and pour in the gravy.
Stir in the grated
carrot.
Stir occasionally
until flavors meld and filling is heated through. If it is runny, add
a slurry of 1 Tbs cornstarch mixed with 2 tbs beef broth. Stir until
thick!
By now the crust
should be ready to come out of the oven. Leave the oven on.
Let both the filling
and the crust cool slightly.
Cover the counter with a sheet of waxed
paper.
Unroll the crescent
rolls. Separate into triangles.
Now spoon the
slightly cooled filling into the pie crust.
Next notice the size
of the pie. You want the triangles to go from the edge toward the
center, overlapping the points. Roll the short side of the triangle
up until it fits!
Brush the top with
the beaten egg to make a pretty finish.
Finish baking for
another 18 to 20 minutes until the pie is as pretty as you can
stand it!
Allow
the pie to sit for 10 minutes before serving.
For an extra English
treat, Mix up french onion soup with some cornstarch and heat
stirring until it is a thick gravy to serve on top!
For our music:
https://www.youtube.com/watch?v=_8Kp7WX7y8M
Note
this recipe makes 2 pies, slave took meals to several elderly
neighbors who were not feeling well.
So
honored to be serving my Master Indy with a British special!
socialslave
To
satisfy and restore.
To
nourish, support and maintain.
To
gratify, spoil, comfort and please,
to
nurture, assist, and sustain
…..I
cook!
Please
buy slave's cookbook:
American
artist widely known for painting social interactions in urban
settings. He also produced many highly finished drawings of single
nude male figures.
Cadmus
was born on December 17, 1904, on the Upper West Side of
Manhattan. His father, who studied with Robert Henri, worked as a
commercial artist, and his mother illustrated children's books.
At
age 15, Cadmus left school to attend the National Academy of Design
for 6 years. Cadmus learned to draw from plaster casts and two years
later he was admitted to the life drawing class. He received a bronze
medal from the Academy the following year for excellence in the
discipline. He began to study printmaking in 1923, and soon after
began exhibiting his work and publishing illustrations for the weekly
book review section of The New York Herald-Tribune. By 1926 Cadmus
completed his course work at the Academy, having won numerous
scholarships and prizes for excellence.
He
then enrolled at the Art Students League of New York in 1928
taking life-drawing lessons while working as a commercial
illustrator at a New York advertising agency.
From
1928
to 1931
Cadmus was employed as a layout artist at a New York advertising
agency.
It
was here that he met fellow student Jared French who was to become
perhaps the single most important influence on Cadmus’s life and
work.
It
was French who encouraged Cadmus to abandon commercial work and
pursue a career as a fine artist. He urged his lover to use the time
consuming method of egg tempera.
Cadmus
compared the delicate brushstrokes of egg tempera to “heartbeats,
each equally important yet almost invisible or unnoticeable.”
Several
years after meeting, the two decided to travel to Europe in search of
a more stimulating environment where they could live inexpensively
and paint.
They
continued their education while traveling through Europe from 1931 to
1933.
Cadmus’s
sister Fidelma sent him newspaper clippings on the newly organized,
government-sponsored Public
Works of Art
Project. With their passports about to expire and their money almost
spent, Cadmus and French returned to America in October of that year.
Cadmus was accepted into the PWAP in December as one of the program’s
first participants.
He
was to be employed by painting murals at post offices.
In
1934, at the age of 29, he painted The Fleet's In! This
painting, which featured carousing sailors and women, included a
stereotypical homosexual solicitation and erotic exaggeration of
clinging pants seats and bulging crotches. It was the subject of a
public outcry led by Admiral Hugh Rodman, saying, "It
represents a most disgraceful, sordid, disreputable, drunken brawl."
The
publicity helped to launch Cadmus’s career, and he stated at the
time, "I had no intention of offending the Navy. Sailors are no
worse than anybody else. In my picture I merely commented on them –
I didn't criticize."
In
1938, his painting Pocahantas Saving the Life of John Smith, a
mural painted for the Parcel Post Building in Richmond, Virginia, had
to be retouched when some observers noticed a fox pelt suggestively
hanging between the legs of an Indian depicted in the painting.
Cadmus used his lover, Jared French, as the model for John Smith in
the mural.
In
1940, two paintings, Sailors and Floozies (1938) and Seeing
the New Year In, were removed from public view because the Navy
"didn't like it" and there was "too much smell about
it." The paintings were being exhibited at the Golden Gate
International Exposition and were removed, while a third, Venus
and Adonis, remained.
Cadmus,
considered to be a master draftsman, was interested in the Italian
Renaissance artists, the so-called "masters of muscle."
He
was transfixed by the human body, both the ideal and the repulsive.
His ideal was a stylized erotic version of the male body. He found
the grotesque everywhere from Greenwich Village cafes, subway
stations, the beach at Coney Island to American tourists in an
Italian piazza. His art is a form of satire and caricature of his
subjects.
Cadmus’s
first one-man show was held at Midtown Galleries in New York in 1937.
The exhibition attracted more than 7,000 viewers, many of whom were
eager to see for themselves these controversial works that had
received such extensive newspaper and magazine coverage and caused
such unprecedented public outcries.
From
1937 until 1945, Cadmus, his lover, Jared French, and French's wife,
Margaret Hoening, summered on Fire Island and formed a photographic
collective called PaJaMa ("Paul, Jared, and Margaret"). In
between Provincetown, Truro, Fire Island, and New York, they staged
various black-and-white photographs of themselves with their friends,
both nude and clothed.
Later
in the 1940s, Cadmus and his then lover, George Tooker, formed
a complicated relationship with French and his wife. When the
Frenches bought a home in Hartland, Vermont, they gave Cadmus a house
of his own on the property, which French later took back and gave to
his Italian lover.
In
1950 several of Cadmus’s works were included in “American
Symbolic Realism” at London’s Institute of Contemporary Art, and
Architect was exhibited at the Whitney Annual. In the years 1951 to
1953 Cadmus lived and worked in France and Italy.
In
1965, Cadmus met and began a relationship with Jon (Farquhar)
Anderson (July 30, 1937, New Haven, CT - October 21, 2018, Weston,
CT), a former cabaret star, in Nantucket that lasted until Cadmus'
death in 1999.
From
the beginning of their 35-year relationship, the then 27-year-old
Anderson was Cadmus' model and muse in many of his works.
He
began work on a series of highly developed drawings of the male nude
for which Jon Anderson is the principal model. The large sheets of
paper are often hand-toned, and the rendering is sensuous and
deliberate.
In
1999, he died at his home in Weston, Connecticut, due to advanced
age, just five days shy of his 95th birthday.
