Sunday, April 29, 2007

Prawn, bulgur wheat and coriander salad

Having not updated my blog in a while, it now appears that I'm over-compensating by fitting in as many entries as I can in one weekend. I think it's about time I added some more food pictures, so here's yesterday's dinner:


Bring 600ml of boiling water to the boil and add 125g of bulgur wheat. Cover and leave for about 30 minutes until the water has been absorbed. Drain well.

Combine 150g of cooked prawns, half a chopped onion, a bunch of coriander, one crushed garlic clove and 8-10 quartered cherry tomatoes (spring onion and flat leaf parsley would probably work better than onion and coriander, but I didn't have any). Add as much bulgur wheat as you feel like eating. Dress with some olive oil, balsamic vinegar, the juice of half a lemon, and pepper.

Saturday, April 28, 2007

One big, happy Tescopoly

Tescopoly by Andrew Simms, Constable 2007

Andrew Simms, from economic think-tank nef, certainly appears to have it in for Tesco. It seems it wasn't enough to write a book about evil multinationals, or the desecration caused by supermarkets. No, Tesco is so offensive that he felt obliged to dedicate a whole book to telling us all about it, and he makes no apology for singling out this particular multinational which, according common lore, has nearly 40% of the UK groceries market share and takes one in every eight pounds that Britons spend on shopping of any kind. The book takes its name from www.tescopoly.com, an alliance concerned with countering the negative impact of supermarkets.

From the outset, Simms' tone makes it clear that he's not interested in objectivity. Even the cover, with the first 'o' in 'Tescopoly' cheekily adorned with the Devil's horns and the 'y' sprouting a pointed tail, is a parody of Tesco's logo and its white, blue and red colour scheme. In fact, this is the sort of book that might make the average corporate executive think the author is a hippy, free-loving allotment owner. But Tescopoly isn't just a rant about why supermarkets are bad for you; it's primarily a book about all the ways in which supermarkets are not good for you. Simms dispels common myths about the supposed benefits of supermarkets, particularly in terms of the creation of local jobs and the boosting of local economies. In a particularly revealing chapter, he compares the relative benefits of London's Queens Market to those of the typical supermarket. Queens Market generates an estimated £11m directly to the local economy, excluding indirect benefits from visitors spending money in the area. Per square metre, the market provides more jobs than a typical supermarket, and a typical basket of goods is about half the price of a comparable shop at a supermarket. By contrast, every pound spent at a supermarket is money that leaks out of the local economy and makes its way towards the big Tescopoly in the sky. For, even though supermarkets provide local jobs, those employees will also shop at Tesco, and other local branches of multinationals, etc., etc.

Simms also details how supermarkets, often argued to provide better value through competition, in fact do the exact opposite. Large, out-of-town, rival supermarkets are rarely in direct competition with each other, because they will not build a new branch near a competitor. Moreover, once you walk through those sliding doors, any chance of competition is gone. At a local market, the economic principle of 'the market' still operates, because you can easily compare produce and prices between competing stalls and decide where to buy from, which generally involves some kind of trade-off between quality and value. Supermarkets, however, by virtue of their product diversity, are not sensitive to such market forces, because they rely on the fact that customers are unlikely to drive between competing branches of Tesco and Sainsbury's to see which sells a kilo of peaches for the lowest price. Product diversity also means that supermarkets can keep the price of certain products artificially low to draw customers, but still make money by grossly overcharging for others. This principle can, of course, be repeated over all sorts of scales. Prices of certain goods can be kept low in certain areas of the country in which local market share is low, but be hiked up in places where a particular chain commands a 50% share of the market. Prices of certain produce can be kept artificially low in one country by importing it from another, financially incentivised to dedicate land to the growth of exotic food for exports rather than staples for the local market. And so it goes on.

An even more astounding, though I guess unsurprising, fact is the manner in which supermarkets are able to post record profits. Because of the volume of their orders, supermarket chains are able to negotiate ('negotiate' in this context often means 'dictate') terms such that they do not pay upon purchase, essentially buying goods from producers and suppliers on credit. Supermarkets, however, instantly turn goods into cash, such that they can make record huge profits out of what are, in fact, interest-free loans that, in the case of Tesco, can run into more than £2 billion in any one year.

So there you go. Supermarkets suck. Here are 7400 places to spend your money other than Tesco.

Feist

Feist, Shepherds Bush Empire, London, 17 February 2007

First of all, a piece of advice. If you're collecting money for charity at the line for a Feist concert and you hear someone speaking in a vaguely North American accent, chances are they're Canadian. Just as a general matter of course, it's not good to start conversation by asking: "So, which part of the US are you from, then?" There's a good chance abuse will be hurled at you and your name will be cursed forever.

There was an opening act to this. I vaguely remember it. It was a one-man band. Some guy called Dr. something. It must have offended something, for my mind seems to have blocked the details from memory.

Feist played material from her new album, The Reminder. I'd say Feist is the right side of quirky. I liked all the rhythm lines and riffs, but I kinda got the feeling that, despite her instantly recognizable voice, she doesn't really have a distinctive style of her own, so I kept being reminded of bits of the Brian Jonestown Massacre, the White Stripes, the Zutons, Alison Goldfrapp and Eva Cassidy, among others. Her mellow stuff is better than her more upbeat, rocky songs. And, of course, we always welcome a new rendition of Mushaboom to end the evening.

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Coriolanus

Coriolanus by William Shakespeare, The Ninagawa Theatre Company, Japan
Barbican Theatre, London, 26 April 2007

OK, so it's a three-hour play about revenge. In Japanese. And if you sit near the front you have to crane your neck left or right to catch the surtitles as they flash by, while trying to keep an eye on what's happening on stage.

Also, it's a play about revenge. Everyone's very angry. They speak very fast. In Japanese. There's lots of yelling and arguing. And fighting. And crying.

But it's impressive. The set is sloped, thanks to a set of faux-stone steps leading up to backdrops that slide away to take you between scenes outside Rome's Capitol and Corioli. The whole thing is like something out of a Kurosawa movie, with elaborate costumes, choreographed swordfights, an epic score, and even some climactic blood-spurting that Tarantino would be proud of. Coriolanus, despite speaking very fast, puts in an excellent performance, as does his mother, a guilt-tripping, manipulative wench that is nevertheless the heroine of the story. It's an exhaustive evening, but well worth the effort.

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Murray Perahia

Murray Perahia in recital, Barbican Hall, London, 23 April 2007

Right, so need I say that Murray Perahia is awesome..... Monday saw his return to the Barbican, following last year's cancelled recital due to recurrent problems with a hand injury. An inflammation in the hand during the 1990s forced him away from the piano for a number of years, during which he supposedly drew great inspiration from listening to Bach. True or not, he has subsequently given us some of the most sublime recordings of Bach's keyboard works.

It was thus unsurprising that he should choose to start the evening with Bach's C minor Partita which, although marred by a few mistakes, was remarkable for its clarity. Watching someone play Bach is always nerve-racking, because it requires mathematical precision and there's simply no room for error. Under Perahia's hands, you can hear every single note of every single voice, no matter what finger, what tempo or what dynamic.

He was nevertheless far more comfortable with Beethoven's Pastoral Sonata, his best piece of the evening. This was followed by Schumann's Fantasiestück, a piece I'm not so keen on. But Chopin's Ballade No. 2 was amazing, and followed by a breathtaking Chopin as an encore.

On a completely random note (no pun intended), Murray Perahia kinda reminds me of Jacques Pepin. I can imagine he might make a good chef, although he seems a bit too mild-mannered. I wonder how Jacques Pepin would do at the piano......

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I'm not a plastic blog...

I'm 100% organic, fairtrade, carbon-neutral, sustainable, recycled fluff.

If you want the rip-off, made-in-China-and-shipped-20,000-miles-to-the-UK, queue-outside-Sainsbury's-from-midnight-to-get-one-and-sold-in-a-plastic-carrier, Anya Hindmarch cotton bag, then you'll wanna go here.

Of course, you won't find one, unless you shell out 250GBP on eBay for it.

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