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Anthony Bourdain and the Cultural Valorization of Chefs and Cooks A

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Anthony Bourdain and the Cultural Valorization of Chefs and Cooks A Hungry for More: Anthony Bourdain and the Cultural Valorization of Chefs and Cooks A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Justin Lars Bergh IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Catherine R. Squires August 2016 © Justin Lars Bergh 2016 Acknowledgements Many people have assisted and encouraged me in the long journey that resulted in the completion of this dissertation. First, I want to thank the individuals I refer to in the text as Jim, Taylor, Violet, Steven, Sal, Jonathan, and Noah for welcoming me into your space and sharing your stories with me. I am honored to have worked alongside all of you. Each of you taught me lessons, related both to life and working in the kitchen, that have shaped this text in various ways. It is my sincere hope that this dissertation reflects the time and space we shared together and in some way contributes to a greater understanding of the ways in which your lives are affected by the valorization of chefs and cooks in contemporary media. If the chef underground provides evidence of a once promising utopian subcultural space whose traces continue to haunt the present and offer a path forward into a new and better temporality, I hope you all locate it. The completion of a project this daunting is not the product of an individual labor, but instead the result of a collective intellectual endeavor. The shared knowledge, questioning, criticism, encouragement, and debate I received from countless individuals throughout the many stages of the dissertation process made its completion possible. Catherine Squires, thank you for enthusiastically taking me on as your advisee. Without your constant encouragement and unique ability to make sense of⎯and reign in⎯my often unwieldy research and ideas, this dissertation would be a very different text. Mark Pedelty, your constant belief in my ability has served as constant source of support throughout this project and my four years at the University of Minnesota. Any aptitude I have as an ethnographer is due to your passionate instruction, feedback, and unequivocal confidence in the value of my field research. Jeffrey Pilcher, thank you for answering my i unsolicited email and taking me on as your mentee. Your vast knowledge of food studies is an invaluable resource and I will be forever grateful for your constant guidance, critique, and foresight. Mary Vavrus, thank you for always offering a source of kindness and support throughout my time at the University of Minnesota. I will forever cherish our conversations and your sage advice. Thank you also to Laurie Ouellette, Lisa Sun-Hee Park, and Roderick Ferguson for your various contributions to this work. To my peers, thank you all for your diverse knowledge, ideas, and debate during our thoughtful graduate seminars. I learned a great deal from all of you. In particular, I want to thank Jay Frank. Your willingness to read drafts of this project and offer insightful, sincere, and frank (pun intended) feedback strengthened my work. Moreover, beyond our shared intellectual pursuits, I will cherish the friendship we developed. Although we are now separated geographically, I still look forward to our hours-long theoretical discussions and debates. I still want to finish a research project together. Stephen Bennett, thank you for being you. Your calm and cool approach to academia made my time more enjoyable. Jules Wight, your intelligence, perseverance, and friendship inspired me more than you know. I also want to thank the brilliant Stephanie Schulte. Thank you believing in my ability as a naïve first-year graduate student and expertly guiding me on a path of success. Your continued support means the world to me. Likewise, Gerry Schlenker, thank you for pushing me as an undergraduate and believing in my potential. I hope to repay your generosity and encouragement by approaching my role as an educator with the passion and dedication you have for your students as my guide. ii Thank you to the many friends and colleagues I encountered throughout my adult life that believed in me and encouraged me to pursue a career in academia. Thank you Shaun Powers, Brett Smith, Pierre Poquette, and Jordan Erickson. Jason Probus, your support throughout our master’s program and beyond is greatly appreciated. You are my brother. Thank you for reading and editing my work for many years now. More importantly, thank you for always being there when I need you and your unwavering confidence in my ability. I look forward to our families growing old together. Finally, thank you to my family. Without you this dissertation or any of my success would not have been possible. Mom, you are a constant inspiration and source of encouragement. You are my rock! Thank you for being the best possible mother, mentor, editor, and friend I could have ever wished for. Tom, the way you approach life and your family has made me the man I am today. I cannot thank you enough for your generous fatherly advice and support. I hope I made you both proud. Miranda, where do I even begin? You are my best friend, partner, and better half. Without your tireless strength throughout my many years of education and the stress of this project, I would have crumbled a long time ago. You are truly my ride or die companion. We made it! iii Abstract Food, food media, and celebrity chefs make up an increasingly important element of the cultural industries. The craze is not altogether new, but the cultural relevance and ubiquitous appearance of chefs in all forms of popular media is a relatively recent phenomenon. Anthony Bourdain, although by no means the first celebrity chef in the era of cable television and omnipresent chef personae, did introduce a new and important image of chefs in the culinary media industry, what I call the “chef underground.” For this brand of chef the kitchen represented an escape from mainstream culture and values. The kitchen was not a sight for self-promotion or entrepreneurism, but rather a space that allowed for a prolonged commitment to subcultural participation. The kitchen was, and is, of course, a space of labor exploitation. Yet, for those travelers in the chef underground the kitchen allowed for the development of a transient existence, relatively free from outside scrutiny as well as normative notions and expectations of workplace and lifestyle behavior. By identifying and detailing the alternative social and cultural dispositions of the chef underground in his writing—and aligning himself with them— Bourdain at once managed to construct a unique anti-establishment media persona for himself as well as render the once nebulous group of outsider chefs and cooks legible in mainstream consumer culture. This dissertation investigates the cultural influence of the new archetype of chefs following Bourdain’s rise to prominence. In the midst of a broad cultural valorization of chefs and cooks, the promotion of Bourdain’s anti-establishment persona through multiple mass media created a new popular image of professional chefs. The previously unglamorous career of working in a restaurant kitchen was transformed into a cool and iv authentic occupation and subcultural formation. This dissertation explores the cultural significance of this re-articulation of chefdom by employing multiple methodological approaches in order to understand how the re-presentation of chefs and cooks after Bourdain’s rise to fame has affected the everyday lives of individuals working in contemporary professional kitchens and influenced the broader culinary and media industries. v Table of Contents Introduction 1 Chapter 1: From Backstage to Front Page 22 Chapter 2: Cultural Pillaging 69 Chapter 3: Gender, Race, and Artistry 101 Chapter 4: Utopia Lost? 133 Chapter 5: Selling the Fantasy 168 Conclusion 210 vi INTRODUCTION On April 19, 1999, The New Yorker magazine catapulted Anthony Bourdain to fame by publishing his article titled, “Don’t Eat Before Reading This.” The article, an exposé of the New York City food and restaurant industry, was penned in a self-described “moment of marijuana-induced hubris”1 by a chef admittedly drawn into the restaurant industry because of “the idea of kitchens as an outlaw, pirate life . the last refuge of the misfit.”2 In contrast to the staid, viewer friendly chef demonstrations that had come to dominate culinary media, Bourdain presented the life of a professional cook as a gritty, drug- fueled, and crazed existence. In Tokyo at the time of the magazine’s release, Bourdain returned home to New York City to a scene he described as “utter madness,” replete with a television crew stationed outside the restaurant where he served as chef.3 A new breed of celebrity chef was born. Food, food media, and celebrity chefs make up an increasingly important element of the cultural industries. The craze is not altogether new, but the cultural relevance and ubiquitous appearance of chefs in all forms of popular media is a relatively recent phenomenon. Bourdain, although by no means the first celebrity chef in the era of cable television and omnipresent chef personae, did introduce a new and important image of chefs in the culinary media industry, what I call the “chef underground.” For this brand of chef the kitchen represented an escape from mainstream culture and values. The kitchen was not a sight for self-promotion or entrepreneurism, but rather a space that allowed for a prolonged commitment to subcultural or subaltern participation and thus provided 1 Michael Klein, “He Didn’t Set Out to be a Celebrity,” The Philadelphia Inquirer, June 6, 2001. 2 Anthony Bourdain, “Don’t Eat Before Reading This,” New Yorker, April 19, 1999, 61.
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