{"id":4,"date":"2018-06-08T00:00:36","date_gmt":"2018-06-08T00:00:36","guid":{"rendered":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=podcast&#038;p=4"},"modified":"2020-07-10T18:19:07","modified_gmt":"2020-07-10T18:19:07","slug":"food-for-thought-ep-1","status":"publish","type":"podcast","link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-ep-1\/","title":{"rendered":"Food for Thought: Episode 1"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">In this three-part series, Amy and Caroline are cracking open cookbooks and archival records to learn about the bond between food and text.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">In episode one, we pair a largely forgotten 17th century French cookbook with Julia Child\u2019s classic cookbook <i>Mastering the Art of French Cooking<\/i> to consider how food writing shapes cultural transmission.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"In this three-part series, Amy and Caroline are cracking open cookbooks and archival records to learn about the bond between food and text. In episode one, we pair a largely forgotten 17th century French cookbook with Julia Child\u2019s classic cookbook Mastering the Art of French Cooking to consider how food writing shapes cultural transmission.","protected":false},"author":13,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","episode_type":"audio","audio_file":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/03\/Death-and-Numbers-Food-for-Thought-Ep-1-1.mp3","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"20.13M","filesize_raw":"21103328","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":""},"tags":[19,14,12,4,15,3,16,10,17,8,11,18,13],"categories":[],"series":[2],"class_list":{"0":"post-4","1":"podcast","2":"type-podcast","3":"status-publish","5":"tag-archives","6":"tag-art","7":"tag-childs","8":"tag-cookbooks","9":"tag-cuisine","10":"tag-food","11":"tag-food-history","12":"tag-french","13":"tag-french-cuisine","14":"tag-humanities","15":"tag-julia","16":"tag-julia-child","17":"tag-mastering","18":"series-death-and-numbers","19":"entry"},"acf":{"related_episodes":"","hosts":[{"ID":579,"post_author":"40","post_date":"2020-06-25 17:19:39","post_date_gmt":"2020-06-25 17:19:39","post_content":"<!-- wp:paragraph -->\n<p><a rel=\"noreferrer noopener\" href=\"http:\/\/amyvidor.com\/\" target=\"_blank\">Amy\u00a0<\/a>is a\u00a0<a href=\"https:\/\/liberalarts.utexas.edu\/research\/mellon-esi\/\">postdoctoral fellow<\/a>\u00a0at the University of Texas at Austin (UT). She has a Ph.D. in Comparative Literature from UT, an M.A. in History and Literature from Columbia University, and B.A.s in English and French, and a Minor in Art History from the University of Southern California. Amy has taught college literature, writing, and foreign language courses. For the past five years she has worked as an educational consultant, coaching high school students through ACT\/SAT test prep, AP\/IB exams, college admissions, and more. For more on Amy\u2019s experience, see her resume.<\/p>\n<!-- \/wp:paragraph -->","post_title":"Amy Vidor","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"amy-vidor","to_ping":"","pinged":"","post_modified":"2020-06-25 17:19:39","post_modified_gmt":"2020-06-25 17:19:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=579","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":582,"post_author":"40","post_date":"2020-06-25 17:28:14","post_date_gmt":"2020-06-25 17:28:14","post_content":"<!-- wp:heading {\"level\":3} -->\n<h3>Publications<\/h3>\n<!-- \/wp:heading -->\n\n<!-- wp:list -->\n<ul><li><a href=\"https:\/\/www.linkedin.com\/redir\/redirect?url=https%3A%2F%2Fhumanitiesmediaproject%2Eorg%2Fdeath-numbers-food-thought-ep-1%2F&amp;urlhash=G3ro&amp;trk=public_profile_publication-title\">The Legacy of French Cooking<\/a><\/li><li>Humanities Media Project and Liberal Arts Instructional <\/li><li>In this special three-part series of Death &amp; Numbers, we\u2019re cracking open cookbooks and archival records to learn about the bond between food and text. In episode 1, we pair a largely forgotten 17th century French cookbook with Julia Child\u2019s classic cookbook \"Mastering the Art of French Cooking\" to consider how food writing shapes cultural transmission.<\/li><\/ul>\n<!-- \/wp:list -->","post_title":"Caroline Barta","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"caroline-barta","to_ping":"","pinged":"","post_modified":"2020-06-25 17:28:14","post_modified_gmt":"2020-06-25 17:28:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=582","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"guests":"","transcript":"<p>You&#8217;re listening to Death in Numbers, a podcast created by the Humanities Media Project and<br \/>\nthe College of Liberal Arts at the University of Texas at Austin.<br \/>\nToday, we crack open two cookbooks to ask the question, when did French cuisine become synonymous<br \/>\nwith fine dining?<br \/>\nI&#8217;m Amy Vidar, a graduate student interested in recovering women&#8217;s narratives and different languages<br \/>\nand different cultures. And I&#8217;m Carolyn Baabda. And I like looking at old cookbooks<br \/>\nin archives to think about women&#8217;s literacy across time. Today, our episode explores the<br \/>\nquestion, a question that we often ask each other, which is how can collaboration impact the<br \/>\nsuccess of a project? How can a learning benefit from shared labor? Our first<br \/>\nepisode in the series. Food for Thought examines how food writing shapes cultural transmission.<br \/>\nWe analyze material objects from Archives of knowledge. Today&#8217;s story takes us all<br \/>\nthe way back to sixteen fifty one. And that&#8217;s to the publication of lulay cuisine<br \/>\nYou France Soir or The French Cook, a cookbook by France Soir Pier.<br \/>\nThe lover in this cookbook established modern French cuisine and helped launch the home<br \/>\ncook in his preface lover and writes Dear reader and recompense. All I would<br \/>\nask of you is that my book Be for You as pleasurable as it is a useful, pleasurable and<br \/>\nuseful. That&#8217;s a pretty shocking concept for a 17th century reader that cooking<br \/>\ncould be fun. And the wording of this preface, whoever read signals that this<br \/>\nbook is designed to encourage cooking to be a lesar activity rather than<br \/>\na book that is only helpful for professional cooks. Cooking is a hobby as a hobby. That&#8217;s<br \/>\nfun. What changes with Lovgren and those that follow him is access.<br \/>\nBefore the sixteen hundreds cooking was a carefully protected set of skills monitored by guilds.<br \/>\nAnd guilds are really like labor unions today and that they regulate numerous trades. But<br \/>\nunlike today, these trades tended to be passed on by oral tradition. That means there wasn&#8217;t<br \/>\na rulebook for how you were supposed to do your job. Rather, you had to watch<br \/>\nsomeone do their job for a very long time in order to know the specific guidelines<br \/>\nfor your position. Guilds also did other things like organized apprenticeships so they<br \/>\nwould set you up with somebody to learn from. They standardize membership, so they made it clear what<br \/>\nthe rules were of your trade. They encourage collaboration and they also helped people<br \/>\nget jobs because trades had these complex social rules about what you could<br \/>\nand couldn&#8217;t do. Socio economic status. So how much money you had also really<br \/>\nlimited how far you could go in your career. So it&#8217;s important to note Lovgren was a commoner,<br \/>\nso he started as an apprentice in a local kitchen. But something crazy happened. He eventually rose<br \/>\nto the rank of kitchen clerk. This meant that he was responsible for an entire aristocratic household&#8217;s<br \/>\nfood service. We&#8217;re talking about a lot of food and a lot of people.<br \/>\nAnd this is before appliances were invented. Good note. And this is just<br \/>\nexceptional all the way around because the role of kitchen clerk was traditionally reserved for nobility and Lungren&#8217;s<br \/>\nhumble roots. An unprecedented success inspired him to share this passion with the<br \/>\ngeneral public. He made it. Why shouldn&#8217;t other people make it in placing this acquired<br \/>\nknowledge into a sustainable and replicable form in a printed book? varane<br \/>\nwas really doing something special. He was giving his professional secrets to an open marketplace.<br \/>\nAnd this was pretty scandalous to share these secrets without the permission of a guild. He<br \/>\nmade friends, then he made some enemies. So the French cook. This cookbook contains over 800<br \/>\nrecipes divided by courses, soups and broths starters. Second course and small dishes.<br \/>\nThis is really quite startling. If you&#8217;re opening up this book and all you&#8217;ve known before are medi\u00e6val recipe collections<br \/>\nbecause they often bundles together medicinal cures and homemade remedies right alongside the recipes.<br \/>\nThis led to the line between potion and putting being really thin. That&#8217;s right. You could find things<br \/>\nlike how to improve your acne alongside, how to make a soup for dinner. Mm hmm. Tasty. The other thing<br \/>\nthat Love Runs Cookbook did is really indicated a shift from cooking for sustenance.<br \/>\nAnd instead, he really emphasized how cooking should be a development of flavors. He<br \/>\neliminated these overly complex preparations and instead really wanted people to make reasonable<br \/>\nmeals that were worth eating. He made cooking accessible by doing<br \/>\ndishes like omelets and biscuits and teaching readers to build flavor civilians and sauces like base smell.<br \/>\nHe helped transition France away from the Italian style of cooking that had predominated before. And<br \/>\nso one of the things he did is he took local ingredients like Charlotte&#8217;s and onions, and he made<br \/>\nthose really the foundation of French dishes. You could find them in France. And so you might as well be cooking with<br \/>\nthem, but we&#8217;re really getting ahead of ourselves. lapper ends legacy both relies<br \/>\non his place in history and the relationship between cookbooks and the history of print.<br \/>\nYou might be familiar with cookbooks, whether you grew up with well of copies of a family favorite. Maybe Betty<br \/>\nCrocker splattered with coffee, perhaps wine. Let&#8217;s be serious. Or have admired them<br \/>\nat a distance. You can pick a cookbook out of a lineup, right? Today, cookbooks are hefty.<br \/>\nThere are usually oversized volumes. People tend to leave them as art books on those coffee room tables.<br \/>\nWe really don&#8217;t use them per say for cooking that we might not want to splash them with coffee or wine is<br \/>\ngoing to admire them. And usually they have those beautifully staged high resolution food<br \/>\nshots where it makes everything look so delightful. But food books really weren&#8217;t always<br \/>\ndesigned to be these glamorous art books. That&#8217;s right. Early cookbooks were limited by<br \/>\ntechnology. So photography did not exist in 16 51. And<br \/>\ninstead, what they did for images were use things like a woodcuts and eventually engravings<br \/>\nto show readers the types of dishes they might be preparing. That&#8217;s right. There really were limitations.<br \/>\nBut even so, these books were bestsellers. As the curator of the British Library explains<br \/>\nabout the book we&#8217;re talking about, within seventy five years of its publication, the French cook had been reprinted<br \/>\nthe book was marketed to every private family, even the husbandman or laboring man<br \/>\nwheresoever. The English tongue is or maybe used considering England&#8217;s status<br \/>\nat the time as the cultural backwater of Western Europe. The rapid arrival of Laverne&#8217;s book to England<br \/>\nsignals its interest beyond its original context. Long after Love runs death, the<br \/>\nFrench cook remained an international bestseller, which was a pretty big deal. French cooks had turned<br \/>\nto Laverne&#8217;s manual for instruction and inspiration, and they continued doing so until the French Revolution<br \/>\nin 1789. Because of the unsettling events of that<br \/>\nrevolutionary moment, people moved from the countryside into Paris. Things changed<br \/>\nand they were seeking work after this and they were left without the kind of family structure that had fed<br \/>\nthem up to this point. So what did you do if you didn&#8217;t have a mom or a clerk<br \/>\nwho was there to make you dinner? Well, what happened was chefs had migrated as well into<br \/>\nthe city and they began opening these things called restaurants for the first time,<br \/>\nthe novel concept of a restaurant aimed to replicate the experience of a family style meal<br \/>\nin this increasingly consumer culture of the eighteen hundreds. The idea of restaurants quickly spread<br \/>\nacross the Atlantic. The first restaurant, Olaf Hall says, opened in Boston and 1794<br \/>\nfor the duration of the 18th and 19th centuries. The concept of professional chefs remained predominantly<br \/>\nmasculine. Meanwhile, the responsibility to feed the masses increasingly fell to women.<br \/>\nThat&#8217;s right. So while professional chefs got to be men, women were left with feeding their seven<br \/>\nchildren and as they took on this primarily. Stick duty, which was neither skilled<br \/>\nnor paid labor. I&#8217;ll remind you, it became very evident that as the world became more<br \/>\nindustrialized, really alternating periods of technological advancement and having these significant<br \/>\nviolent conflicts, that meant that cooking really had to be something that prioritized expediency.<br \/>\nYou had to get meals on the table and you also had to prioritize nutrition. You know, you wanted to feed<br \/>\nyour children. And that was far more important than having a sit down seven course meal.<br \/>\nSince I&#8217;ve been their cookbook, you know, something to kind of compare with. Yeah. Turning<br \/>\nthe everyday chore of cooking back into an educational but nonetheless pleasurable experience.<br \/>\nThis is the paradox we&#8217;ve been talking about since we began. How do we make cooking pleasurable? And yet something<br \/>\nthat is elevated fun, you might say, was going to prove challenging,<br \/>\nespecially once we got to 1950s America. It&#8217;s right. We&#8217;ve time traveled a bit. The postwar generation,<br \/>\nespecially in America, was enamored with modern culinary marvels, convenient<br \/>\nand cost effective processed food. Think of those frozen TV dinners and all the things you can make with gelatin<br \/>\nand time saving kitchen appliances like refrigerators and hand-held mixers. Enter<br \/>\nJulia Child, one of the authors of the other French cookbook On Our Table today, Mastering<br \/>\nthe Art of French Cooking. Welcome to the French chef. I&#8217;m Julia Child. Whether<br \/>\nknown from a well-loved family volume of her books or from her recent Hollywood treatment<br \/>\nby Meryl Streep in Julie and Julia, Julia Child remains a beloved food icon in<br \/>\nmodern day America. Kitchens even in the Smithsonian. And she is not French,<br \/>\nwhich is really important, right? Julia Child is an American who helped introduce the idea<br \/>\nof gourmet cooking for modern audiences rather than settling for just convenience.<br \/>\nWhat you can throw in a microwave or stick in an oven? She advocated for cooking as a meticulous<br \/>\nprocess that allowed room for error and really fostered hospitality. And by that<br \/>\nwe mean if you fell down, you got back up again. She revived interest and taste over<br \/>\nfunction and preached the value of simple local ingredients in order to develop flavors<br \/>\nthat really had the sense of care and attention for your guests, she said. 30<br \/>\nminutes the table kind of girl. No, no, 30 minute with Rachael Ray. When you cook something from<br \/>\nher cookbook, you feel proud of yourself. That&#8217;s quite the accomplishment. To get through all of the steps that might be<br \/>\nsurprising to learn that child did not develop an interest in cooking from a young age. Part of this delay<br \/>\ncan be attributed the fact that her parents employed a house cook, much like growing up back in<br \/>\nthe 17th century. Cooking was outsourced, so she didn&#8217;t really have the nostalgia of cooking<br \/>\nalongside family members. She wasn&#8217;t a sous chef for her mother like I was for mine. Instead,<br \/>\nher interest in food was rooted in the warm relationship she had with her husband Paul<br \/>\nand the cultural opportunities afforded to her by his career in the Foreign Service. Side<br \/>\nnote. Maybe she was a spy. We don&#8217;t know. Julia Child was a spy. Let&#8217;s just say<br \/>\nshe was a spy. Paul and Julia traveled around quite a bit and in fact, they were at one point stationed<br \/>\nin Paris, at which point child decided she would attend Le Cordon Blue. She was bored.<br \/>\nShe had nothing to do. Why not learn how to cook? Shortly after she met chefs Simca Beck<br \/>\nand Louise at Bertold at the circlet Dig Armitt, a culinary club for women in Paris.<br \/>\nChilds eventual bestseller draw inspiration from her close friendships with these women and the time<br \/>\nthey shared in the kitchen. So it&#8217;s important to know previous to meeting child back in, Bertold<br \/>\nhad wanted to write this French cookbook for English speakers, but they really lacked the language skills to execute<br \/>\nthis cultural project well. And so in 1952, after enjoying<br \/>\ntheir time cooking together in the kitchen, they decided they would start a new project. They called it juat<br \/>\nGaumont or the School of the Three Gaumont. It was an informal school, if you will,<br \/>\nand it was held in Julia Child&#8217;s Kitchen. This school was designed for American women who were living<br \/>\nin Paris and wanted to learn about French cuisine. It seems like it was mostly an opportunities<br \/>\nfor women to get around and cook and eat really good food and drink wine. Although the lessons stopped<br \/>\nin 1953 when Child moved to Marseilles, their collaboration was the foundation<br \/>\nfor the seven hundred and thirty four page Encyclopaedic Cookbook published<br \/>\nin 1961, Mastering the Art of French Cooking. In effect, the trio had managed<br \/>\nto translate the collaborative kitchen environment that had been developed over centuries in France<br \/>\nfor home cooks, and they translated it for readers across the world. They found a way to make this<br \/>\nsystematic text, like we said, 734 pages, an order<br \/>\nto train the next generation of home cooks. And really what this did was continue the cultural exchange<br \/>\nthat Lovgren had begun in sixteen fifty one. Perhaps then it really shouldn&#8217;t be a surprise<br \/>\nthat child owned two editions of Lovgren, including 1712. Copy.<br \/>\nThe French cook and it can be found in her collection of five thousand cookbooks,<br \/>\nall of which you can see if you go to the Slusser in your library at Harvard. Once again, a chef&#8217;s<br \/>\ndecision to share her knowledge with the world using the medium of a book inspired<br \/>\ngenerations to attempt professional skills from the comfort of their home kitchen. Rapidly<br \/>\nmastering the art of French cooking was translated into numerous languages, including Finnish, Danish,<br \/>\nChinese and Spanish. In fact, a second volume was ordered for 1970. Of course,<br \/>\nnot all translations went smoothly. Perhaps the most controversial translation was into British English.<br \/>\nNow I know you&#8217;re thinking how can you translate a book from English into English? In a letter dated<br \/>\nNovember 6 nineteen seventy five editor Carol Brown Janeway recalled<br \/>\nJulia has always been very dissatisfied with what British editors did. They entirely<br \/>\nchanged the layout of the book, which reduced to nonsense Julia&#8217;s whole method of teaching<br \/>\nrecipes. That&#8217;s right. They had managed to destroy the project. That child had<br \/>\nso carefully crafted. So for the second translation of the second volume,<br \/>\nletters between child and her editor Judith Jones reveal that British editors were only<br \/>\nallowed to convert measurements and ingredient terms. They had to remain faithful to the original<br \/>\nlayout and text while there were translation issues in print. Her<br \/>\napproachable method was easily adapted into different mediums like television. Child signed<br \/>\non for a cooking show, The French Chef, which premiered in 1963. The show lasted<br \/>\na decade, attracting fans who appreciated child&#8217;s let&#8217;s call it unfiltered<br \/>\nstyle. Back then, live television was not on delay. So when child made a mistake,<br \/>\nthe film kept growing. So she dropped a chicken. She has had to pick it up and keep on cooking.<br \/>\nHer recipes were also printed and other publications. A 1970<br \/>\nMcCaul&#8217;s The First Magazine for Women purchased rights to serialised selected recipes<br \/>\nfrom mastering the Art of French Cooking Volume 2. However, they weren&#8217;t allowed<br \/>\nto print that French bread recipe. This recipe really was sacrosanct for a child.<br \/>\nShe wanted to keep it for herself. French bread, like Gaul itself, is divided<br \/>\ninto three parts. You&#8217;ll have the making of the dough. Then<br \/>\nyou have the forming of the loaves and finally the baking.<br \/>\nAnd I&#8217;m going to go into the first part. First, making something as iconic as French bread approachable<br \/>\nfor American cooks was about more than just the recipe for back Bertold and child<br \/>\nin the end. It was about inviting American cooks to experience French culture in their home<br \/>\nand its continuing legacy. Mastering the art of French cooking invites its reader to cook and<br \/>\nshare a cultural experience in community. When Beck passed away in 1990, one<br \/>\nchild reminisced. We were like sisters. We were a pair of cooking nuts.<br \/>\nShe was a wonderful and generous friend. We called her last soup, our friend says, because<br \/>\nshe was so French. Today, French cuisine remains synonymous not only with fine<br \/>\ndining, but also with traditions fostered in kitchens over the past four centuries. For many<br \/>\nAmericans, French cooking conjures the image of a statuesque and boisterous child,<br \/>\nbut it can often forget her French collaborators along the way. It&#8217;s also important to remember how<br \/>\na child was building upon Laverne&#8217;s contributions to modern tastes and habits.<br \/>\nWhether that was the desire to cook locally, obsess over building flavors, places,<br \/>\nthe beginning of the textual revolution of our taste buds just a bit earlier, by a bit we<br \/>\nmean for centuries. So the next time you make a base smell or offoreign in<br \/>\nseason vegetable friendly to your local, don&#8217;t just reach for one book. Think about<br \/>\nanother instead. Julia certainly did.<br \/>\nThis has been Death in Numbers, a podcast created and produced by the Humanities Media Project in the College<br \/>\nof Liberal Arts at U.T. Austin and Liberal Arts Instructional Technology Services. We are<br \/>\nAmy Vidar and Caroline Barnett. Notes for the show, including links and photos can be found<br \/>\non our Web site. Humanity&#8217;s Media Project Dauth Our theme music<br \/>\nis enthusiast by Tourre&#8217;s. Thank you for listening.<\/p>\n"},"episode_featured_image":false,"episode_player_image":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/03\/DeathandNumbers.jpg","download_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-download\/4\/food-for-thought-ep-1.mp3","player_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/4\/food-for-thought-ep-1.mp3","audio_player":"<audio class=\"wp-audio-shortcode\" id=\"audio-4-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/4\/food-for-thought-ep-1.mp3?_=1\" \/><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/4\/food-for-thought-ep-1.mp3\">https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/4\/food-for-thought-ep-1.mp3<\/a><\/audio>","episode_data":{"playerMode":"dark","subscribeUrls":[],"rssFeedUrl":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/feed\/podcast\/death-and-numbers","embedCode":"<blockquote class=\"wp-embedded-content\" data-secret=\"eCxrywHsen\"><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-ep-1\/\">Food for Thought: Episode 1<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-ep-1\/embed\/#?secret=eCxrywHsen\" width=\"500\" height=\"350\" title=\"&#8220;Food for Thought: Episode 1&#8221; &#8212; Death and Numbers\" data-secret=\"eCxrywHsen\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! 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