Frank Bowen sent me this recipe, and here I reproduce his original mail with the reminder that Pizza Den is still open, and Bob’s family is carrying on the tradition of great local food in Oxford. Go see them the next time you’re there.
The following is a recipe that was posted on an Ole Miss Spirit message board several years ago. I made it several times and can attest that it is faithful to the original at the Pizza Den. It is not in standard recipe format, but it tells how to make the sandwich very well. I don’t know who made the post. He had a user name of Reblanta. I have found that the instructions of letting it rest on the counter for 15-20 minutes to simulate delivery is an important step.
Pizza Bob’s Famous Submarine Sandwich
In May, 1983, I had just bought a new car and decided that I would take it out on the road and drive up to Oxford for the afternoon, primarily to drop by Pizza Den and pick up some submarines to take back home and share with my Ole Miss friends that night. Things were slow late that afternoon when I got there but Pizza Bob was in good spirits. Since nobody else was there, I decided to broach the sacred subject on just how Bob made his famous submarine sandwich. Whether he was thinking of the good times he’d had in Nam, the money he had made off of me over the years, or perhaps he just felt sorry for me, I couldn’t tell, but this is what he told me. I watched him make the submarines and committed the process to memory.
Take your baguette, split it down the middle. Pour butter over the open slices of bread, sprinkle on a generous portion of both Parmesan and mozzarella cheese and place several thin slices of ham, salami, AND luncheon meat! Bob dusted all slices in between with the same cheese mixture, then in the middle of the meats he ladled in spaghetti sauce. Over the top of the meats he sprinkled more of the cheese mixture and then placed the other half of the bread on top. Finally, just as he was ready to seal up the sandwich in foil, he poured more melted butter over all. I cook mine about 20 minutes total in 350 degrees, turning it over about half way to disperse the butter evenly throughout. Finally, to make it authentic, take it out of the oven, and leave it on the counter top for about 15 to 20 minutes to simulate the delivery to Fraternity Row. Always remember to press the sandwich down as well.
I make it a point to make “Pizza Bobs” for every first televised football game of the year and I suggest that you do as well. I make mine exactly like he told me to except for that luncheon meat stuff. I hope that when you make your “Pizza Bob” sandwiches, you’ll think of Pizza Bob. I once heard this said and believe it now to be true: If food were a religion, Pizza Bob would be the High Priest.
My dad and my brother played guitar, but I didn’t start playing until I was a senior at Millsaps, when I was doing an honors thesis that was driving me crazy. I was a huge music fan, but I’d never played anything. I was also writing things like any silly English major in college taking creative writing classes. I’d always liked music as much as or more than I did literature, and songs are easier to write than novels.
I grew up in Mobile, where my oldest and best friend, Will Kimbrough was a professional player, an original song-writing guy from the age of 16 on, an unbelievable record freak. And he was touring! He was our conduit for stuff like The Clash and The Jam; not as much punk as sort of punkish rock-and-roll. Not that I’d call The Clash punk; to me they’re the greatest rock-and-roll band ever. We were lucky there because one guy could change the field.
I’d been in a punk band in Mobile, “Joe Strange”, and I wrote songs then. We weren’t bad; we were okay. But I started playing on stage again when I was in school in Oxford. Law school was so boring, and I was around people who were so incredibly different from me. I was seven years older than most of them, for one thing, and they were all a bunch of Republican yuppies, who with a few exceptions just bored the shit out of me. So I hung out with the quirkier people in Oxford, and I think I wound up there for a reason.
I started writing songs because I knew I was never going to be a hot-shot guitar player; I couldn’t play “Stairway to Heaven”. I knew I was never going to be in a band because I was a great this or that, and I wasn’t going to be just another white dude playing in a blues band, I didn’t want to do that. I didn’t want to play “Mustang Sally”. I didn’t want to be hustling money for playing stuff that I had no business playing, so I didn’t, and for better or worse, this is what I started doing.
When I turned 30 my good friend Eileen Wallace sent me a book she made: she’d made everything, the binding, the paper, the cover. I started writing things in that, and I’ve never stopped. And I’ll tell you, the voice memo function on an iPhone has changed the way I write songs. Now if I’m doing something else, something boring, just driving, or maybe watching a game, I can hit the voice memo, and mumble some stuff, and keep it to work on later. It helps. You know how this is as a writer; it comes, and you only catch a tiny portion of it in the net. My favorite songwriter, Richard Thompson, carries a notebook with him everywhere. It just ups the odds of not losing something important.
When I’m writing songs just for me, as opposed as to for a band or someone else, I always tell myself they have to be okay just to play on an acoustic in front of people. Maybe that’s folk music; I don’t know. If they work like that, it’s okay because a lot of the time when I’m playing, it’s solo. I like to perform; it’s thrilling to play solo, but it’s kind of scary. I mean, it’s just you out there on the tightrope. It’s easier for me to play in front of 100 people I’ve never met than in front of 10 people I know. Denny Burkes is the best musician I know, so if I’m playing in front of Denny, it’s different. It’s like reading some of your stuff at a writer’s workshop instead of reading to a bunch of students. But I like it.
I can’t sing too great, I’m an okay guitar player; nobody’s going to ask me to be a singer in their band. The reason I play and sing is so that I can do my songs. I think once you find the way you get stuff out, if you find it, whether it’s building model planes or whatever, you’re lucky. I’m lucky in that I can write for myself; I don’t have to please anybody else. I don’t have a record executive breathing down my neck, so I can write whatever I want whenever I want. I think music is moving more away from a business and more into an avocation because anyone can make a record now, and hardly anyone can make any money because it’s all free. In a weird way, it’s going back to what it was like for people in the early 20th century when on Saturday nights people played music and traded songs just for the art, for the fun of it. That’s why I do it; I’ve made hundreds of dollars!
I’ve put out two albums. Neilson Hubbard produced the first two; Will Kimbrough will produce the next one. When I get into conversations over what I’m going to do, I always have people who’ll tell me, ‘Well, you need to market yourself; you need to do this, you need to do that …’ and I keep thinking, ‘Okay, why? So I can do what?’ Right now it makes me incredibly happy that I have people covering my songs; I can’t get a bigger compliment. I’ve gotten weird reviews from places like Holland and Belgium, but I think most of that is people see you’re from Mississippi, and they’re like ‘Yeah, yeah, Mississippi!’
I have some songs I’ve been working on for years. “Her Grief is a Man” came easily, out of a difficult situation. Some songs are from personal experience, some are just flat-out, straight-up fiction. I don’t know how that happens. I’ll be on a run, say, and the cadence of the run determines the meter of the song; it just starts. A lot of them start on the guitar. Inspiration is fleeting, but you can up the odds by picking up the guitar and playing one every now and then. You’ve got to work a little bit. If someone covers one of my songs and sends me a bunch of money, great; I’ve had some calls about songs being placed on television, and that hasn’t happened yet, but if it does, it’s great. I do want to make records, and it’s driving me crazy that I’ve not put one out in five years. I love “Leaves of Tennessee” and I have a few more I like very much in this batch. By my standards, it’s going to be a very good record, but it costs money and takes time, and I’ve had things to happen in my life which have made finding the money and time to make a record a relatively low priority.
My daughter, who is the best critic I have. She’ll come in, and I’ll be playing something, and she’ll ask, ‘Is that yours?’ ‘Yes,’ I’ll say, and usually she’ll go something like, ‘Meh,’ but the other day, I’ve got a new one that I just finished, and I heard her humming the chorus. And that’s when you know that it’s a hit; a hit is a hit, whether it hits your house or hits the world. People respond to a good song. What I think is my best stuff, some people don’t. There’s a song of mine called “Levee” that I thought was pretty good; I was trying to write something different, a two-step, and I’ve heard a lot of people tell me that’s the best thing I’ve ever written.
What I hope that means is that the more I write, the higher the bar is raised and that my weaker songs in the next batch will be better on average. And that’s a great thing.
My recipe is a riff on that of fellow Calhoun Countian April McGregor, who knowingly writes that kneading makes biscuits heavy.
To 3 cups soft flour sifted with two teaspoons baking powder, cut in a cup of cold cooked sweet potatoes, one stick cold butter sliced into pats. You can add chopped pecans if you like. Combine and quickly mix by hand to a rice-like consistency. Add enough cold buttermilk to make a sticky dough.
Pat out on a floured surface, cut with a sharp edge, and place in a lightly oiled skillet. Don’t use a cake tin, or you’ll burn the bottoms. Place on an upper rack in a hot oven, and bake for about 15 minutes.
Mix a cup of molasses with a quarter cup water in a small saucepan; add a few slices of ginger and simmer until thickened.
We of an age remember Watergate as a by-word for what seem in retrospect the petty political machinations of a former day, but the younger likely find it nothing more than a name.
BATTER 1 box white cake mix 1 cup oil 1 pkg. instant pistachio pudding 1 cup lemon-lime soda 3 eggs 1/2 cup chopped pistachios 1/2 cup shredded coconut
Bake batter in two greased and dusted 9-inch round baking pans. Whip Dream Whip and milk into peaks, gradually add pudding mix and keep beating into a fluff. Assemble cooled cake, frosting between layers, then frost completely. Refrigerate overnight, and top with crushed pistachios and grated coconut. before serving.
Cream soups add a warm touch to any cool-weather occasion. These soups involve many of the same procedures and ingredients as others: aromatics, broth, vegetables, or seafood, but with an enrichment of cream.
In my experience, a bisque (“twice cooked”) usually refers to a cream soup containing seafood such as shrimp, crawfish, or lobster, though some tomato cream soups fall into the category.
If you happen to be a domestic deity and have homemade stock on hand, then by all means use it; if not, use a quart of store-bought. Add a cup of diced onion, celery, and carrot along with a few pinches of thyme and parsley. Let it sweat on a low heat for about an hour or so. Strain and set aside.
Make a light roux with a ½ stick of butter and a quarter cup of plain flour. Drizzle into the stock and mix with a whip until it begins to thicken. Add a cup of whole cream and about two cups of your choice of prepared meats or vegetables.
Let soup rest off heat before serving with a little swirl of butter. This recipe makes about about six 12-oz. servings.
Simple and elegant, a nice light side for any formal dinner. Dress peeled, sliced citrus–here blood oranges–with reduced, chilled grenadine, and top with grated coconut and chopped walnuts.
Sure, go ahead and buy one of those puffed-up cardboard glue-filled dyed-and-painted THINGS sold as king cakes. Hell, you’re just going to get drunk and (try to) get laid, and who eats the damn thing anyway, right?
But if you are properly inspired by the carnaval spirit of Shrovetide, then you would find fuller satisfaction in serving a work of your own hands, a creation invested with your love and care, the mirror in a minor way of the sacrifice around which the season is arraigned.
Finding a recipe for a Provençal Twelfth Night couronne briochée (crown brioche) was surprisingly problematic, and here is where I thank my friends the Bucklers for their cogent translation. The recipe may seem daunting at first, but it’s nothing more than a simple light bread, sweet-“ish” and rich with a dense texture, and as with all basic breads the emphasis is on procedure rather than ingredients.
Let me encourage you to make a test version some time before you plan to serve the cake to ensure a more perfect presentation. Also, instead of a plastic baby or some such nonsense, make the crowning ‘prize’ a piece of dried fruit—I use an apricot—and for goodness sakes just use a simple glaze such as a marmalade or a syrup—fig preserves are wonderful—with candied fruit for a topping instead of glitter and spray paint. Let the good times roll!
2 cups of well-sifted flour 1 packet active dry yeast 1/4 cup sugar Zest from 1/2 orange 1 egg 2/3 stick softened butter 1/4 cup warm orange flower water (optional) or water
Put the water and orange flower water into a bowl, add the yeast, stir until dissolved and set it to the side to bloom. In another bowl, whisk the egg with a fork. Pour the flour into a mixer bowl, making a well in the middle. Add the sugar, orange zest, the water/yeast mixture as well as the beaten egg into the well. Mix on low, adding the butter in pats and continue to mix for 5 minutes alternating between low and high speed. Scrape the dough—it should be very sticky—into a large oiled bowl, cover with a clean cloth and leave it to rise for 2 hours (no more than 3 or a crust will form).
Line a baking sheet with parchment paper, dust lightly with flour and turn the dough out on this surface. Then sprinkling with more flour as needed to make the dough manageable, re-form the ball on the baking sheet and push your thumbs in the middle of the ball, all the way down to the baking sheet to form a crown. Turn the dough to widen hole, then cover with a cloth and let rise for another hour and a half or thereabouts. At this point, you can also refrigerate the covered dough overnight and bringit to room temperature before baking in the morning. The finished dough only takes 15-20 minutes to bake in a hot (400) oven until golden brown. Glaze, decorate and enjoy!
The most cherished and versatile element of my batterie de cuisine is a well-seasoned 6” cast iron skillet I inherited from my sister Cindy, who called it her “baby skillet”.
Now, Cindy called anything of a diminutive nature “baby”; a hand spade was a “baby shovel” and I swear I once heard her call Massachusetts a “baby state”.
“Cindy,” I said, “It’s the Bay State.”
“That’s not what I said,” she replied with a sharp glance. I let it drop; I’d learned a long time ago you can’t win an argument with a big sister.
This skillet is just the thing you need to use for baking in small amounts. This little honey is perfect for good half-dozen (or four catheads). It’s also ideal for a pan of cornbread that will feed at least four easily, and a meat loaf that will feed three. When it comes to baked pasta, I would dearly love to have three more of these skillets to use for a manicotti party, one pan of four for every two people.
They’re also inexpensive, but if you’re lucky, you get one from someone you love.
The following article, written by Col. M.D.L. Stephens, appeared in Calhoun Monitor in 1900, was reprinted June 18, 1931 and on in July 6, 1972 The Monitor-Herald. It later appeared in the newsletter of the Calhoun County Historical Society MS, First Quarter, 2000. This colorful account of a traveling circus touring north central Mississippi at the turn of the last century gives you a stiff dose of Colonel Stevens’ wry humor.
In 1856, Old Dan Rice, the celebrated clown and circus showman, made a venture through Calhoun County, striking Benela first, next day at Pittsboro and thence over to Coffeeville. Being a man of extraordinary abilities and sagacious comprehension by nature as well as the experience of extensive travel, it took him no time to discover the prominent characteristics of the denizens of that inland county.
Really he did not expect to find so far out in the interior a class of people so intelligent and independent. Calhoun’s citizenship made no pretensions in those days at style rather on the grotesque order. Such a combination, Old Dan, in all of his travels, had never struck before. Evidently their mark made its impression upon his mind as the independent sovereignty he had ever come across in all of his travels, so much so that at his next performance in Coffeeville the next day, he got off some laughable jokes at their expense, which were heartily enjoyed and applauded by her sister county-men attending the circus that day.
The first one the writer remembers was by Old Dan on his little trick mule in the grand entry, which always captivates the audience into an enchanted trance. I may say as they emerge from the dressing tent, indeed there is a charm about the “Grand Entry” of a circus; irresistible, even with the most stable-minded—the beautiful horses of varied colors, the riders in their dazzling costumes, will surely product the same effect that it did upon St. Peter, when that panorama of four-footed beasts descended to earth from the heavens.
After this parade, leaving the ring-master with his whip in hand, Dan Rice and his mule made possession of the ring to round up this initial act with something ludicrous. He made many circuits around the ring, imitating each round some laughable incident real or imaginary. Finally to close the scene, he humped himself as awkwardly as he could, at the same time remarking, “This is the way the Schoonerites rode into Pittsboro yesterday, coming to see Old Dan.”
Of course this brought forth a yelling applause from the Yalobusians. About the same time, however, the little mule was nearing the exit gap in the ring, apparently tired of the game all at once as if imitating his rider, got a vigorous hump in his own back, and just at the gateway, made a sudden stop, sending the clown forward like a flying squirrel, spreading him out in good shape in the dirt, instantly darting in to the dressing tent.
After a few seconds of suspense, Dan rose, hobbling about as though he was disjointed and a fit subject for the hospital for several weeks at least. At this juncture, the ringmaster in way of reproof said, “Oh, yes, my laddie, see what you get by making invidious comparisons?” To which the clown said pathetically, “Master, do you reckon that dang little mule was taking up for them hossiers in Calhoun County?”
“Why, sir, of course he is; he knew every word you said, besides he has relatives over there, didn’t you see them?” “Dad drat it, them was the fellows I saw riding that way?” “Yes, sir,” said the ringmaster. Cogitating a moment, Old Dan came back to his master, “Say, Mr. Ringmaster, if you wanted to get out of this world without dying, where would you go to?” “That, sir, is an impossibility; no man can get out of this world unless he dies.” “No! I know where to get out of this world without dying,” said Dan. “And where would you go, sir?” “Why, just over the Schooner, into the Free State of Calhoun!”
The rebel yell followed this enunciation. Many Schoonerites present and their generous natures added in the eclat of that day. In this tour of Dan Rice of Mississippi, The Memphis Appeal had accompanied the show, and reporter and solicitor, and this joke upon Calhoun County seemed to be enjoyed and relished with such tenacity that this reporter sent it to the office and a few days after I read in the humorous column of that paper a verbatim account of Dan’s act in Coffeeville. Afterwards, I heard Old Dan kept the joke all through North Mississippi, which gave the county that notoriety as “The Free State of Calhoun”, and will no doubt follow her through the decades to come. Thus Calhoun County bears that name and is amply able to take care of herself amid exigencies of any sort.
