Receitas de coquetéis, destilados e bares locais

Le Grand Fooding 2013 une o melhor de Paris e L.A.

Le Grand Fooding 2013 une o melhor de Paris e L.A.

Duas das capitais gastronômicas do mundo combinam forças para um piquenique urbano vibrante e pouco ortodoxo

Paris e LA unem-se para celebrar uma apreciação mútua.

Depois de quatro anos em Nova York, o anual Le Grand Fooding O evento será transferido para Los Angeles nos dias 26 e 27 de abril. O piquenique urbano, que contará com a colaboração de alguns dos melhores e mais brilhantes chefs de Paris e de Los Angeles, será instalado em frente ao The Geffen Contemporary no Museu de Arte Contemporânea ( MOCA) no centro de Los Angeles. O evento com 650 participantes por noite também contará com os melhores DJs e designers gráficos (incluindo o artista de rua Shepard Fairey) de ambas as cidades.

Os chefs parisienses participantes incluem Jean-François Piège (Restaurante Jean-François Piège), Inaki Aizpitarte (Le Chateaubriand), Grégory Marchand (Frenchie) e Sven Cartier (Saturne). Chefs Nancy Silverton (Mozza), Ludo Lefebvre (Trois Mec), Roy Choi (Kogi BBQ), Josef Centeno (Bäco Mercat), Jordan Kahn (Remédio vermelho), e Carolynn Spence (Château Marmont) representará Los Angeles.

De acordo com a representante do evento Anna Polonsky do Le Fooding, algumas das colaborações mais esperadas incluem uma "pizza potável" de Piège e Spence que pretende reinterpretar "o clássico prato de comida de rua americano [por] temperá-lo criativamente com deliciosos queijos da França . " O evento também tem a honra de anunciar o envolvimento de Nancy Silverton, pois simboliza o apoio de uma geração culinária anterior às inovações interessantes da geração mais jovem.

Para os nova-iorquinos que podem lamentar a mudança de local deste ano, Polonsky garante que um segundo evento de 2013 na cidade de Nova York está programado para setembro.

Os ingressos estão disponíveis no site do evento a partir de 2 de abril, mas uma pré-venda está disponível até então para titulares de MasterCard. Água S. Pellegrino de cortesia estará disponível durante o piquenique e vinte por cento da receita do ingresso irá para o LA Food Bank e MOCA.


6 eventos de comida e bebida de primavera em Los Angeles

Já escrevemos muito sobre nosso amor pela cena gastronômica em Los Angeles, com versos e mais versos sobre os grandes enclaves étnicos, jantares noturnos e uma cena emergente no centro da cidade que não parece estar diminuindo. Escrever isso de nosso escritório em Midtown Manhattan, com nosso clima incrível e vizinhos peculiares, meio que nos faz querer mudar para Los Angeles, tipo, em janeiro passado. Também estamos com bastante inveja desses próximos eventos gastronômicos, que vocês deveriam totalmente verificar e talvez descontar algumas milhas aéreas para comparecer.

24 de março
DFC Downtown Brunch Up
O café do Arts District, Daily Dose, receberá Dante Gonzales, um pouco evasivo editor de filmes e experiente em frango frito (leia nossa entrevista), para um brunch fodão. No menu: Ovos mexidos orgânicos com batatas alevinos tradicionais e frango frito Dante’s Sock-It-To-Me. “Eu amo nossos valores eco-frescos compartilhados de sustentabilidade e alimentos honestos”, disse Gonzales sobre a colaboração. Os ingressos custam $ 15 / pessoa. Info: dailydoseinc.com.

25 de março
Assento Animal x Catbird
Josh Habiger e Erik Anderson, a dupla por trás da aclamada sala de degustação de Nashville, The Catbird Seat, estará no Animal para uma noite que temos certeza que envolverá fotos de Fernet Branca. Além disso, muitos cursos. Oito custará US $ 135 por pessoa. Mas achamos que haverá mais, mais, mais! As reservas podem ser feitas ligando para Animal após as 14h00 Hora do Pacífico. animalrestaurant.com

26 a 27 de março
Jantares dos melhores novos chefs em comida e vinho em Paichẽ
Nosso homem da Food GPS, Josh Lurie, nos informou sobre dois eventos que ele está co-organizando F & ampW em breve abrirá izakaya Paichẽ peruana. É o terceiro restaurante da equipe atrás de Picca e Mo-Chica (chef Ricardo Zarate e sócio Stephane Bombet). Zarate convidou alguns dos melhores novos chefs para cozinhar com ele em dois jantares incríveis. A chef Naomi Pomeroy de Portland na primeira noite e Jamie Bissonnette / Viet Pham na segunda. Você pode verificar o menu aqui.


Nascido em Nantes, Gilles Epié começou a trabalhar aos 14 anos e treinou com Alain Senderens e Alain Ducasse na Lucas-Carton em Paris. [9] Depois de viajar pelo mundo e estudar culinária global, ele retornou a Paris. Ele recebeu sua primeira estrela Michelin em 1980 no Le Pavillon des Princes, o chef mais jovem a receber o prêmio aos 22 anos. [10]

Ele trabalhou como chef em vários restaurantes franceses notáveis, incluindo La Vieille Fontaine perto de Paris, onde recebeu uma estrela Michelin em 1983, seu restaurante Le Miravile, onde foi homenageado com uma estrela Michelin em 1986, e La Petite Cour em Saint-Germain -des-Pres, Paris. [11] Em 1995 ele deixou a França para explorar a culinária dos EUA, falando muito pouco inglês. Ele trabalhou como chefe de cozinha do icônico restaurante francês L’Orangerie, em Los Angeles, onde apresentou um estilo de cozinha de inspiração provençal. Em um ano, ele foi eleito o Melhor Chef da América de 1996 por Food & amp Wine Magazine. [10] [11] [12] Ele tirou o restaurante das mesas vazias e passou a ser reservado com meses de antecedência, e transformou o estabelecimento de um restaurante de três estrelas em um restaurante de cinco estrelas em seis meses. [12]

Em seguida, ele comprou e administrou o restaurante Chez Gilles em Beverly Drive, em Beverly Hills, junto com o sócio Jean Denoyer. [13]

Tendo dominado a fusão culinária de pratos franceses / californianos, seus clientes incluem atores, supermodelos e políticos de todo o mundo. [12] Ele preparou jantares para os presidentes dos EUA, George Bush, Bill Clinton, Ronald Reagan, Gerald Ford e Donald Trump. Ele também cozinhou para os presidentes franceses François Mitterrand, Jacques Chirac, Nicolas Sarkozy, François Holland e Emmanuel Macron, bem como para o Rei da Suécia, Sheikh do Qatar, Frank Sinatra, Kirk Douglas, Bruce Springsteen, Slash, Al Pacino, Harvey Keitel , Robert De Niro, Chris Tucker, Mick Jagger, Sharon Stone, Michel Polnareff, Gregory Peck, Richard Gere, Pierce Brosnan, Jennifer Lopez, Beyonce, Sophia Loren, Elizabeth Taylor, Princesa Diana, Joan Severance, Zlatan Ibrahimović, Michael Jordan e muitos mais. [14] Após 10 anos nos Estados Unidos, Epié decidiu retornar a Paris depois que seu restaurante de sonho abriu perto da Champs-Elysées. Ele abriu o restaurante Citrus Etoile em 2005 junto com sua esposa, ex-modelo / atriz, Elizabeth Nottoli. Ele nomeou o restaurante em homenagem a seu amigo Chef Michel Richard e seu restaurante em Los Angeles, Citrus. Para comemorar seu lançamento, a revista francesa de notícias Paris Match apresentava Gilles e sua esposa Elizabeth em uma coleção brilhante, fazendo um piquenique black-tie na asa de um jato Boeing da American Airlines. [15] Citrus Etoile foi selecionado como membro da prestigiosa Châteaux & amp Hotels Collection - Tables Remarquables. [16] O jornal New York Times listou Citrus Etoile como um novo restaurante "de visita obrigatória" em Paris em 2006, afirmando que "Chef Epie é um verdadeiro contorcionista culinária." Em 2006, Condé Nast Traveller nomeou o Citrus Etoile como um dos 100 melhores restaurantes do mundo. Citrus Etoile também foi destaque no livro de Alain Ducasse, J’Aime Paris. [17] [18] Após 13 anos de sucesso, o Chef Epié vendeu Citrus Etoile e decidiu retornar à América, um país que ele sempre amou. [19] [20]

O Chef Epié foi o correspondente gastronômico francês da BBC de 2010-2016. Em fevereiro de 2012, ele viajou com outros 4 chefs com estrela Michelin nos cruzeiros Celebrity Chef do MSC Splendida. [21] Em 2012, ele foi convidado a participar da celebração do 25º aniversário do restaurante Luís XV de Alain Ducasse, realizada em Monte Carlo. [22] O Chef Epié também foi apresentado com um pequeno grupo de chefs de renome no livro de receitas "La Truffe" do restaurante Maison de la Truffe para comemorar seu 80º aniversário com 80 receitas de trufas em 2012. [23]

Em abril de 2013, Gilles Epié abriu a Frenchy's, uma brasserie de estilo parisiense no Terminal Internacional 2 do Aeroporto Charles de Gaulle. [24] [25]

Em 2014, o Chef Epié participou como Chef Convidado em um evento beneficente para Michelle Obama em Porto Rico.

Em março de 2015, o Chef Epié foi convidado como Chef Convidado em Nova York para um evento organizado pelo Chefs Club - Food & amp Wine Magazine.

Em 2015, foi Chef Convidado no restaurante La Clef des Champs nas Maurícias para um evento da Semana Gastronómica Francesa. [26]

Em novembro de 2016, o Chef Epié se uniu ao Chef Juan Jose Cuevas para a Série de Jantar do Chef Convidado no Vanderbilt Hotel, um evento gastronômico que aconteceu em Porto Rico. Eles apresentaram um menu gastronômico de sete pratos colaborativos. [27] [28] [29] Em 2016, o Chef Epié foi apresentado no James Beard Celebrity Chef Tour Dinner em Santa Bárbara [30] e também recebeu o prêmio pelo conjunto da obra do FestForum. [31]

Em 2017, junto com outros chefs famosos, Epié cozinhou na segunda edição do festival culinário Cozinha do Sol, no Villa La Estancia Beach Resort & amp Spa no México. [32] Ele também preparou um jantar gastronômico no Hotel IBEROSTAR Grand Paraíso em Cancún. [33]

Depois de decidir retornar aos Estados Unidos, ele vendeu o Citrus Etoile em 2017. Gilles Epié se tornou o Chef Executivo Corporativo em Juvia, Miami Beach em 2018. Ele participou do evento de caridade "Beach Chic" da James Beard Foundation na cidade de Nova York em 2018. [34] [20] [19] [35] [36] [37]

Em fevereiro de 2019, Epié foi convidado como Chef Convidado no The Food Network & amp Cooking Channel South Beach Wine & amp Food Festival (SOBEWFF®). [38]

Em 2019, ele se tornou o Diretor de Culinária / Chef Executivo do exclusivo Montage Beverly Hills Hotel, o restaurante foi renomeado Gilles @ Montage Hotel.

Epié cria pratos franceses modernos com toques americanos e internacionais. A Califórnia influenciou o estilo de cozinhar de Epié e ele é elogiado pelos amantes da comida que se preocupam com o peso. Ele também acrescentou pratos asiáticos e peruanos à sua paleta culinária. Ele é conhecido por criar pratos com sabores ricos e ousados. Sua cozinha inventiva, deliciosa e saudável está em constante evolução. [39]

Ele explica que o segredo de um ótimo prato é sempre usar os melhores produtos sazonais de origem local. [12]

Na televisão, Gilles Epié e sua esposa Elizabeth estrelaram duas temporadas de seu reality show documentário na França para o Canal + / Cuisine +, Grande Chef Dans La Vraie Vie D’un (The Real Life of a Top Chef) que apresentou seu restaurante Citrus Etoile. [40] [41] [42]

Ele também estrelou em 20 episódios (2 temporadas) de "Un Frenchy en cuisine" (A Frenchy in the Kitchen), que foi ao ar na Cuisine + em 2015. [14] [43]

Gilles Epié fez inúmeras aparições na televisão, incluindo: NBC News Miami (2018), [44] KTLA Channel 5 - California Cooking with Jessica Holmes (2019), [45] KTLA Channel 5 (2019). [46]


A refeição clássica de Paris ainda existe?

Aconteceu em MontMartre. & # 8232 Em uma tarde tranquila, em uma rua de paralelepípedos onde Toulouse-Lautrec, Utrillo e Picasso já pisaram, uma pintura a óleo chamou nossa atenção na vitrine da Galerie Roussard, uma das galerias de arte mais antigas e famosas no Butte. A cena do restaurante onírica apresentava garçons indistintos de terno preto em longos aventais brancos passando entre as mesas cobertas por panos vermelhos, uma garrafa de vinho em uma, uma garrafa de água na outra. Evocou uma era há muito desaparecida, um momento congelado no tempo.

& # 8220Impressivo, não é & # 8217t? & # 8221 A pergunta nos assustou. Erguemos os olhos e vimos o rosto barbudo mas jovem do dono da galeria, Julien Roussard, que nos convidou a entrar. De perto, a pintura ganhou vida, garçons correndo de mesa em mesa carregando tigelas fumegantes de pot-au-feu e travessas de frango assado. Com um guardanapo enfiado sob o queixo, uma lanchonete rasgou o que parecia ser uma lagosta. Em outra mesa, um homem e uma mulher estavam de mãos dadas, a comida ignorada na mesa diante deles.

& # 8220Bouillon Chartier, & # 8221 observou Roussard, & # 8220 ainda é um restaurante em funcionamento & # 8221 foi inaugurado em 1896 e agora classificado como monumento histórico. & # 8220Nada mudou ali nos últimos cem anos, e provavelmente nada mudará nos próximos cem. & # 8221

A pintura do artista sérvio Marko Stupar nos levou de volta àqueles dias emocionantes no outono de 1978, quando chegamos pela primeira vez a Paris e Don assumiu o posto de correspondente estrangeiro da CBS News. Nada, então, nos decepcionou: a Torre Eiffel, as casas flutuantes e as barcaças no rio Sena, a Catedral de Notre Dame e os majestosos Champs - & # 201lys & # 233es eram exatamente como tínhamos imaginado. Mas foram os restaurantes que realmente nos deslumbraram. É claro que ouvimos muito sobre as glórias da culinária francesa, mas nada nos preparou para a experiência. Mergulhamos na cena gastronômica com apetites intermináveis, adorando em templos de alta gastronomia como La Tour d & # 8217Argent, Ledoyen e Taillevent, mas sem esquecer de prestar homenagem aos cafés e restaurantes menores e mais modestos. Fomos fisgados.

Na França, comer tradicionalmente tem sido algo mais do que saciar a fome. & # 8220Um profundo amor por boa comida e vinho sempre permeou a sociedade francesa e a identidade do país & # 8217 & # 8221, diz Alexander Lobrano, autor de Hungry for Paris: The Ultimate Guide to the City & # 8217s 109 melhores restaurantes, um dos guias mais atenciosos disponíveis atualmente. & # 8220A frase francesa les arts de vivre (as artes de viver) inclui boa cozinha e transmite a profunda seriedade com que os franceses compram, cozinham e consomem alimentos. Eles falam e pensam sobre isso constantemente. & # 8221 Stupar & # 8217s a pintura articulou les arts de vivre perfeitamente. O movimento e a energia de um restaurante, a cor, o sabor e a textura da comida e o cuidado com que foi preparada. A celebração e sensualidade do ato de comer.

Mas a pintura também nos lembrou como os restaurantes de Paris mudaram ao longo dos anos, desde a nossa primeira visita. E, em muitos casos, para pior. Certamente tínhamos nos tornado mais seletivos, senão mais exigentes com a idade: agora autores de alguns livros sobre vinho e veteranos de 35 anos que moravam na cidade, não estávamos mais trocando palavras. Comer em Paris tornou-se para nós uma experiência cara, muitas vezes decepcionante. Estávamos cansados ​​de ter que ligar com semanas ou meses de antecedência para fazer reservas. Os preços dispararam. Os proprietários de lugares pequenos e aconchegantes, que passamos a conhecer como bons amigos, haviam se aposentado ou falecido. Com o tempo, também nos afastamos.

Mas aquela pintura de Bouillon Chartier nos atormentou com pensamentos de prazeres perdidos. Quando um amigo comparou nosso hábito de não comer fora em Paris a visitar o Louvre e não ver a & # 8220Mona Lisa & # 8221, sabíamos que algo precisava mudar.

A sala de jantar do Bouillon Chartier em 2013 (Fred Dufour / Getty Images)

Mas por onde começar? Bem como um visitante de primeira vez, nos sentimos perdidos e confusos. Tiramos a poeira de nosso confiável Michelin vermelho, embora desatualizado, mas como ele poderia competir agora com a pilha de guias de viagem muito mais recentes, muitos blogs e dezenas de sites de crowdsourcing na Internet? Decidimos começar com alguns lugares que lembramos dos velhos tempos.

Primeira parada, Val d & # 8217Is & # 232re. Como o primeiro lugar que comemos quando chegamos em Paris, foi o nosso favorito sentimental. Perto dos Champs - & # 201lys & # 233es, perto do Arco do Triunfo, a charmosa e antiga brasserie exibia antigos esquis de madeira nas paredes, juntamente com fotografias de campeões de esqui do passado. Os mesmos garçons sempre nos serviam e cuidavam muito bem de nós. Além do plat du jour, o menu nunca mudou. Val d & # 8217Is & # 232re parecia eterno.

Para nosso desânimo, descobrimos que não era: o Val d & # 8217Is & # 232re havia sido transformado em um bar com tema africano chamado Impala Lounge. Não podíamos suportar entrar.

Em seguida, abordamos Jamin, que lembramos como um pequeno restaurante simples, mas elegante, & # 8212, não muito longe do apartamento em que vivemos pela primeira vez, perto da Place du Trocad & # 233ro & # 8212, que o proprietário amante de equinos havia decorado com gravuras de cavalos famosos. Desde nossa primeira visita em 1978, a propriedade mudou, com o restaurante a certa altura se tornando a casa do célebre chef Jo & # 235l Robuchon, que ganhou sua terceira estrela Michelin lá.

Para nosso alívio, Jamin havia voltado às suas raízes mais humildes como um sólido restaurante de bairro, servindo comida deliciosa em um ambiente descontraído, caloroso e amigável. Don & # 8217s grelhados delicadamente & # 160coquilles Saint-Jacques & # 160(vieiras) foram servidas em uma cama de & # 160cr & # 232me de poireaux & # 160(alho-poró), enquanto Petie & # 8217s & # 160cannelloni aux l & # 233gumes & # 160(canelones de vegetais) era surpreendentemente rico e repleto de sabor.

Agora, mais confiantes, voltamos ao La Tour d & # 8217Argent, onde desfrutamos de uma das refeições mais espetaculares de nossas vidas. Sentados a uma mesa com vista para o Sena e a Catedral de Notre Dame, comemoramos nosso 25º aniversário, nos empanturrando de foie gras, ovos mexidos com trufas e patinho assado, tudo regado com taças de champanhe e uma sublime garrafa de Borgonha.

A caminho de nossa mesa, passamos por fotos de clientes que incluíam reis, rainhas e estrelas de cinema. Nada parecia ter mudado.

Mas a magia havia desaparecido. O restaurante perdeu duas de suas cobiçadas três estrelas Michelin e recebeu duras críticas da imprensa. Lobrano acredita que muitos restaurantes sofisticados se perderam e se tornaram distantes e condescendentes. & # 8220Os ritos e regras dos jantares tradicionais três estrelas não & # 8217 não faziam mais as pessoas felizes & # 8221, ele nos disse. & # 8220Os preços tornaram-se astronômicos e tudo era muito formal. & # 8221

Um chef que já trabalhou na La Tour d & # 8217Argent concordou. & # 8220Antes dos problemas atuais, os restaurantes gastronômicos eram lugares animados, lugares joviais para se divertir. Mas então criamos museus & # 8212que & # 8217s o que deu errado & # 8212museus com atmosfera pesada. As pessoas querem calor. Precisamos deixar tudo mais leve, inclusive a conta. & # 8221

No entanto, apesar dessas observações terríveis, nunca houve uma época melhor ou mais empolgante para comer em Paris. & # 8220Nos últimos dez anos, houve uma renovação bastante espetacular da paisagem parisiense & # 8221 diz Lobrano, que já comeu em mais restaurantes parisienses do que praticamente qualquer outra pessoa. & # 8220Uma nova geração de jovens chefs realmente talentosos criou um novo tipo de bistrô. É onde hoje se come melhor em Paris. & # 8221

Os parisienses chamam de & # 160bistronomia, & # 160da mistura de & # 160bistrô e # 160e & # 160gastronomia. & # 160Enquanto os bistrôs tradicionalmente apresentavam menus limitados e um ambiente de jantar casual, a bistronomia possui uma variedade de pratos ricos e criativos, muitas vezes refletindo as forças globalizantes. Novos chefs estão chegando da Espanha, Escandinávia, Japão, Austrália e Estados Unidos. Antoine Westermann, que ganhou três estrelas em um restaurante na Alsácia e agora dirige Mon Vieil Ami, resumiu o mundo dos bistrôs quando nos disse: & # 8220Meu objetivo não é impressionar, mas trazer emoção, como uma boa sopa, um verdadeiro boa sopa, tão boa que você não consegue se lembrar da última vez em que comeu a mesma. & # 8221

Quatro anos atrás, o casal americano Braden Perkins e Laura Adrian abriu o Verjus, um restaurante e bar de vinhos perto do Palais-Royal, no coração de Paris. & # 8220É & # 8217s emocionante descobrir produtos franceses pela primeira vez e cozinhar com eles, & # 8221 diz Perkins. & # 8220É & # 8217 emocionante estar na cozinha. & # 8221

Mas não começou assim. & # 8220 Centro de Paris sob ataque de americanos! & # 8221 gritava uma manchete francesa. Hoje é muito diferente. A maior parte da imprensa francesa agora elogia sua culinária, e também a de outros chefs estrangeiros.

& # 8220Há & # 8217s uma verdadeira irmandade entre chefs masculinos e femininos em Paris & # 8221 diz Wendy Lyn, criadora do The Paris Kitchen, um site que serve como o verdadeiro guia interno & # 8217s para a cena culinária. & # 8220Eles são muito abertos e acolhedores. & # 8221

Agora, até mesmo os chefs franceses, muitos dos quais deixaram o país depois de se desiludirem com as tradições embrutecedoras, estão retornando, armados com novas ideias e mais experiência. & # 8220Os cozinheiros franceses estão entusiasmados por cozinhar em seu próprio país novamente & # 8221, disse Perkins. & # 8220Eles estão entusiasmados por fazer algo diferente. & # 8221


O que é um bistrô parisiense

Descrevemos a etimologia do termo bistrô acima, mas qual é a diferença real entre um bistrô e um restaurante?

Eles não são coisas necessariamente diferentes. Um bistrô, ao contrário, é um tipo de restaurante. É mais um restaurante francês descontraído e casual que serve comida geralmente barata que não é preparada de forma muito elaborada. A comida costuma ter uma apresentação mais rústica onde os chefs vão interpretar os clássicos franceses de uma nova forma.

Isso não quer dizer que os bistrôs são de menor qualidade, na verdade eles também podem ser gastronômicos e dignos do guia Michelin. Outra adição quase constante a qualquer bistrô parisiense é uma extensa carta de vinhos de uma região específica da França ou uma mistura de variedades de uvas incríveis.

Outro tipo de restaurante francês em que você pode se encontrar é uma brasserie. Isso se diferencia de um bistrô por ter raízes da Alsácia, e não da Rússia, e é traduzido literalmente do francês como & # 8220brewery & # 8221. Eles, portanto, têm sua história na fabricação de cerveja e geralmente há cerveja na torneira.

Assim, enquanto os bistrôs são menores, mais elegantes e fluindo com vinho, as brasseries são mais barulhentas, maiores e abertas e, além da cerveja, têm ostras, sopa e chucrute.


Conteúdo

Lefebvre nasceu em Auxerre, Borgonha e cresceu em uma pequena vila chamada Charbuy. No início da adolescência, ele expressou seu desejo de ser chef. Seu pai o levou a um restaurante local chamado Maxime e pediu-lhes que dessem a Lefebvre algum trabalho braçal para desencorajá-lo, mas ele adorou. [6] Seu amor por comida começou em sua infância, passando muitos de seus dias na cozinha de sua avó.

Seu treinamento culinário formal começou aos 14 anos no restaurante L'Esperance em Vézelay sob o chef Marc Meneau, onde trabalhou por três anos. Ele então passou a trabalhar com Pierre Gagnaire em seu restaurante homônimo em Saint-Étienne (agora fechado), depois com Alain Passard em L'Arpège, onde ele treinou no que ele descreve como "a escola de fogo", aprendendo a controlar e brincar com o calor. [6] Ludo concluiu seu treinamento formal em francês com Guy Martin em Le Grand Vefour, de quem afirma ter aprendido o lado empresarial da indústria alimentar. [6] [7]

Editar restaurantes

Em 1996, Lefebvre mudou-se para Los Angeles, onde começou a trabalhar na L'Orangerie a convite de Gilles Epie, que era o chefe de cozinha na época. [8] Cerca de um ano depois, aos 25 anos, ele foi promovido a chef executivo e viu o restaurante se tornar um dos mais bem avaliados da Califórnia, recebendo o prêmio cinco estrelas Mobil Guide.

Em 2004 mudou-se para o restaurante Bastide no Melrose Place, que também recebeu o prestigioso prêmio cinco estrelas Mobil Guide sob sua direção. Os pratos que ele criou lá incluíam panini au foie gras com acompanhamento à base de damasco, poularde marinado em Pepsi-Cola com pipoca e panna cotta coberto com caviar em molho de caramelo com manteiga salgada. Depois que o restaurante fechou para reformas, ele decidiu não voltar. Por capricho, Ludo perguntou a seu amigo dono do Breadbar, Ali Chalabi, se ele poderia assumir a padaria à noite por 3 meses, quando ela estava fechada de outra forma. Lá, ele criou uma experiência gastronômica de evento especial que acabou se tornando conhecida como LudoBites e foi considerada por LA Weekly O crítico vencedor do Prêmio Pulitzer, Jonathan Gold, como "um momento de transformação na cena de restaurantes de Los Angeles". [9]

Ele criou o menu de abertura do restaurante Lavo [10] no Palazzo em Las Vegas, e voltou a Los Angeles em 2009. Em maio daquele ano, Ludo reviveu seu conceito de jantar para eventos especiais LudoBites na Breadbar por mais 3 meses. Depois de uma segunda corrida extraordinária, ficou claro que LudoBites estava aqui para ficar, e o conceito de "restaurante pop-up" nasceu. Ele fez nove pop-ups LudoBites no total em Los Angeles e um no Havaí, quebrando o OpenTable duas vezes e marcando 6 semanas de reservas em 47 segundos. [11]

bom apetite chamou Ludo de "o rei dos pop-ups". O escritor de culinária Richard Guzman escreveu sobre sua experiência neste local: "Fiquei triste. A refeição acabou. De certa forma, comer no Ludobites é como ficar com alguém fora de sua liga durante as férias sem nenhum de seus amigos por perto. testemunhar e nenhuma chance de replicar a experiência. " [12] O restaurante alcançou aclamação nacional quando New York Times o crítico de restaurante Sam Sifton resumiu sua experiência em um artigo em 3 de agosto de 2010: "A primeira noite comendo tudo isso foi uma surpresa. A segunda foi cerca de dez vezes melhor - cada prato executado perfeitamente, com todos os sabores no lugar, todas as temperaturas corretas, cada prato era uma obra de arte totalmente realizada. Era apenas a quinta noite em que o restaurante estava aberto. " [13]

Em setembro de 2010, Ludo levou frango frito para as ruas de Los Angeles ao abrir seu food truck, conhecido nas ruas como "LudoTruck". Em outubro de 2013, Ludo levou seu conceito de frango frito para o próximo nível, abrindo sua primeira loja física, LudoBird, dentro de STAPLES Center. [14] Em março de 2016, a segunda localização do LudoBird foi inaugurada no City Walk, Universal Studios Hollywood.

Ludo agora está sendo creditado por carregar a bandeira do moderno restaurante fino de Los Angeles, inaugurando Trois Mec em abril de 2013 em parceria com os amigos Jon Shook e Vinny Dotolo. [15] Trois Mec ganhou 4 estrelas de ambos Los Angeles Magazine e LA Weekly, [16] foi nomeado o melhor restaurante novo por ambas as publicações, foi nomeado para Escudeiro Best New Restaurant List da revista para 2013, [17] incluído na GOOP - Lista dos melhores menus degustação do mundo abaixo de US $ 100 [18] e fez parte da lista do Zagat dos 10 melhores restaurantes mais quentes do mundo para 2013. [19] Comida e vinho Revista premiada Trois Mec com o melhor prato de restaurante de 2013 [20] e GQ colocada Trois Mec # 2 em sua lista de Melhores Novos Restaurantes do país para 2014. [21] LA Weekly o nomeou como o melhor restaurante de Los Angeles em 2014 e 2015. Trois Mec também foi listado como # 34 na lista dos 100 melhores restaurantes dos EUA em 2015 no popular blog Opinionated About Dining. [22]

Em julho de 2014, Ludo abriu seu segundo restaurante, Petit Trois, seu conceito "bar-a-la-carte". Eater LA chamou-o de "a inauguração de restaurante mais esperada em 2014." [23] Petit Trois está localizado ao lado de seu restaurante irmão, Trois Mec. Foi premiado com quatro estrelas por LA Weekly O crítico gastronômico Besha Rodell disse: "É ao mesmo tempo um dos restaurantes mais modestos e ambiciosos de se abrir nos últimos tempos. É uma carta de amor para outra cidade, escrita em comida, por um de nossos maiores poetas culinários." [24] 'Jonathan Gold, que já havia se mudado de LA Weekly ao Los Angeles Times, escreveu que "pode ​​não haver melhor prato de escargot na cidade do que no novo Petit Trois. "[25] Lesley Balla para Angeleno A revista chamou-o de "Petit Perfection", dizendo "este é um bistrô de bairro para verdadeiros artistas, afinal, criado por estrelas do rock da culinária. E, sem surpresa, é um sucesso estrondoso." [26] Petit Trois foi finalista James Beard em 2015 de Melhor Restaurante Novo. [27]

Aparições na televisão Editar

Em 2006, Ludo apareceu em Iron Chef America, desafiando Mario Batali em uma batalha de Big Eye Tuna, onde Batali prevaleceu. [28] A partir de 2009, Lefebvre apareceu na primeira e segunda temporadas de Top Chef Masters. [29] Ele foi um juiz convidado na 8ª temporada de A cozinha do inferno em 2010. [28] Em 2011, ao lado de sua esposa, Krissy, ele estrelou uma série de sete episódios intitulada Ludo Bites America no Canal Sundance. [29]

Em janeiro de 2013, Ludo se juntou a Anthony Bourdain e Nigella Lawson como juiz / mentor no programa de competição de cozinheiros do horário nobre da ABC chamado O gosto, e foi nomeada a "estrela emergente" do programa pelo New York Times. Retornando nas temporadas dois e três ao lado de Bourdain, Lawson e Marcus Samuelsson, Ludo foi declarado o mentor vencedor da série de competição de sucesso na segunda temporada. Além disso, Ludo estrelou ao lado de Bourdain e Lawson na versão britânica do show em 2014, onde "Team Ludo" levou para casa o troféu e ele foi declarado o mentor vencedor.

Outras aparições na TV incluem: The Today Show, Access Hollywood, Extra !, CNN Money, The Talk, Carson Daly, NPR Morning Edition, The Rachel Ray Show, Good Morning America, Andrew Zimmern's Bizarre Eats e um episódio muito especial de Sem reservas em sua cidade natal na Borgonha. [28]

Em 2016, ele foi apresentado como o chef anfitrião na 5ª temporada de Mind of a Chef. Episódios completos podem ser encontrados no site The Mind of a Chef. Episódios completos

Ludo também compartilha seu amor por refeições caseiras ao criar a série exclusiva para a web, Ludo à la Maison. Você pode conferir os episódios no site do Ludo, ou em www.foodandwine.com [30]

Em 2020, Ludo apareceu na série culinária de Selena Gomez, "Selena + Chef".

Edição de livro

Em 2005, Lefebvre lançou seu primeiro livro, Almeje: a festa dos cinco sentidos. [31] Ele categoriza receitas por sentido: "Ver", "Tocar", "Cheirar", "Ouvir" e "Saborear". [31] O livro ganhou o segundo lugar na categoria de livros de receitas na New York Book Show. [32]

Em 2012, LudoBites: receitas e histórias dos restaurantes pop-up de Ludo Lefebvre foi liberado. [33] LudoBites é uma crônica e um livro de receitas, contendo contos da carreira deste "rock star" do mundo da culinária e a história completa de sua brilhante inovação, o restaurante "pop-up" ou "touring" que se move de um lugar para outro.

Em 2015, Lefebvre lançou uma edição especial do 10º aniversário de seu primeiro livro de receitas, Almeje: a festa dos cinco sentidos, com nova fotografia, uma nova foto de capa de Lionel Deluy e uma campanha de arte de capa de crowdsourcing em conjunto com a Talent House. Centenas de inscrições vieram de todo o mundo e, finalmente, o design da capa foi concedido a Charles Stanley Doll IV. [34]

Edição de prêmios

Ganhando destaque no mundo culinário, Ludo foi finalista do prêmio James Beard Foundation "Rising Chef Award" em 2001, e foi nomeado pela Relais & amp Châteaux como um dos 50 maiores chefs do mundo. O restaurante dele Petit Trois foi finalista James Beard em 2015 de Melhor Restaurante Novo. Em 2017, Ludo foi finalista do prêmio James Beard de Melhor Chef West, bem como de Melhor Programa de Culinária por sua atuação em The Mind of a Chef.

No verão de 2017, Ludo fez uma participação especial no filme da Apple, The Rock x Siri "Dominate the Day" ao lado de Dwayne "The Rock" Johnson.

Cozinhar em casa é muito importante para Ludo e ele criou uma série de vídeos caseiros, intitulada "Ludo à la Maison", demonstrando receitas caseiras com histórias divertidas de sua vida na França e cozinhas profissionais. Episódios são filmados na cozinha de sua casa e distribuídos em www.foodandwine.com. Os pratos incluem Mousse de Chocolate Moules la Creme Sole Meuniere Costeletas de Cordeiro Ratatouille Ilha Flutuante de Nhoque Parisiense e Bife Frites. Os episódios são lançados duas vezes por ano. No verão de 2017, 28 episódios foram produzidos. A esposa e parceira de negócios de Ludo, Krissy, produz os vídeos em parceria com a Big Tex Entertainment, Diretor Jeff Ross.

Editar outras aparências de mídia

Em outubro de 2018, Lefebvre apareceu no programa do YouTube Feast Mansion no canal First we Feast with Joji e Rich Brian. [35]

Em agosto de 2019, Lefebvre fez outra aparição no programa do YouTube Feast Mansion do canal First we Feast. [36]

Lefebvre was the guest chef in the first episode of Selena + Chef, Selena Gomez's cooking show on HBO Max.

Lefebvre has described his food as "French with an international flavor." Some of Ludo's best-known dishes include rack of lamb in a caraway-seasoned broth with baby vegetables, entrecôte with vanilla flavored potato purée, and cardamom and pericarp pepper encrusted lamb. [1] He has been known for using over 200 spices and believes that his most unusual "truc" (technique) is making crême chantilly with fats other than cream, which he learned from Pierre Gagnaire, and his favorite cookbook is Le Pyramide Cookbook by Fernand Point.

Lefebvre resides in Sherman Oaks, California, with his wife Kristine and their twins, Luca and Rêve.


Tuesday, March 8, 2016

Plume -- Restaurant Review

24 Rue Pierre Leroux
75007 Paris
Tel: 01 43 06 79 85
Bus: 89, Metro: Vaneau (10) & Duroc (10&13)
Closed: Sundays & Mondays

This restaurant newly opened about 2-months ago. There's a lot of hype from the local media (e.g., Le Fooding), so our good friend J suggested we go. The restaurant is in the 7eme, a very posh area of Paris. As you entered the restaurant you notice that it's quite small, very tight, but not uncomfortable. There are 20 seats, not including a high table to the right as you entered that had a very tall table, almost like a tall bistro table for two.

At first impression the wait staff were very attentive, they took our jackets and asked us what we wanted to drink. Foregoing aperitifs, we ordered our usual one bottle each of white and a red. We perused the menu, and they had a very reasonable prix fixe menu as well as their à la carte menu.

All the restaurants I have been to since the start of 2016 gave us an amuse bouche, so I thought it interesting that they did not provide an amuse bouche, but that's OK, it was just something I noted.

JJ and I decided to get the prix fixe menu, whereas our friend J went à la carte menu.

Voluté de champaignons rosés, (Cream of chestnut mushrooms). We all got this dish. J did note that there were hints of truffles in the soup. Interesting, none of us at the table really care for truffles, but despite the inclusion of the truffles we found the dish just ordinary. It was creamy, had good flavoring, and with the 3-added croutons it gave a nice textural element, But again, just seemed ordinary and did not wow any of us.

Lieu noir, flower-sprout et beurre d'estragon, ("Coal fish" (pollack), flower-sprout and tarragon butter). JJ and I had this dish. The fish was perfectly cooked. The skin was crispy and the flesh was extremely moist. That's where it ends, there's a saying in French, "C'est fade" meaning it's bland. When I say bland it was painfully under-seasoned. Thank God the wait person gave us some "sel de mer" coarse sea salt. The greens, which we assumed to be baby kale, on it's own had more flavor than the fish. We were very underwhelmed by this dish.

Margret de canard, topinambours, blettes de couleurs et airelles, (Duck breast, artichokes, chard and cranberries). J ordered this dish. It was a nicely presented dish. I took a bite of the end piece and we both agreed it was over-cooked, almost tough, but as we got closer to the center it was more medium rare. I suppose the cut of the breast which was a bit uneven resulted in an uneven cook. Despite that it was tasty. I did, however, find the artichokes a bit rubbery. Again, a good passable dish, minus the tough ends of the duck.

Ananas roti, chèvre frais au citron vert, ( Roasted pineapple, fresh goat cream and lime). Cheese with lime? JJ was not too happy with this dish despite liking cheese and liking citrus. A bad combination. The roasted pineapple also was not endearing.



Tanzania 75% et fruits de la passion, (Tanzania chocolate 75% cocoa and passion fruit). This was probably the highlight of all our meal. The passion fruit ice cream with the chocolate mousse was a nice combination. The passion fruit had imparted a nice tart flavor and the chocolate mouse had a nice strong bitter-sweet chocolate taste which is characteristic of high content cocoa desserts. And, the crumble added a ice textural element to the dish. So, this was our saving dish of the day.


Vielle mimolette 24 mois, (Mimolette cheese aged for 24 months). Like I always say, you can never go wrong with cheese in France. This was a nice aged cheese. As cheese ages, salt crystals form and that's the part of what I love most about aged cheeses. It came with an accompaniment of an apple compote.

This restaurant has been written up as the new upcoming star to watch. Well like I always say, taste is subjective. We unanimously disagreed with the recent brouhaha about this restaurant. The restaurant is cute enough and the noise levels fluctuated between 70.9dB and 76dB, which is acceptable. The service started out great, but then it faltered. First of all, when we ordered our red wine, not only did the server not give any of us a chance to taste the wine, he poured a full glass for JJ and left. Having lived in Paris since 2008 I have to say that was a first for any of us, and the WEIRDEST experience ever. The French take such great pride in their wines, and to not allow us to taste it first, this act was almost treasonous. Secondly, after we finished our main courses we asked to get the menu back so we could look at the desserts, our wait person said OK, put on her jacket and left the restaurant to have a cigarette and/or make a phone call? We of course had to wait until she finished her cigarette but still had to ask the other waiter to bring us the menu. The service staff in the restaurant are pleasant enough, but really?

Now onto the food. The prices are reasonable and they have a nice selection of wines (JJ wouldn't know since his clipboard menu did not include the list). But the food was very underwhelming. The soup was ordinary, but it was tasty. And, although the fish was cooked perfectly, I can only describe it in one word, 'BLAND.' The duck was unevenly cooked. The saving grace for this whole meal was the chocolate and passion fruit.

We had two bottles of wine a red Terra Lisa 2013, and a white Eric Chevalier les 3 bois. The red was a nice light bio red wine with more rounded edges, whereas the white was also light, but much dryer. With two prix-fixe menus, one a la carte of 3-courses, and one coffee our meal came to 138€ for 3-people. I personally would not go back.


Divine Restoration: Église Saint-Germain-des-Prés, the Oldest Church in Paris

Halfway through a major five-year restoration, the Église Saint-Germain-des-Prés – the oldest church in Paris – is emerging phoenix-like from its time-worn gloom. Jennifer Ladonne investigates

No neighbourhood in Paris captures the imagination like Saint-Germain-des-Prés. In the minds of Parisians and visitors alike, it conjures a long history of sparring intellectuals and trailblazing authors and artists, whose preferred cafés and watering holes still figure prominently in the glamorous Left Bank lore. But the most enduring star in this heady constellation is the church that gave this borough in the 6th arrondissement its name. An abiding presence in the heart of the capital, the abbey has remained a steadfast symbol of Paris for visitors from all countries, faiths and walks of life.

Restored pillars, Église Saint-Germain-des-Prés. © AGENCE PIERRE-ANTOINE GATIER, P. VOISIN

A BRIEF HISTORY

A few rebuildings and a relatively brief desacralisation aside, the Église Saint-Germain-des-Prés has presided over the neighbourhood in exactly the same spot for more than 1,450 years, since the time of the first kings of France. King Childebert, the son of Clovis I, founded the church and monastery in 543, far enough from the marshy banks of the Seine to avoid flooding but close enough to profit from the river basin’s fertile meadows (prés) First named Saint-Vincent, the edifice was founded to house holy relics and the tunic of Saint Vincent of Saragossa, Spain, and was headed by Bishop Germain d’Autun. After his death in 576, Autun was sainted and the church rededicated to Saint Germain (who was buried there, along with all the Merovingian kings, until the late 8th century, when they were reinterred at Saint-Denis, Paris’s official royal necropolis).

Monks Choir before restoration. © Agence Pierre-Antoine Gatier, P. Voisin

The earliest abbey was richly dressed in a style befitting its status as a major pilgrimage stop. Adorned with tall marble columns, opulent paintings, mosaic tile floors and a gilded copper-clad roof that reflected the sunlight, the abbey was also endowed with vast tracts of fertile lands along the Seine and beyond. Besides a worn cornerstone still visible just inside the stunning Saint-Symphorien chapel – to the immediate right of the church entrance – and a marker for Saint Germain’s original tomb, there are no visible remains of the original edifice, which was looted and burned by rampaging Normans towards the end of the 10th century.

Restoration underway. © Agence Pierre-Antoine Gatier, P. Voisin

But, around the year 1000, a new basilica rose from the rubble in the newly-fashionable Romanesque style. The well-trodden entrance porch and central nave of that structure make up the oldest part of the church still standing today. By 1150, a grand remodelling project was underway, one of the very first to use the Gothic style in its arcades, three-tiered false loggias, arched windows and rounded ambulatory, all still visible today, as well as three towers (only one is still standing) and elegant flying buttresses – an innovation that predated those of Notre-Dame Cathedral, whose ground-breaking took place in 1163, almost simultaneously with the dedication of the restored Saint-Germain basilica.

By the 1630s the abbey was a major intellectual centre of France, along with the nearby Sorbonne, with which it exchanged – and squabbled over – land. Thanks to donations, purchases and a host of famous resident scholars, the abbey’s library, stocked with thousands of rare manuscripts painstakingly hand-copied over the centuries by the monks, was one of the largest and most important in France.

Waiting for restoration. Photo: Jennifer Ladonne

But the Revolution would dispense with all that. The monks were disbanded in 1790, and physically expelled from the monastery in 1792, all resisters executed. The church and its buildings were repurposed as a refinery for saltpetre, a major component of gunpowder. Predictably, in 1794 a fire broke out in the factory, causing a powerful explosion that destroyed almost everything but – miraculously – the basilica itself, which remained desacralised until the closure of the factory in 1802. If you linger on a bench in the abbey garden to the left of the entrance, you will sit among the few remaining fragments of the monks’ dwellings.

Though services resumed in 1803, the Revolution had taken an immense toll on the church and, despite various restorations, by the 1820s parts of the edifice were in danger of collapse. City architects (the abbey was now the property of the City of Paris) declared the church unsalvageable, while parishioners and other champions, including Victor Hugo, lobbied passionately to save it. And so, around 1840 began a major restoration – one that would last more than 30 years, spanning both the Second Empire and the Third Republic, resulting in the church we see today.

Restored pillars, virgin found in parking lot excavation, nearby on Place Furstenburg. Photo: Jennifer Ladonne

REDISCOVERED SPLENDOUR

Until 2016-2017, when the restorations on the sanctuary began, visitors to the abbey received an almost paradoxical first impression: the steep, graceful uplift of its Gothic pillars and delicate vaulting in marked contrast with its dusky, vaguely brooding interiors. A dolorous effect was created by years of water damage and grime darkening the walls and arched stained glass windows – some dating back 1,000 years – and obscuring the exquisite decorative wall paintings and murals languishing from the 1840s restoration. Much of the mystique and the unique identity of the abbey are thanks to these murals, most notably the works of Hippolyte Flandrin, a celebrated student of Jean-Auguste-Dominique Ingres, who studied in Rome and was deeply influenced by Italian painting and fresco techniques.

Philippe Langlois, chairman of the foundation in charge of fundraising. Photo: Jennifer Ladonne

In 1842, Flandrin was commissioned to create a monumental series of murals on historic and religious themes for the church.

“He was called ‘the new Fra Angelico’ of his time,” says Philippe Langlois, chairman of the Fonds de Dotation pour le Rayonnement de l’Église Saint-Germain-des-Prés (FDD), the French foundation in charge of fundraising.

“All the colour you see is the original paint, perfectly preserved in a layer of encaustic wax, a technique reinvented from the Renaissance.”

The church at night. © Agence Pierre-Antoine Gatier, P. Voisin

Using only a mild soap, tiny brushes, sponges and Q-tips, the gorgeous, saturated colours and gilding of the walls and pillars are being liberated section by section from their former gloom to utterly dazzling effect. But if the process is painstaking, so is the fundraising. While the City of Paris, still the owner of the walls and real estate of the church, takes much of the glory for the project, it contributes a mere 15 per cent of the funding. The rest must be raised by the church itself through appeals to private donors.

The restoration is unfolding in six well-documented phases that began in 2013 and will last until 2021, at a total cost of €5.7 million. Peanuts compared with the more than €20 million earmarked for the restoration of Chartres (now in its 10th year) and the estimated €150 million and 30 years it will take to spruce up Notre-Dame Cathedral. The FDD, in partnership with the American Friends for the Preservation of Saint-Germain-des-Prés (www.preservesaintgermain.org), has raised half of the total through several innovative initiatives, of which 100 per cent of the proceeds go directly into the preservation fund. American board member David Sheppe is passionately involved in the mission.

“We have accomplished a great deal since our campaign started,” he says. “But funding is always in short supply.”

The nave before work. © Agence Pierre-Antoine Gatier, P. Voisin.

Funding may be lacking, but not good ideas or avid supporters. Last December, Christie’s Paris hosted an auction of 40 contemporary artworks by the likes of Yves Klein, Josef Albers, Damien Hirst, Claes Oldenburg and Anish Kapoor – all donated by sympathetic galleries, collectors and the artists themselves – in which three of the works fetched more than €100,000 apiece.

But there is still quite a way to go. Committed donors of means can fund their very own section of the sanctuary. But in one of the foundation’s more exciting initiatives, Adopt a Saint Germain StarTM, benefactors of more modest means can choose any one of the 3,000 newly-glimmering stars on the abbey’s splendid vaulted ceilings for a $100 donation. The star will be illuminated with the donor’s, or a loved one’s, name on the American Friends website’s interactive ceiling for all to see. Individuals from anywhere in the world, lovers of Paris and Saint-Germain may find this an excellent way to leave their own indelible mark on the neighbourhood and on Paris.

As Langlois emphasises: “This is not a Catholic foundation but an arts and cultural movement and a celebration to transmit what we have received to generations to come.”

From France Today magazine

The restoration scaffolding. Photo: Jennifer Ladonne


Kerouac’s Mexico

I found Jack Kerouac’s Mexico on a strip of beach that separated the old hotels from the heaving Pacific, at a bar near where he sat on the sea wall and watched the sunset 61 years ago.

My best friends in Mazatlán, whom I had met only a day earlier, were behind me arguing and laughing. But with a beer in hand and my own perfect view of daylight’s final yawn, I was too blissed out to talk. The crashing waves sounded like drums, and everyone in the water seemed to be dancing: a tangle of teenagers splashed around and flirted, their wiry limbs shimmering like lures, then came a dazzling woman wearing a bathing suit of rainbow stripes, her bare feet catching the surf, her long hair waving in the breeze.

That moment was the closest I got to channeling Kerouac on my journey inspired by his 1952 bus trip from the Arizona border to Mexico City. The scene before me called to mind the Mazatlán he described to Allen Ginsberg: “hot and flat right on the surf, no tourists whatever, the wonder spot of the Mexicos really but nobody hardly knows, a dusty crazy wild city on beautiful Acapulco surfs.”

Still, I wondered, how much did Kerouac’s romantic vision match up with reality?

Mazatlán is one of the many places that the Beats used to bolster the idea of Mexico as the destination for debauched recreation and self-discovery. Hollywood headed south first (Errol Flynn and John Wayne vacationed along Mexico’s Pacific coast), but Kerouac and William S. Burroughs, who moved to Mexico City in 1949 to avoid a drug charge in New Orleans, laid down in literature a charmingly simple notion of the country that has endured.

Kerouac was a mythmaker in many respects. His writing turned struggling friends into epic heroes, and persuaded many youthful vagabonds (my former self included) to go now, to find saints among the sinners. Along the way, he created an impression that he and his ilk were not tourists, but rather ideal American travelers, engaged and sensitive, “desirous of everything at the same time,” as he wrote in “On the Road.”

But really, his “everything” was limited. Kerouac came to Mexico a half-dozen times in the ’50s and ’60s to experience greater freedom with drugs, drinking, writing and sex, in roughly that order. He stopped in Mazatlán for only a few hours, and though he told Ginsberg that sitting along the coast with his new Mexican friend and guide, Enrique, “was one of the great mystic rippling moments of my life,” he also insisted on hopping back on the bus to hurry on to Burroughs in Mexico City.

“Kerouac never took Mexico very seriously,” said Jorge García-Robles, a Mexican editor who has written several books about the Beats in Mexico. “It was a symbol more than something real.”

That attitude has been shaping Mexico ever since. Even now, as a correspondent here since 2010, I often see links between the idyllic American fantasy and Mexico’s most obvious failures (security) and triumphs (contemporary art). But Kerouac was a pioneer. And as a follower, I wanted to see where he went right or wrong, and what had changed since he helped define Mexico for millions of readers. Following the route from Mazatlán to Mexico City, I hoped to figure out if his dreamy vision could still be found, even as I confronted some of the cold, hard tragedies that many Americans miss.

As I sat soaking my feet in the rooftop pool at the renovated Hotel Freeman, Mazatlán’s first hotel tower, I could understand why the gringos came. The view ran up and down the Pacific coast, from the green islands offshore to the winding road heading south toward Puerto Vallarta. A light breeze kept me cool. The only sound came from the old elevator lurching to various floors.

It was the 1944 original, and initially quite a marvel. In old photos from its early years, the hotel towers over its neighbors, like a beacon of modernity — or a greedy grab for business. The builder was the son of Americans and even before the high-rise appeared, American ambition had put its stamp on the city. The first regular visitors to Mazatlán were 49ers, mining executives who used the port to reach rich mineral deposits farther inland. Their early rustic hotels for workers naturally led to greater ambitions. In addition to the Hotel Freeman and a few other properties on the main drag of Olas Altas, Americans also built the first beachfront resort in the tourist-centric Zona Dorada, or Golden Zone, a few miles north.

The early developers were betting on the growing desire by Mexico’s northern neighbors to vacation abroad, but with success came a predictable boom characterized by a boxy, generic style that would soon appear in Acapulco, Puerto Vallarta, Ixtapa and elsewhere. My newfound friends in Mazatlán, Dr. Juan Fernando Barraza and Victor Coppel, were among the many who disagreed on whether Mazatlán’s rapid growth from the ’60s through the ’80s — with all-inclusive resorts, time sharing and cruise lines — changed the city for the better.

Over our first meal together, a lunch of coconut-crusted shrimp at the Pueblo Bonito hotel, Dr. Barraza, 62, argued that it was an era defined by excess. Sinaloa, the state where Mazatlán is, was already a major source of marijuana in the United States by Kerouac’s time (a detail he had to know), but as American drug use increased in the decades that followed, Dr. Barraza said the easy money and the influence of American partyers gradually pushed Mazatlán from its simple roots.

“We haven’t copied the best Americans, but the worst,” said the doctor, who spent much of his career traveling the world as a physician on cruise ships.

Mr. Coppel, 60, a retired Mexican banker whose family has been influential here since the 1880s, insisted that it wasn’t that bad: American visitors have lifted the local economy by spending more than Mexicans or Canadians, according to business owners. He also emphasized that Mazatlán has long been a hub for shrimping, fishing and trade, making it less like Cancún and “kind of like San Francisco.”

Both my unofficial guides — relatives of a friend of mine in Los Angeles — did agree on one thing: Mazatlán was facing another moment of reconsideration. This city of 440,000 people now finds itself on the hungover side of a binge that began around Kerouac’s time, and as with Mexico itself, it is often hard to tell whether the future should be met with optimism or despair.

After lunch, Dr. Barraza took us to a location that perfectly captured the uncertainty: an abandoned oceanfront home squeezed between two new high-rise apartment buildings on the main tourist strip.

Viewed while looking west from the house’s patio, Mazatlán was a promising paradise: soft sand, warm water and a sea rich with shrimp and tuna. Turn around, though, and there was the graffiti-tagged house, formerly owned by drug cartel capos, followed by others. On the way to the Hotel Siesta, home to a Kerouac memorial plaque and the Shrimp Bucket — a restaurant founded in 1963 by the same Mexican and American partners who created the apex of night-life cheesiness, Señor Frog’s — we drove by another empty drug mansion and its adjacent nightclub. It had been closed for years. With giant fake rocks on the facade, it looked like a Disney prototype on meth.

That night we had dinner with a few Mazatlán intellectuals at a restaurant owned by Alfredo Gómez Rubio, the raspy-voiced president of the Centro Histórico Project, which is renovating the city center to draw people back from the Zona Dorada. With outdoor seating on the main plaza, the area is a centerpiece of the remodeling efforts, but when we arrived, I had just checked into the El Cid Castilla Beach, one of the best-known “Golden Zone” resorts. It was a total disaster. First the hotel staff overcharged me by nearly $500 then they ran out of towels at the pool.

Mr. Gómez Rubio called the whole tourist zone a mistake. “There was no concept or style,” he said. His restaurant by the main plaza, Pedro & Lola, couldn’t be further from that description. It featured a tasty menu heavy on shrimp and featured redwood beams brought from California in the 1850s. Mr. Gómez Rubio also owns the Hotel Melville a few blocks away (the author of “Moby Dick” visited in 1844), and he was a fan of Kerouac. As soon as I sat down, he showed me a worn Kerouac paperback with Spanish text and pink highlighter tracked over a paragraph that started “oh the sacred sea of Mazatlán” and ended with Kerouac praising “the city of the innocence.”

Mr. Gómez Rubio insisted that Mazatlán still deserves to be called a paradise. He said the drug violence that scared off Americans and cruise ship operators — it peaked in 2011, when a Canadian tourist was shot in the leg while caught in the cross-fire — was back under control. With gang warfare and street crime returning to lower levels. Mexican tourists were filling the void left by Americans, he said, and retirees were moving in. “We’re shifting the market,” he said. “We’re learning.”

I wanted to believe it. At times, I did: drinking that final beer and eating ahi tuna at La Corriente walking through El Quelite, a tiny town 20 minutes outside Mazatlán, where a local doctor turned his family home into a full rural experience, with food, animals and a kitschy performance by a Mexican cowboy.

But there were still so many dark omens. Kerouac’s vision of Mazatlán — and Mr. Gómez Rubio’s — left out the consequences of the Mexican lawlessness that, while allowing for epic highs, also produces refugees who are moving into fields on the city’s edge because teenagers with guns and dreams of cartel riches are demanding money to live in their rural mountain villages. Thousands of displaced families now occupy the no man’s land between El Quelite and new beachfront developments, and I found them only with help from Dr. Barraza and Mr. Coppel. That is where I met José Enciso Loaiza, who was hammering together a bed near a new slum named Las Vegas. He said 70 of the 90 families in his small town had already fled because of violence and government impotence. His life, from the pastoral to the punishing, was literature begging to be written.

When Kerouac reached Mexico City at dawn after a long bus ride through Guadalajara, he caught a few hours of sleep in “a criminal’s hovel,” then made his way to Burroughs’s house in La Roma, a turn-of-the-century neighborhood of grand old homes that was starting to slip into disrepair. Kerouac was supposed to meet up with Enrique later, but his heart wasn’t in it he never told him where Burroughs lived, and then Wild Bill “persuaded me to stick to him instead of Enrique.”

With that, Kerouac lost “a guy who could teach me where, what to buy, where to live, on nothing-a-month” and instead joined Burroughs’s insular world of Americans supposedly studying at a small college in La Roma that accepted payments from the G.I. Bill. Kerouac had visited in 1950 with Neal Cassady (the inspiration for Dean Moriarty in “On the Road”) so he knew what to expect: rowdy gringos a chance to drink and write, maybe fight, maybe love.

My arrival in La Roma after an overnight bus with lots of Mexican college students and fully reclined seats could not have been more different. It started with Alonso Vera Cantú, 33, a minor La Roma celebrity known as Pata de Perro — slang for someone with wanderlust — dragging me to a cramped breakfast counter for an almond latte and a sublime pastry drenched in olive oil and sugar. I had found Mr. Vera Cantú through his neighbor, a host of the popular local Twitter feed @LaRomaDF, and he clearly knew what he was doing. The coffee shop, La Panaderia, was relatively new, and between the food, the classical music, and the thin young women in tight houndstooth skirts, it could have been Paris.

That was La Roma’s original ideal the neighborhood was mostly American-built and French-inspired. But more recently, something more Mexican and contemporary has begun to emerge. Indeed if Mazatlán reflects what can go wrong when American excess mixes with Mexican impunity, La Roma represents what can go right when Mexicans with a taste of the world zero in on a single community.

As recently as 2000, the area was in serious trouble: seedy and old, marked by crumbling homes condemned after the 1985 earthquake and strip clubs lousy with lap dances. In some ways, it had reached the logical end point to what Kerouac enjoyed and wrote about in “Tristessa,” his novella about a Mexican prostitute. But its spaces were too good to give up, and eventually creative types moved in.

“When we started, it was rough,” said Walter Meyenberg, who opened the area’s first mezcal bar (La Botica) nine years ago when he was 27. “My first six months here, I was assaulted five times.” His arms were covered with tattoos as bright as flames. “La Roma’s like the meatpacking district in New York,” he said. “It’s going from rough to trendy to mainstream.” That’s when it’s ruined, he added.

For now, though, the neighborhood seems to be lingering in that sweet spot where rents are relatively affordable and whimsy thrives. A few blocks away from where we started, Mr. Vera Cantú — tall, with a head of tight brown curls — walked me into an old town house with a boutique on the first floor called 180º. The owners, José Carlos Iglesias and Bernardo López, worked on the second floor, and on the third, they rented rooms for less than $100 a night to friends or acquaintances with creative projects. All through the building, from the century-old family photos to the new T-shirts and bags, the style was unmistakably Mexican, and undeniably worldly.

I remembered what Mr. Vera Cantú had told me earlier about La Roma: “You can have tacos one minute, Champagne the next.” In this case, Mr. Iglesias, 37, had recently come back to Mexico (from working in Europe) to join Mr. López, 37 (who studied in Boston), for a romantic idea and a creative business — a fusion of past and present, Mexican and international.

All over the neighborhood, I saw a similar brew. “It’s so much easier for Mexicans to get out of the country now,” said Gerardo Traeger Mendoza, a co-owner of the Traeger & Pinto art gallery. “We’ve really reached a different point in terms of our relationship to the world.”

Mr. Vera Cantú was another obvious example. A travel writer, radio host and online curator of La Roma experiences, he took off around lunchtime, heading to France. That left me time to look for where Burroughs had hosted Kerouac. Their section of the neighborhood was still a little run down, but almost every block had a cafe and a restaurant.

On one tiny street near Plaza Luis Cabrera, where the Beats used to hang out, I noticed a deli cooler that seemed to be rolling into the sidewalk. It was filled with fine cheeses from Mexico, Spain and France, and the longhaired man at the counter was the owner. After giving me a taste of some strong cheese from Chihuahua, he told me the empty shelves behind him would soon be filled with good wine, for under $10 a bottle. “It’s for people who live in the neighborhood,” he said.

As I suspected, food and drink — always strong in Mexico — were becoming catalysts for growth. But corruption was still holding things back. Business owners said permits typically require bribes. To some degree, they argued, not much has changed since corruption helped Burroughs flee a murder charge after he shot and killed his wife during a game of William Tell a few months before Kerouac’s 1952 visit. Kerouac ran into it, too he avoided trouble early on in his trip when caught with marijuana by giving the cop some of his stash.

But these days, at least in La Roma, there is also a new check on the usual abuse of power.

Consider the case of Maximo Bistrot, one of the best restaurants in La Roma if not all of Mexico. In April, a social media revolt kept government inspectors from shutting it down after the daughter of the director of Mexico’s main consumer protection agency complained about not receiving the table she wanted. Then came an even greater coup: Enrique Peña Nieto, president of Mexico, fired her father, the agency chief.

When I showed up for lunch, the restaurant’s chef and owner, Eduardo García, 34, told me there are now fewer patrons asking, “Don’t you know who I am?” He said he still worries about inspectors, but he also refuses to pay anyone off. “I’m not going to live outside the law, with them in charge,” he said. It was a bold statement, given how Mexico works.

But then Mr. García, bearded and broad-shouldered, is the son of migrant workers who took him north at age 5. He learned to cook in their restaurant in Atlanta before heading to Le Bernardin in New York, and though he could have opened a bistro anywhere, he did it here, in Mexico, in La Roma.

The result? My own Mexican paradise: French wine, innovative Mexican food, with 1960s American soul playing in the background.

It wasn’t nearly as rustic or drug-fueled as Kerouac’s version, but as I finished eating — a wonder of roasted red pepper soup and yellowtail sashimi with chiles and avocado — I tried to imagine what Kerouac would have made of it.

Maybe it depends on which Kerouac we imagine. He was 30 when he took that bus trip, and he was mostly too self-absorbed to see beyond the “frenzy and a dream” that defined his visit in “On the Road.” Clearly, young Kerouac would have ignored Maximo Bistrot and the refugees in Mazatlán. But what about Kerouac as an old man? If he hadn’t died from alcoholism in 1969 at age 47, maybe he would have moved to Mexico and tried harder to understand and explain the country.

Yes, I thought as I lingered at my table, indulging in another moment of Kerouac-inspired bliss. With more time alive and in Mexico, Kerouac could have been someone that Mexico and the United States still sorely need: a binational conscience. Imagine the trips he could have made, the complicated, multilayered stories he could have told about life on both sides of the border. Imagine the everything.


Pan-Roasted Halibut, Chanterelles with Pea Shoots

I don’t cook with mushrooms a whole lot. In fact, I grew up not liking them, always pushing them aside on my plate. Now, I’m far from a lover of mushrooms (unless they’re truffles?), but I’ll usually eat them if put in front of me.

I stumbled upon some chanterelles at the Hollywood Farmers Market a couple weeks ago and just had to have them. I had no idea what I was gonna cook with them, but I was inspired to do algo with them.

Taking my chanterelles home, I browsed through some of my cookbooks to figure out the rest of the dish. Immediately catching my eye was a recipe in Ad Hoc at Home for sauteed chanterelle mushrooms with pea shoots. It was relatively easy to do and I had most of the ingredients on hand. A recommended protein pairing was another recipe in the cookbook: pan-roasted halibut. My planning was done.

The two recipes, from Ad Hoc at Home:

Pan-roasted halibut

2 pounds halibut fillet, cut into 12 rectangular pieces
Sal kosher
Canola oil
Azeite de oliva extra virgem
Fleur de sel

Remove the fish from the refrigerator and let stand for 15 minutes.

Position oven racks in the lower and upper thirds of the oven and preheat the oven to 350 degrees.

Check the halibut to be sure all bones were removed. Season on both sides with salt. Add some canola oil to two large ovenproof frying pans and heat over high heat until it shimmers. (If you don’t have two pans, cook the fish in batches and transfer to a rack set over a baking sheet, then finish in the oven.) Add 6 pieces of halibut to each pan, presentation (nicer) side down, lower the heat to medium-high, and cook for 4 to 5 minutes, until the bottom of the fish is golden. Lower the heat to medium-low and cook for 2 more minutes. Transfer the pans to the oven and cook for about 2 minutes, until just cooked through.

Remove the pans from the oven, flip the fish over, and “kiss” the second side for about 30 seconds. Transfer to a platter, and serve with a drizzle of olive oil and a sprinkling of fleur de sel.

Chanterelle mushrooms with pea shoots

2 tablespoons (1 ounce) unsalted butter
3 tablespoons of finely chopped shallots
3 thyme sprigs
8 ounces small chanterelles or other mushrooms in season, trimmed and washed
Sal kosher e pimenta-do-reino moída na hora
1/4-1/2 cup chicken stock
1 1/2 cups pea shoots
Azeite de oliva extra virgem
Fleur de sel

Melt the butter in a medium saute pan over medium-high heat. Add the shallots and cook the shallots for 2 to 3 minuntes, until tender. Add the thyme and mushrooms, season with salt and pepper, and cook for 5 minutes, until the mushrooms are almost tender (if the pan becomes too dry, add a little of the chicken stock).

Add 1/4 cup chicken stock and cook, adding more stock as needed, about 1 tablespoon at a time, until the mushrooms are tender. Continue to cook until the stock is reduced to a glaze. Discard the thyme.

Add the pea shoots and stir just to wilt and incorporate, about 30 seconds. Transfer to a serving bowl, drizzle with olive oil, and sprinkle with fleur de sel.

I began with the chanterelles, cooking them according to the recipe. I wasn’t too worried about this part of the dish it was pretty straightforward.

I was more concerned about the fish. I wanted to ensure I got a crispy, golden crust while not overcooking. The recipe called for the halibut to be cooked almost entirely on one side, carefully controlling the heat. It would only be flipped over at the end to finish the other side for 30 seconds.

I was pretty happy with the way it turned out. My fish broke apart a little bit as I was flipping it and I wanted a little more browning, but temperature-wise I think I had it down. While a meaty fish, it stayed pretty moist. The chanterelles were delicious, and I really liked the bright crispness that the pea shoots brought to the plate. It was relatively quick to make too, always a plus. However, it was on the expensive side – the raw ingredients cost about $30 for the one plate.


Assista o vídeo: Phil Collins - Live And Loose In Paris (Outubro 2021).