Koktejlové recepty, destiláty a miestne bary

Le Grand Fooding 2013 spája to najlepšie z Paríža a L.A.

Le Grand Fooding 2013 spája to najlepšie z Paríža a L.A.


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2 svetové gastronomické metropoly spájajú sily pre živý a neortodoxný mestský piknik

Paris a LA sa spoja, aby oslávili vzájomné uznanie.

Po štyroch rokoch v New Yorku každoročné Le Grand Fooding Podujatie sa presunie do Los Angeles 26. a 27. apríla. Mestský piknik, v ktorom sa predstavia spolupráce niektorých z najlepších a najbystrejších šéfkuchárov Paríža a LA, sa bude konať pred The Geffen Contemporary v Múzeu súčasného umenia ( MOCA) v centre Los Angeles. Na podujatí s účasťou 650 návštevníkov za noc sa predstavia aj špičkoví DJi a grafickí dizajnéri (vrátane pouličného umelca Sheparda Faireya) z oboch miest.

Medzi parížskych kuchárov patria Jean-François Piège (reštaurácia Jean-François Piège), Inaki Aizpitarte (Le Chateaubriand), Grégory Marchand (Frenchie) a Sven Cartier (Saturne). Kuchári Nancy Silverton (Mozza), Ludo Lefebvre (Trois Mec), Roy Choi (Kogi BBQ), Josef Centeno (Bäco Mercat), Jordan Kahn (Červená medicína) a Carolynn Spence (Château Marmont) bude reprezentovať Los Angeles.

Podľa zástupkyne podujatia Anny Polonsky z Le Fooding medzi niektoré z najočakávanejších spoluprác patrí „pitná pizza“ od Piège a Spence, ktorá má reinterpretovať „klasické americké jedlo z pouličného jedla [tým, že] ho kreatívne okorení nádhernými syrmi z Francúzska . " Podujatie je tiež cťou a oznámením účasti Nancy Silvertonovej, pretože symbolizuje podporu predchádzajúcej kulinárskej generácie pre zaujímavé inovácie mladšej generácie.

Newyorčania, ktorí by mohli lamentovať nad tohtoročnou zmenou miesta, Polonsky uisťuje, že druhá udalosť v New Yorku v roku 2013 je v pláne na september.

Vstupenky sú k dispozícii na webových stránkach podujatia od 2. apríla, ale do tej doby je pre držiteľov MasterCard k dispozícii predpredaj. Počas pikniku bude k dispozícii bezplatná voda S. Pellegrino a dvadsať percent výťažku z lístka poputuje do LA Food Bank a MOCA.


6 udalostí jarného jedla a pitia v Los Angeles

Veľa sme písali o našej láske k reštauračnej scéne v Los Angeles, pričom linky a riadky hovoria o veľkých etnických enklávach, neskorých nočných večerách a rozvíjajúcej sa scéne v centre mesta, ktorá, zdá sa, nepoľavuje. Keď to píšeme z našej kancelárie v Midtowane na Manhattane, s úžasným počasím a nepredvídateľnými susedmi, vyvoláva pocit, že sa chceme v januári presťahovať do Los Angeles. Tiež dosť žiarlime na tieto nadchádzajúce potravinové akcie, na ktoré by ste sa mali úplne pozrieť a možno aj zarobiť peniaze na najazdených kilometroch leteckých spoločností.

24. marec
Brunch v centre DFC
Kaviareň Arts District Daily Dose bude hostiteľom mierne nepolapiteľného filmového redaktora a vyprážaného kurčaťa Danteho Gonzalesa (prečítajte si náš rozhovor) na poriadnom brunchi. V ponuke: organické miešané vajíčka s dedičnými prstami zo zemiakov a vyprážané kura Dante’s Sock-It-To-Me. "Milujem naše zdieľané ekologické hodnoty udržateľnosti a poctivých potravín," hovorí Gonzales o spolupráci. Vstupenky sú 15 dolárov na osobu. Info: dailydoseinc.com.

25. marec
Sedadlo Animal x Catbird
Josh Habiger a Erik Anderson, duo za uznávanou degustačnou miestnosťou The Catbird Seat z Nashvillu, sa chystajú v hoteli Animal na noc, o ktorej sme si istí, že bude zahŕňať zábery Fernet Branca. Tiež veľa kurzov. Osem vás vyjde na 135 dolárov na osobu. Ale myslíme si, že toho bude viac, viac, viac! Rezerváciu je možné vykonať telefonicky na zvierati po 14. hodine. Tichomorský čas. animalrestaurant.com

26.-27. marca
Jedlo a víno Víno Najlepšie nové večere pre kuchárov v Paichẽ
Náš muž z Food GPS Josh Lurie nás upozornil na pár akcií, s ktorými spoluorganizuje F & ampW v čoskoro otvorenej peruánskej izakaya Paichẽ. Je to tretia reštaurácia z tímu za Piccou a Mo-Chica (šéfkuchár Ricardo Zarate a obchodný partner Stephane Bombet). Zarate pozval niekoľko najlepších nových kuchárov, aby s ním varili na dve večere. Portlandská šéfkuchárka Naomi Pomeroy prvú noc a Jamie Bissonnette / Viet Pham druhú. Ponuku si môžete pozrieť tu.


Narodený v Nantes, Gilles Epié začal pracovať vo veku 14 rokov a trénoval s Alainom Senderensom a Alainom Ducasse v Lucas-Carton v Paríži. [9] Potom, čo cestoval po svete a študoval globálnu kuchyňu, sa vrátil do Paríža. Svoju prvú hviezdu Michelin získal v roku 1980 v Le Pavillon des Princes, najmladšom kuchárovi, ktorý získal ocenenie vo veku 22 rokov [10].

Pracoval ako kuchár v niekoľkých pozoruhodných francúzskych reštauráciách, vrátane La Vieille Fontaine pri Paríži, kde v roku 1983 získal Michelinovu hviezdu, jeho reštaurácie Le Miravile, kde bol v roku 1986 ocenený Michelinovou hviezdou, a La Petite Cour v Saint-Germain -des-Pres, Paríž. [11] V roku 1995 opustil Francúzsko, aby preskúmal americkú kuchyňu a hovoril veľmi málo anglicky. Pracoval ako hlavný šéfkuchár ikonickej francúzskej reštaurácie L’Orangerie v Los Angeles, kde predstavil provensálsky inšpirovaný štýl varenia. Do roka bol zvolený za najlepšieho kuchára v Amerike roku 1996 Časopis Food & amp Wine. [10] [11] [12] Reštauráciu zobral z prázdnych stolov na rezerváciu niekoľko mesiacov vopred a do šiestich mesiacov priniesol zariadenie z trojhviezdičkovej do päťhviezdičkovej reštaurácie. [12]

Potom spolu s partnerom Jeanom Denoyerom kúpil a prevádzkoval reštauráciu Beverly Hills Chez Gilles na Beverly Drive. [13]

Po zvládnutí kulinárskej fúzie francúzskych/ kalifornských jedál medzi jeho klientov patria herci, supermodelky a politici z celého sveta. [12] Pripravil večere pre amerických prezidentov Georga Busha, Billa Clintona, Ronalda Reagana, Geralda Forda a Donalda Trumpa. Varil aj pre francúzskych prezidentov Françoisa Mitterranda, Jacquesa Chiraca, Nicolasa Sarkozyho, Francoisa Hollanda a Emmanuela Macrona, ako aj pre švédskeho kráľa, katarského šejka, Franka Sinatru, Kirka Douglasa, Brucea Springsteena, Slasha, Al Pacina, Harveyho Keitele , Robert De Niro, Chris Tucker, Mick Jagger, Sharon Stone, Michel Polnareff, Gregory Peck, Richard Gere, Pierce Brosnan, Jennifer Lopez, Beyonce, Sophia Loren, Elizabeth Taylor, Princess Diana, Joan Severance, Zlatan Ibrahimović, Michael Jordan a mnohí viac. [14] Po 10 rokoch v USA sa Epié rozhodol vrátiť do Paríža po tom, ako sa jeho vysnívaná reštaurácia otvorila v blízkosti Champs-Elysées. V roku 2005 otvoril reštauráciu Citrus Etoile spolu so svojou manželkou, bývalou modelkou/herečkou, Elizabeth Nottoli. Reštauráciu pomenoval na počesť svojho priateľa šéfkuchára Michela Richarda a jeho reštaurácie v Los Angeles, Citrus. Na oslavu jeho spustenia francúzsky spravodajský časopis Parížsky zápas predstavil Gillesa a jeho manželku Elizabeth v lesklej nátierke, ako si piknik s čiernou kravatou na krídle lietadla Boeing spoločnosti American Airlines. [15] Citrus Etoile bol vybraný za člena prestížnych Châteaux & amp Hotels Collection - Tables remarquables. [16] The New York Times Citrus Etoile zaradil v roku 2006 do novej reštaurácie v Paríži ako „povinnú návštevu“ s vyhlásením „Šéfkuchár Epie je skutočný kulinársky had.“ V roku 2006 Condé Nast Traveler označil Citrus Etoile za jednu z 100 najlepších horúcich reštaurácií na svete. Citrus Etoile bol tiež uvedený v knihe Alaina Ducasse, J’Aime Paris. [17] [18] Po 13 úspešných rokoch šéfkuchár Epié predal Citrus Etoile a rozhodol sa vrátiť do Ameriky, krajiny, ktorú vždy miloval. [19] [20]

Šéfkuchár Epié bol v rokoch 2010 - 2016 francúzskym potravinovým korešpondentom pre BBC. Vo februári 2012 cestoval s ďalšími 4 šéfkuchármi Michelinskej hviezdy na plavby Celebrity Chef MSC Splendida. [21] V roku 2012 bol pozvaný na účasť na oslave 25. výročia reštaurácie Alaina Ducasseho Louis XV, ktorá sa konala v Monte Carle. [22] Šéfkuchár Epié bol s malou skupinou špičkových kuchárov predstavený aj v kuchárskej knihe „La Truffe“ z reštaurácie Maison de la Truffe, aby v roku 2012 oslávil svoje 80. výročie s 80 receptmi na hľuzovku. [23]

V apríli 2013 Gilles Epié otvoril na medzinárodnom termináli 2 letiska Charles de Gaulle Frenchy's, brassériu v parížskom štýle. [24] [25]

V roku 2014 sa šéfkuchár Epié zúčastnil ako hosťujúci kuchár na charitatívnej akcii pre Michelle Obamu v Portoriku.

V marci 2015 bol šéfkuchár Epié pozvaný ako hosťujúci kuchár v New Yorku na akciu, ktorú organizuje Chefs Club - Časopis Food & amp Wine.

V roku 2015 bol hosťujúcim šéfkuchárom v reštaurácii La Clef des Champs na Mauríciu na podujatí Francúzskeho gastronomického týždňa. [26]

V novembri 2016 sa šéfkuchár Epié spojil so šéfkuchárom Juanom Jose Cuevasom na večeri v štýle šéfkuchára v hoteli Vanderbilt, kulinárskom podujatí, ktoré sa konalo v Portoriku. Predstavili kolaboratívne sedemchodové gastronomické menu. [27] [28] [29] V roku 2016 bol šéfkuchár Epié predstavený na večeri James Beard Celebrity Chef Tour Dinner v Santa Barbare [30] a tiež získal ocenenie FestForum za celoživotné zásluhy. [31]

V roku 2017 spolu s ďalšími šéfkuchármi celebrít Epié varila na druhom ročníku kulinárskeho festivalu Cuisine of the Sun vo Villa La Estancia Beach Resort & amp Spa v Mexiku. [32] Pripravil tiež gastronomickú večeru v hoteli IBEROSTAR Grand Paraíso v Cancúne. [33]

Potom, čo sa rozhodol vrátiť do USA, v roku 2017 predal Citrus Etoile. Gilles Epié sa v roku 2018 stal šéfkuchárom spoločnosti v Juvii na Miami Beach. V roku 2018 sa zúčastnil charitatívnej akcie Nadácie Jamesa Bearda „Beach Chic“ v New Yorku. [34] [20] [19] [35] [36] [37]

Vo februári 2019 bol Epié pozvaný ako hosťujúci kuchár na The Food Network & amp Cooking Channel South Beach Wine & amp Food Festival (SOBEWFF®). [38]

V roku 2019 sa stal kulinárskym riaditeľom/ výkonným šéfkuchárom exkluzívneho hotela Montage Beverly Hills, reštaurácia bola premenovaná na Gilles @ Montage Hotel.

Epié vytvára moderné francúzske jedlá s americkými a medzinárodnými akcentmi. Kalifornia ovplyvnila Epiéov štýl varenia a chvália ho milovníci jedla s vedomím hmotnosti. Do svojej kulinárskej palety pridal aj ázijské a peruánske jedlá. Je známy tým, že vytvára jedlá s bohatou odvážnou chuťou. Jeho vynaliezavá, lahodná a zdravá kuchyňa sa neustále vyvíja. [39]

Vysvetľuje, že tajomstvom vynikajúceho jedla je vždy použitie najlepších sezónnych produktov z miestnych zdrojov. [12]

V televízii Gilles Epié a jeho manželka Elizabeth hrali v dvoch sezónach jeho reality dokumentárnej šou vo Francúzsku pre kanál Canal+/Cuisine+, Grand Chef Dans La Vraie Vie D’un (Skutočný život špičkového kuchára), v ktorom sa predstavila jeho reštaurácia Citrus Etoile. [40] [41] [42]

Hral tiež v 20 epizódach (2 sezóny) seriálu Un Frenchy en cuisine (Frenchy in the Kitchen), ktorý bol na programe Cuisine+ vysielaný v roku 2015. [14] [43]

Gilles Epié má za sebou množstvo televíznych vystúpení, vrátane: NBC News Miami (2018), [44] KTLA Channel 5 - California Cooking with Jessica Holmes (2019), [45] KTLA Channel 5 (2019). [46]


Stále existuje klasické parížske jedlo?

Stalo sa to v MontMartre. 
 V jedno tiché popoludnie na dláždenej ulici, po ktorej kedysi kráčali Toulouse-Lautrec, Utrillo a Picasso, nám padla do oka olejomalba v okne Galerie Roussard, jednej z najstarších a najznámejších galérií umenia. na Butte. Scéna reštaurácie podobná snom predstavovala nevýrazných čašníkov v čiernych šatách v dlhých bielych zásterách prechádzajúcich medzi stolmi prehodenými červenými šatami, na jednej fľaša vína a na druhom karafa s vodou. Vyvolalo to dávno zmiznutú éru, okamih zmrazený v čase.

“ Pôsobivé, nie je to tak? ” Otázka nás zaskočila. Zdvihli sme zrak a uvideli bradatú, ale mladistvú tvár majiteľa galérie Juliena Roussarda, ktorý nás potom pozval dovnútra. Obraz zblízka ožil, čašníci sa ponáhľali od stola k stolu a niesli sa v nich pariace sa misky pot-au-feu a taniere pečeného kura. Obrúsok zastrčený pod bradou mu roztrhal niečo, čo vyzeralo ako homár. Pri inom stole sa muž a žena držali za ruky a ich jedlo na stole pred sebou ignorovali.

“Bouillon Chartier, ” poznamenal Roussard, “ je stále fungujúca reštaurácia, ” prvé otvorenie v roku 1896 a teraz zaradené do kategórie historická pamiatka. “ Za posledných sto rokov sa tam nič nezmenilo a pravdepodobne sa nič nezmení ani v ďalšej stovke. ”

Obraz srbského výtvarníka Marka Stupara nás vrátil do tých vzrušujúcich dní na jeseň roku 1978, keď sme prvýkrát dorazili do Paríža a Don zaujal miesto zahraničného korešpondenta pre CBS News. Nič nás potom nesklamalo: Eiffelova veža, hausbóty a bárky na rieke Seine, katedrála Notre Dame a majestátne Champs-Élys ées boli také, ako sme si predstavovali. Ale boli to reštaurácie, ktoré nás skutočne oslnili. Počuli sme, samozrejme, toľko o sláve francúzskej kuchyne, ale nič nás na tento zážitok nepripravilo. Ponorili sme sa do jedálenskej scény s nekonečným apetítom a uctievali sme také chrámy vysokej kuchyne, akými sú La Tour d ’Argent, Ledoyen a Taillevent, ale nezabudli sme ani na poctu menšej, skromnejšej kaviarni a reštauráciách. Zaujalo nás to.

Vo Francúzsku je jedenie tradične niečo viac ako uspokojovanie záchvatov hladu. “ Hlboká láska k skvelému jedlu a vínu vždy prenikla do francúzskej spoločnosti a identity krajiny,##8221 hovorí Alexander Lobrano, autor knihy Hungry for Paris: The Ultimate Guide to the City ’s 109 Best Restaurants, jeden z najdômyselnejších sprievodcov, ktorý je v súčasnej dobe k dispozícii. “Francúzska fráza les arts de vivre (Umenie života) zahŕňa dobré varenie a vyjadruje hlbokú vážnosť, s akou Francúzi nakupujú, varia a konzumujú jedlo. Neustále o tom hovoria a premýšľajú. ” Stupar ’'s painting artikuloval les arts de vivre dokonale. Pohyb a energia reštaurácie, farba, chuť a textúra jedla a starostlivosť, s ktorou bolo pripravené. Oslava a zmyselnosť aktu jedenia.

Ale obraz nám tiež pripomenul, ako sa parížske reštaurácie za tie roky od našej prvej návštevy zmenili. A v mnohých prípadoch aj k horšiemu. S vekom sme sa určite stali selektívnejšími, ak nie ešte náročnejšími: Teraz, keď sme autormi niekoľkých kníh o víne a 35 -ročných veteránov žijúcich v meste, už viac nechodíme. Jedenie v Paríži sa pre nás stalo nákladným a často sklamaním. Už sme boli unavení z toho, že sme museli niekoľko týždňov alebo mesiacov vopred volať rezervácie. Ceny prudko stúpali. Majitelia malých, útulných miest, ktorých sme spoznali ako dobrých priateľov, odišli do dôchodku alebo zomreli. Časom sme sa aj my vzdialili.

Ale tento obraz Bouillona Chartiera nás tantalizoval myšlienkami na stratené radosti. Keď priateľ porovnal náš zvyk nejesť v Paríži vonku s návštevou Louvru a nevideť “Mona Lisa, ”, vedeli sme, že sa niečo musí zmeniť.

Jedáleň Bouillon Chartier v roku 2013 (Fred Dufour/Getty Images)

Ale kde začať? Podobne ako pri prvom návšteve sme sa cítili stratení a zmätení. Oprášili sme náš verný červený Michelin, aj keď zastaraný, ale ako by teraz mohol konkurovať množstvu oveľa novších sprievodcov, množstvu blogov a desiatkam internetových stránok s veľkým počtom návštevníkov? Rozhodli sme sa začať niekoľkými miestami, ktoré sme si pamätali zo starých čias.

Prvá zastávka, Val d ’Is ère. Ako prvé miesto, ktoré sme jedli, keď sme dorazili do Paríža, to bolo naše sentimentálne obľúbené. Hneď vedľa ulice Champs-Élys ées, v blízkosti Víťazného oblúka, očarujúca staromódna brasserie ponúka na stenách starodávne drevené lyže a fotografie lyžiarskych šampiónov z dávnych čias. Vždy nám slúžili a starali sa o nás tí istí čašníci. Okrem plat du jour sa menu nikdy nezmenilo. Val d ’Is ère sa cíti večne.

Na naše zdesenie sme zistili, že to nebolo ’t: Val d ’Is ère bolo transformované do baru s africkou tematikou s názvom Impala Lounge. Nemohli sme zniesť ísť dovnútra.

Potom sme oslovili Jamina, ktorý sme si zapamätali ako jednoduchú, ale elegantnú malú reštauráciu —nie ďaleko od bytu, v ktorom sme prvýkrát bývali, neďaleko Place du Trocad éro —, že koňa milujúci majiteľ bol ozdobený rytinami známych koní. Od našej prvej návštevy v roku 1978 sa vlastníctvo zmenilo, pričom sa reštaurácia v jednom bode stala domovom uznávaného šéfkuchára Jo ël Robuchona, ktorý tam získal svoju tretiu hviezdu Michelin.

K našej úľave sa Jamin vrátil k svojim skromnejším koreňom ako solídna susedská reštaurácia, ktorá podáva chutné jedlo v uvoľnenej, teplej a priateľskej atmosfére. Nenechajte si ugrilovať a#160coquilles Saint-Jacques  (mušle) boli podávané na posteli s  cr ème de poireaux  (pór), zatiaľ čo Petie ’s  cannelloni aux l égumes  (zeleninový cannelloni) bol prekvapivo bohatý a hýril chuťou.

Teraz, sebavedomejší, sme sa vrátili do La Tour d ’Argent, kde sme si užili jedno z najpozoruhodnejších jedál nášho života. Sedeli sme pri stole s výhľadom na Seinu a katedrálu Notre Dame a oslávili sme 25. výročie založenia našej spoločnosti na foie gras, miešaných vajíčkach s hľuzovkami a pečenom káčatku, všetko zapité pohárom šampanského a vznešenou fľašou Burgundska.

Cestou k nášmu stolu sme míňali fotografie patrónov, ktoré zahŕňali kráľov, kráľovné a filmové hviezdy. Zdalo sa, že sa nič nezmenilo.

Ale kúzlo pominulo. Reštaurácia sa zbavila dvoch svojich vytúžených troch hviezd Michelin a v tlači prijala tvrdú kritiku. Lobrano verí, že mnoho špičkových reštaurácií stratilo cestu a stalo sa vzdialenými a sponzorskými. “Obrady a pravidlá tradičného trojhviezdičkového stolovania už ľuďom viac nerobia radosť, ” povedal nám. “Ceny sa stali astronomickými a všetko bolo príliš formálne. ”

Šéfkuchár, ktorý kedysi pracoval v La Tour d ’Argent, súhlasil. “Pred súčasnými problémami boli gastronomické reštaurácie rušnými, žoviálnymi miestami na zábavu. Potom sme však vytvorili múzeá a#8217, čo sa pokazilo, a#8212múzea s hustou atmosférou. Ľudia chcú teplo. Musíme všetko odľahčiť vrátane účtu. ”

Napriek týmto strašným pozorovaniam nikdy nebolo v Paríži lepšie alebo vzrušujúcejšie jedlo. “V posledných desiatich rokoch došlo k celkom veľkolepej obnove parížskej krajiny, ” hovorí Lobrano, ktorý jedol vo viacerých parížskych reštauráciách ako prakticky ktokoľvek iný. “ Nová generácia skutočne talentovaných mladých kuchárov vytvorila nový typ bistra. Práve tam sa dnes v Paríži najlepšie jedlo. ”

Parížania to volajú  bistronomie,  zo spojenia  bistro  a  gastronómia.  Zatiaľ čo bistrá tradične ponúkali obmedzené ponuky a neformálne prostredie na stolovanie, bistronomie sa môže pochváliť celým radom bohatých a vynaliezavých jedál, ktoré často odrážajú globalizačné sily. Noví kuchári prichádzajú zo Španielska, Škandinávie, Japonska, Austrálie a USA. Antoine Westermann, ktorý získal tri hviezdičky v reštaurácii v Alsasku a teraz prevádzkuje spoločnosť Mon Vieil Ami, zhrnul svet bistier, keď nám to povedal, “ Mojím cieľom nie je zapôsobiť, ale vyvolať emócie, ako napríklad príjemná polievka, skutočne pekná polievka, taká milá, že si nemôžete pamätať, kedy ste ju naposledy jedli. ”

Pred štyrmi rokmi americký pár Braden Perkins a Laura Adrian otvoril reštauráciu a vináreň Verjus v blízkosti Palais-Royal v centre Paríža. ‣ Bolo vzrušujúce objaviť francúzske výrobky prvýkrát a variť s nimi, ” Perkins hovorí. “ Je vzrušujúce byť v kuchyni. ”

Takto to však nezačalo. “Centrum v Paríži pod útokom Američanov! ” zakričal jeden francúzsky nadpis. Dnes je to celkom iné. Väčšina francúzskej tlače sa teraz rozčuľuje nad ich varením a rovnako aj po varení iných zahraničných kuchárov.

“Toto je skutočné bratstvo medzi chalanmi a kuchármi v Paríži, ” hovorí Wendy Lyn, tvorkyňa The Paris Kitchen, webovej stránky, ktorá slúži ako skutočný zasvätený sprievodca kulinárskou scénou. “J sú veľmi otvorení a vítaní. ”

Teraz sa dokonca aj francúzski kuchári, z ktorých mnohí opustili krajinu po dezilúzii zo znevažujúcich tradícií, vracajú vyzbrojení novými myšlienkami a novými skúsenosťami. “ Francúzski kuchári sú nadšení, že opäť môžu variť vo svojej vlastnej krajine, ” povedal Perkins. “Je nadšený, že robí niečo iné. ”


Čo je to parížske bistro

Etymológiu pojmu bistro sme popísali vyššie, ale aký je skutočný rozdiel medzi bistrom a reštauráciou?

Nie sú to nevyhnutne odlišné veci. Bistro je skôr typ reštaurácie. Je to skôr uvoľnená, neformálna francúzska reštaurácia, ktorá ponúka zvyčajne lacné jedlo, ktoré nie je pripravené príliš komplikovane. Jedlo má zvyčajne rustikálnejšiu prezentáciu, kde kuchári interpretujú francúzsku klasiku novým spôsobom.

Nie je možné povedať, že bistrá sú menej kvalitné, v skutočnosti môžu byť aj gastronomické a hodné Michelinu. Ďalším takmer neustálym doplnkom každého parížskeho bistra je rozsiahly vínny lístok buď z konkrétneho regiónu vo Francúzsku, alebo zmes úžasných odrôd hrozna.

Ďalším typom francúzskej reštaurácie, v ktorej sa môžete ocitnúť, je brasserie. To sa odlišuje od bistra tým, že má alsaské, nie ruské korene, a je doslova preložené z francúzštiny ako “brewery ”. Majú teda svoju históriu výroby piva a pivo sa zvyčajne čapuje.

Takže zatiaľ čo bistrá sú menšie, Quinter a tečú vínom, pivárne sú bujarejšie, väčšie otvorené a okrem piva majú ustrice, polievku a choucroute.


Obsah

Lefebvre sa narodil v burgundskom Auxerre a vyrastal v malej dedinke Charbuy. V mladosti vyjadril túžbu byť kuchárom. Jeho otec ho vzal do miestnej reštaurácie s názvom Maxime a požiadal ich, aby dali Lefebvrovi podradnú prácu, aby ho odradili, ale on to miloval. [6] Jeho láska k jedlu začala v jeho detstve, veľa dní trávil v kuchyni svojej starej mamy.

Jeho formálne kulinárske školenie sa začalo vo veku 14 rokov v reštaurácii Skúsenosti vo Vézelay pod šéfkuchárom Marcom Meneauom, kde pôsobil tri roky. Potom pokračoval v práci s Pierrom Gagnairom v jeho rovnomennej reštaurácii v Saint-Étienne (teraz zatvorenej), potom s Alainom Passardom v L'Arpège, kde trénoval v tom, čo opisuje ako „školu ohňa“, naučil sa ovládať a hrať s teplom. [6] Ludo ukončil formálne francúzske školenie s Guyom Martinom o Le Grand Vefour, od ktorého uvádza, že sa naučil obchodnú stránku priemyslu potravinárskych služieb. [6] [7]

Reštaurácie Upraviť

V roku 1996 sa Lefebvre presťahoval do Los Angeles, kde začal pracovať L'Orangerie na pozvanie Gillesa Epieho, ktorý bol v tom čase hlavným kuchárom. [8] Asi o rok neskôr, vo veku 25 rokov, bol povýšený na šéfkuchára a pokračoval v tom, aby sa reštaurácia stala jednou z najlepšie hodnotených v Kalifornii a získala päťhviezdičkové ocenenie Mobil Guide.

V roku 2004 sa presťahoval do reštaurácie Bastide na Melrose Place, ktorý bol pod jeho vedením tiež ocenený prestížnym päťhviezdičkovým ocenením Mobil Guide. Zahrnuté bolo aj jedlo, ktoré tam vytvoril panini au foie gras s marhuľovým sprievodom, poularde marinované v Pepsi-Cole s popcornom a panna cotte preliate kaviárom v slano-maslovej karamelovej omáčke. Potom, čo bola reštaurácia zatvorená z dôvodu rekonštrukcie, sa rozhodol nevrátiť. Ludo sa z rozmaru opýtal svojho priateľa, ktorý vlastnil Breadbar, Aliho Chalabiho, či by mohol pekáreň v noci prevziať na 3 mesiace, keď bola inak zatvorená. Tam vytvoril špeciálny zážitok z kulinárskeho podujatia, ktorý sa nakoniec stal známym ako LudoBites a bol považovaný za LA Weekly Kritik ocenenia Pulitzerovej ceny, Jonathan Gold, za „transformačný moment na scéne reštaurácie v Los Angeles“. [9]

Pre reštauráciu vytvoril úvodné menu Lavo [10] v Palazzo v Las Vegas a vrátil sa do Los Angeles v roku 2009. V máji toho roku Ludo oživil svoj špeciálny koncept stolovania. LudoBites na Breadbare ďalšie 3 mesiace. Po mimoriadnej druhej jazde bolo jasné, že LudoBites tu zostane a koncept „pop-up restaurant“ bol na svete. Pokračoval v deviatich vyskakovacích oknách LudoBites v Los Angeles a jednom na Havaji, pričom dvakrát havaroval OpenTable a rezervoval 6 týždňov rezervácií za 47 sekúnd. [11]

dobrú chuť nazval Ludo „kráľom vyskakovacích okien“. Spisovateľ potravín Richard Guzman o svojich skúsenostiach z tohto miesta napísal: „Bol som smutný. Jedlu bolo koniec. Jesť v Ludobites je istým spôsobom ako spojiť sa s niekým, kto je mimo vašu ligu, keď ste na dovolenke, s nikým z vašich priateľov. byť toho svedkom a bez šance replikovať zážitok. “ [12] Reštaurácia dosiahla národné uznanie, keď New York Times Kritik reštaurácie Sam Sifton zhrnul svoje skúsenosti v článku z 3. augusta 2010: „Prvá noc, keď som toto všetko zjedol, bola úžasom. Druhá bola asi desaťkrát lepšia - každé jedlo bolo perfektne prevedené, s každou príchuťou na mieste, s každou správnou teplotou, každý tanier je plne zrealizovaným umeleckým dielom. Bola to iba piata noc, keď bola reštaurácia otvorená. “ [13]

V septembri 2010 priniesol Ludo vyprážané kura do ulíc Los Angeles otvorením svojho nákladného auta, ktoré je v uliciach známe ako „LudoTruck“. V októbri 2013 posunul Ludo koncept vyprážaného kura na novú úroveň a otvoril svoje prvé kamenné miesto, LudoBird, vnútri STAPLES Center. [14] V marci 2016 sa v City Walk, Universal Studios Hollywood, otvorilo druhé miesto LudoBird.

Ludovi sa teraz pripisuje zásluha na vynesení vlajky moderného dobrého jedla v Los Angeles, ktoré sa otvára Trois Mec v apríli 2013 v spolupráci s priateľmi Jonom Shookom a Vinnym Dotolom. [15] Trois Mec od oboch získal 4 hviezdičky Los Angeles Magazine a LA Weekly, [16] bola v oboch publikáciách pomenovaná ako najlepšia nová reštaurácia Esquire Magazine's Best New Restaurant List for 2013, [17] included in GOOP - List of Best Tasting Menus at the World under 100 $ [18] and made Zagat's list of Top 10 Hottest Restaurants in the World for 2013. [19] Jedlo a víno Časopis udelený Trois Mec s č. 1 najlepšej reštaurácie v roku 2013 [20] a GQ umiestnené Trois Mec Číslo 2 v zozname najlepších nových reštaurácií v krajine za rok 2014. [21] LA Weekly ho označila za najlepšiu reštauráciu č. 1 v Los Angeles za roky 2014 a 2015. Trois Mec bol tiež uvedený ako #34 v zozname 100 najlepších amerických reštaurácií pre rok 2015 na obľúbenom blogu Opinionated About Dining. [22]

V júli 2014 Ludo otvoril svoju druhú reštauráciu, Petit Trois, jeho koncept „bar-a-la-carte“. Jedlík LA to nazval „najočakávanejším otvorením reštaurácie v roku 2014“. [23] Petit Trois sa nachádza hneď vedľa sesterskej reštaurácie, Trois Mec. Autor bol ocenený štyrmi hviezdičkami LA Weekly potravinová kritička Besha Rodell, ktorá povedala: „Je to zároveň jedna z najskromnejších a najambicióznejších reštaurácií, ktoré sa v nedávnej minulosti otvorili. Je to milostný list do iného mesta, napísaný v jedle, jedným z našich najväčších kulinárskych básnikov.“ [24] 'Jonathan Gold, ktorý sa dovtedy presťahoval z LA Weekly do Los Angeles Times, napísal, že „v meste nemusí existovať lepší tanier škorice ako v novom Petit Trois. “[25] Lesley Balla pre Angeleno Časopis to nazval „Petit Perfection“ a povedal: „Toto je koniec koncov bistro pre skutočných umelcov, ktoré vytvorili kulinárske rockové hviezdy. A nie je prekvapením, že je to doslova hit.“ [26] Petit Trois bol finalistom Jamesa Bearda za najlepšiu novú reštauráciu v roku 2015. [27]

Televízne vystúpenia Upraviť

V roku 2006 sa Ludo objavil Iron Chef America, náročné Mario Batali v bitke o Big Eye Tuna, kde zvíťazil Batali. [28] Od roku 2009 sa Lefebvre objavil v prvej a druhej sezóne Najlepší majstri kuchárov. [29] Bol hosťujúcim sudcom v sezóne 8 Pekelná kuchyňa v roku 2010. [28] V roku 2011 si po boku manželky Krissy zahral v sedemdielnej sérii s názvom Ludo Bites America na kanáli Sundance. [29]

V januári 2013 sa Ludo pridal k Anthonymu Bourdainovi a Nigelle Lawsonovej ako porotca/mentor v súťažnej šou ABC kuchára v hlavnom vysielacom čase s názvom Chuťa bol New York Times označený za "vylamujúcu hviezdu" show. Po dvoch a troch sezónach po boku Bourdaina, Lawsona a Marcusa Samuelssona bol Ludo v druhej sezóne vyhlásený za víťazného mentora série úspešných súťaží. Okrem toho Ludo hral po boku Bourdaina a Lawsona v britskej verzii show v roku 2014, kde si „Team Ludo“ odniesol trofej a bol vyhlásený za víťazného mentora.

Medzi ďalšie televízne vystúpenia patrí: 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 a veľmi špeciálna epizóda Žiadne rezervácie vo svojom rodnom meste v Burgundsku. [28]

V roku 2016 bol predstavený ako hostiteľ kuchára v sezóne 5 Mind of a Chef. Kompletné epizódy nájdete na úplných epizódach webu The Mind of a Chef

Ludo sa tiež delí o svoju lásku k domácim jedlám vytvorením série iba pre web Ludo à la Maison. Epizódy si môžete pozrieť na Ludovom webe alebo na www.foodandwine.com [30]

V roku 2020 sa Ludo objavil v seriáli Seleny Gomezovej o varení „Selena + Chef“.

Úprava knihy

V roku 2005 vydal Lefebvre svoju prvú knihu, Crave: Sviatok piatich zmyslov. [31] Recepty kategorizuje podľa zmyslu: „Pozri“, „Dotyk“, „Vôňa“, „Počuť“ a „Chuť“. [31] Kniha získala druhé miesto v kategórii kuchárskych kníh v New York Book Show. [32]

V roku 2012, LudoBites: Recepty a príbehy z pop-up reštaurácií Ludo Lefebvre bol prepustený. [33] LudoBites je kronika a kuchárska kniha, ktorá obsahuje príbehy o kariére tejto „rockovej hviezdy“ kulinárskeho sveta a celý príbeh jeho brilantnej inovácie, „pop-up“ alebo „cestovnej“ reštaurácie, ktorá sa presúva z miesta na miesto.

V roku 2015 vydal Lefebvre špeciálne vydanie 10. výročia svojej prvej kuchárskej knihy, Crave: Sviatok piatich zmyslov, s novou fotografiou, novým obalom, ktorý natočil Lionel Deluy, a davovou kampaňou pre obaly v spolupráci s Talent House. Stovky príspevkov sa prihlásili z celého sveta a nakoniec bol návrh obalu udelený bábike Charlesa Stanleyho IV. [34]

Úpravy cien

Ludo, ktorý sa dostal do popredia kulinárskeho sveta, bol v roku 2001 finalistom ocenenia „Rising Chef Award“ Nadácie Jamesa Bearda a spoločnosť Relais & amp Châteaux ho vymenovala za jedného z 50 najlepších svetových kuchárov. Jeho reštaurácia Petit Trois bol finalistom Jamesa Bearda za najlepšiu novú reštauráciu v roku 2015. V roku 2017 bol Ludo finalistom Ceny Jamesa Bearda za najlepšieho kuchára Westa a tiež za najlepší kulinársky program za výkon vo filme Mind of a Chef.

V lete 2017 sa Ludo objavil ako portrét v Apple Movie, The Rock x Siri „Dominate the Day“ po boku Dwayna „The Rock“ Johnsona.

Varenie doma je pre Luda veľmi dôležité. Vytvoril domácu sériu videí s názvom „Ludo à la Maison“, v ktorej predvádza domáce recepty a zábavné príbehy zo svojho života vo Francúzsku a profesionálnych kuchýň. Epizódy sa natáčajú v jeho domácej kuchyni a šíria sa prostredníctvom www.foodandwine.com. Jedlá zahŕňajú jedlá ako Moules la creme Chocolate Mousse Sole Meuniere Lamb Chops Ratatouille Parížsky plávajúci ostrov Gnocchi a Steak Frites. Epizódy sú vydávané dvakrát ročne. V lete 2017 bolo natočených 28 epizód. Ludova manželka a obchodná partnerka, Krissy, vyrába videá v spolupráci s režisérom Jeffom Rossom, spoločnosťou Big Tex Entertainment.

Ostatné vystúpenia v médiách Upraviť

V októbri 2018 sa Lefebvre objavil v šou YouTube Feast Mansion na kanáli First we Feast with Joji and Rich Brian. [35]

V auguste 2019 sa Lefebvre opäť objavil v šou YouTube Feast Mansion na kanáli 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 teraz, 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.

Výsledok? 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 niečo 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
Košér soľ
Canola oil
Extra panenský olivový olej
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
Kosherová soľ a čerstvo mleté ​​čierne korenie
1/4-1/2 cup chicken stock
1 1/2 cups pea shoots
Extra panenský olivový olej
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.


Pozri si video: Cetnik a mimozemstane cz dab dvd rip (Júl 2022).


Komentáre:

  1. Araktilar

    Are personal messages going to everyone today?

  2. Cordero

    Ospravedlnujem sa, ale podla mna nemas pravdu. mám istotu. Môžem obhájiť pozíciu. Napíšte mi do PM, porozprávame sa.

  3. Maulrajas

    Potvrdzujem. I join all of the above. We can talk about this topic. Here, or in the afternoon.

  4. Atwell

    Podľa môjho názoru sa mýli. Pokúsme sa o tom diskutovať. Napíš mi v PM.

  5. Oxnaford

    Nebuď nahnevaný! Viac zábavy!



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