Kokteiļu receptes, stiprie alkoholiskie dzērieni un vietējie bāri

Le Grand Fooding 2013 apvieno labāko Parīzē un L.A.

Le Grand Fooding 2013 apvieno labāko Parīzē un L.A.

Divas pasaules gastronomijas galvaspilsētas apvieno spēkus dinamiskam un neparastam pilsētas piknikam

Parīze un LA apvienojas, lai atzīmētu savstarpēju atzinību.

Pēc četriem Ņujorkā pavadītiem gadiem ikgadējais Le Grand Fooding pasākums pārcelsies uz Losandželosu 26. un 27. aprīlī. Pilsētas pikniks, kurā piedalīsies sadarbība starp dažiem labākajiem un spilgtākajiem šefpavāriem gan Parīzē, gan Losandželosā, tiks iekārtota laikmetīgās mākslas muzeja The Geffen Contemporary priekšā ( MOCA) Losandželosas centrā. Pasākumā par 650 apmeklētājiem naktī piedalīsies arī abu pilsētu labākie dīdžeji un grafiskie dizaineri (tostarp ielu mākslinieks Šepards Fairejs).

Parīzes pavāru vidū ir Žans Fransuā Pjēžs (restorāns Jean-François Piège), Inaki Aizpitarte (Le Chateaubriand), Grégory Marchand (franču valoda) un Sven Cartier (Saturne). Pavāri Nensija Silvertona (Mozza), Ludo Lefebvre (Trois Mec), Roy Choi (Kogi BBQ), Josef Centeno (Bäco Mercat), Džordans Kāns (Sarkanā medicīna) un Karolina Spence (Château Marmont) pārstāvēs Losandželosu.

Saskaņā ar pasākuma pārstāvi Annu Polonski no Le Fooding, dažas no visvairāk gaidītajām sadarbībām ietver Piège un Spence "dzeramo picu", kas ir paredzēta, lai atkārtoti interpretētu "klasisko amerikāņu ielu ēdienu", radoši papildinot to ar apburošiem sieriem no Francijas . " Pasākums ir arī pagodināts paziņot par Nensijas Silvertones iesaistīšanos, jo tas simbolizē iepriekšējās kulinārijas paaudzes atbalstu jaunās paaudzes interesantajiem jauninājumiem.

Ņujorkas iedzīvotājiem, kuri varētu nožēlot šī gada atrašanās vietas maiņu, Polonskis apliecina, ka otrais 2013. gada notikums Ņujorkā ir iekļauts septembra grāmatās.

Biļetes ir pieejamas pasākuma tīmekļa vietnē, sākot no 2. aprīļa, bet līdz tam ir pieejama iepriekšpārdošana MasterCard īpašniekiem. Piknika laikā būs pieejams bezmaksas S. Pellegrino ūdens, un divdesmit procenti no biļešu ieņēmumiem tiks novirzīti LA Food Bank un MOCA.


6 pavasara ēdienu un dzērienu pasākumi Losandželosā

Mēs esam daudz rakstījuši par mūsu mīlestību pret restorānu ainu Losandželosā, ar rindām un rindām par lielajiem etniskajiem anklāviem, pusdienām vēlu vakarā un jaunu pilsētas centru, kas, šķiet, neatkāpjas. Rakstot to no mūsu centra Manhetenas birojā ar mūsu lieliskajiem laika apstākļiem un savdabīgajiem kaimiņiem, tas liek mums vēlēties pārcelties uz Losandželosu, piemēram, pagājušā gada janvārī. Mēs arī esam diezgan greizsirdīgi par šiem gaidāmajiem pārtikas pasākumiem, kas jums pilnībā jāpārbauda un, iespējams, jāapmaksā nauda dažās aviokompāniju jūdzēs, lai apmeklētu.

24. marts
DFC Downtown vēlās brokastis
Mākslas rajona kafejnīca Daily Dose uzņems nedaudz nenotveramu filmu redaktoru un ceptu vistas gaļu Dante Gonzales (lasi mūsu interviju), lai nobaudītu vēlās brokastis. Izvēlnē: Bioloģiski olu kultenis ar kartupeļu mantiņu un Dante’s Sock-It-To-Me cepta vistas gaļa. "Man patīk mūsu kopīgās ekoloģiski svaigās ilgtspējības un godīgas pārtikas vērtības," saka Gonzales par sadarbību. Biļešu cena ir 15 USD/personai. Informācija: dailydoseinc.com.

25. marts
Dzīvnieks x kaķu putnu sēdeklis
Džošs Habigers un Ēriks Andersons, duets aiz Nešvilas atzītās degustācijas telpas The Catbird Seat, viesosies Animal uz nakti, kurā mēs noteikti esam iesaistīti Ferneta Brankas kadros. Turklāt daudz kursu. Astoņi jums izmaksās 135 USD par personu. Bet mēs domājam, ka būs vēl, vēl, vēl! Rezervāciju var veikt, zvanot dzīvniekam pēc pulksten 14:00. Klusā okeāna laiks. animalrestaurant.com

26.-27.martā
Ēdieni un vīns Labākās jauno pavāru vakariņas Paichā
Mūsu cilvēks no Food GPS Džošs Lurijs mūs informēja par pāris pasākumiem, ar kuriem viņš kopā rīko viesus F & ampW drīzumā tiks atvērta Peru izakaya Paichẽ. Tas ir trešais restorāns no komandas aiz Picca un Mo-Chica (šefpavārs Ricardo Zarate un biznesa partneris Stephane Bombet). Zarate uzaicināja dažus labākos jaunos šefpavārus kopā ar viņu gatavot divas pusdienas. Portlendas šefpavārs Naomi Pomeroy pirmajā naktī un Džeimijs Bissonnette / Viet Pham otrajā. Izvēlni varat apskatīt šeit.


Žils Epiē, dzimis Nantē, sāka strādāt 14 gadu vecumā un trenējās pie Alaina Senderena un Alaina Dukase Lucas-Kartonā Parīzē. [9] Pēc tam, kad viņš bija apceļojis pasauli un studējis pasaules virtuvi, viņš atgriezās Parīzē. Pirmo Michelin zvaigzni viņš saņēma 1980. gadā Le Pavillon des Princes, jaunākajā šefpavārā, kurš saņēma balvu 22 gadu vecumā. [10]

Viņš strādāja par šefpavāru vairākos ievērojamos franču restorānos, tostarp La Vieille Fontaine netālu no Parīzes, kur 1983. gadā saņēma Michelin zvaigzni, viņa restorānā Le Miravile, kur 1986. gadā viņš tika apbalvots ar Michelin zvaigzni, un La Petite Cour Saint-Germain. -des-Pres, Parīze. [11] 1995. gadā viņš pameta Franciju, lai izpētītu ASV virtuvi, ļoti maz runājot angliski. Viņš strādāja par galveno šefpavāru ikoniskajā franču restorānā L’Orangerie, Losandželosā, kur ieviesa Provansas iedvesmotu ēdiena gatavošanas stilu. Gada laikā viņš tika atzīts par 1996. gada labāko šefpavāru Amerikā Pārtikas un vīna žurnāls. [10] [11] [12] Viņš pārņēma restorānu no tukšiem galdiem līdz rezervēšanai mēnešus iepriekš, un sešu mēnešu laikā pārvietoja uzņēmumu no trīszvaigžņu uz pieczvaigžņu restorānu. [12]

Pēc tam viņš kopā ar partneri Žanu Denojeru iegādājās un vadīja Beverlihilzas restorānu Chez Gilles uz Beverly Drive. [13]

Apguvis franču/ kalifornijas ēdienu kulinārijas saplūšanu, viņa klienti ir bijuši aktieri, supermodeli un politiķi visā pasaulē. [12] Viņš ir sagatavojis vakariņas ASV prezidentiem Džordžam Bušam, Bilam Klintonam, Ronaldam Reiganam, Džeraldam Fordam un Donaldam Trampam. Viņš ir gatavojis arī Francijas prezidentiem Fransuā Miterānam, Žakam Širakam, Nikolā Sarkozī, Fransuā Holandam un Emanuelam Makronam, kā arī Zviedrijas karalim, Kataras šeiham, Frenkam Sinatram, Kirkam Duglasam, Brūsam Springstīnam, Slasham, Al Pačīno, Hārvijam Keitelam , Roberts De Niro, Kriss Tekers, Miks Džegers, Šarona Stouna, Mišels Polnarefs, Gregorijs Peks, Ričards Gīrs, Pīrss Brosnans, Dženifera Lopesa, Bejonsa, Sofija Lorēna, Elizabete Teilore, princese Diāna, Džoans Seversans, Zlatans Ibrahimovičs, Maikls Džordans un daudzi citi vairāk. [14] Pēc 10 ASV pavadītiem gadiem Epiē nolēma atgriezties Parīzē pēc tam, kad netālu no Elizejas laukiem tika atvērta viņa sapņu restorāna atrašanās vieta. Viņš atvēra restorānu Citrus Etoile 2005. gadā kopā ar sievu, bijušo modeli/aktrisi Elizabeti Notoli. Viņš nosauca restorānu par godu savam draugam šefpavāram Mišelam Ričardam un viņa Losandželosas restorānam Citrus. Lai atzīmētu tā atklāšanu, franču ziņu žurnāls Parīzes mačs spēlēja Žils un viņa sieva Elizabete spīdīgā izklājumā, rīkojot pikniku ar melnu kaklasaiti uz American Airlines lidmašīnas Boeing spārna. [15] Citrus Etoile tika izvēlēts par prestižās Châteaux & amp Hotels Collection - Tables remarquables dalībnieku. [16] The New York Times gadā Citrus Etoile uzskaitīja kā “obligātu apmeklējumu” jaunu restorānu Parīzē, norādot, ka “šefpavārs Epie ir īsts kulinārijas cienītājs”. 2006. gadā Condé Nast Traveller Citrus Etoile tika nosaukts par vienu no 100 labākajiem karstajiem restorāniem pasaulē. Citrus Etoile bija iekļauts arī Alain Ducasse grāmatā, J'Aime Parīze. [17] [18] Pēc 13 veiksmīgiem gadiem šefpavārs Epié pārdeva Citrus Etoile un nolēma atgriezties Amerikā - valstī, kuru viņš vienmēr ir mīlējis. [19] [20]

Pavārs Epié bija franču pārtikas korespondents BBC no 2010. līdz 2016. gadam. 2012. gada februārī viņš kopā ar vēl 4 Michelin zvaigžņu pavāriem ceļoja MSC Splendida Celebrity Chef kruīzos. [21] 2012. gadā viņš tika uzaicināts piedalīties Alaina Dikasa (Louis XV) restorāna 25. gadadienas svinībās Montekarlo. [22] Šefpavārs Epié kopā ar nelielu top šefpavāru grupu tika iekļauts arī restorāna Maison de la Truffe pavārgrāmatā "La Truffe", lai 2012. gadā atzīmētu savu 80. gadadienu ar 80 trifeļu receptēm. [23]

2013. gada aprīlī Žils Epiē Šarla de Golla lidostas 2. starptautiskajā terminālī atvēra Parīzes stila kafejnīcu Frenchy's. [24] [25]

2014. gadā šefpavārs Epié piedalījās kā viespavārs Mišelas Obamas labdarības pasākumā Puertoriko.

2015. gada martā šefpavārs Epié tika uzaicināts kā viespavārs Ņujorkā uz pavāru kluba rīkoto pasākumu - Pārtikas un amp vīna žurnāls.

2015. gadā viņš bija viesu šefpavārs restorānā La Clef des Champs Maurīcijā franču gastronomiskās nedēļas pasākumā. [26]

2016. gada novembrī šefpavārs Epié sadarbojās ar šefpavāru Juan Jose Cuevas viesu šefpavāru vakariņu sērijā viesnīcā Vanderbilt - kulinārijas pasākumā, kas notika Puertoriko. Viņi iepazīstināja ar kopīgu septiņu ēdienu gastronomisko ēdienkarti. [27] [28] [29] 2016. [31]

2017. gadā kopā ar citiem slaveniem šefpavāriem Epié gatavoja kulinārijas festivāla Cuisine of the Sun otro izdevumu Meksikas Villa La Estancia Beach Resort & amp Spa. [32] Viņš gatavoja arī gastronomiskas vakariņas viesnīcā IBEROSTAR Grand Paraíso Hotel Kankunā. [33]

Pēc tam, kad nolēma atgriezties ASV, viņš 2017. gadā pārdeva Citrus Etoile. Gilles Epié kļuva par korporatīvo šefpavāru Džuvijā, Maiami pludmalē 2018. gadā. Viņš piedalījās Džeimsa Bārda fonda labdarības pasākumā "Beach Chic" Ņujorkā 2018. gadā. [34] [20] [19] [35] [36] [37]

2019. gada februārī Epié tika uzaicināts kā viespavārs The Food Network & amp Cooking Channel South Beach Wine & amp Food Festival (SOBEWFF®). [38]

Gadā viņš kļuva par kulinārijas direktoru/ šefpavāru ekskluzīvajā viesnīcā Montage Beverly Hills, restorāns tika pārdēvēts par Gilles @ Montage Hotel.

Epié veido modernus franču ēdienus ar amerikāņu un starptautiskiem akcentiem. Kalifornija ietekmēja Epié ēdiena gatavošanas stilu, un ēdiena mīļotāji viņu slavē. Viņš savai kulinārijas paletei pievienoja arī Āzijas un Peru ēdienus. Viņš ir pazīstams ar to, ka rada ēdienus ar bagātīgu drosmīgu garšu. Viņa izgudrojuma, gardā un veselīgā virtuve nepārtraukti attīstās. [39]

Viņš skaidro, ka lieliska ēdiena noslēpums vienmēr ir vislabāko vietējās izcelsmes sezonas produktu izmantošana. [12]

Televīzijā Žils Epijs un viņa sieva Elizabete filmējās divās sezonās viņa realitātes dokumentālajā šovā Francijā kanālam Canal+/Cuisine+, Lielais šefpavārs Dans La Vraie Vie D’un (“Augstākā šefpavāra īstā dzīve”), kurā bija redzams viņa restorāns Citrus Etoile. [40] [41] [42]

Viņš arī filmējās 20 sērijās (2 sezonas) filmā “Un Frenchy en cuisine” (“Francūzis virtuvē”), kas 2015. gadā tika pārraidīta kanālā Cuisine+. [14] [43]

Žils Epijs ir daudzkārt uzstājies televīzijā, tostarp: NBC News Miami (2018), [44] KTLA Channel 5 - California Cooking with Jessica Holmes (2019), [45] KTLA Channel 5 (2019). [46]


Vai klasiskais Parīzes ēdiens joprojām pastāv?

Tas notika MontMartre. uz Butte. Sapņiem līdzīgajā restorāna ainā bija redzami neizteiksmīgi, melni tērpti viesmīļi garos, baltos priekšautos, kas gāja starp galdiem, kas ietīti sarkanās drānās, vienā-vīna pudele, otrā-ūdens karafe. Tas izraisīja sen izzudušu laikmetu, laiku iesaldētu mirkli.

“Iespaidīgi, vai ne? ” Jautājums mūs pārsteidza. Mēs paskatījāmies uz augšu, lai redzētu galerijas īpašnieka Džuljena Rusarda bārdaino, bet jauneklīgo seju, kura pēc tam mūs uzaicināja iekšā. Pavisam tuvu glezna atdzīvojās, viesmīļi, kas steidzās no galda uz galdu, nesot kūpošas bļodas ar pot-au-feu un šķīvjus ar ceptu vistu. Zem zoda salikta salvete, ēdnīca saplēsa omāru. Pie cita galda vīrietis un sieviete sadevās rokās, viņu ēdiens uz galda tika ignorēts.

Buljons Čartjē, un#8221 atzīmēja Rusārs, un#8220 joprojām ir strādājošs restorāns, un pirmo reizi tika atvērta 1896. gadā un tagad tiek klasificēta kā vēstures piemineklis. “ Nekas tur pēdējo simts gadu laikā nav mainījies, un tuvākajos simtos nekas, visticamāk, nemainīsies. ”

Serbu mākslinieka Marko Stupara glezna mūs aizveda uzmundrinošajās dienās 1978. gada rudenī, kad mēs pirmo reizi ieradāmies Parīzē, un Dons ieņēma CBS News ārzemju korespondenta amatu. Tad nekas mūs nelika vilties: Eifeļa tornis, mājas laivas un liellaivas Sēnas upē, Dievmātes katedrāle un majestātiskie lauki-Élys ées bija tieši tādi, kādus bijām iedomājušies. Bet tieši restorāni mūs apžilbināja. Mēs, protams, tik daudz dzirdējām par franču virtuves krāšņumu, bet nekas nebija mūs sagatavojis šai pieredzei. Mēs ienācām ēdamzālē ar nebeidzamu apetīti, pielūdzot tādus augstās virtuves tempļus kā La Tour d ’Argent, Ledoyen un Taillevent, taču neaizmirstot arī godināt mazākās, pieticīgākās kafejnīcas un restorānus. Mēs bijām uzķērušies.

Francijā ēšana tradicionāli ir kaut kas vairāk nekā izsalkuma remdēšana. “Dziļa mīlestība pret lielisku ēdienu un vīnu vienmēr ir caurstrāvojusi Francijas sabiedrību un valsts identitāti, ” saka Aleksandrs Lobrano, grāmatas autors. Izsalcis pēc Parīzes: Galīgais ceļvedis pilsētā un#8217s 109 labākie restorāni, viena no pārdomātākajām šobrīd pieejamajām rokasgrāmatām. “Franču frāze les arts de vivre (dzīves māksla) ietver labu ēdienu gatavošanu un atspoguļo dziļo nopietnību, ar kādu franči iepērkas, gatavo un patērē pārtiku. Viņi pastāvīgi par to runā un domā. ” Stupar ’s perfekti glezno articulated les arts de vivre. Restorāna kustība un enerģija, ēdiena krāsa, garša un tekstūra un rūpība, ar kādu tas tika pagatavots. Ēšanas akta svinēšana un jutekliskums.

Bet glezna mums arī atgādināja, kā Parīzes restorāni gadu gaitā ir mainījušies kopš mūsu pirmās vizītes. Un daudzos gadījumos uz slikto pusi. Protams, mēs ar vecumu bijām kļuvuši selektīvāki, ja ne pat smalkāki: tagad pāris grāmatu par vīnu autori un pilsētā dzīvojoši 35 gadus veci veterāni vairs nebija nekādi. Ēšana Parīzē mums bija kļuvusi par dārgu, bieži vien neapmierinošu tiesu. Mēs bijām noguruši, ka vajadzēja zvanīt nedēļas vai mēnešus iepriekš, lai rezervētu. Cenas bija kāpušas debesīs. Nelielu, mājīgu vietu īpašnieki, kurus mēs iepazinām kā labus draugus, bija aizgājuši pensijā vai aizgājuši mūžībā. Laika gaitā arī mēs attālinājāmies.

Bet šī Buljona Šartjē glezna mūs bija iebiedējusi ar domām par zaudētiem priekiem. Kad draugs salīdzināja mūsu ieradumu neēst Parīzē ar Luvras apmeklējumu un neredzēt “Mona Lizu, mēs zinājām, ka kaut kas ir jāmaina.

Bouillon Chartier ēdamistaba 2013. gadā (Fred Dufour/Getty Images)

Bet ar ko sākt? Līdzīgi kā pirmo reizi apmeklētājs, mēs jutāmies apmaldījušies un apmulsuši. Mēs notīrījām putekļus no mūsu uzticamā sarkanā Michelin, kaut arī novecojuši, bet kā tas tagad varētu konkurēt ar daudz jaunāku ceļvežu kaudzi, daudzām emuāriem un desmitiem interneta vietņu? Mēs nolēmām sākt ar dažām vietām, kuras atcerējāmies no vecajiem laikiem.

Pirmā pietura, Val d ’Is ère. Kā pirmā vieta, ko ēdām, ierodoties Parīzē, tā bija mūsu sentimentālā iecienītākā. Netālu no Champs-Élys ées, netālu no Triumfa arkas, burvīgajā, vecmodīgajā kafejnīcā uz sienām bija redzamas senas koka slēpes un pagātnes slēpošanas čempionu fotogrāfijas. Tie paši viesmīļi vienmēr kalpoja un ļoti rūpējās par mums. Neskaitot plat du jour, ēdienkarte nekad nav mainījusies. Val d ’Is ère jutās mūžīgs.

Nožēlojami, mēs atklājām, ka tas nebija pārvērsts par Āfrikas tematikas bāru ar nosaukumu Impala Lounge. Mēs nevarējām paciesties iekšā.

Pēc tam mēs piegājām pie Jamina, kuru atcerējāmies kā vienkāršu, tomēr elegantu, mazu restorāniņu un#8212 netālu no dzīvokļa, kurā pirmo reizi dzīvojām, netālu no Place du Trocad éro —, kuru zirgu mīlošais īpašnieks rotājis ar slavenu zirgu gravīrām. Kopš mūsu pirmās vizītes 1978. gadā īpašumtiesības bija mainījušās, un restorāns vienā brīdī kļuva par slavenā šefpavāra Jo ël Robuchon mājām, kurš tur bija nopelnījis savu trešo Michelin zvaigzni.

Mums par lielu atvieglojumu, Džeimins bija atgriezies pie savām pazemīgākajām saknēm kā stabils apkārtnes restorāns, kas relaksējošā, siltajā un draudzīgajā gaisotnē pasniedza gardus ēdienus. Don ’s smalki grilēts  Coquilles Saint-Jacques  (ķemmīšgliemenes) tika pasniegtas gultā  cr ème de poireaux  (puravi), savukārt Petie ’s  cannelloni aux l égumes  (dārzeņu cannelloni) bija pārsteidzoši bagāts un pārpilns ar garšu.

Tagad, jūtoties pārliecinātāki, atgriezāmies La Tour d ’Argent, kur bijām baudījuši vienu no iespaidīgākajām maltītēm mūsu dzīvē. Apsēdušies pie galda, no kura paveras skats uz Sēnu un Dievmātes katedrāli, mēs bijām nosvinējuši savu 25. gadadienu, gurķēdami foie gras, olu kulteni ar trifelēm un ceptu pīlēnu, kas visi bija nomazgāti ar šampanieša glāzēm un cildenu Burgundijas pudeli.

Ceļā pie mūsu galda mēs nododam garām patronu fotogrāfijas, kurās bija karaļi, karalienes un filmu zvaigznes. Šķiet, ka nekas nav mainījies.

Bet maģija bija izgaisusi. Restorāns bija atmetis divas no kārotajām trim Michelin zvaigznēm un presē saņēmis asu kritiku. Lobrano uzskata, ka daudzi augstākās klases restorāni ir apmaldījušies un kļuvuši tālu un patronizējoši. Tradicionālo trīs zvaigžņu ēdināšanas rituāli un noteikumi vairs nedarīja cilvēkus laimīgus, un viņš mums pastāstīja. “Cenas bija kļuvušas astronomiskas, un viss bija pārāk formāli. ”

Pavārs, kurš savulaik strādāja La Tour d ’Argent, piekrita. “Pirms pašreizējām problēmām gastronomiskie restorāni bija dzīvīgas vietas, dzīvespriecīgas vietas, kur izbaudīt sevi. Bet pēc tam mēs izveidojām muzejus un#8212, kas nogāja greizi, un#8212 muzejus ar smagu atmosfēru. Cilvēki vēlas siltumu. Mums ir jāpadara viss vieglāks, ieskaitot rēķinu. ”

Neskatoties uz šiem šausmīgajiem novērojumiem, Parīzē nekad nav bijis labāks vai aizraujošāks laiks, lai paēstu. Pēdējos desmit gados Parīzes ainava ir atjaunojusies diezgan iespaidīgi, un saka Lobrano, kurš ir ēdis vairākos Parīzes restorānos nekā praktiski jebkurš cits. “Jauna patiesi talantīgu jauno pavāru paaudze ir radījusi jauna veida bistro. Tieši šajā vietā Parīzē šodien vislabāk ēd. ”

Parīzieši to sauc par  bistronomija, un#160no   sajaukšanasbistro  un  gastronomija.  Lai gan bistro tradicionāli bija ierobežota ēdienkarte un neformāla maltīšu ieturēšanas vide, bistronomija var lepoties ar bagātīgu, izgudrojošu ēdienu klāstu, kas bieži atspoguļo globalizācijas spēkus. Jauni pavāri nāk no Spānijas, Skandināvijas, Japānas, Austrālijas un ASV. Antuāns Vestermanis, kurš Elzasas restorānā nopelnīja trīs zvaigznes un tagad vada Mon Vieil Ami, apkopojot bistro pasauli, pastāstīja mums: “Mans mērķis nav ieskaidrot, bet izcelt emocijas, piemēram, jauku zupu. jauka zupa, tik jauka, ka jūs nevarat atcerēties, kad to pēdējo reizi lietojāt. ”

Pirms četriem gadiem amerikāņu pāris Bredens Perkinss un Laura Adriāna atvēra restorānu un vīna bāru Verjus netālu no Parīzes centrā esošās Karaliskās pils. “Ir bijis aizraujoši pirmo reizi atklāt franču produktus un gatavot kopā ar tiem, ” Perkins saka. “Ir aizraujoši atrasties virtuvē. ”

Bet tas nesākās šādā veidā. “Parīzes centrs amerikāņu uzbrukumā! ” kliedza viens franču virsraksts. Šodien tas ir ļoti atšķirīgs. Lielākā daļa franču preses tagad teic par savu ēdienu gatavošanu, kā arī citi ārvalstu pavāri.

“Parīzē puišu un vecpavāru vidū ir īsta brālība, ” saka Vendija Līna, vietnes The Paris Kitchen radītāja, kas kalpo kā patiess iekšējās rokasgrāmatas kulinārijas skatījumā. “Tie ir ļoti atvērti un viesmīlīgi. ”

Tagad pat franču pavāri, no kuriem daudzi bija pametuši valsti pēc tam, kad bija vīlušies satraucošajās tradīcijās, atgriežas, bruņojušies ar jaunām idejām un lielāku pieredzi. “Franču pavāri ir priecīgi atkal gatavot ēdienu savā valstī, ” sacīja Pērkinss. “Viņi ir saviļņoti, darot kaut ko citu. ”


Kas ir Parīzes bistro

Mēs iepriekš esam aprakstījuši termina bistro etimoloģiju, bet kāda ir faktiskā atšķirība starp bistro un restorānu?

Tās nebūt nav atšķirīgas lietas. Bistro drīzāk ir restorāna veids. Tas ir vairāk vienkāršs, neformāls franču restorāns, kurā parasti tiek pasniegts lēts ēdiens, kas nav sagatavots pārāk smalki. Ēdienam parasti ir zemnieciskāka prezentācija, kurā šefpavāri franču klasiku interpretēs jaunā veidā.

Tas nenozīmē, ka bistro ir zemākas kvalitātes, patiesībā tie var būt arī gastronomiski un Michelin cienīgi. Vēl viens gandrīz nemainīgs papildinājums jebkuram Parīzes bistro ir plašs vīnu saraksts no konkrēta Francijas reģiona vai pārsteidzošu vīnogu šķirņu sajaukums.

Vēl viens franču restorāna veids, kurā varat atrasties, ir kafejnīca. Tas atšķiras no bistro ar to, ka tam ir elzasiešu, nevis krievu saknes, un tas burtiski tiek tulkots no franču valodas kā “brewery ”. Tāpēc tiem ir sava alus darīšanas vēsture, un parasti ir krāna alus.

Tātad, lai gan bistro ir mazāki, skaisti un plūst ar vīnu, alus kafejnīcas ir trakulīgākas, lielākas un atvērtas, izņemot alu, ir austeres, zupa un šokolāde.


Saturs

Lefebvre dzimis Auxerre, Burgundijā un uzauga nelielā ciematā ar nosaukumu Charbuy. Agrā pusaudža gados viņš izteica vēlmi kļūt par pavāru. Tēvs aizveda viņu uz vietējo restorānu ar nosaukumu Maksims un lūdza viņus iedot Lefebvrei nelielu darbu, lai viņu atturētu, bet viņam tas patika. [6] Viņa mīlestība pret ēdienu sākās bērnībā, daudzas dienas pavadot vecmāmiņas virtuvē.

Viņa oficiālā kulinārijas apmācība sākās 14 gadu vecumā restorānā L'Esperance Vezelajā pie šefpavāra Marka Meneau, kur viņš strādāja trīs gadus. Pēc tam viņš turpināja strādāt kopā ar Pjēru Gagnairu savā līdzīgajā restorānā Sentetjenē (tagad slēgts), pēc tam kopā ar Alainu Passardu plkst. L'Arpège, kur viņš apmācīja to, ko viņš raksturo kā "uguns skolu", mācoties kontrolēt un spēlēties ar karstumu. [6] Ludo oficiālās franču valodas mācības noslēdza ar Gaju Martinu plkst Le Grand Vefour, no kuras viņš apgalvo, ka ir apguvis pārtikas pakalpojumu nozares biznesa pusi. [6] [7]

Restorāni Rediģēt

1996. gadā Lefevrs pārcēlās uz Losandželosu, kur sāka strādāt L'Orangerie pēc Žila Epi uzaicinājuma, kurš tolaik bija galvenais šefpavārs. [8] Apmēram gadu vēlāk, 25 gadu vecumā, viņš tika paaugstināts par šefpavāru un turpināja redzēt, ka restorāns kļūst par vienu no Kalifornijas visaugstāk novērtētajiem, saņemot Mobil Guide piecu zvaigžņu balvu.

2004. gadā viņš pārcēlās uz restorānu Bastide par Melrose Place, kurai viņa vadībā tika piešķirta arī prestižā Mobil Guide piecu zvaigžņu balva. Trauki, ko viņš tur radīja, ietvēra panini au foie gras ar aprikožu bāzes pavadījumu, Poularde marinēts Pepsi-Cola ar popkornu, un panna cotta ar ikriņu sālīta sviesta karameļu mērcē. Pēc tam, kad restorāns tika slēgts remontdarbu dēļ, viņš nolēma neatgriezties. Pēc kaprīzes Ludo jautāja savam draugam, kuram pieder Breadbar, Ali Chalabi, vai viņš varētu pārņemt maiznīcu naktī uz 3 mēnešiem, kad tā citādi bija slēgta. Tur viņš radīja īpašu pasākumu ēdināšanas pieredzi, kas galu galā kļuva pazīstama kā LudoBites un tika uzskatīta par LA Weekly Pulicera balvu ieguvušais kritiķis Džonatans Golds ir “pārveidojošs brīdis Losandželosas restorānu skatuvē”. [9]

Viņš izveidoja restorāna atvēršanas ēdienkarti Lavo [10] Palazzo Lasvegasā un 2009. gadā atgriezās Losandželosā. Tā paša gada maijā Ludo atdzīvināja savu īpašo pasākumu ēdināšanas koncepciju. LudoBites maizes bārā vēl 3 mēnešus. Pēc ārkārtas otrā brauciena bija skaidrs, ka LudoBites ir šeit, lai paliktu, un radās "pop-up restorāna" koncepcija. Viņš turpināja veikt deviņus LudoBites uznirstošos logus Losandželosā un vienu Havaju salās, divreiz avarējot OpenTable un rezervējot 6 nedēļu rezervācijas 47 sekundēs. [11]

labu apetīti nosauca Ludo par "uznirstošo logu karali". Pārtikas rakstnieks Ričards Gusmans par savu pieredzi šajā vietā rakstīja: "Man bija skumji. Maltīte bija beigusies. Savā ziņā ēšana Ludobītēs ir tāda pati kā brīvā laika pavadīšana kopā ar kādu no izejas no jūsu līgas kopā ar nevienu no draugiem. liecinieks tam un nav iespēju atkārtot pieredzi. " [12] Restorāns guva valsts atzinību, kad Ņujorkas Laiks restorānu kritiķis Sems Siftons 2010. gada 3. augusta rakstā apkopoja savu pieredzi: "Pirmajā naktī ēdot to visu, bija pārsteigums. Otrais bija apmēram desmit reizes labāks - katrs ēdiens bija perfekti izpildīts, ar katru garšu vietā, katru temperatūru pareizi, Katra šķīvis bija pilnībā realizēts mākslas darbs. Tas bija tikai piektais vakars, kad restorāns bija atvērts. " [13]

2010. gada septembrī Ludo atveda Losandželosas ielās ceptu vistu, atverot savu pārtikas kravas automašīnu, kas ielās pazīstama kā "LudoTruck". 2013. gada oktobrī Ludo pacēla savu ceptas vistas koncepciju uz nākamo līmeni, atverot savu pirmo ķieģeļu un javas atrašanās vietu, LudoBird, iekšpusē STAPLES centrs. [14] 2016. gada martā City Walk, Universal Studios Hollywood, tika atvērta otrā LudoBird atrašanās vieta.

Ludo tagad tiek atzīts par Losandželosas modernās izsmalcinātās ēdināšanas karoga nēsāšanu Trois Mec 2013. gada aprīlī sadarbībā ar draugiem Džonu Šoku un Vinniju Dotolo. [15] Trois Mec ir nopelnījis 4 zvaigznes no abām Žurnāls Losandželosa un LA Weekly, [16] abās publikācijās tika atzīts par labāko jauno restorānu, tika nosaukts Esquire Žurnāla 2013. gada labāko jauno restorānu saraksts, [17] iekļauts GOOP - pasaules labāko degustācijas izvēlņu sarakstā zem 100 ASV dolāriem [18] un iekļuvis Zagat 2013. gada pasaules 10 karstāko restorānu sarakstā. [19] Pārtika un amp Žurnāls apbalvots Trois Mec ar 2013. gada labāko restorānu ēdienu [20] un GQ novietots Trois Mec 2. vieta 2014. gada labāko jauno restorānu sarakstā valstī. [21] LA Weekly ir nosaucis to par labāko restorānu Losandželosā gan 2014., gan 2015. gadā. Trois Mec populārajā emuārā Opinionated About Dining ir iekļauts arī 34. vietā ASV labāko restorānu sarakstā 2015. gadā. [22]

2014. gada jūlijā Ludo atvēra savu otro restorānu, Petit Trois, viņa "bar-a-la-carte" koncepciju. Eater LA to nosauca par "visvairāk gaidīto restorāna atvēršanu 2014. gadā". [23] Petit Trois atrodas blakus savam māsas restorānam, Trois Mec. Tas tika apbalvots ar četrām zvaigznēm LA Weekly pārtikas kritiķe Beša Rodella, kura teica: "Tas vienlaikus ir viens no pieticīgākajiem un vērienīgākajiem restorāniem, ko atvērt pēdējā laika atmiņā. Tā ir mīlestības vēstule uz citu pilsētu, ko uzrakstījis ēdiens, ko rakstījis viens no mūsu lielākajiem kulinārijas dzejniekiem." [24] Džonatans Golds, kurš līdz tam bija pārcēlies no valsts LA Weekly uz Los Angeles Times, rakstīja, ka "pilsētā var nebūt labāka eskargota šķīvja kā jaunajā Petit Trois. "[25] Leslija Balla par Andželo Žurnāls to nosauca par "Petit Perfection", sakot, ka "šis ir apkārtnes bistro patiesiem māksliniekiem, galu galā radīts kulinārijas rokzvaigznēs. Un, nepārsteidzoši, tas ir satriecošs hits." [26] Petit Trois bija 2015. gada Džeimsa Bārda labākā jaunā restorāna fināliste. [27]

Televīzijas uzstāšanās Rediģēt

2006. gadā Ludo parādījās Amerikāņu dzelzs šefpavārs, izaicinot Mario Batali cīņā pie Big Eye Tuna, kur uzvarēja Batali. [28] Sākot ar 2009. gadu, Lefevrs parādījās gada pirmajā un otrajā sezonā Labākie pavāru meistari. [29] Viņš bija viesu tiesnesis 8. sezonā Elles virtuve 2010. gadā. [28] 2011. gadā kopā ar sievu Krisiju viņš filmējās septiņu sēriju sērijā ar nosaukumu Ludo Bites America kanālā Sundance. [29]

2013. gada janvārī Ludo pievienojās Entonijam Bourdainam un Naidželai Lūsonei kā tiesnesei/padomdevējai pavāru konkursa šovā ABC prime time. Garša, un New York Times to nosauca par šova "izlaušanās zvaigzni". Atgriežoties uz otro un trešo sezonu kopā ar Burdinu, Lavsonu un Markusu Samuelsonu, Ludo tika pasludināts par hitu sacensību sērijas uzvarētāju mentoru otrajā sezonā. Turklāt Ludo kopā ar Burdinu un Lavsonu spēlēja šova Lielbritānijas šova versijā 2014. gadā, kur "Team Ludo" aizveda trofeju un viņš tika pasludināts par uzvarētāju mentoru.

Citas TV izrādes ietver: The Today Show, Access Hollywood, Extra! un ļoti īpaša epizode Nav rezervāciju savā dzimtajā pilsētā Burgundijā. [28]

2016. gadā viņš bija šefpavārs šefpavāra Mind of Chef 5. sezonā. Pilnas epizodes var atrast šefpavāra tīmekļa vietnes pilnajās epizodēs

Ludo arī dalās mīlestībā pret mājās gatavotām maltītēm, izveidojot tikai tīmeklī pieejamu sēriju Ludo à la Maison. Sērijas varat apskatīt Ludo vietnē vai vietnē www.foodandwine.com [30]

2020. gadā Ludo parādījās Selēnas Gomesas gatavošanas sērijā "Selena + Chef".

Grāmatas rediģēšana

2005. gadā Lefevrs izdeva savu pirmo grāmatu Alkst: Piecu sajūtu svētki. [31] Receptes klasificē pēc sajūtām: "Skatīt", "Pieskarties", "Smarža", "Dzirdēt" un "Garša". [31] Grāmata Ņujorkas grāmatu izstādē ieguva otro vietu pavārgrāmatu kategorijā. [32]

2012. gadā LudoBites: receptes un stāsti no Ludo Lefebvre pop-up restorāniem tika izdots. [33] LudoBites ir hronika un pavārgrāmata, kurā ir stāsti par šīs kulinārijas pasaules "rokzvaigznes" karjeru un pilns stāsts par viņa spožo inovāciju, "pop-up" vai "tūrisma" restorānu, kas pārvietojas no vietas uz vietu.

2015. gadā Lefevrs izdeva īpašu savas pirmās pavārgrāmatas 10. gadadienas izdevumu, Alkst: Piecu sajūtu svētki, ar jaunu fotogrāfiju, jaunu Lionela Deluja uzņemto vāku un masveida vāka mākslas kampaņu kopā ar Talantu namu. Simtiem darbu tika ievietoti no visas pasaules, un galu galā vāka dizains tika piešķirts Čārlzam Stenlijam Doll IV. [34]

Balvas Rediģēt

Kulinārijas pasaulē aizvien populārākā Ludo 2001. gadā bija Džeimsa Bārda fonda "Rising Chef Award" fināliste, un Relais & amp Châteaux to nosauca par vienu no 50 pasaules izcilākajiem pavāriem. Viņa restorāns Petit Trois bija 2015. gada Džeimsa Bārda labākā jaunā restorāna fināliste. 2017. gadā Ludo bija finālists Džeimsa Bārda balvai par labāko šefpavāru Rietumos, kā arī labākajai kulinārijas programmai par sniegumu filmā The Mind of a Chef.

2017. gada vasarā Ludo parādījās kameja Apple filmā The Rock x Siri "Dominate the Day" līdzās Dveinam "The Rock" Džonsonam.

Ēdienu gatavošana mājās Ludo ir ļoti svarīga, un viņš ir izveidojis mājas video sēriju ar nosaukumu "Ludo à la Maison", demonstrējot mājas receptes ar jautriem stāstiem no savas dzīves Francijā un profesionālajām virtuvēm. Epizodes tiek uzņemtas viņa mājas virtuvē un tiek izplatītas vietnē www.foodandwine.com. Ēdieni ietver tādus ēdienus kā Moules la creme Chocolate Mousse Sole Meuniere Lamb Chops Ratatouille Parisian Gnocchi Floating Island un Steak Frites. Sērijas tiek izlaistas divas reizes gadā. 2017. gada vasarā tika izveidotas 28 sērijas. Ludo sieva un biznesa partneris Krissy veido videoklipus sadarbībā ar Big Tex Entertainment, režisoru Džefu Rosu.

Citu mediju parādīšanās Rediģēt

2018. gada oktobrī Lefevrs parādījās YouTube šovā Feast Mansion kanālā First we Feast ar Joji un Rich Brian. [35]

In August of 2019, Lefebvre made another appearance on the YouTube show Feast Mansion on the channel 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 kaut ko 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
Košera sāls
Canola oil
Nerafinēta olīveļļa
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 timiāna zariņi
8 ounces small chanterelles or other mushrooms in season, trimmed and washed
Košera sāls un svaigi malti melnie pipari
1/4-1/2 cup chicken stock
1 1/2 cups pea shoots
Nerafinēta olīveļļa
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.


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