Tradicionalni recepti

Alinein sistem e-vstopnic prihaja v druge restavracije

Alinein sistem e-vstopnic prihaja v druge restavracije

Jed iz ribje ikre v eni najbolj priljubljenih restavracij na svetu v Alinei. Toda ali bo njihov sistem rezervacije vstopnic deloval povsod?

Grant Achatz's Alinea v Chicagu je ena najbolj ocenjenih restavracij v Ameriki, pristala je na šestem mestu 101 najboljša restavracija Daily Meal in številka devet na 50 najboljših restavracij na svetu letošnje sezname, zato da bi sledili povpraševanju, je restavracija razvila sistem rezervacij vstopnic, ki "proda" mize strankam vsak večer, poroča Epicurious. Restavrator Nick Kokonas, ki je razvil sistem rezervacij vstopnic, je napovedal, da ga bo javno objavil, kar pomeni, da bomo morda videli veliko več ljudi, ki kupujejo vstopnice za vrhunske restavracije, namesto da bi se trudili pri rezervaciji. Sistem je mogoče videti tudi na drugih prizoriščih Kokonasa, Naslednji in Aviary, pa tudi nekaj drugih izbranih restavracij po celem Chicagu.

Torej, kako deluje? Diners plačajo za svoje obroke v celoti vnaprej z uporabo sistema rezervacije vstopnic (v Aviaryju vaš polog v višini 20 USD šteje kot vstopnica). Cene vstopnic za rezervacije večerj, podobno kot športne prireditve ali vstopnice za koncerte, se spreminjajo glede na zaželenost. Ob 19h Sobotna rezervacija bo stala veliko več kot torek ob 17. uri. rezervacija.

"Ljudje so pripravljeni kupiti sedež za športno igro, cena pa je od 10.000 dolarjev za sedenje na igrišču do 35 dolarjev za krvavitev iz nosu," je dejal Kokonas je povedal Epicurious. "Nihče ne pride v igro in gre:" Človek, to je popolnoma nepravično-tisti tip tam gor je vstopil za 35 dolarjev, jaz pa sem moral plačati 10.000 dolarjev. "

Kokonas je dejal, da bo v prihodnjem letu preizkusil svoj koncept v neimenovani restavracijski skupini, pa tudi v nekaj samostojnih restavracijah v San Franciscu in Evropi.

Joanna Fantozzi je pridružena urednica pri The Daily Meal. Sledite ji na Twitterju @JoannaFantozzi


V Trois Mecu morajo gostje vnaprej kupiti vstopnice

Prejšnji mesec je upravitelj restavracije Beverly Hills Red Medicine osramotil goste, ki se niso oglasili za sobotne nočne rezervacije, tako da jih je poklical na Twitter.

"Upam, da ste uživali v rojstnem dnevu vašega GF-a in cvetju, ki ga niste prinesli, ko se niste pojavili za svojih 815 res," je tvitnil Noah Ellis. "Hvala."

Toda sramota je le ena taktika, ki jo restavratorji delajo, da bi vsak večer zagotovili, da so njihovi sedeži zapolnjeni.

Prihodnji teden bodo morali vsi, ki želijo doseči mizo v težko pričakovani Trois Mec, novi restavraciji slavnih kuharjev Luda Lefebvrea, Jona Shooka in Vinnyja Dotola, kupiti karte - tako kot za film ali koncert.

26-sedežni Trois Mec, ki se odpre v četrtek v neoznačenem nekdanjem piceriju v nakupovalnem središču Melrose Avenue, bo prva restavracija v Los Angelesu, ki bo na spletu prodajala nepovratne vstopnice-skoraj 100 USD z davkom in napitnino (brez vina)-in je med le peščico drugih na svetu, ki počnejo enako.

"Upoštevali smo vse - brez zadržkov, položili depozit na kreditno kartico," pravi Krissy Lefebvre, Ludova žena in partner. »Ljudje pa plačujejo vstopnice za zabavo. To je samo zabava v obliki večerje. "

Po vsem mestu se restavracije, ki poslujejo z razvpito tankimi stopnjami dobička, spopadajo z gosti, ki se ne pojavijo, od katerih se pričakuje, da bodo vedno bolj odgovorni za konec pogodbe. Restavracije, kot je Urasawa na Beverly Hillsu, zahtevajo zadržanje kreditne kartice s pristojbino za odpoved v višini 100 USD na osebo. Saison v San Franciscu naredi korak dlje, če prekličete v 72 urah po rezervaciji, boste še vedno morali plačati celotne stroške obroka (ima en meni po ceni 298 USD na osebo).

Tudi javno ponižanje ni nič nenavadnega. Ellis iz Red Medicine je sprožil polemike, ko je na Twitterju objavil imena več nenastopnih prireditev, vendar to ni edina restavracija, ki je izdala stranke, ki niso upoštevale svojih rezervacij. Kratkotrajna oglaševalska akcija v družabnih medijih v Avstraliji je uporabila Twitter-jevo oznako #noshowshame, priloženo tvitom z imeni ljudi, ki so se izognili rezervacijam. In Rene Redzepi, kuhar priznane kopenhagenske restavracije Noma, je slavno razpadel na spletu, ko se dve mizi nista pojavili, in je na Twitterju objavil sliko njega in njegovega osebja, ki iztegneta srednja prsta.

"Žalostno je, da smo se prejšnjo soboto zvečer odpravili približno 15% neprijav," pravi Ellis, "kjer smo bili običajno prej. Moteče je, ker tukaj nismo našli odlične rešitve, če sem iskren do vas. "

Nick Kokonas, solastnik, skupaj z Grantom Achatzom, družbe Alinea v Chicagu in njenih podjetij Next in Aviary, pravi, da je odgovor vsaj za nekatere restavracije vstopnice. Kokonas je vodil sistem izdajanja vozovnic pri Next, nato ga sprejel v Alinei in ga namerava uvesti v druge restavracije pod imenom Next Table. To je sistem, ki ga uporablja Trois Mec, uporablja pa ga tudi restavracija Elizabeth v Chicagu. (Prepustite nekdanjemu trgovcu z izvedenimi finančnimi instrumenti, da preoblikuje finančni pakt med restavracijo in stranko.)

"Ko smo odprli Alineo, je bilo zame nekaj presenetljivih stvari," pravi Kokonas, "ena najbolj presenetljivih pa je bila, da ljudje ne motijo ​​preklica v zadnjem trenutku. Predvidevajo le, da boste zasedli sedež. To velja za restavracije po vsem svetu. " Tudi Alinea s čakalnim seznamom za 200 oseb ni mogla vedno zapolniti mest v kratkem času. Kokonas pravi, da ne odobrava Ellisovega odziva na neprikaz, "vendar razumem, kako razočarani so bili."

Rezervacija je "kot nenapisana pogodba," pravi David Chang, kuhar za imperij restavracij Momofuku v New Yorku, Torontu in Sydneyju. Restavracijam pomaga predvideti, koliko hrane in osebja potrebujejo za določeno noč, obiskovalci pa vedo, da bodo lahko ob določenem času sedeli za mizo (kar se ne zgodi vedno, še posebej, če se restavracije rezervirajo - običajno v pričakovanju) neprijav).

Gostje pa so ljudje: včasih pozabijo ali zbolijo. "Večerje so dobronamerne. Zjutraj se ne zbudijo z mislijo: "Resnično bom zajebal to restavracijo in ne bom odpovedal," pravi Alexander Kvamme, ustanovitelj spletne storitve rezervacij Seatme.com, ki je opazil več restavracij, ki zahtevajo kredit- kartica ostane zaradi neprihoda. "To je res žalosten položaj za restavracije. Vsak prazen sedež zaradi neprihoda vas res stane. "

V Trois Mec ("trije fantje" v francoščini), ki ima samo štiri mize in osem barskih sedežev, če se "ena miza ne prikaže za vsako sedežno garnituro, je to več kot 10% našega poslovanja," pravi Krissy Lefebvre. "To je tudi vprašanje inventarja. Naročujemo glede na točno tisto, kar potrebujejo ti gostje - da bi lahko zagotovili najboljšo možno izkušnjo. Potem so tu še stroški dela. Če se miza ne prikaže, smo verjetno imeli preveč ljudi. "

"Edini način, da resnično preprečite nenastop, je, da ljudje vnaprej plačajo," pravi Momofukujev Chang. Čeprav upa, da so vstopnice prihodnost obedovanja, jih ni uvedel v svojih restavracijah, kot je 12-sedežni Momofuku Ko (zloglasno težka rezervacija samo prek spleta). Še posebej pa ga zanima dinamično oblikovanje cen, kar pomeni plačilo premije za sedeže, ki so bolj povpraševani - miza za soboto zvečer ob osmih bi na primer stala več kot miza za sredo ob 17.30.

Tako deluje pri družbi Next, ki je v zadnjih dveh letih prodala skoraj 20 milijonov dolarjev vstopnic, pravi Kokonas. Toda Next in Alinea veljata za dve najboljši restavraciji v državi, ki ponujata izkušnje na ravni gledališča. Njihovi meniji so določeni. Vsakdo, ki kupi vstopnico, dobi enak zapleten obrok z več hodi.

Za nekatere restavracije z jedmi po naročilu "mislim, da je res težavno," pravi Ellis iz Red Medicine. Toda Kokonas stavi, da bodo drugi inovirali, da bodo ustrezali njihovim okoliščinam. "Ne gre samo za alineje sveta, ampak za majhne kitajske kraje na ulici."

Pomanjkanje povpraševanja po vozovnicah za Trois Mec ni verjetna težava. Zaradi priljubljenosti LudoBites, pojavnih večerj, ki so Ludu Lefebvru prinesle kulinarično slavo, so Lefebvri na koncu uporabili sistem loterije za rezervacije zadnjih nekaj serij. Znano je, da je na tisoče potencialnih obiskovalcev, ki poskušajo priti v LudoBites, zrušilo rezervacijske sisteme.

Vstopnice Trois Mec bodo na voljo na spletnem mestu restavracije, kjer se mora kupec pred nakupom registrirati z uporabniškim imenom in geslom. Registracija se začne v torek, vstopnice za naslednja dva tedna pa bodo naprodaj v sredo ob 8. uri za zabave do šestih na dveh sedežih (med 18. in 18.45 in med 20. in 21. uro). Vstopnice bodo nato na voljo vsaka dva tedna ob petkih ob 8.

Za meni s petimi hodi je 75 USD, vključno z jedmi, kot so krompirjeva kaša z mlečno lupino, rjavo maslo, palamida, čebula soubise in sir Salers iz piščanca iz Auvergneja in špargljev z gorčico, panceto in briošem ter jagodami z mandljevim sladoledom, rabarbaro, rožnim ledom in oljčnim oljem. Skupna cena vstopnice, vključno z 18% pristojbino za storitev in davkom, je 97,13 USD, pivo in vino pa se bosta dodali na zavihek. Vračil ali zamenjav ni, gostinci pa lahko prodajo vstopnice in jih nato prenesejo na spletno mesto Trois Mec.

Zdaj mora nekdo ugotoviti, kako pravočasno pripeljati Angelenos na večerjo. V Trois Mec se bo storitev začela, ne glede na to, ali so prispeli vsi člani vaše stranke ali ne. To je kot baseball, pravi Ludo Lefebvre. "Če zamujate, se igra vseeno začne." Tudi če je odbijač do odbijača na 101.

Pridobite naše tedensko glasilo Tasting Notes za preglede, novice in drugo.

Občasno lahko od Los Angeles Timesa prejmete promocijsko vsebino.

Betty Hallock je bila namestnica urednika hrane, ki je zajemala vse, kar se tiče hrane in pijače za sobotno rubriko in blog Daily Dish. Začela je pri The Timesu leta 2001 v oddelku Business, prej pa je delala za National desk pri Wall Street Journal v New Yorku. Je diplomantka UCLA in univerze New York.

Več iz Los Angeles Timesa

Kritik restavracije Los Angeles Times Bill Addison in kolumnistka s hrano Jenn Harris s piščančjimi sendviči iz Popeyes, Chick-fil-A, Carl's Jr., Jollibee, Church's Chicken, Burger King, McDonald's, Arby's in KFC in razglasijo, kateri je najboljši.

RE: Njena, neprofitna organizacija, ki so jo ustanovile ženske, ima nov program nepovratnih sredstev za lastnice žensk. Rok je 23. maj.

Kitajsko kuhanje, objavljeno v treh novih kuharskih knjigah, od katerih ima vsaka drugačen pogled na mejo med tradicionalnimi kulturami in asimilacijo na zahodu.


Kaj pa, če bi restavracije ocenile svoje stranke?

To že vemo ocene uporabnikov lahko določijo usodo restavracije: kdor je jedel v restavraciji, lahko pusti trajen digitalni odtis svojih vtisov, ocen in sodb. Ne glede na to, ali so pozitivni ali negativni, zanesljivi ali celo resnični ali napačni. Spletne kritike so potencialno orožje v rokah strank: zakaj pa ne poskusite obratno? Z drugimi besedami, kaj bi se zgodilo, če bi restavracije začele ocenjevati svoje stranke?

Nekateri v gostinstvu že nekaj časa pozivajo, naj ta ocena ne bo več enosmerna. V resnici bi bilo koristno, da bi restavracije vedele, kakšne vrste strank prihajajo na njihove mize, zlasti kar zadeva rezervacije: odpovedi v zadnjem trenutku, neprihodi, ljudje, ki se pojavijo, vendar je za njih rezerviranih le polovica ljudi. Dejansko tveganje, da nekatere od rezerviranih miz - v povprečju med 10% in 20% - morda dejansko niso zasedene, vodi v neprijetne situacije, kot je prezasedenost: to pomeni, da ljudje, ki so mizo rezervirali na pravilen način, vnaprej in obdržijo svoje obljubi, bo moral stati v vrsti in čakati na iskano mizo.

Skratka, nekaj ni v redu in že vsaj eno leto je ta del rezervacijskega sistema pod drobnogledom kretencev iz Silicijeve doline. Od preproste rezervacije prek aplikacije - če naštejemo samo eno, OpenTable - so prešli na fazo 2, ki vključuje - ali moramo to povedati? -vse to spremeniti v idejo za zaslužek. Izhajajoč iz koncepta, da najbolj priljubljene restavracije ustvarjajo horde potencialnih strank, razočaranih zaradi dejstva, da ne morejo doseči svojega mesta na soncu, in da za razliko od večine blaga in storitev trg rezervacij še ni postregel z najboljšim ponudnikom , aplikacije so se začele pojavljati kot gobe - od Resyja do Tabele 8, Od Reserve do Killer Rezzy do SeatMe - prodaja miz za plačilo, z ali brez sodelovanja in sprejemanja lastnikov restavracij, ki včasih zaslužijo s transakcijami, včasih pa lahko se tega popolnoma ne zavedati.

Razumljivo je, da si mnogi ob tej zamisli obrnejo nos, vendar poudarja neravnovesje, ki na tem področju dejansko obstaja med ljudmi, ki želijo iti ven na večerjo in domnevajo, da za obroke plačujejo in ne za stol, in ljudmi, ki ponujajo, vendar ne jamčijo, da bo prazen. Ena od rešitev bi lahko bil pilotni sistem, ki sta ga predstavila lastnika dveh ekskluzivnih restavracij v Chicagu, Next in Alinea: plačati za rezervacijo na spletu, nato pa odšteti vsoto od zadnjega zavihka-zdi se, da je ta pristop zmanjšal stopnjo neprihoda na manj kot 2%. Medtem OpenTable in druge aplikacije že ocenjujejo uporabnike in vsak, ki se preseže - na primer, če se v enem letu po rezervaciji ne pojavi večkrat ali se v zadnjem trenutku prekliče - ni zavrnjeni in njihov račun je zaprt (vedno pa je mogoče odpreti še enega pod drugimi krinkami).

Naslednji korak je že v pripravi: programska oprema za rezervacije, ki vključuje popolnejšo in kompleksnejšo oceno stranke, kot so tiste, ki se uporabljajo v sistemih, kot sta AirB & ampB za domove ali Uber za vozila. Ne samo, ali so ohranili zadržke, ampak kritike in komentarje o tem, kako so se obnašali, morda celo na levi, če sploh. Sistem ocenjevanja, ki nagrajuje dobre stranke in ne samo kaznuje slabih. Dela se na njem, vendar ga je treba še predstaviti na trgu: zato bi kmalu lahko prišli tudi kupci z ocenami štiri in pol zvezdice ali pet zvezdic od petih, za katere bo restavrator z veseljem pripravil mizo v prvo mesto ob 20.00 v petek zvečer z dobro zasluženim pogledom na morje. In ostalo? Morali bodo trdo delati, da bi si ustvarili dober ugled. Ker je treba zaslužiti dober obrok (in dober sedež).


Najboljše vrhunske restavracije v Ameriki in#8217

Alinea, ki jo vodi kuhar/lastnik Grant Achatz, je Chicago & rsquos edina restavracija s tremi zvezdicami Michelin, ki jo je nedavno razglasil za najboljšo restavracijo World & rsquos Elitni popotnik že tretje leto zapored. Dobitnik več priznanj, vključno s petimi nagradami Jamesa Bearda in prot & eacuteg & eacute francoskega podjetja Laundry & rsquos Thomas Keller, je Achatz mojster avantgardne priprave hrane z brezhibno pozornostjo do detajlov. V sezonsko spreminjajočem se meniju Prix Fixe je trenutno 18 neverjetnih jedi, vključno z mignoneto iz ostriginih listov, jastogom s korenčkom in kamilico, eksplozijo črnega tartufa z rominom in parmezanom ter čudovito sladico iz balona s helijem in zelenim jabolkom ter sladko sladico, polno užitnega helija- napolnjeni baloni iz dehidriranega jabolka. Po uspehu sistema vstopnic, ki ga uporablja druga restavracija v Chicagu Achatz & rsquos & ndash Next & ndash Alinea prodaja vstopnice v predprodaji dva do tri mesece vnaprej in spodbuja goste, da si ogledajo datume prodaje vstopnic na svojih straneh Facebook in Twitter. Najboljše zanimivosti, oddaljene nekaj kilometrov od Alinee, so Wrigley Field, Lincoln Park in Art Institute of Chicago.

Fotografija: Commander ’s Palace

Verjetno najbolj znana restavracija v New Orleansu, Commander & rsquos Palace že več kot 130 let privablja stranke z visokimi kreolskimi jedmi Louisiana. Izvršni kuhar Tory McPhail, lanskoletni zmagovalec Jamesa Bearda za najboljšega kuharja: jug, nadaljuje dolgoletno tradicijo slavnih izvršnih kuharjev v palači Commander & rsquos, med njimi dva najbolj znana in ndash-a iz New Orleansa Paul Prudhomme in Emeril Lagasse. Kljub temu pa je za razliko od drugih vrhunskih restavracij degustacijski meni kuharja in rsquosa čudovita kupčija za samo 95 USD z neobvezno kombinacijo vina za 48 USD. Večerni meni, ki se spreminja skoraj vsak dan, lahko vključuje sladko raboto meso iz Floride, klasično rakijo iz Louisiane s prepraženim zelenim ocvrtim paradižnikom in ocvrtim paradižnikom ter dimljenim rakovcem iz jezera Pontchartrain, ki ga postrežejo s svežimi lokalnimi in sezonskimi pridelki. Palača Commander & rsquos, ki se nahaja v veličastnem vrtnem okrožju, je prejela številne nagrade, med katerimi je 18-krat najboljša restavracija Zagat & rsquos v New Orleansu, trikratna zmagovalka Revija Food and Wine& rsquos Reader & rsquos Choice Award za najboljšo restavracijo v Ameriki in nagrada James Beard za življenjske dosežke za solastnico Ella Brennan, katere družina ima v lasti več znanih restavracij, med drugim Bistro Mr. B ’s in Stekiehouse Dickie Brennan ’s v zgodovinski francoski četrti .

Fotografija: Eleven Madison Park

Vprašajte newyorškega gurmana, kakšna bi lahko bila najboljša vrhunska restavracija v mestu & rsquos, in odgovor bi lahko vključeval mukotrpen miselni proces. To je zato, ker se New York ponaša s sedmimi restavracijami Michelin s tremi zvezdicami, vse z doslednimi uvrstitvami na sezname najboljših na svetu. Toda na podlagi nedavnih nagrad in#8211 S. Pellegrino ’ peta najboljša restavracija na svetu, kuhar leta James Beard leta 2012 za solastnika in izvršnega kuharja Daniel Humm ter odlične ocene The New York Times in Michelin Guide, Eleven Madison Park se zdi vredna izbira, čeprav se slavne restavracije, kot so Daniel, Le Bernardin in Per Se, upravičeno ne strinjajo. Vsi pa se bodo strinjali, da je Eleven Madison Park dosledno uvrščen med prvih pet in nenehno dviguje lestvico v odlični restavraciji. Vzorčne jedi iz jedilnika z več tečaji v restavraciji vključujejo jezerca, prekajenega jastoga na mizi, popečenega z jeserolo in mandlji ter jagnjetino s koromačem, višnjami in školjkami. Restavracija, ki se nahaja v zgodovinski stavbi Metropolitan Life North s pogledom na park Madison v zgodovinskem okrožju Flatiron na Manhattnu in#8217, je v solastništvu restavratorja in domačega New Yorkerja Willa Guidare, ki je bil prej generalni direktor restavracije in#8217.

MGM Grand Hotel (L) – The Emerald City (kredit, Randy Yagi)

Michelin ne proizvaja več vodnika za Las Vegas, če pa bi, bi bil na vrhu seznama Jo & eumll Robuchon v MGM Grand na Las Vegas Stripu. To & rsquos, ker je edina restavracija v prestolnici iger na svetu, ki si je prislužila to razliko. Restavracija Vegas je edina v ZDA, ki jo vodi slavni francoski kuhar, ki ga je nekoč imenoval za svojega deželnega kuharja stoletja častni francoski gostinski vodič Gault Millau. Meni d & eacutegustation s 16 hodi je med najdražjimi na svetu, vključno s podpisanimi jedmi, kot so La Langoustine, Le Poulet Fermier in L & rsquooeuf de Poule. Jo & eumll Robuchon v MGM Grandu ponuja tudi a la carte meni in prix fixe a la carte meni. Kuhar Robuchon ima 12 restavracij po vsem svetu in trenutno ima 25 zvezdic Michelinovega vodnika, največ od vseh kuharjev na svetu.

Dolina Napa (kredit, Randy Yagi)

Čudovita restavracija v letovišču Meadowood, ki se nahaja v neokrnjenih hribih doline Napa, je le ena od dveh restavracij zahodno od reke Mississippi, ki zasluži tri zvezdice Michelin. Izvršni kuhar Christopher Kostow, lanski zmagovalec Jamesa Bearda za najboljšega kuharja zahoda, je mojster za natančno pripravo in predstavitev hrane v jedilnici, njegov prihod pa je bil zaslužen za katapultiranje restavracije v zgornji del svetovne kulinarike. Za vrhunsko jedilnico v restavraciji Meadowood kuhar Kostow ponuja meni za degustacijo kuharskih mojstrov s 15 do 20 hodi, ki lahko vsebuje razkošne jedi, kot so kaviar iz divjačine iz divjačine, koleraba iz kisle rači in cvetačno maslo uni iz rakov. Na vinski karti restavracij in rsquosov je več kot 1200 izbir, vključno z izbirami iz kleti Napa Valley & rsquos Harlan Estate in Screaming Eagle, ki sta v lasti partnerjev Meadowood H. Williama Harlana in Stana Kroenkeja.


Alinea Project je poskus enega moškega, da ustvari restavracijo in kulinarično briljantnost#8217

Hemberger je že zgodaj dobil briljantno idejo, da bi poskusil dokumentirati svoj poskus receptov, ki ga je poimenoval The Alinea Project. Alinea je bolj kulinarični laboratorij kot restavracija, znana po svoji molekularni gastronomiji in lepi plošči. Projekt Alinea beleži poskuse in napake, uspehe in vse vmes, skupaj z zapiski o nekaterih stvareh, ki se jih je Hemberger naučil na poti. Imel je (še boljšo) idejo, da bi vsebino svojega spletnega dnevnika - in še veliko več - v začetku tega leta (s pomočjo uspešne akcije Kickstarter) objavil v trdo vezani knjižni obliki z istim imenom.

Pred kratkim smo se pogovarjali s Hembergerjem, da bi izvedeli več o njegovih izkušnjah, ko je poskušal poustvariti enega najbolj impresivnih jedilnikov na svetu, v svoji domači kuhinji, in zakaj ima fotografija v poskusu pomembno vlogo in kako je knjiga nastala.

DT: Kako ste prvič slišali za Alineo?

“ Vau, sploh ni videti kot hrana. Ne morem si zaviti glave okoli tega, kar se tukaj dogaja. ”

Kakšni so bili vaši prvi vtisi?

Bilo je smešno. Imeli smo najosnovnejše razumevanje, kaj je to mesto. Prijatelji so mi pokazali spletno mesto, jaz pa sem si rekel: "Vau, sploh ni videti kot hrana. Ne morem si zaviti glave okoli tega, kar se tukaj dogaja, «je bilo pa zelo lepo in zdelo se mi je nekako kul. Sam obrok - po poklicu sem nekakšen piflar, zato sem se vprašal: "Kako jim gre to?" Ena jed je prišla s to popolnoma pravokotno omako. Zato sem se vprašal: "Kako so to storili? Ali imajo tam kakšno noro orodje? Kako so iz tega naredili kroglo? Kako so to storili? Kako so to storili? Kako to počnejo? " Kaj takega še nisem videl.

Torej, predstavljati si moramo, da ste do takrat, ko je izšla kuharska knjiga v restavraciji, malo zadihali, da vidite, kako so naredili nekatere od teh stvari.

Vsekakor. Po obroku sem se vrnil iz Nove Zelandije in poskušal malo prebrati o tem. Pravzaprav nisem vedel, kako se imenuje slog kuhanja, vendar sem našel knjigo. Moj prijatelj je rekel: »Ta restavracija v Španiji dela podobne stvari. Tole bi morali preveriti. " Končno sem dobil izvod ene od kuharskih knjig El Bullija. In jaz sem si rekel: "Ja, to se mi zdi nekako enako." Vse je v španščini, zato se je nemogoče naučiti, kako to narediti. Zato sem si pripisal: "V redu, tega ne morem natančno ugotoviti."

Torej, ko je (Alinea) izšla s svojo kuharsko knjigo, me je resnično presenetilo ne samo: "Oh, lahko vidim vso to drugo hrano, ki je še nisem jedel," ampak so bili tudi zelo preprosti in pregledni, "Tako delamo. Hočeš vedeti? Tukaj je."

Kdaj je torej šlo od tega, da so se naučili, kako to počnejo, do odločitve, da bodo vložili v to ogromno dela pri ponovnem ustvarjanju jedilnika doma?

To je dobro vprašanje. Nikoli se nisem zares odločil ali pa se vsaj ne spomnim točke, ko sem si rekel: "Kuhal se bom skozi to knjigo." Bilo je še več: dobil sem, prebral sem te recepte in rekel: »To se mi zdi smešno. Nobena od teh možnosti ni dostopna, samo smešne so. "

Toda, ko sem ga nekajkrat prebral, sem rekel: "No, tukaj je ta recept. Zdi se najmanj težko od vseh. Želim poskusiti in preveriti, če mi to uspe. " Nisem si mislil, da bi res lahko naredil enega od teh receptov. Potem (pogledal sem) karamelnega prahu. "To je kot šest stavkov. Vsekakor lahko to odpravim. " Potrebovali smo tri ali štiri poskuse, da bi to uredili, kar je bilo frustrirajuće, a tudi radovedno zame. Ni tako, da vsi ti nori beli pudri opravljajo vse delo. V te stvari ne morete vliti le belega prahu in deluje, da morate vse pravilno združiti. Zanimalo me je, koliko truda je bilo vloženega, a tudi, ko sem to uredil, je bilo tako: "Hej, res je lepo, da sem prav razumel." Zaradi tega sem si želel poskusiti še eno, to je nekoliko težje in mi je vzelo še nekaj poskusov, da se popravim. Tako sem začel izbirati najlažje in preveriti, ali jih lahko izvedem, od tod pa mi je dalo malo več samozavesti, da poskusim še eno in še eno in še eno.

Kje ste ob poti spoznali, da je to nekaj, kar je vredno dokumentirati?

V času, ko sem bil izpostavljen vsemu temu, so [prijatelji], s katerimi sem živel na Novi Zelandiji, vodili bloge, da bi njihove prijatelje in družino doma vsak dan ocenjevali. To mi je bilo zanimivo. Še nikoli nisem imel bloga. O tem nisem vedel veliko, dokler nisem rekel: »Rad pišem. To je kot dnevnik. To početje se mi zdi odličen način, da prijateljem in družini doma razložim, kaj počnem ob vikendih. "

Prav tako sem se spraševal o norih belih praških, ki jih uporabljate za to. Na začetku knjige Alinea je cel razdelek, na primer: "Tu so vse čudne sestavine, ki jih uporabljamo." Zame je bilo nekaj zanimivega pri demistificiranju teh. Ta prvi recept, karamelni, je uporabil nekaj, kar se je imenovalo Tapioca maltodekstrin, ki se v osnovi uporablja za prah olj. Tako lahko Betty Crocker doda olivno olje v svojo mešanico piškotov. To se mi je zdelo res zanimivo. Rekel sem: »Ljudje se teh sestavin s temi dolgimi imeni nekako bojijo. Ali ne bi bilo kul, če bi celotno stvar uporabil kot vozilo, krmo za pisanje, da bi govoril: 'Oh, tukaj je pravzaprav za kaj lahko uporabimo to sestavino. Ni tako strašljivo. In tukaj je tisto, kar počnem z njim. ''

Moj prvi vtis o blogu, kaj bi naredil z njim, je: "Oh, tukaj so ti trije ali štirje recepti in vsak zapis na blogu bo demistificiral eno od teh norih sestavin. Mogoče me bo to zabavalo kakšen mesec. " Ko sem začel s tem, sem dobil veliko več, kot sem se pogajal, toda moj prvotni načrt je bil ravno to.

Fotografiranje je bil moj način, da potrdim, da sem recept dobil pravilno. Kuharska knjiga nikoli ne pove nič takega, kakšnega bi morala biti tega okusa ali kako bi to moralo delovati. "Naredi nekaj tega, tega in tega, in tukaj je fotografija." Tako da v resnici nisem vedel, ali sem prav razumel. Izdelana stvar je izgledala kot fotografija v knjigi. Zato je bil moj prvotni razlog za fotografiranje: "Evo, to sem naredil." To je bil moj edini barometer, kako dobro sem opravil.

Kdaj se je torej spremenil v ta večji projekt za objavo knjige?

Približno leto dni pozneje mi je bilo jasno, da začenjam zbirati veliko fotografij. Mislil sem si: »Bilo bi super, če bi si te dni iz tega naredil album s fotografijami. Mogoče bom, ko bom s tem končal ali se bom naveličal s tem, posnel fotografije in jih sestavil, iz njih naredil knjigo, nekaj zelo preprostega. Imel sem to idejo in si jo nato odložil v glavo. Ko sem prišel do konca, sem pomislil: »Tu imam celo ogromno fotografij. Lepo bi bilo iz tega narediti res velik album. " Zato sem začel razmišljati: "Kako ga lepo natisnem?" Knjige fotografij običajno niso posebej kakovostne in vprašal sem se: "No, kakšne so moje druge možnosti?"

Tako kot pri vsem drugem v tem projektu sem tudi jaz začel kopati, kopati, kopati, opravljati vse te raziskave. Moje dekle je bilo takšno: »Če se trudiš, si morda zamisliš, da bi kaj napisal. Ker bo to kakovostno, ga boste morda nekoč želeli podariti svojim otrokom. Zakaj torej ne napišete kaj takega? " Začel sem razmišljati o tem in bolj ko sem spoznal, kako poteka postopek tiskanja, bolj sem se začenjal zavedati: »Oh, ni res stroškovno učinkovito narediti samo enega od teh. Če bi to natisnili tako, kot bi natisnili pravo knjigo, bi to stalo 40.000 dolarjev ali kaj podobnega. Torej, če bom to storil, bi lahko natisnil 500 izvodov ali 1000 izvodov ali kaj podobnega. " Kar pomeni vprašati druge ljudi, ali bi jih zanimala takšna knjiga.

Iskreno, nisem imel zaupanja. Vprašal sem se: »Vse na spletu je brezplačno. Zakaj bi kdo hotel plačati za takšno knjigo? " In nekaj časa sem začel razmišljati o tem. »Ali preprosto kopiram in prilepim blog v knjigo? Sploh ne vem, kaj bi bila moja knjiga? " In to me je odvrnilo od moje prvotne zamisli o tem, kaj želim. Tako, da do trenutka, ko sem predstavil Kickstarter, sploh nisem bil samozavesten. Zato sem se odločil za Kickstarter. Rekel sem: "To je dober način, da preverite, ali je to izvedljiva ideja ali zanimiva za koga drugega, razen mene." Ampak res nisem imel zaupanja, da je tako.

Ali kdo v Alinei ve, da ste to storili?

“Alinea me je v celoti podpirala, kar je bilo precej super. ”

Ko sem dosegel to kritično točko: "Želim narediti to knjigo, vendar moram vprašati druge ljudi, ali bi bili pripravljeni sodelovati pri njej," sem si rekel: "No, najprej mu želim povedati." Ker nočem, da mislijo, da je bil ves njegov projekt namenjen temu, da sem poskušal zaslužiti denar ali zbrati zgodbo, ki bi jo povedal. Ne gre za to, vendar je ta knjiga dosegla to čudno točko, zato sem jim po e -pošti rekel: »Hej, tukaj delam. Razmišljam o morda Kickstarterju. Želel sem samo, da veste, zato vas to ni presenetilo ali odvrnilo ali kaj podobnega. " In odgovorili so: "Ja, ne, super." Skozi celotno zadevo so me zelo podpirali, kar je bilo precej super.

(Avtorske pravice za slike Allen Hemberger, uporabljene z dovoljenjem. Več slik najdete v projektu Alinea.)


Kaj & rsquos sledi za restavracije, pravi Nick Kokonas

Solastnik skupine Alinea in ustanovitelj sistema rezervacij restavracij Tock o tem, kaj bo "restavracija" pomenila čez pet let.

Ker sem tako dolgo v izolaciji, si ne morem predstavljati prihodnosti. Toliko sodelavcev v gostinstvu je uničenih, da so restavracije, ki so jih strastno gradili, zaprti, morda za vedno. V skupini Alinea Group, ki je maja praznovala 15 -letnico delovanja, si močno prizadevamo preoblikovati pet restavracij in ponovno zaposliti našo ekipo. Gledati mimo naslednjega tedna je težko, naslednji mesec je negotov, prihodnje leto pa? No, to ’ je veliko dlje, kot je običajno.

Dolgoročno pa upam, da upam. Karkoli ljudje gradijo, ni nikoli tako močno kot ljudje sami. Gostoljubje, ki ga pogrešamo v času naše nacionalne karantene, so si izmislili ljudje, ki so želeli služiti drugim in jih osrečiti. Želja po ustvarjanju teh povezanih izkušenj ne mine.

Three days after Chicago was mandated to shelter in place, Alinea began serving to-go meals. Instead of ordering in a steak plus sides and dessert for upward of $50, for $35, you could get beef Wellington with mashed potatoes and crème brûlພ from Alinea, or handmade rigatoni alla vodka with Caesar salad and cheesecake from Next. Within three weeks, we were serving over 1,250 dinners every evening. Something wonderful happened: Our social media feeds filled with posts of families together around their kitchen tables, thanking our team for making their night special. The way we connected was equally powerful and personal, though different, and entirely unimaginable eight weeks ago.

In the past, personalized hospitality meant a jovial host with a mental Rolodex of regulars and their preferences. Now, it means meeting diners where they live—on social media, email, and infrequent, timely text messages.

Moving forward, restaurant teams will be more important than restaurant real estate. Pop-ups, pop-ins, and touring restaurants will be reinvented. In the same way that musicians play in venues around the world and theaters stage productions that move from city to city, great restaurant concepts might want to adopt these practices to create fluid brand experiences in flexible spaces. A ghost kitchen one night might become a unique pop-in another.

Everyone knows about private dining rooms, chef’s counters, and kitchen tables. Expect to see more of those, as well as new, creative offerings that highlight a restaurant’s individual cuisine, one table at a time. The Aviary, the bar I own in Chicago with chef Grant Achatz, offers a seven-course kitchen table experience, three- and five-course drink flights with paired food, à la carte menus, and our speakeasy, The Office, all under one roof. Offering experiences, not just menus, allows us to serve different types of customers at different price points and to vary those choices by days of the week, times, and seasons. What was once a high-end solution may become the norm as restaurants are forced to have fewer tables and fewer patrons in the same physical space.

At the beginning of 2020, asking the question, “What will ‘restaurant’ mean in five years?” was usually an exercise in looking for hot food trends or tracking an up-and-coming chef. Today, amidst the COVID-19 pandemic, that discussion is existential. We haven’t even started to lay the new foundations, but somewhere there is a young chef dreaming of opening her own restaurant. She has a clear vision of how it can work, and she will find new ways of connecting with customers. Leases are attractive. People are slowly dining out again. And that’s how our restaurants will come back to life: new, vibrant, more diverse, and, yes, different.

Nick Kokonas is the co-owner of The Alinea Group in Chicago and the founder of Tock, a restaurant reservation system.


Who Really Writes Chefs' Recipes?

Even the most celebrated chefs have help from other people when they're developing recipes, but those names are rarely seen by the dining and cooking public.

Every so often, accusations of plagiarism rip through the food industry and tumble out into public view. In 2008, Rebecca Charles, who introduced the lobster-roll restaurant to New York with Pearl Oyster Bar, sued her old sous chef Ed MacFarland for stealing the concept of her restaurant with the opening of Ed’s Lobster Bar, down to her mother’s recipe for a Caesar salad made with English-muffin croutons and a coddled egg. Back in 2012, Food Network Dessert First host Anne Thornton reportedly lost her show after the network discovered multiple instances of her copying other recipes in ways that were too close for comfort. Cookbook author Paula Wolfert told the Montreal Gazette that theft of her recipes, without crediting her stories, was rampant until she sued about 25 years ago. But legal recourse is rare. For the most part, restaurant chefs snark about dish-stealing by chefs at other restaurants or large corporations—or at least not acknowledging inspirations𠅋ut little more.

More recently, amid accusations of moldy jams at Los Angeles’s Sqirl restaurant, owner Jessica Koslow also had to fend off a different kind of allegation: some former chefs at the restaurant accused Koslow of taking sole credit for recipes that they created. As former pastry chef Elise Fields told Eater, Koslow neglected to give her staff 𠇊ny credit for the popularity of the sorrel rice bowl, or literally anything else that’s ever taken off on that menu.”

Koslow, for her part, apologized for “mistakes” but claimed that “there is an existing structure in our industry for how restaurants retain the creative recipes and techniques that many chefs contribute to the place during their employment and I will consider my part in this system as we move forward.” (In light of these revelations, Hrana in vino changed the attribution of a Sqirl sunchoke hash recipe from Jessica Koslow’s byline to former chef de cuisine Ria Dolly Barbosa with the agreement of both parties.)

The problems at Sqirl, in particular, seemed rooted in some staff members’ perception of her lack of culinary cred and contribution to the restaurant menu from its beginnings. Another Sqirl pastry chef, Sarah Piligian, told Eater: “I literally worked for Jessica for almost three years, and I’ve never seen her cook,” and Balo Orozoco, a former Sqirl catering chef installed at another of her restaurants, Onda, also claimed “she doesn’t cook.” In that way, from these chefs’ viewpoints, the Sqirl blow-up over recipe attribution seems to be more akin to a hypothetical situation in which restaurateurs like Danny Meyer or Maguy Le Coze told a magazine to put their names on a recipe created at one of their restaurants. Still, other unnamed Sqirl chefs told Eater that working at Sqirl was the first time they𠆝 been paid fairly or that the claims that she couldn’t cook were misogynistic.

Recipes are famously difficult to copyright, and restaurant concepts are, too𠅊s Charles found out when she tried to create a legal precedent before settling out of court with MacFarland. While legally, recipes don’t belong to anyone, Wolfert argued that, according to the Author’s Guild, “you can only own the language of a recipe, the written text.” But without hard-and-fast rules, context is key, and it varies between restaurant traditions and those of cookbook authors, with different agreements, implicit or explicit, and many hands involved along the way. Much is muddied because many recipes themselves draw on multiple influences.

𠇎verything I do is collaborative,” says New York Times food columnist and cookbook author Melissa Clark. “What I do is hire recipe testers. I have a recipe vision. I will type out a recipe. If something is wrong, they change it. Do they get credit at the end of the column? No. But everyone needs to be paid a fair wage, and everyone needs to be on the same page.” Clark does credit her recipe testers in the acknowledgements of her cookbooks.

Few if any would argue that the cook who suggests adding a thyme garnish deserves credit to a recipe or that every chef who has had input in a dish should have their name directly below the dish on a restaurant menu. At many restaurants, particularly larger ones or those part of sprawling global behemoths, the chef de cuisine’s role is more akin to a speechwriter, who collaborates with a politician to channel their vision, but ultimately knows that part of the deal is that it is the politician, not the speechwriter, who will deliver those words on television and receive the historical attribution. In the ideal scenario, chefs de cuisine, like speechwriters, then parlay that experience into future career moves (see: Obama’s former speechwriter Jon Favreau or any number of political commentators). Holding the title of chef de cuisine or sous chef is, ipso facto, an acknowledgement of that person’s contribution of creative and technical expertise to a restaurant. Still, many chef-owners go beyond that in acknowledging the work of their staffers.

In working with publications, many chef-owners insist that the chefs in their restaurants get credit for the dishes they are largely responsible for creating. Farideh Sadeghin, culinary director for Vice’s Munchies, always asks who she should credit a restaurant recipe to, and very often the chef-owner cites another chef. In more clear-cut cases, when chefs are leading entire segments of a restaurant, they get brand-building treatment through both affiliation with a more famous chef and a byline: chefs de cuisine are often listed at the top of menus or on websites. Rene Redzepi shares a byline with the restaurant’s head of fermentation, David Zilber, on The Noma Guide to Fermentation, as does Yotam Ottolenghi with Helen Goh, the pastry chef, for Sweet: Desserts from London’s Ottolenghi. Chefs like Daniela Soto-Innes at Enrique Olvera’s Cosme, Eunjo Park at David Chang’s Momofuku Kawi, and Maura Kilpatrick and Cassie Piuma at Ana Sortun’s Sarma and Sofra, respectively, have all received promotion from their more-established bosses in the media.

Why wouldn&rsquot you give credit where credit is due?

“I had a technique I took from Clio to Alinea to wd

50, and I never felt bitter about that—you leave your influence behind,” says Alex Stupak, now chef-owner of four restaurants in New York City, while conceding that he first became a pastry chef, in part, because it was almost the only name-building role in the kitchen other than chef-owner. “If a cook is developing something within the four walls of a place, then it’s for that place. If it’s not, then you’re making the argument that you’re making research and development for yourself on someone else’s dime.” That all said Stupak also argues that attribution helps increase team pride. “Why wouldn’t you give credit where credit is due?”

And Cal Peternell, who worked for decades at Chez Panisse, and was paid extra to do some recipe testing and development for the restaurant’s cookbooks, sees it similarly. “If the restaurant is paying you and paying for all the ingredients, then the things you’re doing there are the restaurant’s intellectual property,” says Peternell, who was credited in the acknowledgements of cookbooks to which he contributed, but didn’t see a headnote attribution as necessary for a handful of recipes. “Part of working, yeah, I’m giving them some of my intellectual property, but I’m getting a lot back. I was learning and getting better and I was giving back. I certainly feel lucky in that way.” Of course, if a chef doesn’t feel as though they are learning or gaining future opportunities or getting paid extra for recipes beyond the restaurant menu, the exchange on a cook’s salary may feel exploitative.

More commonly, instances of recipe theft tend to involve strangers using recipes without any credit: Chefs mimicking other popular restaurant dishes without acknowledgement, blog aggregators nabbing recipes, or food-media brands that have systematically erased the names of recipe developers. Ben Mims, now a cooking columnist at the Los Angeles Times, recounts that some cooking outlets would  attribute a recipe to the faceless “Test Kitchen” if the developer was not a celebrity chef. He had to fight to get credit for developers in the acknowledgements page. “It’s a bigger deal now than ever,” says Mims. “You’re there to make your name. And giving proper credit, even if it’s just a recipe, can matter in quality of life and the next job you get.”

Recipes have life. They have a backstory.

Tina Ujlaki, former executive food editor at Food & Wine, also pushed to make sure every recipe coming out of the magazine’s test kitchen had its main recipe developer’s name attached, even when it was a printed tag attached to bottlenecks at events. “You should always give credit where credit is due,” says Ujlaki. “There are a lot of mags where you contribute to the pool—it’s work for hire. I never thought that way. Recipes have life. They have a backstory.” An added bonus was that readers built a relationship with those recipe developers, knowing that they were investing time and groceries into a recipe from someone they trusted.

Still, Ujlaki says that the recipe world is rife with copying—Marion Cunningham’s yeast-raised waffles have appeared unattributed all over the place for years𠅎ven if there are generally accepted guidelines. “The rule has always been, if you change two ingredients, the recipe is technically yours,” says Ujlaki. “So, if you don’t list salt and pepper, and list ‘seasoning,’ is it yours?” (Other recipe developers go by the theory of changing three things, including both ingredients and techniques.)

In America, in particular, there is a grievous past to who gets their name on a printed recipe, particularly in the South, where enslaved Black men and women brought the ingredients of their homelands and created a new style of cooking with them, while they were often barred from reading and writing. The narrative of Southern food has been so weighted towards white figureheads that two books in the past five years have launched as correctives: Toni Tipton-Martin’s The Jemima Code, chronicling the creativity and technical finesse of Black women in shaping Southern cuisine, and Michael Twitty’s The Cooking Gene.

Who holds the keys to a certain story or represents a certain ingredient or technique? This is the politics of who can share recipes and who can&rsquot.

“It’s the imperialization of food. The identity politics of food. It’s the colorism of food,” says Lazarus Lynch, a chef, musician, and author of Son of a Southern Chef. “I think it’s part of the fractured history of Black Americans. We weren’t allowed to read. In the Black community, there were house negroes, who were privileged to education and nursing, and field negroes, who were not. Who holds the keys to a certain story or represents a certain ingredient or technique? This is the politics of who can share recipes and who can’t.”

On a granular level, there may not be a great transgression in one chef signing up to sell their creativity to one restaurant, particularly if the chefs are white, educated, and male and have easier access to capital and media buy-in to later build their own brands and restaurants. A larger question may be: Who gets to be a chef-owner? Who gets to be a food columnist? And who does the media seek out for recipes in the first place? As Priya Krishna and Yewande Komolafe point out in Bon Appétit, recipe writing, itself, can get whitewashed when editors assume a white audience𠅊nd perhaps that influences who is sought out to represent a culture’s culinary traditions. Stupak recounted, with great frustration, how when he opened his first restaurant in 2010 with his wife Laura Resler, who is Mexican-American and was then the pastry chef, media outlets would credit her dishes to him, despite the couple’s efforts to get her press. “I’m glad things are the way they are now,” he says of the conversations about race and gender in attribution.

When it comes to the chef recipes published in media outlets, Sadeghin acknowledges that sometimes an editor just wants a recipe from one with name recognition—not any recipe from any chef. But “part of our job in food media is to discover talent, not just to give the same people credit all the time,” she says. And that’s essential to a greater responsibility. “Naming recipes with their original titles, and not English descriptions—not dumbing it down for white audiences. It’s our job to teach, not making it always more palatable for audiences.”


Alinea, moto - reservations / chi lunch questions?

my wife and i are likely going to be in chicago the weekend before thanksgiving, and i was thiking of going to alinea one night for dinner, and moto the other night. yeah, i know what the costs are of both, but the knockout food reviews are so enticing.

-> i saw through this link (http://www.chowhound.com/topics/397556) that alinea takes reservations 2 months out. is moto the same way? i would try calling on sept 1 to book for both places, or is that too early?
-> do we have to let them know that we'll have the tasting menu when we phone reservations? if so, do we have to let them know which tasting menu? since we're coming from the east coast, we would NOT be looking for an 8pm sitdown, for example.
-> what are the dress requirements? i know per se is men jackets. but wd-50 is just nice casual.

lunch - knowing that i'll be going to those places for dinner, any suggestions on lunch in the vicinity of monroe/state street station? i don't like sausage or hot dogs it could be a generic dive place with a small meal, or even as simple as a chicago style pizza place that's overlooked.

finally - i'm not into the arts, the bears and don't need to see the CBOT/CME. what's some good things to do in chicago on a friday and saturday? i'm comfortable with nyc subway, so public transportation isn't a concern.


America’s Best High-End Restaurants

Led by chef/owner Grant Achatz, Alinea is Chicago&rsquos only Michelin three-star restaurant and was recently named the World&rsquos Best Restaurant by Elite Traveler for the third consecutive year. Winner of multiple honors, including five James Beard awards and protégé of the French Laundry&rsquos Thomas Keller, Achatz is a master of avant-garde food preparation, with an impeccable attention to detail. The seasonally changing prix fixe menu currently features 18 incredible dishes, including oyster leaf mignonette, lobster with carrots and chamomile, a black truffle explosion with romaine and parmesan and the delightful balloon dessert with helium and green apple &ndash a tantalizing dessert replete with edible helium-filled balloons made of dehydrated apple. Following the success of the ticket system utilized by Achatz&rsquos second Chicago restaurant &ndash Next &ndash Alinea sells advance tickets two to three months in advance and encourages guests to view ticket sale dates through its Facebook and Twitter pages. Top attractions within a few miles of Alinea include Wrigley Field, Lincoln Park and the Art Institute of Chicago.Povezano: On Two Wheels: America&rsquos Best Bike Destinations

Photo Credit: Commander’s Palace

Arguably the most famous restaurant in New Orleans, Commander&rsquos Palace has been enticing customers with haute Louisiana Creole dishes for more than 130 years. Executive Chef Tory McPhail, last year&rsquos James Beard winner of Best Chef: South, continues a long-standing Commander&rsquos Palace tradition of celebrated executive chefs, including two of New Orleans&rsquo most famous &ndash Paul Prudhomme and Emeril Lagasse. Yet unlike other high-end restaurants, the chef&rsquos tasting menu is a splendid bargain at just $95 with optional wine pairing for $48. The dinner menu, which changes almost daily, may include sweet Florida stone crabmeat, the classic sautéed Louisiana crawfish with fried green tomatoes and smoked tomato rémoulade and Lake Pontchartrain soft shell crab served with fresh local and seasonal produce. Located in the stately Garden District, the Commander&rsquos Palace has won numerous awards, most notably Zagat&rsquos Best New Orleans Restaurant an astounding 18 times, three-time winner of Food and Wine Magazine&rsquos Reader&rsquos Choice Award for Best Restaurant in America and a James Beard Lifetime Achievement Award for co-owner Ella Brennan, whose family owns several well-known restaurants, including Mr. B’s Bistro and Dickie Brennan’s Steakhouse in the historic French Quarter.

Photo Credit: Eleven Madison Park

Ask a New York foodie what the city&rsquos best high-end restaurant might be and the answer could involve a painstaking thought process. That&rsquos because New York boasts seven three-star Michelin restaurants, all with consistent inclusions among lists of the world’s best. But by virtue of recent awards – S. Pellegrino’s fifth best restaurant in the world, 2012 James Beard Chef of the Year for co-owner and Executive Chef Daniel Humm and perfect ratings by The New York Times and the Michelin Guide, Eleven Madison Park seems like a worthy choice, although celebrated restaurants such as Daniel, Le Bernardin and Per Se will rightfully disagree. Yet all will agree Eleven Madison Park is consistently ranked among the top five and continually raising the bar in fine dining excellence. Sample dishes from the restaurant’s multi-course menu include sturgeon-smoked tableside poached lobster with escarole and almond and langoustine with fennel, sour cherries and clam. Located in the historic Metropolitan Life North Building overlooking Madison Park in Manhattan’s historic Flatiron District, the restaurant is co-owned by restaurateur and native New Yorker Will Guidara, who previously served as the restaurant’s general manager.

MGM Grand Hotel (L) – The Emerald City (Credit, Randy Yagi)

Michelin no longer produces a guide for Las Vegas, but if it did, at the top of the list would be Joël Robuchon at the MGM Grand on the Las Vegas Strip. That&rsquos because it’s the only restaurant in the Gambling Capital of the World to earn that distinction. Led by the legendary French chef once named as his country’s Chef of the Century by the revered French restaurant guide Gault Millau, the Vegas restaurant is also the only one in the U.S. to bear his name. The 16-course menu dégustation is among the world’s most expensive including signature dishes such as La Langoustine, Le Poulet Fermier and L&rsquooeuf de Poule. Joël Robuchon at the MGM Grand also offers an a la carte menu and prix fixe a la carte menu. With 12 restaurants located throughout the world, Chef Robuchon currently has 25 Michelin Guide stars, the most of any chef in the world.

The Napa Valley (Credit, Randy Yagi)

Nestled within the pristine hills of the Napa Valley, the fabulous Restaurant at Meadowood Resort is just one of two restaurants west of the Mississippi River to earn three Michelin stars. Executive Chef Christopher Kostow, last year&rsquos James Beard winner for Best Chef West, is a master in precision food preparation and presentation in the dining room and his arrival has been credited for catapulting the restaurant into the world&rsquos upper echelon of fine dining. For the ultimate dining experience at Meadowood, Chef Kostow offers a 15- to 20-course Chef&rsquos Counter Tasting Menu, which may feature lavish dishes such as tuna venison kohlrabi sorrels caviar and king crab uni cauliflower butter presented over several hours. The restaurant&rsquos wine list features more than 1,200 selections, including selections from the Napa Valley&rsquos Harlan Estate and Screaming Eagle wineries, owned by Meadowood partners H. William Harlan and Stan Kroenke.Povezano: Best Summer Backpacking Trips In America


How Restaurants Retooled for Takeout—and Survival

Če želite obnoviti ta članek, obiščite Moj profil in nato Oglejte si shranjene zgodbe.

Photograph: Victor J. Blue/Getty Images

Če želite obnoviti ta članek, obiščite Moj profil in nato Oglejte si shranjene zgodbe.

You do not want to be an independent restaurant right now. Depending on where you’re located, first you had to close, then you got to open, then you had to close again. Over 100,000 establishments have shuttered either permanently or long term since March, according to recent numbers from the National Restaurant Association. For those that are managing to survive, takeout is now an essential part of the business model. That means figuring out how to make nice meals travel well, and some restaurants, bars, and even technology companies have figured out how to make their offerings shippable, shelf-stable, and more broadly applicable.

When the Ramen Shop in Oakland opened in 2012, its owners were adamantly against selling hot ramen to go. It’s a dish meant to be eaten as soon as the broth hits the bowl. “We wanted people to have the best experience possible,” says co-owner Sam White. Made from intensely savory soup, compact and toothy noodles, and delectable toppings, ramen is a staple food that chefs spend years getting right.

This is how it’s supposed to work: You sit at the counter, place your order, and watch the show. Your drink arrives. Billowy columns of steam rise up from the noodle boiler. These noodles cook fast. Line cooks heat the broth—poultry, vegetarian, dashi—which is blended with fat and tare (pronounced ta-reh), the main seasoning in ramen soup. Line cooks use a thimble for near constant taste tests. Ten minutes pass and your bowl is in front of you—noodles folded, broth blended and ladled, goodies placed. A wise diner begins slurping immediately because if ramen noodles sit too long, they sop up broth and become a mushy mess.

This is why hot soup to go was a no. The Ramen Shop owners, all alums of Chez Panisse, didn’t want to compromise that one perfect bowl when the pandemic first hit—they figured they could ride out a few weeks of being closed in March. But then suddenly it was May, and they knew they needed to find a way to send ramen home. That meant tinkering with the recipe, and sorting out how to package the dish up.

The egg noodles were the main problem to resolve. What if noodles sat out in the car, got left out of the fridge, or, worse yet, were reheated days later. “It would taste gross,” says White. After trials that included adjusting the flour blend and tweaking the rolling amount, they figured out that eggless noodles were more durable you could even freeze them if you had to. Eggless noodles had a little less richness and color, but that was OK. Another side benefit was, you know, vegans.

The recipe, already simple, became even more so. Made daily, it includes a blend of organic flours, water, salt, and konsui—a mixture of potassium carbonate and sodium carbonate that makes noodles springy and provides tension. Without konsui, ramen noodles would be elastic, but not firm. Pre-Covid, the Ramen Shop staff could crank out 500 orders a day using their prized Yamato machine brought over from Japan. Today, sales are slowly climbing back to that level.

They also had to streamline production. “It’s been a process to tighten up the systems,” says White. Tare and fat are pre-portioned ahead of time. Stock options simmer on the stove. When a ticket is called, the chef combines them at predetermined amounts. No stops to taste. After a quick boil, noodles are plunged into an ice bath. This helps noodles seize up and stop cooking they won’t soak up steam or get mushy. A quick squirt of olive oil keeps them separate, then they’re folded into a compostable bowl. Then, say, for the miso ramen, they’re topped with pork chashu, Brussels sprouts, shoyu-marinated egg, and greens. The finished soup goes into a second compostable bowl. Take it home, combine, and eat.

The owners’ resistance to takeout is almost forgotten. “If we want the business to survive, we had to change the business model,” said White.

Another restaurant rethinking form and function is Planta, a Miami-based chain of plant-based cafes. Earlier in the pandemic, business was limping along with limited indoor dining and a modicum of takeout. For Steven Salm, Planta CEO, and his partner, chef David Lee, the only way to sustain 10 restaurants and 550 employees was to fashion their food into something that could be shipped across the country, which meant rethinking how to prep, cook, freeze, and seal pizzas, burgers, and dumplings, their most popular item.

Stuffed with a range of veggies—shiitake, spinach, and potato—dumpling wrappers stick like glue to keep their contents contained. They also stick to other dumplings, which can lead to falling-apart-ness. Planta had to engineer a precise system for laying out the dumplings, flash freezing, and vacuum sealing them: If there was too much moisture in the freezer bag, the wrappers would stick together. If there was too much oxygen, the dumplings would smush and lose shape. If they weren’t packed tight enough, just barely touching but not sitting on top of each other, the freezer bag would roll like a toothpaste tube and crack the things open. As they were working out the process, Salm sent daily dumpling packages to friends and influencers who would take photos of every corner and crimp upon arrival before receiving the go-ahead from Salm to toss them in a pot of simmering water.

Now the restaurant chain is sending out hundreds of next-day boxes a week, kept cold by dry ice blocks, though Salm would res like to figure out how to send them second-day instead. Much cheaper. And Salm and Lee aren’t slogging through this “little” project only to pivot back when the restaurant industry comes back online. “We wanted the Planta-at-home brand to feel special,” says Salm. Dumplings arrive accompanied by cute glass jars filled with truffle soy sauce and chili oil. Once they’re empty, you’ll keep them around.

At Bathtub Gin, a somewhat hidden bar in New York City, the problem was how to keep selling cocktails even when no customers were allowed inside. “It’s been a long, hard struggle,” says beverage director Brendan Bartley. Prior to Covid, Bathtub Gin was known for its intricate cocktail menu—a 30-ingredient concoction was common. Once the pandemic struck, Bartley set to work recreating his drinks so that he could bottle them for takeout, delivery, and eventually national shipping. For bonus points, the Australian spirits expert also wanted them to be shelf stable for six months. When the bar reopens, the plan is for a single staffer to make use of those same bottled cocktails—fewer people meant a safer workforce. And he wants zero waste.

Some drinks like the complex 17-ingredient, 15-step “If You Like Piña Colada” could be made in advance and bottled. Others, like the “Lime-Less Margarita,” were tougher than you might think. Bartley says the problem with limes, and really any citrus, is that they’ll eventually ferment in the bottle and spoil. But acids give that pleasant tang, and, well, a margarita needs lime like the rim of the glass needs salt. Bartley was able to replicate the crucial fruit by adding citric, malic, and tartaric acid plus lime oil to a blend of tequila, agave, and distilled water. “We have this ideology that fresh is best,” said Bartley. “But it’s not always the best thing to use when you’re trying to make things consistent.”

Not to be dark, but one thing people don’t need right now is dinner reservations. This left restaurant reservation apps like Resy, Tock, and Open Table scrambling to figure out news ways to make money. Pre-Covid, Tock allowed fancy restaurants to sell prepaid dinner reservations, what Nick Kokonas, CEO and founder of Tock, calls “tickets.” When the pandemic struck, Tock was sitting on tens of millions of dollars in restaurant tickets that would need to be cancelled and refunded. “There was an existential risk to both of my businesses,” he said. (Kokonas is also the co-owner of The Alinea Group in Chicago, which includes the three-Michelin-star Alinea.)


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