MARIANI’S

Virtual Gourmet


  June 5, 2022                                                                                                             NEWSLETTER




Founded in 1996 

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"Shake Shack"  by Ernie Barnes (1976)


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IN THIS ISSUE
WHAT'S IN A NAME?
THE TRUTH ABOUT "WAGYU" AND "KOBE" BEEF
By John Mariani


NEW YORK CORNER
MARK'S OFF MADISON

By John Mariani

ANOTHER VERMEER
CHAPTER TWENTY-TWO
By John Mariani


NOTES FROM THE WINE CELLAR
WINES FOR A FATHER'S DAY BBQ
By John Mariani




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On this week's episode of my WVOX Radio Show "Almost Golden," on Wed. June 8 at 11AM EDT,I will be interviewing Thomas Hine, author of the book POPULUXE. Go to: WVOX.com. The episode will also be archived at: almostgolden.






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WHAT'S IN A NAME?
THE TRUTH ABOUT KOBE BEEF


By John Mariani





        If you are puzzled, exasperated or suspicious about the ubiquity of the ultra-rare Japanese beef called Kobe that now seems to appear on every steakhouse and high-end restaurant menu in America, you’re not alone. For more than a decade I’ve been watching the import of true Kobe beef by the U.S. meat industry and restaurateurs to find it had leapt from a minuscule amount to what seems like quite an easy thing to order every day of the year, if willing to pay a high price. I’ve also seen how the names and definitions of this kind of beef has changed to fit categories not recognized by the USDA, which has long graded American beef, with USDA Prime the highest grade (though much compromised over the years). 
         Let’s get down to basics: The word “wagyu” in Japan means nothing more than “beef,” while the word “Kobe” designates beef that comes from a small number of “prefectures” in and around that city in Hyogo Prefecture (left; below) that breed cattle famous for their amazing amount of intramuscular fat marbling. Wagyu beef comes from the breeds Akaushi (Red and Brown), Kuroushi (Black), Japanese Polled, and Japanese Short Horned. Tajima-gyu, the only breed that can be certified “Kobe,” is a strain of The Black Kuroushi.
       
In 1976, the U.S. began importing beef from Japan—ironically, at the time few Japanese even ate beef and that was imported from other countries—but in 2010, the U.S. placed a ban on Wagyu because of a foot-and-mouth disease outbreak in Japan. In 2007 Kobe Beef was registered as a Regional Corrective Trademark by the Kobe Marketing and Distribution Promotion Association, which awards official certificates to designated wholesale, retail and restaurants that can serve genuine Kobe.
        In August 2012, the U.S. began allowing small amounts of Kobe beef to be imported. Yet, since then, what would seem to be a tsunami of “wagyu” and “Kobe” beef has been arriving on our shores causing a “Kobe beef mania.” Because USDA labeling laws are very vague (non-existent when dealing with Japanese beef), many restaurants slap the “Kobe beef” or “Kobe-styled beef” label on their meat and get away with it. The animals they are selling might have been just a ¼ Wagyu and ¾ Angus and raised in Texas, but the general public doesn’t know the difference. A vast majority of the wagyu cattle that you see in the states have been crossbred with native cattle breeds to better adapt the foreign breed to their new environments. Or they are imported from Australia. Some American breeders say they have imported the Black Kuoushi cattle, but as of 2018 Japan exported no more than 600 pounds of Kobe beef. 

        To get to the truth about the nomenclature and supply, I interviewed Michael Coggins, founding partner and chief operations officer at Holy Grail Provisions, which works directly with partner ranches and farms to raise cattle with no hormones, no antibiotics, sustainable pasturing, and humane living conditions, as well as importing Ogata Farms Kobe beef from Japan.


1. How many authorized dealers of Kobe beef are in the states?  

This varies from the perspective of the customer. There are fewer than 20 restaurants at any given time that have genuine Kobe, and for years we were the only online purveyor. A small number of our competitors have had it for short periods but don't tend to stock it on a regular basis. From the restaurant side, occasionally a new location will be brought on temporarily by an importer, so the numbers do fluctuate for the genuine article. We have joined the association and have the plaque to prove it!

2. How has Holy Grail managed to get access and as much Kobe as desired for the market? The *first-ever* shipment of authentic Ogata Farm Maezawa beef (left)?  

I can't say we've gotten as much as we desire. It's a really tough thing to keep in stock at the levels we would like, but we were able to bring in the largest shipment of Kobe in US history. We've also been responsible for bringing in 2/3rds of the BMS 12 Kobe that has ever been sold in the US.  The real answer to your question comes down to one of our primary business objectives: sourcing the best steaks on planet earth. We aren't the first people to have the chance at bringing Kobe directly to consumers, but we were the first to do it because we wanted to build around the idea of having the pinnacle of beef.  Can't do that without genuine Kobe. From there, we looked at filling our portfolio with other incredible options. Cameron's track record as a sourcer of high-end wines was really the template we followed to get Ogata. We talked to the people from the town, read their stories, studied their approach, sampled their beef, and were blown away. Maezawa (sometimes spelled Maesawa) beef is famous in Japan so we knew it belonged in our portfolio. 

3. Do you work with the Kobe Beef that was registered as a Regional Corrective Trademark by the Kobe Marketing and Distribution Promotion Association? 

Yep. The golden statue you see here is the one we have in our headquarters.

4. Has the production of Kobe soared to meet demand and how is it possible to increase such a rare product?  

There is certainly a ceiling for production on a product that has such stringent requirements and is resource-heavy to produce. But I don't think Hyogo has reached that ceiling. It's obvious both culturally or from a business perspective that no one is willing to lower the standards for certified Kobe beef, but the demand is there to produce as much as possible. Not to mention, the cattle that fail to meet the Kobe standard will still make incredible wagyu. Exports over the last decade are up around 10 times, so while there is pressure to create more, it's not even remotely possible that Kobe could expand production at that rate. The 2020 Japanese export total was around 5,300 tons and there were only 5,500 or so head of Kobe cattle last year. (Side note about exporting: It is rare that an entire carcass will be exported. It's usually subprimals, and even that depends on which global location the beef is heading toward. USA gets ribeyes, strips, filets; Taiwan doesn't use those expensive cuts the same way as their dietary traditions are different.)

      Overall Japanese production isn't my area of expertise as we only deal with the portion of Kobe that is exported to the US, but that has increased over the years along with the entire Japanese Wagyu category.  I'm confident overall production has increased, but the American demand has grown exponentially.  I don't think demand will be met any time soon, if ever, but it does open the category for other amazing products in the wagyu space.  There are incredible farms and producers across Japan who have an audience in the US now that they didn't before, and that's mostly due to Kobe.  
  
5. I'm told most Kobe stays in Japan or is shipped to Hong Kong and Singapore. How much is available in the US? 

This figure goes up every year, but not by the same rate other wagyu availability increases.  I don't have a complete figure, but you can bet that genuine Kobe will remain one of the rarest, most sought-after steaks in the US for quite some time. 

6. Is all Holy Grail’s meat frozen?  


Yes; blast frozen to be precise.  After the meat is aged to perfection, it's portioned into steaks and frozen at somewhere between -20 and -30 degrees to preserve it in pristine condition.  Freezing that hard and fast is key to ensuring the product retains its quality. 

7. Is there enough Kobe to justify the claims of thousands of restaurants claiming to serve it?  


Not even close. A local burger shop in a popular bar district near my house has what they call a 'Kobe burger' for $18. It's not from Japan and perhaps has some American Wagyu in it but it is nowhere close to the real thing. We're hoping to close this education gap but before any real change is made, we need some help from the Japanese government. It's very much like Champagne; there are strict guidelines on what really qualifies as Champagne and the alcohol industry abides by that naming restriction. And like Champagne, comparing that burger I referenced with actual Kobe is akin to using the same description for André and Dom Pérignon. Yes, it's 100% possible that much A5 wagyu can be distributed to those places because of a few things; first, A5 wagyu and Kobe are not the same thing. A5 Kobe is seen as the highest and directly correlates to A5, but the letter and number are just the Japanese grading system. Any program in Japan that creates high-quality beef could be graded as A5.  The question is parallel to 'Is there enough Dom Pérignon to be in every bar that uses the word 'Champagne' on their menu?' I'd guess no, but plenty can still have Champagne.  And even more still will have sparkling something or other and call it Champagne, against some pretty stringent rules. 

 



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NEW YORK CORNER


MARK'S OFF MADISON

41 Madison Avenue
646-838-8300



 

By John Mariani

 


         Go hungry. Go very hungry. Mark’s Off Madison (or M.O.M.), which took over A Voce, is not a place to drop in for tapas or a flatbread at the bar. You go with an appetite, the fiercer the better, and you’ll leave with enough leftovers for a plowman’s lunch. Or you could go for the weekend brunch and relax with bagels, bialys, latkes, nova platter, Belgian fries and chicken soup.
      Queens-born chef-owner Mark Strausman has never been one for arduous tasting menus with teeny portions of twee food, and at M.O.M. he clearly wants everyone to order and eat with gusto, not least a number of comfort foods from his own Jewish-American heritage in addition to Italian dishes on which he made his reputation. Strausman came to first notice in the 1990s, when he was managing partner with Pino Luongo at Sapore di Mare in East Hampton, then Coco Pazzo. In 1992 he was awarded Best American Chef by Tenimenti di Barolo e Fontanafredda in Alba. He would go on to open Campagna in Manhattan before becoming chef of Barney’s flagship store restaurant Fred’s on Madison Avenue, which ended after the beleaguered company closed. Almost immediately he signed a lease for M.O.M., which opened in 2019 during the height of the pandemic, but, through thick and thin, survived with outdoor dining and delivery and now thrives.
      In chatting with Strausman he told me his love of Italian food began when his Jewish family lived down the hall from an old Italian woman who cooked all day, every day. “I’d get off elevator and I’d just die from the smells. The sauce, the meatballs, the aromas were amazing.” Now, with M.O.M., he’s combining a long career worth of experience and innovation into perfecting what he chooses to put on a menu without any strict genre.
      The commodious room (with a lovely terrace out front) has little in its beige-and-brown décor to get excited about—the only other color is the red neon EXIT sign—with a pleasant bar up front. Tables are bare, surfaces hard, so there’s nothing to soak up the noise, added to by rock-and-roll music in the background. Tablecloths would warm things up and might bring down the decibel level.
     The straightforward three-page menu is extensive and portions enormous, so take seriously the printed sentiment “WANNA SHARE IT? We’ll split it for you, no problem!” that is at the heart of M.O.M.’s amiable approach to service by a brisk, affable waitstaff. (I sense that, as everywhere these days, the industry shortage of workers affects the number on M.O.M.’s floor; they could use a few more.)
       The menu starts off with items that include “Estelle’s Chicken Soup” ($15), which I’m dying to try next time, along with fried calamari ($23) and a gargantuan platter of plump chicken livers (left) beautifully cooked and incorporated with Port wine sauce served over sourdough crostini ($22). I could easily have made a meal of this rarely encountered comfort food. There is also a New York pretzel served with mustard, pickled vegetables and a red onion confit (a bit pricey at ten bucks) that is softer and better and yeastier than the often stale, hard facsimiles sold on New York street corners, though still shy of those inimitable examples made by the Pennsylvania Dutch.
     There are also several pizzas—nine of them—from $24 to $29 that include some intriguing toppings; I opted for one because of its name: “The Hell’s Kitchen,” made with a fine crust topped with cheese and tomato with local hot and sweet sausage, roasted peppers and onions ($26). You also get an excellent complimentary bread basket.
     Of course, Strausman’s going to serve terrific pastas, four with dry noodles, four fresh. The rigatoni alla buttera ($28) was an amalgam of hot and sweet sausage, tomato, cream, English peas and parmigiano, while the fresh tortellini Bisi (below) were a Roman rendering filled with ricotta and English peas, butter and springtime’s fresh mint ($28). Lasagna della Nonna ($27) was a hearty and hefty portion of Italian American goodness. The prices may seem high, but like the menu said, “WANNA SHARE?”
     You can get crabcakes or softshell crabs as a starter or main course, but the generous platter of crabcake, softshell crab, coleslaw, tartare sauce and a mound of Belgian fries ($44), which Strausman’s had on his menus for decades, is a much more sensible way to go. Fillets of sole so fat they might qualify as Dover sprawl on the plate in a rich lemon butter sauce with vegetables and roasted potatoes ($39). Pollo alla mattone is flattened roast chicken, very juicy and nicely seasoned and herbed, with the tingle of lemon, the heat of crushed red pepper, winter vegetables and creamy mashed potatoes ($32). The massive Cheddar cheeseburger ($27) might have been better had I been asked how I wanted it cooked (medium-rare) but I wasn’t and it came out overcooked and a little dry. You get a big cone of those great Belgian fries with it.
     Not for a minute would you think M.O.M. would shirk on big, child-like desserts ($6-$16.50), so be prepared to fret over what to choose: An old-fashioned lemon icebox cake with layered butter cookies, lemon curd and whipped cream perhaps? Homemade Austrian brioche donuts with plenty of yeast and rich texture? Classic tiramisu? Or the impeccable sflogliatelle that Strausman perfected, stuffed with ricotta and candied fruit, of which he is very proud after working tirelessly to get the tricky pastry the way he knew it should be? “After I gave up my motorcycle in mid-life,” he says, “I decided to learn how to bake bread, because every great restaurant in France always makes its own bread and pastry.”
      As a very New York-style brasserie M.O.M. is as much about customer satisfaction as good food, and you can tell that it gets a very regular crowd. “A lot of Millennial restaurateurs need to learn more about hospitality,” Strausman says, “and the way you treat people who are your guests.” That attitude comes across at M.O.M. as surely as do those big plates of the kind of good, honest food that takes a lifetime of experience to get right and keep consistent.

 

Open for lunch, Tues.-Fri.; Dinner Tues.-Sat.; Brunch Sat. & Sun.



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ANOTHER VERMEER

By John Mariani



To read previous chapters of ANOTHER VERMEER, go to the archive
 

CHAPTER TWENTY-TWO

 

Gramercy Park, NYC

 

 

         The next day was Wednesday, when Art Today came out, and in the issue was another of Coleman’s profiles of the probable bidders on the Vermeer, none of them flattering. Profiles of  Stepanossky, Balaton, and Dorenbosch had already appeared, and that week’s issue profiled João Correia, though with no mention of his being kidnapped or missing.
         The reporting was solid, but as it became apparent that all of the bidders so far profiled had very sordid bios, supporting commentary by the largest and most prestigious auction houses and galleries started to dry up.  None would admit to handling the sale—not Christie’s, not Sotheby’s, not lesser competitors.  In an industry that thrives on gossip and boasting, their spokesmen simply stopped taking questions from the press.  It was almost as if the auction was of no importance, taking place too far away.  The truth was, the auction houses and galleries did not want the taint the highest bidders had acquired from the Art Today profiles to rub off on them. 
        
So far, however, only Katie, David and now Gerald Kiley had any thought there was foul play involved. The prospective bidders were refusing to speak to the press, but then most of them rarely did, unless it was to brag about a successful acquisition.  Dorenbosch, Danielides and Shui had, for the time being, refused interviews, all claiming to be out of their respective towns of Amsterdam, Athens and Taipei.  But Leonard Louden of the cosmetics fortune lived in New York and, having been approached by Katie, whose work he knew from McClure’s, invited her to his townhouse in the exclusive Gramercy Park neighborhood of Manhattan (left).
         David was busy with his own investigations, so Katie did the interview without him. Louden, who was in his sixties and never married, received her at his front door dressed in baggy chinos and a buttoned down Oxford shirt—Katie knew it was Brooks Bros. from the roll of the collar—deliberately too large, so that it hid a good-sized paunch. Louden was not tall, perhaps five-nine, with closely cropped silver-white hair and a ruddiness that seemed rubbed in, rather than acquired from a suntan.   
      
Katie had learned from Coleman that Louden’s mother, who had changed the family name from Lubovitch when she launched her line of cosmetics in the 1950s, had left most of her fortune to her son, while the company was run by professional managers. Coleman estimated Louden’s worth in excess of three billion dollars, with the interest earned all going to his philanthropy.
         “Come in, come in,” he said. “Can I get you some coffee, tea, water?”
         “Maybe some tea, if it’s not too much trouble,” answered Katie.
         “Not at all,” he said, leading her into a stunningly beautiful dining area and kitchen where he proceeded to heat some water.
         “Tea bags all right? Sorry, I’m not a tea drinker so that’s all I have.”
         They walked into a two-story library room lined with new books and bound series of a kind all rich men need as a show of their couth and intelligence.  And in the spaces where there were no bookcases there was artwork, much of which Katie knew on sight. There was a Renoir nude in a lighted alcove, a Corot landscape above the fireplace, chalk drawings by major Renaissance artists, and vases and objets d’art Katie could see were of exquisite fineness.
         “You’ve got an extraordinary collection,” said Katie, trying not to gasp.
         “Thank you,” said Louden. “It’s been built up over fifty years, and I think I have a nice balance of things I love and things I treasure.  I’ve gotten to the age where I am much, much less acquisitive, and I’ve probably sold or donated half of what I once owned. I truly believe a collector has to share his collection, if the works are really first-rate. And since I have no children, when I go what’s left will be given to museums I respect.  And, let me tell you, there are a lot I don’t.”
         “I don’t suppose you’d say which those are?” Katie asked, putting on a big smile she felt Louden was probably immune to.
        “No, but I will say that I’ve been giving more and more to universities with fine museums that can’t possibly compete with bigger museums or collectors with my resources. possibly compete with bigger museums or collectors with my resources. Have you ever been to the Yale Art Gallery (left)? It’s my alma mater. The Gallery is a great institution, and they are very good about lending what they own.  Excellent collection of 17th century Dutch art—all top-notch stuff, too.  They’ve got a Bruegel (below), a Hals, a van Dyke, lots more.”
         Turning the conversation to the Vermeer sale, Katie asked, “Is 17th century Dutch art one of your particular favorites?”
         Louden wagged his head back and forth, “I’d say it’s among my favorites, but I haven’t much from that period.  And I suppose that brings us to the purpose of your visit, Ms. Cavuto. The Vermeer?”
         “It does indeed, sir,” she replied. “Is it something you intend to bid on?”
         “Well,” he said, offering her more tea and indicating he was not going to cut off the conversation soon. “What collector wouldn’t want to own a Vermeer?  This is the first one—and we don’t really know if it’s authentic yet—to come on the market in a hundred something years. It’s a unique prize for anyone who gets it. Will I bid on it? That depends on its being declared absolutely, positively authentic, then whether it’s in good condition or not.  I’ve seen the photos of it, and the condition looks good, but you really have to see it up close. With paintings this old there’s often a distressing amount of overpainting and varnishing that can ruin the value of it. That questionable Vermeer of the girl at the virginal, well, abominable overpainting is one of the things that’s keeping it from being declared a Vermeer. I’d never bid on a work like that.”
         “So, if this new one turns out to be the real thing, you would bid on it?”
       Louden shook his head again, looked intensely at Katie and said, “Just between you and me, Ms. Cavuto, I’d give my right arm for it.  To own a Vermeer is to own one of the rarest great things on earth.”
         Katie knew Louden wanted to say more, so she felt fairly safe asking, “Would you pay $100 million for it?”
Louden said, “The work is . . . priceless,” whispering the last word. “If it’s not in a league with the Mona Lisa or a Velasquez portrait, it’s pretty damn close.”
         Then he asked, “May I call you Katie?”
         Katie nodded, “Of course.”
         “Well, it’s almost eleven o’clock, and I always walk around Gramercy Park half a dozen times at eleven o’clock every day I’m in New York.  Partly exercise, partly because I never get tired of the beauty of this little oasis I live in. Would you like to join me? We can keep on talking about Vermeer, if you like.”
         The two-centuries-old Gramercy Park was actually a little, gated private oasis surrounded by 39 buildings that form an extremely affluent, leafy neighborhood of about two acres. Residents all have a special key to enter the park.
         It was warm out.
         “We can walk the perimeter on the sidewalks,” said Louden, “or we can go inside the gates and walk or sit. You need a key, you know, to get in.  What’s your pleasure, Katie?”
         Louden was standing at the curb facing Katie and the townhouse, when suddenly they heard a black town car double parked half a block away rev its engine and start forward fast. Katie grabbed Louden by his right shoulder and screamed, “Watch out!” as the car careened towards him. Louden was pulled onto the sidewalk but the car sideswiped him, hitting his left hip and arm and flipping his body back onto the curb.
         He was down and writhing in pain. Katie watched the car race away, barely slowing down to get out of the square.  She caught a glimpse of the license plate—DPL-452PRC—then knelt down to tend to Louden and called 911.
         “Mr. Louden, can you speak to me?” she cried.
         He was in terrible pain but was able to nod to Katie. Within thirty seconds a Gramercy Park security man was at their side; within three minutes two police cars and an ambulance were on the scene, EMTs lifting Louden onto a rolling stretcher and loading him into the back, driving off to the hospital along with one of the police cars.  Two others had entered the park, their lights and sirens blazing.
         Officers piled out and bounded over to Katie.
         “Ma’am, you all right” asked an officer.
         “Yeah, yeah, I’m fine.”
         “You didn’t get hit anywhere? Are you dizzy?”
         “No, no, I’m fine. I’m just shaken, that’s all.”
         After Katie calmed down after a few minutes, the police started to take down her story of what happened, and she gave them the license plate number she’d seen.
         One cop looked at the others, and asked Katie, “Ma’am, are you sure that’s the number you saw?”
         “Positive,” she replied, their not knowing her reporter’s instinct had kicked right in. “DPL-452PRC.”
         The officer turned to her partners and said, “Those were diplomatic plates.”
         “Yeah,” said another cop. “And PRC stands for People’s Republic of China.”

 






©
John Mariani, 2016






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NOTES FROM THE WINE CELLAR



WINES FOR A FATHER'S DAY BBQ
By John Mariani


 

 

        Believe me, I am not so obtuse as to think that all American dads want to drink big, bold, manly red wines for Father’s Day, but let me approach the subject via the prevalence of outdoor barbecues on that special day, when burgers, franks, steaks, wings and ribs are the meal items of choice. That said, there are a lot of wines that do not go well with such food because the charring you get from a grill, the marinades used and the spicy sauces accompanying them simply do not lend themselves to popping the cork on a $150 bottle of white Burgundy.  Such food needs a foil, either one that enhances the infused flavors or acts as a balance. Here are the wines I’ve urged my own two sons to pluck from the wine cellar (inevitably my own) to serve on that day I’m encouraged to sit back and enjoy while my granddaughters run me ragged.

 

CANA LE MARIAGE 2019 ($48)— One of many fine wines now coming out of Virginia (this one was includedin the Virginia Governor’s Cup  2022 exhibition), Cana’s Bordeaux blend, at just 14.2% alcohol, with 43% Cabernet Sauvignon, 22% Merlot, 14% Malbec, 14% Petit Verdot and 7% Cabernet Franc, has plenty of complexity after spending 16 months in French oak. In 2017 Cana’s Melanie Natoli was named Woman Winemaker of the Year, and this shows evidence of being a very carefully crafted red wine.

 

MACROSTIE THE KEY CHARDONNAY 2019 ($70)—If seafood, especially crustaceans, are on the menu, this bold Chardonnay from Sonoma will be a fine complement, with components of citrus and ripe fruit along with a formidable bouquet. Founder Steve MacRostie draws from five vineyards—Olivet Lane, Bacigalupi, the Frost Ranch, Dale Ricci, Brockton and Shop—each providing nuance and arriving at 14.1% alcohol.

 

CHASING RAIN CABERNET SAUVIGNON MOUNTAIN RED 2019  ($25)—If you like a big, bold, very fruity style of a Washington State Cab at a good price, this will do the trick for everyone at the table.  At 95% Cabernet Sauvignon with just 3% Malbec and 2% Petit Verdot, at a solid 14.5% alcohol, it’s meant to go with chargrilled beef and well-seasoned pork ribs.

 

J. CHRISTOPHER KOLB VINEYARD DUNDEE HILLS PINOT NOIR 2018 ($40)—The fact that this Oregon Pinot Noir is unfiltered means it’s got both richness, texture and a bit more tannin but sensible 13.5% alcohol, and Ernst Loosen proudly copies the standard of Pommard, using that region’s grafts and Old World methods. It shows in the silky beauty and spirit of the wine, and with red meats and chicken it will do justice.

 

BLACKBIRD VINEYARDS CONTRARIAN ($135)—Assuming Dad is a connoisseur, this brawny Oakville blend of 70% Cabernet Sauvignon, 29% Cabernet Franc and just 1% Merlot “flouts convention,” according to the label, though with just 14.1% alcohol it’s not a bludgeon. The fruit, acids and tannins are all in equilibrium, so if you’re serving some form of super-fatted wagyu beef, this is a wine to bolster the experience.

 

BERONIA GRAN RESERVA RIOJA 2013 ($30) —First of all, it’s a bargain price; second, if you’re going to be serving lamb, this is what a  Spanish cook would open. Velvety and now at its peak after a decade, it’s a little high for a Rioja in alcohol at 14.5% but there’s plenty of layers of flavor.

 

CLINE FAMILY CELLARS ANCIENT VINES ZINFANDEL 2020 ($10) — Old vine (or “ancient”) zinfandels don’t require a lot of bottle time to age well; they’re ready to go within a vintage year or two, and this big beauty shows off all its charms and depth of dark fruit with a whopping 15% alcohol. If you’re serving hot Buffalo chicken wings, this is the way to go. And I’m seeing it in stores for under ten bucks!

 

QUIPÉ SYRAH 2019  ($20) —  From Paso Robles on the Central Coast, this is the kind of Syrah that nods to its Rhône Valley cousins but retains its own character after a longer hang-time. The richness of the Syrah is tempered by some Grenache, Mourvèdre and Viognier, so it will be a good match for burgers and hot dogs with ketchup and French fries.




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RUN THAT BY US AGAIN. . .


“This place feels more like a dining room in someone's house than a restaurant, and that might make you feel more relaxed as you're explaining why you're a 'song writer' who majored in biology.”—
"Gem Wine:The Best NYC Restaurants for a Romantic Date,” by BRYAN KIM, KATHERINE LEWIN & KENNY YANG,  The Infatuation.












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 Any of John Mariani's books below may be ordered from amazon.com.



   The Hound in Heaven (21st Century Lion Books) is a  novella, and for anyone who loves dogs, Christmas, romance, inspiration, even the supernatural, I hope you'll find this to be a treasured  favorite. The  story concerns how, after a New England teacher, his wife and their two daughters adopt a stray puppy found in their barn in northern Maine, their lives seem full of promise. But when tragedy strikes, their wonderful dog Lazarus and the spirit of Christmas are the only things that may bring his master back from the edge of despair. 

WATCH THE VIDEO!

“What a huge surprise turn this story took! I was completely stunned! I truly enjoyed this book and its message.” – Actress Ali MacGraw

“He had me at Page One. The amount of heart, human insight, soul searching, and deft literary strength that John Mariani pours into this airtight novella is vertigo-inducing. Perhaps ‘wow’ would be the best comment.” – James Dalessandro, author of Bohemian Heart and 1906.


“John Mariani’s Hound in Heaven starts with a well-painted portrayal of an American family, along with the requisite dog. A surprise event flips the action of the novel and captures us for a voyage leading to a hopeful and heart-warming message. A page turning, one sitting read, it’s the perfect antidote for the winter and promotion of holiday celebration.” – Ann Pearlman, author of The Christmas Cookie Club and A Gift for my Sister.

“John Mariani’s concise, achingly beautiful novella pulls a literary rabbit out of a hat – a mash-up of the cosmic and the intimate, the tragic and the heart-warming – a Christmas tale for all ages, and all faiths. Read it to your children, read it to yourself… but read it. Early and often. Highly recommended.” – Jay Bonansinga, New York Times bestselling author of Pinkerton’s War, The Sinking of The Eastland, and The Walking Dead: The Road To Woodbury.

“Amazing things happen when you open your heart to an animal. The Hound in Heaven delivers a powerful story of healing that is forged in the spiritual relationship between a man and his best friend. The book brings a message of hope that can enrich our images of family, love, and loss.” – Dr. Barbara Royal, author of The Royal Treatment.




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The Encyclopedia of American Food and Drink by John F. Mariani (Bloomsbury USA, $35)

Modesty forbids me to praise my own new book, but let me proudly say that it is an extensive revision of the 4th edition that appeared more than a decade ago, before locavores, molecular cuisine, modernist cuisine, the Food Network and so much more, now included. Word origins have been completely updated, as have per capita consumption and production stats. Most important, for the first time since publication in the 1980s, the book includes more than 100 biographies of Americans who have changed the way we cook, eat and drink -- from Fannie Farmer and Julia Child to Robert Mondavi and Thomas Keller.


"This book is amazing! It has entries for everything from `abalone' to `zwieback,' plus more than 500 recipes for classic American dishes and drinks."--Devra First, The Boston Globe.

"Much needed in any kitchen library."--Bon Appetit.




Now in Paperback, too--How Italian Food Conquered the World (Palgrave Macmillan)  has won top prize  from the Gourmand World Cookbook Awards.  It is a rollicking history of the food culture of Italy and its ravenous embrace in the 21st century by the entire world. From ancient Rome to la dolce vita of post-war Italy, from Italian immigrant cooks to celebrity chefs, from pizzerias to high-class ristoranti, this chronicle of a culinary diaspora is as much about the world's changing tastes, prejudices,  and dietary fads as about our obsessions with culinary fashion and style.--John Mariani

"Eating Italian will never be the same after reading John Mariani's entertaining and savory gastronomical history of the cuisine of Italy and how it won over appetites worldwide. . . . This book is such a tasteful narrative that it will literally make you hungry for Italian food and arouse your appetite for gastronomical history."--Don Oldenburg, USA Today. 

"Italian restaurants--some good, some glitzy--far outnumber their French rivals.  Many of these establishments are zestfully described in How Italian Food Conquered the World, an entertaining and fact-filled chronicle by food-and-wine correspondent John F. Mariani."--Aram Bakshian Jr., Wall Street Journal.


"Mariani admirably dishes out the story of Italy’s remarkable global ascent to virtual culinary hegemony....Like a chef gladly divulging a cherished family recipe, Mariani’s book reveals the secret sauce about how Italy’s cuisine put gusto in gusto!"--David Lincoln Ross, thedailybeast.com

"Equal parts history, sociology, gastronomy, and just plain fun, How Italian Food Conquered the World tells the captivating and delicious story of the (let's face it) everybody's favorite cuisine with clarity, verve and more than one surprise."--Colman Andrews, editorial director of The Daily Meal.com.

"A fantastic and fascinating read, covering everything from the influence of Venice's spice trade to the impact of Italian immigrants in America and the evolution of alta cucina. This book will serve as a terrific resource to anyone interested in the real story of Italian food."--Mary Ann Esposito, host of PBS-TV's Ciao Italia.

"John Mariani has written the definitive history of how Italians won their way into our hearts, minds, and stomachs.  It's a story of pleasure over pomp and taste over technique."--Danny Meyer, owner of NYC restaurants Union Square Cafe,  The Modern, and Maialino.

                                                                             






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FEATURED LINKS: I am happy to  report that the Virtual Gourmet is  linked to four excellent travel sites:

Everett Potter's Travel  Report

I consider this the best and savviest blog of its kind on the  web. Potter is a columnist for USA Weekend, Diversion, Laptop and Luxury  Spa Finder, a contributing editor for Ski and  a frequent contributor to National  Geographic Traveler, ForbesTraveler.com  and Elle Decor. "I’ve designed this site is for people who take their  travel seriously," says Potter. "For travelers who want to learn about special  places but don’t necessarily want to pay through the nose for the privilege of  staying there. Because at the end of the day, it’s not so much about five-star  places as five-star experiences." 






Eating Las Vegas JOHN CURTAS has been covering the Las Vegas food and restaurant scene since 1995. He is the co-author of EATING LAS VEGAS – The 50 Essential Restaurants (as well as the author of the Eating Las Vegas web site: www.eatinglasvegas. He can also be seen every Friday morning as the “resident foodie” for Wake Up With the Wagners on KSNV TV (NBC) Channel 3  in Las Vegas.



              



MARIANI'S VIRTUAL GOURMET NEWSLETTER is published weekly.  Publisher: John Mariani. Editor: Walter Bagley. Contributing Writers: Christopher Mariani,  Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish. Contributing Photographer: Galina Dargery. Technical Advisor: Gerry McLoughlin.

 

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© copyright John Mariani 2022