MARIANI’S

Virtual Gourmet


  October 16, 2022                                                                                            NEWSLETTER



Founded in 1996 

ARCHIVE



Alex Katz, "Lunch " (1974)

        

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IN THIS ISSUE
HOW MANY RESTAURANTS WILL
MAKE A CELEBRITY CHEF HAPPY?

By John Mariani

NEW YORK CORNER
HOW MANY RESTAURANTS DOES A
 CELEBRITY CHEF NEED TO MAKE HIM HAPPY?

By John Mariani

ANOTHER VERMEER
CHAPTER FORTY-ONE
By John Mariani


NOTES FROM THE WINE CELLAR
THE WINES OF THE LANGUEDOC:
AN INTERVIEW WITH MIREN DE LORGERIL

By John Mariani




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On this week's episode of my WVOX Radio Show "Almost Golden," on Wed. October 19 at 11AM EDT,I will be interviewing  SUSAN GOLDMAN RUBIN, biographer and author of HOT PINK:  The Life & Fashions of Elsa Schiaparelli. Go to: WVOX.com. The episode will also be archived at: almostgolden.











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HOW MANY RESTAURANTS DOES IT TAKE TO 
MAKE A CELEBRITY CHEF HAPPY?

By John Mariani

 


            Jean-Georges Vongerichten, the Alsatian chef who turned 65 this year but still retains a happy boyish face, is now vying with Alain Ducasse for the greatest number of restaurants under his name in the world. He now operates (though usually does not own) 47 restaurants, with 13 in New York, three in London and two in Marrakesh; Ducasse has 31. It goes without saying that the prospect of JG ever being in most of his restaurants to oversee what’s going on means he would barely have time to visit any of them even once a year.
     Yet, JG’s name is either on the doors or part of the name, and there seems no signs of his retirement. Indeed, the investors who buy his name and expertise are banking on it to attract a very upscale clientele, who may or may not care if JG is ever on the premises. 
      
Lest anyone think I have a low regard for JG, at least as a hard-working chef, let me say that I was one of the first to heap praise on him when Louis Outhier appointed him chef de cuisine at the Marquis de Lafayette in Boston. The next year, when he moved to Lafayette in New York, it was my pick as one of the best new restaurants in America in Esquire. When he opened his own restaurant, Jean-Georges at Columbus Circle (right), I declared him “Chef of the Year,” and when he opened ABC Kitchen it was my “Restaurant of the Year.” I also really like his Asian fusion restaurant Vong and his innovative bistro JoJo.  So, I’m well familiar with just how good he can be when he has a hands-on approach.
      But then things started to slide, and he and his partners began taking big money from investors who wanted to grab some of JG’s glow. Being attracted to Vegas was a no-brainer: All Steve Wynn wanted at the Bellagio (which he no longer owns) was a steakhouse. Wynn once told me he ran into JG there and said, “This is the first time I’ve seen you here in years,” and JG answered, “This is the first time I’ve been here in years.”
            And to quote the late Paul Bocuse—who, when asked “Who cooks when you’re not there?” responded, “The same people who cook when I am there”—rings a little hollow when ten or twenty or forty restaurants bear your name. For the record, there are still celebrated (not celebrity) chefs like Alain Passard of L’Arpège in Paris, Nadia Santini of Dal Pescatore near Milan and Masa Takayama of Masa in New York, who are almost always in their kitchens cooking.
        I saw what was coming: His place at The Ocean Club on Paradise Island was terrible, and he didn’t last long in Dallas. Inevitably, when contracts ran out, there were closures.
        The argument on Jean-Georges Restaurants company’s part about not needing him to be in his restaurants is that they hire such top-notch cooks, often shifted from other JG properties, to far-flung cities like Hong Kong, Jakarta and São Paolo. The reality is that in most management contracts with restaurants a company group provides, for a training period, someone from the company to get things going, but the entire staff is hired by the management. 
           
That said, it is remarkable that many restaurants owned by JG, Ducasse and Gordon Ramsay (right) turn out a creditable, if diluted, product. Certain signature items, like JG’s tuna tartare and chocolate torte, are likely to be found everywhere. But where you might once might have sought distinction, the thing that would make JG’s menu and restaurants stand out from everyone else’s, you now find the same repetitive clichés and sure-fire items of shrimp cocktail, grilled salmon, a flatbread pizza and a cheeseburger. Little anywhere approaches the exceptional and innovative food of JG’s New York flagship that made his reputation.
        I recently wrote about a mundane meal at JG’s outpost in Pound Ridge, NY, which included the usual hamburger, dry roast chicken and prosciutto-wrapped pork chop. Last week I ate at JG’s restaurant called The Mark, at The Mark Hotel in New York, one of his first contracts after JoJo.
        It was more or less the same menu I could have found in fifty other restaurants around town, offering caviar ($120 per ounce) and Russ and Daughters’ smoked salmon ($36). Indian samosas ($28), an odd addition,   had a delicate crust but inside was gray ground beef with no flavor at all. Neither had the pizza with black truffles and fontina ($38), whose crust was a pale shadow of New York’s finest.
        Lobster came with poached celeriac, green curry and shiso, though tame in taste and high in price ($68); it was a miniature lobster—more like a Mediterranean crustacean than one from Maine—with very little meat from the claws or tail, as you can see from the photo at left. Black sea bass was very good, very moist, served with braised fennel, carrots and olives (a whopping $58). A cheese plate ($30) came cold, but desserts ($19) were all excellent, from the famous chocolate torte to a huge portion of profiteroles (right) and a luscious butterscotch pudding.
       One might come away from such a meal and say it was pretty good, if predictable, though no better than one might have had at a hotel dining room in Phoenix, Atlanta or Pittsburgh. And, sadly, this is what one now comes to expect from a restaurant company committed to expansion without consistent oversight from the principals.
            I’m confident that JG is every bit the great chef he was when he started back in the 1980s, and, with his partners, has become admirably rich in the business. God bless entrepreneurship. Selling out is the usual term for such a choice, but, when all you’re promoting is your name, selling the customer short is perhaps a more realistic description.

 







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NEW YORK CORNER


THE STATE OF NEW YORK CITY'S DINING SCENE

By John Mariani


Tony Curtis, Yul Brynner and Judy Garland at El Morocco, 1955

    

      To play on the question “If a tree falls in the forest ... ,” one might ask “If a restaurant closes in New York, how long before another opens in the same spot?” The answer may range from weeks to months, but it is almost guaranteed that landlords in the Big Apple rarely lose rent for long when it comes to restaurants. Despite every newspaper article and blog that bemoans the demise of New York’s dining scene, the actual number of 22,000+ eating establishments in the city hasn’t changed since the 1980s.
     Restaurants are always opening and closing in New York, especially in tough times like the dot.com crash, post-911, the recessions of the late 20th century and, of course, the Covid pandemic, which for long stretches shuttered every eating establishment in the city, as elsewhere.
      And since most restaurants operate on a slim net profit, many upon re-opening had to attract back its former clientele and new people—many of whom either had Covid or feared dining out among those who might. Even now, people who learned to work at home in the suburbs don’t venture into New York as much, and business lunches are still off.
      Covid was a crushing blow, added to which, in the post-pandemic era, attracting staff, from cooks to dishwashers, has been an enormous problem everywhere. (Current unemployment in New York is at 6%, nationally at 3.5%.) Then there is inflation, which has occurred fast and furiously in the food sector, not to mention energy and transportation costs. How can anyone expect to survive under such pressures?
      Yet, survive they do, coping, balancing, cutting staff and maybe lunch service, getting creative with lesser priced ingredients, not re-stocking still-full wine cellars and maximizing their social media. The result is, if you merely read the Wednesday food section of The New York Times, you’ll find Florence Fabricant’s weekly “Off the Menu” column announcing the opening of half a dozen restaurants of every stripe, with perhaps notification of one closing. Also, the just-published Michelin Guide to New York 2022 added six restaurants with a one-star ranking, now totaling 55.
      Most of those food media who cried wolf at the start of Covid (when TV personality Tom Colicchio insisted 70% of U.S. restaurants would close permanently) would today have a tough time getting into restaurants ranging from the ultra-fine dining places like Le Bernardin to a steakhouse like Gage & Tollner in Brooklyn, and there are lines out the door of Mexican, Argentinian, Thai and Italian eateries in SoHo, the Lower East Side and Dumbo in Brooklyn. Tasting dinners at $150 and more thrive at Eleven Madison Park, Serashina Hori, Caviar Russe, Wicked Jane and Frevo.
      There were some significant high-end flops over the past two years, including
L’Atelier de Joël Robuchon, Ichimura at Uchu, Benno and The Four Seasons, but all for different reasons, as it has ever been.  Looking back to a New York restaurant guide I co-wrote back in the 1990s, I note that many of the most famous and successful restaurants of those years were long ago closed, including big names like Café Boulud, Lespinasse, Picholine, Aureole, Chanterelle, La Caravelle, and San Domenico, all for various reasons.
      And as downtown neighborhoods became gentrified, many old-timers like Canteen, Woo Le Oak, Da Silvano and Florent gave way to both upscale and more authentic Asian and South American restaurants, which now proliferate in those neighborhoods. Restaurateurs who couldn’t absorb a rent hike were quickly replaced by those who believed they could.
      It seems that as soon as one restaurant vacates premises, a new one moves right in: The Four Seasons was replaced by the elegant Fasano (right); Brasserie 8½ became Cucina 8½; Parma became Parma Nuova; Brasserie Ruhlmann is now Le Rock; A Voce is Mark’s Off Madison; El Quijote became a retro-smash after re-opening.
      Traditional and new steak and seafood houses are packed every night of the week, including Empire Steak, BLT, Hawksmoor, Gallaghers and Ramerino Prime Italian. Veteran high-end restaurateurs like Daniel Boulud opened two new restaurants, Le Pavilllon and Le Gratin; Danny Meyer opened Ci Siamo and re-opened Manahatta and Maialino.
      The remarkable thing is that these closings  and openings might have happened at any time in the past two decades, and, if Covid, inflation and staff shortages make running a restaurant all the tougher, it says a great deal about those men and women willing to buck odds that even in good times dictate that four out of five new restaurants go out of business within two years.
      But that’s the thing about New York: One door closes and another one opens, and those chefs and restaurateurs, who agree they might be crazy, are undaunted because, like all small business men and women, they just have to try. And it’s still true that New York is still the big prize.

 

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ANOTHER VERMEER

By John Mariani



To read previous chapters of ANOTHER VERMEER, go to the archive
 
CHAPTER FORTY-ONE

 

        A little after eight o’clock Katie and David were in the hotel’s Garden Café, having tea and coffee, with no appetite to eat after what already had occurred that morning. David filled her in on his conversation with Kiley, which had Katie shaking her head, at first in disbelief, then trying to connect all the dots in what had now become a murder case.
            “Y’know, Katie,” said David, “You really don’t have to do this interview. Shui’s a murderer on a global level, and since it’s all going to come out tomorrow in the papers—here, too, I’m sure—you can write this part of the story without interviewing the bastard. There’ll be lots more to the story you can report on, both before and after the auction.”
            “David,” said Katie, “If you were in my shoes, you’re saying you wouldn’t go ahead with the interview? I’ll have the first utterances of this guy, before he even knows about Chin spilling the beans. No other reporter is even in the same ballpark—that would be Taipe. Aren’t you the slightest bit interested what our would-be murderer has to say to you, an old cop?”
            David hated that she said “old” but let it go.
            “You’re right. I do want to see the little shit and grill him. But there’s a wrinkle here, Katie. When we show up for our appointment less than two  hours from now, Shui’s going to be pretty surprised to see us. He thinks we’re dead.”
            “What if Chou told him it wasn’t us who got killed?”
            “He might, but all this just happened an hour ago. Chou’s been up to his ears dealing with this crisis; he has no reason to call Shui. Neither do the police at this point, though they’ll be very interested to follow up on the room switch. Even if Shui’s people called the hotel, say, to ask about us—the two Americans he arranged to stay in the grand suite—unless he spoke directly with Chou, the management would probably just say two American were found dead after a gas leak. 
     
“Remember yesterday, when we checked in and you refused to accept Shui’s hospitality, Chou said he’d have to smooth that over with Shui. Probably worrying he’d lose face as a general manager. So maybe he hadn’t got around to telling Shui anything since yesterday. At this moment Shui probably hasn’t heard anything at all, or, if he did, he probably hasn’t spoken to Chou yet. Hell, it’s only eight-fifteen in the morning.”
            “You may be right,” said Katie, “though I suspect Shui has one of his people in the hotel with his ear to the wall.”
            “If he does, the guy who committed the murder would have contacted Shui’s man and said it all went off without a hitch.”
            “That makes sense. Wonder how he did it.”
            “The murderer probably paid someone off, got hold of a master key, got inside the suite and either punctured the gas line or loosened a valve or a connection. Our friends never knew they were dying a slow, peaceful death.”
            “It’s so absolutely horrible,” said Katie, placing her cup of cold tea on the saucer. “And to think it was supposed to be us. Why the hell would he want us dead?”
            “I don’t know, unless somehow he thought you were going to get too much awkward information out of him, after what Coleman had already published about him.”
            “Yeah, but Coleman said Shui was only too glad to meet with us. That was just last week.”
            “Well, let’s see Shui’s reaction when we show up,” said David. “Hey, we better get moving. I hope our new rooms are ready.”
            They were, and Katie and David changed into something more suitable for an interview. Katie checked her pocket tape recorder. David went downstairs to get a taxi.




©
John Mariani, 2016



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NOTES FROM THE WINE CELLAR

THE WINES OF THE LANGUEDOC:
AN INTERVIEW WITH MIREN DE LORGERIL

BY JOHN MARIANI


Nicolas and Miren de Lorgeril with Albéric Bichot, CEO of Bichot wines



            The wines of the Languedoc, or Languedoc-Roussillon, in the south of French have long been known more for their bulk than their quality, with much of the oversupply made into neutral alcohol. Thousands of cooperatives owned by tradition-bound farmers maintained the old ways.  But in the 1990s the more individualized, more forward-thinking vintners, saw that with improvement in vineyard management, technology and focus on terroir the Languedoc’s wines could compete readily with better-known regions’, not least the Rhône valley to the northeast where Syrah and Grenache are dominant and increasingly of high quality in the Languedoc. To get an update on the state of the region’s viticulture, I interviewed Miren de Lorgeril of Maison Lorgeril, with links back to 1620 and whose consultant until 2018 was Patrick Léon, formerly technical director of Domaine Baron Philippe Rothschild.

 

 

Your family in the region goes back more than 400 years. Were they known for making good Languedoc wines in the 18th and 19th centuries?

We have very few references about the history. I do know that the wines of Pennautier were served to the royal officers in 1701.

 

The Languedoc has hundreds of cooperatives making enormous amounts of wine, some of which was turned into Europe's alcohol lake. Are those cooperatives still very conservative in the way they make their wines?

Due to huge efforts in the last 20 years, at least 70% of theses cooperatives have changed their options and are now producing vin de cépages at the standard level, at least, and 20% to 30% have become HVE or organic. Their technical obligations for the wine growers have considerably been increased, so their difficulties are not linked to the quality of wine but to the concurrency of other countries wines that  don’t have the same costs as, say,  Spain. That is why some millésime have not been completely sold and turned into alcohol.

 

Do you think that the best wines of the Languedoc compare with the fine wines of both Bordeaux and Burgundy?

Each region is different. Burgundy is a tiny region with an exceptional level of knowledge by parcel, which is the fruit of history. Bordeaux is a region with a huge difference between some top wines and a large production at middle level. Languedoc AOP has the size of Burgundy and has an ambition of excellence, so that  some of the greatest wines of Languedoc have that same ambition and are now reaching the top levels.  We are working with the same technics and equipment as Burgundy and Bordeaux, so we might reach these levels. Some of the AOP combination of soils and micro-climates are at the same level, and we are sure that these levels of quality are reached for some and reachable for many.

 

Your Chardonnay is a very fine example of the French style for that varietal. How is your Chardonnay made?

Our chardonnay Marquis de Pennautier, Pays d’Oc is produced on limestone/clay soils. The grapes are hand-picked at a fresh hour,  between six to ten in the morning, to have natural freshness. 50% is vinified in oak and the rest vinified in tanks.

 

How important are the sea winds to the terroir of your vineyards?

Our terroir of Château de Pennautier is settled in a place where Pyrénées and Massif Central are nearly joining, close to Carcassonne. It is a naturel place for air flow, so the winds are accelerated and more powerful. The wind coming from the Mediterranean (southeast) is rather powerful, since the sea is close by, at 70 km, while the winds from the Atlantic (300 km) are reaching the region after crossing the southwest of France, where there is no natural obstacle to stop them, and they arrive in this narrow region and face the Mediterranean wind. This gives many occasions for rain and fresh air, which is excellent for the balance of the wine.

 

Has Agro-tourism been important in the Languedoc? Can people visit your estate?

Agro-tourism is important in Languedoc and increasing: 30% of the famous estates are open to the public for wine tasting; 10% for larger visits. We have been pioneers in that matter, opening to the public in 2002, with a tasting, cellar, restaurant and rental houses in the vineyard. The castle itself is an historical monument, and the garden is classified as Jardin remarquable.  The tour in the garden is open every day, and the castle  is open for rental for seminars and events, including 24 bedrooms for groups.

 

How do you think you can defend against the worst aspects of climate change?

We are adapting strongly to the climate change in many ways. Plantings are  higher and higher in altitude. Greens cover is used in the vineyard during winter to dynamize natural fertilization and help the roots of the vineyard to go down deep. It also increases the organic life in the soil. We also pay attention to the quality of global vineyard environment in the trees, bees and all natural life around the vineyards. We use irrigation in some parcels where it is possible.

 

What makes your wines organic and why is it so much more expensive to produce?

The organic charter is granting us the label Bio,  which means no chemicals use in the vineyard. In consequence, many of the actions have to been managed by hand, so we have to come more often in the vineyard for different actions, which costs at least 50% more in workforce.

 

What are your largest export markets?

Canada is the first, then UK, Japan, and USA is becoming quickly an important market that should be the 4th in 2023.

 

How have you managed to keep prices moderate by comparison with other French regional wines?

The key point is the land price. As the region has been less known in the last 40 years, the increase of the price is not important, compared to other famous regions.

 

You have four children but none of them yet show an interest in the winemaking at your estate. Do you think this will change, and why?

Our children are still young and we have asked them to reach the top of their ambition and then to add a personal experience in other businesses and regions in order to come back with knowledge and open minds. They have graduated in the very best universities, and they are working now in very top companies. They are already involved in many occasions as tastings, harvests, board, and we have asked them to come back in the next 5 years.

 

The war in the Ukraine has prevented you from exporting to Russia. Has that been a problem financially?

Russia was for us a small market, so it is not a big financial loss. We are very sorry for our partners who are suffering a lot.

 

Is the Languedoc ready to start making Pinot Noir and Cabernet Sauvignon, and, if so, why bother, rather than stay with the traditional varieties of the region?

These two varietals are already developed in the west part of Languedoc, where the climate is adapted. Limoux and Cabardès have been planted with such varietals because they match very well with the climate and with high-altitude parcels. In these parts, the local varieties, such as Syrah and Grenache, are less adapted.

 


How would you say your wines made with varietals predominant in the Rhône valley different from those made there?

It is always difficult to compare such a large region as Rhone with a lot of differences. Grenache and Syrah are settled in AOP Languedoc on high terroirs, on great varieties of soils but well balanced between altitude, clay and stones as schistes/limestone/sandstone. The Rhône is probably a little warmer, less impacted by winds and more stony (less clay to balance) and warmer nights.



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YOU GO, GIRL!


"I’m Finally Getting Rid of my Instant Pot, and I’m Not the Only One," Bettina Makalintal, Eater.com (9/13/22)













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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 two 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 scene since 1995. He is the author of EATING LAS VEGAS - The 52 Essential Restaurants, and his website can be found at www.EatingLV.com. You can find him on Instagram: @johncurtas and Twitter: @eatinglasvegas. 




              



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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