Cafe Loup-The Wolf, the Winter and the Girl

Cafe Loup

105 West 13th Street

New York, New York


You see the back of an old man with white hair sitting alone at a table facing three tall windows and soft smokey light streams into the cafe across the old man and the table with a single black ash tray. Above the old man’s head is the reflection of an Exit sign. (Or perhaps a No Exit sign) A single glass of beer sits next to the left hand of the old man and the beer is illuminated by the light streaming through the windows. You see the backs of three empty black chairs.

You see a very young Leonard Bernstein at the beach bare chested and wearing swimming trunks. You see street children, and lovers smoking and talking with intertwined arms in a cafe. (Love in the Left Bank).

It is a pleasant cafe, warm and clean and friendly and I placed my camera on the table and next to the camera my writing paper and pen. I walked around the cafe looking at the black and white photographs on the walls and the columns that run down the center of the cafe. It was good to be warm and inside the cafe after walking up Sixth Avenue on the cold, windswept streets of New York City in January.

( I write this from memory as I sit at Cafe Havana in Mendoza. I order a ham and cheese tostada and a glass of orange juice and listen to a band play folk ballads on the plaza next to the cafe. I place my camera and my notebook and pen on the cafe table and look at the street photographs that I had taken in the morning.)

The waitress wore traditional black and white and had a gap between her two front teeth. She spoke a mixture of French and English and offered to make fresh coffee for me. I took out my notebook and began to write. After a while, I took out my camera and looked at my photographs. The coffee was very strong and hot and I added sugar and it made me feel warm and happy and I began to write about death, time and memory and my photographs once again.

The jazz trio began their set. The piano player was white and young and wore all black, the bass player was Japanese, and the guitar player was tall and thin and had strings of grey hair brushed across his head. On the top of the piano was a green Martini glass that held a few dollar bills. It was the same shape as the piano lid supported by the lid prop.

The salmon steak was overcooked, and the pommes frites were dull, soft and slightly greasy. It was wonderful that day to be in the cafe and to write and to listen to jazz and to admire the black and white photographs and to be inside while the wind swept the streets cold and the faint sun faded into the night.

A girl came and sat at a table in front of the jazz trio. She was very pretty and I became distracted and I could no longer write in my notebook. She kept looking at the door and looking at her watch and I knew that she was waiting for someone and that it was a man. She watched the band and drank her glass of white wine quickly.  I wanted to take a photograph of her so that I could remember and possess her forever but I could not. Earnest Hemingway said:

I’ve seen you, beauty, and you belong to me now, whoever you are waiting for and if I never see you again, I thought. You belong to me and all Paris belongs to me and I belong to this notebook and this pencil.

I wanted to posses her with my camera and I could not. Hemingway possessed her with his words. The memories created by his words are stronger than the memories created by my photographs.

(Some of these words were written at the then-present at Cafe Loup. Some were written in the then-future at Cafe Havana in Mendoza. Some were written by Hemingway in the distant past and some are fantasy and are outside of time. In photography, I take a picture in the past  (we can never take a picture of the present) the image recedes into the ever distant past and I look at the image in the future which becomes the past. This is the essence of death, time and memory. This is Camera Lucida.)

Cafe Loup is big and warm and the light soft and the staff is friendly. There are black and white photographs on the white walls. The chairs have woven cane backs and the chairs and tables are wood. In the back of the bistro is a piano for the jazz groups and you can sit in the large and comfortable red banquets next to the band. The photographs are like a Chelsea art gallery. When you enter the cafe, on your right is a long wooded bar where locals sit for the afternoon and drink glasses of red table win and discuss art and politics. The food is not distinguished. It is tired and the flavors and textures are unclear and confused. It is over-cooked. The French onion soup is thin and the pommes frites are soft. But the food is good enough. The staff, the light, the photographs uplift Cafe Loup to be one of my favorite bistros in New York City.


Staff-9 (Friendly, French and casual; attentive and good timing)

Archetype-9 (Wooden tables and chairs, globe lights, long wood bar, local clientele, and the menu reflects the Archetype. It is too large to be a classic bistro )

Food-6 (Average food and the bread failed but somehow you don’t really care)

Energy-9 (You want to spend the afternoon here and write the great American novel-A Moveable Feast set in New York. Great photography, Sunday jazz, beautiful space, and quiet and cool vibe make it great.)


Chez Moi and Le Boudoir-A Walk in the Winter Night

Chez Moi and Le Boudoir

135 Atlantic Ave.,

Brooklyn Heights, New York 11201


I-love-you has no usages. Like a child’s word, it enters into no social constraint; it can be a sublime, solemn, trivial word, it can be an erotic, pornographic word. It is a socially irresponsible word.

I-love-you is without nuance. It suppresses explanations, adjustments, degrees, scruples. In a way-exorbitant paradox of language-to say I-love-you is to proceed as if there were no theater of speech, and this word is always true (has no other referent than its utterance: it is a per- formative).

Roland Barthes

I take the subway to the Bergen stop and walk to Atlantic Avenue. It is dark and cold and remnants of yesterday’s snow were in the tree wells and in the shadows. After working hard all day on my book-Death, Time and Memory-I want to walk to dinner in the dark and the cold.

It is dark, intimate, comfortable, small tables in corners. A place for quiet conversations, affairs, and intrigue. “ I love you” is whispered in her ear leaning over close.  The dark eyes. Jazz, quiet just above the threshold of perception. Brown wood tables and candles soft lights flickering softly. Memory and mystery. It reminds me of cafes in Amsterdam.

I saw then what I should have seen long before: namely that our friendship had ripened to a point when we had already become in a way part-owners of each other.

Lawrence Durrell,  Justine

Seating and ordering were quietly and efficiently accomplished. Menu of bistro standards. Five kinds of mussels and a list of creative cocktails are notable. Quality bread, nutty, chewy.  I order the special fish soup and the cod of the day.

The wines by the glass are limited but the prices are reasonable and the quality fairly high. I enjoyed a Merlot.

There is a friendly wood bar when you enter and it was full of locals: short hair, beards and tattoos, Japanese denim upfolded above the shoes, praying into iPhones, drinking wine. Thonet bar stools. Globe lights soft yellow glow globes of light. Amber and wood and candles.

A table of three girls to my left demolish large pots of mussels with enthusiasm and drink champagne tossing their hair back orchestrated in unison. The talk and do not text.

The fish soup is prepared with a tomato broth, suggestion of saffron, crab and crouton. Light, subtle flavors, clarity, perfect on a cold winter night in Brooklyn. The crouton was a bit soft and soggy but it did not defeat the dish.

The cod was presented with a stew of dumplings and a white wine sauce with Mediterranean herbs. It gave character to a typically dull white fish, the dumplings were a creative element rarely seen.  A compelling dish.

Dessert was chocolate mousse presented with strawberry slices and fresh cream. Delightful finish.

Chez Moi opened in 2012. It is easy to miss the quiet and simple front of the bistro, a white frame door with traditional white lace in the window. The goal of the owners-Tarek Debira and Patricia Ageheim- is “to provide the neighborhood with a homie French bistro with classics and seasonal dishes, great cocktails and organic wines.”

They succeeded. It was a delightful dinner.

Le Boudoir is a Prohibition-inspired speakeasy that opened beneath the Chez Moi bistro. Apparently the entrance is on the  left side of the bistro and you walk down a flight of stairs to the speakeasy. The New York Times says:

The owners, the husband-and-wife pair Tarek Debira and Patricia Ageheim, modeled the subterranean chambers after Marie Antoinette’s boudoir in Versailles. It drips with gold leaf frames, red velvet couches and other louche touches.he glass tabletops are held by nude nymph statuettes. Odalisque paintings hang on the wall. The space itself is reached through a bookshelf stocked with scarlet-spined books.

I missed this but will give it a try the next time I visit Chez Mois!


Staff: 7 (French speaking, efficient, reserved)

Archetype: 6 (There are few signifiers of the Archetype, the food is traditional, the space is Brooklyn: brick walls, old wood, industrial ceiling)

Food: 7 (Traditional bistro food)

Energy: 8 (Noise low, lights low, energy low. If you want a bistro for quiet conversation, romance, privacy, this is your spot. Say “I love you.”)


Reviews of Chez Moi

Le Boudoir

Brasserie Ruhlman-The Essential Molecule of a New People

Brasserie Ruhlman

45 Rockefeller Plaza

New York, NY 10111

(212) 974-2020

Standing in the station, with Paris in back of them, it seemed as if they were vicariously leaning a little over the ocean, already undergoing a sea-change, a shifting about of atoms to form the essential molecule of new people.

F. Scott Fitzgerald

It is the Christmas Holidays. I am paralyzed in the panicky crush of tourists, kids, iPhone selfie takers, cabs, sirens, barricades, cops, garish store displays, on Fifth Avenue just south of Atlas, holding up the world. It is cold, I don’t care about store windows or lights or ice skaters or shopping or Christmas I just want out. My wife finally relented in trying to find Christmas spirit, and we escaped to Brasserie Ruhlman where I had wisely made reservations anticipating the situation.

We entered through the back of the restaurant by the beautiful black marble bar into warmth, quiet and opulence.

What Is a Brasserie?

“Brasserie” means “brewery.” It is derived from the Middle French word “brasser” which means “to brew.” In the 1877 Edition of the Dictionary of the French Language, “brasserie” was defined as “a place where beer is sold by the measure and where there are only benches and wooden tables.”

When France lost the Franco-Prussian War in 1871, Alsatian businessmen flooded Paris and opened restaurants which served sauerkraut and beer. Patricia Wells said that brasseries have “lots of beer, Alsatian white wines such as Riesling and Gewurztraminer and usually choucroute, that hearty blend of sauerkraut and assorted sausages.”

Beer became a beverage for the working classes. Brasseries quickly attracted writers and artists. Some of the early brasseries were wild. The beer was served by pretty barmaids who would sometimes take customers into the back rooms.

Brasseries tend to be larger than bistros and are more energetic, lively and loud. Many of the modern brasseries are elegant, bright and are decorated with Belle Epoque design. Brasseries usually serve food all day long whereas bistros usually just serve food at mealtimes.

Brasserie Lipp is a great example of a Parisian brasserie. It was opened in 1880 by Leonard Lipp and his wife at 151 Boulevard Saint-Germain-des-Prés. Its original name was “Brasserie des bords du Rhin” as a tribute to Alsace. During World War I the name was changed to Brasserie Lipp. In 1920 the business was taken over by Marcelin Cazes who established house rules that jackets must be worn and pipes must not be smoked. In 1935 he established a literary prize that was awarded annually to a talented young writer. In 2015, the prize celebrated its 80th anniversary.

In 1935, Antoine de Saint-Exupéry, the great French writer who wrote such classics as The Little Prince, Night Flight and Flight To Arras, celebrated his return to France from the War at the Brasserie Lipp:

And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.

Antoine de Saint-Exupéry, The Little Prince

Other great writers such as Malraux, Gide, Proust, and Camus were regulars at the Brasserie Lipp. It was popular with the Lost Generation writers such as Hemingway, Stein, Joyce, Miller, Eliot and Fitzgerald.

From its Website:

Four letters (LIPP) which epitomize gastronomy and history. Four letters which stand proud in the heart of Saint-Germain-des-Prés. Crossing the threshold of this illustrious establishment is akin to entering a shrine to Parisian life and discovering its many treasures. Every object has a story and has witnessed a succession of French political and literary giants, as well as international celebrities in the arts.

Brasserie Lipp is listed on the register of French historic monuments because of its mahogany facade, Art Nouveau decor, ceramic tile murals by Léon Fargue and ceilings painted by Charly Garrey.

The difference between a brasserie and a bistro? The New York Times says:

Twenty years ago, the difference between a brasserie and a bistro could be reduced to the difference between the heart and the mind — or so it appeared to a young woman with poetic tendencies and expatriate ambitions. The beef bourguignon and homey roast chicken at the bistro were there to reassure and console, whereas the raw oysters heaped on ice and the slabs of pate at the brasserie catered to a more aggressive palate.

Émile-Jacques Ruhlmann

Perhaps the most renowned designer of his day, Émile-Jacques Ruhlmann is considered the primary exponent of high French taste after World War I. His early designs reflected the Art Nouveau influence. His construction techniques place his work on a par with the finest eighteenth-century furniture. His concepts and craftsmanship epitomize the glamour of the French Art Deco era of the 1920s and continue to leave a lasting legacy.

Brasserie Ruhlmann

Brasserie Ruhlmann was designed to pay homage to Émile-Jacques Ruhlmann and the Parisian brasserie.

Over the entry way of Brasserie Ruhlmann is a gold Art Deco engraving of a reclining male figure pouring water from a jug. There are large Art Deco lighting fixtures throughout the restaurant. The restaurant feels clubby. The wood is deep, rich, red mahogany, the lighting is soft and yellow, the tablecloths are white and starchy, the benches and chairs are red velvet, the floor is blue, white and brown geometric mosaic. The space projects opulence, exclusiveness, and formal reserve. It is calm and quiet which is a welcome contrast to the crush and the masses of tourists outside at Rockefeller Center.

Chef Laurent Tourondel

The executive chef of Brasserie Ruhlmann is  Laurent Tourondel. He is a highly accomplished chef.

Chef Laurent Tourondel graduated from the four year cooking program at Saint Vincent Ecole de Cuisine in Montlucon, France where he earned a “d’Aptitude Professionnelle de Cuisinier.” He worked under such notable chefs as: Bruno Tison at Restaurant Beau Geste in Manhattan;  Jacques Maximin at Restaurant Ledoyen in France; and Chef de Partie at Restaurant Mercury at the Hotel InterContinental in Moscow. He also worked at the three-star Michelin Relais & Chateau Troisgros.

He opened BLT Steak, BLT Fish, BLT Prime, BLT Burger, BLT Market, LT Burger in the Harbor, LT Burger in Bryant Park, LT Signature and most recently Arlington Club. In October 2007, Bon Appétit magazine named Tourondel Restaurateur of the Year.

Food and Experience

The menu includes caviar and vodka, a raw bar, a sushi selection and most of the bistro standards. It is pricey; most of the entrees are in the middle $30s. Oddly, the Dover Sole Meunière (with spinach, pommes fondantes, soy citrus, brown butter) was $52 but the lowly Branzino (with mashed potatoes) was $36.

We led the dinner with pommes frites and French onion soup.

The wine list is vast and expensive. We selected modest wines by the glass-expensive but of quality. The list is a bit confusing-they serve wines in 5 and 10 ounce carafes. It is easy to order a nice wine for what you think is a modest price but only to receive 5 ounces, but to get a real glass of wine, you could be up to $30-$50 dollars or so!

I had the Scottish Salmon Chermoula (couscous tabbouleh, harissa, yogurt sauce). My wife had the Seared Sea Scallops (rosemary apple & cauliflower purée, hazelnut, sage, brown butter).

The food was competently executed but it did not sing. Considering the reputation of its head chef, the food should have been of higher level. More attractive plating, more creativity, more clarity between flavors, better articulation of the overall dishes was expected.

The service was prompt, efficient, pleasant. It was slightly stuffy and formal but with modest attempts of communication they became human.


Service: 7 (Formal and professional)

Archetype: 8 (High scores for brasserie, this is not a bistro )

Food: 6 ( Professionally prepared, competent but lacked soul. Where is Chef Laurent Tourondel?)

Energy: 7 (A quiet, warm, clubby, opulent retreat from the masses at Rockefeller Center)



Émile-Jacques Ruhlmann

Laurent Tourondel

La Mirabelle-The Parisian Woman and a Parisian Bistro

La Mirabelle Restaurant

102 West 86th Street (between Columbus and Amsterdam)

New York, NY 10024

(212) 496-0458

The Parisian Woman and a Parisian Bistro

We are on the way to Broadway to see The Parisian Woman starring Uma Thurman. Very much like House of Cards, turns out the screenplay was by the same writers.

La Mirabelle is on the Upper West Side. It is located on 86th street near Columbus Avenue.

We subway from Dumbo, emerge from the tunnel and walk through the traffic and car lights and wind. It is snowing, cold and dark.

We arrive early and are greeted warmly by the stylish host; we appreciate this considering the weather. We receive a table near a window in the front. We consider the decoration of the bistro, no, not decoration, more like image-objects that have grown organically over the decades, recording the bistro’s history.

From the street the bistro is modest: wood and lace curtains. Something about the lace evokes a grandmother’s home kitchen and comfort food prepared with love. The bistro has two levels (there is a wood stairway to the right the leads to an upper level) there are old wood crossbeams the make the space feel rustic, as if you were in the French countryside, rather than on West 86th street.

There are vernacular oil paintings of flowers and countrysides, beaches and seas, black and white photos signed by celebrities, flowers on the hostess stand.

This is a neighborhood restaurant. Around 6:30 diners began to arrive. Most were in their 60s to their 80’s and all seemed to know the staff and each other, as if they had dined there for decades. Many of them were French. Some wore black berets-black coats and white hair. You imagine them talking about the invasion of Paris during WWII. You imagine they feel they are in their old neighborhood in Paris.

The music was Parisian chanson: Charles Trenet, Guy Béart, Jacques Brel, Jean Ferrat, Georges Brassens and Édith Piaf. You imagine they can sing these clothes.

The staff treated us as if we were long lost family. They claim to know everyone who comes in and if they do not, they will before the meal is over. The service is by whoever is free, whatever is needed is provided. I think the grandmother brought us our soup, she spoke only a few words of English.

This is traditional bistro food, the kind of straightforward, fresh and simple food that the owners served their families back in France.

We were offered a long list of specials: clam chowder, oysters, mussels, arugula salad, snapper, beef wellington and a bouillabaisse.

For starters we tried the onion soup and the special endive salad. The salad sparkled, very fresh, accents of grapefruit, slivers of goat cheese and croutons. The onion soup was good-it was not up to the best (which is Odeon’s) but it was a respectable offering. The broth was a little light for our taste but well within the tradition.

Our mains were the salmon with leak sauce, with mashed potatoes and squash, and the bouillabaisse. The salmon dish was cooked with care, it had quality,  but the bouillabaisse was extraordinary. It stole the show; it is one of the best dishes I have had at any bistro in New York over the past three years. It was an event.

The broth was subtle, you could taste the saffron and the fennel. There was a large lobster, mussels, and an abundance of white fish. The potatoes were perfectly cooked. The dish had complexity, clarity and balance. It was an ideal antidote to a cold, windy, snowy night.

Let’s explore the art of bouillabaisse. What is it and what makes a good one, well good?

Bouillabaisse is a classic French dish from the port town Marseille. It uses many different varieties of fish. Traditionally it was made with whatever the fishermen hadn’t sold that morning. It was a soup made from leftover fish! There are many varieties of bouillabaisse and  there is passionate disagreement over who makes the best bouillabaisse. In Marseille, bouillabaisse is not just a fish soup. It is a way of life.

Guillaume Sorrieu’s bouillabaisse, from L’Épuisette, in Marseille, is considered the best in the world.

How to describe the real thing?

But the real thing — the rust-brown, tomato- and fennel-based, saffron-infused bouillon, enriched by dollops of a fiercely garlicky mayonnaise called rouille, followed by a plate of fish that have been cooked in the bouillon — is well worth the hunt.

But exactly what fish can be used? You will not be astonished to hear that learned authorities disagree. Even the authoritative Bouillabaisse Charter of Marseille, signed by 11 restaurateurs in 1979, does little to clear up the confusion. The Charter specifies that at least four fish from a list of eight must be used if the bouillabaisse is to be considered authentic.

A Marseille bouillabaisse must consist of at least four types of fish from the following list:

Scorpion fish

White scorpion fish

Red mullet


Conger eel

John Dory


Cigale de Mer (Mediterranean crustacean resembling a lobster)

Spiny lobster

Other ingredients that may go in the bouillabaisse:




Olive oil







Dessert was chocolate mousse. (The creme caramel and the chocolate raspberry cake were tempting). It was intense, rich but not cheapened by too much sugar. We closed with espresso and began the journey to the theater.


Staff: 8 (Authentically French, casual)

Archetype: 8 (There are many signifiers of the Archetype-vernacular paintings and photographs, the white lace around the window, the country farmhouse feeling, the simplicity and quality of the food)

Food: 9 (Well prepared traditional bistro food; great bouillabaisse, well worth the trip)

Energy: 9 (Noise low, neighborhood crowd, older, quiet, pleasant atmosphere, surprisingly good music)



Bouillabaisse Recipes

La Ripaille- There is Never Any Ending to Paris

La Ripaille

605 Hudson St.

New York, NY 10014

(212) 255-4406

There is never any ending to Paris and the memory of each person who has lived in it differs from that of any other. We always returned to it no matter who we were or how it was changed or with what difficulties, or ease, it could be reached. Paris was always worth it and you received return for whatever you brought to it. But this is how Paris was in the early days when we were very poor and very happy.

Ernest Hemingway, A Moveable Feast

La Ripaille is a 16th-century French word that means a feast or revelry. La Ripaille is one of the oldest restaurants in the West Village. Its regulars have been eating at the bistro for 25 years. In the spirit of the authentic bistro, the owner, Alain Laurent, manages the day-to-day operations of the restaurant. He visits the markets to find the freshest produce and creates dishes based upon seasonality, locality and quality. He curates the wine list and is even known to cook when the chef needs a break! Mr. Laurent comes from a restaurant family: both his brother and sister own restaurants in New York and his nephew owns one in France.

I was alone, cold and poor in Paris. I would walk, explore bookstores and map shops and bakeries. I would take black and white photographs of the Seine and the bridges and the barges with my small camera. In a modest bistro I would sip a single glass of wine all day and read Joyce and write poems that I later tossed one by one into the fire in the foyer of the hostel next to the frozen fountains of the Luxembourg Gardens. I was happy living in Paris. La Ripaille reminds me of my Hemingway days: very poor and very happy.

We arrived for early dinner and we were greeted and seated by Mr. Laurent himself. He described the daily specials to us, and brought us our dishes. He was  charming and energetic.

My wife had been shopping in the holiday markets all day and was happy to be seated in a quiet, warm bistro and to be served a glass of wine after the crowds, the cold and crush of Christmas in New York. 

The menu has the standards and the prices are reasonable. Most of the mains are from $21 to $25.

La Ripaille is modest from the street. There is a small bar to the left. The heavy red curtains make the bistro feel theatrical.  A silent grandfather clock made in 1846 is set to the opening time of the restaurant. On the red brick walls next to the clock hang old iron forks and spoons.  There are French posters, rows of glasses hanging over the bar, wood chairs and tables, candles and flowers. There is a terrace for the summer and a fireplace in the back for the winter. There are many signifiers of the bistro Archetype.

This poster over my table: Fap’Anis. Celui des Connaisseurs. This poster was a 1920s French advertisement for a pastis aperitif called Fap Anis. The creation of pastis (an anise flavored spirit) was in response to the banning of absinthe in France in 1915.

The flapper enjoying a panoramic vista of the French Riviera was Gaby Deslys. She was from Marseille and was a dancer, singer, and actress. During the 1910s she had worldwide fame and performed in Paris, London and New York.  She made $4,000 a week in the United States alone. During the 1910s she performed several times on Broadway. Her dancing was so popular that The Gaby Glide was named for her. Renowned for her beauty, she was courted by wealthy gentlemen including King Manuel II of Portugal. Gaby loved pearls and claimed that she owned a collection equal to her own weight.

Marseille, the home of pastis, and where Fap Anis was produced, made Gaby a natural fit for this advertisement.

We ordered pommes frites, mussels and a filet of bass sauteed in Champagne and rosemary. Each dish was simply prepared and presented. The flavors and textures were clearly articulated and flavorful. The fish was perfectly cooked. Even the bread was enjoyable. Our wines by the glass were modest but so was the pricing.

The only false note in the evening was the tarte tatin. In my review of Cherche Midi I wrote extensively on the tarte tatin. Here is the link:

Julia Child describes a tarte tatin as:

It is caramelized sliced apples, oven-baked in a skillet with the pastry on top; when done, it is turned upside-down so the crust is on the bottom and the apple slices – wonderfully brown, buttery, and glazed with caramel – remain in a design on top.

This tarte tatin failed. The crust was soggy, the apples were overcooked, and the whole affair lacked flavor and structure.

At La Ripaille we found good food, prepared with care and pride, the owner working the front, and a delightful experience in this classic bistro in the West Village. Love on the Left Bank, A Moveable Feast, Tropic of Cancer. 



Most of the signifiers of the bistro Archetype, even the rarity of the owner working the front of the bistro. Grandfather clocks, 1920’s French posters, and small bar)


Well executed; bistro standards with few innovations. The tarte tatin failed.


Service that only the owner can provide: friendly, professional, authentic.


Small, cozy, historical, West Village bistro. A neighborhood place. Quiet and romantic, you feel good to be here.



Tarte Tatin

Bistro Cassis-Leonard’s Birthday Celebration

Bistro Cassis

225 Columbus Ave

New York, New York 10023

(212) 579-3966

Leonard’s Birthday Celebration

It was a beautiful clear blue fall day in New York City when one feels blessed and grateful to live here and walk through Central Park, eat at a local bistro and then onward to Lincoln Center for Bernstein’s Centennial Celebration. I was to hear: Joey Roukens-Boundless (Three movements-manically, glacially, propulsively); Bernstein-Serenade; and Bernstein-Symphony 1 (Jeremiah).

I have long been an admirer of Bernstein: I first became interested, not though music, but through his Harvard Lectures called the Unanswered Question.  These lectures analyzed musical theory through linguistics (Chomsky: structuralism) in a way that only Bernstein could: with brilliance, charm, intensity, passion, risk and command of many languages and disciplines.

I  liked this Bistro.  Because bistros are conforming to the Archetype there tends to be a flattening of quality; most are average. It is rare to find a really bad one and a bit less rare to find a really good one. Cassis ranks at the higher end of the distribution!

I ordered one of their special daily wines-a natural 100% Bordeaux. It was outstanding.

Cassis has many signifiers of the Archetype: red awning on the street, waiters dressed in all black with white aprons, white marble topped tables with Thonet chairs, chalk board menu, small, comfortable bar in front, red banquet benches, soft globe lights, engraved glass divider and French posters (Vin Mariani (“Popular French Table Wine”) and Toni Kola (Vin Apertif).

The bread was good. It had that nutty flavor and aleatory structure that quality bread exhibits. I am almost always disappointed by bistro bread. Why don’t most bistros take pride in their heritage? Raise the prices if you must, but give us quality bread! Not only was the bread good it was accompanied with both butter and pate. I have not seen this before.

Even though I was here for a New York Philharmonic performance, it was not a pre-theater crowd. It was an upper West Side crowd out for dinner during the week at the local bistro. Possibly because Cassis is too far away from Lincoln Center (between 70th and 71st) or has not yet been discovered.

They had several specials: split pea soup, skate, lobster ravioli with vodka infused sauce, and a filet mignon. I opted for the split pea soup (have not seen that before in the bistro world) and the skate.

The service was very prompt and professional if a bit distant.

The pea soup was excellent-served very hot; light and subtle flavoring. This is not the pea soup we grew up with-a viscous, green mass with slices of hotdogs.

The skate was a filling dish-a large piece of fish with carrots, and roasted potatoes and brussel sprouts. The sauce was  lemon, white wine and capers. The fish was cooked perfectly.


Staff: 7 (Authentically French, professional; slightly impersonal)

Archetype: 8 (Hews closely to the Archetype)

Food: 8 (Well prepared  traditional bistro food; creative specials; great wine)

Energy: 9 (Noise low, Upper West Side crowd, pleasant and comfortable)


New York Philharmonic Bernstein Festival

The Unanswered Question

The Definitive Bernstein Biography is by Humphrey Burton

Olivier Bistro-Gowanus Open Studios 2017

Olivier Bistro

469 4th Avenue

Brooklyn, New York 11215


Gowanus Open Studios 2017

It is the weekend of Gowanus Open Studios: the weather was a perfect fall day and it gave me an opportunity to explore a new neighborhood. I took some photographs of the canal, warehouses, auto repair shops, and industrial sites, and was generally pleased with the results. This is a great black and white neighborhood.

After a day of photography, exploring artists studios and looking at lots of art, it was time for dinner at Olivier Bistro.

You have a sense that the neighborhood is beginning to gentrify. Luxury condo developments are under construction, there is a Whole Foods (of course) overlooking the canal. Across the street from Olivier Bistro is Manny’s Rim and Tire Shop, condo construction and a Starbucks. There are lots of small art galleries in the neighborhood but you know what is coming. I experienced the exodus from Soho (now de-evolved into an outdoor mall, but I still love the architecture) and the East Village. I mention this because it is a huge issue in the neighborhood.

The decor of Olivier Bistro is clean and minimal. There are a few black and white photos on the walls and wood mirrors. All of the chairs are Thonet. There is an attractive bar to the right when you enter. On the streets are boxes with grape vines growing. French flags fly on the street.

Service was friendly and efficient. It was attentive but not obtrusive. The bread was some of the best I have seen in the bistro world in a long time. The crust and the crumb were good. It was served with olive oil and a dash of balsamic vinegar. The music was classic rock-Bruce Springsteen, Elton John, Tom Petty, the Stones, etc. An odd choice, but perhaps not for a bistro located in Gowanus. Somehow it worked; it fit a more contemporary vibe.

In the table next to me two older ladies with white hair had two cocktails, and then demolished a bottle of white wine, onion soup and a huge beef marrow talking nonstop all the way. The crowd feels very local; I cannot image any tourists here.

The wine was organic and good-better than most wines by the glass, even Odeon’s. The wine list is limited but of high quality.

There are some interesting  appetizers on the menu: shishito (blistered green peppers, sea salt and lemon), poulpe a la plancha (octopus, red pepper sauce, fingerlings and confit tomatoes), and choux frit (fried cauliflower, lemon aioli). They range in price from $9 to $14.

The entrees are mostly the classic bistro dishes: hanger steak, poulet au citron, poisson of the day, cassoulet de canard, and moules frites. Prices range from $17 to $26. Prices here are gentle compared to those on Manhattan!

Deserts feature a nice selection of cheese, which I see less frequently than you might imagine.

I had the halibut with almond sauce, cherry tomatoes, squash slivers, and almond shavings. It was excellent: even though the sauce was complicated and there were lots of elements to the dish, the flavors and textures were distinct and well-defined.  Sometimes these types of dishes get very muddy but that was not the case here. I had the Morbier cheese for dessert. It was served with grapes, nuts and sliced tomato.

The owner is Olivier Verdier who moved here from France eight years ago and worked for thirteen years in restaurants in France. He opened the bistro with Guillaume Thivet who was a former chef at Bouley.

I liked this bistrot. The food was of much higher quality and creativity than the norm, there was actually good bread and the owners care about their restaurant.


Staff: 7 (Casual, friendly and attentive)

Archetype: 6 (Not really concerned with signifying the Archetype)

Food: 9 (Very good traditional bistro food; some creative offerings)

Energy: 8 (Noise low, Gowanus/Park Slope crowd; rather small space but comfortable)



Gowanus Open Studios 2017

ICE and Godard: Tout va bien!

Tout Va Bien

311 W 51st Street ( between 8th and 9th Avenue)

New York, New York 10019

(212) 265-0190

ICE and Godard: Tout va bien!

It was one of those perfect luminous fall days in New York City. Blue skies and yellow leaves beginning to turn. I lie in the grass on the Lincoln Center lawn and watch the clouds form and float. I think I should slow down and do this more often. How relaxed and open and accepting can I be? Get present now: the world is the Zendo. I enjoy my day off from Crossfit enormously: rest and rebuilding is essential. I am driven by the relentless art gods, consumed with the book. I feel like Don Quixote. Who am I to write about the great and complex questions of  death, memory and time? Is this a quixotic quest? Am I just tilting at windmills, or can I trust my work and intelligence and be confident that something valuable will emerge at the end of this?

I am on my way to an International Contemporary Ensemble performance. Sabrina Schroeder at Bruno Walter Auditorium: Stircrazy for saxophone and electronically activated bass drums. Bonegames: darkhorse. Transducers, fibrillation and pulsation. Sound beds, low slowly evolving, high frequency hits; horizontal and vertical. I am inspired. It is an open rehearsal with interaction between the audience and composer, and composer and musicians. The composer is concerned with musical time, duration and improvisation. New musical forms. I ask a question of the composer concerning acoustic space and it is well received.

From Lincoln Center I walk to Hell’s Kitchen to visit Tout Va Bien. I take photographs along the way but all of them are bad. I delete them later. 

Tout Va Bien was established in 1949 and is the oldest bistro in the Theater District. The bistro is in Hells Kitchen so, fortunately, it does not feel like the Theater District. It was founded by Jean-Pierre Touchard. It has been managed by the Touchard family for more than three generations. It is well known for its coq au vin and filet mignon. In fact, I received a post card from the bistro which celebrated its 65th anniversary: new menu, new chef and new air conditioning!

Signifiers of the Bistro Archetype: the red awing  on the street, Ricard banner flags hung on the railing, a small replica of the Eiffel Tower wrapped in blue and red twinkle lights on the outside patio; the specials on the chalk board (frog legs, filet mignon, veal blanket, crap cake and asparagus),  French flags and posters on the walls, French country plates on the walls, old wood tables and chairs, sometimes Thonet, a red banquet bench, a small bar as you enter, and menus with the French font. Because the bistro is so old, there is lots of accumulated stuff everywhere; it does feel like your grandparents living room and kitchen!

The energy was somewhat spoiled by a huge TV monitor at the end of the bistro tuned to a hockey game and another small monitor next to the bar. I don’t like televisions in bistros; it makes me think I am in a cheap bar in Detroit where everyone is drinking Budweiser and eating wings.

The menu has all of the favorites and the prices are modest. The Coq Au Vin is $21.50,  the hanger steak is $23,  the Filet De Sole Meuniere is $22.95 and  the Salade Niçoise is $16. The specials that evening were filet mignon, veal blanket, frog legs, and crab cakes.

The staff was very casual; my waitress seemed to be a member of the family and the host came over to inquire about my dinner. He was elderly, dressed in a formal dark suit and had a greying pony tail.

I have coq a vin and the chocolate mousse. It is my cheat day and I earned it after eight out of nine days on at Crossfit. The bread was not worth eating (why does any bistro serve bad bread?) but it did come with a side of carrots, celery and radishes. A nice touch. My wine was ordinary.

What makes a great coq a vin? Here is a definition of the dish from the NYT:

A coq au vin is a classic French stew in which chicken is braised slowly in red wine and a little brandy to yield a supremely rich sauce filled with tender meat, crisp bits of bacon, mushrooms and burnished pearl onions. Traditional recipes call for a whole cut-up chicken, but using all dark meat gives you a particularly succulent dish without the risk of overcooked white meat.

The dish I received was not a traditional coq au vin. My dish had two large potatoes on each side of the dish and carrot slices. The sauce was very dark and somewhat thick; there was no evidence of the pearl onions. Since the sauce was so heavy, it overpowered the lardons and any nuance of the flavors.  Even so, the dish was quite flavorful and enjoyable.

The mousse was the high point. It came with whipped cream, mint and strawberries. I closed with an espresso.

They table next to me had been drinking sangria. The waitress had placed an enormous punch bowl full of the stuff on their table. I remarked to the waitress that was a tempting way to serve sangria! There was a slight delay with running my card through their system and the waitress very kindly gave me a free glass while I waited. It was much better than I expected and I drank more of it than I intended to!

The name of the restaurant forces us to talk about Godard.  Tout Va Bien is  Godard’s most Marxist film. It is about class relations and economics. The film concerns two main characters. Jane Fonda is an American journalist living in France and is a  correspondent to an American news company. She is reporting on French culture and politics. She is  married to a Yves Montand-a filmmaker who was once a New Wave director but who has moved on to make commercials. The film revolves around a strike in a French sausage factor; Fonda and the filmmaker are trapped in the manager’s office by the striking workers.  The most famous scene in the movie is the long tracking scene in a supermarket. The camera moves down a long series of checkout counters, all with long lines of people obediently standing in line with big carts of food, a slow parade of excessive consumption. Then the rebelling workers come to liberate the grocery store. They shout: “Free! It’s all free!” The camera starts tracking back to the left and the scene turns to chaos when the shoppers run to fill their carts and charge out of the store.

Jane Fonda can make no sense out of what she experiences: “I am an American correspondent in France who no longer corresponds to anything.” What does it mean?

All Godard films require study: read the reviews below!


Staff: 6 (Family, French, casual; extra points for the free glass of sangria)

Archetype: 7 (There are many signifiers of the Archetype that have accumulated over 65 years)

Food: 6 (Basic bistro food; no frills; modest prices)

Energy: 5 (Noise low, television monitors annoying, tables close together)


International Contemporary Ensemble

Coq-au-vin Recipes

Tout Va Bien-Godard

Bacchus Bistro and Wine Bar-A Bistro Without a Code

Bacchus Bistro and Wine Bar

411 Atlantic Avenue

Brooklyn, New York 11217


I can’t rely on my memories.

Rachel, Bladerunner

On my way to the opening of Bladerunner 2049 at BAM, I stop at Bacchus for dinner.

Bacchus is located in the Boerum neighborhood in Brooklyn. Boerum is in the northwestern portion of Brooklyn. Boerum Hill was named for the colonial farm of the Boerum family, which occupied most of the area during early Dutch settlement. Originally it was a working class area, then became a high crime zone and then became gentrified.

Bacchus is on the same block as the Iglesia De Dios Pentecostal Church and the Templo Cristiano De Brooklyn (Brooklyn Christian Temple Inc.). There are trendy businesses such as Ruchkida Nozhki Nail Lounge, Farrow and Bali (paint and paper), Opalia (flowers) and Arco (a Luxury Salon Boutique). Nearby is the Atelier Cologne (The Cologne Absolue-True Innovation). They are trying very hard to be distinctive and sophisticated but seem rather silly instead. They are models of gentrification.  I wonder what the Pentecostals think when they walk by on their way to church. Perhaps they do not see them at all.

Bacchus is roughhewn and unfinished.  The walls are old and distressed by time. Scraped paint provides the color.  The tables are beat up and the chairs are straw wicker. On one wall is a mysterious tin plate with blocks of old brown wood nailed to the plate for no apparent purpose. I could find no sign of a traditional bistro. No photographs of Paris, no Metro signs, no Thonet chairs, no white lace curtains in the window. This is a bistro without a code as Roland Barthes might say.

Service is French-casual.  It works well enough.The menu is limited but has most of the standards. Bacchus is the god of the grape harvest, winemaking and wine, ritual madness, fertility, theatre and religious ecstasy in ancient myth. Correspondingly, there is a good selection of organic wines which is unusual for a modest bistro such as this. This is the bistro’s strength.

I ordered the French onion soup and the salmon with vegetables. The bread arrived: stale and tasteless. I am sure when it was fresh it was equally tasteless. No reason to eat the stuff. I think that bistros should serve nothing at all rather than embarrassing themselves and the French tradition by putting this pathetic attempt at bread making on the table in traditional zinc buckets.

The onion soup was surprisingly good after the slow start with the bread. The broth was black and it was not over cheesed or full of soppy bread that it typical. Flavors were subtle and nicely balanced.

The music began with a large jazz combo; pleasant and right for a bistro. It then swerved into a fusion version of In A  Gadda Da Vida. A very tired 1968 psychedelic rock classic. (In a gadda da vida, honey/ Don’t you know that I’m lovin’ you/ In a gadda da vida, baby/ Don’t you know that I’ll always be true). I hoped to never  hear that again after high school nor to be tortured by the extended drum solo. This song dredged up old memories that I would rather forget.

The crowd was local. Moms with children, a couple on a date, a bewildered older couple, a single guy drinking wine at the bar talking up the uninterested waitress.

Bacchus has a backyard with a tree and party lights strung from its branches to the building. Metal chairs and tables are scattered around and bottles are set up on an old table that is leaning on the uneven patio.  A wedding party flows in from the street. A hyper-kinetic bride screeches and hugs. Large white teeth are displayed. The groom stands on the edge: lost, uncertain, superfluous.

The salmon and vegetables (squash and broccoli) were acceptable but boring.  The vegetables were not overcooked and the salmon was pink and flavorful. You will not find creativity here nor will you find charm. But you will find food that is good enough, excellent natural wine, and a casual neighborhood vibe.


Staff-5 (Casual and vaguely efficient)

Archetype-1 (A bistro without a code. Not signifiers of the Archetype. )

Food-6 (Good, limited and uncreative; the bread failed. The wine was good and reasonably priced. )

Energy-5 (Casual, comfortable, local)


Roland Barthes


Match 65-Between the Dog and the Wolf

Match 65

29 East 65th Street (Between Madison and Park)

New York, New York 10065


Joel Meyerowitz: Between the Dog and the Wolf

It is opening night for Joel Meyerowitz at Howard Greenberg Gallery. He showed two collections of images: “Between the Dog and the Wolf” in the main gallery and “Morandi, Cezanne and Me” in a side gallery.

The opening was jammed and it was good to see Meyerowitz in good health wearing all black with a matching black Leica casually flung over one shoulder.

Between the Dog and the Wolf is a translation of a common French expression which refers to twilight. In his artists statement Meyerowitz said:  “It seemed to me that the French liken the twilight to the notion of the tame and the savage, the known and the unknown, where that special moment of the fading of the light offers us an entrance into the place where our senses might fail us slightly, making us vulnerable to the vagaries of our imagination.”

In the second series, Morandi, Cézanne and Me, Meyerowitz was granted permission to photograph the studios of both Morandi and Cezanne.  Meyerowitz was entranced by the grey walls in Cézanne’s studio, and he photographed just about every object there – from vases, pitchers, and carafes to a skull and Cézanne’s hat. In Morandi’s studio Meyerowitz was allowed access to all of the objects that Morand used to create his perfect still life paintings. He was allowed to sit at Morandi’s table where he photographed  shells, pigment-filled bottles, funnels, and watering cans against the same paper that Morandi had left on the wall. The paper is now yellow with age and created a rich backdrop for the photographs.

Match 65 Bistro

Beneath the red awning and string lights on 65th street are bistro chairs full of diners enjoying the perfect fall evening. It is a joy and a sweet sadness, fall in New York, because everyone who lives in the city knows that is coming. The cold and the grey and the wet and the slush and the dark. So we enjoy the preciousness of every moment.

The bar is to the right when you enter and is staffed by a charming young French woman. You can dine in tables in the bar area but I opted for table in the dining room in the back. There are large mirrors that reflect an infinity of diners and soft light globes in an infinite regression. Old black and white photos line the walls. In the back is a large sign with red type that announces Match 65-brasserie, cafe, comptoir-vins du pays, apertifs, bieres de luxe, plats du jour and digestifs.

Service was quick and efficient but hurried due to the large number of diners but small staff. The cafe was comfortably full-not so crowded as to be unpleasant but full enough to suggest popularity and success.

Most of the bistro classics are on the menu:  moules frites mariniers, pan roasted salmon, tuna provencal, steak frites, and branzino.  There is also an offering of enticing salads, hors d’ oeuvres, and garnitures.

I was surprised by the price points. The roasted salmon was $35 (Odeon is $31), the steak frites was $43 (Odeon is $40),the macaroni and cheese was $22 (Odeon is $13), the French onion soup was $15 (Odeon is $14), and pommes frites were $12 (Odeon is $11).

My experience at Match 65 was good but it is no Odeon.

I ordered the chicken paillard (with cherry tomatoes, baby cucumber, asparagus baby beets, mesclun greens, and feta cheese). I also had the pommes frites to give them a try.

The chicken was very thin but the temperature of the chicken could have been warmer and its consistency and flavor reminded me a bit of cardboard. The salad was excellent: fresh and well balanced. The pommes frites and the bread were average.

Paris Match

Paris Match is a French weekly news magazine. A judge has banned Paris Match from re-publishing graphic CCTV images of the Bastille Day attack in Nice in 2016. Paris Match was planning to publish images showing the moment when a truck plunged into crowds of people celebrating France’s national holiday, killing 86 and injuring hundreds. In an article defending the decision, Paris Match’s managing editor wrote that the magazine “wanted to pay tribute to the victims… in a duty of memory, so that society does not forget.”

Paris Match has faced legal action and censure several times before over the publication of private and sensitive images and interviews, including what it claimed was the last interview with Princess Diana before she was killed in a 1997 car crash in the French capital.

I inquired about the unusual name of the bisto and I was told that they originally named it “Paris Match” after the magazine. However, the magazine protested (trademark infringement I suspect) and so they changed the name to Match 65.


Service: 8. Professional but hurried. Good timing. Authentically French staff from the host to the servers.

Archetype: 8. All of the signifiers of the Archetype are represented.

Food: 5. Average bistro food. High price points. Interesting specials of the day which would be worth trying.

Energy: 7. Good bar and sidewalk scene. Busy but not obnoxious. Authentic bistro decor and vibe.


Paris Match Magazine

Howard Greenberg Gallery

Joel Meyerowitz

Bar Tabac-The Parisien Tobacco Shop

Bar Tabac

128 Smith Street at Dean Street

Brooklyn, NY, 11201

(718) 923-0918

The French Tabac

A tabac is a shop licensed to sell tobacco products in France. Tabacs are identified by a red diamond-shaped sign. They sell newspapers, telephone cards, lottery ticket and postage stamps. The tabac may also be the tobacco counter in some bars. You see tabacs in many old Godard and French New Wave movies.

The Brooklyn Bar Tabac

Bar Tabac is on Smith Street in the Cobble Hill neighborhood in Brooklyn. Smith Street has many shops and restaurants that are small, local and creative.

Bar Tabac has many signifiers of the bistro. The French flag, the red awning, the small wood tables and red wicker chairs on the sidewalk, the chalk board with the “plat du jour”, the soft globe lights and regulars sitting on Thonet bar stools at the old wooden bar, sipping wine and discussing the events of the day.    

And there are the signs on the walls: “Journaux”, “Rue Jean B. Therre” and “Le Petit Parisien.”

Bar Tabac has live jazz four times a week. It was happening when I was there and I found it to be real jazz rather than easy listening faux jazz which one often hears in cafes.

The menu has most of the bistro standards: moules frites, steak tartare and grilled hanger steak. The appetizers are onion soup, pate, snails, and tuna tartar.

The mains are nicoise salad, roasted half-chicken, rtruite amandine, duck leg confit,and steak frites. A variety of sides (mashed potatoes, french fries,string beans, asparagus, etc.) may be added.

Dinner is followed by classic deserts such as creme brulee, chocolat coulant (a small chocolate cake), profiteroles or sorbets.


Staff: 6 (Authentically French, casual and well-informed about the food)

Archetype: 7 (There are many signifiers of the Archetype and they felt organic rather than designed)

Food: 6 (Good solid traditional bistro food; no creative offerings)

Energy: 7 (Noise low, friendly neighborhood crowd, pleasant atmosphere,  surprisingly good jazz)


The Tabac


The Odeon and Stephen Shore: Uncommon Places

Stephen Shore, Collected Works 1973-1981. Book signing and lecture at Aperture,  June 7, 2017. I eat at Odeon before the lecture.

The Odeon

145 West Broadway

New York, New York 10013


Five things about Stephen Shore and The Odeon:

Stephen Shore

1. Mystery

Why did he take this photograph?

A cheap hotel room. Rust brown shag carpet. Umber brown fake leather chair. Gold brown bedspread flowers.

A bleak brown apartment building behind empty pavement. Cars parked. Empty blue sky.

A car at an intersection. Telephone poles and wires. Storefronts and signs.

Unseen. The mystery of intention. What does he see that I do not see?

2. Signs

Buying and selling: advertisements, information, injunctions, commands, questions, invitations, notices and names.

3. Composition

Form. Light and dark. Edges. Leading lines. Color. Rhythm. Stillness. Pattern. Flatness. Volume. Space compressed. Space distant. Vertical and horizontal. Beauty and ugliness.

4. Story

Paul Graham: “There are a thousand novels in these images.

Perception and wonder.” It is mute. It is multitude. Beauty and coarseness. I feel stillness.

5. Still Life

Dirty dishes on a table: two smoked cigarettes, three pickles, two crumpled napkins on dirty plates, 1/2 a cup of tea with a lemon slice floating, dirty utensils, 1/2 and 1/2 plastic creme cups….

The Odeon

A neon-lit promise of excitement on Tribeca’s then dark streets, the Odeon was the restaurant that defined New York’s 80s: a retro haven for the likes of Warhol and Basquiat, De Niro and Belushi, with a cocaine-fueled scene captured in Bright Lights, Big City.

Frank Digiacomo

1. We are at Area

It is 1983. Keith Haring painted the walls. Club kids are in the swimming pool naked. Unisex bathrooms. Art films running on monitors. Artists, writers, Euro-trash, Wall Street masters of the universe, fashionistas, and beautiful people. Look! There is Boy George, David Byrne, Jean Michel Basquiat, Sting, and Ann Magnuson! We dance to Kraftwerk, Berlin, Eurythmics, Tom Tom Club, Flock of Seagulls, Human League, New Order and Soft Cell. It  is 4:00 a.m. We need food, we need drink and it is too late to go to bed.

We walk from Area. Tribeca is dark, deserted, decayed and dangerous. Abandoned iron buildings and empty cobblestone streets. In the shadows are fear and excitement. But we are high from the energy of the club, we are high from the music and the dance and the life, and we are high from the drugs. We are at Odeon.  The end and the beginning of the night.

2. The Odeon Sign

Lena Dunham: And because I’m an officially deranged daughter of TriBeCa, the Odeon neon sign now lives on my ass for life.

The Odeon sign has progressed (or regressed) from the front cover of McInerney’s “Bright Lights, Big City” in 1984 to Lena Dunham’s ass  in 2017. How many restaurants have been culturally relevant (or even in business) for that long? Imagine the distance from Jay McInerney to Lena Dunham.

3. Bauhaus

Primary colors, thick straight lines across white space. The trilogy of circle, triangle and square. Man reading a paper and drinking a coffee in black and red.

Old wood long bar with the huge mirror overhead made for conversation. The neon clock in the corner glows green and pink soft. It marks the time and is timeless. 1980 to 2017.

4.  Odeon. Cafeteria. Cafe. Brasserie.

The soft globe lights make everyone beautiful. The old polished wood, bistro chairs and tables, the ceiling fans, white tablecloths and burgundy banquettes are familiar. The Art deco accents, the red awnings and red-orange neon lights. It is an expression of the Bistro Archetype.

Vanity Fair says:

“They hit the Zeitgeist with the architecture,” says Joe Helman, an art dealer who was instrumental in making the Odeon a popular place to fête an artist in the 80s. “The Odeon was kind of retro, without being kitsch. It was one of the places that really defined the moment.” Self-conscious without being pretentious—which couldn’t always be said of its customers—the Odeon’s design, its flattering lighting and aesthetically pleasing staff appealed to a younger, more cosmopolitan generation’s love of the cinematic, and its preoccupation with looking good.

5. Food

The best French onion soup and chocolate ice cream in town. The food is consistent and sometimes inspired. Favorites on the menu: brook trout, roasted half chicken, Faroe Islands salmon, and the steak frites. From the brasserie, the tuna burger, moules frites, and croque monsieur. New York and Paris standards.

It’s easy to see why The Odeon has been a part of the fabric of TriBeCa life for so long. Like watching a re-run of Seinfeld, it is reassuringly familiar, classically New York and, even when you know what’s coming next, still eminently satisfying.

New York Times


A great history of Odeon written on its 25th year anniversary by Vanity Fair

Stephen Shore


The definitive book on Area:

Eric Goode, Area: 1983-1987 (Harry N. Abrams 2013)

Le Veau d’Or (The Golden Calf): Timeless Magic

Le Veau d’Or (The Golden Calf)

129 E. 60th St.

New York, New York 10065


The essence of a bistro is that it conforms to its Archetype. This is its soul and this is why they are so popular. Comfort, tradition, familiarity, small towns. Fresh food from the market, cooked by mom and served in a casual dining room. Lingering over the newspaper having a glass of wine at the bar before moving to the dining room. Because this results in a uniformity of design, atmosphere, service and cuisine, it is difficult to evaluate bistros against the Archetype.

Most bistros fall in the midpoint in a distribution curve; a few are extraordinary and a few are poor. Most are within a narrow range of acceptability. You may expect competent food and service and comfortable warm feelings. You generally do not expect creative, brilliant or exciting food.

But some bistros have a magical quality that distinguishes them from the crowd. It may be the food, it may be the staff, it may be the energy. Sometimes all of the elements magically converge to create quality. 

Le Veau d’Or has that magical quality.

“Monsieur, retirez votre chapeau.” The imperious and elegant madam of the bistro commanded me after she graciously welcomed and seated me in her bistro. She fluidly alternates between French and English. Discrete signs forbid cell phones and cameras. There are no hipsters intently staring into their Apple Air laptops and iPhones projecting creativity and importance. There is no website. There is no social media. There is no one under fifty. 

Chanson music plays in the background. Jacques Brel.Edith Piaf.  Charles Trenet (Did I hear La Mer?). Chanson music makes me feel melancholy but satisfied with my past victories.

You walk along the Seine in Paris as the sun sets and it grows cold and the water turns from a brownish viridian to an oily black with the lights rippling and reflecting as it flows underneath the bridge and the ornate light posts. You see the red awning and golden lights and you pop in for a glass of wine and dinner and warmth. You feel stylish, you elegant, you feel like you live in the Belle Epoque, you want to dance up the steps from the water level to the sidewalk where the booksellers are closing the metal lids to put their books, maps and post cards to bed for the night. You want to watch old French black and white movies: Breathless, Hiroshima, Mon Amour or Jules and Jim. You want to write something important- Hemingway in the cafe.  You relish the familiar and take delight in it.

“If you want to know something about nothing talk to me!”

Catherine Treboux stops by my table for a chat. She recommends the fixed price special of lentil soup and monk fish. I accept her recommendation. She tells me the history of the bistro. We chat about Sibelius, Mahler and Carnegie Hall. I am going to hear the Sibelius Seventh Symphony and some Mahler songs.

Gentlemen in suits enter, sit by the bar and are served their usual cocktail or glass of wine. They invite each other to parties. You have the impression they have been coming here for a long time; everyone speaks French and everyone knows everyone. Catherine brings me a glass of the house Bordeaux. 

On the walls hang black-and-white photos of the historical Les Halles market in Paris (not the grotesque and soulless underground shopping mall), black and white Parisian street scenes, and some watercolors. There are red banquettes along the wall, wood chairs, and pink tablecloths with white linen pressed coverings. Flowers and candles are on the tables. 

“Voila!” Dinner arrives. It is very light and delicate. The pommes frites are warm and crisp and served with hollandaise sauce as they should be. The monk fish is served in medallions but suffers from a bland whiteness. Same for the creamed spinach. Chocolate mousse is home made and brilliant. It is served on a plate with a dash of whipped cream. The espresso is perfect. The dishes are  simple and traditional.  There is no innovation or frills.

The pace is leisurely; one should enjoy dinner and wine without a rush. How can one enjoy the finer things in life while  plugged into an iPhone while Facebook scrolls by pushing video ads in your face?

Le Veau d’Or was opened in the 1937 and Orson Welles, Marlene Dietrich, Ernest Hemingway, Grace Kelly, Helmet Newton,  and Oleg Cassini dined here from the 1940s through the 1960s. In the window is a large stack of books that mention Le Veau d’Or.

Mr. Treboux bought Le Veau d’Or in 1985 which capped a long and distinguished culinary career in New York. The New York Times describes the atmosphere:

By the time Mr. Treboux took it over, it had settled into a dignified old age, supported by a fiercely loyal, older clientele who loved its unbending traditionalism and adored Mr. Treboux for refusing to change its menu, its décor or its highly personal style of management.

Mr. Treboux passed away in 2012 and the restaurant has been managed by his daughter Catherine ever since. She told me she knows of five generations of people who dine in her restaurant. It is popular among writers, publishers and theatrical people. Apparently, the menu has changed little over the decades. You will not find kale on the menu.

“Après moi, le déluge.” he is known to have said  (“After me the deluge.”) They like their business the way it is-serving their regular customers and friends- and see no reason to change!

When you are there you feel like you are a member of a private club. You are participating in New York bistro history. The menu, decor and management and atmosphere has changed very little over time. And that is the way everyone connected to Le Veau d’Or likes it.

Happy, I leave Le Veau d’Or and I hope that it stays just the way it is for a very long time.


New York Magazine Review

New Yorker Review

Eater Review

New York Times Article on Robert Treboux

Chowhound Review

Boston Globe Review

Rimbaud’s Drunken Boat and Mahler’s First at the Met-May 31, 2017

Thenceforward, fused in the poem, milk of stars,

Of the sea, I coiled through deeps of cloudless green,

Where, dimly, they come swaying down,
Rapt and sad, singly, the drowned;

Where, under the sky’s hemorrhage, slowly tossing

In thuds of fever, arch-alcohol of song,
Pumping over the blues in sudden stains,
The bitter rednesses of love ferment.

Arthur Rimbaud, Le Bateau Ivre

Le Bateau Ivre

230 East 51 Street

New York, New York 10022


It is a curious synchronicity that I have been working on a photography project based upon Rimbaud’s Drunken Boat and I find myself in a bistro of the same name after seeing the Irving Penn Centennial at the Met. It was a show of 200 photographs which the Penn Estate had bequeathed to the museum. I was impressed by Penn’s range and the perfection of his images from a compositional and tonal point of view. The Vogue fashion images are iconic, of course, but I did not know that he photographed still life compositions, cigarettes, flowers and images of urban trade workers. The first display in the show was Penn’s camera in a glass case. It was a Rolleiflex-the same model that my father used throughout his life and that I heartlessly and regretfully sold thinking that I would never shoot film. As a photographer witnessing the brilliance and perfection of Penn made me want to cry.

For several years I have been photographing dead boats in the canals of Amsterdam. These are boats that are abandoned, decayed, lost, useless, lying dead in the canals. They collect trash and debris thrown from the sidewalks above. Rope lines curled and tangled, reflections of clouds in the oily water, weeds growing in the algae pools collected in the bottom of the boats. These boats are unseen. It is a project to defeat the tyranny of the banal images of red brick and white trimmed canal houses, bridges, bikes, trams and tulips. Rimbaud’s Le Bateau Ivre (The Drunken Boat) is a source of inspiration for the images. As is Godard’s film Socialisme.

After the Penn show my plan was to attend a performance of Mahler’s First Symphony at Carnegie Hall. I decided to dine at Le Bateau Ivre which was more or less between the Met and Carnegie Hall.

Rather than a traditional bistro, Le Bateau Ivre is a  French wine bar. A bistro a vins. It  opened in January 1999. It offers more than 250 varieties of the French wines. Unlike Parisian wine bars that typically only offer light snacks, Le Bateau Ivre has a traditional bistro menu.

The appetizers are old favorites such as asparagus with hollandaise sauce, burgundy snails, french onion soup and a sushi grade tuna. There is a selection of familiar salads. There are oysters, shrimp, clams and lobsters. The mains are lamb chops, steak frites, salmon, skate and mussels. The seafood is reasonably priced but the meat offerings are expensive: lamb chops are $33.50 and steak frites are $35.00. The deserts are traditional: a cheese selection, creme brulee, chocolate mousse, and a tarte tatin. 

The wine list is huge and the servers are very knowledgeable. They offer a wine tasting every day at 6:00.

The space is small and inviting. There is a red awning over the sidewalk tables, and the walls are lined with wine bottles in wooden racks. A light after work crowd began to arrive ordering the first glass of wine and then the second talking and enjoying the end of another work day with the long evening ahead. For some it may be a potentiality, who awaits, and for others a predictability, like falling asleep in front of the ball game on TV.

The high point of Le Bateau Ivre was the staff. They were charming, friendly and literate about the wine list, even though the list was extensive. Even though they were very casual their timing was excellent. I asked my server for a wine recommendation and she suggested the Chateau de Bouchassy Lirac Rouge. It is a Rhone wine and was excellent.  It is a GSM wine which means that it is a blend of Grenache, Syrah and Mourvedre.  It is a specialty of the southern Rhone Valley.

Curiously, even though the bistro is named after a famous poem by Rimbaud there was no reference to it in the bistro. It would be interesting to have a card with the poem placed on the tables. Considering the radical imagery of the poem, it would be  an excellent conversation piece.

My starter was the Salade D’Endives (with apples, walnuts, and roquefort cheese). My main was the skatefish with asparagus and potatoes with the grilled Brussels sprouts on the side. For dessert I had the chocolate mousse and an espresso. (This was my first chocolate mousse since I started my Crossfit training in January to prepare for my mountain climbing expedition to Mera Peak in Nepal. We successfully summited the 22,000 foot peak last month. )

The dinner was without distinction; however, it was uplifted by the bistro’s positive energy, the staff, the wine and the excellent mousse!

After dinner, I walked to Carnegie Hall. In the words of the program notes: “Mahler’s First offers  both a bold continuation of the symphonic tradition pioneered by Beethoven and a poetic evocation of the landscape of Central Europe, albeit with a vein of nostalgia.” I found the performance by the Met Symphony to be magnificent.


Staff-9 (Friendly, casual and knowledgeable about wine; good timing)

Archetype-8 (The red awning, the wooden tables and chairs, and the menu reflect the Archetype )

Food-6 (Good but not creative; the bread failed. The wine was excellent)

Energy-7 (Comfortable space, windows open to the street; red banquets, bookcases of wine bottles, and large wood bar)


Are Parisian Bistros Finished or Just Getting Started? (Good history of neo-bistros)

The Best New Paris Bistros

Where To Experience the New Wave of French Food

The Cave a Manger

Samuel Becket’s Translation of Rimbaud’s Le Bateau Ivre (analysis of the poem)

Irving Penn Centennial

The Met Orchestra-Carnegie Hall-Mahler Cycle

Harlem’s French Renaissance

A small Francophile community, lured by Harlem’s sense of community and storied history, has sprung up, and along with it have come French restaurants.

A New York Times article on French Bistros in Harlem was published in April. It is an excellent history of French culture in Harlem.

There are four new bistros to explore: Chez Lucienne; Barawine Harlem; Cheri Maison; and Harlem.

Reviews soon to come!


New York Times Article

Barawine Harlem

Chez Lucienne


Maison Harlem




Eleven Madison Park-The World’s Best Restaurant 2017

Chef Daniel Humm on the four fundamentals of a great dish:

What I value in a dish has evolved as well. I’m no longer looking for what I can add to a dish, but instead how I can find ways to remove something from the plate—the less-is-more approach. All of our dishes must now contain our four fundamentals, a language we developed to help guide our cuisine, which are: beautiful, creative, intentional, and delicious.

Every dish must contain the four fundamental elements I mentioned earlier, and that applies to the plating as well as the flavor. Sketching has definitely been a big part of my creative process. I’ve been doing it for decades now and have dozens of notebooks from early on in my career through today with sketches of dishes.



Chez Josephine: Sunday in the Park with George

Chez Josephine

​414 West 42nd Street

New York, NY 10036


Chez Josephine is an adventure close to my heart, one that brings together  the legend of Josephine Baker and the love for people we shared. Listen closely and you will hear the joie-de-vivre of a timeless and passionate era.

Jean-Claude Baker,  opening night of Chez Josephine, October 2,1986

Surely the day will come when color means nothing more than the skin tone, when religion is seen uniquely as a way to speak one’s soul; when birth places have the weight of a throw of the dice and all men are born free, when understanding breeds love and brotherhood.

Josephine Baker


Service:  Busy and impersonal.

Atmosphere: A cabaret. A red velvet museum to Josephine Baker. Chandeliers. Red banquets. Posters from the Belle Epoque and the Folies Bergere. Feathers, masks and mirrors. A great place to experience theater before your theater.  

Food: Tired. We had the pork chop, amish chicken, char and salmon. The bread was particularly bad-a stale dinner roll. Why? Who cares, life is a cabaret and its the theater!

Energy: High, theatrical and noisy. Piano bar in a bordello. Air kisses and assignations in the corners.

Forget the food. Enjoy the history, the energy and the piano player before you go to the theater. The closest you will come to dining in French cabaret hall (or maybe a bordello) in New York. Enjoy the Belle Epoque posters and artifacts. Appreciate the amazing life of Josephine Baker.


In the 1960s and 1970s, West 42nd street was infested with pimps, pushers, prostitutes and places like the Body Rub Institute and the French Palace Massage Parlor. The French Palace offered massages for $10 and promised “complete satisfaction.”

In 1986, Jeane-Claude Baker decided to open his restaurant. He took over the space previously occupied by the French Palace Massage . The block was grim, dark and dangerous.

The restaurant’s theme would be based on the life of Josephine Baker. It would be called Chez Josephine. Fortunately, Jeane-Claude’s restaurant was located next to the Playwright’s Horizon. André Bishop,  the artistic director of the theater at the time recalled:

A theme restaurant based on Josephine Baker?  Mon dieu! And the décor looked like a bordello.

But  the cafe was an immediate success driven by the opening of  “Driving Miss Daisy” at the Playwright’s Horizon. (Playright’s also staged Sunday in the Park with George in 1984. We were seeing a revival of the play.) This marked the beginning of the transformation of the Off Broadway theater district.

Notes on the history of Chez Josephine:

Jacqueline Kennedy Onassis, who was a pre-theater  regular, would always go to the powder room before leaving.  Jean-Claude would make sure the men’s room was empty  and stand guard while Mrs. Onassis was in it.

October 2, 1989: Chez Josephine celebrates its third anniversary with a dinner honoring 82-year-old Evelyn Anderson, one of the last two surviving chorus girls of “La Revue  Nègre” the American export that made  Josephine Baker an immediate sensation when it opened in Paris in 1925.

Celebrities, of which there were many, could be either extremely gracious or very demanding. Angela  Lansbury is of the former; Lauren Bacall, was of the latter. When the lights would go  from dim to bright, then dim, then brighten and dim  yet again, the waiters knew Ms. Bacall was on site. This was not so that she could make an entrance.  It was so that she could read the menu.

April 2009: Chez Josephine hosts a birthday party for  105-year-old Doris Eaton Travis, the last surviving  Ziegfeld Girl. President Woodrow Wilson waved at her.  Babe Ruth autographed a baseball for her. George Gershwin played her family’s piano. Charles Lindbergh  dropped by for tea. 

Famous people who’ve played Chez Josephine: One New Year’s Eve, Billy Joel, heartbroken  after his breakup with Christie Brinkley;  17-year-old Harry Connick, Jr., playing two nights a week for $50; Chris Curtis, who would go on to write the  Broadway musical “Chaplin.”

October 1995: When Pope John Paul II went whizzing by Chez Josephine in his  Popemobile, customers and waiters waved white cloth napkins which the Pontiff blessed. They wanted to keep them as souvenirs.  Jean-Claude then petitioned His Holiness for  special prayers that God would send business his way. “Surely, as the One who created the  miracle of the loaves and the fishes, He knows  how tough the restaurant business is.”

Fall 1998: Woody Allen invites Jean-Claude to play Guy, a maître d’, in his new film, “Sweet and Lowdown.” He has two lines about the jazz legend Django Reinhardt  and somehow manages to stretch that out into three minutes of screen time. Jean-Claude readies his Oscar speech; “Guy” ends up on the cutting room floor.

The Story of Josephine Baker

Josephine Baker was born on June 3, 1906, in St. Louis, Missouri.

Her mother, Carrie McDonald, was a washerwoman and her father, Eddie Carson, was a vaudeville drummer. Eddie abandoned Carrie and Josephine shortly after her birth.

Josephine spent her youth in poverty before learning to dance.  She swept steps, scrubbed floors and stole coal to help support her family, and went to the theater every chance she got. She moved to New York City and performed in The Chocolate Dandies (a Broadway musical) and at the Plantation Club where she quickly became popular.

In 1925, at the peak of France’s obsession with American jazz and exoticism,Josephine went to Paris.  She performed in La Revue Nègre at the Théâtre des Champs-Elysées. The following year, at the Folies Bergère,  her career exploded. This was described by Vogue:

It was the summer of 1926 at the Folies Bergère in Paris. Hordes of white Parisians flocked to the famed theater to see La Revue Nègre, a musical show that emerged from France due to the country’s fascination with jazz culture. And there, wearing little more than strings of pearls, wrist cuffs, and a skirt made of 16 rubber bananas, Josephine Baker descended from a palm tree onstage, and began to dance. This dance—the danse sauvage—is what established her as the biggest black female star in the world.


The show was wildly popular and Josephine was soon among the most popular and highest-paid performers in Europe. She was admired by Pablo Picasso and Ernest Hemingway.  She was known as “Black Venus” and “Black Pearl.” She is said to have received more than 1,000 marriage proposals. Josephine rivaled Gloria Swanson and Mary Pickford as the most photographed woman in the world.

Josephine sang professionally for the first time in 1930 and landed roles as a singer in Zou-Zou and Princesse Tam-Tam. In 1936, Josephine returned to the United States to perform in the Ziegfield Follies. She was hoping to establish herself as a performer in her home country. However, she was met with a hostile and racist reaction (The New York Times called her a “Negro wench”) and she quickly returned to France. She was heartbroken.

She worked for the French Resistance during World War II. At the end of the war, Josephine was awarded  the Croix de Guerre and the Legion of Honour with the rosette of the Resistance, two of France’s highest military honors. During the 1950s and 1960s she devoted herself to fighting segregation and racism in the United States.

After decades of rejection by her countrymen and a lifetime spent facing racism,  Josephine performed at Carnegie Hall in 1973 and was given a standing ovation before the concert began. She was so touched that she wept openly before her audience.

In April 1975, Josephine performed at the Bobino Theater in Paris, in the first of a series of performances celebrating the 50th anniversary of her Parisian debut. Numerous celebrities attended, including Sophia Loren and Princess Grace of Monaco.  A few days later, on April 12, 1975,  Josephine died in her sleep. She was 69.

On the day of her funeral, more than 20,000 people lined the streets, and the French government honored her with a 21-gun salute. This made her the first American woman in history to be buried in France with military honors. Her gravesite is in Monaco.

Jean Claude Baker

Mr. Baker was born Jean-Claude Julien Leon Tronville in Dijon, France, on April 18, 1943. He met Josephine in 1958 at the Hotel Scribe in Paris, where she was living at the time. He was a teenage bellhop and living on his own. His parents were not married. His father was a gambler and lived in a hotel for prostitutes. Jean-Claude wrote:

Josephine listened to all this,” he wrote of their first encounter, “and then she said, ‘Don’t be worried, my little one; you have no father, but from today on, you will have two mothers.

Josephine began calling Jean-Claude the thirteenth of her adopted Baker’s dozen—her famed Rainbow Tribe. She unofficially adopted him when he was fourteen.  He helped her arrange her international tours and she let him sing a song or two between her acts. 

A few years later Mr. Baker moved to West Berlin, where he was a singer and opened a nightclub called the Pimm’s Club. It drew a mix of gay, straight and glittering crowd such as Mick Jagger, Leonard Bernstein, Rudolf Nureyev, Margot Fonteyn and Orson Welles. Pimm’s was called the Studio 54 of that era.

In 1973, Jean-Claude moved to America and settled in New York. He became a nightclub singer and then the producer-host of “TeleFrance-USA,” the first French cable television program for an American audience.

In the early 1970s, Jean-Claude took Josephine’s last name. Before her death in 1975, Mr. Baker served as her manager, companion and assistant.

Jean-Claude wrote a biography about Josephine called “The Hungry Heart” which was published in 1994. He wrote the book because “I loved her, hated her, and wanted desperately to understand her.”

According to the New York Times:

Those emotions drove his book, and they drove him to do vast amounts of valuable research. The result is mesmerizing: a battle of wills with Josephine as the mastermind, concocting fables about her life, and Jean-Claude as the detective, breaking them down into facts.

Jean-Claude Baker died on January 15, 2015 at his home in East Hampton, New York. He was 71. Mr. Baker’s body was discovered in his car. The cause was suicide.


Josephine Baker

Jean Claude Baker

The Revival of West 42nd Street

Sunday In the Park with George

Marseille and the AIPAD Photo Show


630 9th Ave.

New York, NY

(212) 333 2323

When good Americans die, they go to Paris.

Oscar Wilde

The day was cold and windy and gray. I needed  a long walk to recover from a very tough week at CrossFit. I only have two weeks before I depart for Nepal to climb Mera Peak. Mera Peak will be a tough 23,000 foot climb. My resolve: If Vernon Tejas is at the summit, I will be at the summit. I will summit strong and will always feed the courage wolf.

We decided to walk to the AIPAD Photography Show at Pier 94 from our apartment in Tribeca. We decided to stop for lunch before the show; we knew it would be visually overwhelming. We saw Marseille across the street. It looked warm and inviting and we  decided to give it a try.

It was very busy. We were at the top of Saturday brunch but we were quickly given a table. The lighting is art deco, the floors are brown mosaic tiles, the mirrors are old and silvered and reflect large bouquets of pink flowers. A large pedestal anchors the center of the room. Lists of “Les Champagnes” and “Les Bieres Pression” are engraved in the glass. There are curved banquettes around the pedestal in the center of the room. The room is all curves and arches and windows and creamy color and soft light. The bar is in a separate room and is large and comfortable. It has well-worn Thonet bar stools. There are large windows that open to 9th Avenue.  The space suggests Casablanca or perhaps Woody Allen’s Play It Again Sam. It is a beautiful space; we were impressed and felt fortunate to have discovered it.

The staff was formal and efficient and wore traditional black and white; I noticed our waiter replaced my knife from a silver tray.

The chef of Marseille is Andy D’Amico. He is a graduate of the Culinary Institute of America and has a strong resume that spans two decades. He is a member of the Tour de France restaurant group. He oversees the kitchens at Nice Matin, Marseille, Nizza and 5 Napkin Burger. His central aesthetic is Southern French and Northern Italian cuisine. His cooking borrows from French, Italian, Greek and Northern African cuisines.

The dinner menu has most of the bistro classics. Unusual dishes include fava bean hummus, chicken tagine, vegetable couscous, and pomegranate glazed salmon. (Bouillabaisse is featured but we would be reluctant to try it after the disastrous onion soup discussed below.)

We ordered the French onion soup, charred avocado toast (roasted tomatoes, pickled mushrooms and chervil) and healthy frittata (egg whites, roasted peppers, spinach, leeks and pesto).

The bread came. It was strange: petit ginger muffins and sliced sandwich bread. The muffins were good, the sandwich bread stale and lifeless. Tell me why a bistro would ever serve insipid sandwich bread? Why not a baguette?

The soup was dreadful.The broth was thin and tasteless, the cheese was a solid mass of mysterious inorganic matter, and was over stuffed with lifeless soggy bread. It disintegrated into an unattractive brown mass. Drain water. I set it aside even though it was cold outside and soup was very much needed.

In the resources, I have included two excellent recipes for French onion soup. Perhaps Marseille could try one of them? It is not a national secret.

All French bistros should serve excellent bread, pommes frites and French onion soup. Why should the basics not be mastered? It should never be otherwise.

The avocado toast and the frittata rescued the meal. The toast came with a pile of fresh greens, the mushrooms were earthy and delicious and the avocados were fresh. My wife reported that the frittata was delicious.

Fortified, we continued our walk through Hell’s Kitchen to Pier 94. The Photography Show was delightful. There were several Japanese publishers of photo books. I restrained myself impressively and only purchased two books: signed versions of Daido Moriyama’s Record.

We would like to return for dinner. Have a glass of wine at the bar first and then explore the menu.


Service: 8 Busy, mannered and efficient.

Archetype: 5  Marseille is too big to be a bistro but is inspired by bistro culture. It is a beautiful space. The bar is particularly inviting.

Food: 6  Average to disastrous. No excuse for inedible French onion soup and tasteless sandwich bread.

Energy: 8.  Even though Marseille is a large space and was busy with Saturday morning brunch, the noise level was not bad nor did it feel frenetic. We liked the large open windows, the mosaic tiles, and the overall design.



French Onion Soup Recipes

AIPAD Photography Show

Boucherie-Winter and Absinthe


99 7th Avenue South

New York, New York 10014

None of which equals the poison welling up in your eyes that show me my poor soul reversed, my dreams throng to drink at those green distorting pools.


It was the evening of the day after a wet and windy blizzard  in New York. Black snow lined the streets and lakes of treacherous brown slush filled the crosswalks. Cold, dark, windy and wet, we welcomed the light and warmth of a bistro.

Boucherie is located in the old Circle Repertory Theater on 7th Avenue just south of the Christopher Street subway stop. I passed by it several times on my way to the co-op space where I have been working.  Boucherie is a large space with  320 tables. It was deserted when we arrived due to the  winter storm.

The zinc bar is enormous with Thonet bar stools and a large wood-framed mirror over the bar. According to the website, the bar is absinthe-inspired. I wonder what this means? In the 1900s, absinthe was known as the “Green Fairy” and was the muse for many poets and artists. The original Bohemians viewed absinthe as a spiritual guide to transformation. Shamanic. Regarding absinthe:

It must also be remembered that in the many French cafes and restaurants which have recently sprung up in London, Absinthe is always to be obtained at its customary low price — French habits, French fashions, French books, French pictures, are particularly favored by the English, and who can predict that French drug-taking shall not also become a la mode in Britain?

Marie Corelli (“Wormwood: A Drama of Paris”)

Flowers of Evil, so says Baudelaire.

Round marble-top tables with Thonet chairs are in the center of the room. The flooring is white mosaic tiles.  A large community table anchors the main dining hall. There are two open kitchens areas: the butcher counter and the main kitchen. There is a mezzanine level that allows diners to dine above the action below. The designers made good use of old wood floors and white tile to separate the dining areas.

Boucherie is well designed although it feels somewhat like a movie set: perhaps it is too perfectly designed?  “The lady doth protest too much, methinks.” Says the Queen in Hamlet.

The staff was uncertain and overeager in the way that you see in new restaurants. We had four waiting on our table. Sometimes they felt like the Keystone Cops but were well intentioned. They were traditionally dressed with black vests, black ties and white aprons.

The bread came with slices of prosciutto. This was a surprise; rarely have we seen this in the bistro world.  The bread was a quality baguette.

Boucherie means “butcher shop.” Accordingly, the menu is long on meat dishes. Like the size of the restaurant, the menu is enormous. There are French versions of a New York strip, veal porterhouse, rack of venison, rib eye and filet mignon. There is a “Butcher Block” offering which is a “large format” house selection of three meat dishes. It is $175. I wonder how many carnivores  this would serve?

Boucherie offers a charcuterie which includes duck breast, duck salami, prosciutto, pheasant and chicken liver mousse. It offers all of the standard hors d’oeuvres. One offering is a  “boudin noir” (blood sausage, potato puree and caramelized apples).

And then there are the daily specials: lobster grille, duck cassoulet, coq au vin, bouillabaisse, sole, boeuf bourguignon, and a choucroute. The deserts are the standards: creme brulee, profiteroles, mousse au chocolate, crepes suzette and ice cream.

My main was the Cabillaud Roti (seared cod, roasted parsnips, haricot vert and carrot puree). My friend had the Boucherie Burger ( dry-aged Pat LaFrieda blend, caramelized onions, aged gruyere and french fries). The serving was  large but my friend reported that it was excellent. The fries were perfectly cooked as was the burger-so says the friend (noted: I do not eat beef).

My dish was as a food tower. However, it suffered from poorly designed architecture. Because all of the ingredients were stacked, the flavors and textures were confused. The intention of the chef behind each individual element was lost. When I removed the top floor-the cod-from the tower the experience improved.

The food was competent but not remarkable. It did not sparkle and it tasted tired.  I suggest greater emphasis on clarity of texture, freshness flavor and presentation.

Jerome Dihui and The Group-NYC

The Executive Chief of Boucherie is  Jerome Dihui. He attended culinary school in Côte d’Ivoire and studied traditional French cooking. He worked at Pastis for 10 years and became its Chef de Cuisine.

Boucherie is a member of a collective of restaurants called The Group-NYC. Boucherie’s sister restaurants are Akashi, Dominique Bistro, and Olio E Piu and they are located in the West Village.

In Boucherie, we have a grand cafe that is modeled after a bistro. It is impressive in its size and its design. There are several dining areas. One can dine at the bar, in the middle on the round tops, at the butcher counter in the back or on the mezzanine level. The food was competent but not exciting.

To be fair, fish is not Boucherie’s strength.  Go, try  Boucherie, order meat if that is your thing. We think you will be satisfied. We will be back. We want to explore more dishes and feel the energy of the cafe when it is not deserted.


Service: 5.  Helpful but uncertain and clumsy.

Archetype: 5.  Most of the indicia of the bistro archetype were checked but there is an intangible element called “soul”  which it lacks. (To understand what this feels like go to Odeon. ) The archetypal bistro is small and family-owned. The design elements are personal and quirky. They accumulate organically. Boucherie feels designed. Even so, it is beautiful, and I liked the open windows and light.

Food: 6  Average. Unremarkable. Demolish the food tower. The meat offerings are an open question. I would bet on high quality offerings.

Energy: 5. It was dead because of the weather. In fairness, we will return and re-evaluate.


Press notices and reviews

Parisian Boucheries


The Group-NYC

Circle Repertory Company

On Your Last Day: Yo Yo Ma, Joyce and Cafe Luxembourg

What is your perfect day? What if it was the last day in the ordinary life that you know? Perhaps mine would look like yesterday:

1. Looking and working on my photographic vision quest.

2. Worked on one of my photography books: The Drunken Boat. Remixes of my Amsterdam dead boat series, Rimbaud’s poem “The Drunken Boat” and Godard’s “Socialisme.”

3. On a clear, sunny, snow bright day I made many images in Bryant Park and 5th Avenue.

4. Lunch at Maison Kayser.

5. Crossfit Games 17.4 (55 dead lifts, 55 wall balls, 55 row calories and 55 pushups.) Intense. Hard. Fast and Good.

6. At night before the concert at Lincoln Center I made images of the fountain with the Opera building in the background and prussian blue skies as the sun falls.

7.  New York Philharmonic concert: John Adams: The Chairman Dances. Esa-Pekka Salonen: Cello Concerto (YoYo Ma). Hector Berlioz: Symphonie Fantastique.

8. Cafe Luxembourg: A late dinner of a glass of wine and the tuna. The cafe was quiet. Food and service excellent as always. 

9.  At Cafe Luxembourg read the Telemachus Chapter of Joyce’s Ulysses over wine and then espresso. 

French Louie: Oshima X Godard: BAM:Two or Three Things I Know About Her

French Louie
320 Atlantic Avenue
Brooklyn, New York 11201
Phone 718- 935-1200

Better to describe 2 or 3 Things as a machine that morphs the colliding meanings of words and objects with dazzling speed, and generates an astonishing array of metaphors, paradoxes, digressions, and, above all, dialectical relationships, between idea and action, word and image, sound and picture, interior and exterior, microcosm and macrocosm. The swirling surface of a cup of coffee is transformed into the primordial ooze and also the infinite universe.

Amy Taupin

BAM is running a mini-film series devoted to Jean Luc Godard and Nagisa Oshima.  Oshima is known as the J”apanese Godard.” Of course Oshima has said that he views Godard as the French Oshima! These film makers were leaders of the “New Wave” in France and Japan in the 1960s and 1970s. They created radical films and their own visual language. The festival compares these filmmakers side by side. It is intensely interesting.

Before the showing of “Two or Three Things I Know About Her” I had dinner at French Louie, which is about a 15 minute walk from BAM in Atlantic Avenue.

Where is the beginning? But what beginning? God created heaven and earth. But one should be able to put it better. To say the limits of language, of my language…are those of the world, my world…and in speaking I limit the world, I end it. And when the mysterious and logical death abolishes those limits…there will be, no question, no answer, just vagueness. But if things come into focus again…this can be through the rebirth of conscience. Everything follows from this.

Jean Luc Godard

Louis “French Louie” Seymour (1832-1915)

Mule driver. Lumberjack. Fisherman. Trapper. Happy hermit. Born in French Canada, young Louie Seymour ran away to America with the circus. He spent the rest of his long life in the Adirondacks, living off the abundance of the forest. Twice a year, Louie would emerge from the woods to eat and drink and paint the town red. He’d announce his arrival with animal hoots and howls, bringing all the children running. When the party was over, he’d settle his bar tabs with lake trout and beaver pelts. Widely beloved for his independent spirit and good cheer, he was known by all as “French Louie.”

French Louie is owned by Doug Crowell and  Ryan Angulo. Doug is a graduate of the Culinary Institute of America. Ryan has worked at prestigious restaurants including Michael Mina in San Francisco and Al Forno in Providence. They are the owners of Buttermilk Channel which is one of Brooklyn’s most popular and acclaimed restaurants.

French Louie is their new restaurant.   And it is a great one.  After eating at over twenty bistros in New York in the course of working on this blog, this is one of my favorite bistros.

The menu has a few bistro standards but must offerings are in the school of “neo-bistro” but with a twist.  There are American accents to a French neo-bistro menu. For example, snails “marchand de vin” are served with house cured bacon, oysters, stone ground grits and mushrooms. The chicory rubbed quail is served with pickled okra, and the roasted beets are served with pecans and mustard greens.

The steelhead trout (with smoked parsnips, black garlic, mushrooms, apple salad and sorrel jus) and the pan roasted cod (with squash confit, cauliflower, potato croquette and huckleberry) were tempting.

The menu includes three meat offerings (lamb leg, bavette steak and a dry-aged steak). The menu is somewhat limited but I prefer a few number of dishes that are prepared with detail and quality than a broad menu of mediocrity.

Interesting starters include roasted beets (with Asian pears, horseradish creme fraiche, toasted pecans and mustard greens) and the chicory-rubbed quail. 

Deserts are classics but with American inspiration.  Two standouts: the s’mores profiteroles (with smoked mushrooms, pine ice cream and caramelized chocolate sauce) and the apple tarte tatin ( with cheddar crust, oat crumble and maple ice cream).

I had the potato leek soup (with smoked trout, mustard creme fraiche and caraway).

My main was the pan-roasted cod (with kim chi, potato gratin and hollandaise sauce).

Since I do not eat meat (previously conceded this limits the depths of my reviews but I  rely upon friends), I tend to order a fish or chicken dish. Frankly, the taste sensations of white fish are limited and range from bland to subtle. It is rare that a white fish dish (no matter the cut or the fish) is creative, unexpected, and stimulating.

How can a chef prepare a white fish dish that is exciting and creative?

How can a chef prepare a white fish that moves past the cliche of fish and vegetables?

French Louie pulled this remarkable feat off by serving the cod with kimchi. The cod was perfectly cooked: it was seared on the outside and flakey on the inside. The kimchi provided a complex interplay of sweet, sour, salt and chile flavors to the fish. The cabbage provided texture. It was excellent.

With the fish was a very light hollandaise sauce. This almost made me avoid the dish because this sauce is often dense, gummy and heavy. Not at French Louie. The sauce was delicate and supported the fish rather than overwhelming it.

The potato leek soup was extraordinary. It was presented in a layer of herbs, then caraway seeds, then mustard creme fraiche, then trout and then the soup. The trout brought salt, texture and smokiness against the white background of the potato leek foundation. The caraway seeds provided texture and accents. The soup could have been a little warmer but the temperature may have been intentional.

The only false note was the bread. It was dull and insipid. There was no reason to eat it so I did not. The waiter said their source was a local bakery; they should evaluate the quality of the bread.

The restaurant was designed by Joseph Foglia. The space has dark wood floors, Thonet chairs at the bar and in front room, modern brass lights, banquets and mirrors along one wall. There is a folksy  black-and-white line drawing of trees and a cabin on one wall, created by illustrator Owen Brozman.  It reminded me of a Dudley Do-Right cartoon. There is a small bar when you enter; locals paused after work. Thonet bar stools noted.  The space is minimal, warm and inviting.

There is an outdoor backyard space that has long community tables and cheerful hanging light strands. It would be fun in the summer.

The music was jazz sounds from the 1960s. The light fixtures have a vaguely futuristic 1960s feel as well.

Apparently, both dishes I had were new additions to the menu. The maitre’d and several waiters dropped by to see how I liked the dishes. Not in a perfunctory way but they were genuinely interested in my experience.  The took time to chat. The staff has heart and they cared.

Both the food and the staff were extraordinary.

French Louie was excellent and I recommend it highly!


Staff-9 (Professional, casual and caring.)

Archetype-4 (No references to the Archetype but that is not their intention. This is a neo-bistro in concept and design; from that point of view an 8. The patio looks great in the good weather.)

Food-9 (Creative; well executed; exciting. The bread failed)

Energy-9 (Positive; interactive. Good light and sight lines from the back patio. Noise level is low.)



Kim Chi

Two or Three Things I Know About Her

Joseph Foglia Designs

Julia Childs Hollandaise Sauce Recipe

La Defense Bistro Oshima X Godard: BAM Tout Va Bien

La Defense Bistro
2 Metrotech Center
Brooklyn, New York 11201
(718) 855-4200

If direction is a look, montage is a heartbeat…what one seeks to foresee in space, the other seeks in time….Cutting on a look is…to bring out the soul under the spirit, the passion behind the intrigue, to make the heart prevail over the intelligence by destroying the notion of space in favor of that of time.

Jean Luc Godard

Beingless beings. Stop! Throb always without you and the throb always within. Your heart you sing of. I between them. Where? Between two roaring worlds where they swirl, I. Shatter them, one and both. But stun myself too in the blow. Shatter me you who can.

James Joyce, Ulysses

Over the last six months I have pursued a deep dive into the films of
Jean Luc Godard. After watching a series of Hitchcock films I read Hitchcock/Truffaut. This book was produced by Truffaut and was based upon a film made in 1962 where the two directors sat in a conference room and discussed movies.

Truffaut connects to Godard through the French New Wave but I found Godard much more interesting. I began watching Godard movies and then doing extensive research into the meaning of the movie. I read much critical analysis of Godard. I discovered Richard Brody’s masterpiece on Godard: “Everything Is Cinema: The Working Life of Jean-Luc Godard.”

I am interested in the way that Godard has deconstructed cinema. He created a new visual language by deconstructing film in much the same way that Joyce created a new literary form by deconstructing language. Who but Godard could film Ulysses?

I have watched fourteen Godard films so far. They are brilliant, challenging, multi-dimensional, maddening, and strange. They are absolutely worth the time that I spend in understanding them. Few can equal Godard as an image maker. His contributions to sound design are profound.

BAM is running a series exploring Godard and Nagisa Oshima. Oshima is a new wave Japanese filmmaker and is known as the “Japanese Godard.” The concept of the series is to compare these radical filmmakers side by side.

On my way to see Tout Va Bien, I had dinner at La Defense Bistro. It is located in the Jay Street-MetroTech neighborhood in downtown Brooklyn. It is the nation’s largest urban academic-industrial research park. The bistro is located at the street level of 2 MetroTech Center and is on the Myrtle Promenade.

La Defense is a huge business district just west of Paris. Most of it was built in the 1960s and 1970s but expansion has continued. It is the largest business district in Europe. It was named after the iconic statue La Défense de Paris by Louis-Ernest Barrias. It was erected in 1883 to commemorate the soldiers who defended Paris during the Franco-Prussian War.

Perhaps the owners of the bistro chose La Defense as their name because it is located in the MetroTech business center in New York?

The dining room is to the left when you enter. To the right is a bakery that offers breakfast and lunch but it closed in the evening. On the way to the dining room you pass a horseshoe bar area. It was beginning to fill with the after-work happy hour crowd from MetroTech. The dining room has a large community table in the center and one wall is decorated with 1970’s album covers and photographs. Some of the tables have Thonet chairs; others have metal folding chairs or white plastic chairs.

Three walls are glass and open to the Promenade. The space feels airy and light. Even though the weather was cold and gloomy, like Paris in the winter, the inside of the cafe felt warm and cheerful.

Music was 1970’s soul played at a listening level. Otis Redding, James Brown, Marvin Gaye, and Al Green.

The staff was young, casual and French. It felt like they were the children of the owners of the bistro. The service was surprisingly professional for all of its apparent looseness.

Since I was there early for the Godard movie, I took advantage of the happy hour prices. I paid $7.00 for a pleasant Bordeaux. I had another.

The menu is traditional bistro offerings, with such standards as Waldorf salad, goat cheese toast, and roasted pears and prosciutto for appetizers. The mains feature oysters, mussels and French fries, pistachio crusted salmon, hanger steak, and beef bourguignon with sautéed mushrooms. Deserts include apple tart and vanilla ice cream, creme brulee and chocolate cake.

La Defense offers a monthly special where it showcases a traditional French menu and wine paring. February, for example, is: frisee salad (with bacon, croutons, poached egg and mustard dressing), traditional coq au vin, and a crepe suzette served with flambe. All this for $28 and $43 with a wine paring.

The bread came in a brown paper bag (recycled) but, unfortunately, there was no reason to eat the bread. Flavorless and dull.

The French onion soup was good. It was baked in the traditional brown crockery bowl; it was presented on an attractive blue slate stone. The broth was dark as it should be, the onions were firm and flavorful as they should be, and the croutons were firm and not soggy. The cheese was Gruyere and Swiss.

It was not as good as the gold standard Odeon but it was better than most.

What distinguishes an excellent onion soup from a mediocre one? Experts say it is the onions and the broth, and many do not feel that a dark broth is the signature of the best onion soup. Dark broth can turn heavy and bitter. The onions must be perfectly caramelized to create that sweet flavor to counter the broth. Many bistros cook the onions to long and they lose their sweetness. See the articles below for discussion of the nuances of French onion soup.

The cod arrived served on top of a criss-cross of asparagus and green beans. On top of the cod were tangerine slices and herbs. The vegetables were crunchy and retained their structure and flavor. The fish was cooked properly; the tangerine slices provide an aesthetic and culinary counterpoint. Well done.


Staff-7 (Friendly and casual; good timing.)

Archetype-6 (The community table, the Thonet chairs and the menu reflect the Archetype. But lighting, location and vibe were modern cafe. )

Food-7 (Good but not creative; the bread failed)

Energy-8 (Large windows open to Promenade; community table and pleasant feel. Soul music was unusual but enjoyable. Bar is popular but noise level was low.)


Oshima X Godard: BAM

Tout Va Bien Reviews

Tout Va Bien (1973)

MetroTech Center

Best French Onion Soup in New York

Julia Child’s French Onion Soup Recipe

French Onion Soup Recipe

La Defense

OCabanon (Cave a manger)

OCabanon (Cave a manger)
245 W 29th Street (Between 7th and 8th Avenue)
New York, New York 10001

“What is a “cabanon”? It’s a French word to define a little hut in a garden. In the South of France it is more than that; it’s a small place where you can cook, eat, talk, and have a little nap. For us, it is a small kitchen where grandmothers used to cook their specialty dishes and where there was always something to eat and drink. The door was always open and everybody could come to think, laugh, talk, eat, drink, etc.”

It was a gloomy night, rainy, windy and cold. Malevolent taxis and traffic spewed aggression and danger in the forlorn and abandoned landscape West 29th Street. My spirits were dark and low. I was filled with dread and malaise. I was locked in post-election despair when I realized that the national nightmare was real. And it would last four years.

I was headed to the Anti-Inaugural Concert and Ball at the Baryshnikov Arts Center. I thought that being with like-minded people listening to modern classical music would lift my spirits. International Contemporary Ensemble (ICE) was playing; I am a huge fan and hoped they would shine a light on my soul darkness.

OCabanon is located on West 29th Street. The area is an industrial wasteland-charmless, forbidding and desolate. On a dark block underneath scaffolding, you will see a French Flag and then laser light dots on the sidewalk in front of the restaurant. It feels like a small dance club that is lost. I was greeted warmly and seated in the dining area just past the bar in front of the restaurant.

OCabanon is run by three brothers in law: Armel Joly (wine); Alexandre Mur (chef) and Michael Faure (manager). They are from Lyon, France.

The decor is fun and quirky. There are posters of obscure French cartoons on the walls, a popcorn machine, oscillating red and green and blue lights on the ceiling and a Booz Barometer next to the waiter’s station.

The basic idea behind the Booz Barometer is that, for 5 cents, you try to drag a screwdriver over a curved metal tube without touching the tube. If you touch, the screwdriver sparks and a bell rings. You may find that you are embalmed, pickled, plastered, smashed, skunk drunk, or sober as a judge. The promotional flyer reads:

“The sobriety test of champions.”
“A great gimmick for entertaining your patrons.”
“A real money-maker for the reasonable price.”
“Customers cant resist playing again and again!”

OCabanon is a caves a manger. In Paris, this is a wine bar that has a strong selection of biodynamic or natural wines and small plate food of very high quality. These are one of the hottest dining trends in Paris. They are the result of a local licensing requirement that lets restaurants sell wine if customers get something to eat as well.

The table tops are zinc, the color scheme is grey, and candles are on the tables. The kitchen is open and is at the back of the restaurant. The upper level of the restaurant is cozy with wood tables and chocolate brown leather sitting chairs. The music is house (strangely but there are laser light dots on the sidewalk, after all) but just above the audible threshold. The service was efficient but not personal.

After I arrived happy hour at the bar began to bubble as a crowd of twenty-somethings from the neighborhood energetically talked and drank and pursued their after work rituals. The noise level never reached the point of being annoying.

Confessing my skepticism about the food quality based upon the unusual decor and the fowl nature of my post-electorial mood, I did not expect much. Mostly, I wanted to eat and run. I was wrong; very wrong.

I started with the broccoli soup. It was excellent. The essence of broccoli-ness. In the middle of the soup was a circle of olive  oil and inside the circle was a thin slice of a baguette and herbal sprigs were placed across the bread. Broccoli soup can be dense, heavy and oppressive, but this was just the opposite. One of the better expressions of this soup that I have seen in a long time.

Unfortunately, the bread was a failure. Insipid. No reason to eat it. Why bistros provide bad bread I will never understand.

My main was the demi poulet roti ( organic half chicken, marinated and roasted with vegetables, mashed potatoes, and lemon sauce).

Creating an interesting dish from roast chicken is difficult. It is like making a great photograph of the Brooklyn Bridge or the Empire State Building. The images always end up as cliches. This standard dish was very well done. The vegetables were carrots and cauliflower. They were roasted, firm, crispy and flavorful. The orange notes of the carrot added greatly to the aesthetics of the dish both from a visual and a culinary point of view. The chicken was perfectly roasted. Firm and moist. The sauce added an acidic element which cleansed the chicken and mashed potatoes from the palate. Impressive.

The menu covers all of the bistro basics. I want to return to explore the menu more fully.

The wine list emphasizes natural wines. Armel Joly has been quoted as saying:“The wines are made by wine-makers who use their hands- people who remember how to make wine.” I had an excellent glass of grenache and then another! Perhaps drinking a lot of fine wine from France is a rational response to Trumpism.


Service: 6 (Generally efficient but not warm and personal. Modest understanding of the food and wine)

Archetype: 7 ( The menu follows the Archetype; the decor is neo-bistro in feeling. Slightly silly, witty and fun.)

Food: 8 (Very well executed bistro classics. Wines by the glass were outstanding.)

Energy: 4-8 (You decide. If you like quirky, upbeat and new, go with the 8. If you like more traditional bistro Archetypal energy, go with the 4)


Le Corbusier’s Cabanon

Baryshnikov Arts Center

International Contemporary Ensemble
Booz Barometer
Cave a Manger
Grenache Wine

L’Aile Ou La Cuisse (AOC)

L’Aile Ou La Cuisse (AOC)
314 Bleecker St. (corner of Grove)
New York, New York 10014
(212) 675-9463

This bistro located in the West Village was named after a 1976 French comedy called “L’Aile Ou La Cuisse” or “The Wing or the Thigh.” Some translations are “The Breast or the Leg” which is more appetizing. The plot concerns an editor of a famous restaurant guide (much like the Michelin Guide) who trains his son to run the family business. It turns out the son is more interested in the circus than haute cuisine. On the scene arrives a company that sells mass-produced foot. The father and son strive to ruin the food company any way they can. From the trailers, the movie looks like a silly slapstick.  The movie may be seen as an allegory about the conflict between traditional French cuisine and American fast food. Apparently, it received mixed reviews.

The bistro is charming with white table cloths, bright open windows looking out on Bleecker and Grove, and a comfortable bar. The lighting is soft and warm. A rather mysterious red bicycle is suspended in one of the main windows in front of the bistro. The music was rhythm and blues played softly.

It was a cold winter day and we ordered some bistro classics. The bread arrived in a zinc bucket. The bread was flavorful and better than what many bistros serve. Our server said it was made in house. The butter  was hard as a rock; fortunately, it was not necessary to enjoy the bread.

The French onion soup was excellent. It compares with Odeon’s onion soup which we view to be the gold standard. The broth was almost black, and very rich. The ratio between onion and bread was good. It was topped with a mixture of several high quality cheeses. Other starters included standards such as snails, fois gras, oysters and steak tartare.

We had the wild mushroom risotto (with baby vegetables, balsamic glaze and Parmesan cheese) and the demi poulet (with aux jus and French fries).

Both were excellent. The risotto was perfectly cooked with firmness and flavor. It was not gummy or pasty which we see more often than not. The mushrooms were earthy and suggested black soil in an ancient forrest. The chicken was cooked properly; flavorful, firm but not dry. The skin was salted. Unfortunately, the French fries were excellent-crispy, salty and dry- so we ate them all!

The menu is very broad and features a large variety of classics such as duck leg confit, hanger steak, coq au vin, cotes de boef, a seafood croustillant and PEI mussels. Cheese and charcuterie platters are also offered.

The service and food was good, conformity to the Bistro Archetype was high and the energy positive. There was no suggestion of American fast food culture here! We liked AOC and recommend it highly.


Service: 7  (Friendly, professional but casual.)

Archetype: 7 (The bicycle in the window remains a mystery)

Food: 8 (Bistro standards; well-prepared. No American fast food here. )

Energy: 7 (Beautiful West Village location; great light through front windows, soft light and inviting bar)


L’Aile Ou La Cuisse


The Story of Michael Thonet

Never was a better and more elegant design and a more precisely crafted and practical item created than the Thonet No. 14 chair.

Le Corbusier

The Story of Michael Thonet

Michael Thonet was born on the July 2,1796 in Boppard, Germany. He was the son of a carpenter. He took over his father’s workshop in 1819 and created a successful business. He was a innovative and entrepreneurial artist and businessman.

In 1841, he showed his furniture at a trade exhibition in Koblenz. Prince Metternich saw the show and was so impressed that he invited Thonet to his Johannisburg Palace. When Thonet visited the Palace, the Prince advised him to start a new life in Vienna. The Prince was reported to have said that: “In Boppard you’ll remain a poor man.”

Thonet invented a process for making furniture out of bent wooden-veneer slats boiled in glue. He attempted to patent the process in 1840 but was successful. He also tried to apply for foreign patents but these too came to nothing. Therefore in the spring of 1842, he accepted the Prince’s offer to come to the Vienna court. During his absence, his eldest son Franz looked after the businesses in Boppard.

After his visit to the court, Thonet presented his glue-layer process to the Austrian trade association for patenting. In 1842 he received a patent “to bend any type of wood, even the most brittle, into the desired forms and curves by chemical and mechanical means.”

In 1849, Thonet opened his own workshop in Gumpendorf near Vienna. He made parquet flooring as well as furniture. At about the same time Thonet developed the prototype for Chair No.4 which he provided to Café Daum in Vienna in 1851. With Chair No.4 he began to expand his customer base.

In the same year he opened his first shop in Vienna. He later relocated his workshop to Mollardmühle. He needed to expand his workshop due to the large number of orders he had received. He employed 42 workers in total including nine carpenters, a wood turner, eight veneer cutters, two gluers, eight raspers, two wood stainers, ten polishers and two workers who screwed the furniture components together.

Thonet began to use a horse-powered steam machine to power saws and turning lathes. His workshop was a mixture of a hand crafted business and a factory. On November 1, 1853 the company Gebrüder Thonet was founded. Michael Thonet transferred the business to his five sons but reserved for himself the role of overall management.

In the following years the new company showed its products in Munich and at an exhibition in Paris. Thonet began to receive the first orders from abroad. However, when the chairs were exposed to humidity in tropical climates, the glue lost its adhesive strength and the chairs came apart at the seams. Thonet needed to invent a process to bend solid wood.

Thonet began to experiment and, in 1856, his attempt to bend solid wood was successful. His invention was to place long pieces of beech in a steam oven where they were exposed tosteam for several hours to make them pliable. A tin strip was placed on the external side of the bentwood to keep the wood from splitting. The wood was then stretched and bent in iron moulds. Thonet obtained a patent for this ingenious yet simple procedure in the same year. It led to an industrial breakthrough.

Thonet used a highly organized manufacturing process. Wood was cut in the saw mills and it was sent to bending stations and then to assembly and packaging. Men carried out the heavy work, lighter tasks were carried out by young assistants and women.

Here is a description of the process:

The starting point for each chair component is a squared timber, free of knots and cut in the direction of growth. On the turning lathe it is either turned to produce a uniform thickness or using light compressions to produce round timber. Then it is placed in the steam oven and it is exposed to the hot steam for one to two hours depending on the thickness. A strip of tin is placed on the future external surface of the piece, to prevent splitting. Finally the wood is bent in a cast-iron mould.

On May 1, 1851 the first World Exhibition was opened at the Crystal Palace in Hyde Park, London. The exhibition showed products of contemporary industrial production and went down in history as the first and most important forum for innovation in design and technology. More than six million people visited the Exhibition.

Thonet’s products attracted the attention of the public and were widely praised by the critics. Thonet was awarded a bronze medal by the Exhibition committee which was the highest award for manufactured products. Thonet subsequently showed his chairs at the 1867 Paris World’s Fair and was awarded a gold medal.

After receiving his patent to make furniture out of bentwood, Thonet opened a new factory to expand his prodution. In the Moravian town of Koryčany, he found abundant beech forests, a pool of workers and a train station was only a few kilometres away. The factory was finished in 1857 and production was moved there from Vienna.

Three years later the new factory could not satisfy the growing demand. Even the supply of wood, which Thonet thought was inexhaustible, dwindled, so the company had to enter into wood supply contracts. To avoid transport costs, Thonet set up another factory in Bystřice, which was 50 kilometres away. The annual production of both factories increased enormously in the following years and Thonet opened several new factories to satisfy demand.

At the same time Thonet opened international sales offices. At the time of Michael Thonet’s death, there were offices in Amsterdam, Berlin, Brno, Brussels, Buda, Geneva, Hamburg, Hoek, Linz, London, Paris, Pest and Rotterdam. In 1873 the company opened stores in New York and Chicago.

In 1860 the first sales poster for the Thonet company was printed. It showed a total of 26 pictures of bentwood models: 14 different chairs, five armchairs and just as many benches and ables.

Michael Thonet died on March 3, 1871. His sons and grandsons continued to lead the business successfully. In the following years, three new factories were opened as well as many new stores.

In 1928 Thonet began producing models made of bent tubular steel.These were designed by Bauhaus architects Mart Stam, Le Corbusier, Mies van der Rohe and Marcel Breuer. The cantilever tubular steel chairs became a classic for a new era. They embodied functionality, transparency and lightness. They put into practice the principles of the avant-garde.

The Thonet Chair No. 14

In 1859, Michael Thonet created chair No. 14. Chair No. 14 is known as the “bistro chair” and the “chair of chairs.” Starting in 1830, Michael Thonet began to experiment with shaping laminated wood. He boiled wood strips in glue and bent them into prepared iron molds. Thonet made the chairs using a patented process of bending wood by using steam. He called the process “bentwood.” In response to a demand for cafe-style chairs, Thonet designed the chair with seats made of woven cane or palm. The idea was that they could easily drain spilt liquids.

Chair No. 14 became one of the best-selling mass-produced chairs ever made. It sold 50 million chairs between 1859 and 1930, and millions more have been sold since 1930. Chair No. 14 was affordable and simple. It assembles and dissembles easily and uses only six pieces of wood, two nuts, and ten screws. Because the chair was assembled with screws, it was possible to ship the chairs in their individual parts for final assembly at their destination. The parts for 36 No. 14 chairs could be packed into a crate with a volume of only one cubic meter. Since the screw connections could be retightened when necessary, the chair has a very long the lifespan.

Brahms sat on a No. 14 chair to play his piano and Lenin did while writing his political essays. Picasso and Einstein where also known to have used these chairs. Millions of us have sat comfortably on No. 14 chairs in cafés. It’s safe to say that this chair has cradled more bums than any other chair.

What Makes the Thonet No. 14 Chair So Special?

There are many things that makes the Thonet No. 14 chair special.

First, it fulfills its function as a bistro chair perfectly.  It is elegant but utilitarian. It is not fussy or pretentious. The look and feel of the chair evokes the archetypal French bistro.

Second, it is beautiful and elegant. The chair becomes softer and more comfortable as it ages. Furniture designer Konstantin Grcic said: “And it has exactly the right weight. When you pick it up, it feels perfect. That’s an important aspect of chair design that’s often overlooked.”

Third, the chair was innovative when it was created. Thonet created a new process of bending wood into strong smooth curves and patented the process. The chair has only six parts, is simple to build, and enables unskilled workers to make them in high volumes. It was designed for mass production. It took advantage of the shift from craft production to mass production and distribution. It leveraged the invention of railroads, and the rise of the leisure class who were able to spend time in cafes and restaurants.

Fourth, the chair is timeless. It seems to reflect every era in an authentic way. The broad range of bistros, cafes and restaurants that use the chair supports this fact. “It has the freshness of a new product, because it has never been bettered,” observed the British designer Jasper Morrison.

Fifth, manufacture of the chair was based on sustainable practices. It was ahead of its time. To quote from Alice Rawsthorn:

The early models were made in a factory in the village of Koritschan in what is now the Czech Republic from beech wood grown in nearby forests. Even when demand rose and extra supplies of wood had to be shipped in from further afield, Thonet limited its carbon footprint by making its own tools and machinery.

Thonet developed a successful, international company by inventing new furniture designs, a mass manufacturing process and developing an international distribution network.


Museum Boppard (A comprehensive resource on Thonet)

Vitra Design Museum


Alice Rawsthorn, No. 14: The chair that has seated millions (Harold Tribune, November 7, 2008) (



I embrace my rival, but only to strangle him.

The face of tyranny is always mild at first.

My only hope lies in my despair.

Jean Racine

(Racine’s-Night of an America Tragedy)

Racines NY (Restaurant and Natural Wine Bar)

94 Chambers Street

New York, NY 10007

(212) 227-3400

Jean Racine

Jean Racine was one of the great playwrights of 17th century France. His contempories were Moliere and Corneille. Racine was knows for his tragedies. A tragic play explores human suffering. It usually uses the downfall of a main character from prosperity to disaster as its dramatic vehicle. Robert Lowell, the American poet, described his writing as “diamond edged” and with the “glory of its hard, electric rage.”

Racines NY

Racines is the sister restaurant of two wine bars in Paris. They are located on Rue de l’Arbre-Sec and Passage des Panoramas if you happen to be visiting the City of Light. The restaurant’s name does not refer to Jean Racine but to winemaker Claude Courtois’s signature “Racines” blend.

Most reviews of Racines mention that David Lille, the owner of Chambers Street Wines, is also a partner in the restaurant. This is not mentioned on the website so I do not know if this remains true.

Chef  Frederic Duca

Chef Duca is from Marseille and was voted Best Chef of the Year in 2013 by Gilles Pudlowski, and was also awarded a Michelin Star at L’Instant d’Or in Paris. He has worked at such high end restaurants as Le Martinez in Cannes and Hélène Darroze in Paris. His influences are Mediterranean. He is known for his inventiveness and the integrity of his food.

Owner and Sommelier Arnaud Tronche

Arnaud Tronche is from a small town near Avignon, France. He is an engineer by trade but began a second career as a sommelier when he moved to Chicago. He strength is the wines of the Rhone and Corsica. The website says that he focuses on small estates that practice organic and biodynamic farming and natural vinifications.

The Staff

Our reservation on Open Table vanished but the hostess handled the matter professionally and seated us at a nice table. The staff was friendly, knowledgable about the menu, and displayedgood timing throughout the meal. Chef Duca visted our table and we greatly enjoyed meeting him. This is one of the special touches that shows a restaurant cares about the experience of its diners. This is important to me. If the restaurant does not care about me, why should I care about it? There is always another restaurant to try in New York City.

The Food

I have a confession and an apology to make to Racines. We had dinner with some close friends just a few days after the election. We were devastated by the result and quickly became involved in a passionate discussion about the causes of the disaster and the prospects for the future of the progressive movement.  We did not pay as much attention to the food as we otherwise would!

Jean Racine was known for this tragic plays. Given the tragedy of the election, it seemed appropriate that we were eating at Racines! We were in  a state of despari and none of us saw much hope for America in the future. Racine captured our mood 400 years ago. He said: “My only hope lies in my despair.”

The menu is limited but this allows the chef to concentrate his attention on just few dishes and bring them to perfection. The appetizers are in the $15-$24 dollar range. There are some basic offerings such as an arugula salad (with honey, lime basil and pecorino) and escargots (with garlic, pancetta and lentils). Thc Chef displays his creativity in other dishes such as prawn tartare (with corn, spaghetti squash and peanuts) and the cauliflower mushroom tart (with confit of onions and lardons.

The mains featured on the Website include a cod, red snapper, short ribs, sweetbreads and a Scottish wood pigeon tourte.  However, the menu changes frequently and the daily menu is quite different.

Our starters of the day featured an arugula salad (with honey, pecorino, and lemon vinaigrette), a maitake mushroom tarte and a tuna cruda (with creme fraiche, citrus, mint and beets). The mains were a uni (squid ink spaghetti and spiced carrot foam), a black sea bass ( with spinach, “Racine’s vegetables, and sauce bourride) and scallops (with hazlenut crust and roasted sunchoke).

We ordered the arugula salad, the tuna cruda, the uni and the black sea bass. Our dinner started with a small cup of mushroom soup as an amuse bouche. It was earthy and rich; it was if the essence of mushroom had been condensed into the bowls.

The arugula salad was large, fresh, and was perfectly accented with the honey and lemon flavors. The pecorino (a hard, Italian white cheese made from sheep milk) added notes of butter and nuts. The salad was clear and bright.

The tuna cruda was light and delicate. It was artfully presented on the plate; the colors and textures were like an exquisite still life. It was almost Japanese in its sensibility.

The black sea bass was well-prepared. It came with a sauce bourride. This is a Provencal version of a bouillabaisse fish stew. It known as a workingman’s dish. According to Daniel Bouloud:

In the old days, a husband would come home in late morning with his catch, which his wife would transform into a delicious lunch with the addition of a few potatoes, carrots, mushrooms, and leeks.

Daniel mentioned that the dish is usually made with monkfish in France but he prefers sea bass in America because it is easier to find. All of the flavors of the sea bass were clear and distinct, and the vegetables were a textural counterpoint to the fish. This dish was carefully prepared, original and delightful.

The uni was delicate and refined. The spiced carrot  foam was an inspired element. On the plate the foam looked like bubbles from a wave, and the flavors  were just as evanescent.

Like all of the food we had at Racine’s, it was elegant and creative with unexpected elements.  Frankly, considering the rather pedestrian decor of the restaurant this very high level of food was a surprise 

The deserts are simple. There is a panna cotta, apple tatin and a chocolate and caramel tart. We passed on desert which was probably a bad decision. We were exhausted by the election and our debates.

The Wines

Racine was picked by Imbibe Magazine as its top wine bar for 2015.

Racines offers natural wines. Natural wines do not use pesticides or herbicides. The winemakers cultivate and harvest their grapes by hand. They use natural yeasts and use little to no sulfur in the bottling process. There are no additives and little to no filtration. The idea behind natural wines is to minimize the intervention by chemicals and technology in the wine making process.

The wine list has been selected with great care by Mr. Tronche and is quite extensive. He highlights wines from the Loire Valley, Languedoc-Roussillon and Corsica. In addition to most of the regions of France, Ricines offers wines from Italy, Spain, Switzerland, USA, Germany, Austria, South Africa, Greece, Chile and Canada. There is also a fine selection of Champagne and other bubbles.

The Atmosphere

Racines is located in Tribeca. It is on Chambers between Broadway and Church. The block is run down and unattractive. There are cheap Indian and Cuban take-out joints, a Lot-Less variety store, a Dunkin-Donuts, and a barber shop. On the other hand Tribeca is a prestigious neighborhood with many high end restaurants. Bouley, for example, is just a few blocks away.

The space is standard Tribecan eclectic designless design. There are brick walls, wood floors and exposed duct work. The tables are simple brown wood. To Racine’s credit, the chairs are Thonet No.2. These chairs are timeless and perfect and they remind me of Paris (even though they were designed by an Austrian!). The lighting is Tesla-inspired open bulbs with large glowing filaments. Industrial, high tech chic. The light is soft and makes everyone look good.

The work on the walls has no discernable or coherent sensibility; it looked like it was appropriated from sidewalks and flea markets. However, these nothing like Rauschenbergian combines. There are photos along one wall that vaguely suggest street scenes, along another wall is a silk-screen image of Bacchus-the Roman God of wine and revelry. There are some posters near the door that suggest New Yorker magazine covers.

The bar runs the length of the space on the right, almost to the kitchen. It is wood and simple and comfortable. It is utilitarian without adornment. The kitchen is at the back of the restaurant. It opens to the restaurant.

Racines is attractive with good energy even with the rather odd images on the walls. Even though it was quite busy when we were there, we did not experience any problems with noise.

Racines: The Second Visit

Racines has a happy hour special during which they offer wines from 5:00 until 7:00 for $7.00 per glass. This is a stunning offer, and we decided to take advantage of it. They were offering two white wines, two reds and a sparkling. He are some of the wines:

2014 Domaine Barou Syrah: Beautiful organic Syrah from the hills above Saint-Joseph.

2015 La Ferme Saint-Martin “Les Romanins:” Lush, complex natural Rhone wine.

2014 Eric Laguerre “Le Ciste” Blanc: From mountain vines in the Roussillon on granite, superb! (Maccabeo, Grenache Blanc, Marsanne, Roussanne, Rolle).

2014 Domaine des Amphores Saint-Joseph Blanc: Back to Saint-Joseph for this outstanding blend of Marsanne and Roussanne.

We had one of each and they were delightful. The bartender was conversational, the crowd was local and the atmosphere was comfortable.

Racines has become one of our favorite restaurants in New York. We will be back for many more happy hours and dinner.


Service: 8  (Friendly, professional and knowledgeable.)

Archetype: 5 ( Racines is not a bistro so I did not evaluate it against the bistro archetype. However, it does have Thonet #2 chairs so they get points for that. Although the Parisian  bistro-a-vin  has no archetypal design like the bistro, Racines space is average. )

Food: 8 (Creative, elegant and well-prepared. Outstanding and unique organic wines.)

Energy: 8 (Racines is one of those restaurants where you feel that the owner, the chef and the staff all believe in the vision of the restaurant. They are happy to be working there and they enjoy sharing it with their customers.)



New York Times

The New Yorker

Wall Street Journal

Restaurant Girl

Racines Paris and Raines Pairs (2)

Huffington Post

Blog Post by Giles Pudlowski about Chef Duca (in French)

Jean Racine

Thonet Chairs

Bourride Fish Stew (By Daniel Boulud)

In Paris, Finding the True Bistro a’Vin

On Natural Wines-Alice Feiring

Brasserie Cognac de Monsieur Ballon

Brasserie Cognac de Monsieur Ballon

1740 Broadway (at 55th Street)

New York, New York 10019


(Steve Reich, the Hindenburg Disaster and Brasserie Cognac)

It’s burst into flames! Get this, Charlie; get this, Charlie! It’s fire… and it’s crashing! It’s crashing terrible! Oh, my! Get out of the way, please! It’s burning and bursting into flames and the… and it’s falling on the mooring mast. And all the folks agree that this is terrible; this is the worst of the worst catastrophes in the world.

Herbert Morrison, WLS Radio broadcast, describing the Hindenburg disaster

The Three Tales

It is a beautiful Tuesday night during Indian summer in November and I am going to Carnegie Hall to celebrate Steven Reich’s 80th birthday.  The International Classical Ensemble (one of my favorite groups in New York) is performing Reich’s Three Tales.

In the Three Tales Reich explores technology in the 20th century. The music was supported by Beryl Korot’s video production. The Three Tales are the Hindenburg, the atomic bomb test at Bikini Atoll and Dolly the cloned sheep.

Reich selected the Hindenburg because it was the first failed technology to be captured on film. The Bikini test was the first technology that was powerful enough to destroy all life on earth.  Bio-tech, genetic cloning and robotics point to what our life may look like in the future.

Brasserie Cognac is just around the corner from Carnegie Hall so I decide to give it a try before the concert. Little did I know that it would be a prophetic choice to accompany a concert about disasters.


The restaurant is large and busy, and I was hit with a blast of noise when I entered. I did not have a reservation but I was promptly greeted by the hostess and given a table in the front room.

Brasserie Cognac is an attractive restaurant. Apparently, the owners had some of it made in Paris and shipped to New York. It has three seating areas. Behind the hostess station, is a wooden clock structure that holds shelves of sliced bread. There is a back room which is more formal and than the front room. It has a colorful mural of a dining scene from Brasserie Cognac. There are classic photographs on the walls and glass shelves holding bottles of liquors. It has gold script on antique and distressed mirrors. The lighting is soft and golden and there is an antique mirror on one wall.

The front room, unfortunately, is  hard and glassy and there is lots of reflected noise. There is a zinc bar off the front room. The bar area is small and crowded.

From the front room, there is a nice view down Broadway but it is unfortunately blocked by a TV that no one was watching.

Along the window to my right, I could hear a pretentious bore who never stopped talking about his politics and social media. His date in a black dress sat motionless as if frozen in the river of words. I wished they would bring his food quickly so that he would eat and not talk. I think she wished for the same thing. There was a table of Asian tourists on my left. On my right was a friendly group from North Carolina that was going to the theater.


The service was very busy and impersonal. It was disorganized. To their credit, the waiter did notice that my water glass was dirty and replaced it. However, another waiter who I had never seen came up and dropped a hamburger and fries on my table without asking if it was mine. I sent it away but the smell of grease and burned meat lingered over my table.

The bread was bad. It was sliced wheat bread and white rolls cut in half.  It was stale, without flavor or texture. It was insipid. It had nothing to do with French bread. There was no reason to eat it. Why would a French restaurant serve inedible bread?

I am sure that this bread was parbaked.  Professor Kaplan, an international authority on bread defines parbaking as:  “It’s the baking of dough that’s been rapidly frozen. And that is not artisanal baking, which excludes freezing, which [in turn] impedes the flow of fermentation from reaching its apogee.” The result is tasteless bread.

I ordered a glass of Merlot. I was informed they were out of Merlot. I ordered a glass of Cab. They had a Cab but it was a long time in coming.

After they served my dinner, the staff did not check in to see how I was doing.


I had the Cognac Rotisserie Chicken (with mashed potatoes, haricot verts, and tarragon jus).  The chicken was boring and flavorless. The mashed potatoes tasted like they were made from a mix and the beans were over cooked to a tasteless green mass. It was like a dinner you would get in a hospital cafeteria.

I considered trying a dessert to round out my review but I could not get a waiter’s attention and needed to get to Carnegie Hall.

According to Brasserie Cognac, it is trying to do three things; provide high quality ingredients, please guests with professional service, and offer reasonable prices. Brasserie Cognac has succeed in one of its goals: it is the cheapest bistro that I have reviewed.

Overall, it was one of this dinners where you just want to get it over with as soon as possible. You just want to survive until the last act so you can leave the theater. I cannot recommend this bistro but if you are desperate it will do in a pinch.


Service: 5.  The service was inefficient and impersonal. The staff had no timing and showed little concern about the quality of my experience.

Atmosphere:  5. The front room is hard and noisy. It is touristy and busy. Book a table in the back room if you can. It has a better atmosphere and is quieter.

Food: 4. Boring and average. No excuse for the bread.

Archetype: 7. More brasserie than bistro. Attractive baguette tower at hostess station, attractive zinc bar and beautiful back room. Book a table in the back room and enjoy the mural and antique mirrors.


Brasserie Cognac

Professor Steve Kaplan

Steve Reich

The Hindenburg Disaster

Carnegie Hall


Rebelle (Fashion Update on the Bowery)

You had something to hide

Should have hidden it, shouldn’t you

Now you’re not satisfied

With what you’re being put through

It’s just time to pay the price

For not listening to advice

And deciding in your youth

On the policy of truth

Depeche Mode, Policy of Truth

What infinite use Dante would have made of the Bowery!

Theodore Roosevelt


218 Bowery (between Prince and Spring)

New York, New York 10012

Atmosphere and Design

From the bar at Rebelle I look out onto the Bowery. I see The New Museum and its boat suspended high in front of the building across the street. The new museum of the International Center of Photography  is up the block at 250 Bowery. I thought of the many shows I saw at CBGB and OMFUG  which was across the street at 315 Bowery. Time flows reflecting the universal principle of impermanence.

The bar is bright and attractive and glassy; a scene was developing around 7:30. I sighted hipsters, post-modern hipsters and affluent twenty-somethings.  Thankfully, there were no lumbersexuals.

The design of Rebelle is clean, sleek and minimal. The textures are  brushed grey metal, marble and dark wood. There are abstract black and white paintings on the walls that reminded me of early Gerhard Richter. The globe lights that run down the center of the restaurant and on the side walls suggest traditional bistro design. It is not theatrical; it is quiet and subdued.  It is an unusual combination of opulence, minimalism and comfort without being pretentious and cold.

Rebelle is a larger restaurant that it appears from the street.  There is a second dining room and a chef’s table area in the back of the restaurant. Even when the space filled up as the evening progressed, it never felt crowded or frantic, and we had no problems with noise.

The Music

During dinner we heard “You Spin Me Round and Round” by Dead or Alive, “China Girl” by David Bowie, “Policy of Truth” by Depeche Mode, and  “Psycho Killer” by Talking Heads.

It makes me wonder if the playing of 1970s and 1980s music that was popular during the Bowery’s CBGB era in a restaurant with $4000 bottles of wine an expression of irony?  Was the play list random? Was it intentional? It seemed incongruous at best but hipsterish at its worse.

Staff and Menu

The staff was efficient and knowledgeable and the pacing of the dinner was spot on. The staff was robotic and scripted at first but we managed to bring out some human responses after some questioning and conversation.

The staff was aggressively pushing appetizers on us. First, our waiter explained the menu. I find this annoying. I can read quite well and did not find the menu so ambiguous or opaque that it needed explaining. I would rather ask a question if I have one, rather than having to sit though a not-very-well-disguised sales pitch. I do not like upselling in restaurants. It is not truthful.

We were advised that most people buy separate appetizers to support the main dishes because the mains are not very large.  When the waiter came back to take our order, we were encouraged twice more to buy appetizers. It was starting to feel like a high-pressure sales pitch. It felt like being trapped by a life insurance salesman.

The mains are in the $22 to $32 range and the appetizers are in the $15 to $18 range. The appetizers seemed too substantial to be appetizers but too slight to be mains. Examples of this are the seared scallop (with summer squash and basil) and cured fluke (with brown butter, caper and lemon).

However, if  you buy an appetizer to support a main dish you are quickly in the $45 range. This is a very high price point for a restaurant like Rebelle. I would rather a restaurant increase the price of the main to make the profit it needs to make, rather than play the small plate game.

Food and Wine

We steeled  ourselves out of principle and did not succumb to the pressure to buy appetizers. We did opt for two dishes “For The Table.” This category is distinct from appetizers but some of the dishes cost more than the appetizers.  We ordered the smoked olives (with guindilla peppers) and anchovies (with olive, oil and orange zest). For our main we had the roast chicken for two (with confit potato and lemon preserve).

The smoked olives were some of the best olives I have ever had in my life. This is a strong statement because I  love olives and eat them all over the world! Chef Eddy managed to create something new and exciting from something as basic as a dish of olives. They were smoked with wood and had subtle flavors. 

The anchovies were also excellent. We noted a dominant sweet flavor rather than salt. This also was innovative and surprising.

The chicken was good but not memorable. The flavor was delicate and the skin had the right crispy texture but the potatoes were overdone and were overwhelmed by the lemon preserves. The chicken was a letdown from the excellence of the appetizers. Perhaps we should have taken the advice from the waiter and built a dinner out of the appetizers and avoided the mains?  We think this was just an unfortunate inconsistency from the kitchen.

For dessert we had the chocolate torte (with caramelia ganache and yogurt sorbet). The chocolate was deep and rich and the sorbet was a perfect counterpoint.

The evening we ate at Rebelle it was about 90 degrees and 90 percent humidity. We opted for beer rather than wine. We apologize for the disservice we did to Rebelle because it is well known for its creative and formidable wine list.

The wine list is a 95 page PDF on the Website. Prices range from $50 for humble wines to over $2000 for lofty French Pinots. There are wines priced over $4000. There is a large variety of  French wines and a limited selection of American wines. There is strength in the sparkling wine category.

The Owners, the Chef and the Wine Director

The management team at Rebelle is young, deep and experienced.

Brandon McGill is the manager and an owner of Rebelle. He has worked at The Modern with Danny Meyer, and with Jean-Georges, Benoit, The Mark Hotel,  The Hotel Williamsburg, and The Red Rooster. He has also worked at several prestigious restaurants in Chicago including Alinea and Blackbird. In 2012, he opened Pearl and Ash which is next door to Rebelle at 220 Bowery. 

Daniel Eddy is the chef at Rebelle.  Daniel began his career in 2004  at  Onera which was Michael Psilakis’ first restaurant. Over the next four years, he helped open Dona, Anthos, and Mia Dona. Daniel then moved to Paris and worked with Daniel Rose at Spring. Spring is one of the leading neo-bistros in Paris.

Patrick Cappiello is the Wine Director of both Pearl & Ash and Rebelle restaurants.  He was the Chief Sommelier for Daniel Johnnes “La Paulée” and Wine Columnist for Playboy Magazine. 

Patrick created the Renegade Wine Dinner. This is a monthly dinner and wine series at Pearl and Ash restaurant. The dinners are five courses with wine pairings for $135.  There have been some intriguing dinners with names like Abruzzo, Sierra Foothills, Kermit Lynch and Germany vs. France.

Rebelle also offers a “Winemaker Series.” These are four course dinners and wine pairings that feature wines by a select vineyard. There are presentations by  the winemakers.

Rebelle, Bistros and Bistronomy

Rebelle is not a bistro. It does not reflect bistro design elements, the culture or the history. Its menu does not feature any of the bistro standards. It is subtly influenced by bistro food and culture but is not a bistro.

Bistronomy is a new trend in Paris. It seems many younger chefs are no longer interested in working themselves up the Michelin ladder and becoming a head chef in a formal “crystal, ceremony and chandeliers” restaurant. François Simon was a leading food critic for Le Figaro. He has said that bistronomy have become “the principle axis of gastronomy” in France:

It’s between brasserie and restaurant with very technical chefs who know very well how to do classic dishes with a dash of originality and above all at much more affordable prices. Chefs now ask themselves: Do I shoot for the stars which is totally absurd and leads to a nervous breakdown? Do I want keep my wife and friends, or end up with a false blonde in 20 years?

New chefs would rather pursue a personal, creative vision and offer seasonal and local ingredients in an informal setting. Spring, where Chef Eddy worked, is a highly regarded example of bistronomy. In some of his interviews that I have read, he embraces the bistronomy aesthetic. We can see it in the small dishes and the creative use of fresh and limited ingredients with a clarity and intensity of flavor.

The Bowery Historic District

Revelle and Pearl and Ash are part of a new wave of restaurants, bars, shops, galleries, hotels, condos and museums that are transforming the Bowery. This is not a screed against gentrification. As a Buddhist, I practice the principle of impermanence. I accept the universal principle of change, and there is very rapid change in the Bowery.

I am writing about the Bowery because I am interested in situating bistros in their neighborhoods in New York City.

The Bowery was originally a footpath used by Native Americans before the Dutch arrived and began farming. When the Dutch settled Manhattan in the late 17th century, they named the trail Bouwerij road. “Bouwerij” is an old Dutch word for “farm.”

By the end of the 18th century, the Bowery became New York’s most elegant street. It had  grand theaters, banks, mansions and fashionable shops.  During the Civil War, they gave way to pawn shops, beer halls, flop houses and brothels. Tenements were built and gangs emerged. In 1878 the Third Avenue Elevated Train was constructed which darkened the streets below and contributed to the crime and seedy nature of the area.

From the 1940s until the 1990s, the Bowery was known as “Skid Row.”

“Skid row” comes from a logging term. In the old days, loggers would transport their logs to rivers by sliding them down roads made from greased skids. Loggers would wait for transportation to take them back up the hill to their logging camps. Skid row began to be used for places where people with no money and nothing to do gathered. It  became a generic term for a depressed street in a city. Downtown Los Angeles has a neighborhood officially known as “Skid Row.”

The Bowery Historic District was named to the National Register of Historic Places in 2013. Luc Sante, who wrote about the Bowery in his book “Low Life” said: “It may not seem as though there is much left of the Bowery at this point. But once you start really looking, there is quite a bit left: the Bowery Mission, the former YMCA  across the street, where William Burroughs once lived, the extraordinary Fortress of Solitude at the corner of Spring Street, the ex-Bowery Savings Bank at Grand Street, and many humbler but still solid edifices that once contained flophouses and saloons and employment agencies, many of which are inhabited by artists who restored them back when such things were affordable to common humans.”

As I walk through the Bowery today, I see the area under huge real estate development pressure. Rental signs are everywhere and high-rise condos are being developed. Trendy boutiques, coffee shops and hipster bars have arrived. I accept all of this but my personal hope is that the Bowery retains some of its historical  grittiness, creativity and vice, and does not de-evolve into an outdoor mall like Soho.



I recently had another dinner at Rebelle. It had the same 1980’s music. The staff was more personal and there was less upselling. I had the smoked olives once again and the Pan Roasted Hake (with mussels and sauce bouillabaisse).

The olives were as good as I remembered. The hake was properly cooked but was not as hot as it should be. The sauce had a earthy component which supported the lightness and delicacy of the fish.  It was  a good dish but not transcendental.


Service: 6.  The service was efficient and timing was good. The staff seemed scripted but may become human if you made a conscious effort to break through. We disliked  the upselling, the menu structure and the pricing. My son is a professional twenty-something (who are the target market) and he thought it was too expensive for what you got.

Atmosphere:  7. The music was uncool but we liked the space, the concept and the food. We liked the idea behind the Winemaker Dinner and the obvious commitment by the owners to creativity.

Food: 7.  Rebelle is capable of serving an excellent dinner. We ate a limited meal and, on a Tuesday night, do not think the kitchen was performing at its absolute best. The appetizers were great but we were not overly excited by the single main that we had. 

We will try Rebelle again and sample some other dishes. We like what the Rebelle team is doing and support the restaurant.

Archetype: 8.  Revelle is not a bistro but there are a few subtle references to the bistro Archetype. Since it is a neo-bistro its design supports that aesthetic.




The Bowery

Luc Sante, Low Life: Lures and Snares of Old New York (Farrar, Straus and Giroux, 2003)

Dominique Bistro

When good Americans die, they go to Paris.

Oscar Wilde

(Paris in the West Village)

Dominique Bistro

14 Christopher Street

New York, New York 10014


Dominique Bistro is located at Christopher and Gay Street in the West Village. It is a charming area with lots of boutiques and cafes nearby. The Jefferson Market Garden is just down the block. It was a cold and rainy night when we arrived at Dominique Bistro. Our group was my wife, our daughter and her friend from Berlin.

We were greeting promptly and cheerfully by the hostess when we entered.

The Atmosphere

The Website says that Dominique Bistro is a touch of Paris in the West Village. The restaurant is quite small and was crowded. Because of the very high ceilings, the noise level was not too bothersome but it was too many bodies squeezed into too small of a space. It has large windows that look out onto Christopher Street. It is very attractive from the street.

In the back of the restaurant is a large Warhol-like artwork of a female face; vaguely suggestive of Marilyn Monroe. There is an attractive wooden bar running along the side wall. The wood feels more Danish modern than either West Village of Paris. There are large mirrors hung on the side wall and they reflect the windows and the street scenes and the diners. The textures of the restaurant are dark wood, glass and weathered brick. It is small and charming and could be romantic depending upon the crowd. It does not seem very Parisian to me except for the menu.


There appeared to be only one waitress serving the whole restaurant.

However, she managed to take care of our table competently. She was so busy that we did not have much interaction with her except for the transactional aspects of the dining experience.


The menu has an interesting section called French Market. It has standard dishes such as Steak tartare, mussels, octopus, escargots, foie gras, and baked camembert.

The mains are standards such as branzino papillote, halibut provencal, coq au vin, steak au poivre, and cote de boeuf. They offer boards of charcuterie, cheese and “Le Grand Mixe.”  The desserts are basic offerings such as chocolate souffle and mousse, and creme brulee.

We ordered the branzino (with zucchini, eggplant, heirloom tomatoes), the halibut provencal (with tomatoes, olives, garlic, fennel, capers and tomato broth) and  the coq au vin ( with roasted organic chicken, carrots, onions, mushrooms, lardons and red wine demi).

Lardons are small matchstick-like slices of bacon or salt pork.

The food is presented on attractive vintage French country dinner plates. All of the dishes were competent and enjoyable. However, none of them stood out as being extraordinary or memorable.

I have been to Dominique Bistro for lunch and it was more enjoyable. Their were fewer people, the energy was less frantic and the staff more relaxed. I had a Croque Monsieur  (gruyere cheese) which was served with mixed greens.It was excellent. It was a warm day and the windows were open. I lingered over the meal, read my book, wrote in my journal and pretended I was in Paris.


Service: 6  (Very busy and impersonal but professional)

Archetype: 6 ( Dominique Bistro does not follow the bistro Archetype. It is more like a neo-bistro in design but a traditional bistro in menu.)

Food: 7 (The food was competent but not exciting or creative. I would rate it higher for lunch. )

Energy: 6 (Busy and crowded. It would be better to come early or for lunch. )



Sometimes I think of Paris not as a city but as a home. Enclosed, curtained, sheltered, intimate. The sound of rain outside the window, the spirit and the body turned towards intimacy, to friendships and loves. One more enclosed and intimate day of friendship and love, an alcove. Paris intimate like a room. Everything designed for intimacy. Five to seven was the magic hour of the lovers’ rendezvous. Here it is the cocktail hour.

Anais Nin

Buvette Gastrotheque

42 Grove Street (Bleecker Street)

West Village, New York City



28 Rue Henry Monnier

South Pigalle, Paris


I Love Buvette

I fell in love last week. I feel in love with Buvette. It all started as we walked down Grove Street as the sun began to set and we stood in front of the bicycle with the basket full of wine corks and the setting sun set sunsparkles across the plate glass window and you could not tell them from the tiny white lights strung across the glass like diamonds. It all started when we were seated at the tiny table with the tiny chairs and we handed the menu booklets with the sweet design and helpful stories. It all started when I looked down the stairs and could see baskets of onions and lemons and a wall of wine bottles and the shaft of sunlight a yellow diagonal down the stairs. It all started when I saw the still life of sunflowers and old milk pitchers on top of the bar and I wanted to take out my oils and start painting it right then and there. It all started when I saw the map of France on a chalkboard with the wines of the day located in the regions of France. It all started when I discovered that Buvette has a sister restaurant located in the Pigalle and I had visions of Anais Nin as she wrote about Paris in her first diary in 1931.

The Menu

The menu presents a limited selection of basic dishes on small plates. Buvette does not offer traditional main courses. Rather, it is up to you to select complementary dishes. The categories are tartinettes (small sandwiches), legumes (vegetables), poissons (fishes) and viandes (meats).  Standouts include salted butter and anchovies, artichokes (chevre, tomatoes and thyme), mussels (herbs and bread crumbs), and a classic coq au vin (chicken with red wine and mushrooms). The tartinettes are $10.00, the legumes are $12.00, the poissons are $17.00, and the viandes are $18.00.

There is a selection of charcuterie including chicken liver mousse, cured pork sausage, and rabbit and duck confit. All of these dishes are $10.00.

There is an interesting collection of cheeses from New England and France.

The Food

We had the Poulpes aux Olives (octopus salad with celery and olives), the Pistou de Noix (walnut pesto with parmesan and thyme), and the Brandade de Moure (house salt cod, with olive oil, milk and garlic).   Our waiter mentioned they had just finished making their special melon with sage and prosciutto, so we ordered that too! Our wines were by the glass-Gigondas, St. Emilion and Brandade. We finished with espresso and the mousse.

My cod was served in a small mason jar with three pieces of toasted bread. It was presented as bread and spread. It was rich, salty and delicious. The octopus was crisp and each flavor stood out distinctly and clearly. The walnut pesto was a disappointment because the flavors were too earthy and heavy; it was like a low-key painting in all black and brown.

The mousse was a dark cake with a mountain of fresh whipped cream on top. It was not too sugary or sweet. It was good but did not lead to ecstasy.

The Service

There was a leisurely wait before our waiter arrived. We admired the restaurant. There is a lot to look at but it does not feel overstuffed or kitschy.

The service was Gallic, slightly gruff, casual. Our waiter was very knowledgeable about the food, its ingredients and its preparation. We were given sound advice about the wines.

Buvette has the feeling of a neighborhood snack bar. It does not have the formality and ritual of a bistro.

After we ordered, the food came very fast.

Every beloved has imperfections. Sometimes a small blemish on a beautiful face makes it that much more beautiful.  After we finished our dinner, our plates were not cleared so there was no room on the table for dessert. We had to ask. Even so, this did not annoy us and the service worked with the overall concept of the restaurant.

The Space

Buvette is small. The tables, chairs and plates are small. But there are large windows that look out onto Greenwich Village life, the light is good and there is a still life composition everywhere you look. The ceiling has old stamped tin tiles, the floors are old wood. There was a lively scene at the bar; it would be delightful to sit and eat at the bar; the small plates lend themselves to bar dining. The music was New Orleans Dixieland jazz with some be bop in the mix.

There is a sister restaurant in Paris in the Pigalle which we will try the next time we are there.

Service: 7  (A few flaws but friendly, charming and knowledgeable.)

Archetype: 6 ( Buvette’s menu does not follow the bistro Archetype but it does have many of the elements such as the chalkboard, the bar, and the atmosphere. )

Food: 8 (Creative and well-prepared small plates with a few misses. Wines by the glass (the Gigondas!) were outstanding. )

Energy: 9 (I love Buvette.)