When I arrive in the marble lobby of the high-rise to which I’d been directed, I pass back and forth in front of what appears to be a jewelry store before finally realizing it is Sembikiya. Dark, polished wood and sheer curtains line the walls, and sparkling chandeliers shaped like exploding snowflakes twinkle overhead. Glass display cases hold meticulous rows of fruit tended by prim women in starched black uniforms and berets ready to share anecdotes about the sweetness of the pears ($19 each), or Sekai-ichi apples ($24 each). Middle-aged women with Chanel bags and teased up-dos inspect plump, jade-colored Seto grapes swaddled in crisp white paper, while their husbands admire the altarlike case of muskmelons at the center of the floor, each one perched on its own wooden box lined with mint-colored paper ($125 each).
I am a pizza apostate. Not only do I use a fork and knife whenever I eat pizza, I also sometimes bypass my normal slice joint for the siren call of deliciously buttered-and-garlic salted crust that only Dominos can deliver.
Domino’s has always understood the importance of not having to go anywhere. Although you can still walk into a restaurant if you must, there are at least a dozen ways to order a Domino’s pizza in absentia. Some are self-explanatory: mobile apps, Apple Watch, Facebook Messenger. Others need some explanation. To order via Twitter, you must create an online account, save a pizza as your favorite (known as your Easy Order), and connect it to your Twitter account. Then tweet a pizza emoji to @dominos. “We’ll know who you are, what pizza you want, your default location and payment,” Maloney says. “We send a ‘Sounds awesome, are you sure?’ You send a thumbs up.” But if you want to order something other than your favorite, you’re out of luck.
Maloney clears away the remains of our lunch (Pacific Veggie, thin crust) to show me option 12 on his phone: zero-click ordering. “This will freak you out,” he says. “What’s the easiest way to order? When you don’t have to do anything.” One day Maloney and Garcia were in the car with their ad guys, dreaming of how to one-up Amazon’s one-click ordering. Three months later they had their zero-click app, which does require one click to start. “Tap the Domino’s icon to open it and find my Easy Order,” Maloney says. That’s it. “I have 10 seconds before it automatically places the order.” A big countdown clock appears on Maloney’s screen. If he does nothing, his Easy Order, a 12-inch hand-tossed pizza, will be on its way to his home.
While Dominos is at the forefront of our fast food, it isn’t the only company to have paired food science and tech to deliver a product that is utterly craveable. The following are some of the best pieces in the past several years to capture this culinary shift. Read more…
Butter’s story is a very American story, because the arc of its vilification and subsequent redemption is a parable for how we get food wrong time and again. We alternately demonize and idealize individual ingredients — not just butter but also sugar, caffeine, red wine and supposed miracle foods featured on “The Dr. Oz Show” — and in doing so, we miss the big picture. Even now, at butter’s supposed moment of glory, many nutritional scientists worry that the pendulum may be swinging too far in its direction. American food trends are hopelessly reminiscent of Newton’s third law, says David L. Katz, founding director of the Yale-Griffin Prevention Research Center: “For every boneheaded action, there’s an opposite and equally boneheaded reaction.”
But as the Garnett-Paul Pierce-Ray Allen Celtics steamrolled to a 66-win season and an NBA title, the secret to their success, so cleverly disguised between two pieces of white bread, was eventually leaked.
At the time, Doo notes, the Celtics not only didn’t provide lavish pregame spreads, they didn’t offer much food at all. But he soon found himself slapping together 20 PB&J’s about three hours before every tip-off, the finished products placed in bags and labeled with Sharpie in a secret code: “S” for strawberry, “G” for grape, “C” for crunchy. Of vital import: Garnett was an “S” man, and woe unto he who did not deliver him two S’s before every game. “If Kevin didn’t get his routine down, he’d be pissed,” Doo says. “Even if he didn’t eat them, he needed them to be there.”
The Trail Blazers offer 20 crustless, halved PB&J’s pregame — 10 of them toasted, a mandate ever since an opposing arena prepared them as such and Blazers guard Damian Lillard approved. They’re composed of organic fixings, save for white bread, which Portland’s assistant performance coach Ben Kenyon notes is a high-glycemic carb that easily digests to provide a quick energy jolt. Typically, all 20 vanish well before tip-off; sometimes the Blazers double their order.
The Rockets make sure the PB&J is available in their kitchen at all times, in all varieties — white and wheat bread, toasted, untoasted, Smucker’s strawberry and grape, Jif creamy and chunky — and offer 12 to 15 sandwiches pregame, with PB&J reinforcements provided at halftime and on postgame flights.
The Bucks might boast the NBA’s most elaborate PB&J operation: a pregame buffet featuring smooth, crunchy and almond butters, an assortment of jellies (raspberry, strawberry, grape, blueberry, apricot), three breads from a local bakery (white, wheat and gluten-free) and Nutella. The team scarfs 20 to 30 PB&J’s per game and travels with the ingredients, which rookies prepare on the plane and in visiting locker rooms.
I’m notoriously grumpy while grocery shopping. Once, my partner and I got into a fight in the Aldi parking lot because one of the eggs in our carton broke. He does his best to keep us supplied in soups and noodles–simple things I can heat up when I’m anxious and depressed — but I find myself yearning for expensive, fresh produce. As much as cooking intimidates me, I eat constantly — popcorn, apples, Toblerone, peanut butter and crackers — whatever I can find. I scry for news of the downtown market that was promised two years ago. I grow hungry and impatient. The world of food seems impenetrable, a place for people with money and time, and I never feel as though I have either. Read more…
Jeong Kwan has no restaurant. She has no customers. She has published no cookbooks. She has never attended culinary school, nor has she worked her way up through the high-pressure hierarchy of a four-star kitchen. Her name does not appear in any of those annual round-ups listing the greatest chefs in the world, although Ripert will assure you that she belongs among them, as do a few contemporaries of hers at temples throughout Korea.
Kwan is an avatar of temple cuisine, which has flowed like an underground river through Korean culture for centuries. Long before Western coinages like ‘‘slow food,’’ ‘‘farm-to-table’’ and ‘‘locavore,’’ generations of unsung masters at spiritual refuges like Chunjinam were creating a cuisine of refinement and beauty out of whatever they could rustle up from the surrounding land. Foraging? Fermenting? Dehydrating? Seasonality? Been there, done that — Jeong Kwan and her peers at monasteries throughout Korea have a millennia-spanning expertise in these currently in-vogue methods that can make a top chef feel like a clueless punk.
But Kwan’s lunch left me humbled and exhilarated. Here were compositions on the plate that were so elegant they could’ve been slipped into a tasting menu at Benu or Blanca and no one would have batted an eyelash. Here were flavors so assertive they seemed to leave vapor trails on the tongue. Somehow, all of it was vegan. Korean temple cuisine is made without meat, fish, dairy or even garlic or onions (which are believed to arouse the libido), and tasting it for the first time convinced me that vegan and vegetarian chefs in the West needed to board immediate flights to the Republic of Korea for a crash course in plant-based virtuosity.
But even if you can talk about food for hours, there comes a point when you need to make contact with it. Which is why Kwan has led us to the garden. Here, she coos over pumpkin blossoms, green chiles and eggplant, and shows me how to pluck leaves of mint and perilla — gently, with a moist pinch between my thumb and index finger at a firm spot on the stem. The leaves are placed in a wide basket; shortly they’ll be carried up the hill and incorporated into a meal. But for a moment I am encouraged to hold the leaves to my nostrils and breathe in their herbal fragrance.
Kwan believes that the ultimate cooking — the cooking that is best for our bodies and most delicious on our palates — comes from this intimate connection with fruits and vegetables, herbs and beans, mushrooms and grains. In her mind, there should be no distance between a cook and her ingredients. ‘‘That is how I make the best use of a cucumber,’’ she explains through a translator. ‘‘Cucumber becomes me. I become cucumber. Because I grow them personally, and I have poured in my energy.’’ She sees rain and sunshine, soil and seeds, as her brigade de cuisine. She sums it up with a statement that is as radically simple as it is endlessly complex: ‘‘Let nature take care of it.’’
“Food has become entertainment,” Meehan said. As David Kamp showed in The United States of Arugula, a chef like Alice Waters can be a product of 1970s counterculture just like any musician. And Waters is much more likely to be available to talk about her motivations.
“Those of us who have pursued this course are on the pleasure beat,” Gordinier told me. “It doesn’t mean we partake of the pleasure the entire time. It means we’re interested in the way culture engages with pleasure, and what the pursuit of pleasure says about us. The defining pleasure of the ’60s was music. To some extent, the defining pleasure of the ’70s was film. The defining pursuit of our time now is food.”
At The Ringer, editor Bryan Curtis examines the rise of modern food writing and the confounding popularity of writing about food. Everyone’s doing it. Why is everyone doing it? Food writing is the new Applebees but at Lonchero prices, and something smells fishy. See? It’s harder than you think.
For eight years, until Tropical Storm Irene struck the village of Waterbury, Vermont, the corner of South Main Street and Elm was occupied by The Alchemist Pub and Brewery. It was, by most measures, a common small-town bar. The walls were chocolate brown brick. The barstools were steel and backless and topped with black leather. A pool table sat in the corner. The ceilings were high, and the lighting was soft. A cast of regulars helped fill the pub’s 60 seats. It was charming in its familiarity, quaint and comfortable, but brewing in the basement was a beer capable of inspiring obsession. It was called Heady Topper and since the pub was the only place you could buy it, Waterbury—home to just a few thousand—soon became a mecca for craft beer drinkers.
The pub belonged to Jen and John Kimmich. Jen ran the business side, and John handled the beer. They first met in 1995, when they were both working at the Vermont Pub and Brewery in Burlington. John had made his way there from Pittsburgh. He’d been enthralled by a home brewer and writer named Greg Noonan who was a pioneer in craft brewing, especially in New England, where he helped push through legislation that recognized the concept of brewpubs.
After graduating from Penn State, John packed everything he owned into his Subaru and drove to Vermont in the hopes that Noonan would give him a job. He did, and for a year John waited tables, coming in on the weekends for no pay to learn the trade alongside the head brewer. Then John became the head brewer. Jen was a waitress at the pub. After turning down John’s initial first-date offer, she came back a week later and asked him out. A month later they were engaged.
Two months after the Kimmiches opened The Alchemist in Waterbury, John, driven by an obsession with fresh, floral, hoppy flavors, brewed the first batch of Heady Topper. The immediate response from customers upon tasting it was bewilderment, followed by intrigue. Their eyes scanned the room, meeting all the other eyes scanning the room, all of them in search of an answer to the same question: What is this? “People were shocked, maybe,” John says. “They would taste it and go, ‘Oh, my god.’ They’d never had anything like that before. People really went nuts for it.”
At first, John didn’t brew Heady year-round. He would make it two times a year, then three, then four, tinkering with the recipe each time. He had other beers to make, like Pappy’s Porter or Piston Bitter or Bolton Brown. They were all distinct, unusually compelling beers, but soon word began to spread about Heady: It was a hit. The problem, if there was one, was that it was only available in the pub. Enterprising customers solved it by sneaking pints into the bathroom, where they would pour them into bottles, screw on caps, and then shuffle out of the bar, pockets bulging. The business and the Alchemist name were growing with rapid, radical speed, beyond anything the Kimmiches had anticipated—and then the storm came.
Irene arrived in Vermont on a Sunday afternoon in August 2011. It roared north from the southern end of the state. Waterbury’s usually calm and placid Winooski River, a short distance from the pub, swelled uncontrollably. The local waterways and tributaries overflowed, and the contaminated water rushed through town, absorbing sewage and sodden trash and heating oil, staining everything it touched. Trees and shrubs were unearthed or turned gray and brown, like they’d been doused by a plume of ash. Cars were flipped; bridges buckled and collapsed; houses were left twisted and roofless. In some stretches of the state, more than a foot of water fell.
From their home in Stowe, just 10 miles north of Waterbury, Jen and John and their son, Charlie, watched the storm unfold. When they got the call that Waterbury was being evacuated, John jumped in the car and drove down, powerless but determined to see the destruction with his own eyes.
By the time he arrived at the brewpub, the basement—where he had been brewing for eight years, where he stored the original recipes for more than 70 beers, and where he and Jen had their offices and kept the food—was completely under water. On the first floor, John stepped inside. The water was not yet waist high, but it was well on its way, so he worked his way to the bar and poured himself a final pint of Holy Cow IPA. Then, with the water rising at his feet, he raised his glass skyward and toasted goodbye to everything they’d built. Read more…
Over these past few months, I’m not sure if I’ve ever met Guy Fieri, but I don’t think it matters. In his new book, Born to Run, Bruce Springsteen explains why he puts on his famous costume—American blue jeans and rolled up T-shirts—every night to perform on stage. “Those whose love we wanted but could not get, we emulate. So I—who’d never done a week’s worth of manual labor in my life—put on a factory worker’s clothes, my father’s clothes, and went to work.” Fieri’s rockabilly-meets-NorCal aesthetic may in fact, be his wardrobe of choice, but the moment the organic kale-eating millionaire entrepreneur rolls into your town in his ’68 red Camaro with his white spiky hair and that bowling shirt decked in flames, he’s suddenly transformed into your friendly, wacky neighbor. He’s here to eat some “off-the-hook” food with you, bump fists, and tune up the jams. He’s the kind of guy who makes you believe that you want to have a few beers together at the local dive, and if you stumble into a bar fight, you know he’s got your back. And when it’s all over, he’ll crank up a song from Van Halen’s 5150 album and make you a sashimi taco that is just awesome.
In an increasingly divided country, Fieri provides viewers with a distraction that promotes positivity and faintly displays a former America. Diners, Drive-Ins, and Dives is a fuzzy moving image of the United States, where small towns with restaurants that celebrate the dishes forged by a long history of the blending of cultures happens. It visits the cities where the product of hard-working Americans is delicious, and when you take a bite, you can taste their version of the American dream. On these menus, this concept is still possible.
To Taylor, Princess Pamela’s story is a case study in examining who controls narratives of excellence in cooking. For decades, the chains of influence and power in the culinary sphere have remained static and white, and so have those sentries who dictate the worth of certain people’s contributions. (That it took two white, male celebrity chefs to resurrect this book and assert its worth within the literary marketplace only confirms this.) “Food media tends not to focus on black stories and black cookbook authors,” Taylor says. “There are dozens more waiting to be told.”
It is a refrain I hear from countless others: that her narrative’s descent into obscurity is indicative of a greater systemic ill that plagues America’s culinary memory. It is a memory prone to historical amnesia. Look no further than Princess Pamela, a woman no one noticed was gone. It’s as if they weren’t even looking.