Things Will Never Be the Same

Ed. note: The following essay appears in this month’s Desert Companion magazine. Click here to read it in its original format.

We seemed invincible once, didn’t we? Thirty years of ever-expanding prosperity will do that to you. Having survived Gulf wars, dot-com busts, recessions, mass shootings and depressions, it was a cinch the public’s appetite for all things Las Vegas was insatiable. Since 1994, we had seen one restaurant boom after another: celebrity chefs, the French Revolution of the early aughts, Chinatown’s twenty year expansion, Downtown’s resurgence — all of it  gave us rabid restaurant revelers a false sense of security. A cocky confidence that the crowds would flock and the champagne would always flow.

And then we were floored by a Covid left hook no one saw coming. Poleaxed, cold-cocked, out on our feet.  In an instant, literally, thirty years of progress hit the mat. To keep the metaphor going, we’ve now lifted ourselves to the ropes for a standing eight count. The question remains whether we can recover and still go the distance, or take one more punch and suffer a brutal TKO.

There was an eeriness to everything in those early months, as if a relative had died, or we were living in a bad dream. A sense of loss and apology filled the air. Like someone knocked unconscious (or awakening from a nightmare), our first instincts were to reassure ourselves. Restaurants were there to feed and help us back to our feet and the feelings were mutual. Reassurances and gratitude were the watchwords whenever you picked up a pizza or grabbed take-out from a chef struggling to make sense of it all.

Then, as quick as an unseen uppercut, the mood turned surly and defensive. The moment restaurants were given the go-ahead to start seating people again, the battle lines were drawn. It took some weeks to build the trenches, but by July, what began as a “we’re all in this together” fight for survival devolved into a multi-front war pitting survivalists on all sides against each other.  Mutual support evaporated as tensions arose between those needing to make a living and those who saw epidemic death around every corner.  Caught in the middle were the patrons: people who just wanted to go out, take advantage of our incredible restaurant scene and have a good time. Suddenly, everyone felt uncomfortable, and in a matter of a few calamitous weeks, dining out in America went from “we’re here to have a good time” to “let’s all struggle to get through this’ — not exactly a recipe for a good time, which is, after all, the whole point of eating out.

Reduced hours and crowds meant shorter menus, since every restaurant in town was forced to narrow its food options. No one seemed to mind, since anyone taking the time to dine out was simply happy the place was open. But if you sum it all up — the rules, the emptiness, the fear, the feeling of everyone being on guard — it’s a wonder anyone bothered going out at all. But going out to eat is what we do, because it is fun, convenient and delicious, and because we are human.

As Las Vegas’s most intrepid gastronaut, I’ve had to curb my voracious appetite more than anyone. Overnight my routine went from visiting ten restaurants a week to a mere few. Even in places where I’m on a first-name basis with the staff, the experience is as suppressed as the voices of the waiters. Instead of concentrating on hospitality, the singular focus is now on following all the rules. All of which makes you appreciate how the charm of restaurants stems from the sincerity of those serving you — something hard to notice when you can’t see their face.

Nowhere are these feelings more acute than on the Strip. “Las Vegas needs conventions to survive,” says Gino Ferraro, facing the simplest of facts. “If the hotels suffer, we suffer.” He’s owned Ferraro’s Italian Restaurant and Wine Bar since 1985 and will be the first to tell you how thin the margins are for success in the business. Restaurants are in your blood more than your bank account, and micromanaging, cutting costs, and (hopefully) another year of government assistance are what he sees as keys to their survival. “Good restaurants will survive, but there’s no doubt there will be less of them.”

Unlike the free-standing Ferraro’s, the Strip is different. There, the restaurants are amenities — like stores in a mall if you will — and from Sunday-Thursday (when the conventions arrived) they used to thrive. These days, like Ferraro’s, they still pack ’em in on weekends, but almost all are closed Monday-Wednesday. This doesn’t mean the food or the service has suffered, far from it, only that everyone is hanging on by their fingernails, and this anxiety is palpable when you walk through the doors. The staffs are almost too welcoming, which is nice, but you can sense the fear and it’s not pretty, and it is not going away for many months to come.

As Vegas slowly re-opens, one thing you can no longer take for granted is that each hotel will have a full compliment of dining options, from the most modest to world famous. If I had to make a prediction, it would be that a year from now, some hotels may field a smaller team of culinary superstars, and their bench will not be as deep, and those stars will have another season of wear and tear on them without any talented rookies to come along and take their place.

Long before the shutdown, there were signs we had reached peak Vegas and things were starting to wane. Some fancy French venues were showing their age, the Venetian/Palazzo (with its panoply of dining options), seemed overstuffed, and rumblings were heard that even the indefatigable David Chang had lost his fastball. The same could be said for the whole celebrity-chef-thing, which was starting to feel very end-of-last-century by the end of last year. The Palms’ murderer’s row of newly-minted sluggers was mired in a slump, and our gleaming, big box, pan-Asian eye-candy (Tao, Hakkasan) were not shining as bright as they once did.

The stakes are much higher when you consider the reputation of Las Vegas as a whole. Survey the landscape these days and all you can ask is, how much of this damage is permanent? It took from 1989-2019 to take Las Vegas from “The Town That Taste Forgot” to a world class, destination dining capital — a claim to fame like no other — where an entire planet of gastronomic delights, cooked by some of the best chefs in the business, was concentrated among a dozen swanky, closely-packed hotels. Now, what are we? A convention city with no conventions? A tourist mecca three days a week? Can we recapture this lost ground, or is some of it gone forever? Everyone is asking but no one has the answers.

Perhaps a culling of the herd was already in the works and all Covid did was accelerate the process. Are the big money restaurant days over? Certainly until those conventions return, and no one is predicting that until next year, at the earliest. If that’s the case, it will be a leaner/meaner gastronomic world that awaits us down the road — not the cornucopia of choices laid before you every night, no matter what style of food struck your fancy. The fallout will include the casinos playing it safe; not throwing money at chefs like they once did, and sticking with the tried a true for awhile.  Less ambitious restaurant choices? Absolutely. It is impossible to imagine a single European concept making a splash like Joël Robuchon did in 2005, or any Food Network star getting the red carpet treatment just for slapping their name on a door. The era of Flay, Ramsay, Andrés and others is over, and the “next big thing” in Las Vegas dining won’t be a thing for a long time.

If the Strip’s prospects look bleak (at least in the short term), locally the resilience has been astounding. Neighborhood venues hunkered down like everyone else, but now seem poised for a resurgence at a much faster rate than anything happening in the hotels.  If the Strip resembles a pod of beached whales, struggling to get back in the water, then local restaurants are the more nimble pilot fish, darting about, servicing smaller crowds wherever they find them. Four new worthwhile venues are popping up downtown: upscale tacos at Letty’s, Yu-Or-Mi Sushi and Sake, Good Pie and the American gastro-pub Main Street Provisions, all in the Arts District. Off the Strip Mitsuo Endo has debuted his high-toned yakitori bar — Raku Toridokoro — to much acclaim, and brew pubs are multiplying everywhere faster than peanut butter stouts.

Chinatown — with its indomitable Asians at the helm — seems the least fazed by any of this, and Circa will spring to life before year’s end on Fremont Street, hoping to capture some of the hotel mojo sadly absent a few miles south. Going forward, some of these imposed restrictions will remain in place to ensure survival (more take-out, smaller menus, fewer staff), but the bottom line is look to the neighborhoods if you wish to recapture that rarest of sensations these days, a sense of normalcy.

Watching my favorites absorb these body blows has been like nursing a sick child who did nothing to deserve such a cruel fate. In a way it’s made me realize that’s what these restaurants have become to me over decades: a community of fledgling businesses I’ve supported and watched grow in a place no one thought possible. As social experiments go, the great public health shutdown of 2020 will be debated for years, but this much is true: Las Vegas restaurants were at their peak on March 15, 2020, and reaching that pinnacle is a mountain many of them will never again climb.

 

The Mind of a Restaurant Critic

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When you like a critic, you trust his judgment not because he has a doctorate in food letters, although such things do apparently exist. He’s proved himself over a long period. You know what he likes or dislikes. You get him. Maybe you don’t always agree; but when you’re looking at getting a babysitter and maybe dropping three bills on dinner, you need to minimize risk. For that, the user reviews on Yelp are beyond useless….So there in that whirlwind of trends and fad ingredients and hype and backlash, are a few immense ancient trees, with sturdy roots and massive trunks to hew to. – Josh Ozersky

The two questions I get asked most frequently are, 1) How did you become a restaurant critic? and 2) How do you decide where to go…. and how do you critique a restaurant once you’re there?

That’s actually three questions, but for the purpose of this piece we’ll treat the last two as a single inquiry into the my machinations and methodology used when reviewing restaurants.

Regarding question #1: I’ve gone through the story of how I became a critic so many times even I am tired of telling it. The fastest explanation is best summarized by the axiom “In the land of the blind, the one-eyed man is king.” Vegas in 1994 was extremely near-sighted when it came to food, and yours truly was the only one urging our local press to wake up and smell the celebrity chefs. Thankfully, KNPR- Nevada Public Radio was hep to the idea of commentary on our burgeoning restaurant scene, and a (second) career was launched. Click here if you’re interested in some of my (now ancient) reviews.

If you’re interested in spending a few minutes inside the mind of a critic, read on.

Many ask if there is some sort of master plan in how I go about my reviewing business? A highly detailed outline of restaurants charted days, weeks, months in advance for possible exploration, delectation, and possible evisceration. In a macro sense, the first half of the year is spent scouting new territory; the middle three months (summer) is spent writing/updating EATING LAS VEGASThe 52 Essential Restaurants. Once the final copy is in around September/October, and once I weigh in on Desert Companion’s Restaurant Awards issue, I then spend a couple of months (November-December) trying to lose a few pounds (good luck with that).

On a micro-level, it’s much more ad hoc than you think — a mixture of ear-to-the-ground interest in what’s new, blended with a need to revisit old haunts to see if they’re still up to snuff.

These days my attention centers upon all the action downtown and in Chinatown. Kaiseki Yuzu just opened in its new digs on Spring Mountain Road, and another kaiseki joint is coming hot on its heels, soon to pop its doors on Decatur and SMR in the next month. Apparently there’s an udon noodle bar on West Flamingo that slipped through my attention cracks, and the just-opened ShangHai Taste needs a return since my initial visit only a few days into its run.

Such are the thoughts running through my brain at any moment.

Competing in this crowded space are sugar plums awaiting at the soon-to-open Main Street Provisions and the new Good Pie — two highly-anticipated, chef-driven joints just days away from boosting the Main Street dining scene.

And oh, by the way, someone told me to check out the food at Able + Baker brewpub, and Sheridan Su’s new concept…and isn’t it high time I gave vegetarian tacos a try at Tacotarian?

(Side joke that practically wrote itself: Me, walking past the almost-empty Tacotarian last night: “Why are there no customers in the vegetarian taco joint?” Friend of Me: “Because it’s a vegetarian taco joint.”)

Also swimming through these synapses are yearnings for return visits to tried and true favorites. I really don’t need to go back to Sage, Bardot Brasserie, Le Cirque, Bazaar Meat or Guy Savoy to remind myself how tasty they are, but their menus beckon me like the seductive song of a siren. Odysseus may have strapped himself to a mast to resist his temptations, but my only restraints are time and my waistline.

The older I get, the more I realize how my appetite for restaurants usually splinters into one of three shards when the stomach growls: there’s the curious (“I need to try check out _____)”), the complacent (“Let’s go to an old favorite”), and the conscientious (“Duty demands I revisit ______, even though I have -0- interest in doing so.”) Thus am I compelled, sometimes, to haul my ass to some far corner of the Vegas valley to check out a chef, or recheck that I either still like or loathe someplace. (It was this motivation that led me to embark on a cook’s tour of classic Las Vegas restaurants a few years ago….a trek for which my stomach still hasn’t forgiven me.)

Having decided on where, the next issue is how. As in: How do I size up the places I write about?

Before I go any further, let’s start by stating I am well aware of the subjectivity involved in judging anything that involves personal taste — be it food, fashion, music, or movies. If you like your burgers well done I feel sorry for you, but you are not wrong.

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I could argue with you that you’re not experiencing your burger’s inherent juicy, tangy, deep-roasted wonderfulness by eating it one step removed from a piece of desiccated charcoal, but if that’s how you like it, so be it. What I will do is explain that the full flavor of the meat is being shortchanged by a chef who either doesn’t know or care to lift the patty off the grill at the “right” time. In this sense, I am merely reflecting popular wisdom (and perhaps my own prejudices) about when beef tastes best.

But there are standards in cooking and restaurant operation (just as there are in music performance and movie production). All a food critic does is try to hold a restaurant to them.

All a restaurant review does is filter a consumer product through his own prism. A writer should never lose sight his own prejudices, lest the focus of the review become more about him than what is on the plate. I strive to remember this unless, of course, you are dead wrong about liking some shitty Italian restaurant, or gluten-free anything.

As for the standards I try to uphold, the criteria is much different for new v. old.

At an old favorite, I let my guard down and take a lot for granted. All I’m there for is to confirm that the place hasn’t lost its fastball.

A new joint gets the full once-over: from the lighting to the silverware to the taste of the water they pour.

How’s the greeting? Where is the greeting? Is it awkward? Polished? Sure, they might know me, but how are those three ladies right behind me addressed? Does it feel good in there? Do you get a feeling of comfort and warmth when you enter, or something more cool and aloof?

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What about the chairs? The booths? The depth of the seats? Their width? Do you stick to them? Slide off? Does the table wobble? (Iconic old eateries get a pass here; brand new ones, not so much.)

Is the design unique? (Hatsumi) DIY? (Elia Authentic Greek Taverna) Beautiful? (Lamaii, Weera Thai Kitchen) Hackneyed? ( Majordomo) Or does it fit the food? (Rao’s) (BTW: nothing gets graded on steeper curve than decor. Local joints hanging on by a thread get a lot more leeway than Strip hotels who pay millions to come up with the hideous cruise ship look (Lago), or a coffee shop/bus station (the otherwise excellent StripSteak).

Is the place too big? (Usually, yes, e.g. Mott 32) Or too small? Or poorly laid out?

Can you hear yourself think? Does the music intrude? How energized is the staff? Are they working in silent, satisfied synchronicity? (They should be.) There is a hum that great restaurants exude — it can be almost silent as in the case of a haute cuisine frog pond, or close to a cacophonous roar in some over-amplified gastropub — but you know it when you hear it, and it means the place is firing on all cylinders. (If you want to hear what I’m talking about, go to Cipriani sometime.)

What about the napkins? (Polyester? Paper? Real cotton?) The plates? How close are the tables? Does the bar serve food? Does it look comfortable doing so? Would a single diner be happy eating there? Did they spend money on the glassware, or do it on the cheap?

How uncomfortable are the bare tables? Are they naked as a design statement? Or because of an impecunious proprietor?

And while we’re at the table, how clean was it when you sat down? Still wet from a wiping? And how long has it been since those place-mats were steam-cleaned?

Does it smell like a restaurant? Or is the ventilation so good you could be in a library?

Is the staff alert? Young? Old? Happy to be there or biding their time until the Culinary Union calls? Snappily dressed or slovenly? (A staff in t-shirts can look sharp; frayed-around-the-edges formal wear is fooling no one.)

Is there an adult in charge? Or are a bunch of 20-somethings aimlessly looking for direction?

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Does that adult help with service? Busing of tables? If a table is in distress, does the manager, or another waiter offer to help, or give you that “it’s not my station, I’ll go find your waiter” look? How fast do the menus arrive? How chatty (too much or not enough) is the waiter?

Can they handle a corkscrew? (You’d be surprised how clueless some waitrons are. This is not their fault. It shows a lack of training, which shows a lack of caring….by management.)

While we’re on the subject: How seamless is the transition from water to cocktails to wine?

Then check out the least sophisticated table in the place. Are they happy? Being treated with respect? Frustrated? Acting intimidated? If the latter, how patient is the staff (or the harried bartender) being with them?

Lastly, and most importantly, is it a passion restaurant or a money restaurant? (Esther’s Kitchen is a passion restaurant; Ada’s – its offshoot – is a money restaurant.)

Then there’s the menu. Easy to read? All over the map? Too descriptive? Minimalist? Too cute? Full of cliches? Tourist friendly or gastronomically challenging? Or a little of both? Can you parse the  the food from the card before you, or will you require the assistance of a soothsayer, shaman, and a polymath’s transliteration to figure it out?

Automatic deductions for roasted beets, salmon, scallops, and chicken breasts. Bonus points for offal, strange birds, good soups and singular focus.

Believe it or not, I process most of this information in about 90 seconds.

I’ve usually filed away the answers in the Rolodex of my mind before the food even arrives.

And then it does and then it’s a whole new ballgame. But you’ll have to wait a week to hear about that process.

This is the first of a two-part article.

 

The Last Course

There is no sincerer love than the love of food. – George Bernard Shaw

My father could sell ice to an Eskimo. He was a born salesman. Made (and lost) a lot of money in his life, but he ended his run on an up-tick, and left my mother quite comfortable, so I guess all the hustling and drama was worth it.

I’ve never been much good at selling anything….even myself. Maybe because I saw all the sturm und drang my dad put our family through as he made all that money; or maybe it’s because the German-Protestant side of me considers selling and marketing to be a craven and unseemly.

The internet, in case you haven’t noticed, has become about nothing but selling. Everyone and every thing on it is trying to sell you something. For what is a selfie but a exercise in self-promotion? And who is naive enough to think these days that Facebook is just about sharing pictures with your friends and relatives?

No, when you boot up your computer or click on your phone, your eyeballs immediately become both product and target. The internet, along with being the great equalizer and disseminator  of information, has fed us all into the sausage grinder of the world wide marketing machine.

And what it did to food writing was turn it all into fast food hamburgers.

By way of comparison, consider the New York Times writer (Amanda Hesser) who, in 1998, was given a company credit card and carte blanche to travel around France for two weeks finding subjects to write about. The only writers traveling to Europe these days either do it on their own dime (like moi), or hustle for a pay-to-play gig whereby they get a free trip in exchange for an agreement to write a favorable (it’s understood) story about their trip for some back-home publication (something I’ve also done, mainly for wine articles).

Thus has the entire field of food writing been turned on its head. No longer do publications like Bon Appetit and Travel + Leisure send writers to discover stories. Instead, they are the repositories for articles that have been pitched to them by hotels, cruise lines, tourist boards, international booze conglomerates, etc.. Marketing now dominates everything, and with the exception of a few giant national newspapers, and some teeny tiny periodicals, all opinions are now bought and paid for. It’s all quite sad because you can no longer trust anyone.

Except Chad H. on Yelp, who doesn’t like Estiatorio Milos because it’s “too fishy.” Him you can trust.

I say this with tongue only partially wedged in cheek, because at least “Chad H.” (who probably doesn’t know his xiao long bao from his Chow Yun-fat) actually went to the restaurant he’s opining about. The listicles that dominate web sites like Eater and Thrillist are the product of press releases. It’s doubtful that whoever compiles these has ever stepped foot in the places they proclaim as “hot.” All they know is what they’ve cribbed from a p.r. sales pitch, or the internet…or from the dwindling number of writers (or other publications like this one) who are doing boots-on-the-ground (or, in this case, food-in-the-mouth) research.

In it’s own not-so-subtle, insidious way, the internet created a vortex of simplified discourse that sucks the consumer farther and farther away from meaningful information. Which is just the type of controlled message that corporations and public relations people want.

I was never selling anything. Not when I started my “Food For Thought” radio gig with Nevada Public Radio in 1995, not when I started my TV gigs with local news stations in August, 2008, and not when I started this blog exactly ten years ago today.

If there was a primary motivation it certainly wasn’t money. Even in its late 20th Century heyday, there wasn’t a lot of money to be made in writing about restaurants. If I have to point to a specific inspiration it would have to be much purer and less meretricious: I wanted to promote good restaurants so more people would eat there and they’d stay in business and their success would inspire others to follow.

Everyone thinks I’ve always been about criticizing restaurants, but in fact, what I really was doing was advertising them.

A restaurant critic might start out as a consumer advocate — and, indeed, it is through those eyes that you must view your subject — but what you end up being is a cheerleader, a fanboy, an unabashed promoter for the businesses you cover. You do it somewhat inadvertently, and you do it out of keen interest, but first and foremost, you do it out of admiration, not because you’re on the payroll…and that makes it the sincerest form of salesmanship there is.

Somehow though, I don’t think my father would’ve understood. He died in 2006, but I’m sure he, like many others, would’ve asked why I didn’t try to monetize Eating Las Vegas. All I could’ve told him was, “Because I’m doing it for love, Dad, not money.” I did it for the love of writing, and for the love of restaurants, and because I hated what the internet had done to food journalism.

I would further explain to him that to be a professional critic of anything, you have to be in love with your subject. The job of a critic is to educate, not pander to the lowest common denominator, but to be a good teacher, you have to be both enamored of and fascinated by your subject.

And boy, have I loved writing about food and restaurants.

And I really love writing about them on my own web site.

Nothing against the dozens of editors I’ve worked for, but there’s a freedom in being able to express yourself without the constraints of some blue nose with a blue pencil telling you to “tighten it up,” or “tone it down,” so they can keep their lowest common denominator readership happy.

And what I’ve loved about you, dear reader, is that you never wanted me to dumb it down or tone it down. You appreciated me letting fly with my opinions, my stylistic liberties and my awful, insistent alliteration. Only a few of you ever begrudged me my fantasies or my foibles. Most of you got it from the get-go, and you let me have fun writing in my style and from my heart — not from the perspective of some fuddy-duddy dead-tree publication.

Almost everything I’ve ever written has come from the heart, not from a paycheck — which either makes me a hopeless romantic or a fool.

The romantic in me longs for the days of incisive writing and journalistic standards applied to rigorous reporting about where you should eat and why. The fool in me thought that I could raise those standards (in Las Vegas at least), even as they were evaporating all around me. But unlike most critics (save for Seymour Britchky, my muse) I put my money where my mouth was. Sure I got comped a lot (especially in the last decade), but my restaurant bills from 1995-2010 would choke a horse. I went in, anonymously for the first ten years, threw down, and then coughed up my sincere opinions about what I ate. I don’t know if anyone ever again will be foolish enough to do what I did.

To be a blogger, you have to be obsessive. In the early days, my staff and I would crank out two or three posts a day. Those were exciting times. By 2008, the wave of fantastic food that had begun to build a decade earlier was just cresting. It was a tsunami of gourmandia the likes of which no city in the world had ever seen. What had begun with Spago in 1993 and Emeril’s in 1995 continued to swell with the opening of the Bellagio in 1998, and then, in rapid succession, the launching of the Venetian and Mandalay Bay. By the time Joël Robuchon showed up in 2005 and Guy Savoy arrived in 2007, I felt like the world’s luckiest surfer — one who was making the drop on some awesome lips, day after day, night after night, for a dozen years in a row.

15 years on the radio, 9 on TV, 6 books, countless magazine articles, multiple national television appearances, numerous contributions to guide books and web sites. — it’s been a good run. I’ve taken this whole food writing thing so much further than I ever imagined when I was nervously sitting in my bedroom on October 14, 1995, hand-scribbled script in one hand and a cassette recorder in the other, rehearsing for my first radio spot on KNPR —  sweating over how to make food sound fun and interesting for three minutes. But I got through that, and I got better — at writing, at eating, at tasting, and at radio and television. My waistline suffered, my liver suffered, my relationships suffered, and most assuredly by bank account suffered, but I made my mark, and helped a lot of restaurants and chefs in the process. Even my stick-to-business dad would’ve been proud of that.

As Augustus McCrae says to Woodrow Call at the end of Lonesome Dove: “By God Woodrow, it’s been quite a party hasn’t it?”

It’s been quite a party.

[ELV — the man, the myth, the inveterate Francophile, Romanophile, oenophile, turophile, Sinophile, Nipponophile, and Grecophile — will be on hiatus for the next month or two while he re-boots (and re-names) this web site and tries to decide what he wants to do when he grows up. Until then, kali orixi to all.]

(Ouzo iz always appropriate)