The northernmost of Japan’s main islands inspires the menu, featuring jingisukan, for which lamb is cooked on tabletop grills, and buttery scallop risotto.
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If thereâs an image of pandemic dining that will stay with me years from now, it may be one posted on Instagram by Anthony Ha and Sadie Mae Burns for their pop-up, Haâs Äặc Biá»t. In it, the couple, who met while working at Mission Chinese Food, in 2015, are standing at the hood of a car thatâs covered with a magnificent spread of takeout containers. Chopsticks poised near their mouthsâHaâs mask pulled down to his chin, his shirt pocket stuffed with napkinsâthey wear goofy, deer-in-headlights expressions. The photo is both pragmaticââThis could be you! (If you wear your warmest parka and are committed to eating on the hood of your car),â the caption readsâand heartening: they look, genuinely, in spite of it all, to be having a good time.
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Recently, I had an unusually exciting Friday night. While frantically switching between recipes for chicken curry and chocolate chai affogato, I smelled something burning. The culprit: the paper tabs on the Lipton tea bags that I’d added to a pot of boiling water for the chai. Apparently, I wasn’t supposed to let them dangle over the side as evidenced by the fact that they were on fire.
Crisis was, fortunately, averted. On my laptop screen, a dashing fortysomething was completing the same tasks without breaking a sweat. I was watching “Bollywood Kitchen,” an interactive performance co-produced by the Geffen Playhouse, in Los Angeles, and New York’s Hypokrit Theatre Company. The man onscreen was Sri Rao, an Indian-American screenwriter and the author of a 2017 cookbook of the same name, which collects his family’s recipes and pairs them with Bollywood films.