On the night before I laid off all 30 of my employees, I dreamed that my two children had perished, buried alive in dirt, while I dug in the wrong place, just five feet away from where they were actually smothered. I turned and spotted the royal blue heel of my youngest’s socked foot poking out of the black soil only after it was too late.
For 10 days, everyone in my orbit had been tilting one way one hour, the other the next. Ten days of being waterboarded by the news, by tweets, by friends, by my waiters. Of being inundated by texts from fellow chefs and managers — former employees, now at the helm of their own restaurants but still eager for guidance. Of gentle but nervous pleas from my operations manager to consider signing up with a third-party delivery service like Caviar. Of being rattled even by my own wife, Ashley, and her anxious compulsion to act, to reduce our restaurant’s operating hours, to close at 9 p.m., cut shifts.
With no clear directive from any authority — public schools were still open — I spent those 10 days sorting through the conflicting chatter, trying to decide what to do. And now I understood abruptly: I would lay everybody off, even my wife. Prune, my Manhattan restaurant, would close at 11:59 p.m. on March 15. I had only one piece of unemotional data to work with: the checking-account balance. If I triaged the collected sales tax that was sitting in its own dedicated savings account and left unpaid the stack of vendor invoices, I could fully cover this one last week of payroll.(...)
Everybody’s saying that restaurants won’t make it back, that we won’t survive. I imagine this is at least partly true: Not all of us will make it, and not all of us will perish. But I can’t easily discern the determining factors, even though thinking about which restaurants will survive — and why — has become an obsession these past weeks. What delusional mind-set am I in that I just do not feel that this is the end, that I find myself convinced that this is only a pause, if I want it to be? I don’t carry investor debt; my vendors trust me; if my building’s co-op evicted me, they would have a beast of a time getting a new tenant to replace me.
But I know few of us will come back as we were. And that doesn’t seem to me like a bad thing at all; perhaps it will be a chance for a correction, as my friend, the chef Alex Raij, calls it.
The conversation about how restaurants will continue to operate, given the rising costs of running them has been ramping up for years now; the coronavirus did not suddenly shine light on an unknown fragility. We’ve all known, and for a rather long time. The past five or six years have been alarming. For restaurants, coronavirus-mandated closures are like the oral surgery or appendectomy you suddenly face while you are uninsured. These closures will take out the weakest and the most vulnerable. But exactly who among us are the weakest and most vulnerable is not obvious.
Since Prune opened in the East Village, the neighborhood has changed tremendously in ways that reflect, with exquisite perfection, the restaurant scene as a whole. Within a 10-block radius of my front door, we have the more-than-100-year-old institutions Russ & Daughters and Katz’s Delicatessen. We have hole-in-the-wall falafel, bubble tea and dumpling houses, and there’s a steakhouse whose chef also operates a restaurant in Miami. There’s everyday sushi and rare, wildly expensive omakase sushi, as well as Japanese home cooking, udon specialists and soba shops. There’s a woman-owned and woman-run restaurant with an economic-justice mission that has eliminated tipping. Bobby Flay, perhaps the most famous chef on the Food Network, has an 125-seater two avenues over. We have farm-to-table concepts every three blocks, a handful of major James Beard Award winners and a dozen more shortlisted nominees and an impressive showing of New York Times one- and two-star earners, including Madame Vo, a knockout Vietnamese restaurant just a few years old. Marco Canora, who started the country’s migration from regular old broth to what is now known by the name of his shop, Brodo, has published a couple of cookbooks and done a healthy bit of television in the course of his career. He still runs his only restaurant, 17-year-old Hearth, on First Avenue.
But block after block, for so many years now, there are storefronts where restaurants turn over so quickly that I don’t even register their names. If Covid-19 is the death of restaurants in New York, will we be able to tell which restaurants went belly up because of the virus? Or will they be the same ones that would have failed within 16 months of opening anyway, from lack of wherewithal or experience? When we are sorting through the restaurant obituaries, will we know for sure that it was not because the weary veteran chef decided, as I have often been tempted myself in these weeks, to quietly walk out the open back door of a building that has been burning for a long time?
It gets so confusing. Restaurant operators had already become oddly cagey, and quick to display a false front with each other. You asked, “How’s business?” and the answer always was, “Yeah, great, best quarter we’ve ever had.” But then the coronavirus hits, and these same restaurant owners rush into the public square yelling: “Fire! Fire!” They now reveal that they had also been operating under razor-thin margins. It instantly turns 180 degrees: Even famous, successful chefs, owners of empires, those with supremely wealthy investors upon whom you imagine they could call for capital should they need it, now openly describe in technical detail, with explicit data, how dire a position they are in. The sad testimony gushes out, confirming everything that used to be so convincingly denied.
The concerns before coronavirus are still universal: The restaurant as we know it is no longer viable on its own. You can’t have tipped employees making $45 an hour while line cooks make $15. You can’t buy a $3 can of cheap beer at a dive bar in the East Village if the “dive bar” is actually paying $18,000 a month in rent, $30,000 a month in payroll; it would have to cost $10. I can’t keep hosing down the sauté corner myself just to have enough money to repair the ripped awning. Prune is in the East Village because I’ve lived in the East Village for more than 30 years. I moved here because it was where you could get an apartment for $450 a month. In 1999, when I opened Prune, I still woke each morning to roosters crowing from the rooftop of the tenement building down the block, which is now a steel-and-glass tower. A less-than-500-square-foot studio apartment rents for $3,810 a month. (...)
For the past 10 years I’ve been staring wide-eyed and with alarm as the sweet, gentle citizen restaurant transformed into a kind of unruly colossal beast. The food world got stranger and weirder to me right while I was deep in it. The “waiter” became the “server,” the “restaurant business” became the “hospitality industry,” what used to be the “customer” became the “guest,” what was once your “personality” became your “brand,” the small acts of kindness and the way you always used to have of sharing your talents and looking out for others became things to “monetize.”
The work itself — cooking delicious, interesting food and cleaning up after cooking it — still feels as fresh and honest and immensely satisfying as ever. Our beloved regulars and the people who work so hard at Prune are all still my favorite people on earth. But maybe it’s the bloat, the fetishistic foodies, the new demographic of my city who have never been forced to work in retail or service sectors. Maybe it’s the auxiliary industries that feed off the restaurants themselves — the bloggers and agents and the “influencers,” the brand managers, the personal assistants hired just to keep you fresh on “Insta,” the Food & Wine festivals, the multitude of panels we chefs are now routinely invited to join, to offer our charming yet thoroughly unresearched opinions on. The proliferation of television shows and YouTube channels and culinary competitions and season after season of programming where you find yourself aghast to see an idol of yours stuffing packaged cinnamon buns into a football-shaped baking pan and squirting the frosting into a laces pattern for a tailgating episode on the Food Network. (...)
I cannot see myself excitedly daydreaming about the third-party delivery-ticket screen I will read orders from all evening. I cannot see myself sketching doodles of the to-go boxes I will pack my food into so that I can send it out into the night, anonymously, hoping the poor delivery guy does a good job and stays safe. I don’t think I can sit around dreaming up menus and cocktails and fantasizing about what would be on my playlist just to create something that people will order and receive and consume via an app. I started my restaurant as a place for people to talk to one another, with a very decent but affordable glass of wine and an expertly prepared plate of simply braised lamb shoulder on the table to keep the conversation flowing, and ran it as such as long as I could. If this kind of place is not relevant to society, then it — we — should become extinct.
by Gabrielle Hamilton, NY Times | Read more:
Image: Philip Montgomery for The New York Times
[ed. See also: Can the Restaurant Industry Be Saved? (Rolling Stone)
For 10 days, everyone in my orbit had been tilting one way one hour, the other the next. Ten days of being waterboarded by the news, by tweets, by friends, by my waiters. Of being inundated by texts from fellow chefs and managers — former employees, now at the helm of their own restaurants but still eager for guidance. Of gentle but nervous pleas from my operations manager to consider signing up with a third-party delivery service like Caviar. Of being rattled even by my own wife, Ashley, and her anxious compulsion to act, to reduce our restaurant’s operating hours, to close at 9 p.m., cut shifts.
With no clear directive from any authority — public schools were still open — I spent those 10 days sorting through the conflicting chatter, trying to decide what to do. And now I understood abruptly: I would lay everybody off, even my wife. Prune, my Manhattan restaurant, would close at 11:59 p.m. on March 15. I had only one piece of unemotional data to work with: the checking-account balance. If I triaged the collected sales tax that was sitting in its own dedicated savings account and left unpaid the stack of vendor invoices, I could fully cover this one last week of payroll.(...)
But I know few of us will come back as we were. And that doesn’t seem to me like a bad thing at all; perhaps it will be a chance for a correction, as my friend, the chef Alex Raij, calls it.
The conversation about how restaurants will continue to operate, given the rising costs of running them has been ramping up for years now; the coronavirus did not suddenly shine light on an unknown fragility. We’ve all known, and for a rather long time. The past five or six years have been alarming. For restaurants, coronavirus-mandated closures are like the oral surgery or appendectomy you suddenly face while you are uninsured. These closures will take out the weakest and the most vulnerable. But exactly who among us are the weakest and most vulnerable is not obvious.
Since Prune opened in the East Village, the neighborhood has changed tremendously in ways that reflect, with exquisite perfection, the restaurant scene as a whole. Within a 10-block radius of my front door, we have the more-than-100-year-old institutions Russ & Daughters and Katz’s Delicatessen. We have hole-in-the-wall falafel, bubble tea and dumpling houses, and there’s a steakhouse whose chef also operates a restaurant in Miami. There’s everyday sushi and rare, wildly expensive omakase sushi, as well as Japanese home cooking, udon specialists and soba shops. There’s a woman-owned and woman-run restaurant with an economic-justice mission that has eliminated tipping. Bobby Flay, perhaps the most famous chef on the Food Network, has an 125-seater two avenues over. We have farm-to-table concepts every three blocks, a handful of major James Beard Award winners and a dozen more shortlisted nominees and an impressive showing of New York Times one- and two-star earners, including Madame Vo, a knockout Vietnamese restaurant just a few years old. Marco Canora, who started the country’s migration from regular old broth to what is now known by the name of his shop, Brodo, has published a couple of cookbooks and done a healthy bit of television in the course of his career. He still runs his only restaurant, 17-year-old Hearth, on First Avenue.But block after block, for so many years now, there are storefronts where restaurants turn over so quickly that I don’t even register their names. If Covid-19 is the death of restaurants in New York, will we be able to tell which restaurants went belly up because of the virus? Or will they be the same ones that would have failed within 16 months of opening anyway, from lack of wherewithal or experience? When we are sorting through the restaurant obituaries, will we know for sure that it was not because the weary veteran chef decided, as I have often been tempted myself in these weeks, to quietly walk out the open back door of a building that has been burning for a long time?
It gets so confusing. Restaurant operators had already become oddly cagey, and quick to display a false front with each other. You asked, “How’s business?” and the answer always was, “Yeah, great, best quarter we’ve ever had.” But then the coronavirus hits, and these same restaurant owners rush into the public square yelling: “Fire! Fire!” They now reveal that they had also been operating under razor-thin margins. It instantly turns 180 degrees: Even famous, successful chefs, owners of empires, those with supremely wealthy investors upon whom you imagine they could call for capital should they need it, now openly describe in technical detail, with explicit data, how dire a position they are in. The sad testimony gushes out, confirming everything that used to be so convincingly denied.
The concerns before coronavirus are still universal: The restaurant as we know it is no longer viable on its own. You can’t have tipped employees making $45 an hour while line cooks make $15. You can’t buy a $3 can of cheap beer at a dive bar in the East Village if the “dive bar” is actually paying $18,000 a month in rent, $30,000 a month in payroll; it would have to cost $10. I can’t keep hosing down the sauté corner myself just to have enough money to repair the ripped awning. Prune is in the East Village because I’ve lived in the East Village for more than 30 years. I moved here because it was where you could get an apartment for $450 a month. In 1999, when I opened Prune, I still woke each morning to roosters crowing from the rooftop of the tenement building down the block, which is now a steel-and-glass tower. A less-than-500-square-foot studio apartment rents for $3,810 a month. (...)
For the past 10 years I’ve been staring wide-eyed and with alarm as the sweet, gentle citizen restaurant transformed into a kind of unruly colossal beast. The food world got stranger and weirder to me right while I was deep in it. The “waiter” became the “server,” the “restaurant business” became the “hospitality industry,” what used to be the “customer” became the “guest,” what was once your “personality” became your “brand,” the small acts of kindness and the way you always used to have of sharing your talents and looking out for others became things to “monetize.”
The work itself — cooking delicious, interesting food and cleaning up after cooking it — still feels as fresh and honest and immensely satisfying as ever. Our beloved regulars and the people who work so hard at Prune are all still my favorite people on earth. But maybe it’s the bloat, the fetishistic foodies, the new demographic of my city who have never been forced to work in retail or service sectors. Maybe it’s the auxiliary industries that feed off the restaurants themselves — the bloggers and agents and the “influencers,” the brand managers, the personal assistants hired just to keep you fresh on “Insta,” the Food & Wine festivals, the multitude of panels we chefs are now routinely invited to join, to offer our charming yet thoroughly unresearched opinions on. The proliferation of television shows and YouTube channels and culinary competitions and season after season of programming where you find yourself aghast to see an idol of yours stuffing packaged cinnamon buns into a football-shaped baking pan and squirting the frosting into a laces pattern for a tailgating episode on the Food Network. (...)
I cannot see myself excitedly daydreaming about the third-party delivery-ticket screen I will read orders from all evening. I cannot see myself sketching doodles of the to-go boxes I will pack my food into so that I can send it out into the night, anonymously, hoping the poor delivery guy does a good job and stays safe. I don’t think I can sit around dreaming up menus and cocktails and fantasizing about what would be on my playlist just to create something that people will order and receive and consume via an app. I started my restaurant as a place for people to talk to one another, with a very decent but affordable glass of wine and an expertly prepared plate of simply braised lamb shoulder on the table to keep the conversation flowing, and ran it as such as long as I could. If this kind of place is not relevant to society, then it — we — should become extinct.
by Gabrielle Hamilton, NY Times | Read more:
Image: Philip Montgomery for The New York Times
[ed. See also: Can the Restaurant Industry Be Saved? (Rolling Stone)
