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Posted 09 October 2008 - 07:20 AM
I only regret that in my visit there were not so many Wagyu courses, only two. I was not so amazed by it and somehow feel that will have to give it more tries.
Posted 10 October 2008 - 11:12 PM
For more wagyu, maybe try Totoraku (the "secret" Japanese beef place) next time? I've not been but maybe Carolyn Tillie can chime in about how it compares (or not) to Urasawa.Great post. My personal taste notwithstanding, I agree with most. The guy is great.
I only regret that in my visit there were not so many Wagyu courses, only two. I was not so amazed by it and somehow feel that will have to give it more tries.
Posted 12 October 2008 - 07:04 PM
For more wagyu, maybe try Totoraku (the "secret" Japanese beef place) next time? I've not been but maybe Carolyn Tillie can chime in about how it compares (or not) to Urasawa.Great post. My personal taste notwithstanding, I agree with most. The guy is great.
I only regret that in my visit there were not so many Wagyu courses, only two. I was not so amazed by it and somehow feel that will have to give it more tries.
Totoraku is a stunning restaurant and very much like Urasawa, the joy of the experience is the interaction with Chef Kaz. While Urasawa giggles and entices with his fish offerings in an austere and elegant setting, Chef Kaz beguiles and astounds with all matters of beef in a setting -- ahem -- less austere and more cozy. For a true die-hard Japanese food fan, if one had the money and stamina, I would eat about both restaurants on consecutive nights for what could be considered an insanely complete experience (if you can get into Totoraku).
Posted 12 October 2008 - 08:46 PM
Posted 12 October 2008 - 09:50 PM
What beverages do they have available? Do they allow corkage? I was thinking about bringing a bottle of champagne. I'm not into sake. To those who already ate at Urasawa, do you order regular water? Does having water help you focus more on the food?
And one last question for now: Will Urasawa get that third Michelin star this year?
Posted 23 October 2008 - 01:34 PM
I had an opportunity to eat at Urasawa a few years ago, and it was quite a memorable meal. I remember saying to the waiter that it must be an amazing place to work, and he said under his breath, "You really don't want to work here." I guess a monks life is not for everybody!
I didn't whip out my camera, but I posted a bite-by-bite description here:
Posted 23 October 2008 - 10:53 PM
Re: the photos, I later found out that this guy, who was eating just down the bar from us that night, posted his pictures. Way prettier than any of ours, I must say!
Posted 08 June 2009 - 04:11 PM
I ate at Urasawa in April.
Please click here for full commentary and photography: HERE
Irashaimase! This is the traditional welcome with which Hiro-san greets the guests that enter his eponymous Los Angeles restaurant.
It is a restaurant with a short story that starts with a notorious Japanese chef who, born in Tochigi, moved to Tokyo to work at the legendary Ginza Sushi-ko. In 1980 he left for LA and, after a few years there, he opened, with his former mentors permission, his own Ginza Sushi-ko. He became the most famous sushi chef in America with a reputation for superior sourcing much of his ingredients were flown in straight from Tokyos Tsukiji Market and for superior prices. He soon gained a name, fame and widespread following. One fan was Thomas Keller, who happened to be opening a second venture in New York Citys new Time Warner Centre and, through an agreement with the sites developer, was able to hand pick which chefs would be permitted to share the building with him. He was Kellers first choice and, in early 2004, was convinced to trade in Beverley Hills for Manhattan and a spot conveniently doors down from Kellers Per Se. His name was Masayoshi Takayama (affectionately known as Masa). However, Masa was unable to manage two residences, so sold his former sushi-ko to his former sous chef. His name was Hiroyuki Urasawa.
Originally from Tokyo, where he grew up in the kitchen of his fathers Chinese restaurant before going onto Kyoto to learn the art of Kaiseki, Hiro-san immigrated to America in the early nineties. His first job was as Masas second and lasted until his mentor moved on and he bought the place, which to this day remains his sole professional address in the States and where he claims he is staying forever. As chef-patron, he changed the name and expanded the menu from straight sushi to kaiseki-sushi, but continues to hold immense respect for his former teacher, proudly telling diners Masa is most expensive restaurant in the country and regularly revealing, this is where Masa worked, as he points to where he presently stands himself, adding, and that is where I was, as he points to his left, where his silent number two now toils. This happens to be his brother-in-law, Ken; it is actually a family affair as his sister handles the service with even their mother getting involved, bringing over ingredients unavailable in America when she visits. It is his mother, in fact, whom he describes as his favourite chef. Hiro-san has earned a reputation as an exceedingly passionate and skilled itamae, as well as a great host humble and welcoming, gracious and generous, guests only ever have good things to say about him. In 2007, Urasawa was recognised by Michelin, who awarded him two stars. Interestingly enough, of all the congratulations that came his way afterwards, he kept just one, a letter from Keller, who has not yet eaten at Urasawa, but did go to Ginza Sushi-ko whilst Hiro-san was assistant (although they never spoke) his esteem for this chef is circuitous proof of the regard that student still retains for teacher. He admits that food is my life and is clearly dedicated to his discipline, which has even led him to run-ins with the law. He is one of only two cooks licensed to handle fugu in the States (it is easy to guess the other ), but the fish has been banned in California; Hiro-san served it nonetheless and, when fined, continued to offer it under an assumed name until he was fined again and threatened with the closure of his business.
The restaurant resides at two Rodeo Drive. There is no discernable proof of its presence until one enters the elevator that is required to reach its spot sitting atop an underground parking complex and high-end shopping centre; Jimmy Choo, Gucci, Smythson, Tiffany et al. have to share the first floor, whilst Urasawa holds the whole of the second by itself. A winding corridor wends its way to a dimly lit reception where, in the far corner, pearly noren curtains punctuated only by black kanji calligraphy, just about betray a sliding wooden door. Inside, the entire interior is immediately visible. Seating is limited to ten and available by reservation only Hiro-san wants to ensure he does not over-stretch himself with a small private room to the left that caters for four more. Glossy, brushed, aquamarine green walls; light elm wood ceiling; irregular pastel navy quadrilaterals tiling the floor; and a large window along the right wall, frame a space dominated by the actual sushi bar. This honey-hued, L-shaped counter of cypress is surrounded by dark blue satin cloth-covered chairs in front and a colourful, traditional takenomo behind. Within it, Hiro-san, dressed in charcoal grey haori and wooden clogs, works on the left, where a considerable chopping board can be found as can the itamaes custom-made Japanese blade; seafood sits on ice on the right or in a tank under the counter; and the beef, tamago and small notepad in which the chef records guests names, rests on the table that runs along the back of the bar. Beyond the far wall, a surprisingly spacious kitchen is partitioned off. At each place setting, there is but a white linen napkin laid with chopsticks and little porcelain rest plus a lacquered black box of carved toothpicks and dark bamboo coaster. The crockery that comes later has been specially selected by Hiro-san during return trips to Japan with some pieces hundreds of years old. Although clothed on this visit, when undressed, names may be seen attached to the back of the chairs these belong to special members who invested in the business when it was just beginning.
The décor has not changed much since Masas day. Neutral, natural and minimalist, it forms a tranquil and functional environment that allows diners to focus on eating and on the experience. Light floods in from the large window, but as it lies behind guests, one still feels detached and apart from the city outside.
There is no menu. This is omakase dining the chef will decide, depending on what was best at the market that day, what will be served that evening. There are several amusing anecdotes around including one of Ricky Martins manager begging on the phone for a spicy tuna roll to be added to the menu and another of Janet Jackson leaving when refused a spider roll. Hiro-san does not make such concessions. He simply asks whether there is anything one cannot or will not eat. And it begins.
Kaiseki 1: Toro-senmaizuke maki. Two bundles, each assembled with a slice of seared toro, wrapped around a sliver of ankimo, scallion and shiso leaf and enwrapped with strips of senmai-zuki, were both crowned with Oscietra caviar and sitting in a pool of shallow ponzu sauce in a suspended bowl of gold. Crisp, pickled shoguin kabu or Kyoto turnip complimented the fatty tuna belly, whose flavour had been enhanced by the gentle application of a little heat. These contrasting textures were mimicked within by the crunchy scallions and creamy monkish liver, which was reminiscent of foie gras. The caviar added a brininess that was balanced by the citric sharp sauce which, with the maki consumed, was finished straight from the plate.
Kaiseki 2: Goma dofu; Kyoto style. A large dumpling, plaited at its crest and topped with hand-grated wasabi from Shizuoka and twenty-two carat gold leaf, was stuffed with sea urchin from Hokkaido and set in its traditional sauce. Goma dofu, meaning sesame tofu, is a Buddhist temple, or shojin-ryori, recipe that actually involves no soy, but is instead made from water, ground sesame paste and thickened with kudzu root powder. The result is a surprisingly light, yet thick consistency and subtle, delicate taste. The rich uni within offered sweetness, whilst without, the fresh wasabis enlivening effect worked well. The urchin was also highlighted by the salty, sweet and faintly fishy flavours of the soy, mirin and bonito dashi, which was again cool and delicious.
Kaiseki 3: Sashimi; kanpachi, toro, uni. Amidst a tray of mixed stones rested a circular ice sculpture with diagonally winding serrated edges, hewn that very morning by Hiro-san himself, holding an orchid leaf layered with a pair of kanpachi fillets from Toyama, a couple of tranches of toro and sea urchin tongues from Santa Barbara. The itamae had arranged the sashimi, whist his assistant, Ken, assembled the condiments and adornments more fresh wasabi from Shizuoka (its legendary origin), red cabbage, Kyoto carrot, nori, daikon leaves and an ivory orchid flower, its leaves tinged with crimson. Starting with the lightest fish first, the pristine coils of amberjack, in ascending hues of pink, from alabaster to cerise, were tender and light; the Wakayama (where it was first created) soy sauce supplied separately and sweet and spicy wasabi came in handy here. Then, firm, coral pink tuna belly resembled well-marbled steak and was very tasty. Finally, very intense and very creamy, the uni was incredible.
It was during the last course that Hiro-san expressed his dissatisfaction with my chopstick technique. Although my own style had suited me effectively for some years already, the master proceeded to show me the correct method; not at all shy, he manoeuvred my fingers into their rightful positions with his. I was just glad we were alone at the sushi bar
Kaiseki 4: Yuba chawanmushi. Hiro-sans rendition of this classic Japanese savoury egg custard was a treasure trove an unusually translucent skin revealed the custom-made cup to be crammed full of hairy crab, sea urchin, red snapper, shrimp, shitake, mitsuba, yuba, squash and gingko nuts, all in a half-egg, half-dashi blend flavoured with ginger, soy sauce and mirin. After allowing a few photographs to be taken, Hiro-san stirred the cup through himself, breaking the jellied surface and mixing it with the liquid dashi and underlying contents. The resulting soup was hot, syrupy and gelatinous with the eclectic elements making each spoonful a different and dynamic one. The shellfish was meaty and distinct with the hairy crab, a Shanghai delicacy and considered the finest and purest flavoured of its species, standing out especially. Drawing further on Chinese culture, the chef, in order to counter the cooling effect (yin) on the body that this crab is considered to have, used ginger, a yang ingredient (with warming properties), whose gentle spice settled nicely with the subtle smokiness of the bonito broth, sweet mirin and refreshing, bitter mitsuba. The gingko nuts and yuba made the dish as texturally interesting.
Kaiseki 5: Tempura; spring vegetables. Three flaky, golden yellow nuggets of assorted tempura arrived upon a burnished dish lined emphatically with white paper and accompanied with a mini mound of grated daikon, tipped with ginger, besides a decorative bowl of tentsuyu sauce. The seasonal selection consisted of taranome (Japanese Angelica) in uni paste; fukinoto (butterbur) with Kyoto miso; and take (bamboo) root in a blanket of shrimp purée. Hiro-san showed the way once again, reaching over the counter, lifting the daikon-ginger stack with his chopsticks and depositing it in the soy, mirin and dashi dipping sauce before stirring it through. Every piece was flawlessly fried although this fact was already evinced by the still-stainless paper padding the plate. The thick cut of taranome had a slightly bitter flavour that found its precise counterpoint in the sweetness of the sea urchin and batter. The same balancing act was repeated just as skilfully with the couplings of fibrous fukinoto-white miso and crunchy bamboo-shrimp. The vegetables were all exceedingly fresh and each symbolic of springs onset; this applied especially to the butterbur, which in Japan, is considered an essential omen of the coming season, whilst angelica is also thought to be the best exemplar of tempura. The single most memorable detail of this dish was the consummate structure of each morsel; the tender vegetable at the centre was coated in crisp, brittle batter whilst in betwixt these two there remained a succulent, pasty layer that though cooked through, was left untouched by the oil. The fantastic effect of this redefined my understanding of what tempura ought to be and it would not be hyperbole to assert that I now accept that I have never eaten serious tempura before eating it at Urasawa.
Kaiseki 6: Hoba Yaki; wagyu, takenoko, Santa Barbara spot prawn. A portable hibachi was set up on the counter for this meibutsu from Takayama; upon it, over warm coals, lay a large, umber hoba leaf laden with a cube of Kagoshima black beef, block of bamboo shoot tip and candy-striped Santa Barbara spot prawn, all immersed in amber tama miso. Immediately, the magnolia, often described as the aristocrat of the plant world, emitted a welcoming scent whilst its bounty was already ready to eat. The beef, from cattle stock raised on a diet of sweet potato and spirits, rich in fat with creamy almost sweet taste, was an excellent specimen. It was followed by bamboo shoot that had almost melted into grainy thickness and whose sweetness was testament to the quality of Hiro-sans supply lines takenoko starts to turn hard and somewhat bitter as soon as it is dug up and finished with the semi-cooked shrimp that remained sapid, firm and juicy. As good as these were though, the real brilliance here subsisted in the almost hollandaise-like (but much better) sauce of Kyoto miso, egg yolk, soy, sake, spring onions and mirin. Intense, spicy-sweet, salty-rich and with a nice sake hit, this velvet syrup was simply delicious.
Kaiseki 7: Shabu shabu; hotate, wagyu, goose foie gras. The hibachi stayed for the succeeding course, but the hoba leaf was substituted for a small steel basin bearing kombu dashi; a bowl of scallion-infused tosazu sauce as well as raw scallop, Kagoshima black beef, goose foie gras and kombu also appeared alongside. This was the shabu shabu course. Story has it that this dish was first conceived of over seven hundred years ago by none other than Genghis Khan so that he might feed his Mongol Horde; Hiro-san, as an homage to his mentor, still serves Masa-sans shabu shabu and, in fact, it remains the only ever-present on his menu. Incidentally, if the reputation that precedes Masayoshi Takayama is to be trusted, this may well not be the first time his and Genghis names have found themselves in the same sentence.
Daniel-san did the decent thing and accepted responsibility for the actual cooking. First into the hot broth, the amount of which the chef adjusts according to the size of the diner, he lowered the foie gras; this is always the initial ingredient in as it requires the longest time to cook whilst also enriching the stock and thus, the subsequent scallop and beef with its own flavour. Some kelp and the shellfish were added next, with the latter removed merely moments later and placed in the tepid soy-vinegar-bonito-mirin sauce; evenly cooked, it was smooth and supple. The thin slice of A5 grade beef followed; this was swirled through the dashi so inducing the onomatopoeic sounds that the shabu shabu takes its title from quickly warming the well-marbled wagyu to melt-in-the-mouth malleability. It was a nice contrast to the firm, clean hotate. Finally, the foie was lifted out. Soft and buttery, but still intact, the flavour was startlingly subtle. Its livery intensity had been exchanged for the soups savoury richness, but not lost beads of foie oil essence floated visibly in the broth. So that nought ought to go to waste, a spoon was called for and, with the tosazu poured in, it made for a hot, salty, sharp and satisfying drink of umami.
The end of the kaiseki and start of the sushi was signalled by the setting of a lacquered wooden board between the itamae and myself and the appearance of gari. These tasty thin strips of young ginger that had been marinated in sugar and vinegar by Hiro-san, in house, were spicy, citrusy and refreshing; they were provided as a palate cleanser to be enjoyed between nigiri.
For his sushi, Hiro-san likes koshihikari rice, a Japanese super premium short-grain strain noted for its unique consistency, aroma and natural sweetness. He also likes less of it, claming to use only one-hundred-and-eighty grains with each nigiri which though seemingly too specific a figure to be sincere, such is the chefs skill and meticulous technique that one is obliged to think twice before questioning it and thereby increasing the tane-shari ratio in favour of the former.
In his preparation of every sushi piece, Hiro-san does all the work for the diner. Taking the topping, applying crucial cuts with his custom knives, he fuses it with the warmth of his hands to the rice he takes a portion at a time from the continually refilled hangiri sitting close by and adds a smear of wasabi, splash of soy or shred of yuzu skin each tane needs its own unique blend of these condiments to bring out what is inherently best about it. The primed morsel is presented before the guest with the minimum of effort left for them to exert before they can enjoy it.
Nigiri 1: Otoro. If one imagines tuna belly to be divided into three parts, this is from the lowest and fattiest segment and so considered the tastiest. A pretty shade of rose, this was as fresh as it could be and, served cool instead of cold, simply melted away on the tongue.
Nigiri 2: Kama toro. Cut from the tunas collar, this seared specimen was doubly special; the collar makes up less than a single percentage of the fishs entire body, making this rather rare; and as it is from an area that regularly receives a lot of blood flow, it is naturally rich in meaty flavour. The cooking left the meat creamy with a faint crust, whilst citric yuzu and salty soy worked well with its light chariness.
Nigiri 3: Kanpachi. Shimmering, semi-see-through section of Amberjack, bright rouge diffused through and embellished with a skinny border of silver, was refined and delicate with unexpected bite.
Nigiri 4: Seki Aji. Fruity and spicy horse mackerel had some oily richness, but was well balanced by a bit of wasabi heat. Its texture was pleasingly firm.
Nigiri 5: Tai. Shingled ripples of milky muscle were rimmed with florescent pink and peppered with bright yellow yuzu rind, which enlivened the mild savour of this so-called king of fishes whilst its dense and sleek yet sinewy, cartilage-like consistency was very interesting. This breed is at its best in spring.
Nigiri 6: Maguro. Bluefin tuna is a favourite and sushi staple across the world. The radiant crimson was creamy and had robust, beefy flavour refreshed with a trace of soy sauce and the buzz of wasabi.
Nigiri 7: Shima aji. Two ethereal, translucent layers of lustrous pearly-blond skin, reinforced with reddish meat, were slightly sweet and slightly oily.
Nigiri 8: Shitake. The mushroom sushi was something of a surprise, but welcome indeed. A shitake mushroom, smoked over open charcoal until its ivory flesh coloured goldenrod, was then sprinkled with yuzu and sliced into two; each half crowned a triangle of pearly rice. Meaty, smoky, earthy and aromatic, these moist morsels were very tasty.
Nigiri 9: Kohada. Silver, glossy gizzard shad, its surface slit repeatedly to reveal pastel pink as well as to allow the tane to sit comfortably atop the rice, was tender in texture and strong in taste, though tempered with citrus. A cousin to herring and mackerel, it is a fishy-flavoured variety that requires curing with salt and washing with rice vinegar, however this preparation was applied with pleasing subtlety.
Nigiri 10: Shiro ebi. These tiny white shrimp, totalling about twenty per tane, are a speciality from Toyama Prefecture. Once on the tongue, the cluster disentangles and dissolves into a sweet, shellfish paste.
Nigiri 11: Mategai. To prove its freshness, Hiro-san stretched the razor clam flat out upon the wooden worktop then tapped it. It stood to attention and then attempted to curl itself up again. Supple with bite, the flavour was sweet and citrusy.
Nigiri 12: Sayori. With sterling skin and lucent meat sandwiching a ribbon of rosy red dermis, the slender, narrow needlefish was wrought into an intricate coil inside a small bow. This lovely example had great texture and a subtle savour that was sharpened with a little soy sauce. Sayori is very seasonal and another sign that spring is coming.
Nigiri 13: Toro. Tuna belly is widely considered the king of sushi ingredients and often serves as a benchmark with which to compare one sushi-ko to another. Hiro-sans pretty pink piece was thin yet fatty and carried considerable flavour.
Nigiri 14: Saba. A Kyoto special, metallic mackerel has serious fishy flavour, accentuated with only with a touch of wasabi. This specimen showed off the itamaes skill as its oily flesh breaks apart easily as it is cut.
Nigiri 15: Uni. Two tangerine tinted tongues of Santa Barbara sea urchin superimposed this sushi. Meltingly soft, surprisingly sweet and superbly rich, the uni was utterly yummy.
Nigiri 16: Mirugai. The geoduck clam, seasoned with soy, yuzu and wasabi, carried skinny straight cuts that had been made to tenderise the stiffer meat. The result was a fibrous crunchiness that bore subtle, briny sweetness.
Nigiri 17: Awabi. Hiro-san, taking the whole mollusc, meticulously whittled it down until a single sliver remained; after carefully shaping the piece and criss-crossing its surface with his sharp blade, he applied some soy sauce and yuzu to it. Although tenderised by the scoring, the abalone had some crunch, though less than the mirugai before it. The flavour came mainly from the zesty citrus.
Nigiri 18: Hotate. Lightly etched scallop, creamy and soft, was drizzled with a little anago no tsume and yuzu. This sauce, a nitsume, is a sweet glaze made from the broth used to poach sea eel, soy sauce, sugar and mirin. Rich and thick, this delicious syrup was a pleasing contrast to the clean scallop and tart yuzu.
Maki: Hotate-negitoro maki. First, Hiro-san demonstrated his deft knife work once again by carving a perfect line off from the circumference of the scallop in a single, seamless motion as he wheeled the shellfish, upright on its side, along his cutting board. He then carefully prepared the hosomaki, adding rice, the hotate, toro and finally scallions to the nori wrapping before rolling the makisu and dividing the entire cylinder into six even sections. Each light, dainty roll tendered an assortment of textures pasty, creamy, soft, grainy, leafy, crunchy with satisfyingly firm scallop and fatty tuna.
Nigiri 19: Aji no tataki. Spanish mackerel was not readily available in old Edo, thus it had to be enjoyed as tataki or sashimi and aided by extra condiments to freshen its flavour; here Hiro-san continues this custom, dicing his aji and binding it with Kyoto miso to scallion, shiso and ginger. The oily richness of the fish was cut with the anise-tang of the shiso as the gingers spice worked well with the mackerels strong savour whilst miso added complexity and a little sweetness.
Nigiri 20: Gyu tataki. Kagoshima black beef was sliced thinly and laid over a brazier for literally moments before being given a lick of yuzu. The amaranth ration of adipose mingled with a little muscle was meltingly good like beef butter with an underlying wasabi warmth and citrus zing.
Nigiri 21: Toro suji. A flaky, meaty seared serving of tuna belly sinew was scrumptious; the heat had softened the fat and tendons and left behind a toothsome smokiness that complemented the innately concentrated beefy flavour of the belly.
Nigiri 22: Anago. Another ingredient that is at its best in spring, sea eel is an excellent indication of the itamaes ability, but also taste as each sushi-ko prepares, cooks and serves it slightly differently. At Urasawa, parboiled then grilled, it arrives already ready from the kitchen; Hiro-san subsequently un-skewers the meat and applies the same tsume that was tasted on the scallop and a little grated yuzu. The result was rich, sticky, sweet and hot. Cooked and heavy, this moreish morsel was bittersweet as it signalled that the end was nigh.
Nigiri 23: Atsuyaki Tamago. And indeed it was. Tamago is the last of Hiro-sans sushi treats. Composed primarily of egg with the addition of sugar, mirin, shrimp paste and possibly yam or bonito broth or both and cooked for several hours, the outcome was excellent. From the makiyakinabe it was baked in, with surgical precision Hiro-san removed a small, square sponge; thanks to its dense, compact bright crumb and curving, tanned top coat, one may mistake it for kasutera or Madeira cake. It is smooth, silky and misleadingly light yet strongly sapid with subtle, complex sweetness. Tamago is a traditional test of the itamaes talent.
Suddenly, a gasp from Hiro-san. He had realised that he had forgotten one nigiri.
Nigiri 24: Amaebi. Presenting the candy-striped Santa Barbara spot prawn still alive, Hiro-san swiftly separated its head from its body. This specimen, considered the finest shrimp on the West Coast, was laced with a little soy as well as a special sauce made from the shrimps cerebral matter. The many filaments that made up the spot prawn gave the tane a teasing initial crunch that soon turned into a tender, milky sweet paste. Having been swimming in an icy bath, the cold meat contrasted nicely with the milder shari.
Out of sight, out of mind. The chef stores those shellfish underneath his counter, so the fact that he had failed to remember it was understandable and also forgivable as it afforded me a second sample of the tamago.
Nigiri 25: Atsuyaki Tamago. Still tasty.
A bright blue plate bearing the first dessert was brought out. It was an awkward moment. I was having too much fun and was not ready for dessert. Unsure of what to do or whether I would indeed be offending in some way, I decided to sound out Daniel-san before saying anything to Hiro-san. After telling the latter that I want more, his advice was straightforward tell Hiro. So I did. What would you like, he asked. Take it from the top
Nigiri 26: Toro.
Nigiri 27: Kama toro.
Nigiri 28: Kanpachi.
Nigiri 29: Aji.
Nigiri 30: Tai.
Wondering what nigiri to serve me next, Hiro-san stopped, smiled and asked, you like uni, yes? I nodded involuntarily.
Nigiri 31: Uni.
Nigiri 32: Mategai.
Nigiri 33: Maguro.
Nigiri 34: Shima-aji.
Nigiri 35: Kohada.
Nigiri 36: Shiro ebi.
Nigiri 37: Awabi.
Nigiri 38: Toro suji.
Nigiri 39: Gyu tataki.
Nigiri 40: Amaebi.
Nigiri 41: Atsuyaki Tamago. A third taste of tamago and desserts were allowed to start.
Dessert 1: papaya with jelly grapefruit; yamamomo. Pink jellied grapefruit, forming immaculately set ersatz crowns atop semi-sliced segments of a wedge of yellow papaya, lay upon dark green, tear-drop orchid leaf alongside a maroon Japanese mountain peach cooked in citrus and honey, on an undulating azure blanket-like rhombus. The smooth grapefruit and ripe papaya pairing was sweet and sour, reflecting the inherent contrast in savour within the juicy yamamomo. This cleansed the palate whilst aiding digestion papaya contains the enzyme papain that helps the body process proteins.
Dessert 2: Goma Pudding; organic matcha tea. A small bowl, its contents composed of a maroon canvas speckled with chestnut crumbs and topped with sesame seeds and twenty-two carat foil, was accompanied by a chawan several times bigger that bore frothy matcha tea of bright, pastel shades. The goma grains beneath the gold leaf gave away what had been buried under the azuki bean paste the agreeably grainy an, sweet and nutty, struck a common note with the crunchy chestnut, and silky, toasty sesame pudding below. The tea, prepared with ritual and routine by Hiro-san after adding warm water to dried, ground tencha leaves, he deliberately blends the brew with a bamboo chasen until a uniform and desired consistency is reached balanced the sweetness of the pudding with bitter vegetal earthiness.
Cha: Hojicha. A second, light tea ended dinner. Roasting the green tea leaves, which Hiro-san does himself, leaves the hojicha with less astringency than the matcha before it with toasted and nutty notes that stirred up the lingering savours of the sesame dessert. The process also lowers its caffeine content, making this a customary after-meal tea.
Arriving at two Rodeo Drive, the suspense and excitement at what awaits is immediately felt. The ensuing enlistment of an elevator, hardly everyday, elevates ones emotions, as well as of course ones self and already hints that what follows will be anything but average. Reaching the right floor and forced to find ones way to the actual entrance only lifts the level of anticipation even further. In a far corner, beyond hanging noren curtains, one is beckoned by the opening of an opaque glass door.
To enter the restaurant physically is to enter another realm ethereally. Busy and brassy, pressured, superficial, complicated and unclean, all that is urban LA is left behind and without. Once within, one is in Hiroyuki Urasawas world. Serene and clean and fresh, elemental and organic, honest and real. The contrast is simple and complete yet so innate and intuitive that it can be unappreciated.
Hiro-san waits behind his sushi bar. He smiles and genuinely greets you. Introducing himself, he asks your name, which he notes down so that he shant forget it later. A touching gesture. It is the start of the relationship that enriches the omakase shimasu I leave it to you experience that will come. From then till dinners end, one is in Hiro-sans hands.
Trained in traditional kaiseki back in Japan, before joining Masas sushi-ko, the itamae is equally well-versed in either style and therefore is able to offer a hybrid of both by incorporating nigiri into a contemporary and cosmopolitan kaiseki framework. The latter was developed over five-hundred years ago by Buddhist priests in Kyoto so that they would not take their tea on an empty stomach. Initially following the ichiju sansai formula of one (miso) soup and three additional plates, it evolved, effectively, into Japanese haute cuisine; formal dining featuring several choreographed courses, composed of seriously local and seasonal produce prepared precisely and presented beautifully, served in succession by reverent servers to guests in intimate, private rooms. The cuisine is all-consuming; it is about more than just taste, it is about aesthetics and emotions also. The food ought to move the diner, changing their state of mind and improving their well-being. Thus the same attention applied to the ingredients upon the plate is also paid to the plate itself crockery is carefully selected and commonly consists of antiques that have passed down from generation to generation. The cooking asserts the season and the ceramics, as well as the garnishes that embellish them, adhere to it. As an entertaining aside, during the seventies, when the most influential French chefs of the day, including Bocuse, Senderens, Guérard and les frères Troisgros, visited Japan and discovered kaiseki, it became their inspiration for the menu dégustation.
Hiro-san still depends on the fundamentals of kaiseki ryori, but has also introduced the sushi bar interaction between itamae and eater into the dining equation. Although he has fused these two schools together, each is delivered with reverence to ritual and in classical custom, with the best of both defining his own style.
It is staunch seasonality that shapes and freshness that shepherds ones Urasawa experience. Ingredients change constantly depending on the market and time of year as it was April, this dinner boasted such symbols of spring as sayori, tai, hairy crab, fukinoto and even taranome, whose shun lasts just a fortnight or so. Hiro-san gets almost daily shipments of supplies from across the world, but Japan in particular; one can find the finest soy from Wakayama, best wasabi from Shizuoka and authentic Kobe beef here. However, he does not overlook localness and its importance within kaiseki. Hand-picked fish specially set aside for him, he picks up from International Marine Products and favours, for instance, spot prawns and uni from Santa Barbara. The chef claims that the sea urchins from here are of fairly similar standard to those from Hokkaido, but once the transport time from Japan is accounted for, the local variety delivers better. In fact, whether it be fish, meat, herb or leaf, the itamae is able to inform you confidently and proudly of its provenance.
Presentation is principal: each dish and detail is deliberate and material; excess is non-existent; there is eloquence in the empty spaces. The very first plate toro-senmaizuke maki sent a message. Sakisuke the first impression and hassun the overture in one, this spoke, suggested, enchanted and satisfied. The advent of April coincides with the blooming of the cherry blossom (sakura), immensely iconic in Japan, and this dish served as an immediate reminder of the flower and that fact. It was the pale pink colour of the seared toro strips that struck me as a remarkably subtle yet mightily evocative reflection of the flowering cherry. The aesthetic impressed further. In Japan, pink is often paired with yellow to signify spring and so the carnation colour of the meat was matched with the blond bowl and brightness of the ankimo within both maki. The green leaf was yet another patent prompt that it was April. Aside from the time of year, this was also an intimation of what the meal would entail. Actually, more than even that, it was an education in kaiseki. It taught of ceremony, courtesy, grace, beauty, skill, finesse and delicacy, of elegant luxury. And deliciousness.
Incidentally, although absolutely intentionally, the seasonality on ones plate also persists physically throughout the restaurant. This was manifest, for example, by the half-a-dozen cherry blossoms sitting in a small vase in one corner and the display adorning the takenomo that mirrored the months today golds, yellows and greens naturally dominated whilst a bushel of deutzia or utsigi took centre-stage (Aprils equivalent in old Japanese was Uzuki, a short form for u-no-hana-zuki, meaning when utsugi blossom).
The subsequent goma dofu was sweet deception. Unassuming and modest in appearance, seemingly dependent on gold foil to excite the eater, it was in fact an indication of the itamaes effort and dedication, having taken long hours of labour to grind the sesame into such light paste. Indeed it was found doubly-devious as the humble dofu had, inside itself, a hidden treasure trove of indulgent uni.
Each course revealed something more: the first offered an introduction, a signal of the season and bait to whet my appetite; the second, quite in contrast to the former, showed the chef was as capable working with a sows ear as he was initially with silk; but the third the mokozuke bodied forth freshness. The previous plate already succeeded in proving Hiro-sans readiness for hard work, therefore, for this dish, that success served as the base upon which to build further. Literally. Every morning the chef carves a block of ice into an artistic pedestal for pristine pieces of sashimi. His produce was the most evident testament to freshness, but the total effect was exaggerated by an entire aspect that was remindful of nature with the incorporation of ice practical, picturesque and denotative plants and pebbles all poetically reinforcing this thought and adding illusive life. Already articulated seasonal colours were also repeated with the almost progressive manner in which the kanpachi, toro, red cabbage and orchid flower fulfilled the range of shades lying between red and white, especially attractive.
Over the remaining courses, the continuation of the earlier-established themes such as pink, yellow and green being seen either in the crockery or what it carried; and the recurrence of flora as functional is easily obvious. Additionally, having already revealed Hiro-sans tempura as redefining, described the utter tastiness of the Kyoto miso and mentioned the creative and interesting inclusion of foie gras in the shabu shabu, my own thoughts on what followed have been disclosed and need no further note.
When the sushi starts, the sushi bar becomes a stage and dinner develops into drama. This is when one has the best opportunity to observe Hiro-san; already artist, sculptor and chef, he is now also actor and showman roles he seems to relish or, at least, effortlessly adopt.
Nothing is pre-prepared. Seafood is chilled on large blocks of ice, whilst some shellfish are kept alive until seconds before being served. Every nigiri is made immediately and Hiro-san allows you ten seconds to eat it. His creations are consistently delectable, but there is nearly equal delight to be experienced watching their assembly. He is a perfectionist and a master and, if only for a few hours, the patrons eating pleasure is his sole purpose. The care, attention and respect the chef shows his produce and, by extension, his guest is gripping.
At Urasawas level, sushi is about sensitivity and subtlety with merely marginal, nominal nuances separating one itamae from another. It is a cuisine of intricate equilibrium with stasis constantly sought; a balancing of the vinegar and sugar in the shari; its stickiness and solidity; between the warmth of the rice and cool of the topping. Once one factors in the speed needed, adaption to diners preferences and own paces and, of course, those sharp, sharp knives, it is no surprise that many sushi chefs are serious and sombre. Not Hiro-san. He is a smiler. And a comedian. Over time, many of his jokes have become catchphrases and today it was over nigiri that he had excuse to exercise a favourite, calling out across the counter, many times, ten dollars each photo!
I read somewhere that he used to ask for only five.
One of the most interesting and emotive aspects of a meal such as this is the interaction between itamae and diner; there is a direct relationship, a real connection. After warming the rice in his palm, adding the tane and dressing the morsel, he offers it, almost straight from his fingers into yours a powerful, intimate gesture, rich in meaning. As he feeds you, there is a brief, unconscious bond. Whether one realises it or not, dining here is very personal: Hiro-san crafts every dish; selects every ingredient; every cut made is made by him. He freshly grates the wasabi; has his own soy sauce formula; chisels the sashimis icy platters; makes the salt and picks the flowers that dress the restaurant himself. Even the countertop, formerly maple but recently replaced with cypress, he sands smooth and shiny daily. There is a tender focus and consideration to each detail and everything is executed with the same exacting level of care, diligence and devotion. His touch, his character and his personality are everywhere. Urasawa is Hiro-san.
Deep down I must admit that I feel kaiseki and sushi purists may less than appreciate the mingled model served here; they may also object to the itamaes sourcing of ingredients from all around the world rather than from immediately nearby or his inclusion of Western Oscietra caviar, truffles and foie gras. However, what they would deride as incorrect and tergiversant, I would argue well done and done to the benefit of the diner. I, for one, thought my meal tremendously exciting and enjoyable with the kaiseki-sushi fusion and inclusion of classic/exotic (depending on which world is yours) items, creative, challenging and delicious.
At the end of the meal, with cheque in one hand and my final cup of hojicha in the other, my gaze settled on the cherry blossoms in the corner. My mood at that minute was, rather fittingly if melodramatically, one better expressed and understood in Japanese than English. Mono no aware is a concept that illustrates the ephemeral nature of things and a bittersweet appreciation of the transience of life and all within it. Those flowers are the very incarnation of this emotion in Japanese culture. It was a poignant moment the evening, which having commenced with those maki so suggestive of the sakura, now concluded with their very image. It was a most beautiful roundabout to a most memorable evening.
Thus indeed did dinner end bittersweet. There was sadness in the fact that it had finished and also because of the certain difficulty I would face coming across anything of similar standard at home but then again, I already knew that Urasawa had ruined me for many other Japanese restaurants. Nonetheless, I was grateful for the opportunity to appreciate and contemplate what I had just enjoyed. And there was hope too: tonight, I had been given a glimpse of what I would discover, of what awaited me, farther west
However, until then, I have found my sushi Hiro.
Posted 09 June 2009 - 06:14 PM
I was just in Los Angeles and supposed to go as well but my dining companion became ill and it just didn't feel right going without her. I kind of regret that now, but made up for it with an amazing meal at Bazaar (will write that up shortly).
Posted 10 June 2009 - 05:29 AM
I was just in Los Angeles and supposed to go as well but my dining companion became ill and it just didn't feel right going without her. I kind of regret that now, but made up for it with an amazing meal at Bazaar (will write that up shortly).
Cheers, Carolyn.
That is a true shame!
I have been enjoying reading about your latest eating too and look forward to the Bazaar write up.
Posted 16 June 2009 - 02:13 PM
I was just in Los Angeles and supposed to go as well but my dining companion became ill and it just didn't feel right going without her. I kind of regret that now, but made up for it with an amazing meal at Bazaar (will write that up shortly).
Cheers, Carolyn.
That is a true shame!
I have been enjoying reading about your latest eating too and look forward to the Bazaar write up.
Great report Food Snob! Have you been to Masa in NY? I was curious how the two compared these days, as I think Hiro was Masa's former assistant.
Posted 18 June 2009 - 04:01 PM
No, unfortunately I have not. Indeed, Hiro did work under him before Masa moved to NYC.
From what I hear, although the food is at the very least comparable, the 'experience' is not always as pleasurable.
At which one?
Many reports have indicated that the experience at Masa often leaves people cold and feeling indifferent, while Hiro Urasawa is warm, gracious, and generous with his spirit.
Posted 19 June 2009 - 03:34 PM
No, unfortunately I have not. Indeed, Hiro did work under him before Masa moved to NYC.
From what I hear, although the food is at the very least comparable, the 'experience' is not always as pleasurable.
At which one?
Many reports have indicated that the experience at Masa often leaves people cold and feeling indifferent, while Hiro Urasawa is warm, gracious, and generous with his spirit.
Ah, thanks for clarifying. For what it's worth, I thought the experience at Masa was great. He was very friendly, generous and interactive, and seemed to be enjoying himself. Nothing cold or indifferent about it. Then again, since it's live humans we're talking about, so I'm sure the experience varies from visit to visit. Looking forward to Urasawa in the near future!
Edited by LPShanet, 19 June 2009 - 03:35 PM.
Posted 03 August 2009 - 05:24 PM
Ive been reading some places where the meal alone costs $300, with tax and tips it should come out to around $375.
Other sources claim that the meal alone is $350. Anyone?
Posted 03 August 2009 - 07:31 PM
To those who have been recently: How much was the cost of the meal alone(w/o tax and tips/drinks)
Ive been reading some places where the meal alone costs $300, with tax and tips it should come out to around $375.
Other sources claim that the meal alone is $350. Anyone?
I haven't been since last year, when it was $300 without drinks, tax and tip. I don't know if it has gone up, but its worth it.
Posted 03 August 2009 - 09:45 PM
To those who have been recently: How much was the cost of the meal alone(w/o tax and tips/drinks)
Ive been reading some places where the meal alone costs $300, with tax and tips it should come out to around $375.
Other sources claim that the meal alone is $350. Anyone?
I haven't been since last year, when it was $300 without drinks, tax and tip. I don't know if it has gone up, but its worth it.
My tab a year ago with only one of us drinking sake (premium, I'm sure) came to about $500 a person.
Posted 08 August 2009 - 08:42 PM
Posted 17 September 2009 - 05:46 PM
For more wagyu, maybe try Totoraku (the "secret" Japanese beef place) next time? I've not been but maybe Carolyn Tillie can chime in about how it compares (or not) to Urasawa.Great post. My personal taste notwithstanding, I agree with most. The guy is great.
I only regret that in my visit there were not so many Wagyu courses, only two. I was not so amazed by it and somehow feel that will have to give it more tries.
Totoraku is a stunning restaurant and very much like Urasawa, the joy of the experience is the interaction with Chef Kaz. While Urasawa giggles and entices with his fish offerings in an austere and elegant setting, Chef Kaz beguiles and astounds with all matters of beef in a setting -- ahem -- less austere and more cozy. For a true die-hard Japanese food fan, if one had the money and stamina, I would eat about both restaurants on consecutive nights for what could be considered an insanely complete experience (if you can get into Totoraku).
Totoraku does not serve Wagyu. The quality is nonetheless amazing. These are two totally different restaurants and other than being Japanese don't really compare to each other. Urasawa is kaseiki/sushi while Totoraku is yakiniku.
Posted 07 December 2009 - 05:26 PM
Posted 28 April 2010 - 08:23 AM
Food (and wine) - 95/100
I believe many readers already know about the history of Urasawa from Ginza Sushi-ko and being a disciple of Masa etc. so I will not elaborate further here. Instead, lets go directly to the food. Urasawa is one of a few restaurants that could combine kaiseki and sushi together. My meal had about 9 kaiseki dishes and some of the memorable ones are:
- Buta no Kakuni: Braised pork belly is prepared for two days and pretty much has no fat (only the collagen left). It was scrumptious - the top part has similar texture of toro or wagyu beef while the bottom meat is more flavorful. If I have to choose the best dish of the night, it will be the one.
- The toro tataki with caviar is complex, but delicious. The toro itself is of high quality, wrapping some uni, scallion and turnip; its served on the light and refreshing ponzu sauce. Wondeful dish its indeed important to start strong to give guest good impression
- Hoba yaki: served on big leaf are oily wagyu beef, fat prawn with nice texture and juicy scallop. Top quality ingredients served with sweet Kyoto miso sauce yummy!
The other dishes are (theyre still good): goma dofu, great sashimi (toro, uni and kanpachi), unique, rich and dynamic chawan mushi (many different ingredients) and the famous shabu-shabu, serving A5 black beef and foie gras.
After this, were served 18-20 nigiri sushi. Like other top notch sushi places, the wasabi is freshly grated and the use of soy sauce was unnecessary. My favorite are: slightly cooked kagoshima beef and o-toro (marbled and melt in your mouth), abalone, shitake mushroom and giant clam for their wonderful texture and the sweetness of uni and shiro ebi. The sushi part was a bit tricky for me it was great, but Ive tasted better. I think if youve been to the place like Jiro Ginza or Mizutani, you will understand what Im talking about. I had my best fishes (pretty much all kinds) in Jiro including the luxurious uni, o-toro, kuruma ebi or simple ones like ika, kohada, anago, aji. Even when tamago is used as the classic test for sushis quality, Jiro still won. Urasawa has sponge-like and tasty tamago, Jiros is more firm and flavorful - http://www.flickr.co...57604653739734/ - (I thought it was a dessert cake at first). Regardless of that, Urasawas sushi is possibly the best in the US, even better than any places in HK and Singapore. I dont find Hiro-sans rice to be inferior to Yasuda in fact I think the later one was rather over-rated.
During this meal, mostly the 1st half, the dishes were accompanied by flask of Hakkaisan Junmai Ginjo of Niigata - Its fragrance is clean and crisp with a more defined flavor. An enjoyable cold sake! Oh, the dessert is a refreshing grapefruit jelly and rather-intense sesame ice cream with organic macha. The food verdict 95/100 (2 ¾* by Michelin standard) its the best meal Ive had during my US trip last year (another one is per se). I feel that Urasawa faces similar situation as Ryugin, meaning Michelin wants to push both of them to the limit even though theyre already good enough to be 3-star, especially if you use the US or Hong Kong standard as a barometer.
Service (and ambiance) - 94/10
Though the restaurant is small, guests will not feel really cramped. The décor is simple and quite colorful. The staffs, both waiters and cooks, are quite minimal but it seems to be just right whenever you need something, someone will show up and assist you. The main star of hospitality here is actually Hiro-san himself. Hes not only an excellent chef/itamae, but also a nice and friendly person he will try to recognize each guest by name. Hence, dining here is more than just good food, its also entertaining, enjoyable and warmth. I would be more than happy to return here should I have time to stop by around LA.
The natural question after dining at Urasawa usually is: have you been to Masa? How do you compare both places? Well, I have not been to Masa somehow I do not plan to do so in the near future too. There are a few reasons: the cost is the obvious one, the inconsistency of the food, the fact that you need to leave in 2 hours or less after throwing $600 or more, the idea of forced upselling (kobe beef, truffle and so on) in the middle of the meal and expected tips on top of your 20% service charge as well as rather cold service except if youre served by Masa-san himself. So yeah, all of these push me away to try Masa at this moment.
Overall, this is a very pleasant dining experience (95 pts 2 3/4*). I hardly find bad reviews about this place. I know and believe Hiro-san can still do even better than he is right now. Im confident that in 2-3 years time, this place will be the 1st 3-star establishment in southern California area. Here are the pictures - Urasawa Spring '09
Posted 29 December 2011 - 08:39 AM
Food (and wine) - 96/100
Some of the memorable kaiseki course I ate there are
- The seared toro with ankimo, turnip, caviar and yuzu dressing. Along with the shabu2, its probably the most popular dishes at Urasawa. The dish is balanced in which fatty tuna mixed well with creamy liver and caviar's brininess, the sauce is light enough not to dominate the dish
I will not claim Im very knowledgeable in Japanese food, but I think I know enough. Yet, Ive never eaten any sesame tofu and houba yaki dishes except here.
- The goma dofu, a traditional Kyoto dish, integrates the light sesame flavor and unis creaminess. The dashi and wasabi will add more depth to this interesting dish
- Houba yaki is none other than dishes prepared on magnolia leaf that are served with Tama miso (grilled sesame paste with sake & sugar) sauce. Mine consists of Santa Barbara shrimp, Hokkaido scallop and Kobe beef The rich and delectable beef goes perfectly with the miso's flavor, the prawn is juicy and crisp, the scallop is delicate. The sauce is pleasantly sweet, but not cloying
- Matsuzaka Beef Tartar served with Russian Caviar, Pickled radish and Red bell pepper. It produces one of the best single bite in my life. The beef is sweet and decadent supported by generous portion of caviar's saltiness, the pepper is enjoyably tangy.
- The chawan mushi is also creatively prepared by Hiro-san. This time the egg custard is erved with Ikura (Salmon roes), shrimp, mushroom, Ginko, squash, gold leaf and Italian summer truffles. This dish is not only beautifully presented, but also very tasty - the texture is smooth and silky, complex with some tang and briny elements while the truffle is not too bad
- Dessert is not usually the strong aspect at Urasawa, but somehow I quite enjoyed the sesame ice cream served with Summer truffle and gold flake. The ice cream is rich and creamy, worked well with the earthy truffles
I will not go into much detail about the nigiri sushi I had (please take a look at the pictures on the link below). You will get about 20 pieces here and the order of serving may not always be the same. However, I notice some pattern is that Urasawa-san will serve the fish having the softest texture first with warmest rice (usually 170-180 grains). As guest enjoy the meal, the fishs texture will become firmer and firmer, then come the seafood-part. The sushi-omakase part at Urasawa is also the best sushi Ive ever tasted in the US overall (even better than Yasuda, Gari, Azabo and Oya). After 3 wonderful meals at Urasawa, Im thinking perhaps its the right time to try dining at Urasawas mentor Masa at Time Warner in the future. Its not yet reaching the high of Gagnaire or Passard in my note, but Im gladly give 96 pts (high 2 ¾*) to Urasawa. If by US Michelin standard, mediocre restaurants such as le bernardin and eleven Madison park can get the highest accolade, without doubt Urasawa got to be a 3-star establishment as well.
Service (and ambiance) - 94/100
As far as the service is concerned, actually Hiro Urasawa himself is the ultimate host. He's always friendly, gracious and accommodating to all guests, whether you are a regular or first timer. I considered myself blessed that I've always been seated in front of Urasawa-san including the last visit with my wife even though we're about an hour late (we reached there almost 8 PM). When I ate alone, he would happily initiate a conversation. Additionally, he would not let any guest go to the restroom or leave the restaurant without having someone open the door for him/her. It may seem like a small gesture, but this kind of thoughtfulness (besides the delicious food) is the very thing that creates a memorable dining experience. The rest of the staffs are alright, but do not expect to engage/having many conversations with them.
The overall experience is very pleasant and satisfying (95.5/100 2 ¾* by Michelin standard). You will spend at least 3 hours in this temple of Japanese haute cuisine and leave happy & satiating =)
For more detailed reviews: Urasawa review
For the dishes pictures: Urasawa summer '10 & '11


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What is Fraternal Leadership Institute?
FLI is a seminar series for undergraduate members of the Fraternity and Sorority community that serve as a framework for developing leadership within the membership of the community. Emphasis will be placed on understanding your leadership identity and style, communication style, conflict management, service learning and social responsibility.
FLI meets every Wednesday for 8 weeks in the Fall from 12.30 - 2pm in the CSALS Conference Room.


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Spinach Gruyere Puff Pastry Pinwheels
As hard as I've tried to like a variety of greens, many of them are too bitter for my tastes, so spinach is one of my few go-tos. It works out well, since it's also a key ingredient in one of my favorite appetizers of all time - spinach-artichoke dip (which, it turns out, is also good stuffed in mushrooms). For some reason, I haven't discovered a great homemade spinach-artichoke dip so I'm not sharing one this week but maybe by next year's Super Bowl I'll have one for you :)
I still wanted to make something with spinach for this week, and I had a few goals in mind as I set out do so. First, it had to be quick and easy. I always try to plan my menu with a few simple things to balance out some of the more time-consuming items. Also, there needed to be cheese - everything is better with cheese, including spinach. I opened my fridge and discovered a block of Gruyere that really needed to be used, plus I knew I had some puff pastry in my freezer, so that's where this idea started to take shape.
This appetizer really is as simple as mixing together some spinach and cheese, then rolling it up in a sheet of puff pastry. Gotta love that, right? Not only are these pinwheels a cinch to put together, they're completely addictive! The buttery puff pastry, the nutty, melty Gruyere cheese, and of course the spinach are so good in combination. The pinwheels are great warm from the oven, but they are equally delicious at room temperature. If Gruyere isn't your thing, just substitute your favorite cheese - these are super adaptable. I bet these would also be great with pepperoni in place of the spinach and maybe mozzarella cheese instead of Gruyere. That's definitely the version Shane would be rooting for :)
(Just an FYI - I used puff pastry from Trader Joe's here, and since their sheets tend to be a bit smaller than many store-bought brands, I had a little bit of leftover filling. If you use the bigger sheets from Pepperidge Farm, you can probably roll them out slightly larger and add all of the filling.)
I'm not going to put together a separate round-up post of Super Bowl recipes, but there are some old favorites from the archives that I don't want you to miss. Any of these recipes would be great additions to your menu! Enjoy :)
Soft Pretzel Bites
Slow Cooker Pulled Pork
Chocolate Chip Cookie Dough Cupcakes
Creamy Baked Chicken Taquitos
Hot Buttered Pretzels
Baked Tortilla Chips
Cookies and Cream Mini Cheesecakes
Slow Cooker Sticky Wings
The Perfect Chocolate Chip Cookie
Slow Cooker Tequila Lime Chili
Loaded Baked Potato Soup
Jalapeno Popper Dip
Roasted Onion and Bacon Dip
Peanut Butter Cup Truffle Brownies
Cheez-It-Ish Crackers
Spinach Gruyere Puff Pastry Pinwheels
adapted from Pepperidge Farm
1 (10 oz) package frozen chopped spinach, thawed
1/2 cup shredded Gruyere cheese
1/4 cup grated Parmesan cheese
1/2 teaspoon salt
1/2 teaspoon black pepper
1/8 teaspoon garlic powder
1 large egg
1 tablespoon water
1 sheet puff pastry, thawed
Preheat oven to 400 F. Line a rimmed baking sheet with parchment paper.
Wrap the spinach in a towel or paper towels and squeeze out as much excess moisture as you can. If you don't, the puff pastry may end up soggy.
Combine the spinach, both cheese, the salt and pepper, and garlic powder in a medium bowl. In a small bowl, beat the egg and water together.
Place the sheet of puff pastry on a lightly floured work surface. Roll it into a roughly 12x12-inch square, lifting and turning as you go to ensure it's not sticking. Brush a thin layer of the egg wash over the surface of the puff pastry, then spread the spinach/cheese mixture in an even layer.
Roll the puff pastry like a jelly roll and pinch to seal at the seam. Cut the roll into approximately 20 1/2-inch slices and place on the prepared baking sheet. Brush the tops of each lightly with the egg wash.
Bake for about 15 minutes, or until the pinwheels are golden brown.
35 comments:
- Trish said...
I.am.drooling. They look so good! My mom just asked me last night what I was bringing for the Super Bowl party and I told her I had no clue. But I think I know what I'll be taking now :)
- February 2, 2012 at 9:49 AM
- Erin @ The Spiffy Cookie said...
Invite me over for the superbowl? I'll bring anything you want!
- February 2, 2012 at 9:52 AM
- amanda @ fake ginger said...
Done and done. I need these in my life.
I haven't found an amazing spinach artichoke dip either. It seems like hey're all too artichoke-y for me and I *love* artichokes so I don't know what the deal is. Hopefully we'll both find one soon! - February 2, 2012 at 9:53 AM
- TeaLady said...
LOVE making pinwheels. But have never used Gruyere. Next time will try that! Perfect
- February 2, 2012 at 10:11 AM
- Laura said...
These look incredible! I have yet to meet a pinwheel I diddn't like. I like to add a little fresh rosemary. Adds a punch of flavor that's different, but in a good way. Oh, and bacon. Keep playing around with it, it's worth it when you find a keeper!
- February 2, 2012 at 10:50 AM
- Lizzy said...
Your pinwheels look amazing! I love puff pastry appetizers...and these are winners!
- February 2, 2012 at 11:26 AM
- Katrina @ Warm Vanilla Sugar said...
Umm...YUM! These sound awesome!
- February 2, 2012 at 11:29 AM
- Averie @ Love Veggies and Yoga said...
I love your roundup and I just happen to have extra puff pastry that's beggin' for some pinwheeling I think :)
- February 2, 2012 at 11:37 AM
- Nicole@HeatOvenTo350 said...
So impressive looking for how easy the recipe sounds! And for how delicious they look. I'm just impressed you had some leftover Gruyere in your fridge. Not sure that would ever happen in mine. :)
- February 2, 2012 at 12:32 PM
- Eri said...
Oh my Gosh, I want them all!
- February 2, 2012 at 3:12 PM
- pinkstripes said...
The pinwheels look awesome. With all your posts this week, I'm thinking I need to find a superbowl party just for the food. ;)
- February 2, 2012 at 3:35 PM
- Cassie/Bake Your Day said...
I looooove these. They would make a great addition to any party. Great round up too!
- February 2, 2012 at 4:09 PM
- Andrea the Kitchen Witch said...
I'm with you, greens are not my thing. Spinich is as dark as I venture LOL :) these look and sound amazing. Gruyere is one of my all time favorite cheeses. I have GOT to make this soon!
- February 2, 2012 at 4:54 PM
- Jen @ Peanut Butter and Peppers said...
Everything looks amazing! I want to eat everything, right now! Going to your place for the Super Bowl Party!!
- February 2, 2012 at 6:29 PM
- Di said...
Cool! I make puff pastry pinwheels every so often, but I wouldn't have thought to try them with spinach. Great idea.
- February 2, 2012 at 10:27 PM
- Vicky said...
Sounds delicious! Luckily I just bought some gruyere and puff pastry last night!
- February 3, 2012 at 9:02 AM
- Leslie said...
I am definitely making these this weekend...I have everything I need in the fridge! Love frozen puff pastry.
- February 3, 2012 at 10:44 AM
- Erin said...
Great line up for sure - I still need to make those baked taquitos!
These pinwheels are perfect, love the spinach idea. I have tried greens too, and they are all just too bitter for me! - February 3, 2012 at 1:05 PM
- Tiffany Youngren said...
Yum! These look fantastically yummy!
~ Tiffany
Transfer of Health
Healthy Recipes and How to Feel Good - February 3, 2012 at 2:48 PM
- Gloria said...
I love creating food based on things you have on hand. I don't think I could get Hubs to eat these, but that's ok, cause I could eat them all myself. Plus I have some gruyere that is begging to be used. I shouldn't be looking at blogs right now, because I'm hungry. Seeing your line of other goodies is making my stomach growl. Would love some pretzel bites and chili right about now.
- February 3, 2012 at 8:45 PM
- Tanya said...
These look so good. I can't wait to give these a try!
- February 4, 2012 at 12:18 AM
- Kayte said...
- February 4, 2012 at 4:58 PM
- jeannette said...
FINALLY!!! something i can do with my gruyere cheese! thanks for posting, these look amazing!!!
- February 4, 2012 at 5:04 PM
- bakewithjill.com said...
Those would be so delicious, and Gruyere would be the perfect cheese to use!
- February 4, 2012 at 6:55 PM
- Eliana said...
These pinwheels look picture perfect Tracey. And almost, just almost, too good too eat.
- February 4, 2012 at 11:11 PM
- Valerie said...
I'm so excited! I made the onion dip last night...I'll never buy at store again. I've got the oreo cheesecakes in the oven right now...I'm about to start on the jalapeño dip and I'm making the pinwheels later. Best super bowel ever! Thanks for the awesome list of recipes.
- February 5, 2012 at 9:24 AM
- Tracey said...
@Valerie - Thanks for your kind words, glad you found so many things you wanted to try :) Hope everything turns out great!!
- February 5, 2012 at 10:42 AM
- MrsJenB said...
Oh my gosh I wish I had some of these right.this.minute! I adore spinach in just about anything!
- February 7, 2012 at 11:41 AM
- Cyndie said...
SO beautiful and tasty! These look amazingly delicious. looks absolutely divine and inviting..I look forward to trying these out for my next dinner party.
http://all4payday.com - February 7, 2012 at 11:46 PM
- Amy @ Saving with Us said...
I made these this weekend and I am ashamed to say, I ate every last one of these myself. (They were my lunch and dinner!)My husband turned his nose up at them because they had *gasp* something green in them. More for me! Thank you for the great recipe!
- February 13, 2012 at 12:31 PM
Will chicken taste
good in this? - February 12, 2013 at 11:22 PM
- Tracey Wilhelmsen said...
@Anonymous - I've never made it with chicken, but I would think so! I'd be sure to shred it into very small pieces though so you can still roll the puff pastry tightly.
- February 12, 2013 at 11:37 PM
- HoneyBee said...
Would you use a whole batch of your homemade puff pastry for this?
- March 30, 2013 at 1:48 PM
- Tracey Wilhelmsen said...
@HoneyBee - No, you only need roughly 1/2 pound of puff pastry for this recipe (i.e. one sheet of the boxed kind). I have two homemade puff pastry recipes on this site, but both of them make more than you'd need. If you're going that route, I'd measure out 1/2 lb after you make the puff pastry and freeze the rest for another project :)
- April 1, 2013 at 8:28 AM
can you make any of the apps ahead of time and freeze?
- April 19, 2013 at 6:43 PM


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Tue, Fri 10–18 | Wed, Thu 10–20 | Sat, Sun 11-17Information: +358 (0)9 6122 5510Operator: +358 (0)9 173 361
Tuusula Artist Community This exhibition presents the life of the community and its fascinating artist homes, including a wide range of art and artefacts.
This exhibition features artworks that were either made or acquired for Ateneum's collections 125 years ago, including several iconic pieces that have since become recognised as classics.
Ateneum's collections are kept on public display on the museum's third floor and ground floor. The collection display presents classic art in a new light.


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Farmer goes hungry for his cause
Apr 8, 2013 | 6 Comments
By Nathalie Hardy
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In homage to Ramsey and his hunger strike, I will be feasting on Italian sausage and pasta tonight, of which I promise zero/none will find it's way into the Riverbend landfill.
I'm going to make a point of bringing my D70 along for the ride past Riverbend from here on out. I've missed what would have made for some excellent shots of the our local Elk herd out here grazing along Hwy 18 during our last two drives to Mac.
I definitely wouldn't want to miss any shots of Ramsey propping himself up on sticks like some kinda boney scarecrow out in his front yard. Nope, I wouldn't want to miss that shot for anything in the world. If and when I take that shot, I'll hopefully be allowed to post it here on the News-Register's Valley Eye
That is, if Marcus doesn't beat me to it ;)
Obviously, a case of mistaken identity on your part, Lulu.
Lulu, mull this over for a moment if you will. You, yourself might consider placing an emaciated effigy of Ramsey out in your own front yard, with perhaps some modest signage stating your support for his hunger strike?
Kinda like how the Guy Fawkes thingy works, though, we should probably wait until Ramsey's face gets a little more gaunt before creating the mold of his likeness that will need to go into mass-production.
Heck, I can easily envision tens of people on pogo-sticks bouncing up and down in front of Riverbend in full scarecrow regalia shouting 'We're Mad as ....bla bla bla...bla bla...bla bla bla ....BLA!"
Just a thought, do you have anymore?
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May 10, 2012
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Sep 4 2013
A further four prisons are to due close, the Government has said, as it confirmed plans to build two new "super" jails in England and Wales.
Blundeston in Suffolk, Dorchester in West Dorset, Northallerton in North Yorkshire and Reading prisons will close, the Ministry of Justice (MoJ) said.
The announcement was made as the MoJ confirmed plans to build a 2,000-place new prison in Wrexham, North Wales.
Feasibility work has also started on a second large prison to be constructed in the south east of England, focusing on the possibility of replacing the existing Feltham Young Offenders Institution in west London with a large new adult prison and a new youth facility on adjoining sites in west London.
The MoJ also confirmed opening dates for new "house blocks" - mini-prisons - being built to create 1,200 new places at four sites across England.
Justice Secretary Chris Grayling said: "This is the latest part of our plan to modernise our prisons, bring down costs, but to make sure that by the next election we still have access to more prison places than we inherited in 2010. The Feltham site in west London is a very large one, and is an obvious option for a major new project to help meet the challenges we face in London and the South East.
"I'm also really pleased that we have reached agreement on the new prison in Wrexham. It will provide a real boost to the local economy in North Wales over the next few years, which is one key reason why the Chancellor has made sure we have the money for the project. Of course the reorganisation of our prison estate which we are undertaking means some difficult decisions - but we have to make sure that we have modern, affordable prisons that give the best opportunity for us to work with offenders to stop them committing more crimes when they leave."
Blundeston, a male category C prison, Dorchester, a male category B local prison which holds young adults, Northallerton, a male category C prison and Reading, a male prison holding young adults and remanded prisoners, will close as they are either too expensive to run or need substantial capital investment in the next few years, the MoJ said.
It said that since January, 2,800 "unstrategic and uneconomic" places have been removed and the four new closures would remove 1,400 "uneconomic" places from the estate. By carrying out the four new closures it is anticipated that a further £30 million a year will be cut from the overall prison budget, it said.
Three other prisons are due to change their roles, the MoJ announced. HMP The Verne in South Dorset will be converted into an immigration removal centre, providing around 600 additional places to hold immigration detainees awaiting removal. HMP Downview in Surrey will change function to hold male rather than female offenders and HMYOI Warren Hill in Suffolk, will stop holding young offenders and will also change to hold adult male prisoners, the MoJ said.


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In every part of our vast country you'll find unique experiences to make your dream holiday come true.
Search results 1-10 of 114
18 Govetts Leap Road, Blackheath, New South Wales, 2785 Email: firstname.lastname@example.com Website: www.ashcrofts.com New South Wales DINEATOUT 9063868 Phone Number: 61 02 4787 8297 Fax Number: 61 02 4787 5379
Ashcrofts Restaurant, situated in the heart of the Blackheath central business district is now a firm favourite for locals and a premium dining destination for visitors to the region. The food style is Australian/Eurasian and the menu offers a wide range of choices with an accent on seasonal fresh seafood and premium cuts of meat, game and poultry sourced from local suppliers. Vegetarian and Vegan dishes are a constant on the menu and any special dietary needs are happily catered for. Ashcrofts offers specials every night and often run "requested specials" dishes which patrons have adopted as one of their favourite Ashcrofts dining experiences. The restaurant is fully licensed with bring your own for bottled wine only.
23 Station Street, Wentworth Falls, New South Wales, 2782 Email: email@example.com Website: www.cantonpalace.com.au New South Wales DINEATOUT 9151744 Phone Number: 61 02 4757 1868
Canton Palace located in the Blue Mountains village of Wentworth Falls, has a reputation for fine Asian cuisine. Since they opened in 1990 they have been successful in receiving various restaurant awards throughout the region. The menu selection is large and varied, group orders are also available. Take away, gift vouchers, lunch-time special family packs and banquets meal also available.
Mount Hay Road, Leura, New South Wales, 2780 Email: email@example.com Website: www.bluemountainscitytourism.com.au New South Wales NATATTRACT
Mount Hay at 933 metres north of Leura is a distinctive rounded basalt peak that can be seen as you travel the Great Western Highway and Bells Line of Road. It is one of a number of basalt capped mountains in the area. Along Mount Hay Road is Lockley Pylon which provides excellent views of Mount Hay. From Lockley Pylon experienced and well prepared walkers can choose to descend into the Grose Valley and the Blue Gum Forest.
Hartley Historic Site, Old Bathurst Road, Hartley, New South Wales, 2790 Email: firstname.lastname@example.com Website: www.environment.nsw.gov.au New South Wales HISTHERITG 9079850 Phone Number: 61 02 6355 2117 Fax Number: 61 02 6355 2118
Step back in time within the historic village of Hartley set into the western edge of the beautiful Blue Mountains. Set among pastures, orchards, native plants and nineteenth and twentieth-century cottage gardens, the village's lovely sandstone buildings preserve an important piece of history: the settlement of inland Australia. Seventeen buildings tell the story of the village, from the 1837 Greek Revival courthouse to Corneys Garage, built in 1945 of timber and iron. Explore the artefacts and family histories, find out about the region's past at the visitor centre, or enjoy a picnic in the absolute serenity of historic Hartley. In recognition of Hartley's heritage significance, an exciting revitalisation plan is being developed, with improved facilities and new exhibition spaces. There are already a number of fascinating tours and events held at Hartley, so call ahead to get involved.
208 The Mall , Leura, New South Wales, 2780 Website: www.bakehouseonwentworth.com.au New South Wales DINEATOUT 9187127 Phone Number: 61 02 4787 6744
Bakehouse on Wentworth is an organic sourdough bakery and cafe. The dream became reality in 2002, when a passionate baker, dedicated to his craft opened for business in Blackheath. Shelves stocked with a display of hand moulded sourdough loaves and the scent of freshly baked bread filling the streets, enticed the senses of passers by. Sweet, tempting cakes, irresistible treats and mouth watering gourmet pies were created to complete the bakeries range. The journey has continued and the dream has expanded to four retail outlets.
12 Great Western Highway, Little Hartley, New South Wales, 2790 Email: email@example.com New South Wales DINEATOUT 9136560 Phone Number: 61 02 6355 2266 Fax Number: 61 02 6355 2277
Ambermere Rose offer a seasonal menu that features fresh locally sourced ingredients, handcrafted coffee and tea blends by Morgan's and a fine selection of cakes, tarts and sweet delights made by in-house chefs. Relax in the wine bar by the fire or unwind in the courtyard overlooking the spectacular escarpments of the Blue Mountains. This elegant Georgian sandstone inn is set on six acres of beautiful parkland with both indoor and outdoor dining options. The Inn was first licensed in 1845 and operated as a public house and a Cobb and Co staging post until 1873. A private residence for over a century, Ambermere Rose went through meticulous restorations before re-opening to the public in 2010.
226 Macquarie Road , Springwood, New South Wales, 2777 Website: www.bakehouseonwentworth.com.au New South Wales DINEATOUT 9187128 Phone Number: 61 02 4751 5788
171 Lurline Street, Katoomba, New South Wales, 2780 Email: firstname.lastname@example.com Website: www.yindi.com.au New South Wales SPARETREAT 9055140 Phone Number: 61 02 4782 0970
The award winning Yindi Day Spa, has moved into its own premises located just five minutes' walk from the iconic Three Sisters lookout in Katoomba. It is the largest Day Spa in the Blue Mountains. Offering a large amount of luxurious treatment rooms, Yindi offers packages that will suit everyone. The three double rooms are great for couples, friends or mum and daughter. One has a double spa, another has a single shower and the third holds the luxurious steam shower unit where they offer their very own 'tropical rain experience' and 'Yindi Rasul'. All the products used are completely natural focusing on the Australian Spa range Waterlily and the world leader Dr Hauschka. They also have a beautiful beauty section and a pregnancy table. The relaxation room allows groups to relax comfortably after their treatments. So whether you are one person or a group Yindi can look after you.
234 Macquarie Road , Springwood, New South Wales, 2777 Email: firstname.lastname@example.com Website: www.newagemarkets.com.au New South Wales SHOPPING 9191147 Phone Number: 61 02 4751 6515
New Age Markets - known locally as the hippie-shop - is a unique shopping experience and a must-see destination for visitors to the Blue Mountains. They offer Australia's widest range of new age clothing, giftware and homewares, as well as a vast array of jewellery, crystals, candles, incense and oils. Experienced tarot and psychic readers are available for personal consultations. They also offer expert advice on crystal healing. They can be found opposite Springwood railway station, in the lower Blue Mountains, a short drive from the Great Western Highway. Free gift-wrapping is available for all in-store purchases. Many of the products can also be found on their online shop.
86 Great Western Highway, Mount Victoria, New South Wales, 2786 Email: firstname.lastname@example.com Website: www.antiquetoys.com.au New South Wales GALMUSECOL 9109131 Phone Number: 61 02 4787 1590 Fax Number: 61 02 4787 1117
Trains, Planes and Automobiles boasts an amazing array of antique toys and collectibles, including model trains and accessories, model cars, model boats, model planes, books, posters and more. The shop has been described as - probably the best toy shop in the world. It has to be seen to be believed! Trains, Planes and Automobiles buys, sells and values tin plate and diecast mechanical toys and also stocks a range of model steam engines and hot air engines.
Plan Your Visit
The T-QUAL Tick
The T-QUAL Tick is the Australian Government's national symbol of tourism quality.
Tourism businesses that carry the T-QUAL Tick have undergone rigorous assessment to ensure they deliver a quality experience.
These businesses are members of quality assurance schemes that have met the requirements of T-QUAL Accreditation.
To find out more, click here.


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Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
This documentary about Japan's Fukushima nuclear disaster means to make some noise, but is only partially successful. If you were looking for a documentary to…
"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…
Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…
"Life Itself," the documentary about Roger's life inspired by his memoir, will play at the Sundance Film Festival.
This week we'll be featuring the work of the women who write for RogerEbert.com.
"Life Itself," the documentary about Roger's life inspired by his memoir, will play at the Sundance Film Festival.
Sheila O'Malley picks her favorite piece of Roger's writing.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
Pablo Villaça offers his perspective on "The Great Beauty."
A.O. Scott says movies aren't dead; John Waters says kids shouldn't write to Santa; David Simon says there are two Americas; Keith Phipps says 2013…
Director John Lee Hancock on the challenges of making a film about Walt Disney for Disney.
Phil Spector remains an enigma after his 2009 conviction for the death of actress Lana Clarkson six years earlier. He's in prison today. Clarkson, dead of a gunshot wound, was found in his mansion. Was it suicide, an accident or murder?
Spector was a record producer famous for a technique, called "The Wall of Sound," that he developed to create an overall style for his groups. Wikipedia tells me: "Spector called his technique 'a Wagnerian approach to rock & roll: little symphonies for the kids.' " He named and renamed groups, selected their material, acted as their svengali and essentially created the soundtrack for freeway commuting in L.A.
In the case of "Phil Spector," the Wall of Sound Man is played by Al Pacino, loosely inspired by life, as in another recent performance, that time as euthanasia advocate Dr. Jack Kevorkian.
He plays the role cannily. His Spector knows if he's guilty of murder, but we don't, and that adds to the film's interest. The script is by director David Mamet, who as he often does, prefers an almost hypnotic style in which a character seems to be arguing with himself. This could have happened. That could have happened. The character was there and saw whatever happened, and he doesn't know.
This phenomenon is underlined by Spector's lifestyle. Enormously wealthy, reclusive, he lives inside a forbidding structure, which as he approaches and leaves through its iron gates, reminds us of Xanadu in "Citizen Kane."
The co-star is Helen Mirren, playing Linda Kenney Baden, the attorney who was successfully able to reach a retrial in a case where, as one line of dialogue has it, if Spector wasn't found guilty on the merits of his case, he'd be found guilty on grounds of the notorious O.J. Simpson murder case. Mamet deliberately avoids portraying Baden as heroic, or even right or wrong. She's simply doing her best job.
The film contains scant suspense and few surprises, and depends largely on Pacino's work as an articulate and eccentric painter of his own portrait. His description of his hairstyle, as photographed while back-lighted, has a peculiar charm. Hair also plays a role in the Mirren performance. Baden clings to a blond style that must have been more becoming 20 years ago.
Winning the hung jury in the first trial is a tribute to Baden, who in an effective drawing, shows a small-caliber bullet entering the victim's skull, bouncing off its back wall and making a U-turn. Stranger things have happened. Not a lot.
The dialogue, vaguely Mametian, might have profited by more of the Mamet style. He seems bogged in realism. Few write better dialogue than Mamet at full power. Here he seems at half-steam.
A first-rate supporting cast, including Jeffrey Tambor and Matt Malloy, illuminates second-rate supporting roles. "Phil Spector" is just about ideal as an HBO movie; watchable and gossip-worthy but just not that compelling.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
Omer Mozaffar reflects on "12 Years a Slave."
The first in a monthly series of video essays about unloved films, Scout Tafoya's video essay is an appreciation of "...
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.


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Men's Brooks® LSD Lite Jacket III :: Easy to pack and stash, the LSD Lite Jacket brings loads of style to windproof and water-resistant function. Smart features like great ventilation and NightLife colors for visibility make this a runner's favorite. Features & Benefits:
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The Cayenne models can be equipped with an air suspension system featuring self-levelling, ride-height control and PASM* – for enhanced driving dynamics and comfort. The self-levelling facility maintains a constant ground clearance, which can easily be adjusted using the ride-height control on the centre console:
58 mm above Normal Level; max. ground clearance: 268 mm (Cayenne Turbo: 273 mm); selectable at speeds of up to 30 km/h.
28 mm above Normal Level; max. ground clearance: 238 mm (Cayenne Turbo: 243 mm); selectable at speeds of up to 80 km/h.
Max. ground clearance: 210 mm (Cayenne Turbo: 215 mm).
22 mm below Normal Level; max. ground clearance: 188 mm (Cayenne Turbo: 193 mm); automatically selected above 138 km/h.
32 mm below Normal Level; max. ground clearance: 178 mm (Cayenne Turbo: 183 mm); automatically selected above 210 km/h. (Not manually selectable.)
52 mm below Normal Level; max. ground clearance: 158 mm (Cayenne Turbo: 163 mm); only selectable when vehicle is stationary.
Air suspension with PASM standard on the Cayenne Turbo. Optional for all other Cayenne models.
The steel-spring suspension meets high-level requirements in terms of performance, driving pleasure and off-road capability. Consistent lightweight construction – e. g. through the increased use of aluminium – results in improved driving dynamics, greater fuel economy and enhanced comfort. The steel-spring suspension with a 24-mm reduction in ride height on the new Cayenne GTS is designed to deliver one thing above all else: sports performance.
Standard on the Cayenne, Cayenne Diesel, Cayenne S, Cayenne S Hybrid and Cayenne GTS.
* PASM is fitted as standard on the new Cayenne GTS.
** At High Level II, High Level I and Normal Level, the ride height on the new Cayenne GTS is 12 mm lower than on the other Cayenne models.


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February 2, 2013 at 150 × 196 in This week in cloud: Office 365 goes down and Microsoft stocks up Azure store
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