Ander

Die beste brood van die hoofstad word agter 'n wassery gemaak en by Le Diplomate bedien


As u 'n panifiel is (wat slegs 'n woord van $ 5 vir 'n broodliefhebber is) en 'n raaisel nie kan weerstaan ​​nie, sal u van The Case of the Hidden Bakery hou. Ek het onlangs ontdek dat sommige van die beste brood van Washington, DC nie in 'n spesialiswinkel gemaak word nie, maar in 'n onbeskryflike bakkery vir kommersiële produksie agter die 16de en Ustraat NW.

Daar is geen tekens om u te vertel waarheen u moet gaan nie, maar enige dag van die week, tussen 7:00 en 15:00, as u voor Jim's Cleaners en Starbucks in 16th Street staan ​​en wag, sal dit nie lank neem nie die reuk van brood bak sweef in die lug. Dan, net so vinnig as wat dit aangekom het, is dit weg en laat u verwonderd oor die bron, wat ek agtergekom het, is weggesteek in 'n smerige agtersteeg links van Jim's Cleaners. Die stegie is bedek met geparkeerde motors, groot vullisstortings en onbeskryflike kommersiële ruimtes. As u lank genoeg wag, sal 'n donkergrys metaaldeur uiteindelik oopswaai en aanloklike tenders van gulsige geure loslaat.

'N Kykie agter die deur onthul 'n vensterlose kombuis en vyf bakkers wat hard besig is om te meng, te knie, te vorm en te bak, omring deur rakke van tientalle pragtige brode pasgebakte brood. Die ruimte is skaars 900 vierkante voet - maar die klein grootte van die kombuis seël met aardse geure van geroosterde neute, koring, rog, bosbessie en hawer wat so intens is dat u 'n bietjie pap en lig kan word uit die nabye omgewing.

Die sinchrone bewegings van die bakkers is vloeibaar en beoefen, en elkeen toon 'n bewegingsekonomie wat verkry is deur jare se handwerk. Dit is die mense wat verantwoordelik is vir die bak van die handtekeningbrood wat by bedien word Le Diplomaat in 14th Street NW, in besit van Philadelphia restaurateur Stephen Starr. Le Diplomate is sy huldeblyk "aan die kafees in St.-Germain in Parys." Die hoofbakker Cody Brandon is die hoof van die bakkerspan van Starr, wat volgens Starr ''n vakman na sy jare en 'n asemrowende vakman' is.

Deur die magiese huwelik van erfstuk volkoringmeel, 'n bestaan levain voorgereg, water en 'n kort lys van uitstekende bestanddele, Brandon en die ander bakkers kan die Franse nalatenskap van broodbak vier in die kern van die Paryse kafee -kultuur, streektradisies en Franse nasionale identiteit.

Le Diplomate se toewyding aan varsheid maak dit vir diners moontlik om te herontdek dat daar niks so vertroostend, asemrowend en aangenaam is om te eet nie, soos 'n vars gebakte brood gesny met botter, gedoop in sous of bedek met 'n rustieke kaas. Dit is 'n toegeeflikheid wat u selde in restaurante vind - min eetplekke pak die uitdaging om hul eie brood te maak.

Baie sou as hulle kon, maar dit is feitlik onmoontlik vir enige restaurant om al sy brood op die perseel te bak - min kan die nodige personeel en toerusting bekostig of die ruimte spaar. Maar kunsmatig gebakte brood is 'n kenmerk van die Le Diplomate -eetervaring, so elke dag wag honderde gaste gretig op die kom van die brood op die tafel.

Ondanks die uitdagings om elke brood in die huis te berei, het Starr die risiko geneem, 'n span rockster-bakkers aangestel en 'n buitekombuis gebou met die regte kommersiële mengers, bankborde, deegplate, rakke , oonde en instap-yskaste. Die oprigting van 'n produksie -bakkery het moontlik 'n aansienlike belegging verg, maar die moeite het vrugte afgewerp. Elke dag van 03:00 tot 19:00 produseer die bakkery botteragtige brioches, bros stokbrood, hamburgerbroodjies met sesam, heuning-hawerbroodjie, multigraan levain boules en cranberry okkerneut boules. Die vraag het nie gewankel sedert Le Diplomate in 2013 geopen het nie, en die immergewilde brode dien steeds 'n verskeidenheid doeleindes: die brood word saam met die kaas- en vleisgeregte bedien, dit word gebruik om Franse roosterbrood te maak, croque madame en ander toebroodjies, en dit is 'n kenmerk van die kafee -spyskaart van Le Diplomate.

Elke Maandag tot Vrydag bak Brandon en sy kohorte ongeveer 129 tot 150 stokbroodjies en 45 tot 60 levain- en cranberry -boules plus die hamburgerbroodjies. Om die vraag na die naweek te dek, word ongeveer 400 baguette en ongeveer 120 levain en 120 cranberry boules op Vrydae gebak om gereed te wees vir diens tydens brunch, middagete en aandete. Dit verg toewyding, geduld en laser-gefokusde aandag aan detail om konsekwent uitstekende brood te lewer, en Brandon is die uitdaging, want die chemie en kuns van brood is deel van die allure. 'Bak het 'n sterk emosionele gehegtheid aan my,' verduidelik hy. 'Dit laat my dink aan my kinderjare. Ek was 'n nuuskierige kind, altyd in raaisels en probleemoplossing. Om brood te bak vereis dieselfde analitiese denkproses. Elke dag is 'n stryd met die weer en die klimaat om die lewende produk in u hand te beheer en hierdie heerlike item te skep wat werklik kultureel en letterlik die basis is vir Le Diplomate. "

Brandon het 'n aktiewe verbeelding en eksperimenteer altyd met nuwe meel, bestanddele, geure, teksture en oorspronklike idees, en binnekort sal sy nuutste brood in die eetkamer beskikbaar wees. Dit is 'n stewige muesli -brood gemaak met pepitas, sonneblomsaad, goue rosyne, gedroogde bloubessies, hawermout en pistache, en dit sal 'n fantastiese toevoeging wees tot die herfs- en winterbroodmandjie en stewige kaasbordjies. So, wat is volgende? Soek binnekort 'n polentabrood en saadbrood.


St. Anselm open in Washington, DC

Restaurateur Joe Carroll het saamgewerk met Stephen Starr en sjef Marjorie Meek-Bradley vir 'n ander soort steakhouse.

St Anselm het nooit 'n steakhouse geword nie. "Ons het 'n steakhouse genoem," sê restaurateur Joe Carroll. "Die idee was dat seekos, groente, dit alles baie belangrik sou wees. Dit het in elk geval nie net oor steak gegaan nie." Nou berei hy hom voor om 'n tweede buitepos van sy taverne in Brooklyn te debuteer in 'n stad wat vroeër uitsluitlik bekend was vir vleis en aartappels.

Die DC -ligging van St Anselm word op 17 September in die Union Market -buurt geopen. Top sjef aluin Marjorie Meek-Bradley van Smoked & amp Stacked en wyle Ripple.

Hoewel St. Anselm meer as 'n steakhouse is, volg hulle 'n eerbiedige benadering tot steak. Saam met die verwagte riboog en New York -strook, bevat die spyskaart ook verskeie onkonvensionele beesvleisopsies. Maar Carroll hou nie van die term 'afsny' nie. "Hulle is net nie die bekende luukse snitte waaroor mense gewoonlik mal raak by steakhuise nie. Maar ek dink hulle is ongelooflik lekker en toeganklik, prysgewys," verduidelik hy. Daar is die beroemde hangersteak wat goeie resensies in Brooklyn kry, sowel as die plat yster. 'Dit is regtig lekker en sag en eet net so lekker,' sê hy.

Die erfenisvleis is antibiotika- en hormoonvry en kom waar moontlik van plaaslike plase. In die meeste gevalle word dit met gras gevoer en met graan afgewerk. "Dit is soos die beste van twee wêrelde. Dit is wat die koei meestal moet eet, maar dan gee die graan aan die einde - die mielies - baie geur en vet," sê Carroll.

'Die filosofie was om uitstekende bestanddele te verkry en dit net te laat smaak sonder om te veel aan hulle te doen, sonder om te veel in die weg te staan,' voeg Carroll by. Dit geld nie net vleis nie, maar alles wat die kombuis binnekom. Meek-Bradley werk saam met plaaslike produsente soos Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish en Elysian Fields.

As dit by die spyskaart kom: 'Ek is te moerig', sê Meek-Bradley. "Ek wil net 'n goeie stuk vleis, 'n goeie sous of 'n pragtige groente met 'n paar olyfolie hê." Sy en Carroll het 'n spyskaart ontwikkel wat dit weerspieël - die meeste geregte word gebraai en eenvoudig aangetrek, soos mossels met kruie en Chartreuse -botter of varkvleisportier met appelkoosblatjang.

"Die rooster is die hart van die restaurant," sê Meek-Bradley. Sowel op die spyskaart as in die ontwerp - dit is in die middel van die eetkamer agter 'n lang sjef se toonbank. "Alles soen die rooster een of ander tyd." Dit is selfs waar vir rou borde, soos die gegrilde perskes wat kampachi crudo versier en die geroosterde platbrood wat by lamtartartaar vergesel word.

Die sye is ook ver van die tradisionele steakhouse-kos-kombineer u proteïen met gebakte aartappelpuree (soos aartappelpuree), blomkool met tahini en gepofte amarant of romerige boerenkool.

Carroll het 'n handjie bygedra om die wynlys saam te stel, met 'n mengsel van klassieke Ou Wêreld-produsente, gevestigde Amerikaanse produsente sowel as jong, opkomende produsente. "Dit is hoegenaamd nie 'n duidelike steakhouse-wynlys nie. Ons sal meer ligrooi, suur, rooi rooi op die lys hê ... as tipiese Bordeaux, Cabernet," sê hy. 'Ons sal waarskynlik een van die min steakhuise ter wêreld wees, en ek dink dat dit Champagne of Chablis saam met steak [bykomend tot] rooi sal aanbeveel.' Daar sal ook 'n bondige keuse van bier en cocktails wees.

Al pas St. Anselm nie by die stereotipe van die steakhouse nie, haal die konsep inspirasie daaruit. "Die algemene idee agter die ontwerp is om in hierdie soort klubby-steakhouse-ding in te speel, maar op 'n tong-in-die-kies manier," sê Carroll. U sien die klassieke gordyne met gordyne met goue toubande. Maar binne is die hutte Naugahyde in plaas van leer, en die portrette aan die muur is van die ergste presidente in die geskiedenis, soos bepaal deur 'n paneel historici en politieke wetenskaplikes. Elkeen het 'n gloeilamp wat uit hul gesig steek. 'Ek het net gedink dit is 'n baie snaakse ding om te doen,' sê Carroll oor die lighartige oneerbiedigheid.

Die ruimte het 'n vintage 1880 -styl, met warm houtpanele, sierlike kandelare en ingewikkelde matte, maar Carroll was versigtig om dit speels te hou. "As jy dit te ernstig opneem, dan lyk dit dom. Dit is een ding as ons al 80 jaar hier was of so iets."

Geborduurde broederlike bestelbaniere versier die baksteenmure, en Carroll het selfs 'n banier gemaak van die logo van die restaurant - 'n vis wat aan die rug van 'n hoender vasgemaak is, wat aangepas is uit die logo van 'n afgedankte hoendervoeronderneming.

Die oniks-u-vormige eilandstaaf word omraam deur swart rakke gestapel met vlekke, 'n wasbeer en 'n horlosie met vrymesselaars en vee in plaas van getalle. Die kraanhandvatsels is gemaak van takbokke. Onder die kroonblad is nie net sakhake nie, maar afsetpunte met USB -poorte. 'Dit is 'n noodsaaklikheid,' sê Carroll. 'U gaan in tralies en daar is ongeveer 20 telefone agter die kroeg wat mense laai.' Hutte is ook toegerus met kragstasies.

Die eetgerei is 'n kombinasie van vintage items, ou voorraadborde uit die Amerikaanse vloot se gemorsaal en pasgemaakte borde met beelde van korke en hertjies.

Alhoewel 'n groot deel van die ontwerp 'n samesmelting van aanraking is wat Carroll interesseer, is die broederlike toebehore 'n knipoog na die ou eetklubs wat deur teaterakteurs en -produsente besoek word, soos Keens Steakhouse in New York.

Van daar af is dit net nog 'n sprong na etes van beesvleis. Hierdie politieke geldinsamelingsgeleenthede het in die 1850's in Manhattan se Lower East Side plaasgevind. Gaste het voorskote gedra, en daar was 'n lemoenbrood op stukke brood, sonder gereedskap. 'Niemand eet regtig die brood nie; hulle stapel dit as 'n merker om te sien hoeveel vleis jy eintlik geëet het,' verduidelik hy. In die dertigerjare het die etes gesterf, behalwe in die stad New Jersey waar Carroll grootgeword het.

Die steak -kamer van St. Anselm is na die oorspronklike gedruk, met klapstoele aan die muur gehang (dit was vaste sake). Hulle beplan om gereelde beesvleisbiefstukke aan te bied, maar die spyskaart bevat veel meer as varkvleis. Die ruimte sal ook beskikbaar wees vir privaat geleenthede. 'Ek wou dit nou al lank doen,' sê Carroll.

St. Anselm sal op Maandag 17 September oop wees vir aandete, gevolg deur brunch later in die maand en uiteindelik middagete.


St. Anselm open in Washington, DC

Restaurateur Joe Carroll het saamgewerk met Stephen Starr en sjef Marjorie Meek-Bradley vir 'n ander soort steakhouse.

St Anselm het nooit 'n steakhouse geword nie. 'Ons is 'n steakhouse genoem', sê restaurateur Joe Carroll. "Die idee was dat seekos, groente, dit alles baie belangrik sou wees. Dit het in elk geval nie net oor steak gegaan nie." Nou berei hy hom voor om 'n tweede buitepos van sy taverne in Brooklyn te debuteer in 'n stad wat vroeër uitsluitlik bekend was vir vleis en aartappels.

Die DC -ligging van St. Anselm word op 17 September in die Union Market -woonbuurt geopen. Dit is 'n gesamentlike onderneming tussen Carroll en die restaurantmagnaat Stephen Starr (wat ook Le Diplomate 'n paar kilometer daarvandaan besit), en dit sal onder leiding van Top sjef aluin Marjorie Meek-Bradley van Smoked & amp Stacked en wyle Ripple.

Hoewel St. Anselm meer as 'n steakhouse is, volg hulle 'n eerbiedige benadering tot steak. Saam met die verwagte riboog en New York -strook, bevat die spyskaart ook verskeie onkonvensionele beesvleisopsies. Maar Carroll hou nie van die term 'afsny' nie. "Hulle is eenvoudig nie die beroemde luukse snitte waaroor mense gewoonlik mal raak by steakhuise nie. Maar ek dink hulle is ongelooflik lekker en toeganklik, prysgewys," verduidelik hy. Daar is die beroemde hangersteak wat goeie resensies in Brooklyn kry, sowel as die plat yster. 'Dit is regtig lekker en sag en eet net so lekker,' sê hy.

Die erfenisvleis is antibiotika- en hormoonvry en kom waar moontlik van plaaslike plase. In die meeste gevalle word dit met gras gevoer en met graan afgewerk. "Dit is soos die beste van twee wêrelde. Dit is wat die koei meestal moet eet, maar dan gee die graan aan die einde - die mielies - baie geur en vet," sê Carroll.

'Die filosofie was om uitstekende bestanddele te verkry en dit net te laat smaak sonder om te veel aan hulle te doen, sonder om te veel in die weg te staan,' voeg Carroll by. Dit geld nie net vleis nie, maar alles wat die kombuis binnekom. Meek-Bradley werk saam met plaaslike produsente soos Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish en Elysian Fields.

As dit by die spyskaart kom: 'Ek is te moerig', sê Meek-Bradley. "Ek wil net 'n goeie stuk vleis, 'n goeie sous of 'n pragtige groente met 'n paar olyfolie hê." Sy en Carroll het 'n spyskaart ontwikkel wat dit weerspieël - die meeste geregte word gebraai en eenvoudig aangetrek, soos mossels met kruie en Chartreuse -botter of varkvleisportier met appelkoosblatjang.

"Die rooster is die hart van die restaurant," sê Meek-Bradley. Sowel op die spyskaart as in die ontwerp - dit is in die middel van die eetkamer agter 'n lang sjef se toonbank. "Alles soen die rooster een of ander tyd." Dit is selfs waar vir rou borde, soos die gegrilde perskes wat kampachi crudo versier en die geroosterde platbrood wat by lamtartartaar vergesel word.

Die sye is ook ver van die tradisionele steakhouse-kos-kombineer u proteïen met gebakte aartappelpuree (soos aartappelpuree), blomkool met tahini en gepofte amarant of romerige boerenkool.

Carroll het 'n handjie bygedra om die wynlys saam te stel, met 'n mengsel van klassieke Ou Wêreld-produsente, gevestigde Amerikaanse produsente sowel as jong, opkomende produsente. "Dit is hoegenaamd nie 'n duidelike steakhouse-wynlys nie. Ons sal meer ligrooi, suur, rooi rooi op die lys hê ... as tipiese Bordeaux, Cabernet," sê hy. 'Ons sal waarskynlik een van die min steakhuise ter wêreld wees, en ek dink dat dit Champagne of Chablis saam met steak [bykomend tot] rooi sal aanbeveel.' Daar sal ook 'n bondige keuse van bier en cocktails wees.

Al pas St. Anselm nie by die stereotipe van die steakhouse nie, haal die konsep inspirasie daaruit. "Die algemene idee agter die ontwerp is om in hierdie soort klubby-steakhouse-ding in te speel, maar op 'n tong-in-die-kies manier," sê Carroll. U sien die klassieke gordyne met hutte met goue toubande. Maar binne is die hutte Naugahyde in plaas van leer, en die portrette aan die muur is van die ergste presidente in die geskiedenis, soos bepaal deur 'n paneel historici en politieke wetenskaplikes. Elkeen het 'n gloeilamp wat uit hul gesig steek. 'Ek het net gedink dit is 'n baie snaakse ding om te doen,' sê Carroll oor die lighartige oneerbiedigheid.

Die ruimte het 'n vintage 1880 -styl, met warm houtpanele, versierde kandelare en ingewikkelde matte, maar Carroll was versigtig om dit speels te hou. "As jy dit te ernstig opneem, dan lyk dit dom. Dit is een ding as ons al 80 jaar hier was of so iets."

Geborduurde broederbande versier die baksteenmure, en Carroll het selfs 'n banier van die restaurant se logo gemaak - 'n vis wat aan die rug van 'n hoender vasgemaak is, wat aangepas is uit die logo van 'n afgedankte hoendervoeronderneming.

Die oniks-u-vormige eilandstaaf word omraam deur swart rakke gestapel met vlekke, 'n wasbeer en 'n horlosie met vrymesselaars en vee in plaas van getalle. Die kraanhandvatsels is gemaak van takbokke. Onder die kroonblad is nie net sakhake nie, maar afsetpunte met USB -poorte. 'Dit is 'n noodsaaklikheid,' sê Carroll. 'U gaan in tralies en daar is ongeveer 20 telefone agter die kroeg wat mense laai.' Hutte is ook toegerus met kragstasies.

Die eetgerei is 'n kombinasie van vintage items, ou voorraadborde uit die Amerikaanse vloot se gemorsaal en pasgemaakte borde met beelde van korke en hertjies.

Alhoewel 'n groot deel van die ontwerp 'n samesmelting van aanraking is wat Carroll interesseer, is die broederlike toebehore 'n knipoog na die ou eetklubs wat deur teaterakteurs en -produsente besoek word, soos Keens Steakhouse in New York.

Van daar af is dit net nog 'n sprong na etes van beesvleis. Hierdie politieke geldinsamelingsgeleenthede het in die 1850's in Manhattan se Lower East Side plaasgevind. Gaste het voorskote gedra en daar was lemoenbakke op stukke brood, sonder gereedskap. 'Niemand eet regtig die brood nie; hulle stapel dit as 'n merker om te sien hoeveel vleis jy eintlik geëet het,' verduidelik hy. In die 1930's is die etes dood, behalwe in die stad New Jersey waar Carroll grootgeword het.

Die steak -kamer van St. Anselm is na die oorspronklike gedruk, met klapstoele aan die muur gehang (dit was vaste sake). Hulle beplan om gereelde beesvleisbiefstukke aan te bied, maar die spyskaart bevat veel meer as varkvleis. Die ruimte sal ook beskikbaar wees vir privaat geleenthede. 'Ek wou dit nou al lank doen,' sê Carroll.

St. Anselm sal op Maandag 17 September oop wees vir aandete, gevolg deur brunch later in die maand en uiteindelik middagete.


St. Anselm open in Washington, DC

Restaurateur Joe Carroll het saamgewerk met Stephen Starr en sjef Marjorie Meek-Bradley vir 'n ander soort steakhouse.

St Anselm het nooit 'n steakhouse geword nie. 'Ons is 'n steakhouse genoem', sê restaurateur Joe Carroll. "Die idee was dat seekos, groente, dit alles baie belangrik sou wees. Dit het in elk geval nie net oor steak gegaan nie." Nou berei hy hom voor om 'n tweede buitepos van sy taverne in Brooklyn te debuteer in 'n stad wat voorheen slegs bekend was vir vleis en aartappels.

Die DC -ligging van St. Anselm word op 17 September in die Union Market -woonbuurt geopen. Dit is 'n gesamentlike onderneming tussen Carroll en die restaurantmagnaat Stephen Starr (wat ook Le Diplomate 'n paar kilometer daarvandaan besit), en dit sal onder leiding van Top sjef aluin Marjorie Meek-Bradley van Smoked & amp Stacked en wyle Ripple.

Hoewel St. Anselm meer as 'n steakhouse is, volg hulle 'n eerbiedige benadering tot steak. Saam met die verwagte riboog en New York -strook, bevat die spyskaart ook verskeie onkonvensionele beesvleisopsies. Maar Carroll hou nie van die term 'afsny' nie. "Hulle is eenvoudig nie die beroemde luukse snitte waaroor mense gewoonlik mal raak by steakhuise nie. Maar ek dink hulle is ongelooflik lekker en toeganklik, prysgewys," verduidelik hy. Daar is die beroemde hangersteak wat goeie resensies in Brooklyn kry, sowel as die plat yster. 'Dit is regtig lekker en sag en eet net so lekker,' sê hy.

Die erflike vleis is antibiotika- en hormoonvry en kom van plaaslike plase af waar moontlik. In die meeste gevalle word dit met gras gevoer en met graan afgewerk. "Dit is soos die beste van twee wêrelde. Dit is wat die koei meestal moet eet, maar dan gee die graan aan die einde - die mielies - baie geur en vet," sê Carroll.

'Die filosofie was om regtig goeie bestanddele te verkry en dit net te laat smaak sonder om te veel daaraan te doen, sonder om te veel in die weg te staan,' voeg Carroll by. Dit geld nie net vleis nie, maar alles wat die kombuis binnekom. Meek-Bradley werk saam met plaaslike produsente soos Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish en Elysian Fields.

As dit by die spyskaart kom: 'Ek is te moerig', sê Meek-Bradley. "Ek wil net 'n goeie stuk vleis, 'n goeie sous of 'n pragtige groente met 'n paar olyfolie hê." Sy en Carroll het 'n spyskaart ontwikkel wat dit weerspieël - die meeste geregte word gebraai en eenvoudig aangetrek, soos mossels met kruie en Chartreuse -botter of varkvleisportier met appelkoosblatjang.

"Die rooster is die hart van die restaurant," sê Meek-Bradley. Sowel op die spyskaart as in die ontwerp - dit is in die middel van die eetkamer agter 'n lang sjef se toonbank. "Alles soen die rooster een of ander tyd." Dit is selfs waar vir rou borde, soos die gegrilde perskes wat kampachi crudo versier en die geroosterde platbrood wat by lamtartartaar vergesel word.

Die sye is ook ver van die tradisionele steakhouse-kos-kombineer u proteïen met gebakte aartappelpuree (soos 'n kapokaartappelpannekoek), blomkool met tahini en gepofte amarant of romerige boerenkool.

Carroll het 'n handjie bygedra om die wynlys saam te stel, met 'n mengsel van klassieke Ou Wêreld-produsente, gevestigde Amerikaanse produsente sowel as jong, opkomende produsente. "Dit is hoegenaamd nie 'n duidelike steakhouse-wynlys nie. Ons sal meer ligrooi, suur, rooi rooi op die lys hê ... as tipiese Bordeaux, Cabernet," sê hy. 'Ons sal waarskynlik een van die min steakhuise ter wêreld wees, en ek dink dat dit Champagne of Chablis saam met steak [bykomend tot] rooi sal aanbeveel.' Daar sal ook 'n bondige keuse van bier en cocktails wees.

Al pas St. Anselm nie by die stereotipe van die steakhouse nie, haal die konsep inspirasie daaruit. "Die algemene idee agter die ontwerp is om in hierdie soort klubby-steakhouse-ding in te speel, maar op 'n tong-in-die-kies manier," sê Carroll. U sien die klassieke gordyne met gordyne met goue toubande. Maar binne is die hutte Naugahyde in plaas van leer, en die portrette aan die muur is van die ergste presidente in die geskiedenis, soos bepaal deur 'n paneel historici en politieke wetenskaplikes. Elkeen het 'n gloeilamp wat uit hul gesig steek. 'Ek het net gedink dit is 'n baie snaakse ding om te doen,' sê Carroll oor die lighartige oneerbiedigheid.

Die ruimte het 'n vintage 1880 -styl, met warm houtpanele, versierde kandelare en ingewikkelde matte, maar Carroll was versigtig om dit speels te hou. "As jy dit te ernstig opneem, dan lyk dit dom. Dit is een ding as ons al 80 jaar hier was of so iets."

Geborduurde broederlike bestelbaniere versier die baksteenmure, en Carroll het selfs 'n banier gemaak van die logo van die restaurant - 'n vis wat aan die rug van 'n hoender vasgemaak is, wat aangepas is uit die logo van 'n afgedankte hoendervoeronderneming.

Die oniks-u-vormige eilandstaaf word omraam deur swart rakke gestapel met vlekke, 'n wasbeer en 'n horlosie met vrymesselaars en vee in plaas van getalle. Die kraanhandvatsels is gemaak van takbokke. Onder die kroonblad is nie net sakhake nie, maar afsetpunte met USB -poorte. 'Dit is 'n noodsaaklikheid,' sê Carroll. 'U gaan in tralies en daar is ongeveer 20 telefone agter die kroeg wat mense laai.' Hutte is ook toegerus met kragstasies.

Die eetgerei is 'n kombinasie van vintage items, ou voorraadborde uit die Amerikaanse vloot se gemorsaal en pasgemaakte borde met beelde van korke en hertjies.

Alhoewel 'n groot deel van die ontwerp 'n samesmelting van aanraking is wat Carroll interesseer, is die broederlike toebehore 'n knipoog na die ou eetklubs wat deur teaterakteurs en -produsente besoek word, soos Keens Steakhouse in New York.

Van daar af is dit net nog 'n sprong na etes van beesvleis. Hierdie politieke geldinsamelingsgeleenthede het in die 1850's in Manhattan se Lower East Side plaasgevind. Gaste het voorskote gedra, en daar was 'n lemoenbrood op stukke brood, sonder gereedskap. 'Niemand eet regtig die brood nie; hulle stapel dit as 'n merker om te sien hoeveel vleis jy eintlik geëet het,' verduidelik hy. In die dertigerjare het die etes gesterf, behalwe in die stad New Jersey waar Carroll grootgeword het.

Die steak -kamer van St. Anselm is na die oorspronklike gedruk, met klapstoele aan die muur gehang (dit was vaste sake). Hulle beplan om gereelde beesvleisbiefstukke aan te bied, maar die spyskaart bevat veel meer as varkvleis. Die ruimte sal ook beskikbaar wees vir privaat geleenthede. 'Ek wou dit nou al lank doen,' sê Carroll.

St. Anselm sal op Maandag 17 September oop wees vir aandete, gevolg deur brunch later in die maand en uiteindelik middagete.


St. Anselm open in Washington, DC

Restaurateur Joe Carroll het saamgewerk met Stephen Starr en sjef Marjorie Meek-Bradley vir 'n ander soort steakhouse.

St Anselm het nooit 'n steakhouse geword nie. 'Ons is 'n steakhouse genoem', sê restaurateur Joe Carroll. "Die idee was dat seekos, groente, alles, baie belangrik sou wees. Dit het in elk geval nie net oor steak gegaan nie." Nou berei hy hom voor om 'n tweede buitepos van sy taverne in Brooklyn te debuteer in 'n stad wat vroeër uitsluitlik bekend was vir vleis en aartappels.

Die DC -ligging van St. Anselm word op 17 September in die Union Market -woonbuurt geopen. Dit is 'n gesamentlike onderneming tussen Carroll en die restaurantmagnaat Stephen Starr (wat ook Le Diplomate 'n paar kilometer daarvandaan besit), en dit sal onder leiding van Top sjef aluin Marjorie Meek-Bradley van Smoked & amp Stacked en wyle Ripple.

Hoewel St. Anselm meer as 'n steakhouse is, volg hulle 'n eerbiedige benadering tot steak. Saam met die verwagte riboog en New York -strook, bevat die spyskaart ook verskeie onkonvensionele beesvleisopsies. Maar Carroll hou nie van die term 'afsny' nie. "Hulle is net nie die bekende luukse snitte waaroor mense gewoonlik mal raak by steakhuise nie. Maar ek dink hulle is ongelooflik lekker en toeganklik, prysgewys," verduidelik hy. Daar is die beroemde hangersteak wat goeie resensies in Brooklyn kry, sowel as die plat yster. 'Dit is regtig lekker en sag en eet net so lekker,' sê hy.

Die erflike vleis is antibiotika- en hormoonvry en kom van plaaslike plase af waar moontlik. In die meeste gevalle word dit met gras gevoer en met graan afgewerk. "Dit is soos die beste van twee wêrelde. Dit is wat die koei meestal moet eet, maar dan gee die graan aan die einde - die mielies - baie geur en vet," sê Carroll.

'Die filosofie was om regtig goeie bestanddele te verkry en dit net te laat smaak sonder om te veel daaraan te doen, sonder om te veel in die weg te staan,' voeg Carroll by. Dit geld nie net vleis nie, maar alles wat die kombuis binnekom. Meek-Bradley werk saam met plaaslike produsente soos Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish en Elysian Fields.

As dit by die spyskaart kom: 'Ek is te moerig', sê Meek-Bradley. "Ek wil net 'n goeie stuk vleis, 'n goeie sous of 'n pragtige groente met 'n paar olyfolie hê." Sy en Carroll het 'n spyskaart ontwikkel wat dit weerspieël - die meeste geregte word gebraai en eenvoudig aangetrek, soos mossels met kruie en Chartreuse -botter of varkporthuis met appelkoosblatjang.

"Die rooster is die hart van die restaurant," sê Meek-Bradley. Sowel op die spyskaart as in die ontwerp - dit is in die middel van die eetkamer agter 'n lang sjef se toonbank. "Alles soen die rooster een of ander tyd." Dit is selfs waar vir rou borde, soos die gegrilde perskes wat kampachi crudo versier en die geroosterde platbrood wat by lamtartartaar vergesel word.

Die sye is ook ver van die tradisionele steakhouse-kos-kombineer u proteïen met gebakte aartappelpuree (soos 'n kapokaartappelpannekoek), blomkool met tahini en gepofte amarant of romerige boerenkool.

Carroll het 'n handjie bygedra om die wynlys saam te stel, met 'n mengsel van klassieke Ou Wêreld-produsente, gevestigde Amerikaanse produsente sowel as jong, opkomende produsente. "Dit is hoegenaamd nie 'n duidelike steakhouse-wynlys nie. Ons sal meer ligrooi, suur, rooi rooi op die lys hê ... as tipiese Bordeaux, Cabernet," sê hy. 'Ons sal waarskynlik een van die min steakhuise ter wêreld wees, en ek dink dat dit Champagne of Chablis saam met steak [bykomend tot] rooi sal aanbeveel.' Daar sal ook 'n bondige keuse van bier en cocktails wees.

Al pas St. Anselm nie by die stereotipe van die steakhouse nie, haal die konsep inspirasie daaruit. "Die algemene idee agter die ontwerp is om in hierdie soort klubby-steakhouse-ding in te speel, maar op 'n tong-in-die-kies manier," sê Carroll. U sien die klassieke gordyne met gordyne met goue toubande. Maar binne is die hutte Naugahyde in plaas van leer, en die portrette aan die muur is van die ergste presidente in die geskiedenis, soos bepaal deur 'n paneel historici en politieke wetenskaplikes. Elkeen het 'n gloeilamp wat uit hul gesig steek. 'Ek het net gedink dit is 'n baie snaakse ding om te doen,' sê Carroll oor die lighartige oneerbiedigheid.

Die ruimte het 'n vintage 1880 -styl, met warm houtpanele, versierde kandelare en ingewikkelde matte, maar Carroll was versigtig om dit speels te hou. "As jy dit te ernstig opneem, dan lyk dit dom. Dit is een ding as ons al 80 jaar hier was of so iets."

Geborduurde broederbande versier die baksteenmure, en Carroll het selfs 'n banier van die restaurant se logo gemaak - 'n vis wat aan die rug van 'n hoender vasgemaak is, wat aangepas is uit die logo van 'n afgedankte hoendervoeronderneming.

Die oniks-u-vormige eilandstaaf word omraam deur swart rakke gestapel met vlekke, 'n wasbeer en 'n horlosie met vrymesselaars en vee in plaas van getalle. Die kraanhandvatsels is gemaak van takbokke. Onder die kroonblad is nie net sakhake nie, maar afsetpunte met USB -poorte. 'Dit is 'n noodsaaklikheid,' sê Carroll. 'U gaan in tralies en daar is ongeveer 20 telefone agter die kroeg wat mense laai.' Hutte is ook toegerus met kragstasies.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


St. Anselm Opens in Washington, D.C.

Restaurateur Joe Carroll teamed up with Stephen Starr and chef Marjorie Meek-Bradley for a different kind of steakhouse.

St. Anselm never set out to be a steakhouse. "We got dubbed a steakhouse," says restaurateur Joe Carroll. "The idea was that seafood, vegetables, all of it, was going to be very important. It wasn't just about steak by any means." Now, he's preparing to debut a second outpost of his Brooklyn tavern in a town that used to be known solely for meat and potatoes.

The D.C. location of St. Anselm is slated to open in the Union Market neighborhood on September 17. It's a joint venture between Carroll and restaurant mogul Stephen Starr (who also owns Le Diplomate a couple of miles away), and it will be helmed by Top sjef alum Marjorie Meek-Bradley of Smoked & Stacked and the late Ripple.

While St. Anselm is more than a steakhouse, they do take a reverential approach to steak. Along with the expected rib eye and New York strip, the menu also features several unconventional beef selections. But Carroll doesn't like the term "off-cuts." "They're just not the famous luxury cuts that people usually go crazy about at steakhouses. But I think they're incredibly flavorful and approachable, price-wise," he explains. There's the famed hanger steak that gets rave reviews in Brooklyn, as well as the flat iron. "It's really flavorful and tender and just eats so well," he says.

The heritage breed meat is antibiotic- and hormone-free and comes from local farms whenever possible. In most cases, it is grass-fed and grain-finished. "It's like the best of both worlds. It's what the cow should be eating for the most part, but then the grain at the end—the corn—adds a lot of flavor and fat," Carroll says.

"The philosophy was to source really great ingredients and just make them taste really great without doing too much to them, without getting too in the way," Carroll adds. This applies not just to meat, but everything that enters the kitchen. Meek-Bradley works with local producers like Seven Hills Farms, Autumn Olive Farms, Earth 'n Eats, Path Valley Farms, ProFish and Elysian Fields.

When it comes to the menu, "I'm over swooshes," Meek-Bradley says. "I just want a good piece of meat, a good sauce or a beautiful vegetable with some nice olive oil." She and Carroll have developed a menu that reflects this—a majority of dishes are grilled and simply dressed, like clams with herbs and Chartreuse butter or pork porterhouse with apricot chutney.

"The grill is the heart of the restaurant," Meek-Bradley says. Both on the menu and in the design—it's in the center of the dining room behind a long chef's counter. "Everything kisses the grill at some point or another." That's even true for raw plates, like the grilled peaches that garnish kampachi crudo and the grilled flatbread to accompany lamb tartare.

Sides are also far from traditional steakhouse fare—pair your protein with pan-fried mashed potatoes (like a mashed potato pancake), cauliflower with tahini and puffed amaranth or creamy kale.

Carroll had a hand in putting together the wine list, which has a mix of classic Old World producers, established American producers as well as young, up-and-coming producers. "It's in no way an obvious steakhouse wine list at all. We're going to have way more light-bodied, high-acid, chillable reds on the list…than typical Bordeaux, Cabernet," he says. "We'll probably be one of the few steakhouses in the world I think that would recommend Champagne or Chablis with steak [in addition to] reds." There will also be a concise selection of beers and cocktails.

Even though St. Anselm doesn't fit the steakhouse stereotype, the concept takes inspiration from it. "The general idea behind the design is to play into this sort of clubby steakhouse thing, but kind of in a tongue-in-cheek way," Carroll says. You'll see the classic curtained booths with gold tasseled rope tie-backs. But inside, the booths are Naugahyde instead of leather, and the portraits on the wall are of history's worst presidents as determined by a panel of historians and political scientists. Each has a lightbulb protruding from their face. "I just thought it was a really funny thing to do," Carroll says of the lighthearted irreverence.

The space has a vintage 1880s feel to it, with warm wood paneling, ornate chandeliers and intricately patterned rugs, but Carroll was careful to keep it playful. "If you take it too seriously, then it seems silly. It's one thing if we had been around here for 80 years or something like that."

Embroidered fraternal order banners adorn the brick walls, and Carroll even had a banner made of the restaurant's logo—a fish strapped to a baby chicken's back, which was adapted from a defunct chicken feed company's logo.

The onyx u-shaped island bar is framed by black shelving stacked with fezzes, a taxidermied raccoon and a clock that has masonic imagery and livestock instead of numbers. The tap handles are made from deer antlers. Underneath the bar top are not just bag hooks, but outlets with USB ports. "It's a necessity," Carroll says. "You go into bars and there's like 20 phones behind the bar that people are charging." Booths are also equipped with power stations.

The dinnerware is a combination of vintage items, old stock plates from the U.S. Navy mess hall and custom plates with images of grouse and stags.

While much of the design is an amalgamation of touches that intrigued Carroll, the fraternal paraphernalia is a nod to the old eating clubs frequented by theater actors and producers, like Keens Steakhouse in New York.

From there, it's just one more jump to beefsteak dinners. These political fundraising events took place in Manhattan's Lower East Side in the 1850s. Guests wore aprons and tenderloin was served on pieces of bread, sans utensils. "Nobody really eats the bread, they kind of stack it up as a marker to see how much meat you've actually eaten," he explains. In the 1930s, the dinners died out, except for in the New Jersey town where Carroll grew up.

St. Anselm's beefsteak room is modeled after the originals, with folding chairs hung on the wall (these were standing affairs). They plan to host regular beefsteaks, but the menu will feature much more than tenderloin. The space will also be available for private events. "I've wanted to do this for a long time now," Carroll says.

St. Anselm will be open for dinner on Monday, September 17, followed by brunch later in the month and eventually lunch.


Kyk die video: vlechtbrood (Januarie 2022).