From New York Times Op-Ed Contributor and Celebrity Chef Anthony Bourdain: Something important happened to my former profession in 2007. I’m
still unsure what, exactly — but there was a shift, the world of food
tilting on its axis.
Dining rooms were busy with
ever more food-obsessed, better-informed customers. Wall Street had yet
to implode, so private parties and “whale” wine buyers — customers
who’d spend $150 on food and $10,000 on wine — were still in loud,
proud abundance. Celebrity chefs who’d made their reputations on the
haute side moved to capture the middle ground as well, expanding into
branded burger joints. As with haute couture, those who couldn’t afford
the full ride could now at least buy the T-shirt.
was a big hit for Bravo, making reality show contestants who could
actually cook into household names. On the other hand, “Hell’s
Kitchen,” with its cast of mostly delusional nitwits unfit to dunk
onion rings for a living, was also a ratings juggernaut. The hugely
talented Gordon Ramsay tormented his stunned charges like a carnival
barker in some cruel and prolonged culinary version of “Dunk Bozo,”
achieving a level of success playing dumb on TV that he never could
have equaled as simply a prodigiously talented Michelin-starred chef.
brilliant, pioneering work of LA Weekly’s Jonathan Gold was honored
with a Pulitzer Prize, the first time for a food writer — and this,
surely, was a Very Important Moment. But 2007 was also the year that
Food Network canceled “Emeril Live,” and stopped ordering episodes of
“Molto Mario,” a calculated break with the idea of the celebrity chef
as a seasoned professional and a move toward an entirely new
definition: a personality with a sauté pan.
This was made
explicit with the network’s spectacularly successful “Next Food Network
Star,” in which future “celebrity chefs” were judged on the basis of
winning smiles and ease in front of the camera.
viewers began as well to concern themselves a little more with people
eating. Shows like “Bizarre Foods With Andrew Zimmern” and the comedian
Zane Lamprey’s “Have Fork, Will Travel” were early indications that the
future of food-related television might have as much to do with people
shoving the stuff in their mouths as actually cooking it.
film, “No Reservations” was an awful remake of Germany’s much better
“Mostly Martha,” but Pixar’s “Ratatouille,” a cartoon about a
culinarily gifted rat, got the details of the professional kitchen
right for the first time in the history of cinema. The “epiphany” scene
— a jaded food critic’s reaction to a childhood flavor — was the food
moment of the year.
Blogs about food became more important. Few
writers of books, magazines or newspaper columns could compete with,
say, a lonely, Vietnam-based food nerd who’d spent the last 10 years
eating at every food stall in Ho Chi Minh City, exhaustively
documenting every mouthful.
The best news of 2007 was that
chefs, as a social class somehow empowered by the strange and terrible
glare of celebrity, were finally free to rid themselves of the
time-honored dictum of “the customer is always right.” If experience
had taught chefs anything, it was that this is very rarely the case.
Chefs were now trusted enough to persuade customers to try what they
themselves loved to eat. Hence the hooves and snouts and oily little
fishes that increasingly popped up on menus. This trend alone made up
for the bad — a momentum that will, I hope, carry us through the tough
times of the present.