I attended the exuberant dance program Deep River created by choreographer Alonzo King for his LINES Ballet dance company. The performance was held at Jazz at Lincoln Center’s Rose Theater in the Deutsche Bank Center building at 60th Street and Broadway in New York City.
The massive performance center occupies an unusual 5th floor space that is beautifully laid out in a semi-circular format with comfortable seating, all with full views of the stage. The acoustics were quite good, but I felt the lighting by Jim Fench was less than inspired and could have provided this extraordinary cast with better exposure.
The program consists of a series of dances set to a variety of musical forms from percussion instrumentals, African spirituals, and the Jewish prayer for the dead set to Maurice Ravel’s music and sung by composer/lyricist Lisa Fischer, to original compositions by Ms. Fischer and composer/pianist Jason Moran.
Photo by Richard Termine and courtesy Jazz at Lincoln Center.
As a choreographer, Alonzo King’s mission, not unlike his mentor Alvin Ailey (American Dance Theater), is to reset the dimensions of movement, line, and form that have traditionally constrained dancers, giving free rein to creative expression.
King has converted the graceful movements of formalized training and organized ballet forms into interpretive movements that employ sharp angles and extensions that were at one time considered unacceptable or even ugly. What emerges is a company of extraordinary creativity, giving rein to the fullest degree of artistry.
Photo by Richard Termine and courtesy Jazz at Lincoln Center.
When premier ballerina Adji Cissoko entered the stage for her solo, “Where is There Love?,” my mind raced back half a century in remembrance. Ms. Cissoko’s lithe line, her grace through joy, fluidity of movement, and confidence were hallmarks of George Balanchine’s (New York City Ballet) requirement for his perfect ballerina. Her three couple dances, “Transition,” “Rivers of Memory,” and “Epilogue Pas,” partnered by superb dancer Shuaib Elhassan, were poetry in motion. En pointe, she soars and extends like an avatar beyond reality.
Photo by Richard Termine and courtesy Jazz at Lincoln Center.
The artistry of all the dancers was outstanding. The complexity of King’s ensemble groupings gave full range to each dancer to move independently but still fulfill their function in the overall pattern.
The ultimate crowd-pleaser was “Laughing Pas” performed by Madeline DeVries and Lorris Eichinger. The soundtrack was laughter, which was echoed by the dancers as they performed a series of amusing movements and interactions. As the piece progressed, the audience was drawn into the fun, and by the end, the entire audience was laughing out loud and applauding.
Photo by Richard Termine and courtesy Jazz at Lincoln Center.
My one caveat was the costumes by Robert Rosenwasser. The women were dressed in what reminded me of bathing suits from the 1950s, while the men were either bare-chested with skirts below the knees or little more than bathing suit trunks again styled from the 1950s. There was also a change into pants for one dancer, but there was no variety in shape or color. The only costume change for the women was the addition of pointe shoes on a few of them.
The dancers’ beautiful bodies could have been adorned in costumes that highlighted their athleticism while exposing flesh only when the dance required it, such as in Babatunji Johnson’s solo performance in “Lift Every Voice and Sing.”
The passionate vocalization by Lisa Fischer accompanied Mr. Johnson’s strong performance of majestic athleticism, alternating with quick moves. It was a tour de force.
Photo by Richard Termine and courtesy Jazz at Lincoln Center.
All in all, the 65-minute performance without intermission was well-received by the appreciative audience, and I look forward to seeing more of Alonzo King’s LINES Ballet programs.
Butter is an essential ingredient for everyday cooking and enjoying at our table. But there are some pronounced differences between the butters consumed in Europe and the ones sold in the USA.
In most of Europe, there are two types of butter that would grace your table and enhance your cooking. The European cow’s milk butter has 82% fat content, while the USA cow-milk butter has only 80% butter content, and that 2% certainly makes for a taste difference. While most of the European butter is sweet (unsalted), USA butter comes either salted or unsalted.
In addition to the cow’s milk butter of Western Europe, there is also (especially in the Eastern Mediterranean) sheep’s milk-made butter that is much sharper in taste than the cow’s milk. It comes only as an unsalted butter and is usually cultured, while cow’s milk butter could be either cultured or uncultured. There is also goat’s milk butter, but it would be too strongly flavored for the average person.
Grazing sheep in Lassithi, Greece. Photo by Manos Angelakis.
When I was growing up, my mother gave us sheep’s milk butter (provio voutiro) to slather on our toast as a breakfast treat, and I still love a piece of peasant-style, toasted white bread with a crunchy crust topped with sweet butter and peach, apricot, or sour cherry preserves on top. Though I have been unable to purchase sheep’s milk butter in my area, it’s available through the internet and in certain cities in the central U.S.
At the supermarkets near me, I have a choice of brands to pick from that are both domestic and imported. What I usually purchase to slather on my toast is either French Beurre de Charentes or Irish Kerrygold, Ireland’s most ubiquitous brand.
There is also Plugra available at my local supermarket, which is an American-made, European-style butter with 82% fat content. But because that butter is made from the milk of corn and cereal-fed cows as opposed to the grass-fed Irish butter, it has more beta carotene naturally. So both the look and the taste is different.
There are other brands of Irish butter imported into the U.S., some with fat content as high as 90%. And, of course, more fat means more flavor.
Butter with high fat content will also last longer if left on a countertop and not refrigerated, but that’s a practice I don’t recommend. The longer shelf life happens because there is less water, which makes for less opportunity for bacteria to breed. So high fat doesn’t promote bacteria growth.
The amount of salt in salted butter also plays a role, as salt is an excellent preservative. If stored correctly in a refrigerator, butter will have a very long life. And, of course, butter can be frozen without affecting its quality and taste.
Much of the imported Irish butter differs from American-produced butter because it’s usually uncultured. Cultured butter is made from cream that has been treated with live cultures, similar to those used to make yogurt or cheese. So the butter is fermented before it’s churned. The result is a thicker butter with a flavor that’s more tangy compared to butter made from uncultured cream, which seems to be blander and sweeter.
Dairy cows. Photo by Manos Angelakis.
A visual clue that the butter is made from grass-fed animals is its color. The color comes from the grass the animal feeds on. If it’s close to a bright golden hue, the cow has spent much time in a pasture feeding on grass. All grass contains beta carotene, which gives the butter that luscious golden look.
But some regional American brands have been known to add food coloring to mimic that golden look. Nevertheless, they can’t fake the taste!
You can experiment with different butters until you find the brand you like best, but I do recommend European brands. And if you’ve never tried sheep’s milk butter and can find it, I suggest giving it a taste.
TSA PreCheck News. Up to now, kids age 12 and younger could go through the TSA PreCheck line with their parents. Now, kids up to age 18 can go through the line with their parents. This is great news for families!
TSA PreCheck Scams. There are bogus websites claiming to sign you up for TSA PreCheck. Please be careful! Only sign up with the official site that ends with “.gov.”
Eiffel Tower Reopens! The Eiffel Tower (in Paris, of course) was temporarily closed due to a strike, but it has just reopened. So if you’re headed there, you can still visit the famous structure.
American Airlines, United Airlines, and JetBlue Raise Baggage Fees. When you pay online, your first bag with American Airlines will cost $35 for domestic and international flights. It’s now $40 if you pay at the airport. A second bag is $45. On United, the price hikes are the same as American, with a second bag costing $50 if you pay at the airport. With JetBlue, you can avoid the increase if you let them know you’re checking bags at least 24 hours before your flight. After that, the first bag will now cost $45, and the second will be $60.
American Airlines’ Big AAdvantage Miles Change! Starting May 1, 2024, you won’t earn AAdvantage points unless you book your flight directly with American Airlines, their partner carriers, or a “preferred online travel agency.” They’ll disclose in April who these preferred agencies are. I often buy on Expedia and wonder if it will be included. We’ll know soon!
Some Good American Airlines News. While I’m not a fan of American, I AM a fan of Tokyo. American will start flying non-stop to Tokyo from JFK in NYC starting June 28. It will take just over 14-1/2 hours, leaving at 11:25 a.m. and arriving the next day in Tokyo at 2:30 p.m. The return leaves at 4:30 p.m. and arrives at 4:35 p.m. (too bad the flight isn’t actually just 5 minutes). The route will fly on a Boeing 777-200.
How about a luxe flight on Cathay Pacific? The airline will reinstate its 16-hour flights to Hong Kong from JFK with first class cabins. (They were grounded during the pandemic.) There are just six seats in the first class cabin, and they are lie-flat for a good sleep. Zzzzzz…
Hawaii Tourist Tax? Hawaii is considering a bill that would cost tourists an additional $25 when checking into a hotel or short-term rental like an Airbnb. The funds would be earmarked for things like the prevention of wildfires and floods. We’ll let you know if this bill is passed.
Those Boeing MAX Planes. I have some flights coming up on a 737-800, but I double-checked. These are very different from the MAX planes that have been problematic. Phew!
Mexican Beach Vacation Coming Up? Be Careful! Dangerous Portuguese man-o-wars are showing up in Cozumel.
Singapore Fees. In 2026, flights from Singapore will include an additional fee to help pay for sustainable fuel. It will equal 1% per flight until 2030, when they plan to increase it to 3-5%. So it will only amount to a few dollars. No big deal.
I will start this recipe by stating that normally, I abhor fried liver and onions. However, there is one dish – a classic Ottoman appetizer that I love and can’t have enough of when I’m in a Turkish restaurant. It’s offered as part of meze or as a main course. And, of course, I cook it at home.
Arnavut ciğeri, which means Albanian liver, is a pan-fried savory liver dish livened with crushed red pepper flakes, accompanied by a red onion and parsley salad flavored with sumac. I usually enjoy it as a main course instead of just as meze.
The classic recipe calls for lamb’s liver, but I prefer beef liver, as I think it’s much more flavorful and easier to get at a supermarket near me.
Below is my mother’s recipe. I make her original or a variation where I use thin habanero slices instead of the traditional Turkish long hot peppers or substitute tomato wedges for the peppers.
Sometimes, my wife cooks another variation where she lightly sautés white onions with cremini mushroom slices and sprinkles cilantro instead of flat leaf parsley on top. She adds the sumac to the flour and spices mix.
Arnavut Ciğeri. Photo by Manos Angelakis.
Ingredients:
1 large red onion, cut in half lengthways and thinly sliced 8 sprigs flat leaf parsley, stems removed, coarsely chopped 2 tsps. ground sumac
1 lb. liver, cut into bite-sized pieces if used for meze or strips if used for a main course 2 tsps. paprika ½ tsp. crushed chili pepper flakes or spicy smoked paprika 1 cup all-purpose flour 1/2 cup oil for frying (in Turkey and Greece, they use olive oil, but when I cook it I prefer canola) Lemon wedges, at least one per person Sea salt and freshly ground black pepper to taste
Method:
Make the salad first. Slice the red onion, and rub 1 or 2 tsps. sea salt into the onion slices. This will soften the onions and make them tastier.
Stir in the chopped parsley, ground sumac, and black pepper, and combine. Spread the salad on a serving dish, and set aside.
Remove the skin and ducts from the liver and slice it into pieces.
In a plate mix the flour, 2/3 tsp. sea salt, paprika, and chili pepper flakes or spicy paprika. Place the liver pieces onto the flour and spices mix to coat all over.
Heat the oil over high heat in a heavy skillet, and fry the coated liver pieces for 4-5 minutes until the pieces become crispy and have a medium brown coating outside but are still moist and soft inside.
Remove the liver onto a paper towel to get rid of any excess oil.
Drain the salad of any liquid that might have accumulated on the plate.
Place the fried liver on a platter, and cover with the salad. Serve warm.
Place a lemon wedge on each plate, and squeeze the lemon over the liver. The fresh lemon juice gives a refreshing taste to the dish and complements the onion and parsley or cilantro salad.
Before traveling to Japan, I highly recommend that you do considerable research. Otherwise, you’ll waste a lot of time trying to figure things out. I did a lot of research, but there were still moments when I found myself confused. I can’t imagine the amount of time I would have lost if I’d done no research at all.
This article is my effort to spare you some of the confusion I experienced while there, thus allowing you to spend more time enjoying Japan rather than wandering at random. I also hope to save you some stress!
Japanese currency. In order to negotiate your way in Japan, you first have to understand Yen. The best way I know to compare Yen to U.S. currency is to imagine if the U.S. only traded in cents and no dollars. Therefore, what we now call a dollar would be 100 cents, a $5 bill would be 500 cents, a $10 bill would be 1,000 cents, and so on. This is how Yen works, and one Yen is currently almost equivalent to one U.S. penny. So 100 Yen is about $1US, 500 Yen is about $5, etc. I coped by just knocking off the last two zeroes, and while the exchange rate wasn’t exact, it was very close. You’ll want to check the exchange rate when you go, of course, as this could change, requiring you to make some adjustments.
Japanese Yen. (Stock photo)
That said, 1,000 Yen is the smallest paper money you’ll get in Japan. Five hundred Yen and anything smaller will be in coin form. This is actually common in most parts of the world. Few other countries have bills in as small denominations as we have in the U.S.
ATM machines in Japan. Not all ATM machines in Japan work with international cards. It’s counterintuitive, but few cash machines at banks will give you currency unless you have an account in Japan. Instead, use the ATMs in the many 7-Eleven stores, Family Marts, or Lawson stores. (Family Mart and Lawson are convenience stores that are similar to 7-Eleven.) I preferred the 7-Eleven cash machines because I could usually get 10,000 Yen in ten 1,000 Yen notes rather than a single 10,000 Yen note. Nevertheless, even though 10,000 Yen is almost equivalent to $100US, most stores and taxi drivers will take this note from you in payment.
Credit cards in Japan. Japan is still largely a cash society. People don’t use credit and debit cards nearly as much as we do in the U.S. and Europe. So you’ll need to know about the ATMs! Your hotel and some restaurants and big department stores, however, will take your credit cards. I got 30,000 Yen in the U.S. before leaving so that I had some funds upon arrival.
Paying for your subway rides. Before you take the subway in Tokyo, the first thing to do is find a machine in one of the stations that sells “Pasmo” or “Suica” cards. These machines are well-marked and easy to find, and you can press a button on the touchscreen to get the instructions in English. Most subway rides cost 170-300 Yen ($2-$3) depending upon the distance of your ride. Note that you’ll have to insert cash into the machine to purchase your card!
This is what a Pasmo card looks like. (Stock photo)
You’ll be charged a small deposit for the card (Pasmo currently charges 500 Yen), which you can get back, along with any remaining balance, if you turn in the card before you leave Japan (more on that in a moment). Since I could get any excess money back, I went ahead and put 10,000 Yen on my Pasmo card immediately so that I wouldn’t need to top it up anytime soon.
How to enter the subway. When you find the subway line you want to take, you’ll see locals putting cards into the entrance machines, and the cards will pop up on top for them to retrieve and take with them. If you have a Pasmo or Suica card, YOU WON’T DO THIS! Instead, you’ll see a large round circle (usually blue with the letters “IC”) on the front of each entranceway (similar to a New York City subway turnstile), and you’ll just tap your card there. The entrance will open for you, and you can walk through and follow the signs to find your subway line.
The blue pad here that says “IC” is where you tap your Pasmo or Suica card. (Stock photo)
How to exit the subway. Keep your card handy because you’ll have to tap it again as you exit. This is how the system determines where you began and where you ended in order to calculate the cost of your ride. This is much the same as the systems in London, Washington DC, and San Francisco, but it’s entirely different from the subway system in New York City, which costs a flat rate regardless of the distance of your ride.
If you’re changing trains, you may not have to exit the subway and tap your card until you reach your destination. This varies, however, because different companies run the lines in Japan. In Kyoto, for example, I took a Metro and then a local train that was run by a different company. In order to switch between these trains, I had to tap my Pasmo card to exit the subway and retap it when I passed through the entrance to the second train.
Pasmo and Suica cards don’t just work in the subway. I’ll tell you more about how to find your subway line in a moment, but first I want to tell you a bit more about the Pasmo and Suica cards. Since credit cards aren’t used so much, I loved having a substantial amount of money on my Pasmo card. I was able to use it in taxis, on buses, and even in some stores. When you’re in a taxi, look for the Pasmo or Suica card symbol on the windows. When it’s time to pay, show the driver your card, and he’ll show you how to use it in the taxi.
These cards also work in most Japanese cities. I used mine in Kyoto and Osaka as well. So again, I highly recommend putting at least 10,000 Yen on it right from the start.
The inside of a Tokyo subway train. (Stock photo)
Finding out your balance and topping up your Pasmo and Suica cards. There are yellow “Fare Adjustment” machines and other Pasmo/Suica card machines in the subway stations that allow you to check your card’s balance and add more money to it. You can add as little as 1,000 Yen and as much as 20,000 Yen.
What to do if your card stops working for no apparent reason. I walked into the wrong station one day and had to exit just a few minutes later. As a result, the system seemed to think my card had been stolen, and it was deactivated. When I tried to enter the Tokyo Metro again, the card wouldn’t work. So I went to the manned window at the subway entrance and asked them to check the card for me. They reactivated it immediately, and I was good to go.
This photo points you to track #1 for the Yamanote line, which will take you toward Shinjuku, Ikebukuro, and Ueno (note that those aren’t the only stations where this train will stop, but they are the most frequently used). (Stock photo)
Getting your money back on your Pasmo and Suica cards. When you’re reluctantly ready to leave Japan and know you won’t need your card anymore, go to the manned window at any subway entrance and ask to turn in your card. You’ll be given your deposit and any amount remaining on the card. I did this at the subway station below the terminals at Narita Airport.
Unlimited Tokyo Metro day passes. If you aren’t staying long in Tokyo, you can also opt to buy an unlimited one-day subway pass for 800 Yen (about $8US). If you’re going to ride public transportation in other cities, however, I still suggest going with Pasmo or Suica.
Note the doors between the platform and the train, which are now available at most subway/Metro stations in Tokyo. Note also the electronic monitors hanging from the ceiling, which tell you the train that’s coming, alternating between Japanese and English. Photo by Melanie Votaw.A sign in a Tokyo subway station showing you which direction to walk for different train lines. Photo by Melanie Votaw.
Finding your subway line. The GPS on my phone was helpful in giving me a subway route to my destinations. It told me which line to take and where to change trains, if necessary. First, you have to determine the line you need to take – notice both the name and the color. Then, you need to detemine the direction.
For example, the Marunouchi line starts at Hosancho station or Ogikubo station (depending on the route – unless you’re taking the train that far out, it won’t affect you) and ends at Ikebukuro station. If you start at the Shinjuku-sanchome station and want to go to Ginza station, you would take the Marunouchi line in the direction of Ikebukuro. For your return trip, you would take the Marunouchi line going toward Hosancho or Ogikubo.
See if you can find that line on this map and follow along with my directions above. If you aren’t accustomed to taking subways, it can be helpful to determine a couple of routes before you leave home. That way, you’ll feel more comfortable figuring it out once you arrive in Japan.
Note that sometimes the train going in the opposite direction will be on the track on the other side of the same platform, so make sure you get on the train going in the right direction. The signs on the wall behind the tracks also include the name of the station just before and just after the station you’re currently in. This is helpful because if you get at all confused as to whether you’re headed in the right direction, check the map or the route on your GPS to see which station should be next on the line you’re taking toward your direction. An arrow on the sign behind the track will also point in the direction the train will go.
You’ll also see electronic monitors overhead in most stations that tell you when the trains will be arriving. You’ll see the Marunouchi line to Ikebukuro at ____ time, for example. This information will switch back and forth between Japanese and English.
Within most cars, there are additional electronic monitors that tell you the next stop. I suggest determining how many stops you’ll have and then following along so that you don’t miss your stop. Announcements are also made on the subways in both Japanese and English to tell you which stop is next and where you have just arrived.
People wait in line for the train between the colored lines painted on the platform. Photo by Melanie Votaw.
This subway entrance shows you the colors, numbers, and letters of all of the subway lines that operate from this station. You’ll probably need your metro map to check the names of the lines. (Stock photo)
Etiquette when waiting for the subway train. Stand in line behind others at the train entrances. At most stations, you’ll see outer doors on the platform that open before the train doors open. Don’t block the way for exiting passengers!
This is one of the exit signs in a subway station. This exit leads to the Imperial Palace among other sites. Photo by Melanie Votaw.
Exit signs in subway stations. Exits in the Tokyo Metro are marked with black letters on yellow. Many stations will have large signs on the platform with an alphabetical list in English of the main sites and hotels near the subway station, along with the best exit for you to take for the site you want. The exits usually have both a letter and a number, and there can be many exits in any given station. Keep looking for signs until you find your exit. You could save yourself a half hour of walking by taking the proper exit.
If your destination isn’t well-known, I suggest looking on a map beforehand to see what major hotel or tourist attraction is nearby. That way, you can look for the popular destination on the exit list and save yourself excess walking and wasted time by exiting near your desired location.
Try to avoid rush hour. Rush hour in Japan is roughly 7:30 a.m. to 9:30 a.m. If you avoid those hours for the most part, you shouldn’t have to deal with horrific crowds.
Don’t get stuck late at night. Most subway lines stop running between 11:00 p.m. and midnight, so if you’re out late and don’t want to take a taxi, double-check the time your line will stop. You can do this through your GPS, or there are signs in the subway with the departure times of your line.
Taking Taxis. You can hail taxis on the street in Tokyo and most other cities in Japan just like you do in New York City. You’ll also find a lot of taxi ranks around major sites, train stations, and hotels. Kyoto has a special fleet of trained “foreign friendly taxis.” You can have your hotel call them for you, or you’ll find them outside the Kyoto train station.
Most of the time, however, your taxi driver in Tokyo and elsewhere will not be fluent in English. For this reason, I printed out maps before I left the U.S. that showed the location of my hotels. I also made sure I had the name of the hotel (and the address, if possible) written in Japanese. If you don’t already have this information before you arrive in Japan, never leave your hotel without asking personnel to write the name and address in Japanese for you. This way, if you get lost or injured and need to take a taxi back to your hotel, you can do it without stress.
Signage in a large Japanese train station. It can be a lot to take in, so give yourself plenty of time to find your way around! (Stock photo)
Getting around large train stations. Some of the train stations in Tokyo are actually gigantic shopping malls. It’s easy to get lost, and while the signage is good, it’s still insufficient. For example, I needed the West entrance of a station, but when I entered at the East entrance, I saw no signs pointing me west. It wasn’t like the route was a straight shot in one direction. I used the compass on my phone and kept going west as best I could until I finally found a sign that pointed toward the West entrance.
At one point, I needed to find the JR (Japan Rail) office in Tokyo Station, but I got lost trying to locate it with only the help of station signage. My phone’s GPS came to my rescue and helped me find the office within the station.
Japan Rail Pass. The Japan Rail Pass works on trains that go from one city to another. It does not work on subways! It also doesn’t cover every single train line, as Japan has more than I can count. However, it will cover most of the trains you want to take around the country. Be careful, though – there’s also a Japan EAST Rail Pass, but it only covers the eastern portion of the country. Since I planned to go to Kyoto, which is in the west, I needed a basic Japan Rail Pass, which would allow me to use the network anywhere in the country.
Currently, you CANNOT buy your rail pass in Japan, although I hear that might be changing. You can purchase them online or in one of the office locations listed on that website link. What you’ll receive is actually a VOUCHER, not the pass itself. When you arrive in Japan, locate the JR (Japan Rail) office in one of the train stations that accommodates JR trains. (You’ll see the JR sign everywhere.) You may have to wait in line for a bit, but they’ll take your voucher and look at your passport before giving you the actual rail pass. You’ll have to tell them what day you wish to start the pass and what day you wish to end.
I purchased a seven-day pass, but there are different day-lengths that you can buy. I didn’t have to tell anyone in the U.S. what day I wanted to start using my pass, but in Japan, they recorded my beginning and ending dates.
There are several different models of Shinkansen / bullet trains in Japan, so they don’t all look like this one. But they’re all ultra cool Photo by Melanie Votaw.
Riding the JR bullet trains. The bullet trains are JR trains called Shinkansen and should be included with your rail pass (just always double-check that the line you want to take is covered by your pass). You can get seat reservations on these trains if you know exactly the time and date of the train you want to take, and I highly recommend that you do this.
If you’re buying individual tickets, you’ll have to pay for your seat reservation. If you have a Japan Rail Pass, however, you can get your reservations for free. You will have to stand in line at a JR office to get them from an attendant, however. It’s one of the few things you can’t do by machine in Tokyo. I suggest that you try to get all of your seat reservations at the same time that you exchange your voucher for your rail pass. This will require that you have a set itinerary, of course. If you don’t want to decide on all of your train trips at the beginning of your stay, just bear in mind that you might end up standing in line at JR offices several times.
If you need to change your seat reservations to a different train time, you can, but again, you’ll probably have to stand in line to do this.
The inside of a Shinkansen train in Japan. Note the seat numbers and letters above the windows. They’re similar to the seat numbers and letters on an airplane. Photo by Melanie Votaw.
Local JR trains versus Shinkansen trains. One of the things that confused me was that “local” JR trains that are NOT Shinkansen (bullet) trains do NOT allow any seat reservations. All seats on these trains are unreserved. Some of the trains you take with your rail pass may very well be these local trains. So if you ask for a reservation and they tell you, “No, it’s a local train,” what they mean is that there are no reserved seats to be had for those.
Shinkansen platform. Photo by Melanie Votaw.
See the photo above for an example of a Shinkansen platform. This one shows that you stand within the yellow lines on the right (where you see the suitcase) to wait for Car #8. You’ll see that this entrance to Car #8 is best for Seats 10-17. If your seat is before #10, you would walk left to another entrance for Car #8. I’m not actually sure what the blue sign on the floor indicates. The 6 apparently shows that the next car is the #6. I assume there isn’t a #7 for this particular train, but I’m not certain. The most important information here for my purposes was included in the red square.
Station name confusion. Sometimes, two train stations will have similar names, so make sure you’ve chosen the correct one. For example, Kamakura, a popular tourist destination outside of Tokyo, has both a Kamakura station and a Kita-Kamakura station.
Finding your JR train track and reserved car. The Hyperdia site will be your friend when you want to check JR train schedules and track numbers. Note that each train and schedule has its own name and number (based on the line and the time of departure), so you’ll find it easy to make sure you’re on the right train. The seat reservation ticket you’re given will include the name and number of your train, as well as the car number and seat number of your reservation.
On Hyperdia, you can find out the track number of your train way in advance, which will allow you to scope out the best entrance in the station for your train. This is a good idea since the station sizes can be so daunting. If you don’t scope it out, you’ll find your way to the JR trains eventually, but it might take 20-30 minutes of following signs before you get there. If you’re going to do it blindly, give yourself plenty of time to get to your station. The trains leave right on time!
On the platform and on the overhead monitors, you’ll find the number of the car for your seat reservation. There may even be an indication of which seat numbers will be close to where you’re standing (as you see in the previous photo). You’ll also probably see colored lines painted on the platform, which indicates where people should form a line to wait for that train door to open. If you arrive early, however, don’t stand in line until your train is next. Many earlier trains might leave before yours.
If you don’t get a seat reservation, there are often indicators on the platform as to where the unreserved cars are located. Otherwise, some of the cars with reserved seats include unreserved seats. If you can’t find where to stand in line for an unreserved seat, ask one of the attendants on the platform to help you. They’re usually friendly and can speak enough English to give you the information you need.
Travel light! It’s imperative to travel light in Japan. Try not to take a bag larger than a carry-on. I had a carry-on-sized roller suitcase and a backpack with me. There aren’t many places to keep bags on the Shinkansen, but at the end of each car is a small area for suitcases. A sign will say that you should tell an attendant your bag is there. I recommend doing that and getting permission if your ride is of any length. Otherwise, they reserve the right to remove your bag. There are also racks within the cars above the seats on most trains, and if you can lift your bags, you can store them up there.
If you want to try to put your bag at the end-of-car area, arrive on your platform early to scope out which end of the cars you’ll find that area. In my experience, it varied. I wanted to be the first person in line so that I could make sure there would be room for my bag there. (Theft is possible but not common. I have also left suitcases in these areas on European trains and never experienced a theft.)
Monitors above the Shinkansen. The numbers 6 and 7 indicate the car numbers, and the monitor tells you which train is coming next, alternating between Japanese and English. In this case, the train number is 301, and it leaves at 10:07. Photo by Melanie Votaw.
If you leave something on the train, there’s a good chance you’ll get it back. I left my backpack on a train in Nara, Japan, and I got it back right away because I realized quickly that it was missing. They had cleared the train before it left the station, and when I went back up to the platform, an attendant was holding my bag. Otherwise, it would have been waiting for me in the lost and found office of the station. There isn’t time to clear every train at every stop, but there’s still a good chance you can get your item back if you report it.
Bicyclists on the sidewalk. This is about navigating as a pedestrian rather than taking the trains or taxis. Watch out for bicyclists on the sidewalks! They’re quiet and fast. I got in the habit of looking behind me before shifting right or left. Before I got in that habit, I was almost hit at least five times by a bicyclist going around me. All it took was one step to the left or right to put me in harm’s way.
Car numbers on the platform for a local JR train. Note the blue lines which create a box for the line of people waiting for that particular door. Photo by Melanie Votaw.
Street names. Not every street has a name in Japan. I had read that none of them do, but that isn’t true. The main thoroughfares do indeed have names. But make sure you have data available on your phone so that the GPS is available to you. It will be easier than negotiating a map on the street. My phone’s GPS was my best friend when trying to find my way around. As I mentioned, I was even able to use it to find my way within train stations.
Sometimes, the GPS will be wrong, however, as I’m sure you’ve already discovered while driving in your country. I sometimes checked my GPS a few times en route to see if the directions had changed. For example, I was told by the GPS that I had to walk a half hour to get back to my hotel and that there were no convenient subways available. When I passed a subway station, I checked the GPS again and discovered that I could take a train from there to right under my hotel. It spared me at least ten minutes of walking at the end of the day when my feet were tired.There you have it – my tips for managing Japan. This list is by no means comprehensive, but these hacks should help you as you’re finding your way around.
Most of the time, when tourists tell me how much they’ve paid for Broadway tickets, I cringe. Yes, sometimes, you have to shell out the big bucks if you only have a few days in town and want to see shows that are usually sold out. But if you plan ahead, you can pay a lot less by checking out just a few resources.
For those who are new to Broadway, it’s useful to know that for the first month, a show is in what’s called “previews.” During this time, they see how the show plays to audiences and tweak the script, songs, choreography, etc. During the last week or so of previews, the show is usually “set.”
Then, it has its formal opening night, reviews come out, and it hopefully plays for a long time after. Sometimes, tickets are cheaper during the preview period. I often see shows before opening night, and I’ve never been disappointed, so don’t hesitate to go during this period.
(Stock photo)
Here are some tips you can use for most shows:
1.The further in advance you can buy your tickets, the better. Don’t wait until you get to New York unless you’re willing to take your chances with Rush or Lottery tickets (more on those in a minute).
2.Don’t use your hotel’s concierge for tickets unless you’re trying to see a show that’s usually sold out. You’ll nearly always pay more than necessary if you get your tickets this way. (No offense to any hard-working concierge, but these are not discounted!)
3. First, check these four websites for discounts:
There are other sites like Broadway.com, Broadway.org, SeatGeek, and StubHub, but I haven’t found much in the way of true discounts on any of them.
4. If you come to New York often, it’s worth it to join the Theatre Development Fund for $34 a year, if you’re eligible. You’ll qualify if you’re a recent grad (26 years old or younger), a retiree, a member of the armed forces, a freelancer, or a full-time union member, student, teacher, civil service employee, member of the clergy, staff member of a not-for-profit organization, or arts professional. Every day, TDF offers discounts for Broadway, other theater, music, and dance.
5. If you aren’t eligible for TDF, but you live in/near NYC or travel to the city often, you can join Theatermania’s Gold Club for $79.99 per year/$9.99 per month or Club Free Time for a small fee to try it for a month. You won’t find a lot of Broadway shows on these two, but there are discounts and freebies for other types of shows (with the occasional Broadway show – usually one that isn’t selling well otherwise).
(Stock photo)
6. What about the famous TKTS line (also run by the Theatre Development Fund) at Times Square? It’s still a good option if you’re deciding on a show at the last minute, and they now take credit cards at the booths at Times Square and Lincoln Center. But it’s no longer the option for the best discounts. The average half-price ticket is at least $75. That may or may not be an orchestra seat, and many of the shows are not discounted as much as 50%. You can check the list online or using the TKTS phone app. It changes daily.
7. If you’re willing to gamble, you can try for Rush or standing room tickets. Rush and standing room seats are offered the same day as the show, usually at the time the box office opens (9am or 10am). If it’s a popular show, you’ll need to get in line a couple of hours before the box office opening time, or you’ll be out of luck because they only sell a few of these tickets. Rush is also sometimes sold on the TodayTix app (more on that in a moment) and on Telecharge.
Every show has its own policies, so you have to check. Playbill is a good resource. If you have a large party, this won’t work for you because you’re usually restricted to one or two tickets. Rush tickets offer you an actual seat (sometimes restricted view), while standing room means you’ll be given a specific spot to stand during the show.
8. Lotteries are exactly how they sound – your name is put in a “hat” and chosen or not for 1-2 tickets. For popular shows, it can be exceedingly difficult to win a lottery. For some shows, you have to appear at the theater at a certain time to add your name, but these days, almost all lotteries are held online. This makes them harder to win. If you enter online, you can put your name in the running for more than one show, but as soon as you win, your name is cancelled on the others. There are two sites running lotteries: Telecharge and LuckySeat.com. Note that lottery and rush policies are not usually announced until a show begins previews.
9.Today Tix is an app that you can download on your phone. It offers some discounts and allows you to enter several lotteries, as well as purchase rush tickets. It’s often a good option, but if a show is popular, you will need to try to grab a rush seat as soon as they start selling them (like the MINUTE they start selling them).
10. Again, if you’ve moved to or near NYC, or if you visit often, it’s worth it to join Audience Rewards. It’s free to join. Then, every time you buy tickets for most shows, you collect points. You can also get more points for answering trivia questions on the site. Once you have enough points, you can use them for discounts on tickets. You can’t choose your seat, but you’re usually given a good orchestra seat or one in the front mezzanine. The problem for tourists is that the tickets are only available for a certain number of dates. As a local, though, it’s sometimes a great option, although the savings have gone down considerably since Covid.
(Stock photo)
11. While it can be pricey, another way to see some of your favorite Broadway stars is at the cabaret venue, 54 Below. Big names regularly perform here. Plus, it’s a small room, so you can get much closer than in a Broadway house. You pay a cover charge that varies from show to show in addition to a $25 food/drink minimum.
12.Don’t forget that there’s more to New York theater than Broadway.Off-Broadway often has terrific shows. There are several Off-Broadway companies and theaters that consistently produce excellent plays and musicals, frequently with big names in the cast. In a long list that isn’t at all exhaustive, my recommendations include:
There are also numerous music venues and off-off-Broadway theaters in New York. The quality varies, but often, they’re quite good.
The bottom line is: Do your research before paying $150 or more for a Broadway ticket. In many cases, it isn’t necessary to spend that much. I rarely spend more than $75, even for orchestra seats. Yes, I have the luxury of living in New York and choosing from a multitude of dates. Nevertheless, you can get better deals if you only take the time to look!
This is a recipe for garlic soup, sopa de ajo – a classic Basque and western Spain dish. Basque housewives believe in “waste not, want not” so this is an excellent and very tasty way to use (and not waste) old bread!
A number of other versions using different ingredients, such as crushed almond meat as the thickening agent instead of old bread, also appear in the Spanish cooking traditions (many as hangover remedies)!
Instead of the traditional Basque zopako ogia flatbread, which I have not been able to find in the U.S., I use baguette slices that are fried in olive oil – well-browned but not burnt — to add to the soup body and depth of taste.
Another key ingredient in sopa de ajo (and Spanish cuisine in general) is pimentón de la Vera, a smoky paprika from Spain’s La Vera region. To make it, ripe peppers are smoke-dried over oak chips, then ground to a powder.
Las Hermanas pimentón dry peppers. Photo by Manos Angelakis.
I normally use Las Hermanas Paprika brand of agridulce (bittersweet) pimentón for my garlic soup. The original recipe calls for dulce (sweet) pimentón, but agridulce has a more intense taste than dulce and has less heat than pimentón picante, the spicy version. However, if you wish a milder or much more spicy taste (dulce or picante), feel free to use any of the other styles of Spanish paprika.
I found this ingredient during a press trip to Extremadura when we visited the production facility. Depending on the amount of the soup you make, you’ll need a dose of pimentón for this recipe.
Las Hermanas Agridulce. Photo by Manos Angelakis.
Hijos de Salvador López – and its Las Hermanas brand – is a women-run company, founded in 1940 by Salvador López, continued by Salvador’s three sons and now by his two granddaughters. The peppers, all cultivated by local farmers in La Vera until ripe red, are smoked upon picking using indirect heat over oak fires for 10-15 days, finished over a slightly warmer fire for three additional days, and then ground to a powder.
For 4 portions of sopa de ajo, here is my recipe adaptation.
Ingredients:
6 cups cubed French bread (of course if zopako ogia is available use by all means) 3 tablespoon extra-virgin olive oil 1/4 cup extra virgin olive oil 7 cloves garlic, very thinly sliced, or more to taste 1/4 medium yellow onion, thinly sliced 2 ounces smoked ham, diced 1 or 1 1/4 tablespoon smoked pimentón, or to taste 6 cups chicken broth, or more as needed 1 pinch cayenne pepper, or to taste salt and ground black pepper to taste 1/4 cup chopped fresh flat-leaf parsley or cilantro 4 large eggs
Method:
Preheat a salamander or oven to 375⁰F in top grill setting.
In a cast-iron frying pan, fry the bread cubes in the 3 tablespoons of extra virgin olive oil, tossing occasionally, until the bread is very well-browned but not burned.
Heat 1/4 cup olive oil in a heavy pot over medium heat. Stir and cook the garlic and sliced onions in the hot oil until just golden, about 1 or 2 minutes.
Add the ham, and stir until heated through, about 1-1/2 more minutes.
Add a tablespoon or more of pimentón, and cook for 1 minute more.
Add the bread cubes to the pot, and toss to coat well with the hot flavored oil, garlic, onion, and ham mixture.
Pour chicken broth onto the bread mixture. Beat the bread cubes until they dissolve and thicken the broth.
Add cayenne pepper, salt, and black pepper. Stir, and bring to a boil.
Reduce heat to medium, and stir in parsley. Cook for 4 more minutes.
Crack each egg into individual small bowls or cups. Spoon the soup into 4 individual clay pots. Make depressions on the thickened top of the soup with a spoon. Slowly pour an egg into each depression.
Place the pots in a preheated top-grill oven or salamander, and cook until the egg whites are firm and yolks are thick but not hard, 2 to 3 minutes. Serve hot.
Extremadura Sopa de Ajo Blanco made with almond meat. Photo by Manos Angelakis.
In Extremadura, they make Ajo Blanco, a garlic soup using very lightly toasted almonds, shelled and crushed in a mortar instead of the bread and without the smoked ham, using the same other ingredients and mixed in a blender. They usually serve it cold in a champagne coupe with a drizzle of extra virgin olive oil on top. Disfrutar!
Quebec City has long been known for its innovative and inventive cuisine. Since my early traveling days, visiting Quebec was always a go-to destination for beautiful vistas, old world charm, support of local craftspeople, and great food. On our recent trip, we were invited by Destination Québec Cite to meet several of the talented young chefs specializing in the distinctive boreal cuisine.
Boreal – from Boreas, the Greek god of the north wind – as it relates to cooking, refers to the bounty nature provides in the northern forests that are dominated by conifer trees and indigenous plants, berries, and ferns. These are native to a specific area – in this case the Provence of Quebec.
Quebec boreal vegetable plate. Photo by Barbara Angelakis.
Nordic cuisine uses lean fish such as cod (which is especially rich in protein) or salmon, mackerel, herring, and trout (which are high in omega-3 fatty acids). They also use game meat that is very rich in protein and almost completely without saturated fat. The vegetables and berries from the region contain antioxidants and vitamins B and C. Nice to know, especially as all these are also delicious.
Boreal cooking in Quebec was developed during the period when the territory was known as New France, before the conquest by the British in the mid-18th century. Ingredients that were the basis for French cooking were not readily available. The native peoples taught the French settlers about the abundant sources of food in the forests, the local animals, and preparing the indigenous products.
Once the British displaced the French, boreal cuisine was further developed and became a totally new cuisine in Quebec, where only locally sourced seasonal ingredients are used.
Each of the chefs we spoke with told us that boreal cuisine is an ongoing creative process. It demands constant and extensive seasonal experimentation to discover nutritional and flavoring alternatives to lemons, olive oil, and traditional spices since these items are not native to the area.
Like any constantly changing cuisine, it’s necessary to suspend your prior training and expectations and be willing to experiment with new unfamiliar ingredients. All of the chefs said they enjoy the challenge and are excited about the health benefits of seeking locally sourced seasonal ingredients, as they create delicious, nutritious dishes from their serendipitous finds.
Foie gras at Chez Boulay Bistro. Photo by Barbara Angelakis.
My first experience in boreal dining was at Chez Boulay Bistro where Chef Jean-Luc Boulay and his associate, Arnaud Marchand, have developed a menu using regional ingredients harvested seasonally at their prime. The physical restaurant was a traditional-looking French bistro with a bar along one side and an open kitchen at the rear. Friendly, knowledgeable waiters described each dish, but as with most boreal dishes, I was unfamiliar with many of the ingredients.
I began with nougat of foie gras, with berries and yellow birch syrup. It was delicate, savory, and good to the last succulent drop. The menu that day offered a Walleye fish chowder and a Rabbit Rable along with an unusual dish of Jerusalem artichoke Patia with willowherb tea, Viennese herb crust, and black Jerusalem artichokes.
Throwing caution to the wind, I went with the artichokes, and I’m so glad I did. It turned out to be an absolutely divine dish, beautifully presented with wonderful flavors complementing each other. I must admit that I wasn’t as thrilled with the dessert selection, but after two wonderful dishes, my companions and I left raving.
Fiddlehead fritters. Photo by Barbara Angelakis.
Another impressive Chef, Dereck McCann, is one of the co-chefs heading the kitchens at Le Monastere des Augustines, called Le Vivoir Restaurant. He has a total hands-on approach, making sure his guests are well-fed and knowledgeable of the health benefits of boreal cuisine.
Serving three meals a day, he oversees an impressive daily array of salads, entrees, and desserts, as well as offering al a carte menu selections, all locally sourced. He has a personal relationship with all his providers, securing only the best, freshest meats and poultry, vegetables and fruits at their prime.
Since our group was staying at Le Monastere, Chef Dereck went all out with a tour de force dinner of organic mushroom ravioli, fresh octopus with dried peppers and tomatoes, sturgeon with creamed corn mélange, barbequed ribs with caramelized carrots, Portuguese herbed chicken, and souse-vide carrots.
He complimented the meal with wines personally selected from Muldova and ended with a variety of tasty treats and a small harvest cherry liqueur from his private cellar.
First Nations food plank. Photo by Barbara Angelakis.
A short drive outside of Quebec City in a spectacular setting in the woods took us to the First Nations Wendake Hotel-Musee Premieres Nations and dinner at Restaurant La Traite. Chef Marc de Passorio introduced us to his vision of boreal cuisine after our visit to the amazing Sound and Light show, Onhwa Lumina, set in the forest a few minutes’ drive from the hotel.
Elated after the experience in the forest, we sat down to a late three-course dinner with a choice of selections. Chef de Passorio is a classically trained chef but became captivated by boreal cooking. He had to relearn how to select unusual ingredients and combine them in unique ways.
Example: Oushata salmon was served with watermelon radishes, corn puree, sage, Gaspesie seaweed vinaigrette, and his butternut squash puree with star anise confit, green alder pepper, black garlic cream, pear, and lime.
The entrees were Lake Walleye with forest tea, corn, braided cabbage, winter apples, and ice cider beurre blanc. My selection of dinner entrées was deer medallions, root vegetables with cedar salt, mushrooms, and candied lemons. Again, dessert was unremarkable, but the mixologist at the bar kept us all well-hydrated and happy.
The author received a complimentary meals and hotel stays for this article, but as always, we are dedicated to giving you unbiased accounts of our experiences. See our Disclosures page for more information.
Tourist levy in Bali. On February 14, 2024, Bali, Indonesia started imposing a tourist levy on all foreign visitors. It’s 150,000 Indonesian Rupiah, but that’s only about $10 USD. They recommend that you pay for it before you arrive in Bali by going to this website: https://lovebali.baliprov.go.id./.
Pre-flight weigh-in? Finnair has started to ask passengers to volunteer to be weighed so that they can make absolutely sure their planes aren’t going over the safe weight allotment. Would you volunteer?
Norwegian Cruise Lines gone in Venice. Due to the latest restrictions in Venice against larger ships, Norwegian will not sail there in 2024 or 2025.
Yikes! Maggots? A Delta flight from Amsterdam to Detroit had to turn back to Amsterdam on February 14th because . . . barf! . . . maggots started falling on passengers from above. But they all came from one suitcase that had rotten fish in it. (Why someone was traveling with rotten fish and how it got through the scanners is anyone’s guess.) But I don’t think we have to worry about an ongoing maggot problem on Delta.
Italy is trying to combat over-tourism. In June, Venice will limit tour groups to 25 people, and group leaders can’t use loudspeakers anymore. If you take too long to take a selfie in Portofino, you could get slapped with a fine of $300. Florence is banning new short-term rental licenses to make sure locals have enough housing, but this will mean fewer places for tourists to stay. You can’t stoop to snap a photo on the Spanish Steps in Rome anymore either unless you want to pay a fine of $269. Be careful in Italy!
Craving sun? Get to the sunniest city in the U.S., which is Yuma, Arizona with 90% sunshine.
I receive many sample wine bottles so that I can taste and review the wines. I recently received a few “second wine” samples and that reminded me that I had a few older ones in my cellar that I had purchased in the past, which I had never tasted. So I uncorked one of them.
“Second label wine” is a term most commonly associated with Bordeaux’s first or second growth wineries to refer to a wine that is produced from plots in their vineyards not used in the “Grand Vin,” their first label. Most of the better Old World wineries have second labels, and a few even have third labels.
The second – or even third – label wines typically come from vineyard plots with younger vines that have been vinified separately from the grapes used for the Grand Vin, which is made from the vineyard’s older vines. The best tasting barrels from the younger grapes may be selected by the oenologist to blend into the Grand Vin to enhance the final product, but that is not always the case. And whatever wine from younger vines is not used is usually sold under the second or third label.
Second label wines. Photo by Manos Angelakis.
Another use for a second label is in poor vintages when the quality of the wine after vinification is not considered good enough by the estate to sell under the first label. In that case a winery might not release a first label for that particular vintage year, but will sell its entire production under the second or even third label, rather than selling the wine in bulk at a much lower price to négociants who create their own proprietary wine blends under their own labels.
In Italy, a winery’s top quality product does not always conform to the strict local DOC or DOCG regulations as far as allowable grape varieties and percentages in a blend to get a DOC or DOCG designation. This, for example, is very prevalent with Italian Super Tuscans.
Numerous Montalcino producers use the designation “Roso di Montalcino” as a second label. Again, they’re very good wines, but not as great as an actual top Brunello.
Recently, I opened the second wine of a Super Tuscan producer, Luce Tenuta della Vite, founded in Montalcino as a project of the Frascobaldi and Mondavi families. This second label, a well-aged 2011 bottle of La Vite Lucente, was a big blend of Sangiovese, Merlot, and a touch of Cabernet Sauvignon.
Lucente red. Photo by Manos Angelakis.
Smooth, ripe accents of dried plum and blackberries were prominent, along with pungent roasted espresso and a hint of green pepper. It’s an excellent wine and well-priced for the quality it represented when I bought it. Nowwhen tasted, it felt much younger than its actual age!
Because of climate change, we’ve had more good vintages in the past two decades than we used to see 30 to 40 years ago. This means that today, a number of the second label wines might be as good tasting as the first labels were in the past. I’ve been drinking second label wines from Grand Cru estates, for example, as a more affordable way to have the product of an illustrious classified Bordeaux château without paying the premium for the estate’s collectable first label.
Château Mouton Rothschild was one of the very first wineries to release a poor vintage under a second label. Mouton Cadet was initially used as the second label, selling wine from difficult harvests considered unfit to be drunk as the château’s Grand Vin. It was sold at highly reduced prices compared to the first label.
Eventually, the buyer’s response was deemed a success, but the sale of the second wine continued as a separate brand. The estate has expanded with more labels pushing Mouton Cadet further down its portfolio, with Le Petit Mouton de Mouton Rothschild currently the estate’s second wine.
Pavillon Rouge 2020. Photo by Manos Angelakis.
Château Margaux has Pavillon Rouge as a second wine, and Château Lafite Rothschild has Carruades de Lafite-Rothschild (until the mid 1980s known as Moulin de Carruades). In the past, I have purchased both Pavillon Rouge and Carruades, and I think they are excellent for the price, although nowadays, they are unfortunately not as inexpensive as they used to be.
Third and Fourth Growth wineries, even Fifth Growth, have now second and a few third labels. Château Léoville-Las Cases is producing its Clos du Marquis as a second label, and Château Lascombes its Chevalier de Lascombes.
Château Pichon Longueville Comtesse de Lalande is selling La Reserve de la Comtesse, Château Lagrange offers Les Fiefs de Lagrange, Château Giscours offers La Sirène de Giscours, and so on.
The majority of the second labels are pretty good wines, and there are even some that are almost great wines, especially when there is a great vintage. As a winemaking friend said, “It is 90% the quality at 45% to 50% the price.” Those interested in finding the second wines of any classified Bordeaux estate (1855 classed growths) can look up the “Bordeaux second wine” list on Wikipedia. Every second wine produced is listed there.
My strategy for purchasing Bordeaux wines while keeping costs at a logical level is as follows:
For exceptional vintages, I purchase lots of second labels. They are usually very good, perhaps not as smooth as a first label and still need considerable cellaring, but certainly not shabby. After some judicial aging, they usually become exceptionally drinkable.
Good vintages: I purchase second labels and first labels of Médoc Cru Bourgeois, if they are logically priced.
Poor vintages: I purchase mostly first labels of Third or Fourth Growths, not the Grand Crus, again providing they are logically priced.
Very poor vintages: I purchase Brunello, Morellino, and Super Tuscan wines from Italy or the better wines of Spanish Catalonia, Taragona, or Rioja.
