Food, Family and Memory

This is an excerpt from the book "Clothing Optional: And Other Ways to Read These Stories"

We had just started Saturday Night Live, I was an apprentice writer, 24 years old and I felt intimidated.  Chevy was hysterically funny. So was John and Danny and Gilda and Franken. And Michael O’Donoghue, well, Michael O’Donoghue simply scared the shit out of me. So I stayed pretty much to myself. One day I came to work, and on my desk was a framed cartoon. A drawing – no caption – of a drunken rabbi staggering home late and holding a wine bottle. And waiting for him on the other side of the door was his angry wife, getting ready to hit him with a Torah instead of a rolling pin. I had no idea who put it there. I started looking around and out of the corner of my eye I saw a white-haired man in his office, laughing.  He had put it there. That was the first communication I had with Herb Sargent– which was significant given that he never spoke and he gave me a cartoon that had no caption.

I had seen him years before. Or at least I think I did. When I was a kid. My father manufactured jewelry and he had his shop on 52nd Street between Fifth and Madison. I used to come into the city from Long Island and run errands for him during the summer. And no matter where the delivery was supposed to go, I made sure I got there by going through the lobby of what was then called the RCA Building, 30 Rockefeller Plaza, with the hopes that maybe I would see Johnny Carson (whose show was upstairs) or some of the people from That Was the Week That Was: Buck Henry, Bob Dishy, David Frost – or Herb Sargent, who was the producer. I knew his name from the credits. As a young boy who wanted to be a TV writer some day, this was like hanging around outside of Yankee Stadium waiting to see the players going through to the clubhouse.

I saw a beautiful fruit tart today, but I didn’t buy it. Though one brief glimpse of its light crust, glistening white cream & assorted seasonal berries and our whole intense love affair came rushing back.

It’s the mid 1970’s. The place: Patrick Terrail’s West Hollywood restaurant Ma Maison. An old house on Melrose converted into the most innovative, modern French restaurant of its day. It was so very French and so very Hollywood, and when those two worlds collided on that patio of Astroturf and umbrellas, it was magic.

Big Hollywood deals were made, infamous fights broke out, and occasionally I was lucky enough – if someone with more money was paying—to be there, enjoying the food. That’s where it began – an infatuation that would turn into a stalker’s obsession. They had me at crème anglaise.

I was there a lot with Jackie Mason, which sounds so random, sort of like my celebrity dreams, but he was a friend of my dad’s and we went as his guest, or vice versa. Often, when we were at a meal with Jackie, he would do his bit:

Gentiles never finish drinking, Jews never finish eating. What do you think Jews talk about for breakfast? Where to eat lunch. At lunch: "Where should we have dinner?"

Sometimes it's surprising to find what a recipe box can hold.

I was going through my mom's recipes the other day. I remember telling her years ago that the only thing I wanted when she died was her recipe box. She'd always chuckle and say something like, "Oh, Sue, you sure don't ask for much." And at that time, I didn't think she'd ever really die.

Well, she died 14 years ago and now I have all her recipes. Her recipe collection is a picture of organization. She worked as an office manager for many years, and her recipe box is an indication of her typing skills, for sure. There are no newspaper clippings taped onto recipe cards. Each recipe has been typed with her own hands onto recipe cards. I'm so glad she saved the cards from friends who had handwritten recipes that she asked for. Those are in the box just as they were written. I'm sure my mom was very tempted to type those, too.

Now that awards season is over I have a big one to give out.

Let me say at the start, I go to too many restaurants. I was basically raised eating in fancy restaurants. Long before other parents took their kids out to dinner, mine were trendsetters. We were taken everywhere. We were seen and heard. But, we ate our gourmet meals and behaved. Then it was straight home to a proper bedtime.

A friend’s mother, whom I hadn’t seen since I was a kid, recently told me that the first time she met my family, she had been eating with her husband at Villa Capri and spotted us, kids and all, dining at this almost exclusively grown-up place. What she noticed was how well behaved we were.

My parents rarely adhered to the unspoken rules of the 1950’s. They didn’t believe in babysitters. Aside from Villa Capri, we ate at Chasen’s, Scandia, Brown Derby, Moulin Rouge, and every Sunday night at Matteo’s. We even lived for a brief period at the Garden of Allah Hotel, though it was long after guests like Dorothy Parker, Robert Benchley and F. Scott Fitzgerald had checked out. Anyway, that’s a little of the backstory.

Would today’s Hollywood even exist without its bistros? Nobu, Palm, Mozza, Craft. The oil that lubes the wheels in this town is extra virgin olive oil, preferably for dipping the great bread into at Giorgio Baldi in Santa Monica Canyon. And no great restaurant would survive here or anywhere without those unsung heroes of fine dining – the bussing staff. Technically bussers. But usually referred to as “busboy,” an antiquated term it may be time to lose. Setting tables, clearing tables, cleaning tables, bringing food, you name it, quietly and efficiently. If the service is good, much of the credit goes to them. And that includes “busgirls.” In England the job is often referred to as a waiter’s assistant, a more dignified job description, if you ask me.