WINES by the GLASS Aperitifs COCKTAILS

Total Page:16

File Type:pdf, Size:1020Kb

WINES by the GLASS Aperitifs COCKTAILS WINES BY THE GLASS Aperitifs CHAMPAGNE & SPARKLING JOSEPHINE BAKER 16 Campari, Lemon, Rosemary, Cava AVINYO BRUT ‘RESERVA’ CAVA Penedès, Spain 2015 ..................................................... 13 GYPSY ROSE LEE 17 CHARLES DE CAZANOVE BRUT ROSE, Campari, Antica Torino, Contratto Bianco, Reims, Champagne, France NV .................................... 22 Pure Kentucky Bourbon GASTON CHIQUET ‘BRUT TRADITION’ 1ER CRU BRUT Dizy, Champagne NV................................................... 25 BLAZE STARR 18 Aperol, Luxardo Maraschino, Carpano Bianco, WHITE Suerte Reposado ANTINORI ‘TENUTA GUADO AL TASSO’ VERMENTINO Bolgheri, Italy 2017 ...........................................................13 ANN CORIO 18 Contratto Bitter, Carpano Bianco Carpano, BOUCHARD PÈRE & FILS 1ER CRU ‘BEAUNE DU CHÂTEAU’ Burgundy, France- 2015 ..................................................... 25 Toki Japanese Whisky DR. LOOSEN ‘BLUE SLATE’ KABINETT RIESLING SALLY RAND 16 Mosel, Germany 2016 ..................................................... 14 Campari, Noilly Prat Sweet Vermouth, Beefeater Gin DUMOL ‘ISOBEL’ CHARLES HEINTZ VINEYARD CHARDONNAY RRV California, USA 2013 .........................................22 COCKTAILS LAPORTE ‘LE ROCHOY’ SANCERRE, Loire, France 2017 ... 18 RED BETTIE PAGE 18 ALEXANA WINERY ‘REVANA VINEYARD’ PINOT NOIR Ketel One Vodka, Giffard Vanille de Madagascar, Dundee Hills, Oregon 2012 ............................................. 25 Huckleberry Shrub, Lemon CHÂTEAU LILIAN LADOUYS, Saint-Estephe, France 2015 .....22 DIXIE EVANS 16 CONN CREEK WINERY CABERNET SAUVIGNON Napa Valley, Califi rnia USA 2015 .................................19 Hendricks Gin, Jack Rudy’s Tonic Syrup, Soda, Cucumber Bitters, Cucumber KEN FORRESTER ‘RENEGADE’ Stellenbosch, South Africa 2012 ........................................16 LILI ST. CYR. 17 LA SPINETTA ‘VIGNETO STARDERI’ NEBBIOLO, LANGHE Basil Infused Dobell Tequila, Aperol, Honey, GrapefruitGrapefr Piedmont, Italy 2015 ........................................................ 20 SHERRYHER BRITTON 16 MONTEPELOSO ‘A QUO’, Toscana, Italy 2014 ................17 Michter’ss Rye,, Amaro Nonino,Nonino CarpanoCar Antica, PALI WINE CO. ‘RIVIERA’ PINOT NOIR Contratto Bianco Sonoma Coast, California USA 2016 .............................16 PURAMUN ‘RESERVA’ MALBEC, Mendoza-Argentina 2014 ...16 TEMPESTTE STORMTOM 18 Pure Kentuckyentucky Bourbon, Green Chartreuse,Char VALL LLACH ‘EMBRUIX’, Priorat-Spain 2016 ................... 18 Luxardo Maraschino,Marasc Lemon VINEYARD 29 ‘CRU’ CABERNET SAUVIGNON, Napa Valley, California USA 2015 ................................30 BEERS bar menu COLORADO DRAFT SELECTION .......AQ MARKET CRUDO Micro Cilantro, Golden Potato Crisps 20 DOGFISH 60 IPA Delaware USA ...........................................................6 OYSTERS ROCKEFELLER Roasted Tomato, Spinach, Pecorino Cheese 16 BALDIN NORA EGYPTIAN ALE ARTICHOKE DUO Italy ..........................................................................10 Roasted Garlic Breadcrumbs, Truffl e Dijon & King Crab Rockefeller 17 PINKUS ORGANIC PILSNER Germany .....................................................................9 JUMBO LUMP CRAB CAKES Lemon Aioli, Arugula & Hearts of Palm Salad, Grilled Lemon 21 ROCHEFORT 10 TRAPPIST QUAD Belgium .....................................................................15 SHISHITO PEPPERS Miso Glazed, Haricots Verts, Egg 12 SAMUEL SMITH IMPERIAL STOUT England ....................................................................14 KNIFE & FORK CAESAR Whole Leaf Romaine, Shaved Parmesan, STELLA ARTOIS LAGER White Anchovies, Buttery Croutons 15 Belgium .......................................................................5 TUNA TARTARE WEIHENSTEPHAN HEFEWEISS Green Peppercorn Crème Fraiche, Germany .....................................................................6 Basil Pesto, Crostini 20 MUSSELS & FRITES HAAKE BECK NA Champagne, Jalapeño Peppers, Garlic, Germany .....................................................................5 Hand-Cut Fries 18 STEAK SANDWICH Caramelized Onion, Fontina, Hand-Cut Fries 20 FISH SANDWICH Tomatoes, Pickled Red Onions, Mustard Sauce, Hand-Cut Fries 20 316 BISTRO FILET Housemade Steak Sauce, Chimichurri, Hand-Cut Fries 22 Add an Egg 3 BAR ONLY ~ NO SUBSTITUTIONS ~ NO TAKE OUT.
Recommended publications
  • Dallas Striptease 1946-1960 A
    FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Submitted to the Graduate School of Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Approved by: Advisor: Jessica Brannon-Wranosky Committee: Sharon Kowalsky Andrew Baker Head of Department: Sharon Kowalsky Dean of the College: William Kuracina Dean of the Graduate School: Matthew A. Wood iii Copyright © 2019 Kelly Clayton iv ABSTRACT FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 Kelly Clayton, MA Texas A&M University-Commerce, 2019 Advisor: Jessica Brannon-Wranosky PhD The entertainment landscape of post-World War II Dallas, Texas included striptease in different types of venues. Travelling and local striptease acts performed at the city’s annual fair and in several nightclubs in the city. In the late 1940s, the fair featured striptease as the headlining act, and one of the city’s newspapers, the Dallas Morning News, described the dancers as the most popular attraction of the largest fair in the United States. Further, the newspaper reporting congratulated the men who ran the fair for providing Texans with these popular entertainment options. The dancers who performed at the fair also showcased their talents at area nightclubs to mixed gender audiences. Dallas welcomed striptease as an acceptable form of entertainment. However, in the early 1950s, the tone and tenor of the striptease coverage changed. The State Fair of Texas executives decried striptease as “soiled” and low-class. Dancers performed in nightclubs, but the newspaper began to report on one particular entertainer, Candy Barr, and her many tangles with law enforcement.
    [Show full text]
  • Entertainer Josephine Baker by Lilyana D’Amato
    The Legacy of Black Musicians: Entertainer Josephine Baker by Lilyana D’Amato In the decade following the First World War, French popular culture was dominated by images of negrophilia: ​ ​ the disconcerting obsession with and seizure of Black — specifically African — culture. Introduced to African folk art through global imperialism and colonialism, the French became fascinated with racialized depictions of the “savage” Black body, fetishizing Blackness through painting, sculpture, film, and performance. In the early 1920s, avant-garde Parisian artists began appropriating Black culture as a means of exploring what they saw as the juxtaposition between the “primitive” and changing notions of modernity. When entertainer Jospehine Baker, the hugely influential African American expatriate, arrived in Paris in 1925, she became the face of this racialized mania. Her body and persona came to signify the exotic, used to satisfy colonialist sexual fantasies. In reviews of Baker’s most iconic performance, her 1925 stage debut in La Revue Nègre, ​ ​ she is almost solely described through animalistic metaphors — as a monkey, a panther, a giraffe, or a snake. In the Parisian newspaper Candide, the reviewer begins: “This is no ​ ​ woman, no dancer. It’s something as exotic and elusive as music, an embodiment of all ​ ​ the sounds we know.” Dehumanized and reduced to something, Baker was, as Scholar Alicja Sowinska ​ ​ explores in her paper Dialectics of the Banana Skirt: The Ambiguities of Josephine ​ Baker’s Self-Representation, “popularly situated in a sort of netherworld, suspended ​ between civilization and savagery, and between the human and the animal.” References to Baker’s ambiguous humanity also appeared in e.e.
    [Show full text]
  • GYPSY CHARACTER DESCRIPTIONS: • Momma Rose
    GYPSY CHARACTER DESCRIPTIONS: • Momma Rose (age from 35 - 50) The ultimate stage mother. Lives her life vicariously through her two daughters, whom she's put into show business. She is loud, brash, pushy and single- minded, but at times can be doting and charming. She is holding down demons of her own that she is afraid to face. Her voice is the ultimate powerful Broadway belt. Minimal dance but must move well. Comic timing a must. Strong Mezzo/Alto with good low notes and belt. • Baby June (age 9-10) is a Shirley Temple-like up-and-coming vaudeville star, and Madam Rose's youngest daughter. Her onstage demeanor is sugary-sweet, cute, precocious and adorable to the nth degree. Needs to be no taller than 3', 5". An adorable character - Mama Rose's shining star. Strong child singer, strong dancer. Mezzo. • Young Louise (about 12) She should look a couple years older than Baby June. She is Madam Rose's brow-beaten oldest daughter, and has always played second fiddle to her baby sister. She is shy, awkward, a little sad and subdued; she doesn't have the confidence of her sister. Strong acting skills needed. The character always dances slightly out of step but the actress playing this part must be able to dance. Mezzo singer. • Herbie (about 45) agent for Rose's children and Rose's boyfriend and a possible husband number 4. He has a heart of gold but also has the power to defend the people he loves with strength. Minimum dance. A Baritone, sings in one group number, two duets and trio with Rose and Louise.
    [Show full text]
  • New Exhibit Revives Spirit of Legendary Old Howard Theatre
    Boston’s Neighborhood Museum New Exhibit Revives Spirit of Legendary Old Howard Theatre FOR IMMEDIATE RELEASE: September 10, 2019 Boston, MA—On Tuesday, September 24, The West End Museum premieres a new exhibit, “The Old Howard Theatre,” in celebration of Boston’s oldest and best-loved playhouse, which stood in the heart of Boston’s Scollay Square just steps from the old West End. The Howard’s origin, glory days, and ultimate demise are recounted through photographs, artifacts, and graphic panels. The show reception takes place on Thursday, October 17 from 6:30 to 8:00 p.m. Concurrent programs—a film screening, an author talk and an evening of burlesque music—complement the show, which runs through February 15, 2020. The exhibit and reception are free; concurrent programs require admission for non-Museum members. (Media note: Find reception and program details on the following pages, download hi-res show images here.) “Scollay Square and the Old Howard will always be connected to the history of the West End,” said Duane Lucia, the Museum’s executive director and exhibit curator. “By the 1950s, the Old Howard had become synonymous with vice and ‘burly,’ and like the West End, a symbol of a bygone Boston deemed by the powers that be as incompatible with the vision of the ‘New Boston’ and urban renewal.” Once a tabernacle for a doomsday sect, the building became a playhouse in 1845 only to burn down a few months later. Funds from a local brewery financed the construction of a new Gothic-like building, which opened its doors in October 1846.
    [Show full text]
  • Blue Star Museums Press Release
    [email protected] (888) 661-6465 FOR IMMEDIATE RELEASE BURLESQUE HALL OF FAME TO PARTICIPATE IN BLUE STAR MUSEUMS Museum offering free admission to active military and their family members this summer [Las Vegas, NV – May 9, 2019] The Burlesque Hall of Fame will join museums nationwide in participating in the tenth summer of Blue Star Museums, a program which provides free admission to our nation’s active-duty military personnel and their families this summer. The 2019 program will begin Saturday, May 18, 2019, Armed Forces Day, and end on Monday, September 2, 2019, Labor Day. More information about Blue Star Museums and a list of participating museums can be found at arts.gov/bluestarmuseums. Blue Star Museums is an initiative of the National Endowment for the Arts in collaboration with Blue Star Families, the Department of Defense, and more than 2,000 museums nationwide. First Lady of the United States Melania Trump and Second Lady of the United States Karen Pence are honorary co-chairs of Blue Star Museums 2019. “The burlesque world has always had a special relationship with the US military,” says Executive Director Dustin M. Wax. “Burlesque performers like Gypsy Rose Lee, Ann Corio, Mae West, and Sherry Britton travelled the world with the USO, posed for pinups, led book drives for overseas service members, and of course entertained troops in theaters and clubs around the country. We are proud to continue that special relationship and to share that history with today’s generation of men and women serving in the armed forces.” “The Defense Department congratulates Blue Star Families and the National Endowment for the Arts on reaching an incredible milestone: ten years of service to the military community though Blue Star Museums,” said A.T.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972
    TAUGHT IT TO THE TRADE: ROSE LA ROSE AND THE RE-OWNERSHIP OF AMERICAN BURLESQUE, 1935-1972 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Wellman Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Jennifer Schlueter, Advisor Beth Kattelman Joy Reilly Copyright by Elizabeth Wellman 2015 ABSTRACT Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it ‘has been retired for a time,’ its glories now ‘merely memories of the stage.’”1 In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…”2 In 1938, The Billboard published an editorial that began, “On every hand the cry is ‘Burlesque is dead.’”3 In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.”4 It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration.
    [Show full text]
  • Behind the Burly Q
    BEHIND THE BURLY Q A film by Leslie Zemeckis HDCAM SR, 98 minutes, 2010 First Run Features 630 Ninth Avenue, Suite 1213 New York, NY 10036 [email protected] (212) 243-0600 PRAISE FOR BEHIND THE BURLY Q “Utterly entertaining Behind the Burly Q is a painstakingly researched love letter to the women and men who once made up the community of burlesque performers…its treasure trove of vintage photographs and performance footage is enough to make historians and fans of classic erotica swoon…insightful, fascinating.” –Ernest Hardy, The Village Voice CRITICS’ PICK! “Intriguing…fans of theatrical history are well advised to check it out” -New York Magazine “Charming, entertaining…a delight!” –Manohla Dargis, Behind the Burly Q “Provides a privileged front-row seat to sample several of the form's most memorable practitioners… stories run from raunchy to touching to funny to flat-out incredible.” –Ronnie Scheib, Variety “Affectionate and engaging…wonderful vintage footage, a fascinating glimpse into a corner of American history.” –New York Daily News “Fascinatingly strips away at the myths surrounding the most popular American entertainment form of the first half of the 20th century.” –Michael Musto, The Sundance Channel “Quickly paced, absorbing.” –Kyle Smith, The New York Post “History done right: informative, entertaining, funny and finally rather moving…jam-packed with juicy detail, and most of that jam is tasty indeed.”-James van Maanen, Trustmovies “Delightful, engaging…A veritable who's who of the grande dames of the burlesque stage…for
    [Show full text]
  • The Untitled Black Burlesque History Project
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-5-2017 The Untitled Black Burlesque History Project Sekiya Dorsett How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/243 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 12-20-2017 The Untitled Black Burlesque History Project Sekiya Dorsett CUNY Hunter College The Untitled Black Burlesque History Project by Sekiya Dorsett Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Integrated Media Arts, Hunter College The City University of New York Fall 2017 Thesis Sponsor: Dec 20, 2017 Date Signature Tami Gold Dec 20, 2017 Date Signature of Second Reader Rachel Stevens Dec 20, 2017 Date Signature of Third Reader Ricardo Miranda 2 Abstract The Untitled Black Burlesque History Project is a character driven short documentary featuring Chicava Honeychild, a neo-burlesque1 dancer who is unearthing a hidden Black burlesque history. As Chicava searches for her “stripper grandmas,” she mentors a new generation of burlesque performers who are of women of color. Chicava Honeychild first meeting with Black burlesque Jean Idelle is interwoven with the burlesque journey of Henrietta, Chicava Honeychild’s burlesque student. As Henrietta is honing her burlesque craft in preparation for her first performance, we learn about Jean’s dynamic life as a burlesque dancer in the 1940s and 1950s.
    [Show full text]
  • P R E S S R E L E A
    P R E S S R E L E A S E From: Clear Space Theatre Company Contact: Wesley Paulson Phone: 302.227.2270 Email: [email protected] February 17, 2017: FOR IMMEDIATE RELEASE “Let Me Entertain You,” invites Louise, as GYPSY comes to Clear Space Theatre for a three-week run. And entertain you this show surely will, weekends from March 10 through March 26. With music by Jule Styne, lyrics by Stephen Sondheim and book by Arthur Laurents, Gypsy contains some of the most well- known – and best-loved – show music of all time, including, “Everything’s Coming Up Roses,” “Small World,” and “You Gotta Get a Gimmick.” Based loosely on the memoirs of striptease artist Gypsy Rose Lee, GYPSY traces Lee’s improbable rise to burlesque fame from her shy beginnings as Louise (Katharine Ariyan), the reluctant half of a vaudeville sister act featuring her younger, talented, extroverted sister, June (Grace Morris). It also reveals the formidable force behind that rise: Rose (Yvonne Erickson), the girls’ driven, relentless, mother-of-all- stage-mothers, who propels their careers through the waning days of vaudeville and delivers Louise onto the burlesque stage. Says Erickson, “Appearing as Rose is a long-time dream fulfilled! I saw Angela Lansbury in the 1974 Broadway revival of GYPSY and was just mesmerized. I had just begun to think about acting as a career, and after seeing that performance – I knew, ‘Yes! That’s what I want to do!’ The role of Rose is often referred to as the “King Lear role of musical theater” - it requires both gravitas and humanity.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • The Eclectic Collection of the Legendary Gypsy Rose Lee Featured in Julien’S Auctions’ Icons & Idols: Hollywood
    For Immediate Release: THE ECLECTIC COLLECTION OF THE LEGENDARY GYPSY ROSE LEE FEATURED IN JULIEN’S AUCTIONS’ ICONS & IDOLS: HOLLYWOOD The World’s Most Famous Burlesque Artist Celebrated at Auction Event SPECIAL MEDIA PREVIEW OF COLLECTION IS MONDAY, DECEMBER 1, 2014 AUCTION IS DECEMBER 5, 2014 Beverly Hills, California – (November 24, 2014) – Famed burlesque artist and actress Gypsy Rose Lee will be celebrated at the Julien’s Auctions “Icons & Idols: Hollywood” event to take place on Friday, December 5, 2014. The eclectic collection of the remarkable entertainer is being presented by her son whose vast array of personal items and career effects is an emotional construct of his mother. Gypsy Rose Lee’s storied life included vaudeville at an early age and later when she became America’s most famed burlesque performer. She was a dancer, author, comedian, actress and even a playwright. Her mother Rose put her on the stage to perform her first strip tease at the age of 15. Gypsy later chose to embellish the act with comedy and acting and soon became a hit. Gypsy can often be credited as the originator of burlesque and the acts that followed thereafter. The fabled American Broadway musical “Gypsy” was based on Gypsy’s life and became a huge hit. As Gypsy herself once said, “If a thing is worth doing, it is worth doing slowly,” and so she did on stage when she performed to thousands in her lifetime. The collection includes the gloves that were a trademark of the Gypsy Rose Lee strip, a set of towels that were monogrammed with her initials, the rhinestone studded heels from her act, the foxtail fur from the Tiger Rag shimmy dance that was the finale of her acts, her personal stone martin stole that she wore all the time and numerous other items including original art, jewelry, furnishings and other memorabilia which have kept her alive in the minds of fans, collectors and family for years.
    [Show full text]