Society Hill Society | Photo by Courtney Apple
In the annals of faint praise, neighborhood restaurant is a peculiar epithet. People usually apply it to the places that make them feel most welcome. Yet it’s a dismissive classification—not just because it implies that a place merits only limited attention, but because it suggests that one neighborhood restaurant is more or less interchangeable with any other. Warm hospitality, a menu that’s not trying to reinvent the wheel, consistent cooking, and bang—your Brewerytown pals are all, “Why can’t somebody open a place like this by us?”
Nobody would ask that about Society Hill Society, because Reed Barrow has remade the old Artful Dodger into a public house that looks like pints have been sliding across its hammered copper bar since the first bricks were laid on Headhouse Square (and only lately, eclectic cocktails). Locally crafted spindle chairs and coarse-grained chestnut soak up the warm light of yellow globe fixtures on patched plaster ceilings. The upper bar shelves hold objects so random, it seems they must have taken decades to accrue. Is that a femur wedged in next to the ship captain’s hat?
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Crow & the Pitcher | Jason Varney
For food-obsessed Philadelphians, the first half of August unfolded like a rigged game of Two Truths and a Lie. In case you were down the Shore, let’s play. Pick the fib: The Ritz-Carlton turned over 10 Arts to a barbecue pit-master for a night; chef-cum-doughnut mogul Michael Solomonov came out in the New York Times as a self-described “crackhead” during Zahav’s early days; and Georges Perrier did a three-night gig at a restaurant that serves deep-fried pickles and a “Cool Ranch Dorito Omelette.”
Now, you already know the game’s fixed. All three are the God’s honest. But still, Georges Perrier—Georges “I declare war on Steve Starr” Perrier—moonlighting in a kitchen that crumbles junk food into the eggs? Well, that casts Le Bec-Fin’s legacy in an unexpected light.
The highbrow/no-brow tug-of-war has been playing out in Philly since at least the 2004 debut of Barclay Prime’s $100 cheesesteak, but Crow & the Pitcher (which marks chef Alex Capasso’s return to Philadelphia after seven years operating Blackbird in Collingswood) is our first restaurant to carry the yupster embrace of cognitive dissonance to what you might call a post-ironic stage.
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There was this moment, shortly after the finale of Top Chef: New Orleans had aired, shortly after Nick Elmi had been named the winner, when another chef walked up to him at one of the big food events in town, shook his hand, congratulated him, and asked him what the hell he was thinking, opening a 22-seat restaurant.
Because, seriously? When you win Top Chef, you suddenly become one of the most famous chefs in America. At least temporarily. Shoot, even losing on the show can be enough to raise you up out of obscurity and turn you into a brand — a known name who can draw down the dollars just by having been featured on the jumping box for a few hours. Cookbook deals, product endorsements, cruise-ship gigs — it all comes to you. And a big-ass restaurant with high-volume turnover on the floor? Of course. That’s just a given.
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