Interview

Marcus Samuelsson on Why He's Finally Releasing a Red Rooster Cookbook and What Makes Harlem Great

Chef Marcus Samuelsson speaks with Okayafrica on his new cookbook, his new D.C. restaurant, his favorite African street foods and more.

Chef Marcus Samuelsson’s restaurant, Red Rooster, is a Harlem staple. Ranked as a favorite culinary destination of New Yorkers (see for yourself on Yelp with the restaurant's diverse 5-star reviews) and Washingtonians—both famous (President Obama) and not so famous (this writer)—Red Rooster is pretty much a crowd favorite of diners across the United States.


Free tip: make your brunch reservations now.

Samuelsson has finally shared the recipes of his culinary landmark in a new cookbook, The Red Rooster Cookbook: The Story of Food and Hustle in Harlem. The cookbook reveals the secrets to the restaurant’s signature dishes, including “Fried Yardbird” (yes!), and intertwines these glorious Southern food recipes with poems, art and a historical narrative of Harlem.

His passion for food is met closely with his love of music. For one clue to this fact, look no further than Samuelsson’s Ginny’s Supper Club, the lower level to Red Rooster whose sultry ambiance is a portal to the hip and seductive speakeasies of, fittingly, the Harlem Renaissance.

Book cover via Marcus Samuelsson's Facebook page.

Samuelsson was born in Ethiopia but raised by adoptive parents in Sweden. There, he learned cooking from his maternal grandmother and formalized his skills in culinary school. After graduating, he began working in a restaurant in the United States and has since earned a litany of accolades as the owner of internationally-acclaimed restaurants, a judge on television shows like Top Chef, and the author of numerous cookbooks.

While his public Wikipedia profile reveals these details, earlier this year he gave us a candid look into his birthplace and the flavors behind his cooking, as the focus of an episode of the television show, Anthony Bourdain: Parts Unknown.

From my home in Washington, D.C., I spoke on the phone with the New York-based chef about his new cookbook and other new projects—notably his special custom menu he created for an upcoming awards ceremony at the Smithsonian National Museum of African Art, and the opening of a new restaurant in the Nation’s Capital. He also gave his suggestions on food and music pairings, and his favorite foods from around the continent.

Nadia Sesay for Okayafrica: Red Rooster opened in 2010, so why are you only now releasing a cookbook inspired by the restaurant?

Marcus Samuelsson: It takes a lot of time to make a cookbook. This book in particular took over four years. You want to create memories and tell a good story that you can’t do if you’ve been open for one year.

What are some of those memories that you have from Red Rooster?

There are so many special memories—the book is 300+ pages. It tells about why I opened in Harlem and the story of Harlem, so that’s a story in itself. One memory is when President Obama came and we talked about the history of the neighborhood and who occupied that space before me.

Red Rooster is known for some unique recipes, like the "Fried Yardbird." What’s your favorite recipe in the book and why?

The chapter called “Birdland” is a lot of fun. It shows a lot of links between African and African American cooking. At Red Rooster we serve a lot of food that looks back to the continent. The chicken recipes for example have Moroccan spices.

Why is Harlem special to you?

It’s the people and the culture—African American historical culture [like] music, the Apollo, jazz. We are learning about ourselves. There’s a rich history and present culture that reflects diversity.

You have traveled extensively outside of Harlem. Have you noticed African foods being adopted throughout the world and what are your thoughts on this?

Well, a lot of food comes from Africa that you might not realize. Over the last 10 years awareness of the culture of Africa has grown. You know, things like Peri-Peri now appear on menus throughout the world. There’s a higher awareness through travel and trading. For instance, Africans studying in the west bring culture with them. There is a way to connect. I talked a lot about that in my cookbook from ten years ago. There’s always an undertone of Africa in recipes.

In your travels throughout the African continent specifically, what are some of your favorite foods you have tried? And from where?

I love Durban, where the food has a big Indian influence. I was just in Nigeria and had great suya in a street market late at night.

As with Red Rooster, do you have particular memories from food experiences on the continent?

I have so many magical points in terms of food. So again, having street food in Victoria Street Market at night, or in Durban. These are all experiences I bring with me. Sometimes through food, sometimes through music. For example, one time at Red Rooster after the 'Fela! On Broadway' play we cooked Nigerian food. My experiences are sometimes expressed as food and sometimes culture.

I have read that you are a music lover. Which artists are on your playlist?

In terms of African heritage, Fela. I also listen to the Ethiopian artist Aster Aweke. And in terms of modern music, David Bowie and Frank Ocean.

How would you pair those artists and sounds with food?

Frank Ocean’s music is cerebral, so a meal with several courses and lasting a few hours to reflect on all the nuances. Fela too is complex; I admire the layers.

David Bowie transformed over the years, showing us that so many different artists can do that. I’ve transformed too—I started cooking in a 3-star Michelin restaurant. I would pair something moody, so that you can have a reflection on life.

Nicki Minaj met Lauryn Hill recently, and literally fell to the ground in awe of meeting her music idol. Which artist would give you that reaction?

I’ve met a lot of great artists, but I would say Prince, if I would have had the opportunity to meet him.

Latin-fusion and Asian-fusion are restaurant concepts some of your peers have explored. Will you introduce us to Ethiopian-fusion?

I think that’s for the next generation of Ethiopians. We are already seeing this in many expressions of music and art, with The Weeknd and contemporary artist Julie Mehretu. They have introduced a modern way of presenting Ethiopia. In America we have many expressions of that. Even in my new book, many recipes are inspired by Ethiopian cooking.

Speaking of art, you are designing a special menu for the First Annual African Art Awards at Smithsonian National Museum of African Art, coming up on Oct. 28. How do you feel about this honor?

The Smithsonian is always the perfect partner in bringing together people from the continent in art, storytelling, and food. Being part of the Awards is something I look forward to.

Can you give a sneak peek into the menu?

Ha ha, no. But it will be yummy and delicious.

You have another major event happening in Washington, D.C. this year, on Dec. 8—the opening of your new restaurant at the new MGM Casino at National Harbor. As a D.C. resident I think I speak for a lot of Washingtonians when I shout, “Finally! We are getting our own taste of Marcus Samuelsson!” Tell me a bit about your new restaurant in the Nation’s Capital.

I am very excited about restaurant Marcus at MGM. It’s really inspired by Red Rooster, yet it’s distinctly different. There is a festive bar to greet you, local art, and a music venue at the back of the restaurant called Sammy’s.

You’ve done so much in your career as a chef—you are an author, TV host, and not least, a restaurateur. What is one role you would like to have in the future?

To continue focusing on working in Harlem and connecting the foodscape to Africa. And, maybe, host a cooking fest on the continent.

Keep up with Chef Samuelsson and order the cookbook, 'The Red Rooster Cookbook: The Story of Food and Hustle in Harlem,' on his website.

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Photo courtesy of Sam Soko.

Interview: Sam Soko is the Kenyan Director Behind Sundance Hit, 'Softie'

We meet filmmaker Sam Soko who has made a stirring documentary about the Kenyan protest leader Boniface Mwangi

Filmmaker Sam Soko didn't intend on making a documentary about Kenyan photojournalist-turned-politician Boniface Mwangi.

The original idea he had was to make a manual of sorts, a short video guide, on how to protest, the do's and don't's. Soko, himself an activist artist who cut his teeth convincing friends to let him create political music videos for their apolitical songs, knew Mwangi's experience on the streets both photographing protests and staging them meant he had a lot to share with others.

But then came the blood. A thousand litres of it, to be precise. And the pigs. Dozens of them, with words like MPigs written on them. Like the graphic photos Mwangi had become known for taking—it was a sight you couldn't look away from. It was a protest Mwangi organized, in 2013, to decry corrupt members of the Kenyan parliament who had decided to increase their salaries, 2 months after taking office. And at his side, through the thick red liquid of it all, was Mwangi's wife, Njere, ready to be arrested with him.

"Once I was witness to his relationship, I started seeing him as a family man," Soko tells OkayAfrica. "Because he's planning a protest and all, but when you look at the footage, you start seeing the kids and you start seeing Njere. That's when it started hitting me, in the sense, that she was with him in such a crazy space."

Soko formed a creative and activist hub, called PAWA 254, with Mwangi, as they became part of the groundswell demanding democratic reforms in a country still left scarred from the division sewed between Kikuyu and Luo people by British colonizers. "We had a new Constitution at the time, and there was this hope that we finally could picket without being tear-gassed or being beaten, Like, our civil liberties could be held up." Instead, the government strengthened its police force into a notorious organization condemned by human rights activists. "That's very salient in the film," says Soko. "If you see how the police dress, for instance, at the beginning, it's very different; they become more militant towards the end."

Soko's debut feature-length documentary, Softie, which became the first Kenyan film to ever premiere at the Sundance Film Festival, earlier this year, is at once a love story between Mwangi and his wife and their three children, but also between Mwangi and his beloved Kenya, under president Uhuru Kenyatta. Central to the film is the tussle between how these different loves bump up against each other: what comes first — love of country or love of family?

We spoke to the Nairobi-based director about making the film, which opens in virtual cinemas, starting this Friday, September 18th.

Boniface Mwangi with his wife Photo courtesy of Sam Soko


OA: Early on in the film, we learn how steadfast Boniface Mwangi is — he talks about being willing to die for the ideals he believes in, which made me think of Nelson Mandela and his Rivonia Treason Trial speech. Boniface is someone in the present day who still shares this belief?

When we were working on the edit, and kind of crafting and thinking about what the story was going to be, something that we found that was really, really interesting is, with a lot of the stories, like the story of Nelson Mandela, you'd never see the other side. That's something we see later, up ahead, as a retrospective. We'd hear about Martin Luther King and then we'd read about Coretta Scott in, I think, 1990, like, 'Oh, this his was her struggle.' That sort of thing. But for me, Boniface and Njere represented a present day reality struggle that showcases what Mandela was going through, what Martin Luther was going through. That was kind of like unravelling the curtain; when you see Martin Luther marching, Coretta's at home, trying to help their kids do their homework. And this is the reality.

OA: And the film poses that question of love for your country versus love for your family, and which one should come first?

Exactly. They see it in different ways. Boniface sees it that if you improve the country, you improve the lives of those who you love. Njere's like, you have to have your family's back first. And that means everything else comes second. And she's right; she's not wrong. And he's not wrong.

OA: The film really is privy to some really private moments in Mwangi's life — how did you gain his trust?

When we started filming the short video, he was really involved with the protests, and we started doing the protests with him. So we were—quote, unquote—in the trenches with him in the protests, and somehow that's how he kind of welcomed us to his home. When you've been with someone in the streets, and you're tear-gassed together more than once, you already have a common bond. But then I started developing a relationship with him that was beyond the streets. Just checking up on him and asking, what's going on, what's taking place? That sort of thing. I think it took a while. And I think even from Njere, we kind of developed a kind of camaraderie that was separate from my relationship with Boniface, because I would actually be like, 'Hey, he said that, how does that make you feel?' And not necessarily on camera. But over time, he kind of accepted us to be there with a camera. At some point, I kind of felt like they were talking to me, and not necessarily the camera; like, the camera is kind of this thing that's there, but not there. That kind of trust, again, was built on a respect that I have for them and their values and what they're doing. I think that's something they saw. It made them trust me with their story and trust me with their family.

You're the director of the film, but you're also producer, writer and cinematographer. Did Boniface's own style as a photojournalist influence you in any way?

The film has three cinematographers, and a lot of my cinematography is within the intimate moments, because that's when they would only engage with someone they trust. But him being a photographer actually, to a point, made the work a bit hard because he's constantly looking at how you're doing it. He's in your face about the angle. He's like, 'Hey, why are you standing there, you should be there.' But in some places he did help 'cause he's been filming in the streets and filming protests for a very long time. So when you're there filming, he'll easily tell you, 'Dude, don't stand there. They're about to start tear-gassing. Go to the other side.' And it's weird, when you're on the other side and you're filming, and all of a sudden you see tear gas, you wonder, 'How the hell did he know?' You do that 234 times and you start knowing yourself, 'Oh, this is how,' and he was really helpful in that sense.

I can imagine that filming during the protests must have been one of the big challenges of making this film but what else did you struggle with? There were death threats for Mwangi, did that happen to you as well?

It's so funny, when you're filming and when you're in the protests, it's adrenaline talking. So you're not really thinking about whether you're going to be okay. This one time, I got arrested because the cop said I was a spy for the protesters. [We had everything] from cameras breaking to sound equipment messing up, but when it became a more political story, with death threats, it became scary even for editing the film. Because you don't know who's watching you. This one time, I was with him in the car, filming, and we were being followed. So we kind of had to be very careful who we are telling about the story. It was a very deep secret that we were making this film and there are people who are watching it now asking, 'How could you keep this from us from all these years?' Because we had to do that. Especially when the family was in the US. We had to do that for the sake of safety for him, Boniface, for his family but also the film team. I remember doing the pitches with different names. But then we were also lucky that we had our co-producing partner in Canada, Eye Steel Film, so they were able to house the edit there. I went to Canada to edit and that kind of also gives you a kind of freedom to think and work and create. That was the reality, and now I think we have PTSD from the film. I can't film another protest. I'm sorry. I'm out. Like, it tapped me out.

There are similarities to the Black Lives Matter protests here in the US, against police brutality and violence but the slogan takes on a different resonance in places like Kenya, where the police force is particularly heavy-handed. How do you see these protests as being similar but also different?

There are two things that you learn with the film. One, our voices can never be silenced. They will try, but I think humanity is like a pressure cooker. The more you boil us, the more you put that heat, the more explosive we become. And through people like Boniface's life, you see that there are human beings who exist, who do extraordinary things.

The other thing is the idea of activism doesn't necessarily just speak to the person who's on the street. It doesn't necessarily speak to the person who's holding the placard. An activist is someone like Njere and her life, and her family. And Khadija [Mohamed, Mwangi's campaign manager]. She's such a strong and powerful activist in her own right. She was Boniface's campaign manager for free. The work they did was so powerful. And you have these other people in the background who are doing such incredible things. The sum total of what they've done is [to] instigate… We have an election next year, but I am so sure that we are going to have so many candidates who are going to be like, 'We want you to donate to our campaign. We have these values and beliefs; this is what we want to do.' That is how we need to go about change or add on to the conversations of change.

The same thing that's happening with the Black Lives Matters movement. Yes, there are people going to the street and we should keep going to the street. But we need to push people to engage in policy and make sure these policy changes are made.

We need to stand for what we believe in, as filmmakers in spaces where we feel oppression exists. Like the rules that have come out with the Academy Awards, these are rules that should be celebrated because they add on to that conversation of diversity and representation. All these things—that sum total—is what makes the difference. It's going beyond the streets and going beyond our Tweets, going beyond our Facebook messages, making films and sharing films. We just need to keep pumping up the volume, keeping the heat up, keep pushing. It's gonna take a while, but we'll get there.


Photojournalist-turned-politician Boniface Mwangi during a protest in Nairobi, Kenya Photo courtesy of Sam Soko


That's where you as a filmmaker come in—this film was the first Kenyan film to get into Sundance, where it won a special editing prize.

There's another film I'm producing and, and, yes, I had my film at Sundance, that's great. But there's this other filmmaker who's making another film, and it's so cool, and this is the thing—we need to keep bouncing off this energy and this light and this vibe, and just keep pushing and making sure that the wheels keep turning. That's what we're all about.

How do you renew your strength, as a filmmaker but also as a Kenyan and as an African?

Being a Kenyan is hard. I think being an African is hard. Like, it's hard. There's a line I heard Boniface say once: 'I love my country, but I am afraid of my government.' But the way in which, personally, I find energy is when I meet new filmmakers, or you know, people who are like starting out and they want to make films that sound totally crazy. And they believe that they can do it. And I'm like, 'yes, yes, keep going!' We are planning to do a premiere. We have not confirmed the date yet but we're thinking it's around going to be early October in Kenya, because Kenyans haven't watched it. The government gave us an adult rating. They're putting us on the same level as porn.

This is the same government that banned Wanuri Kahiu's Rafiki because of its homosexual theme…

Exactly, that's what we're getting but the lemonade that we've made out of all this is, 'Guess what? This is cinema!' We're going to take it to a cinema. People are going to come to watch it in a cinema or watch it at home or watch it in the best way possible. And the people who've watched it have appreciated it as a film and a story, and their story. They've seen a reflection of themselves. That gives me so much joy because the Kenyans who've watched it, when they give you feedback, they say, this is truth; this is our truth. And they don't see just an activist. They see a couple struggling with love. They see our history in the last 10 years. And they're like, 'What the hell, we lived this?' and they see the things that are unresolved — and many things are unresolved. Seeing that reaction gives me so much strength and hope. But it's hard. It's very hard. Because, you know, you have to wake up and see the policeman getting a bribe. And you're like, 'Homie??'


"SOFTIE" Movie Poster



Watch the trailer for Softie here.

Softie | Official Trailer | A film by Sam Soko www.youtube.com

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