Yes, it’s true…we’re fully booked for Mother’s Day 2013. We will have a few tables outside for first come, first served seating (no reservations), provided the weather cooperates!
We so appreciate you thinking of us, and want you to know that every day is Mother’s Day at Mother’s Bistro & Bar. Come by anytime and know that we’ll take great care of you, cook our hearts out and make sure you want for nothing.
Until then, wishing you the happiest of Mother’s Days to you and yours.
Love, Mom (Chef Lisa Schroeder)
On Wednesday, May 1st, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with Jeff Malmberg’s bizarre and touching 2010 documentary, Marwencol, charting the remarkable life and work of Mark Hogancamp.
In 2000, Mark Hogancamp was ruthlessly beaten by a gang of thugs outside of a bar in New York State and left for dead. He awoke from a coma a few days later suffering brain damage that severely affected both his memory and motor skills. Trying to find some means of putting his life back together, he constructed a 1/6th scale WWII era Belgian town on the family property. He dubbed the town Marwencol (A portmanteau for Mark, Wendy and Coleen) and populated it with 12 inch action figures who represented the various people in his life, including his attackers who are played by German SS Officers. This proved a powerful therapy for both his mind and body. Eventually he acquired an SLR and he began setting up tableaux and photographing them. The pieces he created were striking and it wasn’t long after he showed them to a few people that the New York art community took an interest.
As we become acquainted with Mark, he becomes an increasingly sympathetic character, while his search for some kind of foundation on which to build a new identity proves a fascinating exploration of human cognition on a universal level. Like the best storytellers, director Jeff Malmberg has packed his film with numerous twists, turns and a lot of humor. One has to love the fact that Mark’s mother, who owns the hobby shop that supplied the dolls, is herself represented by a Pussy Galore action figure.
The excitement begins at 7:00 when you will enjoy one of the best dinners in town, followed by the screening at 7:30 PM. Hope to see you there!
Mother’s is located at 212 SW Stark.
On Wednesday, April 3rd, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with Satoshi Kon’s final film, the 2006 anime classic,Paprika, and modern Italian surrealist Alessandro Bavari’s stunning animated short, Metachaos.
Art derived from dreams and the subconscious is the realm the mind’s eye, and therefore a deeply subjective experience. Animation has long proven an ideal medium to explore that landscape for a variety of reasons, not the least of which is that the invoked imagery is limited only by the imagination. From Windsor McCay’s groundbreaking Dreams Of A Rarebit Fiend and Little Nemo In Slumberland to the Fleischer Studios’ opium fueled Betty Boop cartoons, animation has proven the ideal medium in which to represent an ever metamorphosing world and a complete rewrite of the laws of physics. Add to that, characters who are entirely the product of their imagined worlds, dragging none of the baggage born by actors, whose familiar faces might constantly remind us of some previous performance (or worse yet, some insipid gossip or scandal).
The two films we present are distinctly different in tone. Bavari’s Metachaos is an 8 1/2 minute nightmare of that rare sort that feels like a direct transmission from the REM state of a singularly troubled soul. A cross between the painterly works of Salvador Dali and the scariest zombie film you’ve ever seen, Metachaos depicts a city composed of sterile, yet ever shifting monolithic architecture inhabited by floating and flying bodies in what might be interpreted as a state of grace. This soon gives way to an apocalyptic industrial wasteland, its shuddering, disfigured inhabitants wracked by the torments of the damned. Bavari’s canny computer generated black and white dystopia works so well because it is at once entirely alien yet somehow so familiar, and utterly terrifying while at the same time strangely sublime. This copy of the film comes to us courtesy of Sig. Bavari
Paprika is part of the science fiction genre exploring the implications of mind probing and the potential to control people’s actions by entering and manipulating their dreams. The obvious recent example of this would be Christopher Nolan’s Inception (Nolan has acknowledged this film’s influence on him), but the precedent includes 1984’s Dreamscape and, to a certain extent, Jean Luc Godard’s Alphaville (1965) and Rainer Werner Fassbinder’s World On A Wire (1973). Like all of those films, Paprika begins as a straightforward industrial espionage thriller, in this case involving a device called the DC Mini which enables one to inhabit an avatar and enter another person’s dream state. When one of the devices goes missing and a corporate bureaucrat starts losing his mind, it is apparent that someone is applying the technology towards some nefarious goal. Dr. Chiba is a psychiatrist who can inhabit the dream world in the form of her avatar, Paprika, and she must give chase within and without various people’s psyches before the dream world and the real world begin to converge. Part sci fi thriller and part creation myth, the film’s over the top climax proves a mind-bending feast for the eye.
The excitement begins at 7:00 when you will enjoy one of the best dinners in town, followed by the screening at 7:30 PM. Hope to see you there!
Mother’s is located at 212 SW Stark.
On Wednesday, March 6th, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with David Lynch’s surreal masterpiece, Mulholland Dr., starring Naomi Watts, Laura Harring and Justin Theroux.
David Lynch, who essentially changed the face of American television in 1990 with Twin Peaks, returned to the medium in 1999 and created a 90 minute ABC pilot for a series centered around Los Angeles and the film industry, shady street characters and two beautiful women whose lives intersect both figuratively and literally. All of these threads appeared to be manipulated by a mysterious illuminati-like organization that included a cowboy (Monty Montgomery), a dwarf with a full grown man’s body (Michael Anderson) and two espresso obsessed mafioso brothers (Dan Hedaya and Angelo Badalamenti). ABC got cold feet and passed on the series, and it languished for a couple of years before Canal Plus bought it and gave Lynch the opportunity to turn what he had into a theatrical feature. Actors were called back, sets were rebuilt and the narrative entirely re-engineered to fit within a 2 1/2 hour run time. The result was a film that is nightmarish, erotic, and possibly Lynch’s most entertaining and accessible (the word ‘accessible” having its own meaning in Lynch-land) work.
Betty Elms (Naomi Watts) is a fresh faced, corn-fed Midwestern girl who, after winning a jitterbug contest, moves to Hollywood in search of fame and fortune. She takes up residence in her Aunt’s vacant bungalow, where she finds Rita (Laura Harring), a woman suffering from amnesia following a serious car crash. Betty, apparently raised on Nancy Drew mysteries, devotes herself to helping this mysterious woman unlock her past.
Parallel to this, film director Adam Kesher’s (Justin Theroux) life is collapsing in on itself when he discovers his wife in bed with the pool guy, and the studio taking over his current film project and demanding casting approval. The intervention of a Mephistophelian cowboy may be the ticket to getting his life back. These are the two central threads of the narrative, but we take a number of side trips including one with a hilariously inept hitman and a gem of a scene involving two men at a diner discussing a nightmare.
But that is all on the surface. Lynch has never been one to spoon-feed his audience, and Mulholland Dr. is as confounding and demanding as it is beautiful, funny and sexy. Mundane concerns are continually interrupted by surreal episodes and encounters with the kind of grotesqueries that populate both high and low culture. Like Eraserhead, Blue Velvet and Lost Highway before it, Mulholland Dr.occupies a place in the twilight between dreams and waking nightmares.
The excitement begins at 6:30 when you will enjoy one of the best dinners in town, followed by the screening at 7:00 PM. Hope to see you there!
Mother’s is located at 212 SW Stark.
On Wednesday, February 6th, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with Robert Altman’s 1977 dream inspired meditation, 3 Women, starring Shelley Duvall, Sissy Spacek and Janice Rule.
Robert Altman’s career spanned nearly 60 years (if one includes his television work in the 50’s) and, with regard to content, was one of the most diverse to be enjoyed by an American director. Having made his mark with dark comedies like MASH and Brewster McCloud, he was equally at home with unconventional westerns (McCabe And Mrs. Miller, Buffalo Bill and The Indians), ensemble social dramedies (Nashville, A Wedding), and science fiction (Quintet, Countdown). In the 70’s however he made two striking yet underrated psychological dramas that explored identity and the subconscious, and stand out among his best films. The first was 1972’s Images starring Susannah York, and the second was 3 Women. According to Altman, this film was inspired by a dream, and he wrote the screenplay quickly and without a lot of self analysis. The result was a story that he claimed to not entirely understand himself, and offered up to the audience for their own interpretation. The film’s final act is delivered with a dissonant soundtrack and watery in-camera tricks all of which result in a disorienting and dreamlike tone.
The story is primarily centered around Pinky (Sissy Spacek) and Millie (Shelley Duvall – easily Altman’s greatest discovery), two young women who work together in a desert retirement home. Pinky is an childlike naif, who looks up to Millie who fancies herself much more worldly and sophisticated than she really is. Indeed, Millie’s self image acts as a shield to protect her from the derision that most people cast upon her. As the two young women grow closer it becomes apparent that Pinky is not all she seems as well. The third woman is Willie, the pregnant artist wife and owner of the motel where Pinky and Millie live, who spends her days decorating the drained swimming pool with paintings of semi-reptilian humanoids engaged in passionate folly and ritual (created by muralist Bodhi Wind). As the delivery of Willie’s baby draws nearer, the nature of the three women’s personalities shift, intersect and ultimately reverse.
It is important to approach Altman’s film less with regard to “story” rather than “tone”. The audience will inevitably look for narrative sublimation, but what makes this work a real standout is its experimental nature which, even in the 70’s was unusual for mainstream American cinema and foreshadows the work to come from David Lynch (whose Mulholland Drive (2001) this film bears more than a passing resemblance).
The excitement begins at 6:30 when you will enjoy one of the best dinners in town, followed by the screening at 7:00 PM. Hope to see you there!
Mother’s is located at 212 SW Stark.
So proud of our very own Chef Lisa for being selected as National Restaurateur of the year by “Independent Restaurateur” magazine! What an honor! Read the article HERE or click on the picture to find out more. 
It’s that time of year again, and Rob’s gettin’ in the Season Spirit!
Join Mother’s Bistro & Bar owners Rob, Lisa, and special guest host Shannon Day as they celebrate the season with the 4th annual Christmas Karoloke (Oh Holy) night.
Oh Come All Ye Faithful… and you can sing your favorite carols with Rob, Shannon, by yourself, with friends, or just sit back, enjoy a hot toddie and bask in the Holiday Cheer!
Many of you have been asking if we were going to do this again this year, and here it is – if you are Away In A Manger, you’ll miss it!
Drink specials, special treats, no host bar.
See you there.
A latke is a savory potato pancake traditionally eaten by the Jewish people during the Hanukkah festival, which starts this Saturday night, December 8th. Even if it’s not part of your holiday tradition, they’re still a delicious treat. Each latke is made with shredded fresh potatoes and onions, formed into a pancake, pan-fried in oil and then served with sour cream and house made apple sauce. They’ve become a holiday traditions here at Mother’s Bistro, and we’ll be offering them Saturday night, December 8th and Sunday, December 9th, and again the following weekend, Friday, December 14- Sunday, December 16th. Come and get it!
Mother’s is donating cookies for this very important fundraiser, Sunday, December 2nd at 5pm at Disjecta, 8371 North Interstate Avenue, Portland
Tin House and the Portland-Brooklyn Project are hosting a fundraiser to benefit one of New York’s communities most devastated by Hurricane Sandy: Red Hook, Brooklyn. The benefit will be held at Disjecta, a Contemporary Arts Center in North Portland. The event title “Defiance,” shares the name of a fundraiser held on November 14th in the Gowanus section of Brooklyn also benefitting Red Hook.
The authors scheduled to appear include Jon Raymond, Karen Karbo, Nancy Rommelmann, and Peter Carlin. The Tim DuRoche Band and Casey Neill will be performing.
SUPER RAFFLE TICKETS are $10/each: 1 TICKET = 5 CHANCES TO WIN!
1st raffle ticket drawn = 2 ROUND-TRIP TICKETS to NYC from AZUMANO TRAVEL
On Wednesday, December 5th, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with two films by two great masters at capturing the mind’s eye on film, Federico Fellini and Guy Maddin.
We begin with the 30 minute film, Toby Dammit created by Fellini for the 1968 Edgar Allan Poe omnibus, Spirits Of The Dead. Loosely based on Poe’s short story, “Never Bet The Devil Your Head”, it stars Terence Stamp as a dissipated British movie star visiting Rome where he is to headline the first Catholic Western (this film was made a couple of years before Alejandro Jodorosky’sEl Topo). We arrive at a rather intimidating Fiumicino Airport, are whisked off to a press conference and finally deposited on the set of an awards show, all witnessed from Toby’s alcoholic and drug fueled point of view. Of course, the importance of Fellini on the language of cinema cannot be over-stated, as he is one of a handful of auteurs whose name has been coined into an adjective by adding the suffix, “esque”. Ever the caricaturist and master of grotesquery, Fellini makes even the most mundane encounters feel bizarre and alien. Accompanied by his usual collaborators, Cinematographer, Giuseppe Rottuno and music Maestro Nino Rota, he succeeds in packing in a half an hour, nearly as much head spinning imagery as in his psychedelic grand opus, Satyricon (made shortly following this film).
…And what’s with that little girl with the rubber ball?
Guy Maddin is certainly not a household name on the level of Fellini, but to merely describe him as the most important director to hail from Winnipeg seems an inadequate accolade. For the past 20 years he has been creating fascinating cinematic artifacts that appear to have sprung from some alternate film history. Often using super 8mm and archaic film processes and drawing from the mise en scene of the silent cinema masters, his films are panoplies of taboo obsession and unearthed subconscious anxiety. Taking Eisenstein’s theories of montage to their extreme, he has fashioned his own unique and very dreamlike means of coercing subjective and omniscient perspectives to occupy a single moment. Maddin’s work comes as close as any filmmaker’s to feeling as though the he placed an unexposed roll of film beneath his pillow before sleep, and upon developing the footage, revealed a sort of direct transference of his dream state.
Originally created as a 10-part “peep show” for the Rotterdam International Film Festival, Cowards Bend The Knee tells the story of hockey sniper, Guy Maddin (which gives you some sense of how personal these dreams are) who falls obsessively in love with a beautician who cannot stand to be touched. Drawing on themes from Tod Browning’s 1927 Lon Chaney vehicle, The Unknown as well as The Hands of Orlac what follows is at once perverse, unnerving and simply hilarious. Cowards Bend The Knee is a silent film (with music and sound effects) and is 64 minutes long. This film contains some nudity, in case one has an issue with that sort of thing.
The excitement begins at 6:30 when you will enjoy one of the best dinners in town, followed by the screening at 7:00 PM. Hope to see you there!
Brian Christopher, a great local photographer, came in and took photos of Mother’s Bistro & Bar kitchen during a busy lunch…check out all the action that takes place behind the scenes at Mother’s!
– Thursday, November 22nd 9am-2:30pm open for Brunch
– Monday, December 24th – closed
– Tuesday, December 25th – closed
– Monday, December 31st – closed
– Tuesday, January 1st – 9am – 2:30pm open for Pajama Brunch
The Trial (1962)
On Wednesday, November 7th, Movies at Mothers continues its series on “Dreams, The Subconscious and the Surreal”, with Orson Welles brilliant adaptation of Franz Kafka’s masterpiece of paranoia and bureaucracy, The Trial (Le procès – 1962), starring Anthony Perkins as Josef K, Romy Schneider, Jeanne Moreau, Elsa Martinelli, Akim Tamiroff and Orson Welles as The Advocate.
Many a filmmaker has attempted to capture the tone of dreams on film, and rarely does one succeed in achieving much more than a prosaic work of absurdist theater that relies on appropriated visual signifiers from other films or works of art. Dreams are used too often to represent memories, or worse yet as narrative connective tissue. Orson Welles understood that dreams exist within their own vernacular, and traditional story logic should only occasionally break the surface of an enigmatic sea of disorientation. Possibly because of budgetary constraints, but no less inspired because of it, he chose to use existing locations around Paris and Zagreb in ways that continually subvert the viewer’s expectations. This, combined with his signature editorial style whereby layered dialogue and visual motifs seem to collide into one another, creates a seductive, if atonal cadence.
Orson Welles was on record as identifying The Trial as his best film, and in Anthony Perkins, he found the perfect Kafka protagonist. He is entirely sympathetic as the vehicle through which we experience the absurdity of contemporary society, yet much of the paranoid twitchiness of Psycho’s Norman Bates (Perkins’ career defining role from two years previous) is evident. His response to the incomprehensible persecution he suffers, combined with his innate sense of free-floating guilt, is a measure of both indignation and apology, often to darkly comic effect.
Largely faithful to Kafka’s novel, The Trial tells the story of Herr Josef K, a modest clerk who awakens one morning to find that he has been charged with a crime, the details of which are entirely unclear. He is allowed to go about his business until the appointed date of his trial, and as he attempts to find out of what exactly it is he’s accused, he is subject to a farcical bureaucracy which seems to serve only those who do not question or protest. Josef K seeks counsel from a bed ridden Advocate (Orson Welles), who has clearly gained wealth, power and respect from his clients’ plight, and as such has no particular interest in extricating them from it. The more he questions his fate, the deeper K slips into the quagmire of suspicion and self doubt. But along the way, his nightmare is occasionally interrupted by unsublimated erotic yearnings for a cabaret performer neighbor (Jeanne Moreau), the Advocate’s caretaker/mistress (Romy Schneider) and the wife of a courtroom guard (Elsa Martinelli).
The excitement begins at 6:30 when you will enjoy one of the best dinners in town, followed by the screening at 7:00 PM. Hope to see you there!
Spellbound (1945)
On Wednesday, October 3rd, Movies at Mothers continues its series of films on “Dreams, The Subconscious and the Surreal”, with Alfred Hitchcock’s groundbreaking 1945 psychological thriller; Spellbound, starring Ingrid Bergman and Gregory Peck.
Dr. Constance Peterson (Ingrid Bergman) is a dedicated psychiatrist at Green Manor Asylum who finds herself very taken with the new Director, Dr. Edwardes (Gregory Peck), who has recently arrived to relieve the venerable Dr. Murchison (Leo G. Carroll) of his post. However it soon becomes clear that Edwardes is not entirely what he seems to be, and is himself troubled and confused by his own identity. This being a Hitchcock film, there always looms the spector and threat of murder. Constance however, carried on the wings of love, trusts the handsome amnesiac explicitly and risks everything to delve deep into his subconscious to unlock the secret behind this lost, and potentially very dangerous man.
Spellbound was created early in what would prove an incredibly fertile 25 year stretch in Hitchcock’s Hollywood career, and for this film he pulled out all the stops with regard to his visual mastery. Fascinated by Freud’s dream analysis, and armed with a Ben Hecht adaptation of the novel “The House of Dr. Edwardes’, he ventured to depict the mysterious workings of the mind in visual terms. For that he looked to the art world’s avant garde and employed the undisputed master of surrealist painting, Salvador Dali, to design the scenes illustrating the protagonist’s dreams and repressed memories. To add to the unearthly tone of these sequences, composer Miklos Rozsa embellished his Academy Award winning score with a theremin accompaniment, which was the first time this proto-synthesiser was used for a Hollywood feature. In the years that followed, the instrument would be the premier aural signifier for psychological mysteries, and outer space adventures.
The excitement begins at 7:00 when you will enjoy one of the best dinners in town, followed by the screening at 7:30. Hope to see you there!
Mother’s is located at 212 SW Stark.
Congrats to Mother’s Bistro & Bar on its selection as an Honorable Mention recipient of the 2012 Alfred P. Sloan Awards for Excellence in Workplace Effectiveness and Flexibility!
As an honoree, Mother’s Bistro & Bar has distinguished itself as a leading employer of choice that is successfully using flexibility as part of an effective workplace strategy to achieve business goals and benefit employees by helping them meet their responsibilities on and off the job.
The two-step selection process is rigorous, involving an evaluation of employers’ programs and practices, and a confidential employee survey. As an Honorable Mention recipient of the 2012 Sloan Awards, your organization ranks in the top 20% of employers nationally in terms of its programs, policies and culture for creating an effective and flexible workplace. In addition, what makes this honor so special is that employees have corroborated this, affirming that yours is indeed an effective and flexible workplace.
We received a 4.5 star rating from Gogobot! Check out our reviews on the fastest growing travel site on the Internet and read other travel tips and recommendations from Gogobot’s community of more than 2 million in-the-know travelers. Thanks Gogobot!
Mother’s Velvet Lounge Presents “The Cabinet of Dr. Caligari”
The summer hiatus draws to a close, and on Wednesday, September 5th our monthly movie night returns to Mother’s Velvet Lounge. In keeping with the tradition of a yearly theme, this season’s series is entitled, “Dreams, The Subconscious and The Surreal”.
Cinema is without precedent in the history of the arts, with its omniscient point of view, transmutation of time, and ability to trick the eye well past the suspension of disbelief. The only human experience that shares this with cinema is the act of dreaming. It is no accident that the camera has often been referred to as the “Dream Machine”, and now after more than a century of cinema, dreams and film have come to draw from each other. This year we will look at the history of how filmmakers, recognizing this parity, have attempted to capture and bottle the essence of dreams and unearth the deepest mysteries of our collective psyche.
Our first feature is the quintessential classic of expressionist cinema, Robert Wiene’s The Cabinet Of Dr. Caligari (1920). While this remarkable silent film is not the first film to depict a dream world, it is the first to attempt to define the landscape of the subconscious. By drawing on the stylings of the German Expressionist movement which influenced the painting, sculpture and theater of the time, Weine was able to create a contorted world which seemed plucked from a tortured psyche.
The story begins as Francis (Friedrich Feher) recounts the story of how he, his fiance, Jane (Lil Dagover), and best friend, Alan, encountered a sideshow performer named Dr Caligari (Werner Krauss) while visiting a carnival. The titular cabinet in his possession (really a coffin) contains the somnambulist Cesare (Conrad Veidt) who, when stirred from his catatonia, can predict the fortunes of visitors to the exhibit. Cesare predicts the death of Alan who is found dead the following day. Francis suspects foul play on the part of the Doctor and his sleepwalking ghoul, and as he attempts to expose Caligari as a charlatan and murderer he places the woman he loves in ever deepening peril.
Several aspects of this film mark it as a landmark of cinema. The unusual narrative, which plumbs the depths of psychosis and mind control, was something very new for audiences. The science of modern psychology was still relatively new in 1920, with Freud’s “Interpretation Of Dreams” written a mere 21 years earlier. Neither literature nor theater had had much of an opportunity to explore this new science of the mind. Here the brilliant realization of a threatening landscape with twisted architecture and knife-like angles abounding surely convinced the audience of the time that this new medium had the ability to capture nightmares. Visually the film was way ahead of its time. The Chiaroscuro lighting, impossible to achieve with the primitive lenses and early film stock, had to be created by painting shadows on the set. The resulting imagery would serve as a crucial influence on Alfred Hitchcock, Orson Welles, Billy Wilder and more recently Martin Scorsese, David Lynch and Tim Burton.
Chef Lisa Schroeder is honored to be participating in FEAST Portland’s showcase of comfort food at the High Comfort event at the Multnomah Athletic Club on Saturday, September 22, 2012 from 6:30pm-9:30pm
Treat your date to a romantic dinner at Mother’s Bistro & Bar in the heart of downtown Portland. Our crystal chandelier lit dining room, made-from-scratch menu and scrumptious desserts are the perfect combination for date night.
Join Mother’s Bistro & Bar in support of DateNightPDX! During the month of August tell your server you’re on a date and we’ll offer you a special $25 prix-fixe menu.
Every year The Bite of Oregon hosts Oregon’s premier culinary competition with the Iron Chef Oregon event. Watch all of the action as chefs plan, prepare and plate a delicious entrée in just thirty minutes. This year Chef Lisa Schroeder will bring her witty commentary as she emcees the competition. Check her out at these Bite of Oregon events:
Friday, August 10 – Iron Chef Oregon 5:45pm – 6:45pm and 7:30pm– 8:30pm
Saturday, August 11 – Ken Gordon of Kenny & Zuke’s 1:45pm – 2:45pm
Saturday, August 11 – Iron Chef Oregon 4:30pm – 5:30pm and 7:30pm – 8:30pm
We are always thrilled to see reviews of Mother’s Bistro & Bar on local food blogs. Check out some great write-ups and stellar food photography on these blogs:
Two Pots of Coffee and A Slice of Pie at Midnight
Check out Chef Lisa on Cooking Up a Story how to teach her grandchildren how to make strawberry shortcakes with fresh Oregon strawberries.
These are the shortcakes we serve during berry season at Mother’s Bistro & Bar. We adapted this recipe from “An American Place” Cookbook by Larry Forgione. Recipe adapted by Lisa Schroeder.
Ingredients-Serves 6
Shortcakes
Filling
Instructions:
It comes as no surprise that Mother’s Day is my restaurant’s national holiday. Though it comes but once a year, every day is a celebration of mothers and their food at Mother’s Bistro & Bar.
As a special treat for Mother’s Day, the new YouTube Original Programming Initiative series “Food. Farmer. Earth” features me creating a quintessentially motherly dish that’s a signature at Mother’s Bistro & Bar: Belle’s Chicken Noodle Soup (named after my mother).
Not only do I demonstrate how to create one of the restaurant’s iconic dishes, I also share tips and shortcuts to save the busy cook time and energy as well as demonstrate recipes for other dishes that can be made from the chicken soup broth.
From me and the staff at Mother’s Bistro and Bar, we thank you and all our mothers for your love and support.
I wish you all the best today and always…
Love,
Mom
a.k.a Lisa Schroeder
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