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Montreal’s Bocadillo restaurant continues to be a beacon for Canada’s Venezuelan community

“No one else did it the way we did, it was beautiful,” said restaurant owner Marco Russo

Prevailing over tough circumstances is nothing new for Bocadillo, a family business born from the fires of political upheaval, migration and perseverance. What started 13 years ago as an unprecedented effort to bring Venezuelan cuisine to the Montreal scene, has proven — in the middle of the pandemic — to be a triumph for Venezuelan entrepreneurship.

At 6918 St-Laurent Blvd., the doors to Bocadillo Bistro are closed for the day. The lights inside the restaurant are off and the occasional passer-by stops to glance at the immense and colourful menu pasted on the restaurant’s front window. The inside is a scene of patriotic elegance, composed of Venezuelan art on the walls, and wooden tables scattered across the length of the large establishment, clean and intact.

Across from one of the tables sits Marco Russo, the owner of it all. He speaks with ease and patience, in his native tongue of Spanish.

“We owned a flower shop, back in ‘78 I think it was, in Las Mercedes,” he recalls.

The scene conjured by Marco Russo is one of nostalgia — what used to be the Venezuelan capital’s commercial centre; a beautiful scene of bustling businesses and life.

“My father owned an Italian restaurant there too,” adding, “for about 35 odd years, my aunts were the cooks and it was very successful.”

Success for the family businesses lasted through the 80s and 90s, then in the 2000s it was Russo and his wife, Laura Uzcategui de Russo, who were continuing the legacy. But political turmoil in Venezuela soon upended stability for many businesses, including theirs.

It was the time of the nation’s socialist revolution, when the election of Hugo Chavez as president in 1999 changed the face of small and large Venezuelan businesses alike. The socialist fever for nationalization overtook many industries, and private businesses were put under pressure by the Chavista administration.

“There was so much insecurity, and not just economic,” sighs Russo. “The government had these committees in place, they’d close businesses at will and you’d have to pay them to let you open, It became difficult to even exist.”

The turning point came in 2008. Russo nonchalantly describes in detail the everyday dangers he faced amid the social unrest of the country. “I was mugged several times, kidnapped once, until finally the danger affected one of my kids and that’s when I knew things had gotten too ugly, and we left,” Russo recalls.

They came to Canada in search of better opportunities; their story reflecting that of Venezuelan immigrants across the globe. According to the United Nations High Commissioner for Refugees (UNHCR), over 4.6 million Venezuelan nationals fled the country between 2016 and 2019 alone.

Meanwhile, the idea for Bocadillo came at a time when Venezuelan food was far from a Montreal staple.

“Like all beginnings it was very difficult, we thought we’d close. People didn’t understand Venezuelan cuisine, they didn’t even know what an arepa was,” he said, explaining that in those days the restaurant would make a mere $20 to $30 daily.

Arepas are the star dish of this Montreal restaurant. Made from pre-cooked corn flour, this traditional food is shaped and cooked into a semi-flat circle, which is then cut in half and stuffed with a variety of fillings such as minced meat, cheese or black beans. It has been, as Russo calls it, “the comfort food” of Venezuelan people since pre-Columbian times, and it is considered to be a staple of the likes of bread, being served for breakfast, lunch or dinner across the country.

The main counter at Bocadillo’s sister location, nestled in 3677 St-Laurent Blvd., is a mosaic of beautiful photographs showing customers what different kinds of iconic arepas actually look like.

Temmy Mthethwa, a second-year Biology student at Concordia University, said this particular Bocadillo location was a fantastic first-taste of Venezuelan culture.

“It definitely made me want to try more Venezuelan food, I’m looking forward to seeing what else they’ve got to offer.” Mthethwa said that the arepa in particular was a real change from the cuisine of her home country, Eswatini.

This kind reaction is not unusual. Russo explains with a smile on his face that it was the wonders of Venezuelan cuisine which saved the restaurant from going under in its early days. Just two weeks before they were supposed to close they received a review in the Montreal Gazette, “The writer liked our food so much we told us he’d come back on the weekend.”

The article, which included a raving review and photographs of Russo’s food, brought a stream of customers to Bocadillo that very weekend. “That review was our guardian angel, it saved us,” he laughs.

From then on, the restaurant took flight. Creating not only a popular demand for Venezuelan food, but also establishing itself as a cultural embassy for Venezuelan art, music and performances. The business made a tradition of booking Venezuelan artists to perform throughout the year.

Russo pulls out his phone, looking for a video to show what the artistic spectacles used to be like before the pandemic. He presses play and a symphony of drums, maracas, harps and guitars begin to blast from the phone’s speaker. The video shows the restaurant we’re sitting in, packed with customers dancing to traditional Venezuelan music on the main floor.

The events would gather anywhere from 150 to 180 people, with customers frequently coming in from the street to see what all the commotion was about.

“For Canadian people, those kinds of experiences were incredible. It’s something they would only have seen on vacations or in movies,” said Russo with excitement. “No one else did it the way we did, it was beautiful.”

For now, COVID-19 restrictions have left Bocadillo Bistro unable to host such events, but Russo’s memories of the glittering potential are enough to fuel his optimism.

“We were always happy to let artists express themselves here. It was an investment we really wanted to make, and hope to make again in the future someday.” Russo adds.

Although Bocadillo’s Little Italy location cannot currently show its usual flare, Russo said their St-Laurent branch — which will reach its 13th anniversary soon — is still thriving because of how unique it is.

“At this stage our business is very well established. Even with the pandemic we can keep going,” he said confidently.

Although the business has taken its share of impact from the pandemic, Russo said they have persevered by looking towards the future.

“It’s a shame what’s happened to many restaurants because of this pandemic, but we have to be willing to reinvent ourselves,” said Russo. “You can have a traditional way of doing things, but you also have to be able to evolve and change.”

Bocadillo’s origin story and their path to success is a ray of victory for Venezuelan entrepreneurs across Montreal, and leaves little doubt as to the restaurant’s ability to persevere and triumph through these difficult times.

Photographs by Gabriela Villarroel 

Categories
Music

The cuisine of music

Sometimes albums remind us of food

People who have chromesthesia see music in colour. I, instead, have foodsthesia. I see music in terms of food I’m familiar with.

Food and music are both cultural objects, imbued with a sense of identity and belonging. Not only that, both can be appropriated and sold to make tons of money, so they’re even more palatable for the mainstream. Both are celebrations of who we are as people.

Food is actually very evocative; it conveys culture, conceptions of class and even time, as certain food in different cultures is tied to a celebration or holiday. Almost every culture loves to share music and food. They bring people and communities closer together, bridging the gap between different cultures, even if for only a short amount of time.

So much description and identity can be gleaned from food, so this exercise in comparing it to albums can create a new layer for musical criticism. Or maybe this will be just fun.

Fish and Chips

Sgt. Pepper’s Lonely Hearts Club Band (1967) by The Beatles

I chose fish and chips, partly because The Beatles are British, but also because Sgt. Pepper is a good album full of classic hits just like the dish. As with fish and chips, I won’t seek out this album, but once or twice a year, I have the urge to go back to Sgt. Pepper. I’ll have a good listen, and I’ll forget about it for another year.

Beef Tartare

The Money Store (2012) by Death Grips

Death Grips are generally aggressive-sounding, but they have a lot of depth to their music. I am immediately reminded of beef tartare by the band’s overall sound, because both are an acquired taste. I totally understand why people enjoy this album, but like beef tartare, sometimes its rawness is too much for me to handle. Maybe one day I’ll truly appreciate this album.

Deconstructed Cheesecake

Homogenic (1997) by Björk

Homogenic goes for a pop-experimental sound, yet what’s there is so sweet. Like the album, deconstructed cheesecake intentionally lacks the structure and shape of regular cheesecake, looking fancy and strange, but the sweet flavours still shine through.

Steak and Fries

channel ORANGE (2012) by Frank Ocean

This album is meaty and filled with so many great tracks, my favourite being “Pyramids.” Ocean’s melodies are sensual and emotional. The substantial tracks, like “Sierra Leone,” are the steak, because they are flavourful, fusing amazing instrumentals, lyrics and Ocean’s vocal range. Meanwhile, interlude tracks like the delightful “Fertilizer,” are the fries you eat in between the steak. The track proves that side dishes are just as important as the main course. And I’m always in the mood for steak and fries.

Shrimp Pizza

Uyai (2017) by Ibibio Sound Machine

Uyai is the shrimp pizza of albums. Both just hit the right notes for me. It’s the bonding of different elements that I love about this album; the electronic beats, acoustic instruments and the rhythmic singing mesh so well together. Shrimp pizza is analogous, because pizza is a melding of different elements. The crust, the sauce, the cheese and the special toppings fit together harmoniously.

All-you-can-eat buffet

MM… FOOD (2004) by MF DOOM

This album’s theme is literally food; go listen to it.

Whitewashed hummus

Reputation (2017) by Taylor Swift

Hummus has a long history in the Middle East. It’s flavoursome, dense and richly textured. But white people appropriated hummus, stripped it of flavour and history, and made it super bland. Reputation is Swift’s lacklustre hummus. She changed her sound from country music to R&B-inspired beats and melodies, meanwhile bringing up old grudges that few people care about. Swift’s album is uninspiring and tasteless, despite the fact that her other albums were pop hits and in her own style.

Graphic by Zeze Le Lin

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