When childhood friends Yioula Svyrinaki and Michalis Psomadakis were planning last year to open up To Laini, a spot that would serve the kind of traditional food and drink found on their home island of Crete, it wasn’t very hard for them to decide on where to locate their new venture: the Keramikos neighborhood. The two budding restaurateurs were already living in the area, but there was much more that made Keramikos an ideal choice for opening up their ten-table kafeneio, which on Crete refers to a no frills café that also serves food. Located just a ten-minute walk from Athens’ buzzing historic center, the laid back Keramikos neighborhood seems to live in a magical world of its own, a place where old and new, Greece’s storied past and often turbulent present, tradition and forward-looking creativity, all coexist happily together.

Arriving at Hinata one recent winter afternoon, we luckily found most of the restaurant’s 14 counter seats empty. Hinata serves just one thing: tonkatsu, breaded and fried pork cutlets traditionally served with cabbage and rice. The space is simple but snazzy, all brick-shaped white tiles and pale wood. The menu hangs from wooden slats on the wall, and on this day sported a handwritten addendum saying that our usual order, the standard roast cutlet priced at ¥1,300, was out for the day. The lunch rush must have been a busy one. We decided to splurge on the shop specialty, tonkatsu made with a fatty top rib cut for ¥2,500.

Sweets can stir up feelings and evoke memories of particular times of the year in a way that other foods can’t. This is particularly true in Naples, where there is a dessert for every holiday: struffoli (small fried dough balls doused in honey) and cassata (sponge cake with ricotta and candied fruit) call to mind lively and colorful Christmas celebrations, while the pastiera (a cake filled with ricotta cheese, eggs and custard) reminds us of the exuberance of Easter. While those sweets are certainly indulgent, they don’t hold a candle to chiacchiere (a sweet crispy pastry sprinkled with powdered sugar) and sanguinaccio (black chocolate pudding), which immediately bring to mind the most eccentric and unruly party of the year: Carnival.

Lisbon’s communities from Portugal’s former colonies provide the strongest link to the country’s past, when it was the hub of a trading empire that connected Macau in the east to Rio de Janeiro in the west. Though integral elements of Lisbon life, these communities can sometimes be an invisible presence in their adopted land, pushed out to the periphery of the city. With our “Postcolonial Lisbon” series, CB hopes to bring these communities back into the center, looking at their cuisine, history and cultural life. In this fourth installment of the series, we look at Lisbon’s Brazilian community.

When it first began five years ago, Põe na Quentinha was an informal get-together for people who were equally passionate about food, beer and samba; they spent the day eating, drinking and dancing in preparation for Carnival. Fast-forward to 2017, when what had now developed into a proper street parade drew in over 5,000 people over three different days during the Carnival Season. This year, the food-focused event, the only one of its kind in Rio, is even larger, hosting a full month-long schedule of parades that started in mid-January.

“Tea,” our friend Lasha indicated with a head nod, driving past fields with rows and rows of overgrown, chest-high, bushes of green leaves. It was 2002 and we were zipping along a skinny road littered with potholes on the outskirts of Zugdidi in west Georgia, but we could have also been in Guria or Adjara or even Imereti; regions with tea fields that have also become agrarian relics. Later we visited the last operating tea factory in town, a Soviet era rust bucket of a building that Lasha said churned out leaf dust that was sold to Lipton. Such was the fate of an industry that had once provided the USSR with 95 percent of its tea. However, after decades of inaction, Georgian tea production is slowly making a comeback.

In 1977, just two years after the death of Franco, the great Catalan gourmet Manuel Vázquez Montalbán published a book titled L’art de manjar en Catalunya (The Art of Eating in Catalonia). The book, as well as the prologue written by Montalbán’s mentor Néstor Luján, rang the alarm bells, claiming that authentic Catalan cuisine was in grave danger and on the brink of disappearance. As Montalbán saw it, the unique Catalan culinary identity has been reduced to a few ubiquitous dishes: pan a la Catalan (bread with tomato pulp and ham) and rabbit with aioli. This demise was due, in his opinion, to the frenzied pace of modern life, the lack of high-quality ingredients, the ignorance of both restaurateurs and tourists regarding what good cuisine, not to mention true Catalan cooking, looks and tastes like and, of course, the Franco regime’s efforts at suppressing regional identities.

Colonia Santa Maria La Ribera, one of our favorite dining neighborhoods in Mexico City, is home to the historic kiosco morisco. Built in 1884, the Moorish open-air pavilion represented Mexico at the St. Louis World’s Fair in 1902 and has been in its current location since 1910. Just a few steps west of it sits a nondescript hole in the wall, which figures as prominently as the kiosk in our mental map of the neighborhood. Owner David García Maldonado offers just a few items on the menu, two of which are outstanding: pozole, a broth made from pork and maíz cacahuazintle, or hominy, and goat birria, a typical soup from the state of Jalisco.

To describe something that is better than good, Portuguese speakers sometimes use the word espectáculo (show, spectacle) as an adjective. João Gomes, the owner of Imperial de Campo de Ourique, does it every five minutes. He practically trademarked the phrase “É um espectáculo” (It’s a show/spectacle), to the point that he has it embroidered on his apron. His wife Adelaide’s reads “A chef do espectáculo” (The show’s chef) – she’s the cook and a very good one indeed. Nuno, their son, doesn’t have an embroidered apron but he is also part of the show, waiting tables and managing orders effortlessly. Imperial used to be one of Campo de Ourique’s many outstanding tascas. Now it is probably the last one standing.

The entryway of Espai Mescladís is jam-packed with people: neighbors, workers and visitors who come and go all day long, and waiters walking from the kitchen to the tables on the terrace. But there are also dozens of people staring out from black and white photos that cover the restaurant’s walls; some are alone, others in couples, families or groups, smiling and laughing. All the people pictured at one point emigrated to Barcelona, and whether they’re still living in the city or have moved elsewhere, their stories are always present at Espai Mescladís. The photos, taken by the photographer Joan Tomás, were originally part of an exhibition organized by the Mescladís Foundation, a multifaceted initiative that provides tangible and sustainable economic programs, particularly in the form of job training, for migrants and refugees in the city.

The city of Tokyo has over 1,000 train stations, which translates to just about that many neighborhoods. In recent years many of these communities have succumbed to top-down corporate “urban renewal,” losing the small shops and restaurants that created distinctive local flavors. With an average shelf life of 30 years for buildings, most Tokyo real estate is rebuilt as opposed to being renovated for further use. Bottom up gentrification and the repurposing or renewal of buildings is rare. Change has always been an integral part of Tokyo life, but as we begin the new year, we thought it was worthwhile to honor some of the old institutions of Tokyo and enjoy them anew.

Groaning sounds emanated from the other end of the line when we told a friend the location of our dining plans for the night. The spot, a rowdy, charming dive specializing in Bosnian-style mezes and grilled meats, was in Pendik, a district of Istanbul well over 20 kilometers outside the center, on the outskirts of the Anatolian side. Our friends’ reluctance to join was a normal response in a city with terrible traffic and nightmarish commutes. Who would want to spend their free time on a three-hour roundtrip journey to eat out when there are plenty of excellent options just a stone’s throw away?

In a market as diverse as Lisbon’s Mercado de Arroios, where people from all over the world shop, Mezze doesn’t seem out of the ordinary. But the small restaurant deserves a closer look: it’s not only one of Lisbon’s few Middle Eastern restaurants, but, more importantly, its staff is almost entirely made up of recently arrived Syrian refugees. For them Mezze represents both a link back to the country they left behind and a crucial aid for putting down roots in their new home. The idea behind Mezze is one that’s being tried out in other countries. Refugees, particularly those fleeing the war in Syria, are given the chance to earn a living and get established by sharing their culinary heritage, either by opening or working at a restaurant or catering business.

For years we’ve looked into every Indonesian nook and cranny in New York, yet we always discover something new at the monthly Indonesian bazaar at the St. James Episcopal Church. We’re not surprised. Indonesia, the fourth-most-populous country in the world, comprises some 17,000 islands that stretch over a vast archipelago of diverse culinary habitats. We’ve tasted dozens of dishes and witnessed dozens more, but there must be so many soups, and stews, and fritters, and fishcakes that we have yet to set our eyes on – not to mention desserts that can be as bright as any jungle butterfly.

In the Caucasus, guests are considered gifts from God. Georgians like to call them okros stumrebi – “golden guests” – an endearment that illustrates the stature the ever-hospitable Georgians give to those they host. And whenever our own golden guests come to visit in this remote corner of the world, we never fail to entertain them in our own surrogate dining room, Shavi Lomi (the Black Lion). The cellar restaurant is an homage to Georgia’s favorite artist, Niko Pirosmani, a naive painter whose favorite subjects were animals, a singer named Margarita and feast scenes. The flea-market furniture, tablecloths and china make the Black Lion an ideal setting for anybody hankering to create a one-of-a-kind, laid-back feast scene of his own, with hearty original takes on traditional Georgian cooking.