There’s one thing about the very popular Copacabana bar Pavão Azul that remains a mystery, even after 60-odd years of business: its name. Pavão azul means “blue peacock” in Portuguese, but even the owners don’t know where this curious name come from. Some customers who have been frequenting the bar since it opened in the 1950s say that it was named after the bar in the movie “Casablanca” – except that that place was actually called the Blue Parrot. What’s not a mystery is the bar’s popularity. Once just a regular old botequim – a small bar serving simple food – Pavão Azul was discovered by food critics thanks to its patanisca.

Every time we travel outside of Oaxaca, we get something we call “the tortilla blues.” Even if we move around inside of Mexico, particularly in the biggest cities, we cannot help missing the sweet aroma and feel of a warm tortilla almost melting in our hands. Sure, we might run into decadent tacos filled with perfectly cooked meat, or we can taste amazing enchiladas with lush salsa verde. But none of that matters if the tortillas don’t seem to have been touched by the tortillera’s (tortilla maker’s) gifted hands. Everyone talks about the tortilla but not everyone understands it. Supermarkets sell them packed and ready to heat, office workers eat them carelessly at their desks for lunch and only fancy restaurants seem to offer a more authentic version of them.

Il Grottino (meaning “The Little Cave”) is a small wine bar located in an area of Naples still not explored by many tourists. Despite being situated in the heart of the old town, the upper Decumani area is off the beaten track and feels like a small oasis (hopefully for a long time to come). Here, we are just a few meters from the Naples Cathedral, and after feasting our eyes on its baroque beauty, Il Grottino is the perfect place to rest and enjoy a glass of wine and a bite. Il Grottino was born in 1980 thanks to Antonio De Luca 64, and his wife Maria, 61. When he was 10 years old, Antonio, the son of a carpenter, started working as a shop boy in a local delicatessen.

In 2017, when Francesco Cancelliere and his brother-in-law Oreste Improta opened their small trattoria in Piazza Cardinale Sisto Riario Sforza, a splendid little-known square behind Cattedrale di San Gennaro, they drew inspiration from a nearby masterpiece: Caravaggio’s The Seven Works of Mercy, which was made for, and is still housed in, the church of Pio Monte della Misericordia, located close to the cathedral. First was the name of their new trattoria: Caravaggio. But they really leaned into the theme. “All the tablecloths and napkins were inspired by a Caravaggio painting. But it happened that napkins disappeared every day, because tourists took them as souvenirs.”

Everything at NAM 43, from the exposed wood beams that extend across the space to the Neapolitan tuff, an ancient stone, embedded in the walls, reflects a philosophy of recycling. (Except the food, of course, which is fresh every day.) In fact, it was one of the basic principles that inspired 50-year-old Raffaele Montesano to take over the space, an old antique shop, in early 2016 and turn it into a bistro, one that would enhance classic Neapolitan offerings with gourmet touches. “I love minimalist furniture,” Raffaele tells us. “The tables came from a school canteen in Emilia-Romagna [a region in northern Italy] and were won at an auction.”

Sold by the slice, pizza is emblematic of New York City. It’s an inexpensive antidote to hunger pangs that can be ordered quickly, and eaten quickly, even on the go. Think of Tony Manero, the John Travolta character in Saturday Night Fever, double-decking a pair of slices while strutting through Bay Ridge, Brooklyn. At a less bouncy pace, we recently visited Astoria, Queens – home to what might be the densest concentration of pizza purveyors in the borough, including some that beckon customers from all across the city – in search of good slices. Some took the form of a triangle, cut from a circular pie; others were squarish, a shape that in recent years has become trendy in Manhattan but that for decades has been a staple in New York’s outer boroughs.

It was our first Tbilisi summer stroll down the city’s main drag, Rustaveli Avenue; two sweaty, newly arrived pie-eyed tourists tripping on the 2001 reality. There were billboards advertising the recent kidnapping of a Lebanese businessman, policemen in crumpled gray uniforms extorting money from random motorists with a wag of their batons, and at the top of the street, a former luxury hotel looking like a vertical shanty was full of displaced Georgians from Abkhazia. Parched and cotton-mouthed, we entered a café of sorts for cool respite. The room had high ceilings, was stark and all marble-tiled, including the long, wide bar. A splendid social-realism mosaic of women, grapes and wine was laid into the back wall. The counter was decorated with a few tin ashtrays and a spinning rack holding several tall cone-shaped beakers filled with technicolored syrups.

Think of Blavis in the Sant Gervasi neighborhood as the restaurant equivalent of the iconic Fiat 500 or Mini – perfect for a crowded city and charmingly so. Even though there are only two regular members of staff, this tiny spot packs a powerful punch. Chef and co-owner Marc Casademunt crafts tapas-style plates influenced by local and international cuisines, which are then served by Paco, the friendly waiter. When Marc and his partner, Sonia Devesa, opened the small restaurant in 2008, the financial crisis informed their initial concept: offering an affordable daily lunch menu for workers. In the beginning, they only opened for dinner two nights per week.

One tip often given to travelers is to look for restaurants full of locals. In fact, we do the same thing when dining out in Naples: If we see a spot packed with groups of employees or policemen on their lunch break, it’s almost a guarantee that we’ll eat well. Trattoria Avellinese, the late Peppino (Giuseppe) Cipriano’s restaurant near the central train station, is one place that’s always crowded with Neapolitans. Moreover, we can personally testify that this trattoria is a local favorite. Growing up, we lived near Piazza Garibaldi, and whenever our family went out for lunch – which, to tell the truth, wasn’t that often – we went to Peppino’s place.

Zeynep Arca Şallıel had a successful career in advertising in Istanbul, but in 1995 she decided to take on a daunting new challenge: taking part in the revival of small-scale viniculture in the ancient winemaking region of Thrace. “I wanted to do something with soil, something that mattered a little bit more,” she says. Her father had always dreamed of making wine, so together, they started Arcadia Vineyards. Their vineyards are planted on the 65 million-year-old eroded rock of Istranca Mountain, which creates a border between Turkey and Bulgaria. We drove two hours west from Istanbul through rolling hills of drying sunflower fields to learn how this pioneering winemaker is making great wines under difficult circumstances.

At a typical pâtisserie orientale, the front window is often stacked with towers of sweets – honey-soaked visual merchandising to entice passersby to pop inside. Some pastry shops line their walls with colorful geometric tiles and Moorish arches, the icing on the Maghreb cake. Pâtisserie Orientale Journo goes for a decidedly more subtle approach. Though located a block from Marseille’s main drag, the Canèbiere, this unassuming shop is somewhat lost in the shuffle of the pedestrian Rue de Pavillon. The few tables scattered out front suggest that there’s food to be found inside but the open storefront is bare – save for a giant five-gallon water jug propped on a stool, with a hand-scrawled sign “citronnade – 2 euros” beside it. That’s all the advertising needed for a pastry shop that has survived by word of mouth for 60 years.

The typical Neapolitan trattoria is a place where you go to eat like you would at home: the cook buys everything fresh in the morning, just like at home, and then spends the rest of the day in the kitchen, which he rules like a maestro. For the quintessential trattoria experience, we head to Fuorigrotta, a working-class district on the west side of Naples. There, close to the border with the seaside suburb of Bagnoli and not far from the Cavalleggeri Aosta metro stop, stands Cucina da Vittorio, a small trattoria with a few tables and a steady rotation of regular customers.

A visit to Varsos, a culinary landmark in Athens that looks much the same as it did 60 years ago, is like traveling back in time to one of the city’s grand patisseries of the 1950s. The venue, which is still in the hands of the Varsos family who originally opened it, is one of the most famous of Athens’ old-style coffeehouses and is the only one that has kept its traditional charm over the last several decades. Varsos was established in 1892 in central Athens, but it is the wonderfully old-fashioned Kifisia location, to which the patisserie moved in 1932, that has made the venue famous. At the beginning of the 20th century, Kifisia was a holiday destination for rich Athenians, and their stately summer mansions still dot this beautiful yet ever-expanding northern suburb, which is now popular with professionals, families and expats.

At first glance, Berbena, a restaurant in Gràcia, resembles a small, pretty tree with dazzling foliage – it offers a sophisticated and complex dining experience. But the restaurant’s delicate attributes, those pretty leaves, wouldn’t be possible without a carefully tended trunk and roots. In short, the basics matter, something that its creator, chef Carles Pérez de Rozas, decided after years spent in high-end kitchens. Carles had a culinary education par excellence: After studying at the prestigious Hofmann School, a culinary institution in Barcelona, he worked at several Michelin-starred restaurants in Catalonia, such as Drolma, Saüc, and Carmen Ruscalleda’s iconic Sant Pau. A job in the restaurant at the Hotel de Ville de Crissier brought him to Switzerland; he then spent a short and intense period in France with the great chef Michel Bras. In Japan, he trained alongside Seiji Yamamoto, in his Tokyo restaurant Nihonryori RyuGin, adding more notches of refined knowledge to his belt.

The oft-heard quote from Pablo Neruda, “Mexico is in its markets,” is rarely truer than at the Mercado San Juan de Pugibet. Not only is Pugibet likely the only market on the face of the planet where you can pick up bok choy, ostrich meat, black-eyed peas and chicatana salsa (made from Oaxacan flying ants!) on any given day of the week – and, to be fair, that last one is probably hard to find anywhere – this downtown market is positively dripping in centuries of history. The market has its origins in the pre-Hispanic open-air market, or tianguis, in the San Juan Moyotlan quarter of colonial Mexico City. Before 1548, the neighborhood was simply Moyotlan – “place of the mosquito” in Nahuatl – a nod to a common (and persisting) nuisance in the formerly marshy area bordering Lake Texcoco that surrounded ancient Tenochtitlan.