Oyster Bar Neon Sign Found on Delancey

I was walking down Delancey some weeks ago when my eye was caught be this corner restaurant. "I know that sign," I thought to myself. I went in an inquired at Grey Lady, the restaurant in question, and sure enough: it was the classic, double-sided neon sign that hung for more than fifty years over the Famous Oyster Bar at 54th Street and Seventh Avenue, until it went out of business in January 2014. The owners had bought it and salvaged it. I think it actually looks better on the desolate corner of Delancey and Allen.

As some of you have doubtless noticed, I haven't posted much lately. I have been busy working on a couple books and a variety of other activities. So, for the time being, I'm going to let Lost City rest as a sort of permanent document of what New York was, and what New York has lost in the past decade. I will occasionally post when the spirit moves me. I've put too much into the site to let it die completely. In the meantime, thanks to everyone and anyone who visits this blog and loves New York.

Lost City Asks, "Who Goes to El Sombrero (The Hat)?"

Who goes to The Hat? Well, I do, that's who. Or, I did. Often. I lived on Eldridge Street from 1988 to 1994, when the area was still pretty scruffy. I soon learned of The Hat and it's cheap, hot, nourishing food and inexpensive Mexican beers. Mexican cuisine wasn't as common back then as it is now, and The Hat's kitchen work passed muster. At least with a not-especially-savvy twentysomething, anyway.

Over the years I've seen all of the things I associate with Ludlow Street back then disappear: Todo Con Nada, The Pink Pony, Max Fish, Ludlow Street Cafe. The Hat will be the last man to fall. (Aside from Katz's, of course, which I place in a separate, 19th-century category.)

Here's my Who Goes There? column:

Who Goes There? El Sombrero Restaurant (The Hat)

El Sombrero Restaurant—known to one and all simply as "The Hat"—is the last bit of the old Lower East Side to grace the northernmost block of Ludlow Street. Not the old, OLD Lower East Side; that neighborhood is still represented by Katz's Delicatessen, which still anchors the street after 125 years. I mean the old Lower East Side, the gritty, pre-gentrification neighborhood, when the streets at night were still forbidding and empty.

At the time it opened, in 1983, The Hat was a necessary outpost of cheap, decent food, a place where both locals and the various young people who had moved to the Lower East Side for the cheap rents (can you imagine such a time?) could fill up for very little money. Because of that, and its highly visible location and late hours, it became an instant hit among downtown denizens. Today, it looks quite quite of place, surrounded as it is with trendy bars and restaurants that outclass it in both food and price. You can see the swanky Stanton Social down the street through The Hat's long double wall of windows. So, it wasn't much of a shock, then, when it was announced that the place would close. (A waitress told me it might hang on until January.) I'm surprised it actually lasted this long in the current economic environment.

I used to go to The Hat quite a bit, but roughly 15 years had passed since my last visit. I was a bit stunned to see that almost nothing had changed about the joint. The dining room was still a collection of utilitarian tables, some designed for large parties, many covered in plastic. A few sombreros and bad painting adorned the walls. The not-terribly-potent frozen margaritas were still flowing. The menu of Mexican-American standards was the same, and I'll be damned, but I think the prices were, too. (Taco and enchilada and beans and salad: $9.) The food, I have to say, was not as good as I remember it. I never thought it was fantastic Mexican cuisine, but I did find it satisfying in a humble sort of way. Maybe the quality's gone down over the years. Or maybe I was just hungrier back then.

Also the same, roughly, is the crowd. The Hat still attracts young people, as it did in the '80s and early '90s. Back then the neighborhood was brimming with scruffy, upstart theater companies like Nada and The Piano Store, and indie boutiques, and the talk at the tables was often about creative matters. That's no longer the case. It's just plain, vacuous, table talk now. On the television was the World Series. But, when the customers weren't watching, the staff would change the channel to a Dominican baseball game.

Sibling owners Josephina Diaz and Palmerio Fabian's decision to close their restaurant down is their own. Apparently, they've had enough. (They bought the business in 1990 from their uncle, Jose Suriel, who founded it.) El Sombrero will be replaced by a branch of the Artichoke Pizza chain, which softens the blow a bit. At least it's a local chain. The Hat may not have been a great restaurant—apart from its excellent name—but for a long time it was a necessary one. It was a place where a poor twentysomething with $40 in his pocket could eat and drink like a king on a Friday night, and, for one hour, not think too badly of the way New York was treating him.

—Brooks of Sheffield

Lost City Asks "Who Goes to Neary's?"

Part of what makes my "Who Goes There?" columns for Eater so much continuing fun is the solid knowledge that, no matter how long I do it, I will still come across a New York classic or oddity every now and then that I have never visited before and sometimes had never known of before. A regular reader suggested I go to Neary's on E. 57th Street a few months ago. I had never heard the name, but made a note of it. Everything I read about the place mentioned the host, Jimmy Neary, as being the jewel of the enterprise.

I finally ate there last week, and weren't all those accounts right. Jimmy's a gem. And the place is cozy, in a rich, Upper East Side kind of way and the food decent. I am intrigued by the fact that Neary's is open until 4 a.m.—a rarity in that neighborhood. I plan one day to see what the joint is like in the wee hours.

Here's my column:

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Lost City Asks, "Who Goes to La Grenouille?"

It took me 25 years of living in New York to get to La Grenouille. Now that I've been, I will be back many times. It easily established itself within five minutes as one of my favorite New York restaurants. There's some sort of magic going on in that beautifully lit, flower-strewn place—a combination of lighting, service, decor, food, conversation and company—that makes life good for the couple hours you're in there. Unlike most of the hot new restaurants today, La Grenouille sends me away becalmed, happy and satisfied. I don't mind spending $100 there on a dinner with that payoff.

Here is my Eater column:

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Lost City Asks "Who Goes to The Famous Oyster Bar?"

I thought, by finally dining at The Famous Oyster Bar, I might crack this mystery of a restaurant, which has dumbfounded me for 25 years. Who owns it? How have they managed to hang on to this prime piece of real estate (54th Street and Seventh Avenue) for more than 50 years? Do they own the building? What's their secret? I have been able to uncover little on my own, because it seems that no one has ever written the story of the longstanding restaurant, in either newspaper or guidebook form.

But I left discovering only that the place has been owned by the same Greek family since 1959 and has always been in the same location. There are no framed reviews or stories on the walls that would have told me more. And the waitresses are not forthcoming.

After digging through newspaper archives and finding nothing about the Famous Oyster Bar prior to the 1980s (the results of health inspections, mainly), I begin to doubt the joint's story. Maybe it didn't open in 1959. Since the idea of it's being a "famous" restaurant is obviously a fantasy, maybe the owners also made up the founding date. The only think dissuading me from this theory are the neon signs, the only thing about the Oyster Bar that does look like it's been there since 1959.

I'll get to the bottom of this one if it's the last thing I do. In the meantime, here's my Eater column:

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Lost City Asks "Who Goes to Totonno's?"

It seems I've spent a lot of time in recent years waiting patiently for Totonno's to reopen following various disasters, and then making a trip to the Coney Island pizzeria to make certain nothing had changed. I hope no more catastrophes befall the culinary institution. I don't know if the owners could withstand another financial setback after the recent fire and flood. Here's my latest "Who Goes There?" column from Eater:

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Lost City Asks, "Who Goes to DeNino's Pizzeria and Tavern?"

New York foodies aren't are adventurous as they think.

They'll go to Flushing to check out a secret Vietnamese hole in the wall, or Red Hook to source a cart serving a particular Ecuadorian treat. But mention Staten Island—an entire borough belonging to the City—and they'll make with the trite "That's not really New York" and "There's nothing good there" remarks. Happens every time on Eater when I venture to Staten Island for my "Who Goes There?" column. So provincial. But I'll keep going, because so far the island to the south has shown me it can give me this and this and this. I'm sure there's more where that came from.

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Lost City Asks "Who Goes to Arturo's?"

From last week's "Who Goes There?" column on Eater. Wish their pizza was better. (People: better quality tomatoes and a pinch of basil and salt in your sauce, and your problems are solved!) But I have no complaints about the ambiance.

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Lost City Asks, "Who Goes to El Charro?"

El Charro, in Greenwich Village, is the definition of a hidden gem. So hidden that I didn't even know it existed until someone at El Parador—the city's oldest Mexican restaurant—told me or a family connection between the two old restaurants. The small, basement place is so quiet and secluded, I recommend it as an escape from reality any time you've had a bad day. Here's my column:

Who Goes There? El Charro

I had a moment of déjà vu as I walked down the few steps into the restaurant tucked into 4 Charles St. Quiet Village street; basement space; tiny room; low ceilings; small bar to the left. Was I in Fedora? The real Fedora, I mean, not the impostor currently sailing under that name on West 4th Street.

Of course, I wasn't Fedora has gone the way of other fine New York institutions who have discovered the hard way that the brutal economics of 21st-century New York have no place for them. But El Charro Español is that kind of place. It's what pops into your mind when you picture the typical, side-street Greenwich Village eatery of old: cozy, slightly hidden, tradition-bound, attentive to its regulars, and offering the diner not a raucous jolt of energy but a relaxing respite from the world. 

El Charro's exact age is hard to determine, but it's probably been here for about 60 years, gathering minimal press attention, but a faithful clientele that it made almost entirely of locals. This is a neighborhood joint. It began as a Mexican restaurant, a culinary rarity in those post-WWII days. It was run by Maria Garcia. (Her daughter married Carlos Jacott, who went on to found El Parador on East 34th Street, which still stands and is today the city's oldest Mexican restaurant.) El Charro remained a Mexican place at least into the '80s, but today, under its current owners, it is a Spanish restaurant, and a good one.I ordered a sangria when I saw that the bartender was mixing them separately, constructing each in the glass, rather than pouring the potion out of a pitcher. The Shrimp Ajillo, sauteed in olive oil, garlic and hot pepper, was beautifully done: simple, tender and subtly spicy. For my entree (which came with one of those comforting—but not necessarily good — side salads slathered in French dressing) I had Pollo Villaroy, two breasts of chicken coated with bechamel sauce and bread crumbs and deep fried. It was tasty, but perhaps too filling. Though I liked it, I could have done with a half order.

The restaurant seems to have been recently spruced up; the exterior is in picturesque, pristine condition and the signage is small and classy. But the room's age is betrayed in the details: the old cash register; the old-fashioned punch clock for employees; and the thin, narrow staircase to the tiny bathroom. (Please take note of the oil painting of a sad clown as you pass.)

The ratio of staff to patron was about one to two the night I was there. So it's no surprise that service was attentive. Or maybe I should not take that for granted. I've been in plenty of contemporary restaurants stuffed with waiters and still had a hard time getting anyone's attention. Old friends were catching up at one table, a mother and a daughter at a second. Making the most noise were two men having a convivial business meeting, the larger, older one a longtime regular feeling very at home, the younger, thinner one a newcomer who seemed to want to be in a steak house. He ordered a filet mignon ("Can you butterfly that?") and called out for A-1 Sauce. "Are you complaining about this place?" his hefty friend asked in comic disbelief. "Are you COMPLAINING about this place."

I was sympathetic. I mean, seriously, dude, are you complaining about this place?

—Brooks of Sheffield

Lost City Asks, "Who Goes to Le Périgord?"

Little did I imagine the love that abides out there for the dusty French midtown mainstay Le Périgord. The comments on this particular "Who Goes There?" Eater column keep coming. (Mimi Sheraton: Whenever you comment on one of my WGT columns, my heart goes all a-flutter.) It's heartwarming that people appreciate such a time capsule. Long may it keep its silent vigil on E. 52nd Street. 

Who Goes There? Le Périgord

Something about the padded, sequestered interior of Le Périgord, the French haute cuisine holdout on east-east-east 52nd Street, turns people into librarians. Nobody at a typical lunch shift at this nearly 50-year-old restaurant talked much above a whisper. And yet the air—which smelled vaguely of your grandmother's living room—is so still (no music inside, no traffic outside) you could clearly hear conversations a few tables away.

"You go to this restaurant to feel like a human being," said a man to his friend. I pegged the speaker being in his late 50s, but later realized that he was a well-preserved septuagenarian. No one in the room, waiter or patron, was under 40. When a pair a twentysomethings came in later, they were so befuddled by the unfamiliar scene of relaxed gentility that they seated themselves, thinking that was OK. The maître d' soon resituated them.

Le Périgord is still owned by Georges Briguet, who bought the place from the original owner two years after the restaurant opened. Without too much mental effort, one can guess the sort of celebrity that came here once upon a time. Truman Capote, Henry Kissinger, Jackie Kennedy, etc. Plus, a regular salting of nearby UN officials. And, of course, your run-of-the-mill, blue-suited moneybags who thinks Kissinger wasn't so bad, and Capote was mean to write that stuff about Babe Paley in Answered Prayers.

My relatively talkative neighbor was certainly a regular—so regular that he asked whether a favored lamb dish that wasn't on the menu was available. It was. "Well, why don't you put it on the damn menu then?" he muttered as the waiter walked away. (Just because the customers look polished doesn't mean they are. My friend dropped an F bomb every other sentence, and talked with great relish about past trysts.) "I have some friends coming into town and they asked for restaurant recommendations," he told his more docile friend. "I thought of sending them here, but thought they might think it too dull. So I told them to go to Le Grenouille."

I took my neighbor's tip and ordered the wonderful Le Buffet Froid—a delicious selection of chilled asparagus, celery, cheese, pâté, cornichons, shrimp, tomato and other tidbits. Almost a meal in itself, it was sublimely satisfying. I followed that with Sole Meunière, grilled with a mustard sauce. Hey, if I'm in a place like this, I'm going to order a dish like that. It was worth the $45 just to watch the waiter expertly bone the fish tableside. Where does that happen anymore in Manhattan? Plus, the fillet was delectable; the veggies perfectly steamed. There was a dessert trolley—of course there was!—but I passed. The espresso was expert.

My neighbor had moved on to the topic of money. Actually, he seldom left it. Most conversations at Le Périgord are about money or old times. The two men reminisced about sitting on stoops in Brooklyn back in the days when they had no scratch. Recently, the guy's house was reappraised at a value of $4 million. He seemed to be in the art game. "25 years ago, I could have told anybody I knew how to get rich. You buy a Hopper etching for $500. Today, it would be worth $150,000." He laughed. "Why didn't I do that, and make myself rich?"

His friend paused briefly over his pâté. "But, you did," he replied.

—Brooks of Sheffield

Lost City Asks "Who Goes to the Danish Athletic Club?"

I went to dine at one of my favorite places in New York City, the Danish Athletic Club in Bay Ridge, just before Christmas. I had heard it might close at the end of the year. But the lovably ornery woman who runs the restaurant, Reidun Thompson, assured me she was keeping it going, at least a couple years, and all the reports had been wrong. Here's my Eater report:

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Lost City Asks "Who Goes to The Lenox Lounge?"

The news that Harlem's iconic Lenox Lounge would close on Dec. 31 sent me out to the legendary boite for my latest "Who Goes There?" column. It's a first for the column in a way, in that few people think of the place as a restaurant; it's a jazz club first and foremost. However, they do serve full meals in the Zebra Room in the back.

Here's the article: 

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Remembering the Victims of Sandy

Reading the Eater coverage of the number of NYC restaurants still closed because of Hurricane Sandy boggles the mind. So many classic, priceless destinations. Hundreds of years of New York history. All hanging in the balance. It's a cultural catastrophe.

The list of closures made me think of the wonderful times I've had at many of these restaurants and bars. An alarming number of the victims are former "Who Goes There?" subjects, including Randazzo's Clam Bar in Sheepshead Bay, Gargiulo's in Coney Island, and Capsouto Freres in Tribeca, not to mention favorites like Totonno's pizzeria and Sunny's Bar. If you have the time, take a look at these past columns and remember what's great and irreplaceable about these places. Then, when they manage to reopen, patronize them. Order a lot of food and leave big tips.

Lost City Asks "Who Goes to Dominick's?"

My latest "Who Goes There?" column for Eater takes me back to The Bronx's Belmont neighborhood for the first time since I visited Mario's two years ago. As chance would have it, Dominick's is right across the street from Mario's. Between those two times, I managed to get to Liebman's Deli in Riverdale. Next time, maybe Morris Park or City Island.

Who Goes There? Dominick's Restaurant

An old Italian lady gets out of her car on Arthur Avenue. With her is a woman on crutches. She is younger but somehow less spry. "So, where shall we eat?" asks the younger woman. "Well," says the old lady in a voice of authority, "there's Dominick's—that's one."

There's Dominick's. The Arthur Avenue area of the Bronx boasts many fine, and not so fine, Italian restaurants. But when you think of the street, a few names pop up immediately and always: Mario's, Roberto's, and Dominick's. I've had good food at all three, but at Dominick's you also get an experience. It is one of those New York eating institutions with its own don't-ask-just-eat way of doing things. Basically a Roman tavola calde removed to The Bronx, seating is communal and—if you're not a regular who long ago memorized the bill of fare—you have to rely on the waiter to find out what was cookin'. Prices remain a mystery until the waiter announces how much you owe at the end of the meal. And you pay in cash; no cards accepted.

Things have changed a bit in the past year or so. There actually is a single menu now, with prices, displayed outside the restaurant. "We put it there last year," explained my waiter. "That way, people who don't know can study it and figure out what they want before they come in." Exactly what I did. Others, however, weren't so happy about the change. As a large group of thirtysomething men—obviously natives of the neighborhood returning for a visit—filed in, one spotted the menu. "Prices?!" he snorted in disbelief. "When did that happen?"

If you ignore the menu and sit down not knowing what you want, be prepared for the waiter to unroll his spiel. "You like pasta? We got got pasta with white clam sauce, with red clam sauce. We've got chicken scarpariello, chicken marsala, chicken francese. You want veal? Veal parmigiana, veal picatta, veal sorrentino, veal and potatoes." He'll keep going until to pick something. Often, uninitiated diners just give in and have the waiter decide. He usually chooses well.

I knew what I wanted: Linguini all Gianni (with diced shrimp and clams, one of the best pasta dishes in the city), and sides of sausage and broccoli rabe. All were delicious, and I couldn't finish any of it; portions are huge. The wine ("red"—no other specifications) came in a juice glass, and the espresso came in the same sort of glass. Neither were good, but I loved the way they were served.

Dominick's, which is run by Charlie DiPaolo, was founded on the location it now occupies about 50 years ago. Old photos show a sweet wood-marble-and-tile place that looks more like a cafe, and was called Caputo's. Stools, tea tables, big coffee urn. That place is gone. The relatively charmless interior of today is one of generic artwork and everyday decor. (Specifics on the joint's history are hard to find.)

The place is routinely packed, with both locals, and, more commonly, people who used to be locals and now make a point of eating there whenever they're back in the borough or back in the city. Celebrities often stop by on their way back from attending a Yankees game (Adam Sandler) or playing in one (A-Rod). Based on the faces of the non-famous diners, you'd think that Arthur Avenue was still a purely Italian-American community. That said, there is some diversity among the clientele, and all are made welcome. Even an obvious non-Bronxer like myself. "$39," said my waiter when I asked to settle up. I left the money on the table. "So, I guess we'll see you again, huh?" he said as I reached for the door. Yes, I guess you will. 

—Brooks of Sheffield

Lost City Asks "Who Goes to John's Pizzeria?"

As the number of artisanal pizza options has risen in New York City over the last decade—as well as the pitch of the debate as to which serves the best and most authentic pie—I've come to rely on, and cherish, old standbys more and more: Totonno's, Arturo's, Patsy's, Sam's, and, of course, John's in Greenwich Village. Here's my latest "Who Goes There?" column from Eater:

Who Goes There? John's Pizzeria

John's Pizzeria doesn't get the respect accorded to other old New York pizza institutions, like Patsy's, Totonno's, or Di Fara. Nor does it get its due as a Greenwich Village icon the way places like the White Horse Tavern, Village Vanguard, or Cafe Reggio do. This, I imagine, is because it's a tourist magnet and perpetually filled to the gills with regular (i.e., uncool) people.

But, for me, John's holds up. The plain pie is not the city's crowing achievement of the pizzaiola's art. But it's good enough to be a standard bearer. The tang of its sauce and the char of the crust are remarkably consistent; the coal-fired brick ovens are still doing their job. I've never had an unsatisfying pie there. And, unlike Lombardi's—another landmark in New York pizza history, but one that is now a theme-park shell of what it once was—John's has retained its character. The main room—with its high, red tin ceilings, twitching ceiling fans, vintage concert posters, and battered wooden booths etched with the names of decades of whittling patrons—is simply one of the greatest, New Yorkiest spaces in the city. One can imagine the Italian denizens of Bleecker Street eating here in the 1930s and '40s; the jazzmen and beatniks of the '50s; the folkies and flower children of the '60s. History lives here.

Despite its reputation as a fave of the weekend bridge-and-tunnel tribe, John's still gets plenty of locals. It also attracts a lot of families, because no one blinks at kids being kids here. I recently dined here with eight tweens, and they couldn't have felt more at home. They inhaled the slices and happily poured themselves glass after glass of Coke from plastic pitchers. They also found the ancient bathrooms an infinite source of fascination.

John's was founded in 1929 by John Sasso, who reportedly learned his trade at Lombardi's (as did the founders of Totonno's and Patsy's). The original pizzeria was on Sullivan Street. When Sasso lost his lease, he dismantled the brick oven and moved it to the present location on Bleecker. There it has stayed. Sasso sold the pizzeria to his brother in 1955. It was eventually taken over, in 1973, by Sasso's great-grandnephews, Peter Castellotti and Robert Vittoria. It's still run by Peter (who was born in a building directly across the street from the restaurant) and his children, Peter Jr. and Lisa. During the Castellotti reign, John's began to expand. There are now three other restaurants, including a massive one in a former church space in Times Square. The latter is always swamped, with 45 minutes waits, because it's one of the only affordable eating options in the Theatre District. The pizza, however, doesn't match what's served up on Bleecker Street. You can't duplicate the effects of an 83-year-old oven. 

—Brooks of Sheffield

Lost City Asks "Who Goes to El Quijote"?

Twenty-four years in New York and I finally made it into El Quijote. What took me so long? I don't know. Something about the joint always seemed a bit cheesy to me. Maybe I associated it too much with the too-bohemian-by-half residents of the Chelsea Hotel. Also, the prices didn't help. If the dining experience was going to be a miss, I would be out $50 in the experiment. Now, of course, I wish I hadn't been so standoffish. El Quijote has a lovely, frozen-in-time interior and not bad food at all. Here's my Eater write-up:

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Lost City Asks "Who Goes to Lexington Candy Shop?"

If I lived in the neighborhood, I'd go to Lexington Candy Shop three times a weeks. As it is, I live about an hour's subway ride away. But still, I'm glad it's there, and that there is still a living yardstick in the city for how shakes, malteds, Cokes, lime rickeys and million other soda fountain staples are supposed to taste.

Here's my Eater "Who Goes There?" column:

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Lost City Asks "Who Goes to Roll-N-Roaster?"

Sheepshead Bay has gotten some decent coverage in this column. Randazzo's Clam Bar, Brennan & Carr, and now B&C's longtime rival in roast beef, Roll-N-Roaster. I prefer Brennan, food- and atmosphere-wise. But, my, R-N-R is a lot of fun. If I lived nearby, I'd bring my son all the time. There's an air of both partytime and family reunion to the place.

Here's my Who Goes There? column:

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Lost City Asks "Who Goes to Piccolo Venezia?"

"Who Goes There?" readers have been urging me to go to Piccolo Venezia for three years. I finally did earlier this month. I should have gone a lot earlier. This place is great (if too expensive). There are red sauce joints and there are red sauce joints. Some have atmosphere. Others actually have great food. Piccolo has great food. If I lived in the neighborhood, I'd go all the time. If I could afford it.

Who Goes There? Piccolo Venezia

The general feeling you get upon walking into the dining room of Piccola Venezia —Astoria's middle-of-nowhere outpost of Northern Italian cuisine—is of rampant happiness. "Hello! Welcome!" boomed the smiling maitre d'. "I like that hat!" The tables are surrounding by people who are are happy to be with one another, and have obviously congregated here before.

There are a number of large round tables. One was surrounding by 13 members of an extended family celebrating a birthday. Another next to it hosted a group of eight former high school pals, now all middle-aged. At a four-top, four graying old men leaned forward over full glasses of red wine, filling each other in on the recent events in their lives. The wine bucket near them, full of empties, betrayed that they, like many other, knew the restaurant as a destination for those who follow Wine Spectator.

The wines are a relative bargain here. The food is not. Prices on most every entree soar above $25. But that doesn't stop the patrons from ordering heaps of seafood, a specialty here (name your fish and tell them how you like it—they'll prepare it), and osso buco, which my waiter and the owner told me was the best in town. I haven't tried every osso buco in town, but I'm going to go with them on this one. The meat was unbelievably tender, the sauce deeply flavorful, and the big, Trieste-style gnocchi peerless. It was $33, and it was worth it.

The waiters, who wear black pants and red vests, proclaim their experience through their careworn faces. These are career men. Some were very likely hired on when Ezio Vlacich opened the place in 1973. A native and tireless booster of Trieste ("The best food in Italy! A little Italian, a little Austrian, a little German!"), he still oversees the service. Dressed in suit and tie, Vlacich visits every table, whether occupied with regulars or strangers, to see if you're enjoying your self. Say something nice about Trieste, and he might kiss your hand.

If you want to know exactly who goes here, all you have to do is peruse the hundreds of little gold plaques that line the chair rail around the room. Come here often enough and you'll get one. (I've seen this sort of homage at only one other NYC restaurant: Midtown's Pietro's.) There are individuals (Eddie Goldblatt, Peter & Anne, Margie & Barry Forrest), clan names (The Rodin Family, The Welzs Family) and companies (City Ride Transportation Family, Julius Fine or Fine & Klein), indicating that this is a favored place for business meals.

In the men's bathroom, a couple of guys from the round table of erstwhile high-school chums were rhapsodizing about the meal that just was. "I'm gonna say something," slurred the ringleader of the group. "Yeah?" replied his friend. "I'm gonna make a bold statement. Maybe the boldest ever!" "Yeah?" "We came here. We all came here and got together and we did it. We made it happen. Here. On sacred ground. This is sacred ground."

—Brooks of Sheffield

Lost Asks "Who Goes to Tom's Restaurant?"

Finally got around to doing a "Who Goes There?" about the Prospect Heights classic, Tom's Restaurant.

Who Goes There? Tom's Restaurant 

I am sitting in the morning at the diner on the corner. I wasn't waiting at the counter (I was at a table) or for the man to pour the coffee. I order a cherry lime rickey and it came pretty fast.

I was at Tom's Restaurant, a landmark diner in Prospect Heights since 1936. It's the kind of place where people order cherry lime rickeys and egg creams, not to mention breakfast all day, because they can. Near my table was a framed picture of the lyrics to "Tom's Diner." At the bottom, Suzanne Vega had signed it, "I Came. I Saw. I Wrote."

But she didn't. As much as I love Tom's Restaurant, and wish Vega's 1990 hit had been about it, the song was about Tom's Diner on The Upper West Side. You know, the "Seinfeld" diner. Vega herself has said so. So what's she doing giving Tom's Restaurant the credit? And what's Tom's Restaurant doing taking the credit? Curious.

But you have to expect a little bogus myth-making at a place this old. It opened as Lewnes, an ice cream parlor. Tom Vlahavas took it over in the 1940s. He's the Tom of the name, though the diner wasn't called that at first. Son Gus took over for Tom, and Gus himself retired last year, moving to Colorado. Gus sold the place to a nephew, Jimmy Kokotas. So it's still in the family.

There's a lot of stained-glass inside Tom's. I assume this is a relic from the place's ice cream parlor days. There are also great many flags, Christmas lights and plants, both real and fake. (One tree outside was planted in memory of old Tom.) These circus-is-in-town factors tend to obscure some of the restaurant's lovelier architectural aspects—the lovely, battered tilework on the floor; the oddly constructed wooden booths, which somehow evoke train travel; the old, now sadly unworking phone booth.

My waiter says people come from Manhattan and Queens to eat here. But it looked like mainly locals during my recent visit. Families with their kids, old folks with their spouses, young couples, solo diners (Tom's does not mind if one person takes up an entire booth), and small gangs of roving hipsters. Some have obviously been coming here for decades. Others were so new that they stared at their egg creams like they were archeological relics. A sign forbid the use of cell phones, some couldn't help themselves and resorted to texting.

The staff is inordinately cheerful, and is happy to relate the joint's history and extol the virtues of the many, many dishes, particularly the enormous number of breakfast entrees. I almost ordered the Salisbury steak because, outside of frozen dinners, who serves Salisbury steak anymore? My waiter told me more meatloaf was sold than Yankee pot roast, but more brisket was sold than meat loaf. You can't argue with the people, so I go the brisket. It was diner brisket. Not bad, moderately flavorful, with fluffy mashed potatoes and fresh, crisp broccoli. It was worth what I paid, which wasn't much.

—Brooks of Sheffield