http://www.gq.com/food-travel/alan-richman/200905/pizza-american-pie-25-best-slideshow#slide=1
Italians are wrong. Not about cars or suits. About pizza, and they’re not entirely mistaken about that, only about crusts and buffalo-milk mozzarella. They’ve got the tomato part right. Pizza was created by the Italians—or maybe by the Greeks, who brought it to Naples, but let’s not pile on the bad news. Right now it justly belongs to us. We care more about it. We eat more of it, and unlike the Italians, we appreciate it at dinner, at lunch, and at breakfast, when we have it cold, standing up, to make hangovers go away. Italians don’t really understand pizza. They think of it as knife-and-fork food, best after the sun goes down.
Pizza isn’t as fundamental to Italy as it is to America. Over there, it plays a secondary role to pasta, risotto, and polenta. To be candid, I think they could do without it. Not us. Over here, it’s one of the few foreign foods we’ve embraced wholeheartedly, made entirely our own.
The simple truth is that pizza in its most primal form—cheese, tomato, crust—is perfect food. It’s good for vegetarians, even though it contains no vegetables. It’s good for us meat eaters, chiefly because we don’t care much for vegetables but also because pizza is one of the few foods where the absence of meat isn’t missed. (Although, when I think about it, a little sausage never hurts, especially if it’s crumbled up rather than sliced.)
It’s the absolute best food for sharing (unless you’re in love, in which case we’re talking about an ice cream cone). It’s the healthiest of treats; the strictest mother wouldn’t argue that pizza is bad for kids. It’s the most versatile delivery food, because it reheats much better than Chinese, and if you accidentally burn it, pizza is still good. Most important, at least to me: Pizza gives pepperoni a reason to exist.
A word here about Naples, the home of Italian pizza. That’s supposedly where the pie reaches its pinnacle, in a distinct and idiosyncratic style that some American pizzamakers—let’s resist calling them pizzaioli, as the Italians do—are trying to emulate. They’re going for hotter ovens, puffier crusts, and weepy buffalo-milk mozzarella on top. I’m not impressed. Not by the genuine pies in Naples, and usually less by American imitations, although the mission has a certain nobility of purpose.
I’ve eaten in Naples. From the ancient, brutally hot ovens emerge pies that most Americans wouldn’t recognize. The crust is charred and puffy in spots but tragically thin and pale beneath the toppings. The sauce is chiefly chopped tomatoes, sometimes fresh and sometimes canned, but almost always vivid and bright. (Those San Marzano tomatoes are as good as advertised.) The cheese is mozzarella, but the Italians are proudest when they can substitute fresh mozzarella from the milk of buffaloes and label their pies Margherita DOC. (It sounds like a wine thing, but it’s also a pizza thing.) In my opinion, buffalo mozzarella is pizza’s second-worst topping, exceeded only by whole anchovies—no hot, smelly fish on my pies, thank you. After that, those pizzaioli guys add oil, lots of it, and more liquid is precisely what tomato pies do not need.
This is what happens when a Neapolitan pie comes out of the oven, after it’s been cooked a remarkably short time: The nearly liquefied glob of buffalo mozzarella—now resembling a snowman melting on a warm March afternoon—has become runny. Water drains from the tomatoes. Oil joins the flood. All that excess liquid has to go somewhere, which is why the bottom crust turns to mush, not that it was ever particularly crispy.
This is why Italians need a knife and fork. This is why our pizzas are better than theirs.
*****
we have, remarkably, seven distinct kinds of pizza in this country, starting with those Neapolitan imitations that represent style over sustenance. Our most famous (and nonconformist) is probably the Chicago deep-dish pie, essentially a casserole. The crust is sometimes burdened with cornmeal or semolina, and sometimes it is flaky and sweet, like those on fruit pies. It isn’t much like the crust on any pizza outside Chicago, but this style isn’t about crust. It’s about massive amounts of cheese and sauce.
Deep-dish pies became popular in the 1980s when branches of Chicago’s Pizzeria Uno spread everywhere and Americans lined up. It was the last time we felt as strongly about pizza as we do today. I have no recollection of why Americans felt such a need to eat deep-dish pies, although I was elbowing and pushing alongside everyone else. I asked a Chicago friend to remind me, and she said, “They’re carbohydrate-and-cheese bombs. We’d buy a frozen one and throw it in the oven. Two hours later, it was ready.”
She wasn’t exaggerating by much. Indeed, uncooked deep-dish pie is still sold frozen in Chicago, and the instructions say it can be put into the oven that way. Pizza is odd in that its baking times vary widely. What other food sometimes takes two or three minutes to cook and sometimes an hour or more? All my life I’ve wondered about the difference between Chicago’s famous Pizzeria Uno and its almost-as-famous Pizzeria Due, and after traveling there, I found the answer. The numbing wait is one hour at Uno, two hours at Due.
There’s a minor variation on deep-dish that remains fundamental to Chicago: the stuffed pie, number three among the seven distinct species. This is a deep-dish pizza that’s been supersized and topped with a second crust that’s so thin as to be almost invisible. The stuffed pie is the black hole of pizza-eating, thicker than a deep-dish, and when I sat down to eat one, I couldn’t get through a single slice.
More widespread than any of those styles is the pan pizza, sometimes known as Sicilian and sometimes as square. This is a richer, heavier version of focaccia—a soft flat-topped bread prepared with olive oil. Pan pizza is easily at its best in Detroit, where aficionados seek out the corner slices that have caramelized edges blackened through contact with the hot pan. A crunchy bottom, blissfully created by the same process, is also a virtue. Most people, when they think of crunchy pizza, have an unrelated pie in mind, the thin-crusted ones known as Roman-style, tavern-style, or bar pizza. These crusts, at best, have a bit of suppleness; at worst, they are reminiscent of crackers.
The most curious of all pies is grilled pizza, invented at the restaurant Al Forno in Providence, and too wonderful to be dismissed as a regional peculiarity. The idea of grilling a pizza doesn’t sound promising: Dough is put on a (hopefully) charcoal fire, flipped, topped, and grilled some more. This results in crusts far more delicious than the sum of their grill marks, so irresistible I turned to a pizza authority to help me understand. Peter Reinhart, a baker and author, understood my bewilderment. He said, “Basically, grilled pizzas are fried dough. The pizza dough sits in oil, and the oil is seared into the crust. How can you go wrong?”
And then, finally and most wonderfully, comes the American pie, actually a recent phenomenon, probably invented by and certainly popularized by Chris Bianco, the godfather of American pizza, who opened Pizzeria Bianco in Phoenix in 1994. The pie he prepares and that others emulate is as much about bread-baking as it is about crust-making. It’s primarily identified by two vital, distinct, and non-Italian elements: a golden glow and a chewy yet velvety interior. Such crusts have a resemblance to ciabatta, the light and porous Italian bread.
The American pie is more than crust. It is explosively inventive, with toppings as ingenious as American cuisine gets. In San Francisco, the heartland of innovative toppings, I found fresh thyme instead of dried oregano, Taleggio and Fontina cheeses instead of mozzarella (it’s my belief that getting beyond mozzarella sets a pizzamaker free), and a basil chiffonade instead of basil leaves. A pause here to reflect on the misuse of fresh basil by Italians. They seem to think of it as decorative rather than flavorful, and they spread not nearly enough of it on their fabled-but-flawed Margherita pies.
*****
in searching for the twenty-five best pizzas in America, I traveled to ten American cities, the ones I knew had a lot of pizzerias or a lot of Italians. They seem to go together, although less so anymore. I visited 109 pizzerias and ate 386 pies, although almost never the whole thing. (Remember, I couldn’t finish a single slice of the stuffed.) I know what you’re thinking: You didn’t visit my favorite pizzeria. You missed the best.
I was forced to be merciless about this, because everybody I know has one of those, and everybody believes his is unsurpassed. In essence, a beloved pizzeria is almost always about memories. From friends I heard such claims as “Taking the first bite is to know perfection”…“Every bite is a party in your mouth”…“It has Italian authenticity”…“It is blissful in its crunchiness and perfect chew”… And so it went. There is no way of dealing with such devotion, so I decided to answer all demands that I visit an adored pizzeria with the same irrefutable (if unjust) reply: “No, I am not going to your pizzeria. Your pizzeria is no good.” In fact, on the few occasions when I was so badgered by a friend that I went to one of them, it was no good. Not one prepared a commendable crust.
I include in the list of failed favorites two pizzerias beloved by President Obama: Italian Fiesta in Chicago’s Lake Park plaza (takeout only, so I ate on the trunk of my rental car) and Casa Bianca in Eagle Rock, California, near Occidental College, where he went to school. The pies at both had hard, bland crusts that didn’t look or taste handmade. Out of respect to our president, who has enough problems, I will leave it at that.
Within each of the ten cities, I ranged far. In New York, where I went to thirty-three pizzerias, I ate in every one of the five boroughs, and I ventured deep into the suburb of Westchester, where I live. (I briefly left the state to visit nearby spots in New Jersey but had no success there.) During my tour of Philadelphia, I journeyed to as distant a land as Trenton, New Jersey. (Again, no luck.) In Detroit I drove nearly 500 miles, a consequence of the local pizza diaspora. Phoenix was easy—there’s precisely one pizzeria, Bianco, that anybody recognizes as worth visiting. I would happily have broken my rule and gone to any other personal favorite—but nobody had one.
I tried Polish pizza in Chicago (not bad, except for the nearly raw egg on top), Indian pizza in San Francisco (pretty good, although reheated chicken dries out badly, despite the tikka masala sauce), Turkish pizza in New York (invariably called “pitza” and, because it’s made with pita dough, rather crackly), and Korean pizza in Los Angeles. (The Korean-style Hanchi Gold pie was topped with spicy bean paste, sweet-potato mousse, ground beef, onion, bell pepper, olives, corn, mushrooms, edamame, jalapeño, bacon, Cheddar cheese, marinated calamari, sour cream, garlic, and parsley, and when you have that much piled on, it’s hard to tell the potato mousse from the sour cream.)
Overaccessorizing was far from the worst problem I encountered. There is a dark side to the triumph of the American pie.
Pizza has become the gourmet food of the recession, and the men who create these pies consider themselves artists—narcissistic, reclusive artists, at that. I’ve told you about Margherita DOC. These eccentrics specialize in Pizza OCD, bringing obsessive-compulsive disorders to the once simple business of making pies.
They often refuse to take reservations, thus guaranteeing themselves long lines of worshippers. Their primary weirdness, however, is preparing not quite enough dough for the day ahead so they might turn away the last few desperate customers. Even if they are doing this to ensure freshness, as they claim, they could rely on a practice perfected in modern times that would enable them to never run out of dough—it’s known as refrigeration. Or they could prepare more than enough, but that would create the possibility that a ball or two of the dough that they love more than their customers would have to be thrown out.
These guys find multiple ways of being annoying. At Pizzeria Bianco, a friend and I ordered four pies that we shared with the people who had stood in line with us for more than an hour. Still hungry, I tried to order a fifth, but I was cut off like a roaring drunk in an American Legion hall, told that I had reached my limit. At a pizzeria (I do not recommend) in Chicago, I was informed when I called that I had to order ahead of time, although there is no menu on the restaurant Web site and the lady on the telephone refused to tell me what pies were available. Pizzerias now inhabit a space once occupied by snooty French restaurants, and they are smug, too. One pizzeria in Brooklyn (I do not recommend) lets you know that its pork is sustainable, its beef grass-fed, its eggs organic, and its grease converted into biofuel. (If only as much attention had been given to crusts.)
I have a final thought: ovens. Uniform and very high heat produces the best pies, which is why coal ovens have rightfully been so respected. The coal adds little to the taste, and in fact a retired pizzamaker in New York City, Sal Petrillo, now in his eighties, told me a secret of the trade. He said that at the old Frank’s on Bleecker Street in Greenwich Village, where he worked with his brother Frank for twenty years, the most important person was the guy who moved the pies around the coal-fired oven. He made certain they were evenly cooked.
A wood-burning oven, in particular the very smoky one at Pizzeria Bianco, can add a pleasant (if superficial) aroma, but I don’t believe wood is behind glorious crusts. Gas and electricity frequently do as well. At Tacconelli’s in Philadelphia, the oven is heated with oil. The truth is that great pizzas aren’t made by great ovens; they’re made by great cooks.
alan richman is a gq correspondent.
AMERICA’S 25 BEST PIZZAS
By Alan Richman
(CHICAGO)
1. Great Lake
Mortadella pie
I phoned at 6:15 p.m., ordered a cheese pie, asked when I could pick it up. The reply: 8 p.m. When I arrived a few minutes early, two of the fourteen people seated in the tiny storefront shop were eating. The rest looked exasperated. Nick Lessins, the Polish-Czech co-owner and pizzamaker, seemed happily oblivious. I stood inside, watching for twenty-five minutes as he fashioned three pies, mine among them. No man is slower. He makes each as though it is his first, manipulating the dough until it appears flawless, putting on toppings one small bit after another. In the time he takes to create a pie, civilizations could rise and fall, not just crusts. His cheese pie, prepared with fresh mozzarella made in-house, grated Wisconsin sheep’s-and-cow’s-milk cheese, and aromatic fresh marjoram instead of basil, was slightly shy of unbelievable. The next day I returned to try the same pie topped with fresh garlic and mortadella, the dirigible-sized Italian sausage that looks like bologna, tastes like salami, and is usually cut into chunks. He sliced the meat very thin and laid slices of it over the pie the moment it came out of the oven. The mortadella, with its combination of burliness and creaminess, was a meaty addition to the earthy, bready crust. This pie—creative, original, and somewhat local—represents everything irresistible about the new American style of pizza-making.
(BROOKLYN)
2. Lucali
Plain pie
Lucali, around since 2006, is an old candy store done up to look like an old pizzeria, and there’s an eerie glow about it. I’m not getting spiritual. There really is. Owner and pizzamaker Mark Iacono stands behind a candlelit counter, wearing a white T shirt, looking mysterious and troubled, our first poster-boy pizzaiolo. It drives the women crazy, or at least the ones who went there with me. “He’s out of a romance novel,” one of them practically sobbed. (To me he looked like the character played by Nicolas Cage in Moonstruck, except with two hands.) Lucali takes no reservations, and standing in line is a necessity, although the staff is courteous and tries to alleviate the suffering by taking a cell-phone number and warning when your turn has arrived. More good news: Every pie that Iacono prepares is worth the wait. I picked the simplest of his creations, in essence a Margherita, although there’s no menu and none of the pies have names. When I asked what to call it, I was told “plain pie.” It has tomato, mozzarella, fresh basil, buffalo mozzarella, and a sprinkling of grated Parmigiano-Reggiano cheese, enormously satisfying for a pie so simple. The crust stands firm. The mozzarella melts exquisitely. The basil is wildly fresh. Should you need additional toppings, go for thinly shaved porcini mushrooms, so good I was tempted to put a second Lucali pie on my list.
(SAN FRANCISCO)
3. Pizzeria Delfina
Panna pie
I sat at the cramped counter, watching a young woman standing in front of me crimp dough. She crimped and crimped, building in air holes with each purposeful squeeze of finger and thumb. Delfina has easily the best crust in San Francisco, an unusually successful fusion of Neapolitan and American styles. The pie placed before me looked slightly pale, but it had a yeasty aroma and a lovely sweetness. It was unlike any other I found, prepared with tomato sauce, heavy cream, basil, Parmigiano-Reggiano, and olive oil—and priced at a remarkable $10. Indeed, heavy cream does seem peculiar, but if you think about the Italian evolution of cheese for pizza—mozzarella becoming fresh mozzarella and then becoming fresh buffalo-milk mozzarella, each one richer and milkier than the one before—heavy cream is the natural expression of where Italians intend to go. The final addition, shavings of tangy, salty Parmigiano-Reggiano, is a brilliant step in the creation of an extraordinarily well-balanced pie.
(PHOENIX)
4. Pizzeria Bianco
Margherita with prosciutto
Before Chris Bianco, superhero, founded the artisan American-pizza industry, all was seemingly lost. The honored pizzerias with their ancient coal-fired ovens run by families that had arrived with Columbus were settling for pies with moribund crusts. Not that eating at Pizzeria Bianco, which accepts reservations only for jumbo parties, isn’t annoying. You get in line, although if you’re lucky you can grab one of the galvanized-metal chairs left out front. You become parched in the heat and ask the nice person behind you to save your spot while you walk over to Bar Bianco, next door, and buy a glass of faded Rioja from a bottle opened the previous day. You fear you’re not going to get in, because the place seats only about forty. Even if you’re pretty far up in line, as I was, you don’t know how many friends of the folks ahead of you will suddenly materialize and march in before you. (The answer: plenty.) On the other hand, waiting outside is like a big communal party, and had I not become chummy with one regular, I would never have ordered a Margherita pie topped with prosciutto. This fellow had three of them on his table, and he said it was all he ate. Chris Bianco’s fabled Margherita has a smoky and slightly scorched crust, too delicate to handle most toppings, but the uncommonly subtle, tender, and porky Italian prosciutto was a superlative option. Prosciutto is usually not one of my preferred toppings, because it’s often tough, but here it was icing on the crust.
(PROVIDENCE)
5. Bob & Timmy’s
Spinach-and-mushroom pizza
There’s no Bob or Timmy at Bob & Timmy’s. Last I heard, they’d sold to Rick and Jose, and I don’t think those two were there on the quiet weekday afternoon when I arrived with a guest. Our companions were a lonely waitress and a guy drinking at the bar. Bob & Timmy’s is a small tavern with beer bric-a-brac, captain’s chairs, reproduction Tiffany lamps, and a TV that remained on even though nobody was watching. Maybe in another era it was a bar for whalers, but there were no whalers around, either. I tried peering into the kitchen at the huge indoor charcoal grill, curious about grilled pizza, but the cook rushed to the door and chased me away. I’m pretty confident he was the cook, because I didn’t see anybody else back there. The menu is vast, but I stuck to simple variations, and every one was expertly prepared. The pies came in standard grilled-pizza format, irregularly round but cut into squares. The crust appeared too skinny to be interesting, but it seemed about the best flatbread I’d ever eaten. The vegetable toppings were remarkably fresh, and it occurred to me that freshness is something we rarely think about when contemplating what pizza we admire. The pie I loved most had three cheeses, the dominant one being feta, which adds tang and saltiness. Now I understand what every Greek must already know: Feta, spinach, and mushrooms are an astonishingly compatible combination.
(NEW HAVEN, CONN.)
6. Sally’s Apizza
White pie with potato
Sally’s is ancient, in an old Appalachian way. I can’t believe the men’s bathroom has been cleaned since 1938, when the pizzeria opened for business. Service was equally dismal. I noticed regulars getting some attention, not so much that they appeared pampered, but the rest of us waited about ninety minutes before our first pies appeared. To me, Sally’s should be renamed Sartre’s Apizza, home of absurdity and despair. I wasn’t there on any particular holiday, April Fools’ Day or Halloween, but the somnambulant staff wore weird outfits—nutsy party hats, outdated ties, Bermuda shorts, and T-shirts (in winter). I wondered if Sally’s was the headquarters of a work-release program for the culinarily insane. The customers weren’t impressive, either, especially the lady in the booth across from mine, fast asleep. Out of this agonizing ambience appeared a pie of incredible finesse, a tour de force, a white (no tomato sauce) pizza prepared with thinly sliced potatoes cooked to an artful golden brown, a scattering of equally faultless onions, and a masterful touch of rosemary, all perfectly complemented by Sally’s crust, a bit denser, chewier, and thinner than the one up the block at the equally fabled Pepe’s. By the way, I bet Sinatra got great service when he ate here.
(LOS ANGELES)
7. The Grandma
Tomato pie
The pizza is old New York. The mood is old L.A. Tomato Pie is a minuscule shop, entirely modern, hidden in the rear of an irregularly shaped strip mall not far from Hollywood. On a warm day, you might want to take advantage of Tomato Pie’s unique alfresco dining—orange fiberglass tables, blue fiberglass umbrellas, and an array of classic O’Keefe & Merritt kitchen stoves. Long ago, when Los Angeles was the oddball dining capital of America, casual restaurants specializing in such phantasmagorical settings were everywhere. On this day, a friend and I were seated indoors, in a tiny room entirely devoid of comforts, admiring crusts that I thought were the best in the city. Then I bit into a slice of the Grandma—a traditional and gorgeously assembled pizza with crushed tomatoes, fresh garlic, and a scattering of mozzarella, basil, oregano, and Pecorino Romano—I’m a sucker for Romano cheese. My friend and I simultaneously looked up and said, “This is great.” Indeed it was, the ingredients fresher than most, the crust unusually soft and tender, with a crisp bottom and a fluffy, nutty center. We shared a slice with a young mom named Katie, who insisted the pizza was better a few blocks away. Note to Katie: Your favorite pizza is no good.
(NEW YORK CITY)
8. Co.
Margherita
The Margherita here has buffalo-milk mozzarella, but the cheese is applied so expertly and melts so perfectly that the center of the pie doesn’t become a watery mess. All of us in New York who thought owner Jim Lahey knew only about bread now know otherwise. His Margherita, modest in size at a mere eleven inches in diameter, is so delicate that you will be inclined to finish the whole thing and immediately ask for another. A friend of mine, after eating two, said with awe, “I could do with another.” Lahey, revered owner of the beloved Sullivan Street Bakery, apparently had no difficulty becoming a master of crust—his is supple, thin, chewy, and charred, with very little outer ring. And yet, when I think about it, maybe tomato sauce is his strength. Co.’s seemed summery and fresh (although it turned out to be half fresh, half canned), and my jubilation was so apparent that a guy a few seats down looked at me and said disparagingly, “This sauce is no good. The tomatoes on pizza have to be canned.” He’s wrong, of course. I also had a complaint, but mine was sensible. I asked the waiter why the leafy basil had been blasted into a shriveled green blob, rather than being tossed on fresh immediately before serving, and was told that Lahey preferred cooked basil. In fact, customers can have it either way, so I recommend eating one of each.
(PHILADELPHIA)
9. Tacconelli’s
White pie
Sometimes there is no explanation for great pizza. Sometimes there are no great ingredients in great pizza, no specially sourced mozzarella, no hand-harvested garlic. I come from Philadelphia, and I had never heard of Tacconelli’s until recently, even though it was in business when I was growing up, going to school, and working there. What a wasted life. When I asked my waitress how it could have been that Tacconelli’s was unknown for so long, she said obscurity ended when yuppies discovered it, which was after I’d left town. (Finally, a reason to love yuppies.) Tacconelli’s does have a couple of quirks, the sort that I would have expected to bring early notoriety, but back then there were no bloggers to discover places like this. It has no prices on the menu, and when you call for a table you are asked to “reserve your dough” by letting them know how many pies you want. This insistence that you predict when you are going to be full before you start eating is one of the earliest known pizza affectations—it started in the ’80s. I suggest ordering too much, because every pizza here is wonderful, the crust from the huge, oil-burning oven an example of how tremendously satisfying an amalgam of thin, chewy, and crunchy can be. I loved the white pie, so much better than the sum of its packaged parts: ordinary part-skim mozzarella, granulated garlic, salt and pepper. In essence, it’s the ultimate expression of cheese on bread. A note on decor: The hydrangeas, roses, and African violets in the window are artificial. Of course.
(BROOKLYN)
10. Totonno’s
Margherita with pepperoni
The fire reportedly started from coals that had been removed from the pizza oven and stored overnight in a firebox. Damage was extensive. If this turns out to be an epitaph for the great Totonno’s in Coney Island, in business for eighty-five years until that fire closed it this past March, I hope it’s a worthy one. In my opinion, Totonno’s is—or possibly was—the template for the new style of pizzerias opening around the country, the ones where the owners prepare pies with deliberation, calculation, and stunning pride. The staff is slow-moving. If you are privileged to go there, you’ll almost certainly have to wait in a line. If it stretches out the door, you’ll have an opportunity to look over the neighborhood, mostly car-repair shops that park vehicles awaiting work on the sidewalks. The pies come in gorgeous hues, an artist’s palette of reds, blacks, and golds. The crusts are supple but crunchy. A friend who ate there with me a month before the fire said, “I know very good crust from the sound of it. As the roller cut through it, I heard the crispness.” The pies tend to be mild and understated, so the best option here is pepperoni, which adds heat and spiciness, and a good dose of dried oregano from one of the shakers scattered about the room. If you love old-style pepperoni pizza as much as I do, you’ll be looking forward to the day when Totonno’s returns.
(PORT CHESTER, NY)
11. Tarry Lodge
Clam pie
The clam pie, legendary in New Haven, is an oddity that seldom succeeds, since clams taken out of their shells and cooked atop a pizza invariably turn into rubbery bits. At Tarry Lodge, an Italian restaurant run by Mario Batali, something profoundly simple and fundamentally correct is done: The clams remain in their shells. On my visit they were Manila clams, delicate and sweet, briny and fresh, tiny beauties accented by the garlic, oregano, red pepper, and Parmigiano-Reggiano atop a thin, nicely charred crust. You have to work to remove the clams from their shells, but compared with everything else required to access great pizza these days, that isn’t much effort.
(NEW HAVEN, CONN.)
12. Frank Pepe
The Original Tomato Pie
I love the crust here—rather thick, quite soft, with nooks, crannies, colors, and char. I felt the same about the tomato sauce, not exactly what you would expect on pizza, a little more like a mild, chunky cooked pasta sauce. As I chewed and ate, ate and chewed, going through seven pies, trying one topping after another, it came to me: Keep it simple. The small, plain tomato pie without mozzarella and stunningly priced at $6.10 is pretty perfect when topped with plenty of silky, salty Pecorino Romano from the shaker on your table. The cheese is freshly grated each day. The single flaw in this pie? After adding so much cheese to so much sauce, you might have to use a knife and fork.
(HARRISON TOWSHIP, MICH.)
13. Luigi’s “the Original”
Gourmet veggie pizza
My nearly endless and seemingly futile quest to find a wonderful vegetable—not merely vegetarian—pizza somehow led me to Luigi’s, which looks like a roadhouse but is apparently a greenhouse. Topping a pie with broccoli, cauliflower, zucchini, squash, mushrooms, and onions, as is done here, seems to promise a chaotic chorus of sad, shriveled, sacrificial plant life, and that isn’t the end of the potential problems. The crust contained sesame seeds, and the grated cheese was Asiago. The combination succeeded magnificently. The seeds contributed nuttiness and the cheese pungency to an array of vegetables that tasted remarkably fresh, to say nothing of cooked to order. The secret, according to the waitress: Toss everything on the pie, cook. That’s it.
(SAN FRANCISCO)
14. Gialina
Wild-nettle pie
My friend said the wild nettles reminded her of newly mown artichokes, a lovely if implausible image. I found them a little like broccoli, but fear not: They’re better than that. These were bright forest green as well as earthy, and they came with a spectacular supporting cast of pancetta (unsmoked bacon), sliced portobello mushrooms, and provolone cheese. The pie, prepared without tomatoes or mozzarella in a standard commercial pizza oven, nevertheless lacked for nothing. The crust, cooked longer than most, was bubbly, luscious, and buttery, a little like warm Italian bread. Still, it was the wild nettles that did it, perhaps the best vegetation—okay, second to broccoli rabe—to put on pizza.
(DETROIT)
15. Buddy’s
Cheese pizza
Buddy’s pizza crust is one of the best in America, although it’s unlikely you knew it was in the running for the championship. That’s because Buddy’s, as much a bar and sandwich shop as it is a pizzeria, specializes in Detroit-style square pizza, almost unknown outside the city. The crusts here are a little better than the competition’s, and almost every pizzeria I tried in Detroit did them well. The interior slices on a Buddy’s pizza are light, slightly crunchy, and extremely satisfying, but the goal in any Detroit experience is those slices at the four corners of the pan, where maximum blackening occurs. If you love the burnt ends on pork ribs, Buddy’s isn’t to be missed.
(MARINA DEL REY, CA)
16. Antica Pizzeria
Pizza del cafone
Antica is one of those pizzerias that endeavor to create a classic Neapolitan experience, not easy when you’re located on the second floor of a Los Angeles mall. A multitude of Italian products, from cookies to olive oils, augments the set design, but the best touch is a pile of fifty-five-pound sacks of genuine “00” pizza flour from Naples, the secret to supple crusts. The ones here were entirely successful—light, puffy, and charred. Pizza labeled del cafone—fool’s or peasant’s pizza—isn’t uncommon, and it doesn’t always have precisely the same ingredients, but the combination here was brilliant. Uniting crumbled sausage, broccoli rabe, and smoked mozzarella seems mighty sophisticated to me.
(SAN FRANCISCO)
17. A16
Romana pie
The crust is Neapolitan-style, well prepared, which means soft, soothing, and a little spongy, with pleasing burned spots. The sauce contains anchovies, which I absolutely can’t abide whole, although I appreciate them as well as the next open-minded fellow when they’re chopped up as a flavor element. That’s what’s done here, as it is so often in Southern Italy. I had another fright: Plopped on top of the pie were whole olives, but in this case French Niçoise olives, which are not aggressive enough to scare me away. In Naples such a pie is known as pizza romana, whereas in Rome it’s a pizza napoletana. Before I’d tried A16’s spicy, bold, exuberant version, I would have guessed that each city wanted to blame this pie on somebody else.
(PROVIDENCE)
18. Al Forno
Grilled pizza with roasted eggplant
Al Forno’s grilled pizzas are more than legends; they’re beauties. Our roasted-eggplant pie consisted of creatively arranged toppings on a flat and irregularly shaped crust, perhaps unintentionally resembling an artist’s palette. The pie was assembled with two cheeses, mild and creamy Bel Paese plus sharp and salty Pecorino Romano; dabs of impossibly delicious tomato sauce intensely flavored with eggplant; flecks of parsley for color; and shreds of mild, bright scallions that added a feathery texture. Al Forno was one of the first no-reservation restaurants in America’s modern era of dining. It set the standard not simply for grilled pizza but also for impossibly long waits.
(BOSTON)
19. Galleria Umberto
Square slice
The line fools you. After a half hour, you’re near the counter, a mere five or six customers ahead of you. The next pan, you think. Doesn’t happen, because nobody settles for one slice. Everybody wants six, maybe eight, to go. Galleria Umberto is as big as a cafeteria, rarely crowded but always with a line. The slices are Sicilian, which means squares, thick ones, airier and lighter than most, with a subtle crunch, a splash of tomato sauce, a scattering of cheese. It represents what Boston’s North End once was: bedrock Italian, absolutely old-world. When you get close, you’re sure it’s almost your turn, but an old lady who looks like she’s off the boat from Bari steps in front of you, and you let her, because she was here first and sat down to rest her feet. Strange thoughts come to those in line. Is it possible this place has only one pan?
(NEW YORK CITY)
20. Famous Joe’s
Slice
Once, this slice defined New York City. That was before pizza slices were supersized, became entire meals laden with wacky toppings and extra cheese. Joe’s crust, thin and flexible but not too soft, is perfect for street pizza. Atop it is not much cheese and not much sauce, merely enough, in ideal symmetry. You can ask for a topping, but then everybody in the tiny, cramped shop will know you’re from out of town. The crust has a few lovely burned spots, but the New York slice isn’t about the search for the perfect crust or the perfect sauce. It’s the perfect New York experience. A friend who came with me said, sadly, “In my youth, stores like this ruled the earth. Now they’re almost extinct.” You do know how to fold a slice like this, don’t you? No? I guess you are from out of town.
(FARMINGTON HILLS, MICH.)
21. Tomatoes Apizza
Pepperoni pie
Here you’ll find a coal-fired oven big enough to barbecue a cow, and here I found the purest expression of pepperoni pizza as I love it. Forgive me if you prefer your pepperoni thick (I don’t) or soft (I don’t) or covered by cheese and sauce—as is traditional in Detroit, but thankfully not at Tomatoes Apizza. The non-Sicilian crust was soft, slightly charred, and entirely appealing, the tomato sauce and cheese more than satisfactory. All was swell, but the precise pepperoni preparation was most appealing. There was lots of it, sliced thin, sprinkled with Parmigiano-Reggiano, and allowed to curl and crisp up in the oven. My compliments to Danielle, our waitress, who took the order, put down her pad, and under an emergency staffing shortage prepared our pepperoni pie exactly right.
(PHILADELPHIA)
22. Osteria
Zucca pie
Zucca means “squash.” Yes, I know. Nobody sitting around the house suddenly says to the wife and kids, “Hey, let’s go out for a squash pizza.” I’m telling you, it’s terrific. The crust is thin and crispy, not ordinarily my preference, but the sweetness of this pizza is great when matched with crunchiness and char. Oh, I didn’t say it was sweet, did I? Don’t worry. There’s a little sweetness, not too much. It comes from the golden raisins and the toasted pine nuts, not from the puree or cubes of squash. There’s cheese, too, mozzarella. That helps, right? I’m telling you that this is a stylish, intense, dramatic, and absolutely special pizza, and you’ll love it. I didn’t believe I would, but I did.
(BOSTON)
23. Santarpio’s
Homemade-sausage pie
Talk about old-world. As we walk in, the guy up front yells, “Tony, table for two.” Cases of beer are stacked in the back, next to the jukebox and a bank of gumball machines. The gas-fired oven operates like no other I’ve seen—it has rotating shelves that look like the ones in diners that display cream pies. The kid busing tables has to be playing hooky, and I expect a truant officer to walk in, blow his whistle, and start chasing him around the room. All the pies are exactly right, but the one with sausage is better than that. Santarpio’s crusts are hearty, a little roughhouse, very much in the baked-bread family, and the homemade sausage comes crumbled, skillfully integrated into the tomato sauce. I know for certain that the owners are proud of that sauce: On the steps outside, where you might find stone lions guarding the entrance to a library, stand two industrial-size Pastene tomato cans.
(DETROIT)
24. Niki’s
Cheese pizza with feta
I searched for the meaning of Greek pizza, a topic often discussed, undoubtedly because so many Greeks own pizzerias. I never found it, but the quest was worthwhile, because at Niki’s I discovered feta cheese as a topping. Niki’s doesn’t have Greek pizza. It has Detroit pizza, and one optional topping is feta cheese, which adds creaminess and tanginess while brightening up (and somewhat dominating) any pie. The feta here is crumbled, tossed atop the pizza, and baked. It becomes toasty and crispy, giving any pizza from plain to pepperoni a singular zip. Now that I’ve made this important discovery, my next goal is searching for the meaning of bouzouki music, finding out whether a man can go mad endlessly listening to it in Greek pizzerias.
(NEW YORK CITY)
25. Una Pizza Napoletana
Margherita
This is the most beautiful pizza in America, the outer ring grand and pillowy, the San Marzano tomatoes bright, the buffalo mozzarella dazzlingly melted. Neapolitan pizzas are undeniably gorgeous, and Una Pizza Napoletana replicates their style and attractiveness better than any other pizzeria in this country. This Margherita, an expression of purity and restraint, could be immortalized in a painting entitled Still Life in Pizza. Many admirers consider this the best pizza in America. I don’t go that far, but I believe it’s more enjoyable than almost any pizza in Naples—maybe in all of Italy.
Tuesday 14 February 2012
Diner for Schmucks
Sooner or later, depending on how long it takes to get a reservation, you'll end up having a bad time at what is supposed to be a good restaurant.
When that happens, you might be startled by how upset you become. It probably won't be the food that's to blame. You can always shrug off a tough steak, since the chef didn't mean to disappoint you. But everyone takes poor service personally. Get a bad table and you'll wonder if the hostess finds you unworthy. Find yourself with a disrespectful server and you'll feel worse, because you're expected to tip.
Now and then, poor service is the result of a restaurant having an unfortunate day. Maybe the chef snapped at your waiter and made him sulk. Maybe the front of the house, as it's called, is short-staffed because a waiter called in sick.
More than likely, poor service is inherent, caused by a staff with lackluster spirit or a manager with a lax attitude. Here in New York, with our restaurants tumbling into informality, a guest can easily become a casualty of incompetence. We've entered the post-service era, where fewer and fewer restaurateurs still stand watch.
Which brings me to M. Wells, a metal-clad diner as shiny as a magpie's trinket, situated on a corner in Queens as dead-drab as one of the borough's countless cemeteries. A little more than a year ago, the diner was an abandoned shell, and now it symbolizes the renewal of Long Island City as surely as the MoMA PS1 art museum and the Silvercup film studios. I don't know what a burger once cost at the derelict diner that became M. Wells, since I never ate there, but I'm betting it was about $2.99. M. Wells sells one for $42, proof that gentrification is thriving in Queens.
Walk in and you might presume that you've stumbled on a formulaic re-creation of the diner genre, but you'd be wrong. M. Wells is not a faux-old-fashioned spot with black-and-white shakes and brassy waitresses to put you in your place. It's not retro-romantic, with votive candles, arugula salads, and flourless chocolate cake.
My experience there was like no other. The motto is "All's well at M. Wells." I assure you it is not.
The proprietors are Hugue Dufour and Sarah Obraitis, husband and wife. He is from Montreal, where he was a partner at Au Pied de Cochon, a modern legend that might well have launched lowbrow-made-highbrow dining. The restaurant's most enduring accomplishment was the uplifting of poutine, a dish usually found in rural Quebec dives that consists of fries, cheese curds, and brown gravy. Au Pied de Cochon added seared foie gras and was besieged with praise. M. Wells calls itself, oddly, a Quebeco-American diner. It specializes in freakishly appealing combinations, some brilliant and some frivolous, most unkempt but a few artistic. It also offers inspired pastry classics. The pineapple upside-down cake, as it's made here, is clear evidence that this dessert deserves enshrinement alongside Babe Ruth and FDR as an icon of twentieth-century America.
Dufour is a quirky presence. On one of my early visits, he wore fleur-de-lis-patterned pants while sitting on one of his counter stools, drumming his fingers, looking anxious. Obraitis, who is from Queens, runs the front of the house with considerable charm and little attention to detail. Or maybe the chipped plates, distracted staff, and badly washed glasses are intended to enhance an unceremonious ambience. She is totally relaxed, seemingly everywhere, talking to everyone, a wonderful hostess but a less than attentive supervisor.
My editors and I first went there for dinner because we had heard that it was exceptional, which is certainly true of the atmosphere, part raucous frat boys on a bus, part tranquil middle-aged women in cute shifts, plus a whole lot in between. Queens is not a destination for residents of other boroughs, other than those en route to airports, but M. Wells appears to be changing that.
We were happily stunned by a gargantuan meat-loaf sandwich stabbed through its heart with a serrated knife, and by a côte-de-boeuf-and-fried-soft-shell-crab combo plate, the meat a showcase of succulence, massive and mouthwatering, while the poor crabs had to settle for burial under a mound of rare flesh, drowning in animal blood. It was cuisine and carnage combined.
I assumed Obraitis and Dufour didn't know I was a critic, even when I showed up for a second meal. The first dish I ate could not have been better—escargots and marrow set in the trench of a bisected shinbone. The marrow enriched the escargots, and the escargots gave heft to the marrow, which is usually perceived as little more than quivering fat. Topping it all were minute, crunchy breadcrumbs. The beef tartare was a bit too moist and much too chunky, precisely as it was intended to be. The cooking here has two styles: a little too much or a lot too much.
I admired the M. Wells interpretation of Caesar salad, which has smoked herring substituting for anchovies. It did have one flaw, in that the herring obliterated the flavor of the grated Parmesan. (Anchovies, magically, don't do that.) Porchetta Sierra was a spin on vitello tonnato—slices of rare, rosy, roasted veal covered with a mild tuna sauce. Dufour's version was half-good: The mackerel-mayonnaise sauce was wondrously clever, but it couldn't save the dry, overcooked pork beneath it. If you admire audaciousness over achievement, both preparations could be described as intriguing. Then came the greatest pineapple upside-down cake of my life.
So I was practically bounding when I approached Obraitis to ask if I could set up an interview with her and her husband. She seemed delighted and immediately agreed—and added that she knew who I was, even if I had made my reservation using a pseudonym. She promised to get back to me within a few days.
The days passed. I didn't hear from her. I called the restaurant and left a message. I e-mailed her at an address recommended by the fellow who answered the phone: write@mwellsdiner.com. I have my share of detractors, but Obraitis had given no indication that she wished to avoid me.
···
I've been reviewing restaurants for more than twenty years, almost always for GQ. Unlike other critics, I'm not particularly interested in disguises—camouflage seems so World War II. When I'm reviewing, I always hope to eat like an anonymous patron and be treated as such. That means not being noticed, but people in the restaurant business make fun of me whenever I claim I'm not recognized. They say I always am. To answer the question most asked, I don't know if my photograph is on any kitchen wall. If it is, I hope it's above the pastry station.
Restaurant reviewing, as you probably suspect, is a nice way to make a living, although spending your waking hours overstuffed is not as much fun as you might think. Being recognized isn't so delightful, either. The food does not improve for a critic once he is known, although service tends to change dramatically. Consider a world where you are perceived to be captivating and where each word you speak is deemed to be of dazzling import. Whatever you desire—clean plates, crisp napkins, warm rolls—is yours for the asking. Restaurants occasionally send out extra dishes to people like me, which is something we don't desire, yet it would be churlish to refuse the gesture, to insist that unordered entrées be taken away. Perhaps I'm naive, but I don't think of these offerings as bribes; they're more like an opportunity for the chef to show off.
When I'm on assignment, I pay for every meal. In case you're wondering, now and then a restaurant owner who has known me forever refuses to give me a check. When I'm not working, I take it—and always leave an oversize tip, in cash. When I am working, we battle until I am permitted to pay. I always try to be truthful and candid in my evaluations, which has cost me dearly. The great chef Jean-Georges Vongerichten, who long ago invited me to eat with his parents in Alsace, no longer speaks to me because of a story I wrote.
This is the ethical core of who I am and what I do, yet the ethics of food writing don't end there. I'm also extremely aware of my behavior in restaurants. I try to be diplomatic and considerate. Never in my professional life has anyone in the restaurant business questioned my conduct. Not until I ate my third meal at M. Wells.
Finally, eight days after our first meeting, Obraitis wrote and asked if the story was still possible. I wasn't surprised or offended by the delayed response. Wizened journalists have learned to suppress such reactions. Anyway, M. Wells felt like a restaurant still in training, even if it had been operating for nearly a year, and I wasn't expecting efficiency. I figured I'd get my story done.
I wrote back to her on a Sunday morning, cheerily telling her we were on. I told her I already had made a reservation at M. Wells for the following Tuesday evening and was thinking of having the Peking duck. She replied, "You would absolutely adore the Peking duck, but we need 48 hours to get it ready." Hmm. In my business we don't expect excellent math skills from the folks we write about, either.
We later spoke on the phone and arranged a future dinner date for me, her, and her husband. She seemed pleased with my choice of restaurants, a small Cantonese seafood palace in Manhattan's Chinatown. We would do the interview there.
Tuesday night arrived. My 6 P.M. reservation was for four persons: myself, two other journalists, and a woman in the restaurant business. The doors opened promptly, and we were amiably sent off to the right. On my second visit I had been seated to the left of the front door at a long wooden communal table set with Mexican religious candles. That's by far the more comfortable section of the long, narrow diner space. The right side has cramped booths, a majority of the counter stools, and heat rising from cooking surfaces.
The two men were across from me, the woman next to me. I sat on the outside, which gave me the best view of the room. We ordered wine and bar snacks, smoked mussels and papas bravas, potatoes that are a specialty of Spanish tapas restaurants. The wine, a rosé, was crisply excellent. The mussels were superb: plump, fresh, oily, and lightly smoked. The potatoes were bland despite the supposedly spicy tomato sauce.
Our waiter, a young fellow, never returned. We sat amid the detritus of our snack course—soiled plates, crumpled napkins, empty glasses. At least forty-five minutes went by. My friends were unhappy, one of them vocally. I pleaded for patience. When I'm working, I always wait as long as it takes to get whatever service the restaurant is capable of providing. That's part of being a critic, a way of evaluating whether it's well run or not.
This time I realized my guests were becoming far too restless, not just from the lack of attention but also from the heat, the stickiness, the dearth of space. I finally got the attention of a young waitress. She came over and said, unconcerned, "Do you know what you want?" I admit that her brusqueness caused me to snap. I replied, "We knew what we wanted forty-five minutes ago." She did not respond. Perhaps she deserves credit for remaining unruffled, although I think a more likely explanation is that she didn't give a damn. She took our order. We ate.
The best dish of this meal was the massive, underpriced ($9) blue-cheese salad with monstrous chunks of cheese and hunks of candied walnuts as big and burnished as jeweled Fabergé eggs. Lee Perkins Tuna, a kind of overdressed sashimi, fell flat, dead on arrival, and the pommes de terre fondantes, spuds with veal demi-glace and summer truffles, were both overly rich and inexplicably flavorless. The barbecued short ribs consisted of caramelized meat on prehistoric-size bones, not bad eating but not much of it, a rarity for an establishment that likes to send out an avalanche of food. These are splendid bones for your dog, if you own a very big dog.
Then came the banana-cream pie, textbook perfect. That's the pie I want smashed in my face when I play for the Yankees and hit a walk-off home run.
Nothing else of significance happened during that dinner. What stands out is the heat and the long waits. During our meal, Obraitis came by to say that she and her husband had to leave to attend an event and were looking forward to seeing me in a few days. I felt the same, although I didn't enjoy the food as much as I had at the first two dinners, and the service was dreadful. In order to get a check, I had to wave to our elusive waitress.
Late the next afternoon, an e-mail arrived from Obraitis. This is what it said:
I am a bit distressed by the feedback I received after your visit last night. Either you had despicable service or you guys were in an awful mood. It seems we couldn't make you happy, several servers heard you complain and ask for more attention. One of those servers, a female, received a hardy pat on the ass from you. Totally unacceptable in our world. I don't know what to think or how to proceed. But I must relay my worry.
I sat numb, experiencing the kind of paralysis a person feels when he picks up the phone and learns of a ghastly accident or a horrific illness. I was being accused of sexually harassing a member of a restaurant staff. After a few minutes, I wrote back, and this is what I said:
Absolutely, 100 percent untrue. I just went bone-cold when I read that. In all my years going to restaurants, I have never done that and never been accused of doing that. I would not do that. Who in the world told you that? I will be happy to come to your restaurant tonight and confront that person, face-to-face. It's a lie.
I will comment quickly on the other stuff. First, I thought one of the men in my group was totally out of line with his mouth and his comments. I just couldn't get him to shut up. Second, we had two servers. A young kid, practically a boy, who brought the bar snacks and then forgot about us for 45 minutes, and a taller woman (blonde, wearing yellow?) who took over. Yes, I said something to her about nobody taking our order for 45 minutes, but that was the extent of my comments about service.
But it simply isn't important compared to that accusation. I assure you it never happened, not by me.
That indictment from Obraitis was wickedly reckless—unless, of course, she had witnessed me doing such a thing, which she had not. She did not ask for my account of what occurred after she and her husband left the restaurant. Under other circumstances, I might have dwelled on the illogicality of the first part of her message. Here was a restaurant proprietor blaming guests for being in a bad mood because they were treated hideously. But at the moment, it didn't get my attention. The accusation was way too momentous.
I think all of us, men and women, fear the false allegation, being put on trial for something we did not do. For a man, a charge of sexual harassment is nuclear, because we are always perceived as guilty. It's damned if you do and damned if someone says you did.
People who have dealt with me in restaurants know I didn't do this. I'm far from beloved as a critic, but I've never been accused of pawing a waitress. Think about it. Would a critic who is dining in a restaurant where he has been recognized do something like this? It seems too stupid to be believed, and I don't think anybody considers me brainless.
I was left breathless, not only by the accusation but by the offhand manner in which it was delivered. Something this damning should be treated with the utmost seriousness. And of course, the complainant has to be identified—the ugliness of an anonymous accusation is beyond measure.
Eventually I decided there could be only two explanations for Obraitis's e-mail. The first assumes that the waitress really did make a complaint. One of my companions put forth a theory: The waitress created a fabrication to deflect attention from the appalling job she had done.
There's another possibility, my theory. I wonder if Obraitis made it all up in order to intimidate me, stop a restaurant critic from writing an unflattering review. Either one of these scenarios is possible. It could have been the waitress fearing for her job or Obraitis fearing for her restaurant. I asked my three friends for their recollections. The first guest, a man, said, "I didn't see any of the behavior that Sarah is alleging. I find her comment ridiculous."
The second guest, another man, called it "absurd—I witnessed nothing untoward on your part." He went on to say how "bizarre" it was "that we, the patrons, are somehow to blame for not having a good experience. An experience that consisted of dirty dishes and glassware, lack of utensils when plates are served or careless thrusting of utensils, huffy attitude, and all-around eye-rolling. I guess that's the whole hipster restaurant proposition: Service is for stiffs."
The woman added, "I was sitting beside you for the entire meal and did not see you touch anyone. I walked behind you when we left the restaurant and didn't see you touch anyone. It's sickening that someone would make this up and direct it at you. It crosses a line. They treated us badly, were not sorry about it, and then decided to attack you further with untrue accusations. It's the worst restaurant experience I've ever had."
Three days later, I got another e-mail from Obraitis, the last one. The first thing she said was that she and her husband were canceling our dinner plans and no longer wished "to pursue the interview." I remember thinking how disconnected she was from reality, that after making such a terrible denunciation, she could think that I would be interested in eating with her. I did not speak or write to her again.
That last e-mail from her contained slightly more details on the alleged incident. Obraitis wrote, "...apparently upon requesting your check you tapped one of our female servers inappropriately." I suppose she's backing off somewhat by adding the word "apparently" and by changing the "hardy pat on the ass" to a simple tap.
I've reported what occurred at M. Wells. I believe I have been accurate. I do think the "hipster restaurant" mentality mentioned by one of my friends is partly to blame for what occurred. There is a reason why serious restaurants train people working for them to be polite and attentive. After my three dinners at M. Wells, I am reasonably certain that thorough schooling has never taken place there.
Critics like me deserve some blame for the current proliferation of impossibly low service standards in so many casual New York restaurants. We tend not to censure lackadaisical conduct, thinking this is what customers want and that we would appear out of touch if we disapproved. In fact, the article I was planning to write most likely wouldn't have dwelled on the egregious manners I'd encountered.
I wish I had never been so forgiving in my reviews of New York restaurants. I should long ago have paid attention to this disastrous decline in service. Casualness in restaurants does not automatically make customers feel more relaxed. It often has the opposite effect. Remember how tense my friends became when we received no attention at M. Wells.
I appreciate an atmosphere lacking formality. I love Momofuku Ssäm Bar in Manhattan and Schwa in Chicago, both unpretentious and unfussy—but also attentive. They employ people who know how to take orders, fill glasses, clear plates, drop checks. Neither neglects customers. These days, too many new restaurants do. Their motto might as well be Too Cool to Care.
Well-run restaurants recognize that thoughtful service enhances an evening out, and that a bit of formality might be required in order to reach that goal. Customers these days tend to confuse discipline and manners with arrogance. Perhaps they are remembering the excess stuffiness of decades past. That hardly exists any longer. Arrogance today is exhibited by inconsiderate servers who do almost nothing for customers other than slap plates down in front of them and expect a generous tip. Arrogance is a restaurant believing it can prosper without looking after its customers.
I will tell you what else is extraordinarily self-defeating: We empower popular restaurants, and M. Wells is very much one of them. All we care about is accessibility, getting through the door. Such restaurants are rarely held accountable, no matter how uncaring they might be. I doubt that the people who operate these sought-after spots ask themselves if they are treating their customers properly. They are not obliged to do so.
There is one thing more to say. It is not charitable, so I don't suppose it will reflect well on me. I do not forgive the people at M. Wells for what they have said. I wish there were some way they would not get away with it. I'm pretty certain they will, and I will always be sorry for that.
When that happens, you might be startled by how upset you become. It probably won't be the food that's to blame. You can always shrug off a tough steak, since the chef didn't mean to disappoint you. But everyone takes poor service personally. Get a bad table and you'll wonder if the hostess finds you unworthy. Find yourself with a disrespectful server and you'll feel worse, because you're expected to tip.
Now and then, poor service is the result of a restaurant having an unfortunate day. Maybe the chef snapped at your waiter and made him sulk. Maybe the front of the house, as it's called, is short-staffed because a waiter called in sick.
More than likely, poor service is inherent, caused by a staff with lackluster spirit or a manager with a lax attitude. Here in New York, with our restaurants tumbling into informality, a guest can easily become a casualty of incompetence. We've entered the post-service era, where fewer and fewer restaurateurs still stand watch.
Which brings me to M. Wells, a metal-clad diner as shiny as a magpie's trinket, situated on a corner in Queens as dead-drab as one of the borough's countless cemeteries. A little more than a year ago, the diner was an abandoned shell, and now it symbolizes the renewal of Long Island City as surely as the MoMA PS1 art museum and the Silvercup film studios. I don't know what a burger once cost at the derelict diner that became M. Wells, since I never ate there, but I'm betting it was about $2.99. M. Wells sells one for $42, proof that gentrification is thriving in Queens.
Walk in and you might presume that you've stumbled on a formulaic re-creation of the diner genre, but you'd be wrong. M. Wells is not a faux-old-fashioned spot with black-and-white shakes and brassy waitresses to put you in your place. It's not retro-romantic, with votive candles, arugula salads, and flourless chocolate cake.
My experience there was like no other. The motto is "All's well at M. Wells." I assure you it is not.
The proprietors are Hugue Dufour and Sarah Obraitis, husband and wife. He is from Montreal, where he was a partner at Au Pied de Cochon, a modern legend that might well have launched lowbrow-made-highbrow dining. The restaurant's most enduring accomplishment was the uplifting of poutine, a dish usually found in rural Quebec dives that consists of fries, cheese curds, and brown gravy. Au Pied de Cochon added seared foie gras and was besieged with praise. M. Wells calls itself, oddly, a Quebeco-American diner. It specializes in freakishly appealing combinations, some brilliant and some frivolous, most unkempt but a few artistic. It also offers inspired pastry classics. The pineapple upside-down cake, as it's made here, is clear evidence that this dessert deserves enshrinement alongside Babe Ruth and FDR as an icon of twentieth-century America.
Dufour is a quirky presence. On one of my early visits, he wore fleur-de-lis-patterned pants while sitting on one of his counter stools, drumming his fingers, looking anxious. Obraitis, who is from Queens, runs the front of the house with considerable charm and little attention to detail. Or maybe the chipped plates, distracted staff, and badly washed glasses are intended to enhance an unceremonious ambience. She is totally relaxed, seemingly everywhere, talking to everyone, a wonderful hostess but a less than attentive supervisor.
My editors and I first went there for dinner because we had heard that it was exceptional, which is certainly true of the atmosphere, part raucous frat boys on a bus, part tranquil middle-aged women in cute shifts, plus a whole lot in between. Queens is not a destination for residents of other boroughs, other than those en route to airports, but M. Wells appears to be changing that.
We were happily stunned by a gargantuan meat-loaf sandwich stabbed through its heart with a serrated knife, and by a côte-de-boeuf-and-fried-soft-shell-crab combo plate, the meat a showcase of succulence, massive and mouthwatering, while the poor crabs had to settle for burial under a mound of rare flesh, drowning in animal blood. It was cuisine and carnage combined.
I assumed Obraitis and Dufour didn't know I was a critic, even when I showed up for a second meal. The first dish I ate could not have been better—escargots and marrow set in the trench of a bisected shinbone. The marrow enriched the escargots, and the escargots gave heft to the marrow, which is usually perceived as little more than quivering fat. Topping it all were minute, crunchy breadcrumbs. The beef tartare was a bit too moist and much too chunky, precisely as it was intended to be. The cooking here has two styles: a little too much or a lot too much.
I admired the M. Wells interpretation of Caesar salad, which has smoked herring substituting for anchovies. It did have one flaw, in that the herring obliterated the flavor of the grated Parmesan. (Anchovies, magically, don't do that.) Porchetta Sierra was a spin on vitello tonnato—slices of rare, rosy, roasted veal covered with a mild tuna sauce. Dufour's version was half-good: The mackerel-mayonnaise sauce was wondrously clever, but it couldn't save the dry, overcooked pork beneath it. If you admire audaciousness over achievement, both preparations could be described as intriguing. Then came the greatest pineapple upside-down cake of my life.
So I was practically bounding when I approached Obraitis to ask if I could set up an interview with her and her husband. She seemed delighted and immediately agreed—and added that she knew who I was, even if I had made my reservation using a pseudonym. She promised to get back to me within a few days.
The days passed. I didn't hear from her. I called the restaurant and left a message. I e-mailed her at an address recommended by the fellow who answered the phone: write@mwellsdiner.com. I have my share of detractors, but Obraitis had given no indication that she wished to avoid me.
···
I've been reviewing restaurants for more than twenty years, almost always for GQ. Unlike other critics, I'm not particularly interested in disguises—camouflage seems so World War II. When I'm reviewing, I always hope to eat like an anonymous patron and be treated as such. That means not being noticed, but people in the restaurant business make fun of me whenever I claim I'm not recognized. They say I always am. To answer the question most asked, I don't know if my photograph is on any kitchen wall. If it is, I hope it's above the pastry station.
Restaurant reviewing, as you probably suspect, is a nice way to make a living, although spending your waking hours overstuffed is not as much fun as you might think. Being recognized isn't so delightful, either. The food does not improve for a critic once he is known, although service tends to change dramatically. Consider a world where you are perceived to be captivating and where each word you speak is deemed to be of dazzling import. Whatever you desire—clean plates, crisp napkins, warm rolls—is yours for the asking. Restaurants occasionally send out extra dishes to people like me, which is something we don't desire, yet it would be churlish to refuse the gesture, to insist that unordered entrées be taken away. Perhaps I'm naive, but I don't think of these offerings as bribes; they're more like an opportunity for the chef to show off.
When I'm on assignment, I pay for every meal. In case you're wondering, now and then a restaurant owner who has known me forever refuses to give me a check. When I'm not working, I take it—and always leave an oversize tip, in cash. When I am working, we battle until I am permitted to pay. I always try to be truthful and candid in my evaluations, which has cost me dearly. The great chef Jean-Georges Vongerichten, who long ago invited me to eat with his parents in Alsace, no longer speaks to me because of a story I wrote.
This is the ethical core of who I am and what I do, yet the ethics of food writing don't end there. I'm also extremely aware of my behavior in restaurants. I try to be diplomatic and considerate. Never in my professional life has anyone in the restaurant business questioned my conduct. Not until I ate my third meal at M. Wells.
Finally, eight days after our first meeting, Obraitis wrote and asked if the story was still possible. I wasn't surprised or offended by the delayed response. Wizened journalists have learned to suppress such reactions. Anyway, M. Wells felt like a restaurant still in training, even if it had been operating for nearly a year, and I wasn't expecting efficiency. I figured I'd get my story done.
I wrote back to her on a Sunday morning, cheerily telling her we were on. I told her I already had made a reservation at M. Wells for the following Tuesday evening and was thinking of having the Peking duck. She replied, "You would absolutely adore the Peking duck, but we need 48 hours to get it ready." Hmm. In my business we don't expect excellent math skills from the folks we write about, either.
We later spoke on the phone and arranged a future dinner date for me, her, and her husband. She seemed pleased with my choice of restaurants, a small Cantonese seafood palace in Manhattan's Chinatown. We would do the interview there.
Tuesday night arrived. My 6 P.M. reservation was for four persons: myself, two other journalists, and a woman in the restaurant business. The doors opened promptly, and we were amiably sent off to the right. On my second visit I had been seated to the left of the front door at a long wooden communal table set with Mexican religious candles. That's by far the more comfortable section of the long, narrow diner space. The right side has cramped booths, a majority of the counter stools, and heat rising from cooking surfaces.
The two men were across from me, the woman next to me. I sat on the outside, which gave me the best view of the room. We ordered wine and bar snacks, smoked mussels and papas bravas, potatoes that are a specialty of Spanish tapas restaurants. The wine, a rosé, was crisply excellent. The mussels were superb: plump, fresh, oily, and lightly smoked. The potatoes were bland despite the supposedly spicy tomato sauce.
Our waiter, a young fellow, never returned. We sat amid the detritus of our snack course—soiled plates, crumpled napkins, empty glasses. At least forty-five minutes went by. My friends were unhappy, one of them vocally. I pleaded for patience. When I'm working, I always wait as long as it takes to get whatever service the restaurant is capable of providing. That's part of being a critic, a way of evaluating whether it's well run or not.
This time I realized my guests were becoming far too restless, not just from the lack of attention but also from the heat, the stickiness, the dearth of space. I finally got the attention of a young waitress. She came over and said, unconcerned, "Do you know what you want?" I admit that her brusqueness caused me to snap. I replied, "We knew what we wanted forty-five minutes ago." She did not respond. Perhaps she deserves credit for remaining unruffled, although I think a more likely explanation is that she didn't give a damn. She took our order. We ate.
The best dish of this meal was the massive, underpriced ($9) blue-cheese salad with monstrous chunks of cheese and hunks of candied walnuts as big and burnished as jeweled Fabergé eggs. Lee Perkins Tuna, a kind of overdressed sashimi, fell flat, dead on arrival, and the pommes de terre fondantes, spuds with veal demi-glace and summer truffles, were both overly rich and inexplicably flavorless. The barbecued short ribs consisted of caramelized meat on prehistoric-size bones, not bad eating but not much of it, a rarity for an establishment that likes to send out an avalanche of food. These are splendid bones for your dog, if you own a very big dog.
Then came the banana-cream pie, textbook perfect. That's the pie I want smashed in my face when I play for the Yankees and hit a walk-off home run.
Nothing else of significance happened during that dinner. What stands out is the heat and the long waits. During our meal, Obraitis came by to say that she and her husband had to leave to attend an event and were looking forward to seeing me in a few days. I felt the same, although I didn't enjoy the food as much as I had at the first two dinners, and the service was dreadful. In order to get a check, I had to wave to our elusive waitress.
Late the next afternoon, an e-mail arrived from Obraitis. This is what it said:
I am a bit distressed by the feedback I received after your visit last night. Either you had despicable service or you guys were in an awful mood. It seems we couldn't make you happy, several servers heard you complain and ask for more attention. One of those servers, a female, received a hardy pat on the ass from you. Totally unacceptable in our world. I don't know what to think or how to proceed. But I must relay my worry.
I sat numb, experiencing the kind of paralysis a person feels when he picks up the phone and learns of a ghastly accident or a horrific illness. I was being accused of sexually harassing a member of a restaurant staff. After a few minutes, I wrote back, and this is what I said:
Absolutely, 100 percent untrue. I just went bone-cold when I read that. In all my years going to restaurants, I have never done that and never been accused of doing that. I would not do that. Who in the world told you that? I will be happy to come to your restaurant tonight and confront that person, face-to-face. It's a lie.
I will comment quickly on the other stuff. First, I thought one of the men in my group was totally out of line with his mouth and his comments. I just couldn't get him to shut up. Second, we had two servers. A young kid, practically a boy, who brought the bar snacks and then forgot about us for 45 minutes, and a taller woman (blonde, wearing yellow?) who took over. Yes, I said something to her about nobody taking our order for 45 minutes, but that was the extent of my comments about service.
But it simply isn't important compared to that accusation. I assure you it never happened, not by me.
That indictment from Obraitis was wickedly reckless—unless, of course, she had witnessed me doing such a thing, which she had not. She did not ask for my account of what occurred after she and her husband left the restaurant. Under other circumstances, I might have dwelled on the illogicality of the first part of her message. Here was a restaurant proprietor blaming guests for being in a bad mood because they were treated hideously. But at the moment, it didn't get my attention. The accusation was way too momentous.
I think all of us, men and women, fear the false allegation, being put on trial for something we did not do. For a man, a charge of sexual harassment is nuclear, because we are always perceived as guilty. It's damned if you do and damned if someone says you did.
People who have dealt with me in restaurants know I didn't do this. I'm far from beloved as a critic, but I've never been accused of pawing a waitress. Think about it. Would a critic who is dining in a restaurant where he has been recognized do something like this? It seems too stupid to be believed, and I don't think anybody considers me brainless.
I was left breathless, not only by the accusation but by the offhand manner in which it was delivered. Something this damning should be treated with the utmost seriousness. And of course, the complainant has to be identified—the ugliness of an anonymous accusation is beyond measure.
Eventually I decided there could be only two explanations for Obraitis's e-mail. The first assumes that the waitress really did make a complaint. One of my companions put forth a theory: The waitress created a fabrication to deflect attention from the appalling job she had done.
There's another possibility, my theory. I wonder if Obraitis made it all up in order to intimidate me, stop a restaurant critic from writing an unflattering review. Either one of these scenarios is possible. It could have been the waitress fearing for her job or Obraitis fearing for her restaurant. I asked my three friends for their recollections. The first guest, a man, said, "I didn't see any of the behavior that Sarah is alleging. I find her comment ridiculous."
The second guest, another man, called it "absurd—I witnessed nothing untoward on your part." He went on to say how "bizarre" it was "that we, the patrons, are somehow to blame for not having a good experience. An experience that consisted of dirty dishes and glassware, lack of utensils when plates are served or careless thrusting of utensils, huffy attitude, and all-around eye-rolling. I guess that's the whole hipster restaurant proposition: Service is for stiffs."
The woman added, "I was sitting beside you for the entire meal and did not see you touch anyone. I walked behind you when we left the restaurant and didn't see you touch anyone. It's sickening that someone would make this up and direct it at you. It crosses a line. They treated us badly, were not sorry about it, and then decided to attack you further with untrue accusations. It's the worst restaurant experience I've ever had."
Three days later, I got another e-mail from Obraitis, the last one. The first thing she said was that she and her husband were canceling our dinner plans and no longer wished "to pursue the interview." I remember thinking how disconnected she was from reality, that after making such a terrible denunciation, she could think that I would be interested in eating with her. I did not speak or write to her again.
That last e-mail from her contained slightly more details on the alleged incident. Obraitis wrote, "...apparently upon requesting your check you tapped one of our female servers inappropriately." I suppose she's backing off somewhat by adding the word "apparently" and by changing the "hardy pat on the ass" to a simple tap.
I've reported what occurred at M. Wells. I believe I have been accurate. I do think the "hipster restaurant" mentality mentioned by one of my friends is partly to blame for what occurred. There is a reason why serious restaurants train people working for them to be polite and attentive. After my three dinners at M. Wells, I am reasonably certain that thorough schooling has never taken place there.
Critics like me deserve some blame for the current proliferation of impossibly low service standards in so many casual New York restaurants. We tend not to censure lackadaisical conduct, thinking this is what customers want and that we would appear out of touch if we disapproved. In fact, the article I was planning to write most likely wouldn't have dwelled on the egregious manners I'd encountered.
I wish I had never been so forgiving in my reviews of New York restaurants. I should long ago have paid attention to this disastrous decline in service. Casualness in restaurants does not automatically make customers feel more relaxed. It often has the opposite effect. Remember how tense my friends became when we received no attention at M. Wells.
I appreciate an atmosphere lacking formality. I love Momofuku Ssäm Bar in Manhattan and Schwa in Chicago, both unpretentious and unfussy—but also attentive. They employ people who know how to take orders, fill glasses, clear plates, drop checks. Neither neglects customers. These days, too many new restaurants do. Their motto might as well be Too Cool to Care.
Well-run restaurants recognize that thoughtful service enhances an evening out, and that a bit of formality might be required in order to reach that goal. Customers these days tend to confuse discipline and manners with arrogance. Perhaps they are remembering the excess stuffiness of decades past. That hardly exists any longer. Arrogance today is exhibited by inconsiderate servers who do almost nothing for customers other than slap plates down in front of them and expect a generous tip. Arrogance is a restaurant believing it can prosper without looking after its customers.
I will tell you what else is extraordinarily self-defeating: We empower popular restaurants, and M. Wells is very much one of them. All we care about is accessibility, getting through the door. Such restaurants are rarely held accountable, no matter how uncaring they might be. I doubt that the people who operate these sought-after spots ask themselves if they are treating their customers properly. They are not obliged to do so.
There is one thing more to say. It is not charitable, so I don't suppose it will reflect well on me. I do not forgive the people at M. Wells for what they have said. I wish there were some way they would not get away with it. I'm pretty certain they will, and I will always be sorry for that.
The Sandwich of the Year
You shoved it into your face as a little kid and used it to soak up cheap beer in college, but now it's time to elevate your grilled cheese sandwich to grown-man territory. "Think of it as a blank canvas," says Thomas Keller, who serves a buttery Gruyère-and-brioche version at Bouchon Bakery in New York City. In other words, experiment. Once you upgrade from Kraft Singles and Wonder Bread, you'll realize there's nothing Keller can do to a grilled cheese that you can't. Just remember a few tricks: Use a low, even source of heat—too hot and the bread will burn before your Gruyère gets a chance to melt—and let the finished product rest for a minute, like you would a fresh-off-the-grill porterhouse. It's not 3 a.m. after a frat party, and patience, like a quality Gouda, is a sign of maturity.
• The French Evolution
Chef Thomas Keller, The French Laundry, Yountville, California, and Per Se, N.Y.C.
1 Tbsp. butter
2 slices brioche
2 oz. Gruyère, thinly sliced
• Southern Comfort
Chef Harrison Keevil, Brookville Restaurant, Charlottesville, Virginia
1 Tbsp. butter
2 slices rustic bread
3 thick slices high-quality pre-cooked bacon
3 thin slices Granny Smith apple
2 Tbsp. Duke's mayonnaise (optional)
2 oz. Swiss cheese or Gouda, thinly sliced
• The Crispy Caprese
Chef Terrance Brennan, Artisanal, N.Y.C.
1 Tbsp. butter
2 slices pagnotta (Italian country bread)
1 ripe tomato, sliced
Several sprigs fresh basil
3 oz. fresh burrata or mozzarella
Directions
1. "Take your cheese out of the refrigerator an hour ahead of time," says Keller. "It will melt more evenly that way. And use butter at room temperature."
2. Preheat the oven to 350.
3. Preheat an iron skillet over medium heat.
4. Assemble the sandwich on a plate. Butter the outside of the bread and place the non-cheese ingredients—bacon, basil, whatever—between 2 slices of cheese to keep the bread from sliding off.
5. Add 1/3 tablespoon of the butter to the skillet and cook to brown.
6. Lay the sandwich in the pan. "Pay attention," says Keller. "You're looking for a really crusty dark brown on this first side." This usually takes 1 1/2 minutes.
7. Flip, then cook for an additional 30 to 45 seconds.
8. Spread the remaining butter on the just-browned side, transfer the sandwich to a baking sheet, and place in the oven for a few minutes—how long you keep it in depends on how melty you like your cheese.
9. Pull out your masterpiece and let it sit for a minute before devouring.
The Eats Athletic Club: Napa Without the Knuckleheads
The view from Auberge Bistro & Bar's balcony
Welcome to the Eats Athletic Club. Contrary to what the name might imply, this is not where you come to work on those oversized deltoids (you should stop—you look ridiculous). This is a place where men discuss the pursuit of eating well, together.
Our first topic: The Napa Valley. If you've been, chances are you went with a lady. For your next visit, consider heading out with some companions who won't have you hustling back to the hotel room the whole time.
Mustards Grill
7399 Saint Helena Highway, Napa, 707.944.2424; mustardsgrill.com
No one wants to be that guy passed out in the back of a limo by 4 p.m. and Mustards's Mongolian pork chop is the best way to fill your tank before a full day of drinking. This glistening chop arrives soaked in a sweet soy-based marinade and Chinese-style mustard sauce atop a bed of mashed potatoes and sweet and sour red cabbage. And don't sweat it if pork isn't your thing. This is a menu of "Deluxe Truck Stop Classics," and there's something for everyone.
The Bounty Hunter
975 1st Street, Napa, 707-226-3976; bountyhunterwinebar.com
A wine bar that's also a BBQ restaurant? Such an establishment exists, and it's in downtown Napa. We love The Bounty Hunter for this unorthodox marriage of two of our favorite things. The beer can chicken shouldn't be missed, and the pulled pork sandwich and St. Louis style ribs are also excellent.
Gott's Roadside
933 Main Street, St. Helena, 707-963-3486; gottsroadside.com
Your move for a cheap and satisfying lunch. Gott's Roadside in St. Helena has upscale fast food...which means that if it comes on a bun, it's probably on the menu. Grab a table in the backyard park and enjoy some time away from the wine lingo you've been deciphering all day. The only nose notes you should smell here is that of a crisp California draft beer, of which they have a mighty selection. We highly recommend the double cheeseburger with pickles and special sauce on a toasted bun, which tastes a little bit like an In-N-Out burger. Also, make sure to get a side of chili spiced sweet potato fries.
Restaurant at Meadowood
900 Meadowood Lane, St. Helena, 707-963-3646; meadowood.com
If you're looking for a fine dining experience, you'll have no problem getting into the Restaurant at Meadowood, which we find just as enjoyable as French Laundry. Chef Christopher Kostow's modern and experimental cuisine is both adventurous and satisfying. And this shouldn't just be a visit for dinner. The Meadowood compound is set on acres of land in the St. Helena woods and has a golf course, tennis courts, hiking trails, and more. Tee off, shower up, and then enjoy a ridiculous meal.
Cook
1310 Main Street, St. Helena, 707-963-7088; cooksthelena.com
When the craving strikes for a plate of fresh pasta, head to Cook, a homey little Northern Italian joint nestled in between Downtown St. Helena's art galleries and design shops. It's open all day so you can saddle up to the bar whenever you're hungry and enjoy a time-out over a steaming bowl of homemade fettuccine with clams and chilies.
Auberge Bistro & Bar
180 Rutherford Hill Road, Rutherford, 707-963-1211; aubergebistro.com
Assuming you didn't just hit the lottery and don't have $1,800 a night to stay at the Auberge du Soleil hotel, you need to at least stop by for lunch. Make sure you get seated outside on the balcony overlooking the valley and pair a cocktail or a bloody mary with some pork belly-studded steamed clams and a side of fries. The low-key bistro and bar is the definition of Eats with a view.
Ad Hoc
6476 Washington Street, Yountville, (707) 944-2487; adhocrestaurant.com
A few blocks down the street from The French Laundry in Yountville, Keller's casual eatery has a fixed-price menu that changes daily, and it's affordable, too. Dinner for two with a bottle of wine can cost as little as $80 a person. That's a steal for a meal of this caliber, and it's also a perfect option for dinner with a group. It's a lively restaurant, and that pre-set menu means there's no arguing over what to order or dividing up the check.
Bouchon
6534 Washington Street, Yountville, (707) 944-8037; bouchonbistro.com
Here's how you tackle Bouchon. Roll up at lunch and order a ton of oysters and a jar of foie gras. Put back a bottle of Viognier and then wander back out into the daylight feeling like a king. Then nap.
Robert Sinskey Vineyard
6320 Silverado Trail, Napa, 707-944-9090; robertsinskey.com
You'll see Sinskey's wines in restaurants all over the country. Visit the vineyard and do a quick sampling at the counter and find the one you like best. Buy a bottle (it'll cost you about $40) and then take it out to their patio to enjoy the sun and drink in peace. Sinskey's Pinot Noir and Abraxas Vin de Terroir are two of our favorite wines ever, and you'll look like a genius when you order one with conviction from the wine list next time you're on a date.
Joseph Phelps Vineyard
200 Taplin Road, St. Helena, 707-963-2745; jpvwines.com
Joseph Phelps produces one of the most well-known wines from the Napa Valley—their signature Insignia Cabernet blend—but the vineyard is tucked away in the mountains above Silverado Trail, on Napa Valley's less-traveled East side, so you won't be battling traffic to get a taste of it. There's no need to sit through a tasting affair that'll bring you back to high school Chem class; hang out with your crew on the comfortable patio that overlooks the valley, and refill your wine at your own leisurely pace—learning is strictly optional.
Bardessono
6526 Yount Street, Yountville, 707-204-6000; bardessono.com
Out of every hotel we've stayed in, our favorite temporary domicile is the LEED certified, state of the art Bardessono in downtown Yountville. In every room, one button controls the lights, the shades, and the fireplace, Jetsons style. If the Masami Wagyu beef or Don Watson lamb on the room service menu doesn't fill you up, you're steps away from Yountville's main restaurant drag, meaning you can stumble home from Ad Hoc, Redd, Bouchon, Bottega, and The French Laundry without worrying about talking your way out of a DUI. It's pricey, but they often send out great deals to their e-mail list subscribers, so sign up and keep an eye out for offers. Our trips to Napa are planned around when we can get the best rate here.
Solage
755 Silverado Trail, Calistoga, 866-942-7442; www.solagecalistoga.com
Every room at the Solage is a small studio, and if you roll with a bunch of people, you can grab a block of rooms and essentially create your own dorm. Just like college, but without the black light posters and Bud Light cans. What more could you ask for? How about an insane pool area and Solbar, a Michelin-starred restaurant that has a killer breakfast and one of the better fish tacos we've ever tasted.
Napa River Inn
500 Main Street, Napa, 707-251-8500; napariverinn.com
Downtown Napa is on the up-and-up. It's changed a lot in the last five years and is in the middle of a growth spurt of new stores, restaurants, and bars. For a reasonably priced hotel option, check out the Napa River Inn. It's an historic hotel restored in 2000, and you can usually score a huge room here for a little over $250 a night.
oh, and one more thing...
For obvious reasons, Napa's vineyards are just as popular with raving mad groups of bachelorettes as they are with you and your buds. Yes, tipsy girls always makes for high quality entertainment, but just make sure you're not the one wearing the penis hat after a few glasses of wine.
Our first topic: The Napa Valley. If you've been, chances are you went with a lady. For your next visit, consider heading out with some companions who won't have you hustling back to the hotel room the whole time.
There's more to Napa than the French Laundry.
Mustards Grill
7399 Saint Helena Highway, Napa, 707.944.2424; mustardsgrill.com
No one wants to be that guy passed out in the back of a limo by 4 p.m. and Mustards's Mongolian pork chop is the best way to fill your tank before a full day of drinking. This glistening chop arrives soaked in a sweet soy-based marinade and Chinese-style mustard sauce atop a bed of mashed potatoes and sweet and sour red cabbage. And don't sweat it if pork isn't your thing. This is a menu of "Deluxe Truck Stop Classics," and there's something for everyone.
The Bounty Hunter
975 1st Street, Napa, 707-226-3976; bountyhunterwinebar.com
A wine bar that's also a BBQ restaurant? Such an establishment exists, and it's in downtown Napa. We love The Bounty Hunter for this unorthodox marriage of two of our favorite things. The beer can chicken shouldn't be missed, and the pulled pork sandwich and St. Louis style ribs are also excellent.
933 Main Street, St. Helena, 707-963-3486; gottsroadside.com
Restaurant at Meadowood
900 Meadowood Lane, St. Helena, 707-963-3646; meadowood.com
If you're looking for a fine dining experience, you'll have no problem getting into the Restaurant at Meadowood, which we find just as enjoyable as French Laundry. Chef Christopher Kostow's modern and experimental cuisine is both adventurous and satisfying. And this shouldn't just be a visit for dinner. The Meadowood compound is set on acres of land in the St. Helena woods and has a golf course, tennis courts, hiking trails, and more. Tee off, shower up, and then enjoy a ridiculous meal.
1310 Main Street, St. Helena, 707-963-7088; cooksthelena.com
When the craving strikes for a plate of fresh pasta, head to Cook, a homey little Northern Italian joint nestled in between Downtown St. Helena's art galleries and design shops. It's open all day so you can saddle up to the bar whenever you're hungry and enjoy a time-out over a steaming bowl of homemade fettuccine with clams and chilies.
Auberge Bistro & Bar
180 Rutherford Hill Road, Rutherford, 707-963-1211; aubergebistro.com
Assuming you didn't just hit the lottery and don't have $1,800 a night to stay at the Auberge du Soleil hotel, you need to at least stop by for lunch. Make sure you get seated outside on the balcony overlooking the valley and pair a cocktail or a bloody mary with some pork belly-studded steamed clams and a side of fries. The low-key bistro and bar is the definition of Eats with a view.
6476 Washington Street, Yountville, (707) 944-2487; adhocrestaurant.com
A few blocks down the street from The French Laundry in Yountville, Keller's casual eatery has a fixed-price menu that changes daily, and it's affordable, too. Dinner for two with a bottle of wine can cost as little as $80 a person. That's a steal for a meal of this caliber, and it's also a perfect option for dinner with a group. It's a lively restaurant, and that pre-set menu means there's no arguing over what to order or dividing up the check.
Bouchon
6534 Washington Street, Yountville, (707) 944-8037; bouchonbistro.com
Here's how you tackle Bouchon. Roll up at lunch and order a ton of oysters and a jar of foie gras. Put back a bottle of Viognier and then wander back out into the daylight feeling like a king. Then nap.
Fire the tour guide and wade through Northern California's finest grapes on your own terms.
Robert Sinskey Vineyard
6320 Silverado Trail, Napa, 707-944-9090; robertsinskey.com
You'll see Sinskey's wines in restaurants all over the country. Visit the vineyard and do a quick sampling at the counter and find the one you like best. Buy a bottle (it'll cost you about $40) and then take it out to their patio to enjoy the sun and drink in peace. Sinskey's Pinot Noir and Abraxas Vin de Terroir are two of our favorite wines ever, and you'll look like a genius when you order one with conviction from the wine list next time you're on a date.
200 Taplin Road, St. Helena, 707-963-2745; jpvwines.com
Joseph Phelps produces one of the most well-known wines from the Napa Valley—their signature Insignia Cabernet blend—but the vineyard is tucked away in the mountains above Silverado Trail, on Napa Valley's less-traveled East side, so you won't be battling traffic to get a taste of it. There's no need to sit through a tasting affair that'll bring you back to high school Chem class; hang out with your crew on the comfortable patio that overlooks the valley, and refill your wine at your own leisurely pace—learning is strictly optional.
Napa lodging ain't cheap, but the amenities are worth the splurge.
6526 Yount Street, Yountville, 707-204-6000; bardessono.com
Out of every hotel we've stayed in, our favorite temporary domicile is the LEED certified, state of the art Bardessono in downtown Yountville. In every room, one button controls the lights, the shades, and the fireplace, Jetsons style. If the Masami Wagyu beef or Don Watson lamb on the room service menu doesn't fill you up, you're steps away from Yountville's main restaurant drag, meaning you can stumble home from Ad Hoc, Redd, Bouchon, Bottega, and The French Laundry without worrying about talking your way out of a DUI. It's pricey, but they often send out great deals to their e-mail list subscribers, so sign up and keep an eye out for offers. Our trips to Napa are planned around when we can get the best rate here.
755 Silverado Trail, Calistoga, 866-942-7442; www.solagecalistoga.com
Every room at the Solage is a small studio, and if you roll with a bunch of people, you can grab a block of rooms and essentially create your own dorm. Just like college, but without the black light posters and Bud Light cans. What more could you ask for? How about an insane pool area and Solbar, a Michelin-starred restaurant that has a killer breakfast and one of the better fish tacos we've ever tasted.
500 Main Street, Napa, 707-251-8500; napariverinn.com
Downtown Napa is on the up-and-up. It's changed a lot in the last five years and is in the middle of a growth spurt of new stores, restaurants, and bars. For a reasonably priced hotel option, check out the Napa River Inn. It's an historic hotel restored in 2000, and you can usually score a huge room here for a little over $250 a night.
oh, and one more thing...
For obvious reasons, Napa's vineyards are just as popular with raving mad groups of bachelorettes as they are with you and your buds. Yes, tipsy girls always makes for high quality entertainment, but just make sure you're not the one wearing the penis hat after a few glasses of wine.
Next Month: Austin, Texas joins The Eats Athletic Club.
Immaculate Infatuation is Andrew Steinthal and Chris Stang, a two-man restaurant reviewing tag team, with a blog, an app, and a sense of humor. They hate the word "foodie." Vin Scully Remembers His Greatest Calls
On the second-to-last afternoon of his 61st season, I visited Vin Scully at Dodger Stadium to ask him for a favor. Dodger Stadium sits perched like a crown atop a bald head of asphalt, hovering there above Sunset and Echo Park and Chinatown. It affords a periphery-to-periphery look at downtown L.A., a view obscured only by a shower curtain of fog that had been burning off since noon. It was the first Saturday of last October, and the air was hot—it must've topped out at 95—and the stadium, lit up by a sort of perpetual weekend-morning light, seemed indifferent toward hosting late-season baseball. Elsewhere, the air was chilling—New York and Philadelphia and Minneapolis were gearing up for playoff baseball under marble countertop skies. But here, with nothing much on the line, it was the picture of summer dog days.
Yet readied for another day of work was Vin Scully, the no-contest hands-down greatest announcer in any sport of all time. I heard him coming before I fully registered his presence. The voice—in the form of pleasured chatter with the beat reporters and parking attendants—sort of led him around, its wafer-thin reverb shadowing whatever he said. Scully joined the franchise in 1950, calling games for the Dodgers over the radio and on television ever since. He followed the team from Brooklyn, introducing Angelenos to a game they'd never had the opportunity to treasure, and grew to serve as a sort of national paragon for the way sporting events could be verbally accounted. During 62 seasons with the Dodgers, Scully has witnessed firsthand an unfathomable enormity of baseball. But even if we eschew the taken-for-granted superlatives, it's still remarkable to plumb the depths of that enormity, and draw to the surface the moments that defined his career: Sandy Koufax's perfect game, Henry Aaron's record-breaker, the Bill Buckner blunder, Kirk Gibson, and so forth. They're moments that more or less serve as a highlight-reel of modern baseball. Just two weeks ago, Scully announced that he'd be returning for a 63rd season. Last October, he told me: "I think it's like a pretty good ball player who does things effortlessly—and then it becomes a little more difficult. And eventually he knows, I can't quite do it anymore. I haven't gotten to that stage, but I'm aware that that stage is really just around the corner. Kirk Gibson has teased me, 'You'll never leave. You're like an old player—they're gonna have to cut the uniform off of you.'"
In the press box cafeteria at Dodger Stadium, we grabbed some coffee. He dumped in more sugar than I'd expected, and I told him the favor I had in mind: that, amidst the twilight of his career, I hoped he'd recall the greatest baseball moments he'd seen up close. "That's a lot," he said—robin-egg eyes, that familiar swirl of ginger up top. "That can't be done." But then he proved it could.
Bobby Thomson's "Shot Heard Round the World"*
October 3, 1951
The Call: Scully serves as an apprentice in the announcer's box to Dodgers' legends Red Barber and Connie Desmond; Thomson's walk-off homer ends the Dodgers' season and sends the Giants to the World Series (Don DeLillo would forever immortalize the game in his masterwork, Underworld.) *Scully wasn't at the mike for this one, but he witnessed the shot from the booth.
"Fortunately for me—and I say that without any false humility—I wasn't on the air for that game. That might have been an awful lot for a kid. I was only 23 at the time, and I was behind Red Barber and Connie Desmond. We had a wonderful relationship in the booth. Red was certainly a father figure, Connie was like an older brother, and I was the kid. So there we were broadcasting the game. The Polo Grounds was in a horseshoe form, and so was the press box. It was kind of a low-ceiling press box, so I was hunched over, leaning over Red—not touching him, but leaning, watching the home run.
Red had always said to me 'Never get close to the players, because it psychologically might alter your judgment. You don't want to criticize a good friend and then it makes your description less clear and honest.' Of all the fellas on the team—and I was virtually as young as most of them—Ralph Branca [who gave up the home run] was my closest friend. His wife-to-be was Ann Mulvey, and a couple of times I dated her roommate, and the four of us would just go out to dinner, that kind of thing. So I remember watching the home run, seeing Ralph, that big body just slump over and walk off. I knew where Ann was sitting, and I remember seeing her with a handkerchief up over her face. It was very hard. I remember going into the clubhouse. In the old Polo Grounds, you were in the press box behind home and the clubhouse was in centerfield; that's about 480 feet or so, and you walked on the field all the way across, and then you went up a flight of stairs—one to the Giants's side and one to the visitors. When I went up to ours, Ralph was spread-eagle on the stairs with his face down—there's a classic picture of that—and I looked, horrified, and I kind of tiptoed around him and went over into the trainer's room. Now, it was deathly quiet in our clubhouse, not a sound, but just across a very short hallway was the Giants clubhouse, and I mean, they were going wild! It's bad enough to lose, but to hear the guys who have just beaten you, it really added to the atmosphere. I remember Pee Wee Reese was sitting on a rubbing table—Jackie Robinson was on another—and they were both quiet. I came in and I sat over in the corner. All of a sudden Pee Wee said, 'You know Jackie, what's always amazed me?' And Jackie said, 'What Pee Wee?' And he said, 'After all these years that this game hasn't driven me crazy.' I'll always remember that. The impact was so great. The Dodgers were 13 and a half games in front in August and they wind up losing. So here I am, my first two years, and I've got so much heartache—not so much for me, I was kind of in shock—but for them, my friends, to see them all suffering so much. Wow. I guess I thought, 'I'll never see anything like that again.' "
1953 World Series, Game 1
September 30, 1953
The Call: At age 25, Scully becomes the youngest ever to call a World Series.
"There was a labor disagreement: Red felt that he had done a lot of World Series games and they were still paying—believe it or not—just $200 a game. So Red appealed, and they said, 'No that's what you're gonna get.' So he said, 'I'm not gonna do it.' Well out of the blue I got a phone call saying, 'We want you to do the World Series.' I thought, 'Well, whoa whoa whoa.' So I call Red and I said, 'Look, I've been doing this four years, I don't wanna do a World Series over your labor negotiation.' He said, 'Vinny, what's going on with me, it's not gonna change, and if you don't do it, they'll get somebody else to do it. So I'm giving you my blessing. Do it.'
So the morning of the first game—and they were all day games back then—I was living at home with my mother and father and sister. And for my mother, a typical Irish mother, breakfast was the most important meal of the day. So we had the whole thing—the orange juice, the bacon and eggs, the toast. Everything was fine, but when I went upstairs I threw everything up. Because I'd only ever done just a little tiny bit of television and all of a sudden I'm going to be working with the great [Yankees announcer] Mel Allen. Mel and I had been slight friends, but when I got to the park he said, 'I just talked to your boss'—that was Walter O'Malley—and Mel was kind enough to say this: 'Walter said to me, 'Mel, take care of my boy.'' Well that made me feel kind of extra warm and good, so I got through the World Series. That was really an impactful time, 1953. I was 25 years old. That's a big job for a kid."
Don Larsen's Perfect Game
1956 World Series, Game 5 (October 8, 1956)
The Call: Scully is at the mike for the first and only perfect game in World Series history.
"When Major League Baseball opened up its own channel, they began by showing the Larsen perfect game. Now, it was a Saturday afternoon. I was watching football and I knew at a certain hour that MLB network was going to come on and they were going to show that thing. I admit I thought, Well, Mel did the first half, so I'll wait a while. Eventually, I switched back and it was Mel doing the top of the 5th inning. Then he introduced me. I sat there, I was just so disappointed in the telecast. First of all, we didn't have the equipment that we have now, but more than that, the announcing was so dull. TV was vastly different than radio. In those days, you were intimidated by the cottage industry of television columnists. They loved to whack the announcers saying, 'They talked too much,' and so forth. When we got on the air doing that perfect game, what Mel did during that first half—and part of it must've been the baseball superstitions—he would say: 'That's the ninth man he's retired. That's the tenth man he's retired.' Today, I would say, 'He's pitching a no-hitter.' But not back then. By the time he got to the top of the fifth, you'd say 'And that's the 15th man he's retired.' Whoa, I'm thinking, The great Allen has laid it out for me. So I picked right up, 'That's the 16th man, that's the 18th, that's the 20th.' Today I would say, 'Call your friends, this fella is pitching a perfect game!' Anyway, it was just, 'Foul ball, ball two,' because we were intimidated by the idea we were talking too much. So I can't watch it. I was just so dull professionally, and so different from what I would've done under the same circumstances today. I've never watched it again. Never."
Sandy Koufax's Perfect Game
September 9, 1965
The Call: Scully's ninth inning has been described as not only among the best calls of all time, but among the best baseball writing of all time. Read it in its entirety here. Or alternatively, here's a taste.
"And you can almost taste the pressure now. Koufax lifted his cap, ran his fingers through his black hair, then pulled the cap back down, fussing at the bill. Krug must feel it too as he backs out, heaves a sigh, took off his helmet, put it back on and steps back up to the plate. ... Sandy back of the rubber, now toes it. All the boys in the bullpen straining to get a better look as they look through the wire fence in left field.... A lot of people in the ballpark now are starting to see the pitches with their hearts.... The time on the scoreboard is 9:44. The date, September the 9th, 1965, and Koufax working on veteran Harvey Kuenn.... Two and two to Harvey Kuenn, one strike away. Sandy into his windup, here's the pitch: Swung on and missed, a perfect game!... On the scoreboard in right field it is 9:46 p.m. in the City of the Angels, Los Angeles, California. And a crowd of 29,139 just sitting in to see the only pitcher in baseball history to hurl four no-hit, no-run games. He has done it four straight years, and now he caps it: On his fourth no-hitter he made it a perfect game. And Sandy Koufax, whose name will always remind you of strikeouts, did it with a flurry. He struck out the last six consecutive batters. So when he wrote his name in capital letters in the record books, that "K" stands out even more than the O-U-F-A-X."
"On radio, you're in your own little world. Every time I'd be doing a possible no-hitter—I think I've done something like 25 no-hitters and a couple of perfect games —I would always put the date on the tape. Not for me, but for the player, so that 25 or 30 years later when he's playing it for his kids or grandkids, you have that date. 'And so on this May 25th when he walks out to the mound...' Well, with Sandy, I'd already done that three times! And I'm thinking as the game is going on, 'cause Sandy was a good pal, and I'm thinking, What can I do to just make it a little special for Sandy? I came up with the idea—which is the worst idea in the whole world because it doesn't mean anything in baseball—I started putting the time on the tape. Well, I put it on just for Sandy, figuring he'd be sitting there with his grandchildren and he'd hear the exact same time: 'Strike two and it's 9:38.' When the game was over, the biggest impact in the city was that they thought it was the most dramatic, theatrical calling of a game they'd ever heard because I'd put the time on it. And it was purely for him, not for anybody else! Because as we all know time doesn't mean anything. In the old days sure, there were curfews and blue laws, but not anymore. That was just one of those nights, and I'll be honest, it was pretty well done on my part, but I lucked out. It's kinda like Sandy pitching a perfect game—everything has to happen and that particular night it was pretty good. It could've been another night where I was stepping on my tongue and all that stuff. I just always thought God helped me through that, and I'm glad for Sandy. That's all."
Henry Aaron's 715th Home Run
April 8, 1974
The Call: After permitting the crowd's cheers to shower the airwaves for several minutes, Scully returned to the microphone to weigh in on the magnitude of the feat.
"What a marvelous moment for baseball; what a marvelous moment for Atlanta and the state of Georgia; what a marvelous moment for the country and the world. A black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol. And it is a great moment for all of us, and particularly for Henry Aaron...And for the first time in a long time, that poker face of Aaron's shows the tremendous strain and relief of what it must have been like to live with for the past several months. It is over."
"We were in Atlanta-Fulton County Stadium and Al Downing was going to pitch for the Dodgers—left-hander, black, soft-spoken, beautiful guy. I put the nickname on him 'Gentleman Al' because there was something about him, and I used to say he might as well wear a bowler hat and carry an umbrella when he goes out to the mound. So Al was pitching... But let me lead in to the home run with another story first: When I was very small, when I was eight years old, I wrote a composition for the nuns saying I wanted to be a sports announcer. Nowadays that would be commonplace, but when I was eight years old, which was shortly after the discovery of fire, I wrote I wanted to be a sports announcer. Well, nobody ever thought about that. Boys wanted to be a fireman, policeman, soldier, whatever. The girls wanted to be ballet dancers and nurses. And here's this kid saying, 'I want to be a sports announcer.' The reason was, and I've told this a million times, but we had a big old radio in the apartment for my mother, father, sister and myself. The only thing we had was Saturday afternoon football games. I used to take a pillow and a little box of saltine crackers and a glass of milk, and I would crawl under the radio and put a pillow in there and my head was directly under the loudspeaker. It could've been Georgia-Georgia Tech or Alabama-Mississippi. And yet here's a kid from Washington Heights in New York, but that wasn't the important thing. I didn't know anything about the players, but when someone did something and the crowd roared, and that noise came down out of that speaker, it just washed all over my body. I got goosebumps. I'd think 'Oh would I love to be there.' And then I started thinking 'I'd love to be that fella doing that game.' And that's where it started. It just kept growing and growing, and finally it came to be.
And so the biggest thing, when the ball was hit, was that I got this tremendous rush of goosebumps for this marvelous accomplishment, and the place went bananas, I mean just crazy. So I didn't want to say anything; the crowd noise to me was like a symphony, and I took the headset off and I walked to the back of the booth. I stood back there and just watched it, and loved listening. There I was, the eight-year old boy—I was under the radio again, just listening to this crowd. When I came back again, I just said what I felt, and what I felt was that it was great for Henry and his family; it was great for the team and the city and the state. But eventually, my mind kept saying, This is bigger than that. This is huge. This is a great sociological thing because a black man is being honored in the Deep South. I mean you've got yourself a monumental moment. So all of that came out. That was it. When Henry hit the home run, I guarantee you that's the longest uninterrupted crowd noise, maybe in the history of sports because there was nothing else to say. Everybody tuning in knew where he was, what happened, what it meant. There was nothing else to say—just that roar of the crowd.
George Plimpton actually wrote a small book about Aaron and the chase. He came up to me the night of that game and said, 'Did you prepare anything to say on the home run?' I said 'Oh noooo.' And he said 'Why? Milo Hamilton said he had it all prepared.' I said 'No, I'd be frightened to do that.' He said 'Frightened? Why do you say that?' I said, 'Well, if I'm going to write it out, then I'm thinking, This is my priceless statement. And if you remember, George, it wasn't for sure; Buckner climbed the little fence and reached up. He didn't catch it but he could've caught it.' And George, not knowing anything about baseball, he said 'Is he good at that?' I said 'No George, no one's good at climbing a fence!'"
Kirk Gibson's Home Run
1988 World Series, Game 1 (October 15, 1988)
The Call: Scully relays the blow-by-blow of the bottom of the ninth, culminating with what he considers to be "the most theatrical home run" he's seen in his career. Check out a clip of the home run here.
"In a year that has been so improbable, the impossible has happened."
"If I categorized home runs that I've seen, without a doubt the monumental one is Henry's... but I've seen a lot of classic, great home runs. Gibson's was probably the most theatrical home run I've ever seen. In the ninth, after the outs were made, we went into commercial, so I talked to the truck, which I rarely do, and I said 'Fellas, when we come out of commercial, stay with me.' So the first shot out of commercial was the dirigible floating above, so I said, 'If you're here in the ballpark, and if you have a pair of binoculars, the first thing you'd do is look in the Dodger dugout'—and wham! there was a shot of the dugout. And I said, 'If you look the length of the dugout to see where Kirk Gibson is...'—and they panned the whole dugout—'...obviously, if he's not in the dugout, he's not gonna play tonight.' Meanwhile, Kirk is sitting in the dressing room, he's got bad legs, can't play. He's got two huge sacks of ice, one on each leg, and he's sitting there by himself looking at the TV monitor at that dramatic sweep of the dugout, and listening to my 'He won't play,' and all that stuff. It did something to him, and so he yells out, 'Bullshit Vinny!' and throws the ice down. And he said to the kid in the locker room, 'Tell Tommy [Lasorda] I'll be right down.' Now, as the inning progressed, we had Mike Davis up there—outfielder, aggressive hitter, didn't walk that much. But fate had it so that Mike walked, and while he's heading to first, the camera [snaps] takes a shot of the dugout, and I said something like, 'Guessss whooo's comin'...' And here he comes, with a bat as his cane, hobbling, and then of course, fouling off those little pitches, any one of which if stays fair he's dead 'cause he can't run, and I kept saying, almost praying, please don't let him strikeout. He's had such a great year that on this national stage, just let him hit a ball hard. So when he hits the home run, the whole building... from the empty dugout to the walk, to him suddenly using the bat as a cane... it was just the most theatrical home run. And the place went crazy. I don't know where it came from, but out came a line that later on I thought only could've come from The Boss. That line, 'In a year of the improbable, the impossible has happened'—which, I must admit, is a pretty good line—it just totally came out of nowhere. My heart, that's where it came from, and God helped me out."
Bill Buckner's Blunder
1986 World Series, Game 6 (October 25, 1986)
The Call: Scully deviates from his Dodgers duties to call the '86 World Series.
"A little roller up along first.... Behind the bag.... It gets through Buckner! Here comes [Ray] Knight, and the Mets win it!"
You know the story: the Red Sox and the Mets, and what looked like an easy ground ball... It was the shock of it, more than anything. You just don't expect a big leaguer to have it happen. Home runs are thrilling, but the shock of this little ground ball going through his legs, I don't know how else to describe it. It was a lightning bolt. That's probably what I would call it. Here the game is progressing nicely, and then suddenly: hit by lightning. When it was all over, I felt badly because Billy had played with the Dodgers. To this day, if I saw it I'd be startled. It's what makes this game so great, you just can't take anything for granted."
Yet readied for another day of work was Vin Scully, the no-contest hands-down greatest announcer in any sport of all time. I heard him coming before I fully registered his presence. The voice—in the form of pleasured chatter with the beat reporters and parking attendants—sort of led him around, its wafer-thin reverb shadowing whatever he said. Scully joined the franchise in 1950, calling games for the Dodgers over the radio and on television ever since. He followed the team from Brooklyn, introducing Angelenos to a game they'd never had the opportunity to treasure, and grew to serve as a sort of national paragon for the way sporting events could be verbally accounted. During 62 seasons with the Dodgers, Scully has witnessed firsthand an unfathomable enormity of baseball. But even if we eschew the taken-for-granted superlatives, it's still remarkable to plumb the depths of that enormity, and draw to the surface the moments that defined his career: Sandy Koufax's perfect game, Henry Aaron's record-breaker, the Bill Buckner blunder, Kirk Gibson, and so forth. They're moments that more or less serve as a highlight-reel of modern baseball. Just two weeks ago, Scully announced that he'd be returning for a 63rd season. Last October, he told me: "I think it's like a pretty good ball player who does things effortlessly—and then it becomes a little more difficult. And eventually he knows, I can't quite do it anymore. I haven't gotten to that stage, but I'm aware that that stage is really just around the corner. Kirk Gibson has teased me, 'You'll never leave. You're like an old player—they're gonna have to cut the uniform off of you.'"
In the press box cafeteria at Dodger Stadium, we grabbed some coffee. He dumped in more sugar than I'd expected, and I told him the favor I had in mind: that, amidst the twilight of his career, I hoped he'd recall the greatest baseball moments he'd seen up close. "That's a lot," he said—robin-egg eyes, that familiar swirl of ginger up top. "That can't be done." But then he proved it could.
Bobby Thomson's "Shot Heard Round the World"*
October 3, 1951
The Call: Scully serves as an apprentice in the announcer's box to Dodgers' legends Red Barber and Connie Desmond; Thomson's walk-off homer ends the Dodgers' season and sends the Giants to the World Series (Don DeLillo would forever immortalize the game in his masterwork, Underworld.) *Scully wasn't at the mike for this one, but he witnessed the shot from the booth.
"Fortunately for me—and I say that without any false humility—I wasn't on the air for that game. That might have been an awful lot for a kid. I was only 23 at the time, and I was behind Red Barber and Connie Desmond. We had a wonderful relationship in the booth. Red was certainly a father figure, Connie was like an older brother, and I was the kid. So there we were broadcasting the game. The Polo Grounds was in a horseshoe form, and so was the press box. It was kind of a low-ceiling press box, so I was hunched over, leaning over Red—not touching him, but leaning, watching the home run.
Red had always said to me 'Never get close to the players, because it psychologically might alter your judgment. You don't want to criticize a good friend and then it makes your description less clear and honest.' Of all the fellas on the team—and I was virtually as young as most of them—Ralph Branca [who gave up the home run] was my closest friend. His wife-to-be was Ann Mulvey, and a couple of times I dated her roommate, and the four of us would just go out to dinner, that kind of thing. So I remember watching the home run, seeing Ralph, that big body just slump over and walk off. I knew where Ann was sitting, and I remember seeing her with a handkerchief up over her face. It was very hard. I remember going into the clubhouse. In the old Polo Grounds, you were in the press box behind home and the clubhouse was in centerfield; that's about 480 feet or so, and you walked on the field all the way across, and then you went up a flight of stairs—one to the Giants's side and one to the visitors. When I went up to ours, Ralph was spread-eagle on the stairs with his face down—there's a classic picture of that—and I looked, horrified, and I kind of tiptoed around him and went over into the trainer's room. Now, it was deathly quiet in our clubhouse, not a sound, but just across a very short hallway was the Giants clubhouse, and I mean, they were going wild! It's bad enough to lose, but to hear the guys who have just beaten you, it really added to the atmosphere. I remember Pee Wee Reese was sitting on a rubbing table—Jackie Robinson was on another—and they were both quiet. I came in and I sat over in the corner. All of a sudden Pee Wee said, 'You know Jackie, what's always amazed me?' And Jackie said, 'What Pee Wee?' And he said, 'After all these years that this game hasn't driven me crazy.' I'll always remember that. The impact was so great. The Dodgers were 13 and a half games in front in August and they wind up losing. So here I am, my first two years, and I've got so much heartache—not so much for me, I was kind of in shock—but for them, my friends, to see them all suffering so much. Wow. I guess I thought, 'I'll never see anything like that again.' "
1953 World Series, Game 1
September 30, 1953
The Call: At age 25, Scully becomes the youngest ever to call a World Series.
"There was a labor disagreement: Red felt that he had done a lot of World Series games and they were still paying—believe it or not—just $200 a game. So Red appealed, and they said, 'No that's what you're gonna get.' So he said, 'I'm not gonna do it.' Well out of the blue I got a phone call saying, 'We want you to do the World Series.' I thought, 'Well, whoa whoa whoa.' So I call Red and I said, 'Look, I've been doing this four years, I don't wanna do a World Series over your labor negotiation.' He said, 'Vinny, what's going on with me, it's not gonna change, and if you don't do it, they'll get somebody else to do it. So I'm giving you my blessing. Do it.'
So the morning of the first game—and they were all day games back then—I was living at home with my mother and father and sister. And for my mother, a typical Irish mother, breakfast was the most important meal of the day. So we had the whole thing—the orange juice, the bacon and eggs, the toast. Everything was fine, but when I went upstairs I threw everything up. Because I'd only ever done just a little tiny bit of television and all of a sudden I'm going to be working with the great [Yankees announcer] Mel Allen. Mel and I had been slight friends, but when I got to the park he said, 'I just talked to your boss'—that was Walter O'Malley—and Mel was kind enough to say this: 'Walter said to me, 'Mel, take care of my boy.'' Well that made me feel kind of extra warm and good, so I got through the World Series. That was really an impactful time, 1953. I was 25 years old. That's a big job for a kid."
Don Larsen's Perfect Game
1956 World Series, Game 5 (October 8, 1956)
The Call: Scully is at the mike for the first and only perfect game in World Series history.
"When Major League Baseball opened up its own channel, they began by showing the Larsen perfect game. Now, it was a Saturday afternoon. I was watching football and I knew at a certain hour that MLB network was going to come on and they were going to show that thing. I admit I thought, Well, Mel did the first half, so I'll wait a while. Eventually, I switched back and it was Mel doing the top of the 5th inning. Then he introduced me. I sat there, I was just so disappointed in the telecast. First of all, we didn't have the equipment that we have now, but more than that, the announcing was so dull. TV was vastly different than radio. In those days, you were intimidated by the cottage industry of television columnists. They loved to whack the announcers saying, 'They talked too much,' and so forth. When we got on the air doing that perfect game, what Mel did during that first half—and part of it must've been the baseball superstitions—he would say: 'That's the ninth man he's retired. That's the tenth man he's retired.' Today, I would say, 'He's pitching a no-hitter.' But not back then. By the time he got to the top of the fifth, you'd say 'And that's the 15th man he's retired.' Whoa, I'm thinking, The great Allen has laid it out for me. So I picked right up, 'That's the 16th man, that's the 18th, that's the 20th.' Today I would say, 'Call your friends, this fella is pitching a perfect game!' Anyway, it was just, 'Foul ball, ball two,' because we were intimidated by the idea we were talking too much. So I can't watch it. I was just so dull professionally, and so different from what I would've done under the same circumstances today. I've never watched it again. Never."
Sandy Koufax's Perfect Game
September 9, 1965
The Call: Scully's ninth inning has been described as not only among the best calls of all time, but among the best baseball writing of all time. Read it in its entirety here. Or alternatively, here's a taste.
"And you can almost taste the pressure now. Koufax lifted his cap, ran his fingers through his black hair, then pulled the cap back down, fussing at the bill. Krug must feel it too as he backs out, heaves a sigh, took off his helmet, put it back on and steps back up to the plate. ... Sandy back of the rubber, now toes it. All the boys in the bullpen straining to get a better look as they look through the wire fence in left field.... A lot of people in the ballpark now are starting to see the pitches with their hearts.... The time on the scoreboard is 9:44. The date, September the 9th, 1965, and Koufax working on veteran Harvey Kuenn.... Two and two to Harvey Kuenn, one strike away. Sandy into his windup, here's the pitch: Swung on and missed, a perfect game!... On the scoreboard in right field it is 9:46 p.m. in the City of the Angels, Los Angeles, California. And a crowd of 29,139 just sitting in to see the only pitcher in baseball history to hurl four no-hit, no-run games. He has done it four straight years, and now he caps it: On his fourth no-hitter he made it a perfect game. And Sandy Koufax, whose name will always remind you of strikeouts, did it with a flurry. He struck out the last six consecutive batters. So when he wrote his name in capital letters in the record books, that "K" stands out even more than the O-U-F-A-X."
"On radio, you're in your own little world. Every time I'd be doing a possible no-hitter—I think I've done something like 25 no-hitters and a couple of perfect games —I would always put the date on the tape. Not for me, but for the player, so that 25 or 30 years later when he's playing it for his kids or grandkids, you have that date. 'And so on this May 25th when he walks out to the mound...' Well, with Sandy, I'd already done that three times! And I'm thinking as the game is going on, 'cause Sandy was a good pal, and I'm thinking, What can I do to just make it a little special for Sandy? I came up with the idea—which is the worst idea in the whole world because it doesn't mean anything in baseball—I started putting the time on the tape. Well, I put it on just for Sandy, figuring he'd be sitting there with his grandchildren and he'd hear the exact same time: 'Strike two and it's 9:38.' When the game was over, the biggest impact in the city was that they thought it was the most dramatic, theatrical calling of a game they'd ever heard because I'd put the time on it. And it was purely for him, not for anybody else! Because as we all know time doesn't mean anything. In the old days sure, there were curfews and blue laws, but not anymore. That was just one of those nights, and I'll be honest, it was pretty well done on my part, but I lucked out. It's kinda like Sandy pitching a perfect game—everything has to happen and that particular night it was pretty good. It could've been another night where I was stepping on my tongue and all that stuff. I just always thought God helped me through that, and I'm glad for Sandy. That's all."
Henry Aaron's 715th Home Run
April 8, 1974
The Call: After permitting the crowd's cheers to shower the airwaves for several minutes, Scully returned to the microphone to weigh in on the magnitude of the feat.
"What a marvelous moment for baseball; what a marvelous moment for Atlanta and the state of Georgia; what a marvelous moment for the country and the world. A black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol. And it is a great moment for all of us, and particularly for Henry Aaron...And for the first time in a long time, that poker face of Aaron's shows the tremendous strain and relief of what it must have been like to live with for the past several months. It is over."
"We were in Atlanta-Fulton County Stadium and Al Downing was going to pitch for the Dodgers—left-hander, black, soft-spoken, beautiful guy. I put the nickname on him 'Gentleman Al' because there was something about him, and I used to say he might as well wear a bowler hat and carry an umbrella when he goes out to the mound. So Al was pitching... But let me lead in to the home run with another story first: When I was very small, when I was eight years old, I wrote a composition for the nuns saying I wanted to be a sports announcer. Nowadays that would be commonplace, but when I was eight years old, which was shortly after the discovery of fire, I wrote I wanted to be a sports announcer. Well, nobody ever thought about that. Boys wanted to be a fireman, policeman, soldier, whatever. The girls wanted to be ballet dancers and nurses. And here's this kid saying, 'I want to be a sports announcer.' The reason was, and I've told this a million times, but we had a big old radio in the apartment for my mother, father, sister and myself. The only thing we had was Saturday afternoon football games. I used to take a pillow and a little box of saltine crackers and a glass of milk, and I would crawl under the radio and put a pillow in there and my head was directly under the loudspeaker. It could've been Georgia-Georgia Tech or Alabama-Mississippi. And yet here's a kid from Washington Heights in New York, but that wasn't the important thing. I didn't know anything about the players, but when someone did something and the crowd roared, and that noise came down out of that speaker, it just washed all over my body. I got goosebumps. I'd think 'Oh would I love to be there.' And then I started thinking 'I'd love to be that fella doing that game.' And that's where it started. It just kept growing and growing, and finally it came to be.
And so the biggest thing, when the ball was hit, was that I got this tremendous rush of goosebumps for this marvelous accomplishment, and the place went bananas, I mean just crazy. So I didn't want to say anything; the crowd noise to me was like a symphony, and I took the headset off and I walked to the back of the booth. I stood back there and just watched it, and loved listening. There I was, the eight-year old boy—I was under the radio again, just listening to this crowd. When I came back again, I just said what I felt, and what I felt was that it was great for Henry and his family; it was great for the team and the city and the state. But eventually, my mind kept saying, This is bigger than that. This is huge. This is a great sociological thing because a black man is being honored in the Deep South. I mean you've got yourself a monumental moment. So all of that came out. That was it. When Henry hit the home run, I guarantee you that's the longest uninterrupted crowd noise, maybe in the history of sports because there was nothing else to say. Everybody tuning in knew where he was, what happened, what it meant. There was nothing else to say—just that roar of the crowd.
George Plimpton actually wrote a small book about Aaron and the chase. He came up to me the night of that game and said, 'Did you prepare anything to say on the home run?' I said 'Oh noooo.' And he said 'Why? Milo Hamilton said he had it all prepared.' I said 'No, I'd be frightened to do that.' He said 'Frightened? Why do you say that?' I said, 'Well, if I'm going to write it out, then I'm thinking, This is my priceless statement. And if you remember, George, it wasn't for sure; Buckner climbed the little fence and reached up. He didn't catch it but he could've caught it.' And George, not knowing anything about baseball, he said 'Is he good at that?' I said 'No George, no one's good at climbing a fence!'"
Kirk Gibson's Home Run
1988 World Series, Game 1 (October 15, 1988)
The Call: Scully relays the blow-by-blow of the bottom of the ninth, culminating with what he considers to be "the most theatrical home run" he's seen in his career. Check out a clip of the home run here.
"In a year that has been so improbable, the impossible has happened."
"If I categorized home runs that I've seen, without a doubt the monumental one is Henry's... but I've seen a lot of classic, great home runs. Gibson's was probably the most theatrical home run I've ever seen. In the ninth, after the outs were made, we went into commercial, so I talked to the truck, which I rarely do, and I said 'Fellas, when we come out of commercial, stay with me.' So the first shot out of commercial was the dirigible floating above, so I said, 'If you're here in the ballpark, and if you have a pair of binoculars, the first thing you'd do is look in the Dodger dugout'—and wham! there was a shot of the dugout. And I said, 'If you look the length of the dugout to see where Kirk Gibson is...'—and they panned the whole dugout—'...obviously, if he's not in the dugout, he's not gonna play tonight.' Meanwhile, Kirk is sitting in the dressing room, he's got bad legs, can't play. He's got two huge sacks of ice, one on each leg, and he's sitting there by himself looking at the TV monitor at that dramatic sweep of the dugout, and listening to my 'He won't play,' and all that stuff. It did something to him, and so he yells out, 'Bullshit Vinny!' and throws the ice down. And he said to the kid in the locker room, 'Tell Tommy [Lasorda] I'll be right down.' Now, as the inning progressed, we had Mike Davis up there—outfielder, aggressive hitter, didn't walk that much. But fate had it so that Mike walked, and while he's heading to first, the camera [snaps] takes a shot of the dugout, and I said something like, 'Guessss whooo's comin'...' And here he comes, with a bat as his cane, hobbling, and then of course, fouling off those little pitches, any one of which if stays fair he's dead 'cause he can't run, and I kept saying, almost praying, please don't let him strikeout. He's had such a great year that on this national stage, just let him hit a ball hard. So when he hits the home run, the whole building... from the empty dugout to the walk, to him suddenly using the bat as a cane... it was just the most theatrical home run. And the place went crazy. I don't know where it came from, but out came a line that later on I thought only could've come from The Boss. That line, 'In a year of the improbable, the impossible has happened'—which, I must admit, is a pretty good line—it just totally came out of nowhere. My heart, that's where it came from, and God helped me out."
Bill Buckner's Blunder
1986 World Series, Game 6 (October 25, 1986)
The Call: Scully deviates from his Dodgers duties to call the '86 World Series.
"A little roller up along first.... Behind the bag.... It gets through Buckner! Here comes [Ray] Knight, and the Mets win it!"
You know the story: the Red Sox and the Mets, and what looked like an easy ground ball... It was the shock of it, more than anything. You just don't expect a big leaguer to have it happen. Home runs are thrilling, but the shock of this little ground ball going through his legs, I don't know how else to describe it. It was a lightning bolt. That's probably what I would call it. Here the game is progressing nicely, and then suddenly: hit by lightning. When it was all over, I felt badly because Billy had played with the Dodgers. To this day, if I saw it I'd be startled. It's what makes this game so great, you just can't take anything for granted."