Rossino’s Italian Restaurant

rossino's italian restaurant st louis mo photo by toby weiss206 North Sarah Street, Central West End
St. Louis, MO
An underground Italian restaurant that was a loosely kept aboveground secret is closing at the end of April. In the middle of a mostly-residential block, in the basement of an apartment building, Rossino’s (under various names) has been in business since the mid-1940s. Originally known for their pizza, over time it became a place for city movers-and-shakers to lunch, lovers to hide away, hardcore regulars to roost and an exquisite jewel to discover.

entrance to rossino's italian restaurant st louis mo photo by toby weissThe freshly painted, off-hand “shack” facade is already at odds with the dense urbanity of the neighborhood. Going down the stairs from street level (above) sets the stage for the time warp about to be entered.

interior of rossino's, st louis mo photo by toby weissThe “lobby” (above) is crammed with antiques both retired and in-use. It’s also relatively well lit because of outside light seeping in. This is the last time you will see any form of blank space, or your feet.

celebrity autographs inside rossino's, st louis mo, photo by toby weissAbruptly, the ceilings lower, as does anyone over 6 feet. You’re bombarded by stuff nailed, propped and stuffed onto every surface, and one has only taken 2 steps away from the lobby. Then, BOOM, you can literally crash into the bar (featuring a signed photo of Tom Cruise’s first wife Mimi Rogers, as well as a less-crazy Tom with Mama Rossino, above). Bumping and stumbling is de rigueur because there are hardly any light bulbs; candlelight is it. You know that moment when you come from bright outdoors into a darker room and your eyes need a few moments to adjust? Underground at Rossino’s, your eyes stay in that suspended moment of disorientation. The wait staff is well-practiced in playing seeing eye-dog, leading the blind through narrow alleys, and politely ignoring the clumsiness and exclamations of those dealing with Alice In Wonderland alternate reality.

interior panorama of rossino's italian restaurant photos by toby weissThis was my maiden voyage to the institution that was retiring. I’d never known of the place, which is shocking considering all the Italian-descent, city-dwelling people in my life. What brought me here was my mother and my friend, Bob Dielman. Both of them are 70-years old, and Rossino’s was a regular hang out for them during the late 50s/early 60s. Back then, the main calling card was, yes, the pizza, but more importantly, they had a 3 o’clock liquor license. When the other places closed, Rossino’s was the place to go for more booze, or to sober up. When they heard of Rossino’s imminent retirement, they wanted to take one last nostalgic trip to relive fond memories and to say goodbye.

Both of them recognized the bar and the main dining room (above). They peered into their past as the hostess walked us right past it, and Mom and Bob slightly freaked. As of the mid-1960s, that bar and dining area was the extent of Rossino’s. Somewhere in the following decades, a wall was knocked down and the restaurant oozed into the rest of the basement. As you proceed, the ceilings get lower, it gets even darker, and the bric-a-brac piles higher.

atmosphere of rossino's italian restaurant april 2006 photo by toby weissAbove is a fair representation of the cozy, netherworld ambience, as interpreted by a non-flash digital camera pushed to maximum capabilities. It was an exercise for me to decipher the menu (which I folded up and stashed in my purse as a keepsake) by candlelight, and my eyes are pretty good. My 70-year old companions? They didn’t even bother reading it; they simply ordered from “ancient” memory: lasagna for Bob, spaghetti and meatballs for Mom.

Both were thrilled that it was just as good as they remembered it. I had the carbonara, and it was truly amazing (both the cream sauce and the bacon perfectly prepared and balanced). Later, when I paid the bill, I was stunned at how cheap our meals and drinks were. It was as if having a 5-star Italian meal in 1962! That’s the moment my heart broke: I had just fallen in love with this glowing ember, an eccentric, sentimental oddball oasis inside a tear in the space/time continuum… and this love affair could only last for 2 weeks. This is how I genuinely felt after 1.5 hours. What about those who’ve felt this way for decades? One would buckle under the weight of their sadness.

rossino's ladies room photo by toby weissSpeaking of buckles, what will become of the very old-school sanitary napkin dispenser (above) in the ladies room? What will become of 60-years worth of memorabilia, antiques and junk that hold up the concrete walls? If there was light, you could stare at just one corner and never see everything hiding there.

interior of rossino's pizzeria, st louis mo, photo by toby weissNeeding to know what was being missed, I finally let the camera flash strobe blindly into the vast darkness, and only later was I able to see what we couldn’t see right in front of our faces. In the shot above, that’s only a 5-foot sqaure piece of Rossino’s Ye Olde Curiosity Shoppe. Multiply that by 10,000 other items that never see the light of day, soaked in warm memories and appetizing aromas… that it will all be dislodged and uprooted is just… heartbreaking, really.

exterior of the late rossino's italian restaurant, central west end st louis, photo by toby weissSecond-generation owner/ manager Nancy Zimmerman has been at the restaurant since her early teens. She now wants to retire. It couldn’t have been an easy decision to make, for not only is her entire life in that basement, but also her family, past and present. The sadness of loyal patrons’ just adds to the hugeness of her decision, and the strength of conviction to do the proper thing. She’s given everyone fair warning and plenty of chances to say a fond farewell. She and her family have contributed something lovely and worthwhile to the history of St. Louis. Thank you.

Charles & Ray Eames

The May issue of Vanity Fair made a huge blunder. I read it once, twice, thrice, and even as I highlighted the mistake in pink (above, click to enlarge), I still don’t comprehend.

The BROTHERS Ray & Charles Eames?
Come on, this is Vanity Fair, the first and last word on mass-market high culture and high celebrities.

Even po-dunk cow town St. Louis knew that when they placed Charles on the STL Walk Of Fame that Ray was his wife.

Even for the design unaware, a quick Google of their names gives you facts and photos that clarify their gender and marital status.

Even if the press release from the museum hosting the exhibit didn’t specify gender, doesn’t VF have fact checkers on the payroll?

A mistake like this in, say, US Weekly would be understandable. But Vanity Fair?
Wow.

Nostalgic Architecture

Jefferson Avenue @ Hwy 40
St. Louis, MO
Swank Motion Pictures. I surely can’t be alone with thinking, upon first seeing this place, this was where they made stag films. But since stag became porno which then became porn, they maybe kept the name because they now made retro porn? Swank is a colorful word, conjuring strong images, and this building just reeks of stag reels in the basement rumpus room, 5 men downing Schlitz, taking advantage of the wife and kids visiting the mother-in-law. But alas, Swank is the name of the owners, and they do legitimate corporate film work. Ho hum…

Manchester Road
Rock Hill, MO
Here’s another building which is much more fanciful in my mind than in reality. I see the name of Ansa Ring, and always think of Susanswerphone, the home base of activity in the effervescent MGM musical Bells Are Ringing. My unsung hero, Miss Judy Holliday, plays a switchboard operator at a call center, and that of course leads to finding love with playwright Dean Martin, at his most swoonable.

But alas, it’s just a dry answering and voice mail service for doctors and lawyers… well, there could be a playwright. It’s not so far-fetched. Other than equipment, what makes this modern-day version of an answering service different than a 1960s version? Especially with that name and that swanky font, how can I avoid such fantasies?

Above is a movie lobby card from the film. It hangs in my bathroom. Solely for intense amusement, I’m always tempted to make a copy of it, and on some evening, sneak up and staple gun it to the outside of their building. But the Rock Hill police (Hi, Radar Ron!) are pretty eagle-eyed, so simply sharing the idea with you will have to suffice.

Cupples Station

Out of the blue in early February 2006, an e-mail asks: Can your photos be blown up to poster-size? Specifically, the Charles Schmitt shot?

That brief message ended 2 months later with 25 of my architecture photos enlarged to 2’ x 3’ and framed to hang permanently inside the renovated Cupples Station apartment building. (Above, L-R: South Hampton, Arsenal & Northland)

On April Fool’s Day I got to see some of my prints installed in the building, which is now actively seeking renters for the spaces that remain. On this same day, Pablo Weiss opened his newest restaurant, Mercury, which occupies a bottom corner of the building (above). It’s a minimalist twist on the sports bar. The interior is simple and lively, the outdoor bar area is ultra appealing and will provide what this part of downtown needs: street life.
My photos hang opposite the elevators on all 7 floors of Cupples. While on the tour, every time the elevator doors opened, I felt an odd sensation. It’s a new experience, so I have no idea what to call the sensation. (Above, Mr. Yummy’s)

The main atrium of the building (above) keeps most of the industrial warehouse intact, both by design and because some portions of the building were built for no man to ever tear asunder. The “affordable rate” apartments carved out of this gigantic space come in various dynamic configurations, and they actually are affordable. Not affordable as in “cheap for downtown,” but as in giving people who make, say, under $30,000 annually a chance to live in attractive, spacious city apartments. Which is a welcome concept, especially since the living quarters currently brewing all around this building will be the typical uber-expensive condos and lofts that exclude the majority of folks who would like to live downtown. So, I’m proud to have my photos hanging in a handsome rehab that my friends and I could actually afford to live in.

Above is my “patron,” Ron Silverman, senior vice president of Historic Restoration, Inc. He’s a Beverly Hills, CA native (with some lively tales of the late Ambassador Hotel) who’s a genuine fan of both high- and low-culture. One of the perks of his position is picking the artwork that grace HRI rehab projects.

The day Silverman gave me the tour of Cupples under construction, he mentioned picking the paintings that hang in the Renaissance Grand. I told him that he picked some paintings from a good friend of mine.
“Really?” he said. “Which artist?”
Dominic Finocchio.
His immediate reply was citing exactly which floor those paintings hung. Now, Silverman selected over 20 artists over 3 years ago for this project, yet he still had instant recall of just one of the painters and even remembered exactly where it hangs! At that moment I knew that this man truly loves art and I was honored that he’d gone out of his way to find me.

(Above, River Roads) Silverman is only “half-committed to the Internet,” but that’s where he started when looking for art to go into Cupples. During a random search, he found an image that caught his eye, and followed the paths which lead to me. Then came his brief but momentous e-mail. He’d noticed that many of my photos were about buildings dieing or dead, and thought, for a change, I might like to be a part of a once-comatose building coming back to life. Correct assessment.

(Above, in the leasing office, Downtown St. Louis) I was already a long-time fan of HRI because The Statler (which became the Renaissance) and the Merchandise Mart (the inside of which I used to spelunk on lunch hours while it was boarded up and vacant) had always been 2 of my favorite downtown buildings. To watch them brought back to life was a joyous process, and to have it done right was a bonus.

(Above, in the leasing office, L-R: Wellston Mondrian & Charles Schmitt) I had put together a portfolio of 40 images for Silverman to pick from. His choices were all St. Louis city and county buildings, with a good chunk of them no longer in existence, or threatened with extinction. As I went through the exacting process of converting images for large format and working with the man who printed the posters, I felt this odd sense of detachment. It was like looking at someone else’s work. Then I surveyed the big box of finished posters and got the biggest kick out of seeing my memories enlarged. I’m still amused by personal adventures being thought of as art. I’ve spent years getting dirty, violating private property and meeting all kinds of interesting people because of it, and now some of those moments are hanging like casual museum pieces. Wild.

At the time of the viewing, the rest of the photos were waiting to be installed (above, Cross Keys and Natural Bridge Road). My thanks to Ron Silverman for this unique opportunity to be a part of the Cupples Station project.

1111 South Compton

1111 South Compton Avenue
St. Louis, MO
On Compton between LaSalle and Hickory Avenues, there was this lone, single-family house. I’ve lived in South St. Louis for 13+ years and it was always vacant. It wasn’t anything remarkable save for the fact that it was the only survivor of what had once been a typically dense city block. In March, a small crew had been dispatched to carefully dismantle the building for brick salvage.

Every day for one week, I took pictures of it from the same vantage points just to see a mini-movie of demolition play out, frame by frame.

Turns out that Saint Louis University owns this property. Actually, they own many full blocks of property in this immediate area. Considering that SLU is currently erecting a new building a few blocks west at Chouteau & Grand (photo below, left side), this is no big surprise. Just wondering if SLU will reuse all the brick they’re demolishing for all these new projects.

Demetrie Kabbaz


The current issue of Arch City Chronicles features a piece I did on Demetrie Kabbaz, the man behind the mysterious Marilyn Shrine. It was a nice way to formally honor the man behind the art that kept me enthralled for so long.

Here’s the story, in original blog entry order:

May 10, 2005
May 29, 2005
August 4, 2005
September 25, 2005
October 23, 2005
December 6, 2005

And here’s to many more reels in the Technicolor MGM musical that is Kabbaz!

Garage Mahal Ban?


As the grassroots SUV backlash slowly grows, some communities turn their gaze to “Hummer Houses” being inappropriate for their established neighborhoods.

MSN covers the topic here.
It also outlines the steps communities can take to minimize or stop the teardown trend:
5 Ways To Fight The McMansion Expansion.

When the mainstream media continually uses this topic as a general-interest catch-all, then there’s hope that environmental logic and lifestyle sensibility will one day be deciding factors in new home building. Don the rose colored glasses…

Hampton Avenue Renovations

2600 Block Hampton Avenue,
South St. Louis, MO

Near where Watson Road swerves into Hampton, a building gets a makeover. I used the building when it was City Photo, and then it became a center for gamers. It then sat vacant for a time.

I’ve always liked the buildings windows, and it’s no-nonsense clean lines. Actually, many of the buildings along this stretch of Hampton are mid-century modern cool. Documenting all of them has been a quarter-completed “get to it” project for a few years now.

When construction work started on this building, I fully assumed it would be rendered dull and void, as is the trend with commercial spaces of that era. New owners are intent upon adding post-modern-traditional frippery to simple, sleek buildings, in hopes of “classing up” the joint.

But that’s not what’s happening here. Mills Builder have repaired and added heft to the original, beveled roofline, and then extended the entire line to form a more elaborate entry.

The new addition to the entry looks nice so far, and care has been taken to match the new brick with the old. Looks like Riddle Design has even allowed for planters to comprise the boundaries of the exterior foyer. I hope the original concrete window frames are under that plywood. But if not, the rest of the project is so respectful and appreciative of the understated charm of the original building, that I can overlook that. It’s just shocking to see something this thoughtful happening to an unassuming building.
4600 Block Hampton Avenue
About 4 miles south of the above location, near the Hampton/Nottingham intersection, is another mid-century commercial building that got a quick face-lift.

I’ve always admired this International Commercial Cubist facade, so low-slung and too cool to make a big deal about itself. On the left side of the picture above, you can see what color the brick had been. Recently, it got a paint job.

Normally, I’m not a fan of painting brick, but this color selection really makes the building pop. It now looks sleek and retro-sophisticated; the stainless steel awning becomes a racing stripe, and the aluminum door and window frames gleam like chrome.

Riverfront Radio is the new tenant, and their logo – hanging on a steel blue wall in the front window – looks like a hubcap. I’m working up an excuse to go inside, because I’m curious if the interior is just as cool as the new exterior touches.

The little black building now even works in tandem with its brutally modern (for this part of South St. Louis) neighbor to the north (above, right), giving this quick section of Hampton a low-key Gotham City feel. That’s so cool. Both of these Hampton Re-Do projects are cool, and smart. Here’s hoping other owners of similar buildings take the hint and run with it.

Inappropriate Redux

Almost a year ago, the very first B.E.L.T. entry was about this house under construction. Take a peek at where it was while lingering in limbo. Now, note that construction has resumed. Note that it actually looked better before it was clothed.

Yes, it’s been faced with a circus of colored brick patterns, complete with an ornate little back patio. Ahh, suburban fantasy in deep south side Carondelet… Maybe they’ll put in a pool and tennis courts.

I noticed the church one block south of this suburban palace, and wondered if the “designer” of the house was inspired by its brick work and dimensions. But that would have required the folks responsible for the house to be aware of their surroundings and wanting to fit in and contribute to the flavor of the neighborhood. So, nah, the house is just inappropriate, period.

Arch City Chronicle

The new issue of Arch City Chronicle is out, and I’m a part of it.

Though I’ve written for them in the past, they asked me to be a regular contributor to their new architecture/real estate/design section. Basically, I’ll do B.E.L.T. entries in print. Nice work if you can get it.

Click on the image if you want to actually read it. Or, if you’re in St. Louis, just pick up a copy.