Mike Lambert

I was in school that day in grade 5. Awesomely epic. August 31, 2019 | 11:40am | Updated August 31, 2019 | 1:25pm Enlarge Image Windows on the World, which sat atop the World Trade Center's north tower, is celebrated in a new book, "The Most Spectacular Restaurant in the World, " by Tom Roston. Ezra Stoller/Esto On an icebound night in February 1993, I trekked with a few hundred other New York Post employees ? copy kids, writers and top editors ? to a party none would soon forget. Our host was Steven Hoffenberg, a tax fraudster who briefly controlled the newspaper before he was sentenced to a long prison term. The venue was Windows on the World ? technically the 106th floor, the banquet level that was one story below the main dining room. The black night pressed hard against the windows. I felt the room wobble, as the towers did in high winds. We drank ourselves silly. No one could stomach Hoffenberg, the cash-strapped Post’s short-lived “savior. ” But he laid on unlimited food and booze, and we all had a ball. You won’t find that notorious party in Tom Roston’s splendid new Abrams Press book, “ The Most Spectacular Restaurant in the World: The Twin Towers, Windows on the World, and the Rebirth of New York. ” But no single account could scratch the surface of all the life and drama that Windows on the World bore during its mere 25 years. The city’s premier celebration venue, deeply woven into its social, culinary and business fabrics, deserved a proper history. Roston delivers it with power, detail, humor and heartbreak to spare. Hoffenberg had good reason to choose Windows to try and persuade Post employees that he was really a good guy. No competitor could match its capacity to awe and thrill. Not even the older Rainbow Room and certainly not tourist-trap Tavern on the Green. Although not a regular, I experienced Windows at its best and worst. For every marvelous meal, there was a mediocre or disastrous one. Two weeks after Hoffenberg’s bacchanal, we were invited by a publicist to a more normal dinner. We never got there: The date was Feb. 26, 1993 ? when terrorists first struck the Twin Towers with a bomb planted in the basement that killed six people and traumatized thousands more. Like most New Yorkers, I wouldn’t get to see Windows again until it reopened three years later with an all-new look. Many famous local restaurants ? The Four Seasons, Balthazar ? have been subjects of whole books. But strangely, there’s previously been none entirely devoted to Windows on the World, a noble but tragic enterprise so huge that it comprised five distinct venues on two floors. The top of the North Tower (on the left with antenna) housed the Windows on the World restaurant. The LIFE Images Collection via G Roston brings it to life with a novelist’s skill ? as on the eerie night when patrons and staff watched alarmed as the blackout of July 1977 plunged one chunk of the city after another into darkness. His telling of the hours before the planes struck on 9/11 gave me chills even though I’d read about them so many times before. Port Authority honcho Guy Tozzoli, who drove development of the original World Trade Center, fought with Twin Towers architect Minoru Yamasaki over the fact that Windows’ vertical windows were painfully narrow. Tozzoli got Yamasaki to widen them by a half-foot each on the 107th floor before the place opened. But the architect insisted on symmetry, so the PA also had to widen the corresponding windows on the south tower where there was no restaurant, only offices. The kitchen was the scene of innumerable crazy moments. One chef, Marc Murphy, cut a hole in a wall so he could have “cold Heinekens delivered to him expeditiously and surreptitiously. ” On stressful nights, cooks threw curried kumquats at each other “at high speed” to break the tension. Windows somehow survived a turbulent procession of internal power struggles as well as changes in ownership, management, critical reputation and culinary direction to emerge in 2000 as the world’s highest-grossing restaurant ($38. 8 million). It was a stirring revival following years when, as wine director Kevin Zraly put it, “The place sucked. ” The names of Joe Baum, the restaurant genius who created Windows, and star chef Michael Lomonaco ? who rescued its flagging kitchen in the late ’90s and escaped death on 9/11 thanks to an errand ? are familiar to millions. Fewer knew of Alan Lewis, Baum’s explosive floor boss who “walked the 107th floor like an agitated shark, ” terrified the staff and once threw a spoonful of soup at chef André René when he didn’t like the way it tasted. But there’s more than colorful anecdotes. Roston frames Windows’ history in the context of urban decline and renewal. He relates its up-and-down fortunes to those of the city ? the decay of the mid-1970s, the Wall Street boom and bust of the 1980s, the murder and AIDS plagues of the early 1990s and the Giuliani-era revival. In this telling, Windows comes to symbolize New York City’s singular capacity to regenerate itself with every turn of the cycle. What a pity that the new World Trade Center has nothing to compare with it ? only a small, top-floor dining room with bad food and precious little view. But for those who missed it, Roston’s book is a wide-open window on the glory of what was.

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If you booked dinner at Windows on the World between 1981 and 1993, you probably spoke to Deborah Rodi on the telephone. Known to all as Deb, she managed reservations at the restaurant, which was perched on the hundred-and-seventh floor of the North Tower of the World Trade Center. Windows on the World was part of a little gang of night spots high in the North Tower. There was the Greatest Bar on Earth and another restaurant called Wild Blue. At Windows on the World, the tables bore white tablecloths and little vases, each with a single flower. Men had to wear jackets or they could not take their tables. Finance was transforming the country and taking over the city?Deb watched nineteen-eighties New York decide on its identity. She remembers Grace Kelly and Andy Warhol coming in. She remembers the day, in 1983, when she didn’t ask the maître d’ whether his purple swelling was Kaposi’s sarcoma, because she didn’t want to offend him and she had only learned about the AIDS virus that morning. She was twenty-three years old when she started the job, and commuted to work from Jersey City. There were unsettling aspects to working so high up. The hanging plants in Deb’s office, one floor down, swung around as wind buffeted the skyscraper. Deb remembers a co-worker named Gerald, who would eavesdrop, she says, on other building workers, and once heard them talking about small, unchecked fires in the Trade Center’s two buildings. “Something is going to happen here one day, ” he told her. During the twelve years when she worked at the restaurant, she took home a variety of objects, in an absent-minded, memento officii sort of way. Now some of those objects are on display: the young artist Rose Salane has curated a selection of Deb’s past for a show at Company Gallery on Eldridge Street. Salane met Deb after bidding on a postcard from Windows on the World that Deb was selling online. (The show is titled “Indigo237, ” after Deb’s eBay account. ) Deb, curious whether Salane had some connection to the restaurant, wrote her an inquisitive message, and they began a correspondence. In addition to the objects Deb collected, the show includes fictional newspaper articles that report scenes from Deb’s memories. In an article titled “How to Cut a Cigar 1991, ” we read about Deb idly playing with a cigar guillotine during a safety meeting, as employees are taught how to recognize a bomb disguised as a pack of Marlboros. They don’t even sell American cigarettes here, Deb thinks, as the meeting drags on. Then a man named Bill asks Deb to show her colleagues how to cut cigars for their customers. “How to Cut a Cigar”: inkjet on newsprint, silver cigar cutter from Windows on the World (2018). Photograph Courtesy Rose Salane / Carlos/Ishikawa Gallery “WOW93”: inkjet on newsprint, playing cards from Windows on the World (2018). Photograph Courtesy Rose Salane / Carlos/Ishikawa Gallery The cigar clipper is in the show, along with a salt cellar, a dish, and Deb’s business card. There’s a promotional postcard that is illustrated with one of the elegant tables that filled the restaurant, a little, spotlit corner of intimacy against the vast darkness outside the high window. Salane has also sculpted objects based on restaurant equipment, and included several pictures taken by Deb, who is a keen photographer, and carried a camera to work with her often. (She wanted to go to art school but never did. ) In one picture, we see employees temporarily working as security personnel, in 1993, after a man named Eyad Ismoil detonated a massive truck bomb in the parking garage below the North Tower. Six people died, and hundreds were injured. Employees had the option to work security, as temps, until the restaurant was back up and running, or to take unemployment. Another photograph is a simple shot out of the window. After the 1993 bombing, Deb quit her job, afraid to keep working in a place that was a target. Salane was just a toddler at the time; she was born in Queens in the early nineties. The towers loomed over her childhood, like twin totems of the big city. She told me, when we met at her studio, near the Sumner Houses in Brooklyn, that she was “not actually so interested in 9/11. ” Instead, she’s interested in the years that 9/11 has occluded, with the backward shadow that it casts on history. (The plane that hit the North Tower struck well below Windows on the World; the seventy-three employees and eighty-seven conference attendees who were in the restaurant at the time were all killed in the attack. ) For Salane, the World Trade Center is a symbol of the whirlwind of capital that began buffeting New Yorkers in the nineteen-eighties. As the Reagan White House deregulated U. S. markets, and the Koch administration cut New York City taxes, the Financial District thrived. Meanwhile, the AIDS crisis went unaddressed, and Nancy Reagan’s war on drugs incarcerated thousands of New Yorkers. George Bush and Mikhail Gorbachev, 1990. Photograph by Deborah Rodi / Rose Salane And there in the middle of it all was Deb, one young woman in her watchtower. Looking at the little objects that she brought home from work, against the backdrop of those giant buildings, the scale of this history becomes overwhelming. The history of the Twin Towers is about a decisive change in the political course of the world; it’s also about a salt cellar with a soft burnish to its exterior. It’s about a cigar clipper held in the hand of a rich man. It’s about New Yorkers who died of AIDS, and New Yorkers who were killed by terrorists. It’s a young woman looking out the window of a tall building. It’s a plant that cannot stay still, because the whole place is swaying. Everything in Salane and Rodi’s show, whether it’s a postcard or a memory, is the opposite of a skyscraper. These objects, in their smallness and particularity, resist the enormous scale of September 11th and insist on the everyday lives and labors of individual people. As Salane writes in her show notes, the exhibition “seeks to enter history through the pedestrian entrance. ” She and Rodi have created a venue and a frame for old narratives to come forward, and to look us in our contemporary eyes. Sounds great from Chronicle review. Should be seen. Download torrent windows on the world 2. Windows on the World was one of the greatest restaurants New York City has ever seen. Located on the 107th floor of the World Trade Center, it offered guests soaring views of not only Manhattan, but also Brooklyn and New Jersey. Although the food couldn't always match the scenery, at its best, Windows provided guests with a sophisticated, forward-thinking dining experience unlike any other in New York City. Windows on the World vanished 12 years ago. On that horrific day, 79 employees of the restaurant lost their lives. Here, now, is a remembrance of Windows on the World, with an afterword from the restaurant's last chef and greatest champion, Michael Lomonaco: [GM Alan Lewis, chef Andrew Renee, restaurateur Joe Baum via Edible Manhattan] Windows on the World was the brainchild of visionary restaurateur Joe Baum. With the Restaurant Associates group, Baum created a string of '60s blockbusters including La Fonda Del Sol, The Forum of the Twelve Caesars, and The Four Seasons. In 1970, after parting ways with Restaurant Associates, Baum was hired by the Port Authority of New York and New Jersey to help develop the restaurants at the World Trade Center. [A '70s menu for Windows via Typofile; A pamphlet for the world Trade Center Club via eBay] Baum, along with partners Michael Whitman and Dennis Sweeney, created 22 restaurants for the World Trade Center, many of which were casual operations located in the basement concourse. But the most elaborate Baum creation was Windows on the World, which occupied the 106th and 107th floors of the North Tower. The restaurateur hired architect Warren Platner to design a grand, modern space. [ Windows on the World Ephemera from Milton] Graphic designer Milton Glaser (of the I? NY and Brooklyn Brewery logos) contributed the menu artwork, dishware patterns, and logo. Barbara Kafka picked the plateware and silverware. And James Beard and Jacques Pepin helped develop the menu. The Port Authority then signed a master lease with Inhilco, a subsidiary of Hilton International, to run the World Trade Center restaurants. Baum and his team then moved to Inhilco to put their plans into action. [Kevin Zraly talking to guests in 1976 via The Nestle Library] Windows on the World opened on April 19, 1976, as a private club with 1, 500 members who paid dues based on their relationship with and proximity to the World Trade Center ? WTC tenants paid $360 a year, and those who lived outside the "port district" paid just $50. But anyone could visit Windows on the World in the early days if they paid $10 in dues, plus $3 per guest. [The Hors d'Oeuvrerie via The Nestle Library] In addition to the main dining room, where a table d'hote dinner was $13. 50, Windows on the World had an Hors d'Oeuvrerie that served global small plates. [Cellar in the Sky via Baum + Whiteman] One offshoot, dubbed the Cellar in the Sky, offered an expansive wine list from young gun sommelier Kevin Zraly, plus a five-course menu of American and European fare. In a New York magazine cover story titled "The Most Spectacular Restaurant in the World, " Gael Greene describes the experience of entering the dining room: Every view is brand-new? a miracle. In the Statue of Liberty Lounge, the harbor's heroic blue sweep makes you feel like the ruler of some extraordinary universe. All the bridges of Brooklyn and Queens and Staten Island stretch across the restaurant's promenade. Even New Jersey looks good from here. Down below are all of Manhattan and helicopters and clouds. Everything to hate and fear is invisible. Pollution is but a cloud. A fire raging below Washington Square is a dream, silent, almost unreal, though you can see the arc of water licking flame. Default is a silly nightmare. There is no doggy doo. Garbage is an illusion. [Cellar in the Sky via Baum + Whiteman] Windows on the World was an immediate success. New York Times critic Mimi Sheraton describes the dining experience: Unquestionably the best thing about this place, other than the toy-town views of bridges and rivers, skylines and avenues is the menu. It represents an international crossroads of gastronomy, stylish and contemporary, and perfectly suited to this particular setting and this particular city. The restaurant quickly became a favorite hangout of high-powered businessmen, politicians, and celebrities. By the end of its first year, Windows on the World had a waiting list that was fully booked for six months straight. [The view facing west via The David Blahg] In 2001, Joe Baum's creative partner Michael Whiteman told the Times: "In a way, it was the symbol of the beginning of the turnaround of New York.. were successful because New York wanted us to be successful. It couldn't stand another heartbreaking failure. '' [The original Windows on the World crew via Suzette Howes] Joe Baum was only involved in the management of Windows on the World during its first three years in business, but the restaurant sailed along through the '80s and early '90s. During this period, the restaurant employed a number of chefs that would go on to find success on their own, including Kurt Gutenbrunner, Christian Delouvrier, Eberhard Müller, and Cyril Reynaud. The critics were not always kind to Windows on the World, but year after year, it remained one of the top-grossing restaurants in the country. On February 26, 1993, a group of terrorists detonated a bomb inside a truck that was parked below the North Tower. The bombing killed six people, and injured over a thousand. The explosion damaged storing and receiving areas used by Windows on the World, and the restaurant was forced to shutter. Hilton International gave up its lease after the bombing, and the Port Authority of New York and New Jersey asked 35 restaurant groups for proposals for the Windows on the World space. [a New York article on the revamp from July 15, 1996] On May 13, 1994, the Port Authority of New York and New Jersey announced that the Joseph Baum & Michael Whiteman Company had won the contract. Almost two decades after opening the restaurant, Joe Baum was back in control of Windows on the World. [Cellar in the Sky, 1996 via Baum + Whiteman] Baum and his partners tapped Hugh Hardy to create a dining room that was more colorful and whimsical than the original. Unlike the old Windows, which served Continental fare with a sharp American influence, the new restaurant offered a globetrotting menu from chef Philippe Feret. [The Greatest Bar on Earth via Skyscrapercity] The Hors d'Oeuvrerie was replaced by The Greatest Bar on Earth, a splashy space that had three bars and a menu of fun international fare. Before the reopening in summer of 1996, Baum told the Times: "When Windows first opened it was a great restaurant for New tourists came, they came mostly because New Yorkers were proud to bring them here. We want Windows to be a great restaurant for New Yorkers again. " [Windows on the World in 1996 via the Container List] Feret left Windows in May of 1997, and he was replaced by Michael Lomonaco, a chef that had earned raves at the '21' Club. A few months after he took control of the kitchen, Ruth Reichl bestowed two stars on Windows on the World. In 1999, Cellar in the Sky was replaced by Wild Blue, a cozy American restaurant, that was also overseen by Lomonaco. In his review, William Grimes wrote: "When night falls, Wild Blue feels like a plush space capsule hurtling through the cosmos. " 79 Windows of the World employees died on September 11, 2001. Michael Lomonaco was conducting an errand in the concourse of the World Trade Center when the first plane hit. The chef was evacuated from the building immediately, and witnessed the second plane hit the WTC from the street. Lomonaco then headed north and made it up to his home on the Upper East Side, where he immediately started figuring out who was working that day. 2001: Lomonaco and His Team Search for Employees: By the following week, a Windows on the World hotline was set up at the restaurant's sister establishment, Beacon, and Lomonaco and his head of human resources, Elizabeth Ortiz, began working to find the 50 employees that were unaccounted for. Lomonaco soon helped set up an relief fund called Windows of Hope, which raised over $22 million for the families of Windows workers. [A screengrab of the Windows on the World website from 2002] Windows on the World co-owner David Emil opened a Theater District restaurant in 2002 called Noche, which was staffed by several Windows employees, including Lomonaco ? it closed in 2004. Some of the Windows employees opened a Noho restaurant in 2006 called Colors ? it's still open, but only for parties and private events. For the past seven years, Lomonaco has been the co-owner and executive chef of Porter House in the Time Warner Center, and he recently opened Center Bar, a casual spinoff on the same floor as Porter House. The Port Authority has ruled out the possibility of putting a fine dining restaurant like Windows on the World at the top of the new World Trade Center, which is slated to open in 2014. Earlier this week, Eater interviewed Michael Lomonaco about his experiences on the 106th and 107th floors of the North Tower. Here's an extended look back: [Michael Lomonaco via Porter House] What did it mean to you to get that job at Windows on the World? Michael Lomonaco: Well I'd never been there before. I'd never worked there. I'm a native New Yorker, and I remember very clearly when Windows on the World opened. I have very clear memories of that, even the review that they did in New York magazine. But one of the key memories I had always had was Cellar in the Sky, because the original Cellar in the Sky was a prix fixe restaurant ? that was pretty new to New York. And it was advertised weekly in the dining section of the Times ? they advertised the menu as changed every week, or every other week. That ad always stuck in my mind, how they promoted Cellar in the Sky. It just sounded so incredible. So fas

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Windows on the World is an engaging film that captures viewers attention and relates the reality of millions of immigrants living in the U.S. It is a must watch. Earlier this year I saw a yt video of a protest of many many thousands against paedo pervs. People had organised themselves with no big financial backers. MSM never touched it. Seems all wars are bankers wars, and all high profile even small protests are bankers protests. Windows on the World, despite the fact that it takes place in the weeks following the 9/11 terrorist attack in New York, is a film that is urgently for our time. It is a hero's journey of a son trying to find his father in that grief-stricken landscape and the characters stand in for the millions of immigrants, legal and illegal, who contribute in their everyday lives, to the American landscape. The film seeks to counter the narrative that's all-too-prevalent in today's political and media landscape by telling a story set in America's biggest and most diverse city, at its darkest time. The script by playwright and novelist Robert Mailer Anderson (who also produced the film) is wise and completely engaging; he creates indelible characters who are ultimately inspiring and uplifting. Edward James Olmos gives what he considers to be the performance of a lifetime, and the rest of the cast is terrific as well-with a special shout-out to Glynn Turman. The direction, by Olmos's son Michael, is sure-handed, getting terrific performances from his cast, including his father, in this father-son story, and it's beautifully lensed. The music, including jazz and a title track written by Anderson, is pitch-perfect, supporting the story without getting in the way. This film should be seen by everybody-and I'm sure it will be in mainstream distribution soon, as this is a time when, although the major studios may have turned their backs on substance, terrific indie films like this one have many other possible venues. If you can't see it at a film festival, like I did, keep a keen eye out for it. Terrific and inspiring.
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