Living Local in the East Village

Author(s):  
Sharon Zukin

You’re waiting to meet the Japanese college students at 10 A.M. on the corner of Broadway and Astor Place. It’s a cool and drizzly day in June, passersby are buttoned up against the chill, and at this early hour downtown doesn’t have its usual buzz. When the students show up, you’re surprised to see they’re all young women, led by a middle-aged male professor who has some contacts in the city. They’re excited to be in New York, especially in Greenwich Village, and they whip out their digital cameras when you show them the colored tiles that Jim Power, the otherwise unemployed “Mosaic Man,” has spent the past twenty years gluing onto lampposts in a single-handed effort to beautify the neighborhood. They giggle in soft, high voices when you point out the Japanese pastry shop around the corner. “Beard Papa’s,” you hear them say to each other. They know the name of this chain from home. But they don’t know about local institutions such as Astor Place Hair Stylists, which occupies a basement in the building behind you, with its multiethnic team of eighty barbers who use their old-school expertise with the clippers to style the most eye-catching, gravity-defying Mohawks of the Lower Manhattan punk scene. In the 1980s young men used to make the pilgrimage to Astor’s barbers in the East Village from the suburbs and overseas, walking in with a shaggy mane and walking out with a towering crest, sprayed and lacquered and often dyed an unnatural black or red or green that went much better with their black leather jacket and metal studs. Opened in 1945 by an Italian American barber, the salon is still family owned and run. Now it shares the block with a branch of Cold Stone Creamery, the ice cream chain, Arche, the French shoe store chain, and a big Barnes & Noble bookstore. Neither do the Japanese students know that the Walgreen’s drugstore on the corner was until recently Astor Wines.

Author(s):  
Rebecca Yamin ◽  
Donna J. Seifert

This chapter focuses on two case studies, reviewing in detail the findings of large urban projects that encountered brothel sites. The New York City project addresses the history and archaeology of a brothel in the Five Points neighborhood of Lower Manhattan. The discussion contrasts the reputation of the residents with the evidence revealed by the artifact assemblages. The discussion of Washington, D.C. parlor houses addresses the remarkable assemblage of high-class furnishings and possessions and expensive foods enjoyed in the houses in the heart of the city—houses that served the men of government and business in the nation’s capital.


2011 ◽  
pp. 751-758
Author(s):  
Claudia G. Green ◽  
Suzanne K. Murrmann

Following the events of September 11, 2001 (9-11), the Civic Alliance to Rebuild Downtown New York established a forum for the purposes of gathering citizen opinions on the nature of the rebuilding of New York City’s Lower Manhattan area. Citizens gave their opinions on the development of space for a memorial, performing arts spaces, museums, restaurants, hotels, residences and businesses. This effort was named “Listening to the City.” Civic Alliance organized two types of citizen opinion-gathering strategies: face-to-face focus groups and online dialog focus groups (www.listeningtothecity.org). The purpose of this article is to assess citizen satisfaction with veness of the online format of citizen involvement in making decisions regarding the rebuilding of Lower Manhattan following the attacks of 9-11. The results contribute to our understanding of the use of Internet technology in gathering citizen opinions in urban development and planning.


Author(s):  
C. G. Green ◽  
S. K. Murrmann

Following the events of September 11, 2001 (9-11), the Civic Alliance to Rebuild Downtown New York established a forum for the purposes of gathering citizen opinions on the nature of the rebuilding of New York City’s Lower Manhattan area. Citizens gave their opinions on the development of space for a memorial, performing arts spaces, museums, restaurants, hotels, residences and businesses. This effort was named “Listening to the City.” Civic Alliance organized two types of citizen opinion-gathering strategies: face-to-face focus groups and online dialog focus groups (www.listeningtothecity.org). The purpose of this article is to assess citizen satisfaction with veness of the online format of citizen involvement in making decisions regarding the rebuilding of Lower Manhattan following the attacks of 9-11. The results contribute to our understanding of the use of Internet technology in gathering citizen opinions in urban development and planning.


Author(s):  
Sharon Zukin

It’s a Saturday afternoon in mid-July and the city is swooning in 96-degree heat and fearsome humidity. You think it will be cooler out on the water than in the subway, so you line up at the Wall Street pier in Lower Manhattan to take the free water taxi across the East River to Red Hook, on the Brooklyn waterfront. The ride is sponsored by IKEA, the Swedish big-box chain that opened its first New York City outpost in Red Hook a few weeks earlier. Because the neighborhood is notoriously difficult to reach on public transportation and IKEA is hoping to lure shoppers whose apartments are starved for Scandinavian modern couches but who don’t own cars, the store has decided to sponsor water taxis from Manhattan. They have a system to discourage free riders from Brooklyn. You get your hand stamped before you walk onto the ferry so the taxi company’s employees, on IKEA’s instructions, can refuse to carry any passenger on the return trip who didn’t come to Brooklyn to make a purchase. Sitting on the top deck of the ferry, you’re caught up in an air of joyful anticipation. The small boat is full, with more than thirty passengers, some of them young children and their parents, all smiling and laughing from the unusual pleasure of being out on the water on a sunny afternoon, and from the pleasure of a shopping trip as well. The kids snap photos with cell phone cameras, everyone admires the Statue of Liberty on the other side of the harbor, and a few passengers point out the artificial waterfalls designed by the Scandinavian artist Olafur Eliasson that have been installed on the river for the summer as a public art project. Though the ride takes less than ten minutes, it’s the kind of entertainment New Yorkers love: a chance to act like tourists on the town.


2021 ◽  
Author(s):  
Stephanie Power

My roots are showing: as a girl from out around the bay who “idolized New York all out of proportion” – to quote Woody Allen’s Isaac in Manhattan – a sense of aspiration informs this project. Growing up in Newfoundland, I had two tenuous connections to New York: my mother voraciously read the american society bible “Town and Country” and my father travelled to New York twice in the 1960’s to visit his sisters, Mary and Bride, who as young women moved to Brooklyn from Chapel Arm, Newfoundland in the 1940’s. As a child ever envious that my aunts had unlimited access to such a cosmopolitan place, I was drawn to the idealistic notion of New York as a “magic city.” I idolized Mary, a fierce woman who was my template for what I imagined was the archetypal New Yorker: brash, quick-witted, uncompromising. As a child, I witnessed her throw the “chin flick” and it thrilled me. It was such a brazenly profane gesture from an old school God-fearing Catholic. And it was so New York! She remained close to my father until he died from complications due to Alzheimers in 2000. Now 95, and also with Alzheimers, she lives in an old age home in the same Newfoundland town where I drifted through the pre-fab hallways of my high school and plotted my escape to the magic city. But I would never have the cojones to move to New York like Mary and Bride, even though opportunities presented themselves to me. To this day, I remain an outsider: roaming the city with a camera, often strolling by Robert Frank’s house on the slim chance I might find him sitting outside – I hear it’s a habit of his. Frank, Garry Winogrand, Diane Arbus, Helen Levitt and Saul Leiter: I worship them in the same way I worshipped Aunt Mary. Their traces remain on the streets I walk: ghosts that whisper sweetly while I look forward and backward through my lens, caught in a temporal loop, searching for a city that I’m not sure exists, except in my head. New York looms large in the collective imagination and we all have our versions of it. This is mine.


Last Subway ◽  
2020 ◽  
pp. 10-26
Author(s):  
Philip Mark Plotch

This chapter discusses how the creation of an urban transportation system transformed New York City. After private railroad companies built tracks for elevated railroads (Els) above the city's streets in the 1870s, the city's population spread out and grew rapidly from Lower Manhattan. To continue growing, however, the city had to build electric-powered rail lines, underground, that would travel faster and further and would accommodate even more people than the Els. Thus, the City of New York paid the construction costs for its first subway and in 1900 entered into a long-term lease with the Interborough Rapid Transit Company (IRT) to build and operate it. In 1913, the City of New York entered into contracts with two companies—the IRT and the Brooklyn Rapid Transit Company (BRT)—to build more lines in Manhattan, Brooklyn, Queens, and the Bronx. However, in the early twentieth century, New York's politicians took a shortsighted approach to the transit system. Instead of raising fares, they raised false expectations that New Yorkers could have high-quality subway service with low fares. The repercussions would last for generations. The chapter then looks at the establishment of the Office of Transit Construction Commissioner, the construction of a city-owned and city-operated “Independent” (IND) subway system, and the planning for a Second Avenue subway.


Author(s):  
Arleen Pancza Graham

Gertrude Vanderbilt Whitney, an American sculptor, art collector, philanthropist, and patron, is usually remembered as the founder of The Whitney Museum of American Art in New York. A Manhattan native, she was the great-granddaughter of the wealthy transportation industrialist, Cornelius Vanderbilt (1794–1877). In 1896, she married the affluent Harry Payne Whitney (1872–1930), an heir to an oil, tobacco, and banking fortune and descendent of Eli Whitney, who invented the cotton gin. She participated in many philanthropic activities in her lifetime, including sponsoring the American Ambulance Field Hospital in France during World War I. Though she participated in society events, she preferred the company of the bohemian artists who frequented the Greenwich Village area of lower Manhattan. In 1907, she established her own studio on MacDougal Alley in the Village. In 1914, she bought a townhouse at 8 West 8th Street, to which she added adjoining townhouses that became known as the Whitney Studio Club. It was a gathering place where artists could socialize, study, sketch, and exhibit their work. It was during this period that she first employed Juliana Rieser Force (1876–1948) as her secretary. An able administrator, Force later became the founding director of the Whitney Museum at that location.


2021 ◽  
Author(s):  
Stephanie Power

My roots are showing: as a girl from out around the bay who “idolized New York all out of proportion” – to quote Woody Allen’s Isaac in Manhattan – a sense of aspiration informs this project. Growing up in Newfoundland, I had two tenuous connections to New York: my mother voraciously read the american society bible “Town and Country” and my father travelled to New York twice in the 1960’s to visit his sisters, Mary and Bride, who as young women moved to Brooklyn from Chapel Arm, Newfoundland in the 1940’s. As a child ever envious that my aunts had unlimited access to such a cosmopolitan place, I was drawn to the idealistic notion of New York as a “magic city.” I idolized Mary, a fierce woman who was my template for what I imagined was the archetypal New Yorker: brash, quick-witted, uncompromising. As a child, I witnessed her throw the “chin flick” and it thrilled me. It was such a brazenly profane gesture from an old school God-fearing Catholic. And it was so New York! She remained close to my father until he died from complications due to Alzheimers in 2000. Now 95, and also with Alzheimers, she lives in an old age home in the same Newfoundland town where I drifted through the pre-fab hallways of my high school and plotted my escape to the magic city. But I would never have the cojones to move to New York like Mary and Bride, even though opportunities presented themselves to me. To this day, I remain an outsider: roaming the city with a camera, often strolling by Robert Frank’s house on the slim chance I might find him sitting outside – I hear it’s a habit of his. Frank, Garry Winogrand, Diane Arbus, Helen Levitt and Saul Leiter: I worship them in the same way I worshipped Aunt Mary. Their traces remain on the streets I walk: ghosts that whisper sweetly while I look forward and backward through my lens, caught in a temporal loop, searching for a city that I’m not sure exists, except in my head. New York looms large in the collective imagination and we all have our versions of it. This is mine.


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