Today on Gotham, Prithi Kanakamedala interviews Gabrielle Bendiner-Viani about the process of community-engaged pedagogy, collaborative public history, and advocacy around the Lower East Side's SPURA.
Read More“It was the best of times, it was the worst of times.” The famous opening line of Dickens’ Tale of Two Cities certainly seems like an appropriate way sum up 1970s New York, but I cite it also because the novel itself comes up in The Deuce’s first season as a book that launches a young prostitute on the road to reading and going back to school. Objectively life in New York City during the 1970s and early 80s was pretty bad — high crime rates, rampant homelessness, loose trash everywhere, whole neighborhoods of abandoned buildings crumbling and burning — yet it was an incredibly creative time as well: in music, art, performance, theater and sexuality. This was brought home to me recently when a 70-year-old retired professor of history said to me: “I know everything was so terrible in that period, but it was also incredibly exciting.”
Read MoreHeidi Waleson’s Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in Americatakes us behind the scenes at a long-beloved, and recently resurrected, New York cultural institution. The New York City Opera was founded in 1944 when the New York City Council and Mayor Fiorello H. LaGuardia inaugurated the City Center of Music and Drama. As one of the center’s constituent performance ensembles, the opera company’s original mission was to bring opera to the people through affordable ticket prices and popular repertoire. Waleson recounts the company’s struggle to survive through the decades as views changed about the importance of opera, both in New York City and around the country. Readers of the book are made constantly aware that City Opera, even from the start, was only barely cheating death and that its demise was preordained.
Read MoreThe traditional narrative of twentieth century urban living has often concerned itself only with the antipodal philosophies and practices of urban planner Robert Moses and critic Jane Jacobs. This binary conception of American urban life contrasted Moses’ radical projects that aimed to remake New York to suit the automobile with Jacobs’ admonishments that quality of life required small, organic neighborhoods of diverse inhabitants and independent businesses. These philosophies, however, were both time and space-specific. Moses’ vision of the ideal city was prompted by the ascent of the automobile and the crumbling infrastructure of immigrant, tenement neighborhoods; he acknowledged a fundamental change in the modes of production and consumption and sought to drastically reorient urban life accordingly. Jacobs’ ideal, alternatively, reacted against the raze and rebuild, top-down approach of Moses. Yet she depended upon historical continuity and assumed an element of permanence in the neighborhoods she studied and strove to protect.
Read MoreIn early 1974, members of the punk band Television spotted a newly reopened yet unavoidably dingy lower Bowery bar on their way home from rehearsal. Returning soon after, they approached the owner Hilly Krystal and asked if he would host performances by bands that were playing a different kind of rock music. After an initial four-week residency by Television, CBGB & OMFUG (Country, Bluegrass, Blues & Other Music for Uplifting Gormandizers) continued to host countless bands and fostered the emerging punk and No-Wave music scenes of the 1970s and 1980s. Even after its role in any identifiable and burgeoning music scene came to an end in the 1990s, it still hosted performances until its ultimate demise in 2006 — its final sendoff facilitated by Blondie and Patti Smith. By 2008 the former venue was occupied by clothing designer John Varvatos, who kept some of the graffiti, stickers, and concert posters as accents to the calculated ‘subversiveness’ of the items on sale.
Read MoreToday on the blog, editor Molly Rosner speaks to Sarita Daftary-Steel, founder of the East New York Oral History Project, an interview project documenting the experiences of people who lived in East New York during a decade of rapid change from 1960-70.
Read MoreBetween Saturday, March 17 and Monday, March 19, 1973, every major television station in the New York urban region — from Hartford, Connecticut to Trenton, New Jersey — broadcast a one-hour, documentary-style program on housing in the tri-state region of New York, New Jersey, and Connecticut. “Housing — A Place to Live,” which aired at different times on eighteen channels, was the first of six “television town meetings” produced by Regional Plan Association, metropolitan New York’s private, citizen-led planning agency. Four other programs on transportation, the environment, poverty and urban growth followed the first, airing every other week. The sixth episode, on government, was slated for autumn.
Read More“The past: a New and uncertain world, a world of endless possibilities and infinite outcomes. Countless choices define our fate — each choice, each moment, a ripple in the river of time — Enough ripples and you change the tide, for the future is never truly set.” This is the lesson Dr. Xavier learns at the end of the Marvel film, X-Men: Days of Future Past(2014). It’s a science-fiction alternative history in which the X-Men send Logan (Wolverine) back to the year 1973 to change their fate. In order to prevent the sequence of events that leads to mutant annihilation Logan must break into the Pentagon, prevent a landmark arms deal at the Paris Peace Accords, and save Richard Nixon from mutant radicals (as one might expect). The comic on which the film was based, however, is a far different story.
Read MoreWhen artist and writer David Wojnarowicz returned to New York City in 1979 from a lengthy stay with his sister in Paris, he used office equipment to print a large cutout of the face of poet Arthur Rimbaud, a cigarette to burn two narrow eye-holes, and a knife to carve out a gently sloping mouth. Long inspired by the French poet’s life and work, Wojnarowicz sought to impersonate the poet in order to stage his own coming-of-age among the city’s ruins and cultural underground. He used his friends as models and staged scenes that inserted the fragile, pale face of Rimbaud into the dirty confusion of 1970s New York.
Read MorePhotography, at least before the digital era, has a special relationship to history. Unlike other visual images, photographs are ‘traces’ of what they portray— they are the direct result of light reflected from objects in front of the camera onto a chemical emulsion. The photographic trace is recorded at a moment of time and then stored for future viewing; it is, thus, automatically an historical representation. According to cultural critic Siegfried Kracauer, the historical significance of photographs rests on their capacity to record things normally unnoticed at the time.
Read More
