The local paper for the Upper East Side
WEEK OF MARCH MIRÓ: POETRY IN PICTURES ◄ P.12
21-27 2019
UES ‘CONDO ON STILTS’ PAUSED
Also inside:
DEVELOPMENT DOB raises fire safety concerns related to void space in East 62nd Street tower BY MICHAEL GAROFALO
Mayor Bill de Blasio pitched an ambitious plan last week to prepare Lower Manhattan for the projected impacts of climate change by literally transforming the island’s waterfront. The proposal would push the shoreline anywhere from 50 to 500 feet into the East River along a roughly onemile stretch of Lower Manhattan’s east side between the Brooklyn Bridge and the Battery. The new land would serve as an elevated flood barrier protecting the Financial District and South Street Seaport area from future sea-level rise and storm surge events.
As the city prepares to tighten restrictions on developers’ use of mechanical voids — large, empty spaces within buildings that primarily serve to inflate the height, views and market value of the floors above — a planned Upper East Side tower frequently cited by critics as among the most egregious examples of the practice is in limbo as the Department of Buildings evaluates void-related objections concerning the project. The developers of the proposed 510-foot residential building at 249 East 62nd St. — derided by critics as a “condo on stilts,” in reference to the 150-foot void between its base and top 12 residential floors — face additional scrutiny from DOB regarding potential fire safety issues posed by the tower’s large void space, much of which is classified for zoning purposes as outdoor area. The DOB notified local elected officials and land use advocates March 4 that it had requested the developer provide “written approval from the [New York City Fire Department] concerning the proposed conditions at the intermediate level outdoor space, including but not limited to FDNY emergency access and safety operations.” The agency’s objections to the project mirror concerns raised by State Sen. Liz Krueger, Manhattan Borough President Gale Brewer, Upper East Side City Council Members Keith Powers and Ben Kallos, and the local nonprofit group Friends of the Upper East Side Historic Districts, who had formally requested weeks earlier that DOB refer the project to FDNY. “In the event of an emergency, first responders are going to be called upon to run up hundreds of feet of empty build-
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Post-Sandy flooding near South Street Seaport: Photo: NYC Department of Small Business
RESHAPING LOWER MANHATTAN ENVIRONMENT Mayor proposes expanding the downtown shoreline up to 500 feet into East River to protect city from impacts of climate change BY MICHAEL GAROFALO
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The Department of City Planning’s proposal to reign in mechanical voids applies only to certain residential zoning districts, shown in this map. The agency plans to expand the geographic scope of the rule change in a follow-up proposal later this year. Image: Department of City Planning
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In the event of an emergency, first responders are going to be called upon to run up hundreds of feet of empty building to rescue people in these apartments.” Council Member Ben Kallos
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ENTITLEMENT AND THE COLLEGE GAME VIEWPOINT My peers complained about pressure from their parents; I wanted to be pushed harder. What was wrong with my father? BY ALIZAH SALARIO
In the Chicago suburbs where I grew up, an elite college education wasn’t unusual. It was an expectation, and that came with a huge sense of entitlement. Each spring, my high school newspaper published a list of colleges where every graduating senior was going. As an editor, it was my job to contact the classmates who didn’t submit their decision to the paper to ďŹ nd out their college of choice. A few were evasive; I knew they were waitlisted. I felt uncomfortable pressing them to say on the record they were going to the University of Illinois, for instance, knowing they were on the waitlist at Northwestern. It was the ďŹ rst time (but not the last) deadline pressure crushed my timidity. I pushed for what felt like crucial information the student body deserved to know.
It seems strange to me now that I didn’t see a problem with publishing what was on some level a classist social hierarchy. In light of the “Varsity Bluesâ€? college admissions scandal, the list (which included its fair share of Ivy League and legacy admissions) and the parents who illegally bribed test proctors and university employees to to falsify applications, are born of the same expectations and pressures. The belief that where you go to college deďŹ nes you and your future — and the desperate measures parents and students go to in securing spots at top school — are even more intense nearly two decades after I graduated high school. At least that’s where my social anxiety stemmed from. My high school is widely considered to be one of the best public schools in the country. College anxiety and application bolstering began early sophomore year. SAT prep courses and private tutoring were common, as were extensive college tours organized by high-achieving parents for their high-achieving kids. I was quickly swept up in the notion that if I failed to achieve academically, I’d likely fail at life. I begged for private SAT prep, but
The local paper for the Upper East Side
my father refused. My grades and test scores were good, he reasoned. Not good enough, I countered. Freshman year, he made me quit the swim team because practice before and after school was “too much� for me (our team won the state championships). He complained that I stayed up all hours doing homework after my long rehearsals for our school’s near-professional plays. My peers complained about how much their parents pressured them; I wanted to be pushed harder. This distinction caused me extreme humiliation as a teenager. What was wrong with my father? What I considered average exceeded his expectations. My father, a generation older than most of my peers’ parents, had gone to Roosevelt University on the GI Bill and later to the Chicago School of Optometry. He was old, to me, and spoke of going to “the school of hard knocks� and quotas for Jewish students that might have deterred him from going to medical school. My mother never attended college. I was expected to go to college, but not at all costs. It was understood I’d attend the college that gave me the most aid/ scholarship money and I did. It wasn’t
the most prestigious place I got in, and I learned my dad’s values differed from the people around me, who were shocked I wouldn’t attend the best school I got into. He never said it, but he didn’t need to. My father made it clear I wasn’t entitled to anything. I ended up at Pitzer College in Claremont, California. Though it’s a top liberal arts college, I still felt ashamed that its reputation fell short in the eyes of some striver friends. This was an early lesson for me in hierarchies, brand recognition and how money, or those willing to spend it, made a massive difference in who got ahead. I had taken so much for granted, and realized that although I felt I had it rough compared to those surrounding me, I was incredibly high-achieving and privileged by most standards. Though I scorned peers who did “betterâ€? than me because their parents paid for pricey tutors and pushed them to extremes, I too had felt entitled to success. That’s what bothers me most: the system makes even people like me feel they aren’t enough. I was grateful I chose a school that provided an excellent education, and allowed me the freedom to ďŹ nd value and meaning outside of academics.
But a feeling of inadequacy stuck with me. I was determined to attend an Ivy League grad school, and I did. I took out loans, and felt anxious about my debt. After a fellowship post-graduation, I took a paying job I didn’t want, adjacent to my ďŹ eld. I don’t regret my choices. I just wish I’d better understood the consequences. Attending the best colleges does not equal happiness. It doesn’t guarantee success or ďŹ nancial security. I also wish I’d better understood myself, and why I was both envious and scornful of so many people I grew up with. Maybe that’s why I was so annoyed at my father — he refused to play the game. Perhaps he was wise not to get swept up in a game that was rigged from the start.
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The author at Pitzer College. Photo courtesy of Alizah Salario
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CRIME WATCH BY JERRY DANZIG MASKED MUGGER STEALS PHONE At 10:32 p.m. on Thursday, Mar. 7, a 37-year-old man was using his cell phone while walking on East 72nd St. when a man wearing a ski mask attacked him, causing him to drop the phone. The suspect picked up the phone and ran to a waiting car, which took off. The victim suffered a small laceration on his lip and complained of pain to his right shoulder. Police searched the neighborhood but couldn’t find the thief or the car, a sports sedan.
NOTHING TAKEN IN STREET ASSAULT A 50-year-old man was walking north on Lexington Ave. near East 89th St. around 6 p.m. on Monday, Mar. 4 when a male teenager came up behind him and pulled on his backpack. This caused the older man to turn around and the suspect then punched him in the face. The victim kicked the youth to defend himself and hurt his own foot. The attacker then threw ice balls at the victim before running west on 89th St. toward Park Ave. The victim told police the perpetrator had been accompanied by four other youths, but he was the only aggressor. None of the group tried to steal the victim’s property, police said.
STATS FOR THE WEEK Reported crimes from the 19th precinct for the week ending Mar 10 Week to Date
Year to Date
2019 2018
% Change 2019
2018
% Change
Murder
0
0
n/a
0
0
n/a
Rape
0
0
n/a
4
2
100.0
Robbery
1
1
0.0
27
22
22.7
Felony Assault
1
2
-50.0
23
29
-20.7
Burglary
3
1
200.0
45
40
12.5
Grand Larceny
18
21
-14.3
285
279
2.2
Grand Larceny Auto
0
0
n/a
3
7
-57.1
Photo by Tony Webster, via Flickr
UNREGISTERED SCOOTER LEADS TO DRUGS ARREST
OPEN DOOR INVITATION ... TO BURGLARS
There was no scooting from the law for an unlicensed scooter driver recently. On Saturday evening, Mar. 9, a 45-year-old man was seen riding a silver 2018 Geely scooter without license plates at the corner of Lexington Ave. and East 96th St.. Police pulled over the driver, who said he didn’t have a license and instead produced a New York State photo ID card. Police soon discovered that the defendant had a suspended license and his vehicle was unregistered and uninsured. Police said a search of the man at the time of his arrest turned up 10 packs of suspected heroin, all bearing a red Gucci stamp. Joseph Reboyras was arrested and charged with criminal possession of a controlled substance, police said.
At 4:35 a.m. on Saturday, Mar. 9, police officers responding to a radio report of an open door in the neighborhood were flagged down by a doorman at 141 E. 88th St.. The doorman told police he saw two men in their 20s drop a lockbox on the street. The officers searched the area and found an open door at the Birch Coffee shop at 171 E. 88th St.. The lockbox had been taken from the establishment, police said, and the cash register and the safe had been forced open. Apparently, the burglars entered through the coffee shop’s front door, which had been left open by a deliveryman and then left unlocked by an employee. The thieves got away with $1,434 in cash.
STOLEN MINIVAN LINKED TO THEFTS Police pulled over a a gray 2004 Nissan Quest minivan with Pennsylvania plates in front of 1166 Second Ave. on Sunday, Mar. 10, after a license plate reader identified the van as a stolen vehicle. It turned out that the vehicle was wanted in connection with two incidents in which a perpetrator removed merchandise from commercial vehicles and placed them in the back of the minivan. In the first
incident, which took place on Dec. 5, 2018, police said the suspect removed merchandise totaling $1,818 from a box truck parked in front of 353 Lexington Ave.. In the second incident, on Feb. 26, the supect took packages worth $2,295 from a DHL truck outside 40 E. 52nd St.. The driver of the van at the time of the traffic stop, James Intriago, 48, was found to have a suspended license, police said. He was arrested and charged with aggravated unlicensed operation of a motor vehicle.
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Both accounts are FDIC-insured up to the maximum allowable limit. Platinum Savings offer available in CT, DC, DE, FL, GA, MD, NJ, NY, SC and VA. Fixed Rate CD offer available in AL, AZ, CT, DC, DE, FL, GA, MD, NJ, NM, NV, NY, PA, SC and VA. Portfolio by Wells Fargo® customers are eligible to receive an additional interest rate bonus on these accounts.3 1. To qualify for this offer, you must have a new or existing Platinum Savings account and enroll the account in this offer between 01/21/2019 and 03/22/2019. This offer is subject to change at any time, without notice. This offer is available only to Platinum Savings customers in the following states: CT, DC, DE, FL, GA, MD, NJ, NY, SC and VA. In order to earn the Special Interest Rate of 2.08% (Special Rate), you must deposit $25,000 in new money (from sources outside of Wells Fargo Bank, N.A., or its affiliates) to the enrolled savings account and maintain a minimum daily account balance of $25,000 throughout the term of this offer. The corresponding Annual Percentage Yield (APY) for this offer is 2.10%. The Special Rate will be applied to the enrolled savings account for a period of 12 months, starting on the date the account is enrolled in the offer. However, for any day during that 12 month period that the daily account balance is less than the $25,000 minimum, the Special Rate will not apply and the interest rate will revert to the standard interest rate applicable to your Platinum Savings account. As of 12/10/2018, the standard interest rate and APY for a Platinum Savings account in CT, DC, DE, FL, GA, MD, NJ, NY, SC and VA with an account balance of $0.01 to $99,999.99 is 0.03% (0.03% APY) and with an account balance of $100,000 and above is 0.05% (0.05% APY). Each tier shown reflects the current minimum daily collected balance required to obtain the applicable APY. Interest is compounded daily and paid monthly. The amount of interest earned is based on the daily collected balances in the account. Upon the expiration of the 12 month promotional period, standard interest rates apply. Minimum to open a Platinum Savings account is $25. A monthly service fee of $12 applies in any month the account falls below a $3,500 minimum daily balance. Fees may reduce earnings. Interest rates are variable and subject to change without notice. Wells Fargo may limit the amount you deposit to a Platinum Savings account to an aggregate of $1 million. Offer not available to Private Banking, Wealth, Business Banking or Wholesale customers. 2. Annual Percentage Yield (APY) is effective for accounts opened between 01/21/2019 and 03/22/2019. The 11-month New Dollar CD special requires a minimum of $25,000 brought to Wells Fargo from sources outside of Wells Fargo Bank N.A., or its affiliates to earn the advertised APY. Public Funds and Wholesale accounts are not eligible for this offer. APY assumes interest remains on deposit until maturity. Interest is compounded daily. Payment of interest on CDs is based on term: For terms less than 12 months (365 days), interest may be paid monthly, quarterly, semi-annually, or at maturity (the end of the term). For terms of 12 months or more, interest may be paid monthly, quarterly, semi-annually, or annually. A fee for early withdrawal will be imposed and could reduce earnings on this account. Special Rates are applicable to the initial term of the CD only. At maturity, the Special Rate CD will automatically renew for a term of 6 months, at the interest rate and APY in effect for CDs on renewal date not subject to a Special Rate, unless the Bank has notified you otherwise. Due to the new money requirement, accounts may only be opened at your local branch. Wells Fargo reserves the right to modify or discontinue the offer at any time without notice. Offer cannot be combined with any other consumer deposit offer. 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Word on the Street
POLICE NYPD 19th Precinct
153 E. 67th St.
212-452-0600
159 E. 85th St.
311
FIRE FDNY 22 Ladder Co 13 FDNY Engine 39/Ladder 16
157 E. 67th St.
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CITY COUNCIL Councilmember Keith Powers
211 E. 43rd St. #1205
212-818-0580
Councilmember Ben Kallos
244 E. 93rd St.
212-860-1950
STATE LEGISLATORS State Sen. Jose M. Serrano
1916 Park Ave. #202
212-828-5829
State Senator Liz Krueger
1850 Second Ave.
212-490-9535
Assembly Member Dan Quart
360 E. 57th St.
212-605-0937
Assembly Member Rebecca Seawright
1485 York Ave.
212-288-4607
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LIBRARIES Yorkville
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Webster Library
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HOSPITALS Lenox Hill NY-Presbyterian / Weill Cornell
525 E. 68th St.
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NYC HAIKU SERIES BY RACHEL E. DIKEN
NYC Haiku #1 An unlikely mix connected by human search to know one’s essence.
NYC Haiku #2 Everyone quickened their pace, like a collective turning of the page.
NYC Haiku #3 We will gravitate to places where who we are is permissible.
NYC Haiku #4 As passersby we exchanged the satisfied look of perfect timing. Rachel E. Diken is a writer, actor and filmmaker. Visit www.rachelediken.com.
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RESHAPING CONTINUED FROM PAGE 1 These low-lying neighborhoods suffered some of the borough’s worst damage during Hurricane Sandy in 2012 and will become increasingly vulnerable in the decades to come as New York City sea levels continue to rise and extreme weather events occur with increased frequency and intensity, as projected in the 2019 report of the New York City Panel on Climate Change released on March 15. By 2100, 20 percent of Lower Manhattan streets will be exposed to tidal flooding on a daily basis and almost half of all properties will be at risk from storm surge. The shoreline expansion proposal is the latest in a series of coastline protection projects targeting specific segments of the Lower Manhattan waterfront. The city has directed roughly $500 million to funding resilience strategies at the Battery, Battery Park City and the Two Bridges neighborhood, each of which will be under construction by 2021. The city’s study found that measures planned at the other sites — which include earthen berms, raised esplanades and “flip-up” flood barriers that could be deployed in advance of a storm — are not viable in the Financial District and Seaport area due to the complex infrastructure present, which includes the A/C subway tunnel and Hugh L. Carey tunnel. To create new land extending as much as two blocks into the river would require a complex permitting and regulatory approval process. Still, the mayor and his advisors believe it is the best option available.
This more resilient future cannot be paid for by private real estate development that would destroy the waterfront neighborhoods that we are trying to protect.” Council Member Margaret Chin
A map showing various coastal resilience projects aimed at protecting Lower Manhattan. The latest component is a master plan for the South Street Seaport and Financial District that will contemplate building new land in the East River to serve as a flood barrier. Image: Mayor’s Office of Recovery and Resiliency/NYCEDC “We wanted to limit the shoreline extension to only the places where that was the only feasible solution,” Jainey Bavishi, director of Mayor’s Office of Recovery & Resiliency, said at a March 14 press conference. “And in the other areas where we know that there are technologies that will provide protection without going into the water, that’s what we are moving forward with.”
“It can’t move without a president” The mayor’s office projects the undertaking will cost approximately $10 billion, an estimate that includes $4 billion for new stormwater drainage infrastructure and $6 billion for construction to extend the shoreline. The ultimate cost will be contingent upon the design of the project as a master plan is developed over the next two
years, including how many feet of shoreline extension the final plan includes. The city will look to the federal government for funding, which de Blasio acknowledged is likely a non-starter as long as President Donald Trump is in office. (The mayor made no mention of his own presidential ambitions, which brought him to New Hampshire days after the climate announcement.) “We have a climate denier in the White House,” de Blasio said. “He’s not going to change it. And it can’t move without a president. So I would say it’s after the 2020 election that we open up the possibility of a serious new national resiliency policy and serious money being applied to it, and it is consistent with the vision of the Green New Deal.” The city will implement interim pro-
tection measures such as temporary storm barriers in the Seaport district until the shoreline expansion is complete. The project might not be completed until 2030 under traditional permitting, de Blasio said, but could be completed by 2025 if the federal government cooperates to expedite the process. The mayor was noncommittal on what, if anything, should be built on any new land that is created. Whether the extremely valuable new real estate would be dedicated parks, schools, housing or other uses would ultimately be subject to community input during the city’s land use review process, de Blasio said.
Turning to private developers? The mayor’s proposal, which he announced in a New York Magazine op-ed titled “My New Plan to Climate Proof Lower Manhattan,” has some similarities to a 2013 proposal explored by the administration of former Mayor Michael Bloomberg. Bloomberg’s plan, known as “Seaport City,” envisioned an entire new neighborhood build upon new land in the
MARCH 21-27,2019 East River. The mayor differentiated his vision from the Seaport City plan by insisting that his proposal is focused primarily on climate resilience and not new development. But absent federal funding, the mayor said, turning to private developers as a source of funding could become a necessity. “From the perspective of the City of New York alone, this would be extraordinarily difficult to fund,” de Blasio said. “I think it comes down to simply this: if there’s federal money in play, it probably looks one way. If there’s not federal money in play, we have to get some private money and there has to be some development.” Margaret Chin, who represents Lower Manhattan in the City Council, immediately pushed back against the idea of private development. “With this plan to provide protection for the entire coastline of Lower Manhattan, we now have a roadmap to a more resilient and sustainable future,” Chin said in a statement. “However, this more resilient future cannot be paid for by private real estate development that would destroy the waterfront neighborhoods that we are trying to protect.” Catherine McVay Hughes, the former chair of Community Board 1 and a leading voice in Lower Manhattan’s resiliency planning efforts, said she looks forward to learning more details of the proposal as the city prepares an engineering plan and engages local stakeholders. “To not do anything to protect the Financial District and the South Street Seaport is not an option,” she said, adding, “I encourage everybody who cares about the future of Lower Manhattan to attend and participate in the meetings.”
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STUDENT CLIMATE STRIKE ACTIVISM PHOTOS AND TEXT BY JEREMY WEINE
On Friday, students from around New York City walked out of school to protest government inaction on climate change. A group from the Beacon School in Hell’s Kitchen made their way to Columbus Circle, where
they were joined by students from other schools who gathered around the U.S.S. Maine Monument at the entrance to Central Park. The various schools led chants as the crowd walked uptown along Central Park West to the American Museum of Natural History, where the students occupied the museum’s steps. The demonstration broke up around 4 p.m.
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THE DAY THE MUSIC LIVED
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Singers, pianists, composers, lyricists, publishers and “song pluggers� once flocked to Tin Pan Alley on West 28th Street. Now, their musical legacy will endure forever
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BY DOUGLAS FEIDEN
“Take Me Out to the Ballgameâ€? was published on the block. So was “Give My Regards to Broadway.â€? It was where “Sweet Adelineâ€? was immortalized. And “Bill Bailey, Won’t You Please Come Homeâ€? came to life. West 28th Street on Broadway between Fifth and Sixth Avenues was once the world’s best known musical block — and it peddled popular songs to America just like the Fulton Fish Market sold ďŹ sh. Famed as Tin Pan Alley, it kicked off the golden age of songwriting. And it flung open the doors to such African-American greats as W.C. Handy, known as the “Father of the Blues,â€? and Scott Joplin, who published his hit, “Maple Leaf Rag,â€? on the block in 1899. Now, after a campaign by preservationists that started a dozen years ago, the city’s Landmarks Preservation Commission is poised to give protected landmark status to a strip that boasted the nation’s largest concentration of sheet music publishers at the turn of the 20th century. The LPC — after ďŹ nding that the area has cultural, musical, historical and architectural merit — voted on March 12 to “calendarâ€? a five-building swath of the block, a key step toward protecting those exteriors from any future demolition and development. Once the agency calendars a structure, it is usually on a fasttrack for a formal landmark designation. The process involves a public hearing on the quintet of buildings, between 47 West 28th St. and 55 West 28th St., followed by final review, a public meeting and a binding vote typically resulting in designation. When that happens later this year, the Italianate row houses, all built between 1854 and 1857, will stand in perpetuity as the “powerhouse of pop hitsâ€? that incubated such one-time classics as “A Hot Time in the Old Town Tonightâ€? and “In the Good Old Summertime.â€? It will also enshrine their role
5P mOE PVU NPSF DPOUBDU NY Connects $BMM 1-800-342-9871 '03 ."/)"55"/ $"-- *OEJWJEVBMT XIP BSF EFBG PS IBSE PG IFBSJOH DBO VTF NY Relay System 7-1-1. 0S POMJOF BU www.nyconnects.ny.gov A plaque on 28th Street in Chelsea memorializes the golden age of American songwriting at the turn of the 20th century, a time when Tin Pan Alley published and sold some 2 billion copies of sheet music around the world. Soon, the block could have landmark status. Photo: 29th Street Neighborhood Assn. in ushering inclusivity into the music industry, providing work for minorities and immigrants — and tearing down barriers of segregation in what was then the theater district, according to an LPC research report: “In the heart of the Tenderloin, Tin Pan Alley gave unprecedented opportunities to songwriters of color and of Eastern European Jewish descent,â€? agency researchers found. “The ďŹ rst African-American owned and operated music publishing businesses in the U.S. had offices on this block,â€? they wrote.
Seeking “stage-worthyâ€? numbers It is difficult to overstate the global cachet associated with West 28th Street — even though its heyday in the music business lasted a mere 20 years, from 1893, when the ďŹ rst music publisher, M. Witmark & Sons, put down stakes, to 1913, when the last remaining purveyor of sheet music relocated to the Times Square area. “ There’s a n enor mou s amount of international recognition for Tin Pan Alley,â€? said Simeon Bankoff, executive director of the Historic Districts Council, a coalition of community groups that advocates for landmark districts. The block boomed in an era before play-back machines and recordings and record players, said Bankoff, whose group has been pressing for the landmarking of multiple buildings on the block, some of which were later razed, since 2007. The scene was rhythmic and rollicking. All-powerful music industry publishers — there
were 38 of them at the peak in 1907 — held court. So-called tune-smiths, meaning lyricists and composers, would peddle their works. And through it all there was the music. You’d catch a few bars of “Hello Central, Give Me Heaven,� a tear-jerker about a lost mother, or “Hello! Ma Baby (Hello, Ma Ragtime Gal),� about a telephone courtship, or “Alexander’s Ragtime Band,� the first hit by an unknown Russian-Jewish immigrant songwriter named Irving Berlin. “This is where modern American music was born,� said Mario G. Messina, president and co-founder of the 29th Street Neighborhood Assn., an advocacy group that has fought to landmark the block ever since it was established in 2012. Sheet music sales peaked at around 2 billion copies in 1910, according to LPC research. But the growing popularity and affordability of record players and recordings in American households ultimately led to a huge shift in the in-home music culture. As domestic piano-playing declined, Tin Pan Alley withered, and most of its surviving businesses followed the theater district up to Times Square. So where did that evocative name come from anyway? According to Messina, it was birthed by the banging and rattling of the ivories: “You would hear piano music all up and down the street, and it would sound like this: ‘Tin, tin, tin, pan, pan, pan!� he said. invreporter@strausnews.com
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Voices
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TRUMP IN THE RUSSIAN TEA ROOM? EAST SIDE OBSERVER BY ARLENE KAYATT
Nyet 101 — While everyone’s figuring out who’s in and who’s out for 2020’s Big Race, Staten Island’s former assemblywoman and mayoral candidate, Nicole Malliotakis, is now tossing her hat in the ring and going for the gold with a run for Congress against first-term Democrat Max Rose, who beat then incumbent Dan Donovan last November. Malliotakis voted for Trump and is a Trump supporter. It’s amusing that the venue for her big coming-out fundraiser on March 21 is, of all places, the Russian Tea Room. With the ever-vigilant wags out, it’s hard to imagine that Trump won’t resist a
tweet about “No collusion.” But then he probably won’t show up anyway. It would be fun if he did — imagine all the “fake news” that would accompany a Trump visit to the Russian Tea Room! And who knows, Malliotakis could find herself in a primary against two avid Staten Island Trump supporters and erstwhile congressmen — the aforementioned Dan Donovan, and the inimitable Michael Grimm. With three supporters, whom would Trump choose? Could be Russian Roulette. Liking bikes — Bikes have become a rallying cry in our town. How much bike space? How much pedestrian space? How much space for other life activity that is appropriate for the city’s streets and sidewalks? In most instances, it comes down to
how old you are. Nothing unusual about that dynamic in the public square. As a transportation issue, there’s the individual biker biking to get where he or she is going. Then there’s the non-biker crossing the street to get to where he or she is going — maybe to a bus, a train, or just the other side of the street. The age part also falls into the safety aspect of all-bike-all-the-time. The young are resilient and can take a fall-offthe-bike in stride and get right up. Not so for the not-so-young and perhaps the very young. Recently, a twenty-something related that there was nothing to worry about, she easily got up, dusted off, and continued on after a bike accident. Lucky lucky. E-bikes are a growing hazard
on the streets, and the Stuyvesant Town area is doing something about it. The 13th precinct has confiscated 135 e-bikes and has issued summonses. As reported in Town & Village, there is some confusion among residents about what’s legal and what’s not regarding e-bikes. These and other bike-related issues are vital and important and need unbiased listening and decision-making. It doesn’t do the community any good for electeds to use a litmus test when selecting community board members and to choose those who favor bikes. Or not. The tendency, I’m told, is that those being selected favor bikers. Public officials are entitled to their own bona fide preferences, but as electeds they have a duty to be open-
LADIES WHO HOOP: EVERYONE WINS WEST SIDE STORIES BY MEREDITH KURZ
“I used to wake up at 6 a.m. to play basketball before work,” Nedra Bryant, aka “Heat,” told me, as she took a break, catching her breath. “It was all men. Then I found Ladies Who Hoop. I never looked back.” We were on the Upper West Side, in the Louis D. Brandeis High School gym at 145 West 84th Street, for an evening of three-on-three basketball games. Several generations of players warmed up, stretched, and gave each other a hug or handshake before some serious competition. The games were a blur of passes, shots made, shots missed and a few falls. Through it all, Tonya Carter, aka “The Oracle,” gave a play-by-play, handing out names to the players like ‘Hollywood’ and ‘Blizz’ What is Iz’ and ‘Silent Movie’. “No good,” she called out as the ball missed its mark. After attempting three times to score, a player watched the ball finally slip through the hoop. “The fourth ‘hunh’ did it!” The Oracle called out, making
us all laugh. Ladies Who Hoop was founded by Amber Batchelor, known as “The Mayor” on the Upper West Side. Now in its fourth year, the organization has more than 867 members from all over the city. The benefits of the program reach far beyond the pleasures of the games themselves. According to the Women’s Sport Foundation, girls and women who play sports have higher levels of confidence and self-esteem and lower levels of depression. They also have a more positive body image and experience higher states of psychological wellbeing than girls and women who do not play sports. High school girls who play sports are less likely to be involved in an unintended pregnancy, are more likely to get better grades in school and are more likely to graduate than girls who do not play sports. Also, according to the National Cancer Institute, as little as four hours of exercise a week may reduce a teenage girl’s risk of breast cancer by up to 60 percent. Ladies Who Hoop is all about fair play: fair in the level of skill distribut-
ed across the teams; fair in the amount of court time players and teams get; and, on this night, fair in the way the games are called by referee Chiene Jones. Jones, whose day job is director of children’s athletics at Harlem Children’s Zone, has just started her own group called “Grow Our Game”, a program that offers beginner skills and development for girls aged five to ten. Another player, Kook Lim, is a doctoral student in clinical psychology. You can tell she loves the game, and she played well, but she’s also studying how (perceived) verbal aggression can impact female basketball players’ mental health, game performance and career choices. The Ladies Who Hoop scoring system tracks personal scores as well as team scores. This helps make sure the teams are evenly matched — the better players don’t all end up on the same team. It also motivates performance — players would occasionally check to make sure their score had been entered. While the play was definitely competitive, I also saw a player helping her competitor off the floor, and a lot
Amber Batchelor, aka “The Mayor,” is the founder of Ladies Who Hoop, which now has more than 860 members citywide. Photo: Meredith Kurz of passing, a lot of team play. There was no hogging the ball. These women were mature enough to know how this all works. Ladies Who Hoop now has sponsors like the New York Times, the Today Show, the New York Liberty profes-
minded and to listen to and rely on diverse opinions and input from the community, experts, and interested entities. Same holds true for all matters that come before governmental bodies, including housing, homeless shelters, landmarks. No litmus tests for getting on community boards or other governmental bodies. Hospital city — Can’t ignore it. There’s barely a block in Manhattan that isn’t home to some sort of hospital entity. Be it a City MD, a walkin affiliated with a teaching or other hospital, or a dormitory or housing facility for medical students and staffers. And more are coming. And not only for humans. Look for dropin medical facilities for pets. New York’s new real estate. Nobody’s thinking moms and pops anymore.
sional basketball team, sportswear companies like Point 3 and Title IX, Advil, and the New York City Department of Youth and Community Development. Last April, well-known athletes like WNBA star and cover girl Kym Hampton and Ivy League allstar and current pro Armani Cotton, worked with Ladies Who Hoop to host the First Annual Free-Throw Contest at the opening of a new condo building on the UWS. The popularity has enabled Batchelor to create two youth groups, one for kids under 12, the other for teens. Batchelor’s group has also worked with Goddard Riverside’s Beacon Program, which offers sports activities for youth on the UWS. With the passing of Title IX, the impact of women’s sports has been felt in the board room. Ernst and Young did a study on women leadership and athletics. The research showed that 94 percent of women in the top tier of their companies played sports, and over half continued to play while going to college. This suggests a strong connection between success in business, and continuing sports. If you’re missing the game, or want to start playing, look up Ladies Who Hoop on Facebook or Meetup. It’s a great place to reconnect with the ball, the sport, and team play.
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NEIGHBORHOOD’S BEST
ing to rescue people in these apartments,� Kallos told Straus News. The Fire Department has not yet been in communication with the developer of 249 East 62nd St., an FDNY spokesperson said. Until DOB’s objections are resolved and the project receives written FDNY approval, the tower cannot move forward.
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Adjusting plans on the West Side This news came weeks after the DOB took a similar action on the West Side, at Extell Development’s planned 775-foot tower at 50 West 66th Street, which features a 161-foot mechanical void on its 18th oor. In the West Side case, Extell has received the FDNY’s blessing after adjusting the building plans to address the department’s fire safety concerns. Among other changes, the new plans include “corridors and space at every level in the void for ďŹ reďŹ ghters to operate, remove people in event of a ďŹ re, and cross from stairway to elevators which we could not do in the original plans,â€? as well as a new catwalk along the perimeter of the void’s upper level, an FDNY spokesperson wrote in an emailed statement. “We have approved plans because alterations to their design were made to improve safety in the event the Department would need to respond to a ďŹ re,â€? the FDNY spokesperson said. In order to move forward with the project, the developer will now need to submit revised building plans to the DOB reecting these changes and satisfying DOB’s other objections. Land use reformers point to the use of excessively large mechanical spaces — which
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under current zoning rules are not subject to height limits and are exempted from floor area calculations that govern maximum permissible building heights — as one of a number of so-called zoning loopholes that developers have exploited with increasing frequency in recent years, resulting in ever-taller towers that do not ďŹ t the scale of their surroundings.
Developers and zoning loopholes Mayor Bill de Blasio responded to growing pressure from Manhattan elected officials and reform advocates last year by directing the Department of City Planning to examine the voids issue. In late January, the agency proposed a zoning
Extell Development’s proposed 775-foot tower at 50 West 66th St. includes a 161-foot mechanical void in its middle section, shown in grey in the rendering at right. Left: Snøhetta; Right: George M. Janes & Associates
text amendment that would place new limits on the use of mechanical voids in certain residential zoning districts, primarily in Manhattan. DCP plans to propose a second amendment expanding the geographic scope of the proposal later this year. Much of the public testimony before the City Planning Commission on March 13 focused on perceived shortcomings with the narrow proposal, which many reformers believe will simply prompt developers to employ alternate zoning loopholes to similar ends. For example, the zoning change drafted by the Department of City Planning would only apply to enclosed mechanical spaces; voids classiďŹ ed as outdoor space, such as the one at 249 East 62nd St., would not be impacted. Keith Powers, whose district includes the site of 249 East 62nd St., said he hopes the commission will incorporate public input and strengthen the proposal that is ultimately sent to the City Council for approval. Developers, Powers said, “will continue to find ways to build odd-shaped buildings or take advantage of loopholes in the zoning resolution to build these huge buildings. Communities can’t be expected to move as fast as the real estate community, so we need City Planning to be a partner in trying to address all scenarios at once rather than waiting for subsequent rezonings to happen.â€?
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HOME CARE A rendering of 249 East 62nd St. shows the roughly 150-foot mechanical void in the tower’s middle section, which critics say would present risks to ďŹ rst responders in the event of a ďŹ re. Rendering: George M. Janes & Associates
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Discover the world around the corner. Find community events, gallery openings, book launches and much more: Go to nycnow.com
EDITOR’S PICK
Everything you like about Our Town is now available to be delivered to your mailbox every week in the Eastsider From the very local news of your neighborhood to information about upcoming events and activities, the new home delivered edition of the Eastsiderwill keep you in-the-know.
Feb 28 - June 24 THE SELF-PORTRAIT: FROM SCHIELLE TO BECKMANN The Neue Galerie 1048 5th Ave 7:00 p.m. Free with Admission neuegalerie.org 212-628-6200 This is an exhibition that examines works primarily from Austria and Germany made between 1900 and 1945. This groundbreaking show is unique in its examination and focus on works of this period. Approximately 70 self-portraits by more than 30 artists — both well-known figures and others who deserve greater recognition — will be united in the presentation, which is comprised of loans from public and private collections worldwide.
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REVELRY: LIZ VICE
▲ RESUME CRITIQUE
Symphony Space 2537 Broadway at 95th St 7:30 p.m $30 Liz Vice has always had a love for storytelling. The Portland native, who currently resides in Brooklyn, started her career working behind the scenes in the world of film and video, only to accidentally find herself behind the mic. Join Vice as you listen to her fusion sound of Gospel and R&B. symphonyspace.org 212-864-5400
WELCOME TO THE FRICK COLLECTION The Frick 1 East 70th St 1:00 p.m. Free with museum admission Come on down and take a look at what The Frick has to offer through this welcoming tour. (Children under 10 are not admitted, and those under 16 must be accompanied by an adult.) frick.org 212-288-0700
96th St Library 112 East 96th St 10:30 a.m. Free Sherry Natkow is a career specialist and certified resume writer in private practice on the Upper East Side. When she’s not delivering lively workshops, she’s helping job seekers, oneon-one, work smarter on their job search. Bring a hard copy of your resume for a 20-minute one-on-one critique. nypl.org 212-289-0908
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Our Town|Eastsider ourtownny.com
MARCH 21-27,2019
Photo: Peter Duhon, via Flickr
Sun 24 Mon 25 Tue 26 RICHARD KORAL: IS THERE AN ETHICAL CULTURE SPIRITUALITY? NY Society for Ethical Culture 2 West 64th St 11:00 a.m. Free As we seek meaning and connection in our lives, the concept of “spirituality” can serve as a defining element of that search. But the term itself defies definition. Join Richard Koral as we find out if it can serve as a guide for today. ethical.nyc 212-874-5210
BEAU BY PAKCHAR & LYONS (CONCERT READING)
▲ FASHION ICONS WITH FERN MALLIS: FLIPPED!
Library for the Performing Arts 40 Lincoln Center Plaza 6:00 p.m. Free Produced and hosted by John Znidarsic, this concert will spotlight songs from “Beau: The New Musical” by Douglas Lyons and Ethan Pakchar. The evening will be directed by Michael Wilson with musical direction by Chris Gurr. nypl.org 917-275-6975
92Y 1395 Lexington Ave 7:30 p.m. $35 Join Bevy Smith, host of Page Six TV and Sirius XM’s Bevelations, as she turns the tables and interviews Fern Mallis, founder of Fashion Week. In this candid, career-spanning conversation, the pair will discuss how Mallis came up with the idea for Fashion Week, stories from behind the scenes at her interview series at 92Y, the indelible mark she has left on global fashion, and much more. 92y.org 212-415-5500
ACTIVITIES FOR THE FERTILE MIND
thoughtgallery.org NEW YORK CITY
Sea People: The Puzzle of Polynesia with Christina Thompson
MONDAY, MARCH 25TH, 7PM The Explorers Club | 46 E. 70th St. | 212-628-8383 | explorers.org Polynesians, the most closely related and widely dispersed of peoples, trace their roots to a group of epic voyagers. Author Thompson explains her research into how ancient Polynesians found and colonized around the world’s largest ocean without the benefit of writing or metal tools ($25).
Clean House, Clear Mind: A Buddhist Monk’s Wisdom
Wed 27 ◄ ART IN THE ROUND PUBLIC TOURS The Guggenheim 1071 Fifth Ave 2:00 p.m Free Spend one hour exploring and discussing Hilma af Klint’s painting series IV, The Ten Largest (1907). guggenheim.org 212-423-3500
WEDNESDAY, MARCH 27TH, 6:30PM Japan Society | 333 E. 47th St. | 212-832-1155 | japansociety.org Shoukei Matsumoto, a Buddhist monk at the Komyoji temple in Tokyo, elucidates the Buddhist motto, “Live to clean and clean to live.” He’ll explain why sweeping and tidying are considered spiritual practices in Buddhism—and how you can evolve from chore to contemplation ($15).
Just Announced | TimesTalks: Dr. Ruth
MONDAY, APRIL 29TH, 7PM Merkin Concert Hall | 129 W. 67th St. | 212-501-3330 | timestalks.com Learn more about Holocaust survivor, Washington Heights resident, and author of dozens of books on human sexuality Dr. Ruth Westheimer. She’ll be in conversation with op-ed columnist for The New York Times Jennifer Senior, in anticipation of the new documentary Ask Dr. Ruth ($60).
For more information about lectures, readings and other intellectually stimulating events throughout NYC,
sign up for the weekly Thought Gallery newsletter at thoughtgallery.org.
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MARCH 21-27,2019
MIRÓ: POETRY IN PICTURES An imaginative new exhibition offers fresh insights into the work of the popular and beloved artist BY MARY GREGORY
Picture in your mind’s eye what you think of when you think of the work of Joan Miró — curious little bowlingpin shaped people, pencil-line stars, triangles, primary colors. Now think of things you don’t envision when you picture Miró’s work — like Baroque Dutch interiors, earthy still lifes recalling Chardin, Fauvist portraits, and tilted Cubist tabletops with newspapers. You’ll find all those and more in “Joan Miró: Birth of the World” at the Museum of Modern Art through June 15. You’ll also find poetry, in both the installation and the inspiration. MoMA’s galleries are filled with bright, joyous, thoughtful, inventive works in this presentation of some 60 paintings, sculptures, books and mixed media works. Most are from the museum’s own significant Miró collection, augmented by wonderful loans.
IF YOU GO WHAT: Joan Miró: “Birth of the World” WHERE: Museum of Modern Art 11 West 53rd St. WHEN: Through June 15, 2019 The exhibition is organized by senior curator Anne Umland, with Laura Braverman, curatorial assistant, and focuses on the years between 1920 (when Miró made his first trip to Paris) and the early 1950s. Curating an exhibition of a beloved artist like Miró isn’t about taking some pictures out of the closet, dusting them off, rearranging the lights and sending out a memo, though all that does happen. It’s about making new discoveries, reframing old questions and relationships, and finding ways to connect the art to a new audience. Umland and Braverman do all that by presenting poetry as a lens through which to see Miró’s works in
Joan Miró, “Hirondelle Amour,” Barcelona, late fall 1933-winter 1934. Oil on canvas. Gift of Nelson A. Rockefeller. © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Adel Gorgy.
Joan Miró, “Mural Painting,” Barcelona, October 18, 1950 -January 26, 1951. Oil on canvas. Mrs. Simon Guggenheim Fund. © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Adel Gorgy. “Object,” a sculpture coma new light. prised of a stuffed bird, strings, A friend of the Surrealists, balls, a map, and other curipoets, and writers, and an auosities, presages both Robert thor himself, Miró once stated Rauschenberg’s “Combines” that he made no distinction and Joseph Cornell’s assembetween painting and poetry. blages. “I try to apply colors like words Witness Miró’s freedom in that shape poems,” he said. his imaginative use of materiRhythms between language, als. In “Relief Construction” color and line create a sense of (1930) staples incompletely syncopation throughout the fastened to a painted wooden exhibition, and poetry keeps surface create shapes and seeping in, like rhymes at the shadows replacing drawn end of lines. We learn that on lines. Crinkled papers turn a seeing “Still Life II” a small 1929 collage into a bas-relief panting in muted tones, Pablo sculpture. Miró’s subjects are Picasso stated “This is poalso freely imagined, as seen in etry.” We see Miró’s etchings so many feathery spider forms, and engravings printed as colfloating shapes with faces, and laborations in books of French feet with heads. His surreal poetry. We see his use of words dreamscapes seem welcoming as both snippets of poetry and and filled with light, perhaps ways of marking canvas. In from his sunny Catalan roots. the large painting “Hirondelle “Joan Miró: Birth of the Amour,” the curators point out World” is a beautiful, energizthat “interweaving of visual ing exhibition that presents and verbal motifs epitomize Joan Miró. “The Birth of the World,” Montroig, late familiar favorites while inthe fluid exchange between summer-fall 1925. Oil on canvas. Acquired through an troducing important insights painting and poetry in Miró’s anonymous fund, the Mr. and Mrs. Joseph Slifka and about the poetic nature of the work.” Swirling lines trailing Armand G. Erpf Funds, and by gift of the artist. © 2018 from the ends of words seem to Successió Miró / Artists Rights Society (ARS), New York / artist and his creations. As Umland notes, “Throughout suggest the flight path of swal- ADAGP, Paris. Photo: Adel Gorgy his decades-long career, Miró lows (hirondelle in French). The centerpiece of the exhibition is chronologically, the exhibition shows sought to reveal the marvelous in the Miró’s “Birth of the World.” Limited the artist’s evolution from early in- quotidian. His work celebrates the to mostly black, white and red, with a fluences to completely uncharted wildness of the imagination even as vast empty space populated by simple territories. It’s fascinating to see not it remains firmly rooted in the realishapes and a single line (recalling the only where Miró broke free, but how ties of his life and times. Today, when string of a balloon) to create a sense his freedom influenced others. “Still so much value is placed on the prosaic of movement and flight, it is a kind of Life—Glove and Newspaper” from — the data-driven, the quantifiable, birth of something new. But, the show 1921 seems to channel earlier works hard numbers — Miró’s poetic vision itself starts earlier. Arranged roughly by Georges Braque, while his 1936 is newly urgent.”
MARCH 21-27,2019
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MARCH 21-27,2019
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RESTAURANT INSPECTION RATINGS MAR 6 - 12, 2018 The following listings were collected from the Department of Health and Mental Hygiene’s website and include the most recent inspection and grade reports listed. We have included every restaurant listed during this time within the zip codes of our neighborhoods. Some reports list numbers with their explanations; these are the number of violation points a restaurant has received. To see more information on restaurant grades, visit www.nyc.gov/html/doh/html/services/restaurant-inspection.shtml. Hunter Deli
966 Lexington Avenue A
Corrado Bread and Pastry
960 Lexington Avenue A
Gina La Fornarina
1016 Lexington Ave
A
Mile 17
1446 1st Ave
A
Hotel Carlyle Employee Cafeteria
35 East 76 Street
A
Pyramid Coffee Company
535 East 70 Street
A
Jean Claude French Bistro
1343 2 Avenue
A
Three Guy’s Restaurant
960 Madison Avenue
A
The Sweet Shop NYC
404 E 73rd St
A
Vivi Bubble Cafe
1324 2nd Ave
A
East Side Billiard
163 East 86 Street
Grade Pending (86) Food Protection Certificate not held by supervisor of food operations. Evidence of mice or live mice present in facility’s food and/or non-food areas. Hand washing facility not provided in or near food preparation area and toilet room. Hot and cold running water at adequate pressure to enable cleanliness of employees not provided at facility. Soap and an acceptable hand-drying device not provided. No facilities available to wash, rinse and sanitize utensils and/or equipment. Food contact surface not properly washed, rinsed and sanitized after each use and following any activity when contamination may have occurred.
Cafe Bleriot
226 E 83rd St
A
Portugrill
1215 Lexington Ave
A
Chinatown Restaurant
1650 3rd Ave
A
Go Cups
1838 2nd Ave
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Paola’s
1295 Madison Avenue A
Marco Polo Pizza & Deli
1289 Madison Avenue A
Noglu New York
1266 Madison Avenue A
Sarabeth’s Kitchen
1295 Madison Avenue A
Da Capo
1392 Madison Avenue A
Yoan Ming Garden
1407 Madison Avenue A
Oriental Palace Kitchen
1728 Madison Avenue A
Lexington Pizza Parlor
1590 Lexington Ave
A
Credit: Mort Gerberg, cartoon for the New Yorker, June 4, 2012,
HUMOR AND HUMAN NATURE EXHIBITIONS Mort Gerberg started drawing cartoons as a kid in the 1930s and never stopped. A new exhibit captures the breadth and depth of his work. It’s really funny, too.
You don’t choose to be a cartoonist, cartooning chooses you.” Mort Gerberg
BY VIRGE RANDALL
Anyone who has waited for a bus in New York City would understand. The cartoon by Mort Gerberg shows a throng of people staring at an obviously longawaited bus. The sign on the bus reads “WRONG BUS.” The cartoon, one of 125 carefully selected for “Mort Gerberg Cartoons: A New Yorker’s Perspective” at the New York Historical Society (which runs through May 5), offers a hint of the wit, insight into the human condition, and New York savvy on display in this, the first major exhibit of 50 years of work by Brooklyn native Gerberg. Actually, the career is even longer when you consider the inclusion of his earliest works: the comics he drew in Hebrew School of “Super Baby” and Batman beating up Axis leaders. “I always liked to draw” Ger-
berg recalled in an interview, “Maybe it’s DNA. My grandfather painted landscapes, and I’d watch him paint in the basement at 83rd street in Brooklyn. I never thought I’d get an exhibition in a museum.” Gerberg was told he couldn’t make a living at it. That didn’t stop him, though. His book “Cartooning, The Art and the Business’ is still considered an industry bible. “I just liked doing cartoons,” he said, adding, “You don’t choose to be a cartoonist, cartooning chooses you.”
A Lifetime of Work The exhibit covers a lifetime of Gerberg’s work, from the comic books of his childhood, to his cartoons for the New Yorker, the Saturday Evening Post and the Saturday Review, and cartoons for several books (he has written or illustrated 45
books for adults and children). Also featured are his sketched reportage of events like the 1968 Democratic National Convention, baseball and basketball games, concerts, tennis matches and more. There’s a video clip of Gerberg collaborating with early-1960s TV host Shari Lewis and her puppet Lamb Chop. And there is also his take on President Trump. The sketches range from spare suggestions of form and character to fully realized images that effectively capture a person’s inner life and the larger context ... a woman watching a basketball game and mentally critiquing a move on the court, for instance. Or, in the first work he sold to The New Yorker, a full-page cartoon of the interior of St. Patrick’s Cathedral, rendered in exquisite detail. The caption? One woman thoughtfully telling the other, ”I’ve always been partial to high ceilings.” There’s a bit of a 19th century vibe some of the pen and ink works which might remind some of Daumier, but don’t tell Gerberg that. “Oh, my God, I’m nowhere near Daumier ... but he did wonderful things with people in carriage cars ... I do the subway.”
MARCH 21-27,2019 Wit and Insight What’s striking about this show is the wit, warmth and understanding of human nature and its foibles, drawn from everyday life. “A cartoonist is like an oyster,” Gerberg is fond of saying. “An oyster lives in the ocean, and maybe a piece of schmutz or a grain of sand gets under its shell. It’s an irritant, so the oyster reacts with a pearl. A cartoonist goes through life like an ocean, and is sensitive to irritations, it gets under his skin, and what comes out is a cartoon, like a pearl of wisdom.” The pearls in this show are arranged in broad categories like Social Commentary, Politics, Sports, the Women’s Movement (some from his 1960s book “Right On, Sister”), Marijuana (from his book, “The High Society”). “I have a different approach to issues,” Gerberg said, “I’m a social cartoonist, not a political or editorial one. They start with the issues and then they add humor. I do the opposite. I try to get a laugh out of something and then try to get people to say ‘Maybe he’s got a point there.’” The commentary holds up surprisingly well, with a dash of good humor and the insight
Our Town|Eastsider ourtownny.com that often comes from personal experience. In the Women’s Movement section, the cartoon that got a knowing laugh from the men in the crowd showed a man asking a stationery store clerk for “A Valentine’s Day card that won’t start an argument.” “I had met my wife, Judith, in 1968 and we married in 1969,” Gerberg recalled. “I found myself being careful of what I’d say. I was a product of that whole social mess that led to the movement. And I changed my own consciousness.”
That Special City Flavor Gerberg says he has no favorite cartoon — it’s whatever he is working on at the moment. But for many of the visitors it might be the ones in the Social Commentary section. Although some of them are universal (The butterfly telling the caterpillar “You really have to want to change,” for instance), many of them have all the city flavor of a bagel with schmear. Maybe it’s because he would often sketch on the subway while working out an idea: a snowman hailing a cab; a society matron on what is obviously her first subway trip; a theater patron defying Death
because he finally got tickets to “The Producers.” These are all uniquely city experiences, but also so much more than that — there are often messages in the humor. “Now is the perfect time for this show. We do history here, and this is a visual history of New York City life and politics, and the U.S., too,” said Marilyn Satin Kushner, curator and head of the Department of Prints, Photographs and Architectural Collections at the New York Historical Society. The wealth of material available (“Mort kept bringing bags of cartoons!” she said) allowed her to show the scope of his work.
The Best Medicine “We’re doing it now because we need to laugh,” said Kushner. “It’s great to see people look at the works and laugh. It’s so important. I had a great time doing this. I laughed so much. That’s the gift of this show, Mort’s gift. He can take something that irritates the hell out of us and make us laugh about it.” If you need more Gerberg, Fantagraphics Underground has just published “Mort Gerberg On the Scene: A 50 Year Cartoon Chronicle.”
Credit: Mort Gerberg, cartoon for the New Yorker, April 20, 1998.
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Ask a Broker
Business ART AND REAL ESTATE HAVE MANY THINGS IN COMMON the online image without going to see the piece. But I know that part of the process involves paying the auction house a 25 percent buyer’s premium. When I buy from galleries, I know that the gallerist retains anywhere from 30 to 50 percent of the sale price. Private art dealers charge similarly. I don’t begrudge these organizations their money because I know how much work is involved in styling a property to maximize value, creating buzz around it, and then working strategically to make a market. It’s what I have done every day of my career. Every day I read about new online apps being designed to remove real estate brokers from the transactions in which they are involved. And every day I read about start-up companies who want to devalue the service we provide by cutting our fees (which at their highest are rarely even a third of what art auction houses are charging) by half or two thirds while claiming their staff agents can provide the same service that we do (they can’t). I have always liked to say that brokerage is the second oldest profession. The need for the service we provide has existed ever since people began to trade with one another. Over the decades, as the homes we sell have become more expensive and the transactions more complicated, the broad array of skills real estate agents require has expanded to include issues regarding financing, title, open permits, liens, and tax issues in addition to the market analysis and negotiating expertise which remain the bedrock of our craft. I am not suggesting that we, like Christie’s or Bonhams, should receive a 15, 20 or 25 percent premium for what we do. But the service real estate agents provide has real value. For too long, the complexity of that service has received inadequate recognition. It’s time the marketplace, and public opinion, recognize us for the skilled practitioners that we are.
REAL ESTATE Both are commmodities, valued at what the market will bear. So why aren’t real estate agents valued as much as art dealers? BY FREDERICK W. PETERS
The all-white kitchen, popular in the 1980s, lingers like a bad dream in many NYC apartments. Photo: Anastassios Mentis BY ANDREW KRAMER
We live in a 1980’s one-bedroom condo and haven’t made any improvements since buying it from the developer. We’re getting ready to sell, and our all white Formica kitchen is showing its age. How can we update its look without spending a fortune? I know the look — white cabinets with white plastic pulls, white Formica countertop and backsplash and white appliances. Welcome to the postwar 1980’s kitchen. It’s amazing how a new granite countertop (pick your color) with a contemporary under-mount sink and a stainless steel appliance package can bring your kitchen into the 21st century. Throw in some stylish cabinet hardware and a colorful floor mat and your kitchen just shed 30 years! And if you source it right, you can pull this off for under $5,000! It’s money well spent. Andrew Kramer is a Licensed Associate Real Estate Broker with Brown Harris Stevens. Direct your real estate questions to askandrew@bhsusa.com. You can learn more about Andrew at www.kramernyc. com or by contacting him at 212-317-3634.
MARCH 21-27,2019
The value of great art and great real estate often travel hand in hand. When great paintings set price records, great real estate often follows suit. While art often sells at auction, real estate more typically gets brokered between individuals. That said, the great private art dealers control large parts of the art market, sourcing paintings for their clients, contacting collectors, amassing stock. The great real agents deploy many of the same skills. Both art and real estate are commodities, valued at what the market will bear. So different styles and periods go in and out of fashion, prices rise and fall, and the dance goes on. Why then, are the skills of the art dealer or auction house so vastly more valued than those of the real estate dealer? Are the great houses and apartments we represent so much less the work of great artists and artisans? Are the spatial arrangements of the great Timothy Pfleuger and Bernard Maybeck buildings of San Francisco, or the Addison Mizner estates of Palm Beach, or the layouts and detailing of the great Candela apartments in New York, not works of art in themselves? What’s the difference? The best agents have developed enormous knowledge around the architects and styles which abound in New York. Like a great art dealer, we frequently guide our clients towards what we intuit they desire, which may not be exactly what they describe on a first meeting. In New York, we work with them to craft a financial and social picture at which co-op boards will look with favor, while reassuring them as the process drags on. I like buying art at auction, especially prints. For artists I know well, I will sometimes buy from
Frederick W. Peters is Chief Executive Officer of Warburg Realty Partnership.
Candela building at 280 Riverside Drive. Photo: Deansfa, via Wikimedia Commons
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YOU READ IT HERE FIRST Jan. 10, 2019 8
Jan. 18, 2019 JANUARY 10-16,2019
Our Town|Downtowner otdowntown.com
OUTSIDE COMES IN AT OUTSIDER ART FAIR BY MARY GREGORY
tan Museum’s recent exhibit “History Refused to Die,” featuring Gee’s Bend quilts and major works by Thornton Dial, or the Smithsonian’s current “Between Worlds: The Art of Bill Traylor,” the first major museum exhibition for an artist born into slavery. The Outsider Art Fair includes works by Dial and Traylor. So inside has outside become that even Hollywood stars are gathering at this year’s fair. Actor and comedian Jim Carrey will be exhibiting political drawings, and photographs by Mark Hogancamp, whose life and work are the subject of “Welcome to Marwen,” a film starring Steve Carell, will be presented by 1 Mile Gallery. What brings it all together is the inclusive vision of Wide Open Arts, organizers of the fair. “For outsider art, the fair utilizes the definition of self-taught or non-academic work. We try to be very broad so we can be open to all work that comes our way,” said Becca Hoffman, Outsider Art Fair director. “We start with self-taught, and from there we explore.” Some of art’s most groundbreaking greats, like Vincent van Gogh, Frida Kahlo and Joseph Cornell, were selftaught. So was William Edmondson, who made sculptures so powerful that, in 1937, they earned him the spot as the first African American artist to be given a solo exhibition at MoMA.
In 2014, art critic Walter Robinson made a wave (that swelled to a tsunami) in art world circles when he identified a trend in contemporary art he called “Zombie Formalism,” where countless young MFA-wielding painters cranked out innumerable eerily similar works. But you won’t encounter those types of paintings at the 27th annual Outsider Art Fair. What you will find instead are deeply personal, idiosyncratic glimpses into unique personalities with singular visual voices. Art is the soul’s language, and our polyglot culture is richly reflected in the breadth, depth and emotional impact of art that is at times quirky, elegant, boisterous, whimsical, mysterious, touching, unsettling and elevating. Many of the works, presented by some 65 international galleries, stand squarely outside the mainstream. Others, like Morton Bartlett’s photographs of meticulously sculpted, dressed and posed figures (from Julie Saul Gallery), might spark thoughts of James Casebere or Cindy Sherman, though they were created decades earlier. This year’s Outsider Art Fair proves there’s a fine line between the art world’s insiders and outsiders. That fact will resonate with museum-goers who’ve seen the Metropoli-
original exhibitor at the fair, spoke of the artists she championed as ones who made art “not because they might want to but instead because they had to.” (One might, of course, say the same of workaholics like Michelangelo and Picasso.) Ms. Kind, who is honored with a tribute exhibition organized by the critic Edward M. Goméz, certainly did not associate compulsion with lack of aesthetic control. Control is evident at every turn. It’s pinpoint fine in 1940s crayon images of fantasy landscapes by the German artist identified only as Angelika (at Henry Boxer, Surrey, England). It’s coolly stripped-down in drawings of what look like Bauhaus temples by the Senegalese-born street artist Ousseynou Gassama, known as Hassan (at Ricco/Maresca, New York). And control feels explosive in paintings mixing antique Japanese themes and contemporary cartoons by Yuichiro Ukai (at Yukiko Koide Presents, Tokyo). After time spent with Mr. Ukai’s detonations of detail, you may be in need of retinal relief, and you’ll find it in the show’s scattering of abstract art: in biomorphic pastels by Julian Martin (at Fleisher/ Ollman, Philadelphia); in tantric paintings from western India (Galerie Hervé Perdriolle, Paris); and in sewn canvases by Sidival Fila (James Barron Art, Kent, Conn.) With Mr. Fila’s work, outsider shades into the less dramatic category of self-taught work. A Brazilianborn Franciscan monk living in Rome for decades, he began to make art only in 2006. Yet his monochromatic paintings, with their meticulous stitching, have gained a following and earned him some money, most of which goes to paying for the education of children in Africa and elsewhere. Mr. Fila is, in a sense, an outsider by choice, as are — but again, only in a sense — the artists in a special exhibition, “Good Kids: Underground Comics From China,” assembled by Brett Littman, director of the Noguchi Museum, and Yi Zhou, partner and curator of C5 Art Gallery in Beijing.
Jayne County, “See Me in No Special Light,” 2004, mixed media on paper. James Barron Art. Photo courtesy Outsider Art Fair. His work can be seen at the Ricco/ Maresca booth. There are plenty of contemporary artists to discover, as well. Jana Paleckova, represented by Fred Giampietro Gallery, starts with vintage late 19th or early 20th century photographs. She obscures some parts, paints others in, and creates astonishing, complex, surreal imagery that’s at once haunting and elegant. Mary F. Whitfield’s watercolors convey themes of poverty, slavery, survival, love and triumph. Her work, on view at the Phyllis Stigliano Art Projects booth, has been called visionary. And then there is Jayne County. “Jayne County was Punk Rock’s first openly transgender performer, inspired Andy Warhol, David Bowie and participated in the Stonewall uprising,” said Hoffman. “She’s someone that people should know, but might not.” Her technicolor dreamscapes, peopled by mythic figures, are presented by James Barron Gallery Also a highlight for Hoffman are the assemblages of Staten Island artist, John Foxell, whose life and art spilled into one another. “Foxell was an administrative assistant in the Manhattan family courts for a long time. He was also a poet and a preservationist,”
explained Hoffman. His small, saltbox house became so transformed by his art that it’s now a landmark. His eccentric, often humorous tabletop assemblages will be on view at the Norman Brosterman booth. The Outsider Art Fair will also present off-site exhibits at Ace Hotel, including a pop-up Troll Museum, a presentation of Boro textiles from Japan, and a group of short films. A talk titled “Unusual Brains: Neurodiversity and Artistic Creation” will be held at the New Museum, and two curated spaces, one featuring underground comics from China and another dedicated to gallerist Phyllis Kind, will also be part the fair. God’s Love We Deliver will be the beneficiary of a silent auction and part of the opening night’s proceeds. Some things can be taught in art schools, like theory, history, materials and techniques. But art, itself, comes from a deeper place – from the heart, from life lived. “This work speaks from a place of warmth and authenticity,” Hoffman said. “It’s exciting for me to watch people come into the fair and discover something they love. The art dealer will tell them about the story of the artist, and suddenly the visitor will be talking about themselves. It’s a really connected experience.”
Mary F. Whitfield’s “4 Swans in Alabama,” June 2003. Phyllis Stigliano Art Projects. Photo courtesy of Jeanette May.
IF YOU GO What: Outsider Art Fair Where:Metropolitan Pavilion 125 West 18th Street When: Jan. 17-20 www.outsiderartfair.com Outsider Art, which once had fringe cachet, is now pretty well inside the mainstream fold. As a genre, it has developed branding strategies, a collecting base and a marketable canon of (mostly male) stars, with Henry Darger, Martín Ramírez and Bill Traylor leading the list. All three are present, like tutelary deities, in the 27th New York City edition of the show, at the Metropolitan Pavilion. With 66 exhibitors from seven countries, it’s an expansive display of mostly smallish, textured, densely detailed things — modest-size figurative paintings and drawings dominate — but with a good share of stop-and-stare surprises. One comes with a group of large-scale architectural models by the Philadelphia artist Kambel Smith. Born in 1986 and diagnosed with autism as a child, Mr. Smith began painting, and when his family could no longer afford to buy canvas and oil paint, he turned to constructing models from cardboard, with the goal of creating what amount to sculptural portraits of historical Philadelphia buildings. At the fair, the booth of his dealer, Chris Byrne, from Dallas, is all but filled by a model of the Philadelphia Museum of Art, replete with pediment murals. The city’s Betsy Ross House hugs the wall nearby. According to the gallery, Mr. Smith’s work now takes up more than half of his family’s home.
Bill Traylor’s “Man and Cat on Organic Form,” Poster paint and graphite on cardboard, c.1939-42. From California’s Just Folk. Photo courtesy Outsider Art Fair.
And in the house-crowding category, there’s the sculpture of another artist making his solo debut, John Foxell (1944-2016), represented by the East Hampton, N.Y., dealer Norman Brosterman. Mr. Foxell, who lived alone in a snug 1840s house on Staten Island, had post-traumatic stress disorder after witnessing the events of Sept. 11. To relieve anxiety, he used art as therapy and filled his home with tabletop assemblages made from stuff he found in flea markets and on the street — toys, buttons, acorns, bones. The results are funny, erotic and macabre. He’s a consumerist Joseph Cornell. Busy is a word that might be applied to this work. And there’s a good amount of busyness in the fair, which perhaps supports the art-making-as-compulsion narrative by which outsiderness is often defined. The term embraces artists with psychiatric disabilities, like Darger and Ramírez, as well as those like Traylor, who had no conventional art training. The American art dealer Phyllis Kind, an
Feb. 21, 2019
The saga of these “kids” is complicated. It began when a small group of artists, disaffected by mainstream culture, began sharing images online. The group grew in size to become a self-exhibiting and self-publishing enterprise. What didn’t change was its underground status. Participants still operate under government radar. The fact that much of the work deals with officially frowned-on subject matter, including homosexuality, keeps the project marginal even within the contemporary Chinese art world. By contrast, certain other political art in the show delivers an antiauthoritarian message in plain sight; indeed, in the spotlight. Such is the case with a recent series of satirical Trump cartoons by the actor Jim Carrey, brought by Maccarone Gallery of Los Angeles. The drawings have bite, but their over-the-top insult style is now the common language of American culture. To speak it is to take few risks. Mr. Carrey qualifies as an outsider artist by being self-taught. Yet because, he is also a celebrity insider, he has been awarded the kind of critical enthusiasm and (I’m guessing) collecting attention that most of the artists in this fair could only dream of. Maybe true Outsider art, which this is not, really is still far outside after all. Outsider Art Fair Through Sunday. Metropolitan Pavilion, 125 West 18th Street, outsiderartfair.com. Correction: Jan. 18, 2019 An earlier version of this review referred incorrectly to the dealer Phyllis Kind. She was an original exhibitor at the Outsider Art Fair. She was not one of the fair’s founders. Holland Cotter is the co-chief art critic. He writes on a wide range of art, old and new, and he has made extended trips to Africa and China. He was awarded the Pulitzer Prize for Criticism in 2009.
Feb. 24, 2019
THE ETERNAL ORPHANAGE COMMUNITY A Yorkville priest and the head of an elite private school thrash out a plan to memorialize a beloved vestige of a 19th-century chapel — even as its inevitable disappearance looms
I do not doubt that one day, this relic of the past will reemerge to astonish future generations.”
BY DOUGLAS FEIDEN
The clock is quickly ticking on the future of the Ghostly Remnant of East 90th Street. But there’s good news, too: Due to a breakthrough deal hammered out in a Feb. 15 meeting, the majestic ruin will be commemorated forever. Construction of a new field house for the Spence School on the block between First and York Avenues is already underway. And as it advances, the beloved fragment that survived from the chapel of the old St. Joseph’s Orphan Asylum will vanish from view. Built in 1898 to serve the orphanage, which was founded in 1857, the neo-Classical, brick-and-stone church has endured, in truncated form, ever since. That won’t change. But late this year or in 2020, the vestige is expected to be obscured, perhaps indefinitely, behind the six-story, 85-foot tall athletic complex that Spence is now building directly to the east. It won’t go quietly: Its fans have been fighting to save it ever since Our Town chronicled its history, status and uncertain future in two articles in January, “The Ghostly Remnant” and “Rallying for a Remnant.” In response, East Side City Council Member Ben Kallos — who once lived in the condo at 402 East 90th St. in which the remnant is spectacularly
CONTINUED ON PAGE 7
City Council Member Ben Kallos
A seven-story vestige of an old Yorkville chapel, embedded into a neighboring building, stands sentinel over an empty lot where the Spence School is constructing a new field house. The facade will vanish from view when the work is completed, but the chapel will be memorialized both inside and outside the new Spence building. Photo: Sarah Greig Photography / FRIENDS of the Upper East Side Historic Districts
Oct. 19, 2018
Nov. 20, 2018
‘GRAMMAR ZEN’ IN VERDI SQUARE COMMUNITY New Yorkers talk tricky tenses, punctuation passions and more at Ellen Jovin’s UWS pop-up table BY MICHAEL GAROFALO
Are you prepositionally challenged? Hesitant around hyphens? Undergoing a comma crisis? Simply enraptured by the beauty of a well-placed ellipsis? Ellen Jovin wants to talk grammar with you. Jovin has become familiar to Upper West Side word lovers in recent weeks as the face and founder of Grammar Table — a public forum for open-ended discussion of all things language. Armed with a folding table and an array of reference books and style guides, Jovin sets up shop near the northern entrance to the 72nd Street subway station on Broadway to d l li ( ih
dole out complimentary (with an “i”) pointers, guidance and emotional support to all comers, from devoted syntacticians to the downright grammar-averse. “Hi, this looks lit,” a young woman said on a recent afternoon as she approached Grammar Table (lately Jovin has been trying out the name without the definite article). The woman introduced herself as
a fifth-gr and soon had found vin. A spi the joys o ensued. A steady paused in hour scru the Gram were wa embolde
FI R S T I N YOU R N E I G H BO R H O O D
(212) 868-0190
5 COOL SPOTS AT HUDSON YARDS SHOPS As the new shopping destination opens for business, some places you’d be hard-pressed to find anywhere else in NYC BY EMILY MASON
The Vessel’s crossing stairways loomed overhead as windswept crowds walked towards the Hudson Yards entrance, the day after the new shopping center’s grand opening, which boasted celebrity guests like Anne Hathaway, Karlie Kloss and Dylan Sprouse. The Hudson Yards shopping center and the Vessel structure opened to the masses on Saturday, free for climbing and shopping. The two attractions are intimately connected, with the shopping center featuring a wall of windows so that from each of the four floors patrons have a view of British architect Thomas Heatherwick’s massive honeycomb-like creation. While the center hosts well-trafficked and recognized brands like Muji, Uniqlo, Aritzia and Banana Republic, the real reason to head to Hudson Yards — despite the crowds — are for the spots you’ll be hardpressed to find anywhere else in New York.
Inside the Hudson Yards shopping center. Photo: Emily Mason
1. B8ta
3. 3den
Drawn in by strange contraptions in the windows, customers enter B8ta confused, but soon discover a new-age shop where one can learn about, discover and try an assortment of tech products new to the market. A cluster of people watch a robot spider crawling about a table, children type frantically on a new Bluetooth-enabled typewriter keyboard, while adults marvel at the robot bartender that boasts “perfect cocktails every time.” Each month B8ta will feature new products for customers to test out, then have shipped straight to their doors.
Two young men stand at the entrance, directing curious patrons to download the 3den app, promising it’ll only take a minute. Inside, adult swings and peaceful tables adjacent to a giant window overlooking Vessel is intriguing enough to persuade onlookers to download the app. At 3den, customers can access showers, fresh ready-to-go food, a meditation den, private phone booths and soon even nap pods which can be reserved for 30 minutes sessions. The first store of its kind, 3den is designed for all of the “in-between” times, providing any space or amenity you may need to make your day go smoothly. All purchases are made through the app, including the $6 fee for every 30 minutes spent in the space.
2. sundays sundays brings manicures to a new level of relaxation with headphones playing a guided meditation for customers while they get their nails done. The polishes are all from the com-
pany’s own non-toxic, vegan, cruelty-free line of colors. At the end, they apply quick-dry oil that means you’re ready to walk out the door in 15 minutes — without having to listen to a hand-dryer. During your 15 minute drying time, you can enjoy fresh herbal tea, write a letter to yourself (which sundays will mail to you in a month) or write what you’re grateful for in their communal gratitude journal.
4. Snark Park Snark Park is the latest ven-
ture of Snarkitecture, bestknown for creating the cereal ice cream bar treats inside many of the Kith brand clothing stores. The Park is an interactive art space where patrons can jump on bean bags, enter columns and rotating chairs, and touch and feel everything inside, unlike the restrictions in typical art museums. Currently on display is the “Lost and Found” exhibit where tickets cost $28 for adults and $22 for children. For those who aren’t into interactive art, there are also clothing collections on display and Kith ice cream bars. Regardless of what you’re there for, be sure to be ahead of time — the line gets long quickly!
5. HYxOffTheWall Each level of Hudson Yards has at least three large-scale commissioned works by influential artists, like Jeanette Hayes and Willie Cole. Many of the pieces are interactive, like “I WAS HERE,” a wall of sequins where people can draw and write with their fingers in multi-colored glimmering panels, or “Combing Season” where children can be spotted combing a white, black or pink hairy square with a face attached to a yellow wall with black dog bones painted on. The project pursued unusual pieces to encourage reflection and interaction with the pieces.
MARCH 21-27,2019
19
Our Town|Eastsider ourtownny.com
He loves solving problems. So he gives. City Council Member Brad Lander looked ready for a fight as he spoke at an anti-Amazon rally on West 34th St. earlier this month. Photo: Michelle Naim
AN AMAZON PROTEST IN MIDTOWN PUBLIC ACTION The online giant remains a target of angry New Yorkers BY MICHELLE NAIM
If Amazon thought it had left its New York troubles behind last month when it pulled out of the deal to open a new headquarters in Queens, it was wrong. Dozens of protestors gathered in front of Amazon Books on West 34th Street between Fifth and Sixth Aves. earlier this month to remind the company, as well as city and state leaders, that the online giant is still not welcome. Many community-building, housing, and education organizations took part in the March 7 demonstration, including the immigrant rights group Make the Road NY, New York Communities for Change (NYCC), a coalition of low and middleincome communities working for social and economic justice, and Chhaya CDC, which serves the city’s South Asian communities, to name just a few. The sidewalk in front of the new bookstore was packed with people holding signs and chanting. Yelling “Sí, se puede!” (“Yes we can!”), and “When our workers are under attack what do we do? Stand up fight back!”, they let Amazon know just how they felt. Although the company can-
celed its Queens plans, William Spisak, director of programs for Chhaya, made it clear in a phone interview that the protestors were out there that day to show their continued opposition to Amazon’s presence in the city. Many elected officials, he said, have tried to get the company to come back, insisting that New York needs the giant corporation to survive and thrive economically. One of the protestors’ messages, he said, is that economic development should be placed in the hands of small business owners. Amazon “would only end up displacing those people, rather than helping economic development,” said Spisak. A recent study by his organization, he said, found that one in four immigrants were concerned about their immigration status and the longevity of their small businesses. Thanks to the fear of being deported, Spisak explained, many of these immigrants were not making long-term plans for their businesses. City Council Member Brad Lander, from District 39 in Brooklyn, addressed the protestors. “I would say we don’t only have a right to speak out,” he said, “we have a responsibility to speak out. Amazon has terrible health facilities. Seven workers have died at Amazon facilities. Not a single worker is represented by the union. They do not want their workers to
have a voice ... New York City can and must do better. I’m going to be damned if I’m going to be quiet.” Another speaker, Zakiyah Ansari, advocacy director with the New York State Alliance for Quality Education, has been fighting for education in small and immigrant communities for 20 years. Directing her comments at Governor Andrew Cuomo, she said: “It’s time to move beyond billionaires and focus on the $4.1 billion that’s been owed to our schools for the last 12 years. Surely, we can give that money to children. The fact that [Governor Cuomo] was willing to slip this one through is appalling.” She accused Cuomo of “failing drastically” to make sure that the city’s marginalized communities have all the resources and support that they need to be whole and healthy. “Most of those communities are black and brown,” she said, “and my question to him is ‘Do you really care about us?’” It was not the first Amazon protest in New York and will likely not be the last. Many have dismissed such protestors as “fringe” and “illegitimate,” Spisak noted. Which is another reason they continue to protest, he said — to show that they deserve to be heard, no matter what their background or immigration status might be.
William Donnell turned to The New York Community Trust to help him share his good fortune. Together, we preserve parks, support the LGBTQ community, and fight poverty. He also put The Trust in his will. “Long after I’m gone, The Trust will keep using my money to make New York better for everyone.”
What do you love? We can help with your charitable giving. (212) 686-0010 x363 or giving@nyct-cfi.org www.GiveTo.nyc
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MARCH 21-27,2019
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10-16
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YOUR 15 MINUTES
To read about other people who have had their “15 Minutes” go to ourtownny.com/15 minutes
THE STAGE IS HER FUTURE Theater director Lauren Kiele DeLeon is determined to succeed on her own terms BY JOSHUA NASSER
With her career in New York off to a great start, Lauren Kiele DeLeon is looking ahead to a life making theater that is diverse and accessible for actors, writers, producers and audiences of all backgrounds. She wants to help make a world where “everyone can take part and see themselves reflected on stage and in production.”
When did you start doing theater? It kind of happened by accident. In middle school I was in the chorus and like any middle school, they had the chorus put on a musical with the drama club in our super-gross cafeteria. I skipped auditions and just stage-managed tage-managed the first show. But the year after I played Mrs. Mayor in “Suessical the Musical.” al.” (I can’t believe I’m admitting ing that). That led me to audition ion for this arts conservatory high school in Miami called New World School of the Arts. I originally auditioned for musical ical theater but got called back and accepted into the acting conservatory onservatory and was so confused used about it cause I had no history with acting. But, one thing hing led to another and that brought me to discover playwriting since I started to hate acting and, years later, playwriting faded into directing.
Did you do theater in college? Yes I did! SUNY Purchase College! Got my BA in theater & performance directing with a minor in playwriting.
What exactly got you into nto directing? So, when I discovered playwriting I thought that hat was the end all be all of my theater career. areer. I was good at it, I liked it, I had positive responses, s, and I was finally in control of the content on stage. What drove me insa a ne about acting was that hat I would spend all my time in
rehearsal rooms thinking “I could do this better than it’s being done.” and going crazy that I had no control over the content in the room. In turn, I thought playwriting was the answer to that problem — I was finally creating the content. But then I realized, as a playwright there’s a good chance that when you finish the play you hand it off and then you’re really not involved in the process of production. The only way to really achieve what I wanted was to direct. In all honesty, though, I have to give the credit to my mom cause she knew the entire time that I was studying theater that I should be a director, but I would not hear it. I was constantly disregarding her opinion on it until one day, a semester into my junior year of college, I called my mom freaking out after a screenwriting class saying “I don’t
want to be a playwriting major anymore, I want to switch to directing.” And she literally just went “Yup, I knew it. I told you so.” And then I freaked out thinking “I’m graduating soon and I can’t graduate as a director without ever really directing anything.” So I threw myself into independent projects starting with a workshop of “The Vagina Monologues.” And after that I was lucky enough that people actually liked the production and started asking me to direct their projects. In hindsight, getting into directing was kind of inevitable for me, I just was the only one who had no idea until I got there.
What’s the difference between theater in Miami and in New York? The thing with Miami is, though we have the theater companies and artists who want to do the work and in fact do good work, there isn’t is enough of an audience for it. We joke about how the theth ater scene in New York is small but the one in M Miami is tiny. I felt like, by the time I graduated graduat from my conservatory, conservato I knew all the theater theat artists working in South Florida. The T playwrights and did rectors had been my m professors in high hi school and the actors acto were friends of mine mi or people I knew fro from the college my school scho was affiliated with. wit While I love Miami Mia and the artists there, the there just isn’t tthe expanse support and expan of art that I felt fel I needed to grow into in the artist that I am a now. I knew that if I stayed and work worked only in Miami then the I would be successful successf only in Miami, and an I didn’t want that. However, I will say s idolthat the way we id theize NYC for it’s th insanely ater is also insane other detrimental to oth trained cities. Being train
Lauren Kiele DeLeon graduated from SUNY Purchase with a BA in theater theate and performance directing. Photo: Courtesy The Lark Theater
DeLeon at work during a rehearsal. She tried acting and playwriting before she decided she wanted to be a director. Photo: Courtesy Lauren Kiele DeLeon in theater I think (I don’t want to speak for everyone) I was taught to believe that New York is the definition of success ... that New York was the biggest form of validation and success in the arts, and that’s just not true. If we all actively worked against this idea of Broadway being the ultimate success then we could open up so much potential for so many other cities all over the world. I know, personally, I would love to leave New York but I also know that all my fellow artists and collaborators are here, which makes me want to stay. It’s this weird wormhole we create for ourselves that just reinforces beliefs that aren’t true. I know I totally ranted about that and peeled off from the question at hand but I wish someone had taught me earlier that New York doesn’t define my success. I have to create that definition for myself. If we start teaching that to our young artists I can only imagine how amazingly diverse and widespread the work will become.
That sounds so amazing, and needed. So, where do you see yourself in ten years? Oh, man. This is hilarious because I’ve been secondguessing where I see myself just within the next two years. In an ideal world, in ten years I’ll have my MFA in directing
and be teaching [and also] directing new work in different places. I definitely would love if it were internationally, so I could hop from place to place as an adjunct professor and guest director, because I think that would be an amazing way to see the world as well as experience all sorts of approaches to theater that would really impact me as an artist.
What changes do you see happening in theater today? Theater is diversifying! Slowly, but it’s happening. We have more women, POC, queer, trans, international, disabled, etc. artists working in the industry than ever before, and that’s incredible. But! We still don’t have enough! So, while I’m super excited about these positive changes, we have got a long way to go and we can’t let this progress stop us from fighting just as hard for more representation of stories, creators, administrators, and audience members. We have to continue to make theater more accessible financially, culturally, and spatially so everyone can take part and see themselves reflected on stage and in production. I definitely used this question as an other lecture point but it’s oh so important and I know that we’re on our way which makes me so excited for what theater will
become further down the line.
Does that influence the type of theater you like to do now? I always say that my focus is on political theater and theater for social change, which sometimes confuses people. So, to elaborate on that, as a Jewish/Latina theater artist I like my work to focus on minority representation and the female presenting body on stage. I’m drawn to contemporary, original plays specifically dealing with social issues, with creative teams that are mostly/fully women and women of color.
Finally, what shows are you directing now? I just finished assistant-directing Chisa Hutchinson’s play “Surely Goodness and Mercy” at Theater Row. Currently, I’m directing a new play called “Stork” by Billy Cosgrove for NYSummerFest at the Hudson Guild Theater, and I’m co-directing a new musical called “Recipe for a Sellout” by Parade Stone and Sequoia Sellinger at The Wild Project.
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CROSSWORD
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