WestView News
The Voice of the West Village
VOLUME 11, NUMBER 4
APRIL 2015
Nursery School Parents Sue Church Over School Closure
CHARITY SUCCUMBS TO CASH: Catholic church school moves to close West Village nurs-
ery for 55 as it considers $20 to $30 million real estate offers. Photo by Maggie Berkvist.
By Arthur Z. Schwartz Forty families, most based in the Village and Chelsea, have done the unthinkable— sued the nuns who run the Montessori nursery school their kids attend. If the nuns get their way, 55 kids will be without a school, all from families with working moms who can’t afford the cost of today’s private nursery schools. And the Sisters of Saint Francis, based in Syracuse, will be able to sell the two buildings that house the school for $20 to $30 million dollars. Nazareth Day Nursery was founded by Sisters of Charity, a Catholic Church entity, in 1901. Using a $5,000 donation, the Sisters purchased two townhouses on West 15th Street. On December 1, 1901, Nazareth Nursing was incorporated and the Nursery School opened in February 1902. (See sidebar on page 22 for more info on the original charter.) In 1914 a full daycare was added and “offered to selfsupporting mothers in need.” At present, Nazareth has 55 students serviced by 14 lay teachers. It is supervised and controlled by the Sisters of St. Francis, which took over responsibility in 1913. But in early December 2014, parents were
told that the school would close in June 2015. No reason was given. One key feature of the school is its low tuition. It runs from 8:00 a.m. to 5:30 p.m.—a longer period than most schools— and the 2014-2015 school year tuition is $9,850, which is one-third to one-half of what most private and parochial nursery schools charge for a shorter day. To understand how seriously this closure would affect the parents and children involved, it is important to understand the nature of the nursery school application process. This process usually begins in the fall of the year a child turns one-year-old. Most schools, even ones charging $20,000 per year or more, have limited openings and close their applications out by the end of October, nearly eleven months before the school year starts. Parents generally choose a school with the intention of keeping their child in the same setting until they are ready to move into elementary school. Nazareth actually provides kindergarten classes and had been telling parents that they were considering expanding to offer first grade. Parents in every grade chose Nazareth because of its reasonable cost and because continued on page 22
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Legislating the Marketplace
By George Capsis “What am I going to write about?” I asked myself as I awoke still feeling the pain from the removal of a “calcified nut shell” from my lower intestines that had kept me in writhing, sleepless discomfiture on a too-small hospital bed at Lenox Hill Hospital for a week. And we were late, late, oh god, were we late, and then WNYC offered Leonard Lopate interviewing Manhattan Boro President, Gail Brewer, offering legislation that would stay the landlord’s hand from the new lease guillotine. I called her young press officer, who cheered me by expressing delight at knowing my name or at least that of WestView News . Yes, he said, he would e-mail the press release (although it still has not come) and, yes, he would call Gail to see if she wanted to make a news-worthy statement for the front page (for days no call—as I write this I finally get a call, but, alas, it
ONLY PUSH CARTS ARE FREE OF RENT INCREASES: WestView publisher George
Capsis comments on proposed law. Photo by Rinje van Brug.
is only “she is too busy today.”) Back in the hospital, Leonard opened asking Gail if she agreed “it is more than tax revenue and jobs that should make continued on page 13
Return of the Whitney
A NEW PRIME DESTINATION: Carrying out Gertrude Whitney’s original intention of
doing justice to American artists, the spectacular new Whitney Museum opens on May 1. Visitors are encouraged to purchase advance tickets at whitney.org. See page 12. Photo by Maggie Berkvist.
Exploding Rents Oust Aged Seniors —See Page 4
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2 WestView News April 2015
WestViews
WestView Published by WestView, Inc. by and for the residents of the West Village. Publisher Executive Editor George Capsis Associate Editors Christy Ross, Katie Keith Design Consultant Stephanie Phelan Photo Editor Darielle Smolian Traffic Manager Liza Whiting Photographer Maggie Berkvist Comptroller Jolanta Meckauskaite Architecture Editor Brian Pape Film, Media and Music Editor Jim Fouratt Distribution Manager Timothy Jambeck Regular Contributors Cristiano Andrade John Barrera Barry Benepe Maggie Berkvist Janet Capron George Capsis Barbara Chacour Philip Desiere Ron Elve Stan Fine Jim Fouratt Mark M. Green Robert Heide Keith Michael Michael D. Minichiello Clive Morrick Brian Pape Joy Pape David Porat Alec Pruchnicki Catherine Revland Arthur Schwartz We endeavor to publish all letters received, including those with which we disagree. The opinions put forth by contributors to WestView do not necessarily reflect the views of the publisher or editor. WestView welcomes your correspondence, comments, and corrections: www.westviewnews.org
Contact Us (212)924-5718 gcapsis@gmail.com
Correspondence, Commentary, Corrections WestView Original Responds
Dear Michael, A superb piece!!! I could not be happier. Thank you, — Jim Polshek
Joys of the Automat Dear Mr. Capsis, As one of those rarest of birds, a lifelong New Yorker, I want to thank you for your charming piece about the glories of the Automat, glories that have not faded from my memory, in the least, despite the many meals and many years that have passed. I still have dreams about the baked macaroni and a dessert called bee cake! My family history is entwined with that of H&H. My aunt was Mr. Hardart’s personal secretary for many years and we were lucky to celebrate many a special occasion at the Automat. I’ll never forget a rodeo themed birthday cake created just for me in the kitchen at the old Westside factory and served up at tables set aside just for me and my little friends at one of the restaurants. It’s sad that today’s youngsters will never know the height of joy, plugging simple nickels into a simple slot and magically receiving in return an amazing meal of their choice. Thank you again for the shared memory. My mouth is watering as I write. Sincerely, Ann Marie Todes
A City of Shells
Zoning Laws Turning New York into Shell City The New York Times has just completed an extraordinary expose of a little understood practice of parking undisclosed assets in high rise real estate,
very high. The diagrams of occupied residences in white and shell apartments in gold uncannily resembled the piles of chips one sees at gambling casinos. What the series did not point out is that this shell game is the result of zoning laws originating with the New York City Planning Commission who now resemble bankers more than planners. The Commission has unwittingly also subverted its own attempts to reward property owners with zoning bonuses and sales of arbitrarily determined air rights by passing two conflicting laws undermining the ability of Grand Central Terminal to sell its air rights devised to save that historic structure from demolition. Its landmark designation led to the key Supreme Court decision supporting historic preservation, based partly on the transfer of unused air rights over designated historic structures. During this process we have seen buildings no longer just providing shelter or places of commerce, but abstract items of value, much like gold and other paper equities. — Barry Benepe
Mr. Benepe is a retired urban planning consultant who once prepared large scale plans for areas of Manhattan as a planner for the NYC Housing and Redevelopment Board
Response to New Laws
Hi, George Capsis. I want to thank you, once again, for your help in my housing crisis and, as you said, giving “voice to the voiceless.” That is certainly one of the best possibilities of journalism. I feel, however, that your article calling for the elimination of rent control and stabilization, along with sending senior tenants to Florida or the outer boroughs so that energetic young people can replace them in Manhattan housing at low market rates, is advocacy for disaster and
cruelty. George, since you are a senior citizen, how would you like to be pushed out of your home and moved somewhere else? A lot of us seniors are not stuck in our low-rent apartments. We actually like it here. We are not preventing energetic young people from living in Manhattan. Nor are we dull and useless, as you know yourself. There’s room for all of us. Welcome to them! Also, your article seems based on the assumption that young people all have a fair amount of money. In fact, many of them would barely be able to afford the low rent I’m paying, which is now $602.76. They’re struggling to make it at McDonald’s and elsewhere; many have children, and sometimes parents, to support. The fresh young faces you seem to be thinking of are college grads with business degrees and the like, Wall Streeters, 1%-ers (and a college degree of any kind doesn’t guarantee a high income, as my experience shows). Oh, landlords would just love you. They want to get rid of rent control and stabilization, too. In fact, how would you make sure landlords would charge the low market rates you mention? The sky’s the limit when landlords charge whatever they please. I think my landlord would like to shake your hand. I hear he is trying to get all his rent-stabilized tenants out. He is consumed with greed. Perhaps I’ve actually gotten comparatively soft treatment. There are stories that workers have gone into apartments when the tenants weren’t there, opening up the faucets and flooding the apartments--then claiming the tenants did it. That’s what you get when landlords can do what they want. George, I don’t want to make fun of you, but what you’ve proposed is a landlord’s golden dream. Meanwhile, don’t let them ship you off to Oshkosh. You’re not too old for Manhattan. — Carol F. Yost
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BRIEFLY NOTED Greenwich Lane Accident
of actual or perceived race, creed, color, national origin, gender, age, disability, sexual orientation, marital status, partnership status, alienage or citizenship or (and this line they put in bold face type) “because such person or persons occupy an affordable dwelling unit.” — George Capsis
Garner Grand Jury Minutes Not Released
TOO LATE FOR THE EMERGENCY ROOM: A freak accident at the Rudin condo site takes a
life steps away from a vanished St. Vincent’s emergency room. Photo by Maggie Berkvist.
MEMENTO MORI: 10 days after a piece of fencing blew off the West 12th Street side of the Greenwich Lane condominium construction site on March 17th, killing young passerby Tram-Thuy Nguyen, these fading bouquets remained to remind us of the life that was lost. And across the street the Department of Buildings’ Stop Work order, imposed after the accident, was apparently being observed. However, since there didn’t appear to be any of the usual DOB notices visible, WestView called their Press Office for an update on the official status of the construction. We were informed that the name of the project, Greenwich Lane and its general location (on the former St. Vincent’s Hospital site), was not an acceptable I.D., and that we needed to call them back with the precise street address. So we Googled – where else – St. Vincent’s Hospital! And after checking their records the Press Office sent us the following report:
Subject: 1 7th Avenue MN Good afternoon, Background: *Full Stop Work Issued on March 18th 2015 for failure to safeguard site after a piece of plywood came loose and hit pedestrian. *Stop Work Order fully rescinded March 26, 2015 following a resolution of the underlying unsafe conditions and inspection of site by the Department. Thanks! No mention was made, however, of the 11 violations against Greenwich Lane already issued by the Department between May and November 2014 that, according to the DOB spokesman quoted in the New York Times March 19th account of the accident, remained open, which was, he said “pretty much normal.”
On the same day as the Times piece, there was an unrelated story in Crane’s New York Business headed Crackdown on Buildings Dept. Corruption isn’t Over reporting that “On the heels of a massive bust of building inspectors, the city’s in-house corruption investigator said Wednesday he is far from finished with the notoriously problematic Department of Buildings.” One can only hope that Community Board 2’s subsequent resolution, “calling on the mayor and the Department of Buildings to create a program parallel to Vision Zero”—the traffic safety initiative—will lead to a DOB insistent upon the stringent application of vital safety regulations. — Maggie Berkvist
No Poor Tenants in the Pool Right now it is perfectly legal for a developer who has received millions in tax abatements in return for providing some “affordable” apartments to ban those lower income tenants from the house gym or pool. Developers can even provide a separate entrance so the regular tenants will not even have to be aware that they are in the same building with these people who have won their apartment by demonstrating in a city application that they are indeed poor—but not so poor they can’t pay the affordable rent. Council Member Corey Johnson has joined with other members in proposing legislation that would prevent developers from hanging a sign on the gym door “No Affordables Please.” When drafting the new legislation it seems they decided to add everyone who needs social and legal protection so that if the city law is passed it will become illegal for the developer to discriminate because
Following up “Some Notes about Grand Juries,” WestView News, January 2015, a Staten Island judge has denied a request by several organizations to release the Grand Jury minutes in the Eric Garner matter. On March 19, Judge Garnett held that the applicants had failed to show a “compelling and particularized need” for release of the minutes, and that if the public interest in disclosure was the overriding reason for the applications – as here – it was up to the legislature, not the courts, to change the law. The applicants have said they will appeal this decision. —Clive I. Morrick
March VID Meeting On March 12th the Village Independent Democrats held their monthly meeting in St. John’s Church on Christopher Street. President Nadine Hoffman and District Leader Keen Berger gave reports on a variety of local political issues, including the appointment of Buxton Midyette as a State Committee representative. Club member Sharon Woolums reported on a recent forum on small businesses which was co-sponsored by the VID. Steve Null, a long-time activist in this area, called for action in the form of a petition drive to support legislation now in the City Council to control business rents, and the club set up a committee to begin this petition drive. State Assembly member Deborah Glick and Senator Brad Hoylman gave detailed reports on legislative activity in Albany, especially on the upcoming budget, along with issues related to LGBT homeless youths and rent control issues. President Hoffman announced that this year’s fund raising and awards gala will be held on Thursday, April 30th at Tio Pepe’s restaurant and will be honoring recent Democratic primary candidates Zephyr Teachout and Tim Wu, among others. Other on-going club activities include working with the Coalition to Stop Port Ambrose LNG terminal and supporting the Candles for Clemency which is requesting that Governor Cuomo begin to use his clemency power for some state prisoners, which he has not yet done. The last activity was supported by a unanimous
resolution passed by the club members along with a demonstration in front of the Governor’s home on April 18th. The next meeting will be on Thursday April 9th at the same location. The scheduled guest speaker is Zephyr Teachout. — Alec Pruchnicki
Alec Pruchnicki is a member of the VID executive committee.
Serendipitous Windfall or Greed? To the list of the inevitable—death and taxes—we might add higher rents for small West Village businesses. While the easy villain is, of course, the rapacious landlord, a recent Times article reports it is also a co-op owner of a 540 square foot studio at 99 Bank Street. The owner giggled with delight when he found his monthly maintenance dropping from $810 to $20.40—partly because of the whopping big rent for Mrs. Green downstairs, the ill-fated and yet-to-open produce market locked in a life and death wage struggle with their union. As I write this, I read that The Villager is sponsoring a “call to action forum” with no politicians invited to speak because “corrective legislation has been held up in the City Council for decades.” The Villager also states “the city is now asking Albany to pass legislation establishing a property tax credit for commercial landlords who voluntarily limit rent increases.” I wonder if our co-op owner at Bank Street would be willing to help out Mrs. Green for a tax break? —George Capsis
Photo of 99 Bank Street by Maggie Berkvist.
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4 WestView News April 2015
Once Again Threatened with Homelessness By Carol F. Yost My tiny apartment is on the first floor in a dear little old building beyond a courtyard. I am shielded from some of the noise and exhaust fumes of the street. From my back window, which has a wide sill where the cats like to sit in nice weather, you can hear the birds sing. I can sit on my front stoop or on a deckchair in the courtyard reading the paper in summertime. I am near the West 14th Street subway stops and not far from Union Square. When I moved in, near the beginning of 1976, my apartment was $105.00 per month. Now it’s just gone up to $602.76. My relations with my current landlord have not always been cordial, but for years things had seemed fine, and the young women working in the landlord’s office were warm to me. Suddenly in late February I received a letter with a lawyer’s letterhead telling me my tenancy would end on March 5, and I was accused of not maintaining my apartment properly. The angry words of the letter contained real falsehoods, with unsupported accusations. It felt like an assault upon my person. I was terrified. I couldn’t see how I could find a comparable apartment with a comparable rent for my income as a retiree. I’ve struggled financially just about all my life, and was grateful to be able to retire and be able to buy inexpensive concert tickets, have a decent meal in a restaurant, and so forth. I was told the landlord couldn’t lock me out of my apartment any more than he could really terminate my tenancy March 5th. But if he could send an illegal letter like that without being arrested, couldn’t he do anything else he
wanted? I pictured workers kicking the door down and throwing all my things out on the street, along with my two cats and me. Would the police come? What help would there be? I wanted to cry sometimes but was afraid to, as if that would be an acceptance of the idea I would have to move and suffer like so many others in costly apartments up many flights of stairs in iffy, faraway neighborhoods near some X train (since I can’t handle stairs well, that would make me a virtual prisoner in my apartment). I can’t do it. I don’t want anyone else to go through that either. I am just one of many thousands who deserve affordable rents in good locations. The only reason my rent seems low is that other rents are far too high. My rent is not low, really. I’m grateful to lawyer Yetta Kurland and Zachary Albright Whiting, from her office. They have helped me through this ordeal, and have pushed back against the landlord—courteously, logically, but firmly. The matter is far from over, and the landlord in his papers asks that I pay $3,000 per month. This seems to be what is at the heart of the landlord’s efforts. He doesn’t want to accept my $602.76 when he believes he can get $3,000 per month. The hearing went well. More papers will be sent between the two lawyers and we’ll be back in court May 1st. It is a huge relief that the judge seemed to understand what was going on. Here’s hoping, going forward, that the landlord doesn’t continue to try to wear me out. May he fail, utterly. It’s like being mugged in the street because I innocently possess what someone else covets.
Seven Tips Every Rent-Stabilized or Rent-Controlled Tenant Should Know By Yetta G. Kurland Many have speculated that there has been a recent uptick in the ‘gentrification’ of our neighborhood that adds to landlords’ efforts to get rent stabilized and rent controlled tenants out of their apartments in order to raise the rent and ultimately decontrol or destabilize. Here are some tips to help make sure that if you are in a rent stabilized or rent controlled apartment, you don’t open yourself up to potential vulnerability of increased rents or eviction efforts from all-too-eager landlords: 1. Ensure your apartment is properly registered with the Department of Homes and Community Renewal (“DHCR”) at the correct rent. Your landlord is required to register your apartment with DHCR and you can obtain a copy of your rent registration by calling DHCR at (719) 739-6400. If your landlord has either failed to register the building, or has registered it at a higher rent than the law allows, you can file a complaint with DHCR, who will investigate your complaint and call on your landlord to establish the validity of the regulated rent. In most cases you can only contest increases within the last four years. 2. Review any proposed increases. Your landlord is only permitted to pass the costs of certain improvements on to its tenants. These improvements do not include the cost of ordinary repairs. Further, the landlord must register these improvements with DHCR, and you are entitled to an opportunity to comment on them. DHCR will issue an order either approving the increase, some of the increase, or denying it altogether. If your landlord attempts to tack on additional fees to your monthly rent, ensure these are
allowed by law and approved by DHCR. 3. Form a tenants’ association. As in most cases, there’s strength in numbers. If you feel your landlord is acting aggressively or inappropriately, you and your fellow tenants can band together and pool your complaints and resources. This is particularly true in cases where the landlord is neglecting the building or failing to make repairs. 4. Contact an attorney. A legal professional can advise you of your rights and represent your and your fellow tenants’ interests against the landlord, who most likely has attorneys of his own. 5. Contact 311. If your landlord is failing to make necessary repairs or failing to maintain required services, you can file a complaint with 311, who will very often send someone out to inspect the apartment. Registering your complaint with 311 will help create a paper trail which will come in handy if you ever find yourself in court. 6. Correspond with your landlord in writing. All correspondence with your landlord should be in writing and should be sent with proof of mailing. Make sure to make a copy of everything you send, along with the proof of mailing, just in case you have to refer to it later. 7. Review your lease. Knowing the terms of your lease is essential, and you should have a copy on hand at all times. A lease can include important terms, such as how your landlord is required to send you certain notices, and knowledge of these terms can be essential in protecting yourself.
Yetta Kurland is a community activist and the founding partner of the Kurland Group, a full service boutique civil rights law firm. www.kurlandgroup.com
Marilyn Schiff:
Another Senior Freed from a Nursing Home! By Arthur Z. Schwartz Readers of WestView have followed the case of Ruth Berk, the retired cabaret singer who spent eleven and a half months locked in a nursing home following a guardianship proceeding initiated by her landlord, who is seeking to recover her two-bedroom, penthouse, rent stabilized apartment on Christopher Street. Lots of court petitions and phone calls freed Ruth; she is home and able to come and go as she pleases. And for now, in order to assure her freedom, I have become her guardian. Not long after Mrs. Berk was freed, I received a call from WestView reader Marilyn Schiff, a resident of Horatio Street. She called me from the Crown Nursing Home, out in Sheepshead Bay. She actually did not know the name of the facility and believed that she was going to be there for a long time. She did know that sometime around February 23, she fainted, and been brought to Beth Israel Hospital, where she was diagnosed as suffering from syncope. The hospital had sent her to a nursing home. She told me that the conditions there were spartan—she’d had to “steal” a roll of toilet paper and was being given no fruit or fresh vegetables. She told me that she felt like a prisoner. She also knew that the New York Foundation was her temporary guardian and gave me a phone number to call. I called and found that the New York Foundation’s plan was to “marshal” Mrs. Schiff ’s assets, get her on Medicaid, arrange for home health care, and get her home. They also told me about the previous temporary guardian, Melissa Steinberg, Esq. Ms. Steinberg was dismayed by what I told her. Apparently, she had “marshaled” Mrs. Schiff ’s assets and paid her back bills (including ConEd, Verizon and Time Warner) and back rent, and had given Mrs. Schiff a food shopping allowance. Mrs. Schiff collects enough in Social Security and pension that she is not eligible for Medicaid. Attorney Steinberg had arranged home care through Village Care, an arrangement which New York Foundation had not followed up on. It was also clear that they are not paying bills and that a non-payment proceeding is coming soon—apparently another landlord initiated guardianship case. I contacted the judge—a smart, energetic jurist named Andrea Masley, who summoned NY Foundation to court, and ordered them to take the necessary steps to return Ms. Schiff to her home by April 1! Resources and volunteer time will be “marshaled” to take care of Marylin when she gets home, and hopefully the home health care will kick in immediately. The Judge has suggested that I apply to be the guardian. I cannot stress the importance of learning this lesson: if friends or relatives of older New Yorkers hear about a “concerned” visit from Adult Protective Services and some mention of guardianship—please get involved. The process works quickly and can result in a terrible loss of rights for those without an advocate.
Arthur Schwartz is the Village’s Male Democratic District Leader.
April 2015 WestView News 5
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ROSEMARY’S ROOFTOP FARM: One of many rooftop gardens in the West Village. Photo
by Heather Shimmin.
A Little Closer to Heaven: Rooftops for Everyone By Leslie Adatto The West Village is graced with the highest density of private and semi-private rooftop gardens in New York City, and perhaps has more rooftop gardens than any neighborhood in the United States. However, looking up around the West Village, while it seems like everyone has a rooftop garden, that is not the case. Yet whether one has a personal rooftop garden or not, everyone has access to a variety of NYC rooftops close to his and her West Village homes. Rooftop bars, a farm, and even a flying trapeze school are close by and open to all. Here are details on four public-access rooftops within easy walking distance of your West Village address: The Jane Hotel at 113 Jane Street, famous for housing Titanic survivors in 1912, will reopen its vintage style rooftop bar/lounge in late spring. The cozy brickdetailed roof deck has been kitted out with comfortable furniture and offers expansive Hudson River views with a dash of history. Write to events@thejanenyc.com for a precise opening date and reservations. If you prefer new construction, Bar Hugo at 525 Greenwich Street is a year-round rooftop bar. First opened in April 2014, this sophisticated lounge sits atop a 20-story tower. The comfortable indoor space offers great views of the river from one side, and of the city from the other, plus a happy hour Monday through Friday from 5-8 when you can enjoy a rooftop beer for just $5. A Bar Hugo bonus—this is probably the only place you can view the expansive green roof (built for environmental reasons to reduce rainwater runoff ) of the new Department of Sanitation building across the street. When it warms up, the outdoor terrace at
Bar Hugo gives patrons a chance to enjoy an excellent alfresco cocktail. Though not technically in the West Village, I walked there from my apartment in less than 15 minutes. More info available at http:// www.hotelhugony.com/rooftop-bar Rosemary’s at 18 Greenwich Avenue, a trattoria/enoteca serving top-notch Italian dishes, sports a rooftop farm. With easy access from the restaurant, customers are welcome to head up one flight of stairs to enjoy the roof garden, an elevated view of the Jefferson Market Library tower and the surrounding Greenwich Village roofscapes. When the rooftop-gown produce gets a chance to mature, it will be part of the delicious farm-to-table menu. Buon appetito! More info available at http:// rosemarysnyc.com Looking for a more adrenaline-activating rooftop experience? Head over to Pier 40 for lessons at the rooftop aerialist school, where you learn to fly through the air—with Hudson River views! Located at 353 West Street, Trapeze School New York group lessons begin on the rooftop April 4. To find out more, see http://newyork.trapezeschool.com These four are a just tiny sampling of New York City’s vast array of public-access rooftops. For unbeatable summer pleasure, don your most stylish sunglasses and hit the roof!
Leslie Adatto is the author of “Roof Explorer’s Guide: 101 New York City Rooftops,” found on amazon.com and in book stores and museum gift shops throughout New York City. Please attend Leslie’s free and informative Author Talk about NYC Rooftops for the Greenwich Village Society for Historical Preservation (GVSHP) at Jefferson Market Library on Thursday, April 23 at 7 p.m.
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6 WestView News April 2015
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Social Security Tips By Max D. Leifer Many of you may have questions concerning Social Security Disability, Social Security Supplemental Income and Retirement. Each of these have sub-programs. Social Security Disability is based upon an earnings record, which usually requires 20 out of 40 quarters, with a different requirement for younger wage earners. Social Security Supplementary Income is available for low income disabled individuals with generally less than $3,200 household funds. There are exemptions, which are tied into city and state income. As to retirement, those who choose an earlier age of 62 or 63 will receive a reduced monthly payment of 20%. Those who retire at 66 receive full benefits. At this point, individuals who continue to work will receive benefits, but at a monthly adjustment up to age 72. In obtaining benefits, the first step is to make an application online (ssa.gov) or at any local office. Before making the application, make sure to check your earnings record on the Social Security website, which shows entitlement, amounts and
date of last insured for disability benefits. It is also important to check the yearly posting of your earnings, since these will be used to calculate your benefits. These can be verified against your tax return. As to SSD and SSI, after application is made, these are the following steps: Application, if denied then Reconsideration, Hearing and Appeal, if denied then Appeals Counsel, and if still denied then United States District Court. All of these have time limits of 60 days for appeal, except if you are receiving benefits and later denied, in that case you have to file within 30 days to continue benefits. In each of the Disability applications, it is essential that you obtain medical reports reflecting the disability or disabilities, and proof that you cannot perform substantial gainful activities. This is a general statement about the basic benefits available from Social Security. There are other specific issues like Workman’s Compensation Benefits, Long Term, Pension, and many more. Remember you can get information and assistance from ssa.gov or 1-800772-1213.
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April 2015 WestView News 7
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Mayor’s Plan Destroys Years of Zoning Progress By Andrew Berman A recently-released proposal by the de Blasio administration would undo hard-fought-for zoning protections and height limits in the West Village—many of which took years to secure, and involved considerable compromise—and would undermine plans for similar protections for the South Village and University Place/Broadway corridors. The City’s ‘Zoning for Quality and Affordability’ proposal, which is beginning the public review and approval process, would change the rules for “contextual zoning districts” throughout the city—areas with strict height limits for buildings, meant to ensure new construction fits the character of its surroundings. In 2005 and 2008, GVSHP successfully fought for contextual zoning for parts of the Far West Village, where the previous zoning had no height limits and where, for the most part, there were no landmark protections to limit the height of new developments. In the contextual zoning districts such as the ones we secured in the Far West Village, under the Mayor’s plan the allowable height of buildings would increase by as much as 20%. In areas of the East Village where we also successfully fought for contextual zoning protections, the allowable height limits would increase by up to 31%. And because this plan would change the rules both retroactively and prospectively—i.e. for existing contextual districts, as well as any future ones—it would also increase by as much as 31% the allowable height limits we proposed and hoped to secure in places like the South Village and along the University Place/Broadway
corridors. There, current zoning and lack of landmarks protections allows new construction of 300 feet in height or more. The administration’s rationale for these changes is that they will make for new development which is of a higher quality and which is more affordable. But there is little empirical evidence to back this up and much evidence to indicate that these changes will simply make for less appealing and more expensive buildings, and less affordable neighborhoods. And clearly it will result in taller, larger development in areas where such things had previously been limited. It should come as no surprise that many of these changes are ones which have been on the real estate industry’s wish list for many years. They, rather than advocates of quality and affordability, will likely reap the benefits of the proposed changes. No less of an advocate for quality and affordability than Donald Trump has been on record railing against the restrictions of the city’s contextual zones. The Mayor’s plan will come before the Community Board, the Borough President, the City Planning Commission (the majority of whose members the Mayor appoints) and the City Council for review. There will also be public hearings, votes of approval or disapproval, as well as the opportunity to change the plan. It’s critical that we let our local elected officials know how strong our concerns are about this proposal. To send a letter to do so, go to www.gvshp.org/rezone.
Andrew Berman is the Executive Director of the Greenwich Village Society for Historic Preservation
Zoning Law: A Citizen’s Primer By Barry Benepe “I can do what I want with my land.” This claim, often asserted by land owners, is not true. Early in the 20th Century the US Supreme Court definitively established the right of municipalities to govern development on privately owned land. Zoning law establishes limits on use, building size, and placement. The New York City Planning Commission mapped districts in 1961, which have been amended over the years to accomplish many goals, including the protection of historic structures, open space, access to light and air (undefined, but popular terms), and to increase financial return for landowners. These changes are often based on market pressures and the current fashions of the Planning Commission, rather than on a comprehensive plan as required by state
law. It rarely, if ever, examines the ability of the city’s infrastructure to handle the increased burden on water supply, liquid and solid waste removal, energy and transportation. “Contextual” zoning limits building bulk to that surrounding the site. For example, in an R6A Contextual Residential District where the surrounding buildings are predominantly six-story, the proposed building must be no higher than six or seven stories. In an R6 noncontextual district a building can rise up to 12 stories. In other districts, towers of unlimited height are permitted. Zoning also governs use. For example the Hudson River Park’s 550 acres in an M2-3 Manufacturing District, mostly land under water, permits industrial use, the only park in the city to permit such development.
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8 WestView News April 2015
The Spirit of Selma
“HANDS DOWN, THE BEST GYM IN NYC.” — Franz H.
IN THE RIGHT PLACE AT THE RIGHT TIME: Red Jackman and fellow Civil Rights march-
ers en route from Selma to Montgomery, March 21, 1965. Photo “1776 Encore,” by Ivan Massar.
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By Maggie Berkvist Did you know Red Jackman? A wellknown Villager back in the day, he’s the tall white guy on the left in this iconic photograph from a series taken in 1965 by photojournalist Ivan Massar. Of all the images on display again during this 50th anniversary year of the March from Selma to Montgomery, on March 21st, 1965, “1776 Encore” has always been my personal favorite; partly because I’ve always suspected, with its sense of history and sheer bravado, the eye-catching re-enactment was probably Red’s own idea—but also because I actually knew both him and the photographer. When I lived on West 4th Street, from 1955 thru’ 1959, I used to hang out in Louie’s in Sheridan Square—along with a typical local bunch of aspiring writers, actors (Steve McQueen among them) and activists of one sort and another— including Red. Already he was an ardent young socialist—very daring in those red-baiting, post-McCarthy times—and reveled in political discussions! He was also charming, articulate and fun—and had his 15 minutes of fame as a winner on the TV quiz show, the Sixty-Four Thousand Dollar Question. When I came back to the Village, in 1965, Louie’s was long gone, replaced by the Parker House, but Red was still here, still charming, and much involved in the civil rights movement. And in 1970 we ran into one another again on the Mall in Washington when, typical Villagers that we were, we were both there at a demonstration against the War in Vietnam. After that I lost track of him. In Ivan’s case I had known and admired his work for decades—in the sixties, as a
photo editor on the NYT Book Review, I had actually assigned him to photograph John Updike for us—but only recently, through mutual friends, had we had a chance to get to know one another personally. That was when I discovered that he had never known the identity of the red-haired guy in his famous photo from the March, and was able to ‘introduce’ him to Red. It was then that I went Googling and found that Red was alive and well on Staten Island, and that in 2010 the Staten Island Advance had written a lively profile on him entitled Stapleton Resident: Captain Ahab Incarnate. Because Ivan lived in Massachusetts, I didn’t see him very often, but on his occasional visits to New York we always had a good time sharing reminiscences, and I thought how great it would be if we could link up with Red, who I suspected would get a big kick out of the connection. I felt sure that the charismatic Red’s lively mind and sense of humor would appeal to Ivan, and that Red would appreciate the beauty and humanitarian focus of Ivan’s photography, I promised myself I would see if I could reach Red, but I underestimated the time we had left; sadly, Ivan and Red both died last year, just months apart. They really should have been with us for this anniversary year, to hear the words of appreciation for those who were on the front line in 1965. But what really matters, of course, is that they had both made a point of being there back then - two courageous, caring, young white men in the right place at the right time.
Red died on Sept.17 last year, and Ivan the previous February. To see the more of Ivan’s images, visit http://www.ivanmassar.com
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10 WestView News April 2015
Tribeca’s 14th Year: It Only Gets Better Let’s Talk About the Movies
By Jim Fouratt Uh oh! Tribeca Film Festival is back for year 14 with some big changes. Since a fifty percent ownership now lies in the hands of the Madison Square Garden Corporation, people were wondering how this would influence the creative vision established by the Founders: Robert De Niro, Jane Rosenthal and Craig M. Hatkoff. TFF is now a for-profit film festival, but you can breathe a sigh of relief. Apparently Geffrey Gilmore, former Sundance Film Festival ED who climbed on board as Creative Director five years ago has, along with his creative team, kept the vision strong and worked full time to make TFF as competitive culturally as any other US film festival. He brought a number of the ideas he helped develop at Sundance to TFF—including non-movie viewing events that bring together “Ted” like cultural icons and thinkers to discuss subjects from Artificial Intelligence to Robots to the critical role culture plays in a troubled political landscape. New this year will be the creative hub at Spring Studios, a 150,000 square foot building that will house industry events, tech talks and the press center. The highly in demand Tribeca Talks will be housed there and this year it includes conversations between Christopher Nolan and Bennett Miller, George Lucas and Stephen Colbert, Cary Fukunaga and James Schamus, and Brad Bird and Janeane Garofalo. It will also feature Harvey Weinstein, Gus Van Sant, Courtney Love, Catherine Martin, and Christine Amanpour. (Courtney Love, oh my!) Returning will be After the Movie with four films followed by an in-depth discussion by the filmmaker and involving the audience. The one I am excited about is Code, a documentary
400,000 people participated in TFF last year; you will want to look at the program guide online and buy your tickets early. I rarely recommend a film that I have not seen. But as I write this preview of the festival, I have not seen most of the films, but I want to because of the subject matter, the Director, or the actors. I also think they will be some of early sell outs. So please pick up a program guide or look online and decide if you agree.
ALEX GIBNEY: Director of We Steal Secrets, The Story of
WikiLeaks. Photo courtesy of HBO.
that exposes the dearth of American female and minority software engineers and explores the reasons for this gender gap. Code raises the question: what would society gain from having more women and minorities code? The discussion following the movie will include director Robin Hauser Reynolds, Qualcomm chief learning officer Tamar Elkeles, GoDaddy chief people officer Auguste Goldman, and Etsy engineering director for infrastructure Jason Wong. Also returning are the Drive In series, the Tribeca Family Festival Street Fair, Tribeca/ESPN Sports Day and kid’s programing. More good news is that the Tribeca Regal will replace the East Village Regal. That first year, the Tribeca Regal was the theater most of the films were shown in, so when we looked out the window we could see what had just happened at the World Trade Center, three blocks away and very visible from the windows. There will also still be screenings on 23rd Street at the SVA Theater and the Bow Tie Chelsea.
1. The Adderall Diaries 2. Among the Believers 3. The Armor of Light (Abigail Disney) 4. Fastball 5. Cartel Land. Highly recommended. 6. Indian Point (directed by Ivy Meeropol) 7. Peggy Guggenheim—Art Addict 8. Requiem for an American Dream 9. (T)error Sundance. Surprisingly intimate. 10. The Cut 11. Dirty Weekend (Neil LaBute) 12. Far from Men (from an Albert Camus story) 13. Slow West Sundance 2015 Prize 14. Sworn Virgin 15. Wondrous Boccaccio (Paolo and Vittorio Taviani) 16. As I Am the Life and Times of DJ AM Plus Tribeca Talks: Secrecy and Power If knowledge is power, then secrets are weapons. Join former CIA operative Valerie Plame, Pulitzer Prize–winning journalist Bart Gellman, We Steal Secrets, The Story of WikiLeaks director Alex Gibney and moderator Cynthia McFadden of NBC News as they explore this timely topic.
April 2015 WestView News 11
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A Life of Apartments (Part One) By George Capsis As I sat in the long sunny-windowed waiting room of the Hospital for Special Surgery perched on the very edge of the swirling ice-gorged East river, I thought how my life—all in New York, I was born on 103rd street and 3rd Avenue—had been measured by the apartments our family has lived in. The very first apartment I can remember was in Long Island City within walking distance of the same turbulent rushing East River that the Dutch called Spiten Dyval, Spitting Devil. I can’t remember the street number in Queens, but on the Manhattan side it corresponded roughly to 59th street. That first Queens apartment was in a newly built two family house (we were on the first floor) and I can remember looking from the kitchen window to the River. Just up the block was a new public school where I started Kindergarten, and I can remember my fear at being caught on the front stairs as a racing avalanche of kids exited. Right in front of our row was a modest park with a round concert wading pool for little kids in which I pretended for my mother that I was swimming with a foot hitting the bottom from time to
time. And a little further on was a massive concrete block with a sign on it that it was to become the Triborough Bridge. On the second floor was a family with a little girl just my age and I found myself being paired off with her and the word “girlfriend” being used. But this idyllic era in Sunnyside ended because my father could not make the rent, and we moved to a 5th floor walk-up on 135th Street between Broadway and Riverside Drive. The nearest public school was PS 192, which was inside the massive Victorian that also housed the Hebrew Orphan Asylum, the HOA, between 137th and 138th street. The main entrance was on Amsterdam Avenue, but the grounds ran all the way to Broadway. On the Hudson River from 135th Street down to 125th Street and Tieman Place ran a viaduct 75 feet above a rough busy road on which trucks moved cargo in and out of riverside warehouses. At 134th street there was a short right angle extension of the Viaduct creating a sheltered, steep embankment on which destitute men lived in cardboard and tin shacks (this was the depression)—I took it as normal that some people lived in the streets. I see that same viaduct now in commercials offered as an exotic vista. We then moved to 138th Street be-
tween Broadway and Amsterdam with an entrance to the HOA grounds and PS 192 just opposite the door.
To my child’s mind, the Hebrew Orphan Asylum was enormous. To my child’s mind, the Hebrew Orphan Asylum was enormous. Kindergarten was on the 137th Street side and on occasion I was sent to take a note to the diminutive principal Dr. Goldberger, who always wore a three-piece tweed suit with his Phi Beta Kappa key showing. The passage to his office was via the high ceilinged corridor called “Dr. Goldberg’s Hall” and lined on both sides with posters lauding the right way to adulthood and decrying the evil paths like smoking. The Warner brothers had been orphans at the HOA so they donated a big gym, which on Friday nights was converted into a movie house to view (guess what) Warner Brother films, which were all about gangsters and prisons with Jimmy Cagney. Us local kids would sneak in, but it was difficult to blend in with the HOA kids in their kaki institutional uniforms and heavy shoes (Gristedes owner John Catsimatidis lived in the
neighborhood and went to PS 192 but much, much later). Just up the street on Amsterdam Avenue was the Lewison Stadium, which was designed as a Greek Amphitheater. In its curving rows of concrete seating, I heard a very young Jascha Heifetz play. City College was nearby. Since we were in the depths of the depression it was very Red; I can remember some big demonstrations with signs, chants and riot police on horseback. On summer evenings, us kids distributed communist literature to crowds streaming up to the stadium from the 137th Street subway station and being given the amazing sum of fifty cents for our efforts by a kindly female party member. (We retrieved and redistributed discarded but clean leaflets.) Roosevelt was running against Alf Landon and we gave out his button, but I regretted that the Landon button was so much better—it was in the shape of a sunflower and made of felt.
Part Two will continue to chart a lifetime’s worth of apartments and conclude with a discussion of the impetus for this walk down memory lane—a lack of affordable housing that is sending young folks out to Brooklyn and beyond.
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12 WestView News April 2015
The Return of the Whitney By Martica Sawin The last thing I see as I close my window shade at night is the dazzling light from the upper floors of the new Whitney Museum rising beyond the West Village rooftops. Located at the intersection of Washington and Gansevoort Streets, the Renzo Pianodesigned building ascends in staggered levels nine stories above the spot where the High Line ends. For one who recalls the annual exhibitions in the Whitney’s first incarnation on Eighth Street—it closed its doors in 1954—or who saw the landmark Arshile Gorky retrospective there in 1951, it represents a fulfillment beyond the wildest dreams of Gertrude Vanderbilt Whitney, who began buying American art in the decade before the first World War. Working in her MacDougal Alley sculptor’s studio, Gertrude Whitney became aware of the paucity of attention given to the work of living American artists and determined not only to help financially through purchases, but, more importantly, to develop an audience for their work. Her vision was shared by Juliana Force who was charged with implementing the Whitney projects and who oversaw the transformation of the Eighth Street Whitney Studio, opened in 1913, into a museum capable of handling a collection of more than a thousand works by American artists. The acquisition in the early 1930s of the two brownstones adjacent to the Whitney Studio made possible expanded exhibition areas, working space for artists, and a handsome apartment on the top floor for Juliana Force. For the first time there was a public space dedicated wholly to the work of American artists—to promoting it, and attempting to give it a status comparable to the European art that filled museums in the larger US cities. Not only was the Whitney’s annual exhibition regarded as the major art event of each year, with inclusion boosting an artist’s reputation, but the curators were ecumenical when it came to artistic styles, willing to risk the antagonism that often greeted the unfamiliar in art. From the outset the Whitney saw its mission as one of responsibility to a constituency of artists, while also responding to the changing needs of the art community. Up to the time of the Museum’s move to West 54th Street, back to back with MoMA, any artist could request an appointment to bring in up to four works for review by the curatorial staff and consideration for inclusion in the Whitney Annual. When it opened its fortress-like Marcel Breuer building on Madison Avenue in 1966, the expansive unimpeded spaces made it possible to show current art on an unprecedented scale, while also allowing for the display of a selection of earlier 20th century forerunners of modernism and, gradually, the inclusion of a broader spectrum of the American population. In an attempt to house its ever-growing collection—today it consists of more than
20,000 works by some three thousand American artists in all mediums—the Whitney sought to expand in its Madison Avenue location, only to meet with obstacles on all sides. Finally the Museum’s board accepted the city’s offer of a parcel of land between the meat-packing district and the Westside Highway, at the time a wasteland bordered by a dilapidated elevated railway. Who could have imagined the interim transformations that would produce one of the city’s most sought after neighborhoods by the time the gleaming new Renzo-Piano building was ready to open its doors, an opening delayed for two years when Hurricane Sandy turned the excavation into a lake?
The Whitney Museum of American Art website promises a unique architectural experience. So, what to expect when this gleaming tower opens close to home on May 1? In an interview the architect Renzo Piano stressed that the building would be porous. (For an example of “porous” architecture look at the revised Alice Tully Hall whose large expanses of glass, slightly sunken forecourt, entrance traversing a restaurant, and dramatically outward projecting upper story connect the interior physically and visually with the outside world.) From the outset it was determined that the new Whitney building would be oriented toward its West Village surroundings rather than turning its back to take advantage of the spectacular river view. The advance information on the Whitney Museum of American Art website promises a unique architectural experience, unique even within the Piano museum repertoire, a building whose design has been a response to the location and to the purposes it serves, whether presenting performance in its 170 seat theater or paintings, photography and multimedia works in its 50,000 square feet of indoor exhibition space or sculpture on the rooftop terraces. As a young architect, Piano was the codesigner of the Pompidou Center that transformed a large swath of the odoriferous market district known as the “stomach of Paris” into one of Europe’s biggest tourist attractions. Could it be possible that his Whitney building with its admission-free ground floor, containing a large glass-enclosed Danny Meyer restaurant, will join with the High Line, the new hotels and the proliferating clubs to make the once grungy west side dock area into the city’s prime destination? One thing is certain; it carries out in splendor Gertrude Whitney’s original intention of doing justice to American artists. And it seems fitting that the original museum building on Eighth Street has been for forty years the home of the New York Studio School that has generated much of the artistic energy that makes the New York art world so vibrant.
April 2015 WestView News 13
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Then & Now
Bleecker and Hudson Streets By Stan Fine
THEN
NOW
1908. Looking North on Bleecker Street and Eighth Avenue
2015. One hundred and seven years later we can still see
in the West Village. William Howard Taft was elected president, the Chicago Cubs beat the Detroit Tigers in the World Series and Penn Station was under construction, opening two years later. Photo courtesy of NYC Vintage Images.
the same white brick house and some modified brownstones. Cars replace horse drawn carriages and trolleys in the Abingdon Square area. It remains a West Village apex, at Bleecker and Hudson Street turning into Eighth Avenue. Photo: Stan Fine
Bring Back the Pushcart continued from page 1
government intervene to save small business?” And Gail answered, roughly, “Absolutely, as you know I was working with the then-city-council member Ruth Messenger back in the nineteen eighties to introduce legislation and then when I was on the City Council I passed zoning legislation to limit the number of banks. Goodness knows, I had 70 banks in my district. And I also introduced legislation to limit the size of stores on Amsterdam and Columbus.” The new legislation that Brewer was promoting would allow a small business 180-day notice before the end of the lease to negotiate with the help of a mediator. If no deal is reached, the tenant could get an extension of up to a year with a small increase. “Now, as you know, small business preservationist, Jeremiah Moss wants something more than that” interrupted Leonard, playing a segment from last week’s Moss interview. ( Jeremiah Moss is an internet activist avatar—this is a new species.) Moss enunciated, “That plan is really going to make things worse for small businesses—it is voluntary and not binding. All it does is give a one-year extension with a 15 percent increase so the business can find a new location and the landlord can find another Starbucks.” Brewer countered dryly, “The bill Jeremiah is talking about is the job preservation bill which has been bottled up in the city council since the eighties,” and then went on to catalogue the discussions that would now take place to presumably discover which bill is best or which bill is not so great, but at least has a chance to pass. Gail’s interview made me reflect back in time to the war years (the forties that is) when the Village had just
lived through a soul eroding depression. Let’s take a look at how many memorable, worth saving small businesses we had: The Waverley Inn, Chumley’s, The Rienzi but not much more—few ate out in the depression. Where Staples is now, we had Stewart’s Cafeteria and opposite, on the corner of Greenwich Avenue, was a decaying Greek diner. We ate the one-dollar spaghetti dinner accompanied by a fifty-cent glass of Cucamonga Peak wine at Momma something on 6th Avenue, and sometimes we ate at the Mother Hubbard on Sheridan Square, where you could have a luscious hamburger, apple pie, and coffee for $1.25. On Bleecker Street, we still had Italian push cart vendors. This memory elicits another. Let’s pop over to Paris in 1949 to a table for four in an outdoor café. David Grossblatt joins our table, orders and consumes dinner. He then announces he has no money and asks could we pay his share. That same Grossblatt joins with a bunch of ex-Paris buddies to open the very first European type café in the Village—the Rienzi on Christopher Street. Then the Peacock and others follow, and the new after-the-war Village starts. Now 48 billionaires have as much wealth as half the population of the whole country, and all the rest of the wealth seems to be sliding into their hands without their even trying—it is a very different economic world that is only getting worse. There is no law that will halt the greatest inflation tsunami in history. Thank god we passed Medicare 80 years ago when the need was so desperate we had too. As long as the government continues to punch up real estate taxes, we cannot pass commercial rent control—it is simply too late. The only way to restore small business is to bring back the push cart.
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THE LOEW’S SHERIDAN THEATER, 1938.
Photo courtesy of cinematreasures.org.
By Clive I. Morrick The Sheridan Theater opened on September 18, 1921 and operated until 1969. It occupied the triangle of land lately used as the St. Vincent’s Hospital garden and Materials Handling Facility. Strangely, its address was 200202 West 12th Street, but the entrance was on the northwest corner of Greenwich Avenue and Seventh Avenue. Contrary to some accounts it was never named the Mark Strand Sheridan. (There was a cinema of that name at Broadway and 47th Street.) Unlike most of the West Village cinemas that we will visit, the Sheridan was neither small nor artsy. It was a “Roxy,” seating 2,342. (A “Roxy” is a large cinema showing first-run films, named after the original 6,000 seater Roxy at 153 West 50th Street, built by Samuel “Roxy” Rothafel in 1926.) The owner installed an Austin organ Opus 1007 at a cost of $9,400. (That’s $122,729 in 2015 dollars.) The architects were Reilly and Hall. Its 27 exits opened onto all three sides of the triangle. The Sheridan opened with “Disraeli,” starring George Arliss. As the Sheridan’s opening date neared, the New York Times reported that it would be the first theater south of 42nd Street to show only moving pictures. These would, of course, have been silent films, often called photoplays. The first real feature-length Hollywood talkie, The Jazz Singer, with Al Jolson, did not open until October 1927. The Exhibitors Trade Review, February
25, 1922, published an interview with the Sheridan’s Manager, Edwin T. Emery, who explained that (the Sheridan) was a neighborhood theater with a metropolitan, cosmopolitan and suburban patronage. Because of the legends of Greenwich Village and its qualities as an art followers’ rendezvous it attracted all classes of people. “Sunday audiences embrace the commuter from Morristown, NJ, the Bronxvillan, the Harlemite and the downtowner; the artist, the collector, the fancier in his limousine, the folk of the stage, idle on the Sabbath, and the worker from lower New York,” he said. He added that one innovation was advanced reserved seating. A year later the Review noted that the theater published a weekly program, another first. In 1926, the Loew’s Corporation took it over, and it became the Loew’s Sheridan. In the 1960s attendance fell and the Sheridan closed its balcony. When it finally closed in 1969, St. Vincent’s Hospital bought the plot and demolished the theater, intending to build a nurses’ residence. Instead, it remained vacant until the hospital planted a garden and later still built its materials facility. However, the cinema lives on in an Edward Hopper painting, The Sheridan Theatre. Hopper lived in Washington Square and was an avid moviegoer. He began this painting in January 1937, while taking breaks from looking after his wife, who had colitis. To get the full dimness effect he painted in darkness in his studio. One writer has stated that this painting was a rare occurrence of Hopper painting a specific and identifiable subject. His other cinema paintings are imaginative.
Author’s note: I had never heard of the Sheridan until I began research for this article. I was amazed to find out about it because I have lived across the street from its site for 38 years. A neighbor recalls seeing Barbarella (starring Jane Fonda) there in 1968. She told me, “The theater was beautiful. Very ornate. You got a sense of how elegant it must have been when it was first built.”
Bryn Roberts & Lage Lund Jean-Michel Pilc w. Ira Coleman Laurence Hobgood & Gerald Cannon Peter Zak & Peter Washington Peter Bernstein Pianist Aaron Parks Nicholas Payton & Vicente Archer Pianist Danny Grissett
Fri-Sat, 4/24-25
Pianist David Bryant
Monday, 4/27
The Sheridan Theater
Doug Weiss & Norman Simmons
Thu-Fri, 4/23-24
Wed-Thu, 4/29-30
The Lost Cinemas of the West Village:
Glenn Zaleski & Rufus Reid Pianist Aaron Goldberg
For information & to purchase advanced tickets go to
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EDWARD HOPPER, “THE SHERIDAN THEATRE, 1937”. Oil on canvas, 17 x 25 in. Purchase
1940 Felix Fuld Bequest Fund. Collection of the Newark Museum 40.118
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April 2015 WestView News 15
The New Doughboys By Allan Ishac The Girl Scout Cookie selling season has just come to an end and the guileless pixies in green smocks and berets have scored another bonanza, sweet-talking our city and the country into purchasing umpteen boxes of Hoedowns, Caramel deLites and old-fashioned Shortbreads. While this annual cookie campaign might be a proud rite of passage FROM ONE BOY SCOUT TO ANOTHER: Allan Ishac (above) for America’s daughters, advises Boy Scouts to get in the business of making it’s no innocent bake sale. dough - literally. The organization will ring up a whopping $800 million in sales this service, wilderness survival, friendship and year by mobilizing 1.6 million—almost fun. It’s time to rip a page from the Girl 80%—of its enterprising preteen members. Scout handbook and get where the real The girls also went digital in 2015, getting money is—in dough. you to click-pick even more of their addicNo sweet petite treats for the Boy Scouts tive treats. either. What they need is an honest, manThis is troubling. Not because the orga- ly-sized snack; a hefty taste sensation that nization appears to be exploiting a gaping can be held with two hands and noshed, loophole in child labor laws or that its cor- not nibbled. Yes, the Boy Scouts should enporate baking partners gobble up a huge list their three million members in satisfyshare of the windfall. ing our collective craving for a good bagel. What really upsets me is that the bone The key is creative marketing. headed Boy Scouts (I was one) didn’t come Instead of sissy-sounding names like Doup with the idea first. While the naïve lads si-dos and Tagalongs, Boy Scout Bagels of the wolf pack are pouring their ener- need substantial names: Big Daddys (popgies into a Pinewood Derby contest and pyseed), The Ali Babba (sesame), and attending national jamborees (jamboree ... Fuhgeddaboutits (garlic). New Yorkers, the mere word conjures images of a giant for example, might hesitate to place an ortent city of suckers), their scouting sisters der for dainty Trefoils, but they’ll jump on are mastering the art of the digital sale these brawny snacks: “Put me down for five and optimizing scale via social media. Like dozen Dark Vaders (pumpernickel) and little Cat Cora’s, the national biscuit blitz two dozen Shebangs (everything).” is teaching them the entrepreneurial skills I’m not suggesting that there isn’t a place they’ll need to parlay recipes into riches. for Thin Mints, Samoas and the other Girl And I thought the Boy Scout motto was Scout offerings. But the girls have been “Be Prepared.” masters of this multilevel marketing engine So I hereby offer the Boy Scouts of for too long. America a modest proposal: put your own Get ready America—the cookie’s about army of midget hucksters to work. Forget to crumble. Boy Scout Bagels, coming about outdated notions like meritorious soon.
Voices of Ascension The Voices’ Choral Celebration
Greatest Choruses from 25 years of Concerts Wednesday April 22, at 8:00pm Church of the Ascension Fifth Avenue at Tenth Street
Dennis Keene Artistic Director Tickets at www.voicesofascension.org or 212.358.7060
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16 WestView News April 2015
Why So Many Missing Dogs Lately?
CAPTION HEARTBREAKING LOSS: If you lose a dog,
get into action.
By Ted Because I love my dog so much, I get an empty feeling every time I see a new series of notices in our area posted by someone trying to find a missing dog. These home-printed letter-size sheets taped to traffic boxes, mailboxes, streetlights, sign posts, or any suitable surface, speak the heartbreak of loss, and fear for a friend in trouble. I always react. Anyone who has ever bonded with a dog and knows a dog’s devotion sympathizes. But my curiosity has always been piqued, too. “How did it happen?” One glorious Sunday afternoon in midsummer when I was taking a walk in Central Park with my dog, Tobi Little Deer, and was approaching the MerryGo-Round area near the southern ball fields, I saw an Irish Setter-type dog trotting down the path towards us, off-leash, dodging in and out among the crowd. He veered off the path, stopped for a moment and looked about expectantly, then ran some, trotted, and in a burst sprang over the distant roadway and was gone. I watched helplessly. Perhaps his owner had let him off-leash, confident that he was trained well enough, and smart enough not to stray. His owner probably stood at that moment somewhere, also looking about, shocked to have lost his dog. That is one way it happens, and it is
why a dog should never be off-leash except in a contained space like a back yard or a dog run. I felt so sad for that dog that day. His terror was apparent. Often the missing-dog notices taped to poles and displayed in store windows insinuate that the bereaved owners believe their dogs were stolen. How is a dog stolen? Most likely, the theft results from something we commonly see, a dog tied to a traffic pole or a bench outside a store while his owner goes inside. Instead of trying to do two things at once, the dog should be walked, returned safely home, and then the store errand performed separately. If you lose a dog, get into action. Yes, post your notices on the poles and in stores in case he might be sighted wandering. But most importantly, assiduously and repeatedly check all the animal shelters in your area, most of which are listed on the Internet. Frequently check the Animal Care and Control of NYC shelters, all five of them in the five boroughs (http://www.nycacc.org/ locations.htm), because NYC Animal Care euthanizes animals that are not claimed or adopted in a period of time.
Before the unforeseeable happens, have your veterinarian microchip your dog. Before the unforeseeable happens, however, you can take a very important and efficacious precaution. Have your veterinarian microchip your dog. He will insert a tiny identifier under the dog’s shoulder skin. It contains a registration number and the I.D. of the microchipping agency, and is easily readable by any veterinarian, care facility or shelter, like Animal Care and Control of NYC. The missing-dog ads sparked my curiosity, and after some research and an equal amount of speculation I wrote LITTLE TRAMP. You can find my book at our local independent bookstore, Three Lives & Company, which we all, in any case, should support. It also is available on Amazon Books, Amazon Kindle, iTunes iBooks, and B&N Nook. I think it holds some answers to “What happened?”
Ted is a local resident, author and dog lover who blogs on tobilittledeer.com. His work is © 2015 Wood Writ, Inc.
The Greatest Evil:
Early History of Tenements in New York (Part Two) By Brian Pape
Part One explained the setup of the 1811 grid and the waves of immigrants that flooded the city. Part Two addresses the fight to reform and the state of tenements today. Fight to Reform
For many immigrants, life in the tenements may have been barren and difficult, but they were there out of necessity. However for the established New York middle-class, the tenements were in a condition they could no longer tolerate. In the typical five-story tenement layout, 40 out of 60 rooms had no natural light or ventilation, nor did the stairwells and hallways. Street-facing rooms were considered premium because of the stench of the privies in the backyard. Reform movements chipped away at the unpleasant conditions within the tenements, pioneering the idea that governments could regulate residential conditions. Often people would sleep in shifts on the same beds, depending on their work schedules, so that more people could occupy the same apartment. What may have been originally planned for two families per floor, now became four families per floor, with each apartment occupied by 10 or more people, in less than 325 square feet of space. The hazard of fire from wood-burning stoves and candles was a constant threat. Jacob Riis’ exposés in the 1860s, a cholera epidemic, and the draft riots during the Civil War all contributed to reform movements for tenements. Although small improvements were introduced to improve sanitation and ventilation from 1865 to 1900, existing tenements were typically “grandfathered” in with their existing conditions. Finally in 1901, the Tenement Law imposed new design guidelines that greatly changed new tenement construction. Tenements Today
There are still thousands of tenements in the city today. (Hint: look for the iron fire escapes across four windows above a central entrance below.) Even some of the old law pre-1901 tenements are still in existence, but with mandatory amenities added. Many have been stripped of their ornamentation,
STILL THOUSANDS LEFT: This Barrow
Street view shows a tenement, the housing type that replaced many a townhouse, like the one shown to the right of it. Contrast the height and beefier character of the tenement. Note the typically centered entry, 4 windows across and fire escapes above. The exterior fire escapes were added to tenements as the second means of escape in case of fire that could block the open interior stairway. City laws were passed in the early 1860’s that required iron fire escapes, and a fireproof party wall between properties. Photo by Brian Pape, AIA.
including their ornate cornices and door trim. In some, the lower levels may have been transformed for stores and other commercial uses. Nevertheless, they are still recognizable throughout the city. There are still many on Hudson, Christopher, Greenwich, West 10th and other streets in the West Village. Today zoning and building laws restrict the number of people in each apartment, the minimal size of each apartment, minimum light, ventilation and fire protection. Of course, all units must have working kitchens and bathrooms. If tenements are the worst curse ever on the city, then they are necessary evils that have been reformed to better serve the city’s population.
The Tenement Museum is at 97 Orchard Street, and their visitors’ center and offices are nearby. Call (212) 431-0233, or visit www. tenement.org for more information.
April 2015 WestView News 17
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Greenwich Gets Its Groove On
INSPIRING OUR YOUNGEST MUSICIANS: Eve teaching the PS 41 Kids Groove ensemble.
Photo by Judy Lawne.
By Joseph Salas Renowned vocal, instrumental and music educator, Eve Zanni will launch a new youth orchestra this spring at Greenwich House Music School, the venerable 100 year old West Village institution. The Global Groove Youth Orchestra will combine the highest level of classical music learning with the innovation of Rhythm First Jazz and World Music wholebody learning. It will also fill a recent void for youth group ensembles in the Village. Zanni, a lifelong music educator, has a favorite African proverb: “If you can talk, you can sing. If you can walk, you can dance.” For the past ten years Zanni has been the music teacher at local Greenwich Village school PS 41. When she arrived at PS 41 in 2005 there was absolutely no music program. Undeterred, she spent the last ten years developing the school’s music program including a full choral program and not one, but three school bands. PS 41 clearly had a lot of talkers and walkers. Despite its popularity, Zanni’s music education program was a casualty of the most recent round of Department of Education budget cuts. However, realizing a clear need in the community, Greenwich House Music School’s director, Rachel Black has partnered with Zanni to continue to provide local youth
ensemble opportunities, with a Greenwich Village twist. According to Ms. Black, “Greenwich House’s Global Groove Orchestra will celebrate the unique history of the Village and inspire and educate our youngest neighborhood musicians—middle and high school aged kids.” The repertoire will span genres, from Beethoven to Bob Dylan, jazz to John Lennon, folk songs to Broadway hits, music from the Gilded Age to the Civil Rights movement. The Orchestra’s instruments will be equally broad, from traditional string instruments, pianos and drums to marimbas, vibraphones, congas and djembes. Continuing the principles Zanni developed and refined at PS 41, the Global Groove Orchestra will teach children how to identify melody, harmony and rhythm. They will be encouraged to improvise, compose, arrange and conduct music and will also have the chance to debut compositions commissioned by guest composers. The Global Groove Orchestra is open to all children from ages 8-16 years old. Both current Greenwich House Music School students and non-students are encouraged to apply, no matter where they go to school. For more information, visit greenwichhouse. org/orchestra, call 212-242-4770 or email cryan@greenwichhouse.org.
Back to the Future:
Art Show at Grounded By Janet Capron If we’re honest, we have to admit that, as wonderful as our hood is, no one could accuse it anymore of being a refuge for struggling artists. So how lucky we are that a few young bohemians have come among us fat cats to mount an art show at Grounded, the café on Jane Street just east of the Corner Bistro. The featured artist and curator, David Litman, invited fellow artists Djamel Haoues and Jim Secula to exhibit their work alongside his, which will be up for the entire season. These artists have something to say. Their work is subversive because it is elegiac, sad and rueful with a kind of sweet regret for
LUCKY US: Treat yourself to some art with
your coffee. Photo by Janet Capron.
a dying world. Yes, we’re lucky we don’t have to travel to the outskirts of another borough to catch a glimpse of the future. Treat yourself to more than a chai latte—go to Grounded!
Grace Paley and the Disturbances of Man The New School presents a symposium on the life and work of legendary New York activist, poet, short story writer, and feminist Grace Paley. We consider her legacy and the ways in which her struggle for gender equality and civil rights resonates today.
grace paley
The event includes a panel on Paley’s life and writings, fiction readings, film documentary screenings, a photography exhibit, and a Greenwich Village walking tour. Speakers include Paley biographer Judith Arcana, Feminist Press co-founder Florence Howe, and NYU historian Marilyn Young. To register and for a complete schedule of events, please visit the New School events page: http://bit.ly/1Ff77d2 This event has been made possible through the generous support of Phyllis Kriegel.
Thursday, April 9: 10:00 am – 7:00 pm Friday, April 10: 1:00 pm – 5:00 pm The New School Theresa Lang Center 55 W. 13th Street, 2nd floor New York, NY 10011 Free and open to the public.
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18 WestView News April 2015
Science from Away:
Science in Short Bursts By Mark M. Green (sciencefromaway.com)
COPPELIA 207 West 14th Street • NY, NY 10011 212-858-5001 • coppelianyc.com
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Here are two insights into Albert Einstein who was able to explain the theoretical source of what we call gravity, which he published 100 years ago. According to Einstein’s theory, the reason why stepping off a roof is dangerous has to do with a warp in space and time. One experimental result among many demonstrating the accuracy of this theory was his prediction of how the planet Mercury would gradually shift in its orbit around the sun, an observation, made in 1859, which could not be explained. In November 1915, Einstein applied his theory to the problem and precisely predicted what had been observed about Mercury’s orbit giving him, as he later recounted, “heart palpitations.” “For a few days, I was beside myself with joyous excitement.” Einstein loved, as do we all, to be right. Here’s another story about this greatest of scientists. In 1936, Einstein and a collaborator sent a manuscript entitled “Do Gravitational Waves Exist” to Physical Review, a journal read by all physicists. Now, 78 years later, all scientists’ manuscripts are routinely subjected to what is called peer review; the practice in which an anonymous scientist is asked by the editor of the journal to evaluate the manuscript. In 1936, peer review was a new idea and when applied to Einstein’s manuscript led to criticism, which infuriated him. He was angry that the editor had shown his manuscript to someone without his permission. He asked for it back and prepared to send it to another journal. The anonymous reviewer was someone Einstein knew well, a colleague, who had detected a mistake in the manuscript leading to an erroneous conclusion. The colleague delicately approached Einstein without revealing his role as the reviewer and pointed out what was wrong in the manuscript—an error made. It’s unclear if it was the gentle manner in his approach or the fact of their relationship which convinced Einstein to revise the manuscript leading to a new title: “On Gravitational Waves,” saving himself and his collaborator considerable embarrassment. You might say that peer review and the journal editor had done Einstein a favor. Apparently he did not see it that way. Einstein never published another paper in Physical Review. Here’s another personal story about a great scientist. In 1848, Louis Pasteur, a newly minted scientist in his mid-20s, later to have his name enshrined forever on all the pasteurized milk we drink, was carefully studying the crystals formed in wine barrels, causing problems for French wine producers. He made an observation other
THE MAN ON OUR MILK CARTONS: Louis
Pasteur made new discoveries when working with wine barrel crystals.
scientists had not made even when looking at the same crystals. The crystals existed in mirror image forms! He separated the mirror image crystals into two piles and dissolved each pile in water and inspected the water solutions with a device called a polarimeter. In doing so, he made an observation which is the foundation of the modern understanding of life as well as the foundation on which the pharmaceutical industry rests. Here are Pasteur’s words, translated from the French: “I remember hurrying from the laboratory and grabbing one of my chemistry assistants and excitedly telling him that ‘I have made a great discovery… I am so happy that I am shaking all over and am unable to set my eyes against the polarimeter.’ At this time, I was twenty-five years old and had only been doing research for two years.” Now, here is something a bit more recent, which was just published in the journal Nature, and was certainly subjected to peer review before publication. This paper makes public results of research from Georgia State University on common food additives—emulsifiers— which are chemicals that allow mixing of otherwise immiscible substances such as oil and water. Usually on the GRAS (generally recognized as safe) list of the Food and Drug Administration for not causing cancer and other terrible maladies, the recent work demonstrates, based on studies of mice, that these chemicals are changing the bacterial content of our gut (gastrointestinal tract), our microbiome, and also the mucous membrane in our intestines. These changes may be associated with increasing incidences of inflammatory bowel disease and other chronic inflammatory diseases and may be interfering with our ability to feel satiated—contributing to obesity. Check out the contents of prepared food in the market and you’ll see many examples of emulsifying agents in food: polysorbate 80, lecithin, carrageenan, polyglycerols, and xanthan gum. Ice cream is especially rich in emulsifiers confirming the suspicion many of us hold: it can’t be good for you if it tastes so good.
April 2015 WestView News 19
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Capping Tammany Hall (Part One)
TAMMANY RENEWED: Historic Tammany Hall’s classic Federal detailing gets a visual lift
with a new dome. Rendering courtesy of BKSK Architects.
By Barry Benepe Union Square contains several landmark buildings. One of these is Tammany Hall, built in 1929 on the site of the sevenstory Westmoreland Hotel, across 17th Street from the twenty-story Mansardroofed Germania Life Insurance Company. Tammany Hall, the former abode of the Boss Tweed Ring, was originally located on East 14th Street, before being replaced by the Con Edison building. The party built its base through assistance to newly arrived immigrants, and helped establish the Free Academy, the forerunner of City College. The 1929 building, at the southeast corner of 17th Street and Fourth Avenue, was designed by architects Thompson, Holmes and Converse, and Charles B. Myers, who had recently completed the Commerce Building for City (now Baruch) College on East 23rd Street. Within a few years of its completion, Tammany became mired in corruption, leading to the resignation of Mayor Jimmy Walker and the reforms initiated by Fiorello LaGuardia with the assistance of Governor Alfred Lehman and President Franklin D. Roosevelt. It was sold in 1943 to the International Ladies Garment Workers Union . Tammany Hall was designed in a neoFederal style inspired by the former Federal Hall built in 1700 and demolished in 1812. Tammany’s new home was referred
to by a contemporary critic as “exceptionally charming and a real adornment to the neighborhood.” Yet it is more of a pseudo-Federal style with a pastiche of theatrical classical details that lack any relevance to the early 20th Century, although perhaps appropriate for its current use as a theater. While some impassioned preservationists laud its “Mansard” roof, the Landmarks Preservation Commission in its 2013 Designation Report refers to it as a “slate covered hipped attic roof largely screened from view by a brick and stone balustrade.” In fact, it is merely a screen to hide the utilities resting on the building’s flat roof. The Mansard roof was originally developed by Francois Mansart in Paris as a way of getting around building wall height restrictions, by sloping the upper illegal wall extensions, cladding them in slates and calling them roofs. Artists who tended to live in these attics where they painted the more gritty edges of the city were known as “mansards.” New York City builders did the same to get around building height restrictions, which related maximum building height to the width of the street. Tammany Hall, only a modest four stories, had no need of this subterfuge of a false Mansard roof.
In next month’s issue, Part Two will continue the story, ending with an update from the current architects.
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SENATOR CHARLES SCHUMER ON ARTHUR Z. SCHWARTZ: Whenever anyone calls on Arthur to do something good, he’s there and he doesn’t ask what’s in it for him and he doesn’t ask how much money there is and he doesn’t ask anything. He just does it. And you know, when you think about it, he is the kind of person who – we use the word with a lot of cliché and it’s overused– but he truly is a great American. You know when the founding fathers set up the country – if you read the Federalist’s Papers, what was their greatest doubt? Well, they had a lot of doubts. There was dealing with this new little beast called democracy in a republic. But the thing they worried about most is whether the citizenry would come forward and stand up to the plate. You know, for a thousand years people had let someone else run things and they were really worried that the only people who would get involved in their government, whether it be running for office or, more importantly, just working to see that the government worked, were people only of self-interest. And of course we have a lot of that. We have a ton of apathy, people don’t care. And then it seems like all too many people who get involved are doing it because they’re saying there’s something in it for numero uno. But there are lots of people who are in it for the right reasons. And if you had to pick somebody who sort of –this room if filled with them, that’s one of the nice things about Arthur and his friends– but if you had to pick somebody who symbolizes that, it would be Arthur Schwartz.
April 2015 WestView News 21
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Sing, Sing, Sing
SING OUT, LOUISE: A Mockingbird mocking the spring. Photo by Keith Michael.
By Keith Michael It’s spring. The sky is blue blue blue. Millie and I are standing on the corner (or more precisely: standing near the corner) of Charles and Greenwich streets. At corgi-level, Millie is enamored of one lingering dinner-plate-sized gritty ice chunk that will probably have melted by the end of the afternoon. My coat is unbuttoned and unzipped and I’m even debating whether it’s warm enough to take it off. Trying not to pull Millie along, I’m just letting her hesitation waltz-step-step choreograph where we’re headed next. Between the magical garden at 121 Charles Street and the roof-top Stephan Weiss oasis across the way, the matinee
cast of avian headliners is astounding. A pair of Blue Jays jay jay jay around the corner. They’ve been loudly crisscrossing the neighborhood for weeks. It seems like this is an amorous flirtation rather than the usual territorial feathersticuffs. I’ve seen a pair, arguably not this pair, contentedly billing (though not cooing) on a branch, as an interlude in their roughhousing. The cheer-ro cheer-ro cheer-ro of a male Cardinal sounds out as though through a megaphone from the highest chimney on the block. This guy’s looking for love in all the right places. Just on the other side of the wall, under a budding shrub no doubt, is the familiar wintertime lament Oh sweet, Canada Canada Canada from a White-throated Spar-
Tips to Minimize Peer Pressure By Ron Elve
Recent research confirms that often the young will “do anything” to please peers— ignoring dire, even tragic, consequences. Previously this column has suggested alternative ways for youngsters to get used to saying no to peers—for example roleplay. Practicing for specific situations such as substance abuse, inappropriate sex, and reckless driving can help children and teens to cope with worrisome situations. While practicing, roles may be reversed to expand awareness. During these role-playing sessions, teach them the sandwich method to say no: a positive comment, then a rationale for the “no,” and ending with another positive comment. In addition to this good advice about responding to peer pressure, children can also be taught to avoid peer pressure situ-
ations when possible. Rather than getting to the “no” situation, they can think ahead. This includes sizing up people and situations by observing body language, dress, and verbalizations. If you use public transportation and have ever moved away from someone, you probably practiced this skill. Of course, we only have clues and may want to remain open to further evidence in case we have misjudged someone. Some people are better at this than others, but everyone can improve. Most parents are very careful when it comes to peer contacts and maintaining the delicate balance between positive and negative influences. These tips can help maintain that balance.
Ron (ronelve@aol.com ) is tutoring and mentoring in the West Village.
row—soon off to his Canadian sweetheart in the still-frozen north. While a formation of seven crows caw caw caw overhead heading south, a consortium of Robins are puffing their orange breasts with their caroling cheerup cheerup cheerup as well as some cheerios and cheerys and just plain cheer cheer cheers thrown in for variety. I’m still missing the large cherry tree branch— just behind the Secret Garden wall—that broke off last summer from its June burden of overripe cherries (and probably from the weight of some of these same Robins in their drunken revelry feasting on those same spiked sweetmeats.) Remarkably there’s a Tufted Titmouse somewhere down the street with his peter peter peter resounding at a volume far louder than should be possible from such a small flittery fellow, though the descending staccato call of a Downy Woodpecker mid-block in the other direction is a fierce competitor in the volume sweepstakes. Maybe that little black-and-white rat-a-tat-tater is sending out Morse code invitations right now to all of his feathered buddies for this April block party. A Mourning Dove flies to the eave across the intersection, then relocates nearly immediately to a fire escape railing, and next, to a windowsill further down Charles. Another dove follows behind like a flat stone skipping on a still pond—only the muffled whistling of their wings ripples through
the air. On the highest possible branch of a Callery Pear tree behind me, the warbling of a pink, striped House Finch bends my ear; its gurgling, burbling and murmuring seem to bend even the twig it is sitting on. Finally, the madcap masquerade of a Mockingbird shouts out from the top of the ivy-costumed wall barely six feet from me. I try to stand still to hear at least a few rounds of his fanciful repertoire. As a warm-up, he impersonates a few of the avian fellows already in audience, but tosses off the notes of a Carolina Wren, a Chickadee, a Phoebe, and a Nuthatch as well, probably just to boast. When he sneaks in the falling whine of a Red-tailed Hawk, unbelievably, the street falls silent, except for the imperturbable white noise of the sparrows and starlings! Seeming to laugh it off like a practical joker, up he flies, flashing the white patches on his wings and tail as though taking an encore curtain call. In 620 words, Millie and I have shuffled less than 20 feet along the sidewalk! Now, at last, we are, precisely, standing on the corner of Charles and Greenwich streets. Looking up at the blue blue blue sky: it’s barely April, therefore, of course, a blizzard may bury us tomorrow, but today, the singing is sweet sweet sweet.
For more information about nature walks, books and photographs, visit www. keithmichaelnyc.com.
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22 WestView News April 2015
The Changing Algorithm of Restaurants By John Barrera In the late 80’s when the Marriott Marquis first opened, I went there for drinks one night. I remember I ordered a cosmopolitan, the trendy drink at the time. What most impressed me that evening was not the beautiful new hotel or the fishbowl size martini glass my drink was served in. No, what most impressed me was the twelve dollars they were charging for a drink. It’s 2015 and the twelve dollar cocktail is ubiquitous in New York City. In fact if you’re at a roof top bar or a “West Village hot spot” you, more than likely, are looking north of fifteen dollars. Now, a bowl of soup for ten dollars or more is also in vogue. Okay, I get the drinks. I even get the eighteen dollar glass of wine. But the ten dollar bowl of soup—I find that hard to swallow. I was a chef for many years — I know what it costs to make soup and unless there are truffles shaved on top, ten bucks for soup is a stretch. But the more I think about it, rents weren’t anywhere close to what they are today. That’s why we have the current high turnover rate for restaurants. I’ve read that the square footage cost in the West Village is one of the highest in the country. Food costs have gone up twenty-five
ANOTHER RENVOVATION: Landbrot Bakery’s reincarnation into a new Dominique Ansel
venture, coming soon to 137 Seventh Ave. Photo by John Barrera.
percent in the last five years. The equation used to price a menu was so much different, even ten years ago. It used to be a third for food, a third for expenses and a third for labor. That equation has gone the way of the Dodo bird. Now prices have to reflect the high overhead, hence the twelve dollar bowl of soup or twenty-five dollar glass of Cab.
Chelsea Nursery School continued from page 1
it is the only Montessori and Catholic nursery school in the Lower West Side of Manhattan. At no time over the past four years was any Nazareth parent told that the school was having financial problems and might close, or that it might close for any other reason. And all of the parents who are plaintiffs in the suit had been solicited by the Sisters to apply to return to Nazareth for the 2015-2016 school year without being told that they were applying to (and agreeing to attend) a school which was about to close. Since they were unaware, none of the parents applied to have their children attend a different nursery school for the 2015-2016 school year. By January 2015, when the Parent Association’s second request for an extension to keep the school open was denied, it was too late to apply for spaces in other nursery schools. Last December, Ms. Mogavero, on behalf of the Parents Association, wrote to those in charge—Nazareth Board Chair Frances Acosta, Dr. Dennison, and Sister Roberta Smith, the head of the Sisters of St. Francis—and asked that the closure be put off for at least a year, explaining the adverse impact the late announcement had on the parents, both because of the timing and because of the difficulty in finding an equivalent spiritual and educational replacement. She also asked for information that would better allow the parents to understand what had occurred. Dr. Dennison replied, agreeing to a meeting in January, but despite repeated requests, provided little additional information to the parents. At the January 6 meeting, Dr. Dennison claimed that the School was losing $100,000, that “the building structure is precarious,” and that low tuition meant little reinvestment. Despite those claims, the financial state of the corporation running the school appears excellent. The IRS form 990 for 2013 shows their fund balances increased over the prior year and that its program revenue increased from $481,000 to $570,000. Furthermore, the coporation did not carry its
See, the prices have gone up again already. New restaurants coming into the West Village are not mom and pop operations. No, these are well-funded and well-publicized companies with names like Jody Williams at Via Corata or Rosso Pomo Doro with its Eataly pedigree. Places that can handle the rents and have a fol-
real property (those $20 to $30 million dollar buildings) on the return as an asset, probably because over 113 years it had depreciated the negligible sum it paid for them in the first place. Though the officials mentioned structural defects in the buildings, the Department of Buildings website shows no violations and no plans having been filed. The parents argued with Dennison, who refused to change his mind. At the end, Dennison agreed to go back to “leadership” at the Sisters of St. Francis to see if they would consider a one-year extension. Despite additional pleas from the Parent’s Association, on January 20, the Sisters of St. Francis refused to reverse their decision. They suggested four other Catholic schools, but the parents involved do not feel the suggested schools are at all comparable. All of them would require extensive travel and none were served by subways. Two were located at or near Avenue B on the Lower East Side. None were Montessori. The only available Montessori schools in Manhattan cost $26,000 per year or more and some only allow children to attend until 3:00 p.m. It is clear, from the discussions between the parties, that the Sisters plan to close the School, stop providing education to the children of working mothers, sell the property, and transfer the money to the Sisters of St. Francis to use for other purposes—none of which is to educate children of working mothers of nursery school age in New York City. Public policy here is a critical element. Under Section 1007 of the Not for Profit Corporation Law, a New York State not-for-profit which is dissolving must transfer its assets to a charitable organization which engages “in activities substantially similar to those of the dissolved corporation.” This provision can only be satisfied by the transfer of the Corporation’s assets to another preschool that services poor and middle-income parents in New York City. That is clearly not what defendants have in mind— they intend to transfer the assets to their various ministry projects in Syracuse. These projects may service the poor, but not by running a nursery school, and certainly not by running a nursery school program for children of working
lowing that starts the register ringing from day one. A few years back, George Capsis wrote an article in this publication about a German Bakery going in at 137 Seventh Avenue called Landbrot. After a one million dollar renovation, sadly Landbrot did not have the success needed to stay in the village and closed its doors. That space has been undergoing renovations again, this time by Dominique Ansel—the creator of the Cronut and who many consider a baking genius. Although this bakery will be a Cronut-free zone, the lines lacking at Landbrot will find their way from Mr. Ansel’s Spring Street location to Seventh Avenue. The shop’s premise will be based on a madeto-order French technique called à la minute. Instead of picking something out of a glass case, you›ll be ordering and they’ll be cooking. This just may be the formula for success in the West Village. Unique and creative with a side bar of notoriety.
Last month I asked for some reader suggestions on great dishes in the West Village. The response has been great! Please keep them coming and keep me out of Brooklyn. Johnbarrera8@gmail.com
mothers in New York City. Given the timing of the announcement that the School would close, the Nazareth parents are left with few options for their children and many will be forced to find day care in a non-educational and certainly non-Montessori settings. But the parents are fighting back with the author of this piece as their attorney. A judge has set a preliminary injunction hearing for April 22nd. The judge has also ordered the Nursery School to open its books and minutes to the parents, so they can carry on the fight with full information. In this day and age when education has become all important, it is shameful for a Catholic order to close the doors of this wonderful school on these kids—children of working moms. These kids need everyone’s prayers.
Arthur Schwartz is the Democratic District Leader for the West, Central and East Village, and President of Advocates for Justice, a public interest law foundation which is representing the Nazareth parents. On December 1, 1901, Nazareth Nursing was incorporated under the New York Membership Corporation Law (now the Not-for-Profit Corporation Law). The original purposes of the Corporation are as follows: 1. To conduct a nursery for children of self-supporting mothers. 2. To conduct a kindergarten in connection therewith. 3. To do and perform charitable and benevolent acts, such as caring for, maintaining and providing for the education of needy children; to provide for the nursing of the sick poor at their homes, and for the free distribution to them of medicine, food, clothing and other necessaries of life; to hold meetings for the discussion of matters pertaining to the care of the young; and to do and perform generally any act of charity and benevolence towards poor and needy persons.
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Big Ambitions and Small Plates By David Porat Hidden in the meat packing district is a small restaurant with a very ambitious mission—a whole animal butcher, a casual restaurant roasting local meat to order, and a late night tapas bar. Around the corner from The Standard and in the shadow of the new Whitney is El Colmado Butchery, Spanish for small grocery store. The space is small but very handsomely outfitted, with a counter for meat, communal seating and four or so tables that seat four to five people. I was there this weekend when it just opened and was getting its sea legs. Seamus Mullen is a local food hero who became passionate about food and Spanish food while an exchange student in Spain. Originally from Vermont, he was transformed by his first experience in Spain as a high school student and has spent some subsequent years becoming accomplished in rustic Spanish food. He opened a restaurant called Boqueria and went on to open Tertulia on 6th Ave and Waverly place. He also was diagnosed with rheumatoid arthritis and wrote a book named Seamus Mullen’s Hero Food How Cooking with Delicious Things Can Make Us Feel Better; his writing is full of flavor
EL COLMADO BUTCHERY, APPROPRIATELY BRINGING MEAT TO THE MEATPACKING DISTRICT: Grilled Pork Chops with Sausage
and chicken in the background. Photo by David Porat.
and personal reflection. I am happy to report that he is now sharing his culinary prowess with the Meat Packing District, which does seem appropriate since he is using the new space to butcher, sell and roast local meats (often grass fed and without hormones.) The menu at El Colmado includes some of the standard tapas favorites, some of which are similar to the larger menu at
Tartulia. In addition, there is a rotisserie on which brined chicken and vegetables are prepared. There is also a broad selection of house wines on tap along with a list of carefully chosen Spanish wines. From amongst the “bites to share” we started with Shishito Peppers ($9) and Smoked Deviled Egg ($2 each) both tempted the appetite with maybe a bit too much salt from the “Pimientos” as they are called on the menu. From “small plates to share” we enjoyed the Ensalada Invierno ($13), the Pulpo ($13) and Arroze de Carne ($18). All were tasty and a bit different from the usual. The salad was a mixture of red and black radishes, Kohlrabi, Brussel sprouts, anchovies and cheese. When I go to Turlulia I am impressed with the salads—they incorporate less typical ingredients with generally a very light dressing; the kitchen takes notice of the details. The rice was a very rich meaty mixture somewhere between risotto and paella and was served with the meat we ordered. Small grilled lamb chops with Moroccan spice were an extravagant treat at $11 each. The price concerned the group of four I was with, but I could understand it. Everybody wants the lamb chops, but there is less interest in the shoulder or other less desirable
but flavorful cuts. When you are butchering whole animals, you want to price accordingly. We also had pork chops which were maybe cooked a bit too long and were priced individually, a chicken (whole $26) which was simply good, and a grilled sausage—a handy way to use some of the meat from whole butchered animal and sometimes overlooked. Desserts were Chocolate Mousse or Crème Catalan, and both were very respectable. It is great having Seamus Mullen and El Colmado Butchery in the neighborhood. From getting a hamburger—and not just any hamburger—and fries during the day, to picking up some good local meat to grill, to stopping in later on a Friday or Saturday night when they are open until midnight for food and wine—there is a lot offered in a small space. Supporting well-made food that thinks carefully about where food comes from and how it affects your body makes me feel well connected. That it tastes good makes me happy. El Colmado Butchery 53 Little West 12th Street, west of Washington 212 488-0000 ElColmadoNYC.com
Reclaimed and Repurposed By Shaa Garey Greenwich Village, the very name conjures vibrant images of small eclectic galleries and venues where innovative poets, musicians, activists, writers and artists once thrived. Sadly those treasures have mostly disappeared in favor of more lucrative endeavors. But wait! Now there is the Little Underground gallery, found in the basement of the Jefferson Market library. Many years ago, when the library was a courthouse, that same area was used for processing female prisoners on their way to the prison next door. Now it’s been reclaimed and repurposed into an art gallery. It’s the brain child of head librarian Frank Collerius, who “wanted a place for Villagers (or Villagers in spirit) to have a place to show their artwork. To show artists who work with different media, who are different ages, and backgrounds—to make
it a real, diverse community effort and an evolving endeavor.” Marty Kornfeld’s installation Reclaimed & Repurposed! will open there on April 1st and will be on display for the entire month. Marty has been a West Village resident for over fifty years, yet has never publicly shown any of his amazing works. Working in the Abstract Expressionist style, he uses a pour/drip technique onto reclaimed and repurposed surfaces which are then glossed, often replete with imperfections and foreign objects. Thus each piece evolves differently, taking on an energy and life of its own, often evoking feelings of action and movement juxtaposed with those of serenity and calm. An open reception will be held on Saturday April 4th at the Little Underground gallery, in the basement of the Jefferson Market Library at 425 6th Ave.
FIRST SHOWING: Marty Kornfeld in his studio with some of the works on exhibit this month
at the Jefferson Market Library’s new Little Underground Gallery. Photo by Maggie Berkvist.
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West Village Original: David Maurice Sharp By Michael D. Minichiello
This month’s West Village Original is actor, dancer, choreographer, and financial advisor David Maurice Sharp, born in Avonmore, Pennsylvania. His book “The Thriving Artist: Saving and Investing for Performers and Artists” was just published by Focus Press. For the past seven years, he has also been giving free investing workshops at HB Studio on Bank Street. While David doesn’t perform anymore, he still does some choreography for theatre and film. “If I had known back in the day the kind of road I would go on, I would have found it very interesting,” says David Sharp, with a certain amount of understatement. When he came to New York in 1980, it was to study acting and dancing at NYU’s Tisch School of the Arts. And yet it was going to work for a Wall Street firm that changed the trajectory of his life. “All these disparate elements of my life have kind of gelled together now,” he says. “When I was doing the Wall Street stuff I thought it had nothing to do with my creative life—except financially—and vice versa. But I love that both careers helped get me to this point.” It all started around 1987 when Sharp was trying to figure out how to make money until his next gig came along and he signed on to a temp agency. “The first place they sent me was a proxy solicitor on Wall Street,” he says. “They hired me as a temp but then they started sending me out on business trips. One day they said they wanted to hire me directly. I had no intention of giving up dance, but they asked if I could give them twenty hours a week. I ended up doing just that and I was
WALL STREET CHANGED THE TRAJECTORY: While studying acting and dance, David Sharp
started temping with financial firms to pay the rent, learned about stocks and bonds and has just published a book of advice on investing for his fellow artists. Photo by Maggie Berkvist.
with that firm for almost thirteen years! They always let me pursue my artistic endeavors whether I was on tour, attending classes, or in rehearsal.” “At the same time I learned about stocks and bonds,” he continues. “Friends in the arts began asking me to explain to them the intricacies of investing, so we formed a group called The Thriving Artists Investment Club. We paid dues of $25 a month. We pooled these dues and invested them in securities, eventually forming a partnership. The club
was in existence for just under ten years and we made over a 40% profit when we cashed out. We did pretty well for a bunch of artists!” Sharp declares the best thing about what he does is giving artists the ability to feel like they can take control of their finances. He doesn’t blame them for their initial reservations, though. “No one is ever really taught investing,” he says. “If you haven’t been exposed, it’s scary. It’s like learning a different language. But I think a lot of the traits that artists have make them good at finance. For
His Name in Lights By Anna Darby If—as we are in Britain and along with many viewers from all over the world—you are glued to the TV series Downton Abbey, you would, of course, have noted the emergence of a very sensual and divine character called Atticus Aldridge. He is the love interest in Lady Rose MacClares life. If ever a memorable name had been plucked from the imagination of writer Lord Julian Fellowes, it is that of Atticus Aldridge. However, this is no fictional name made up on a wave of creativity, but the real name of my two-year-old grandson. His parents Michael and Georgia had been invited to a charity auction organized by their friend Jubie Wigan née Lady Maria Balfour in aid of the Sugarplum Children, a charity set up for children who suffer from Type 1 diabetes. (The charity’s website is available at www.sugarplumchildren.com.) Jubie, whose own beautiful daughter suffers from the disease, came up with the ingenious idea of asking the Balfour family
friend, Lord Fellowes, if he would, in aid of the charity, be prepared to generously donate the centerpiece auction prize; the opportunity for a lucky bidder to have a character in the next season created in their name. Lord Fellowes happily agreed. Jubie Wigan’s charity auction took place during the Sugarplum Dinner which was the official launch of the charity and was attended by a plethora of who’s who of London society including the Home Secretary Theresa May and Pippa Middleton. On the night, amongst a ripple of excited bidders, the auction began. The star prize eventually came up—the auction of the name. The bidding ended with my son-in-law, Mike, as the happy and successful bidder. When Lord Fellowes later approached Mike, he was asked if he would accept the name of Mike’s son, instead of the less romantic sounding Mike Aldridge. And so the gorgeous and romantic Atticus Aldridge entered our television screens and our lives, and overnight my grandson, or rather his name, became famous. And the
example, their creativity: they’re able to think in ways that can be very useful when looking for investments. I also think the discipline they have is essential. Artists understand the notion that hard work needs to be put in to achieve results, whether they’re performing or investing.” Sharp moved into the West Village almost twenty-five years ago. “When I was at NYU and living in the dorm on Fifth Avenue and Tenth Street, I remember thinking that this might be the best address I would ever have in New York!” he says laughing. “But then I got into this apartment on Bleecker Street. I sublet it the first few years, and I bought it in the late 90s. Before I did, though, I was terrified. I didn’t know how I was going to pay my mortgage. But my father was very instrumental, saying ‘You need to buy it because it will make a big difference in your life.’ Thank goodness he did!” Since then, Sharp has watched as the neighborhood has changed dramatically. “Bleecker Street in particular is almost unrecognizable,” he says. “It used to be all these unique stores and restaurants. Do you remember when Judith Stiles had her pottery shop here? I loved taking people there. I think all of my sisters have a piece of hers, which they bought when visiting. Those kinds of places I really miss. Now Bleecker has become the Rodeo Drive of New York!” And yet he’s pragmatic about the change as well. “Change happens!” he admits. “What I love about the West Village is that—in such a big, busy city—it’s maintained a sense of identity, of being its own neighborhood. Despite the changes that have happened here I think it’s held on to that quality. It’s still a wonderful neighborhood. It’s just different.” ite American books: To Kill a Mockingbird by Harper Lee. In this poignant, thoughtful, and tear jerking book, emerged one of the most famous and memorable fictional personalities, the wonderful Atticus Finch. This extraordinary character was later plucked from the pages of the book and bought to life in the film, the role of Atticus being played by the unforgettable Gregory Peck. I only hope that when older, my grandson will inherit some of the characteristics portrayed so sensitively and vividly in both the extraordinary novel and film and from which the name Atticus was taken. The book is, of course, written by an American and became one of the world’s most read and loved books. I often wonder—where did Harper Lee get the name Atticus from?
THE REAL DOWNTON ABBEY ATTICUS: two
year old Atticus’s father bid 20,000 pounds to give his name to the famed series.
charity was £20,000 better off. However, what is not commonly known, is that although Lord Fellowes was happy because off the “Englishness” of the name, Georgia had taken it from one of our favor-
Anna Darby had a long career finding locations for many major movies, photographic stills, and commercial shoots as the owner of the most successful film locations library in Britain. Share a similar experience to that of her grandson Master Atticus’s, in the beautiful Family Château where he spends his holiday. See page 8...La Belle Vie de Château.
April 2015 WestView News 25
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Jim Fouratt’s
REEL DEAL: Movies that Matter I’m writing from SXSW 2015 in Austin Texas. SXSW now includes the South by Southwest (SXSW) Music and Media Conference, SXSW Film and the SXSW Interactive Festival. Two Greenwich Village residents scored big! Recent NYU Graduate School of Film Studies Laura Terruso jumped right into filmmaking even before being degreed. On The Foxy Merkins, the current NetFlix sleeper breakout, she produced as well as doing sound and back up camera work. A script she co-wrote with one her professors was optioned by Hollywood— Hello, My Name is Doris had its world premiere at SXSW. Sally Field stars as an older woman fearlessly pursuing a younger man. Like The Foxy Merkins, it is a serious comedy. Dead serious and very funny, it won one of the most coveted awards: the SXSW Audience Award, which is voted on by people who pay to see the movie. Kay Kasperhauser is the second hometown success story at SXSW. Over 2000 bands play SXSW with the hope that a critic or someone from a record label will fall in love with them. It happened for Kay. In three nights Prettiots became the buzz band at the festival. Not hyped, they generated genuine word-of-mouth buzz with people who saw them (including me) saying and texting “see Prettiots” to others. Kay Kasperhauser grew up on Washington Place, went to the Little Red Schoolhouse, and then to Fieldston. She graduated from the Rhode Island School of Design. KK grew up in a house full of the best of indie music with many of the artists making it dropping by. Rather than reading Seventeen as a teenager, Kay read BOMB or the New York Review of Books. She learned about songwriting from people like Lucinda Williams—simple on the surface and totally complex underneath. She formed the three-piece girl band Prettiots about a year and a half ago, playing at the odd art spots of NYC’s music culture. At a show, she caught the eye of legendary photographer and filmmaker Richard Kern and he made the band’s first music video Boys (I Dated in Highschool): https://youtu.be/Jfol9YlSvPc Their official gig had about 30 people present, but one was Rough Trade’s Geoff Travis, who I think has the best ears in the music business and his label was and still is the coolest label. In sharp contrast to the stereotype, Travis is polite, understated, and fueled with sincerity. When the Prettiots finished, he turned to me and said “Quite good don’t you think, Jim?” I agreed, but didn’t say that I had been watching them for about a year now. Over the next few days, I found out Travis had gone to all their shows. This, I learned when I did A&R at a major label, is what happens when you see someone you like at a place like SXSW. When you
like something you show up so the band sees you. He was there first. Next thing I knew, he had offered to sign them—which happens very rarely to unknown, unsigned bands today . Documentary Dustup
Uh Oh! There is a big but quiet battle within the documentary film community concerning an attempt by PBS to stop funding outside producing organizations like award winning ITVS. PBS, like HBO, wants to bring the documentary film making inhouse where they will have more control and input. When a third party is funded by PBS, PBS only becomes critically involved when it is finished or near finished. PBS has also been attempting to move documentaries out of primetime slots, moving them to secondary channels in different markets. These changes are worrisome and may threaten the independent vision of documentary filmmakers. PBS depends greatly on the goodwill of federal legislators. When an administration swings right or left, it can have a profound effect on PBS funding. Using outside producers like ITVS allows some distance between PBS’s management and creative interference. I believe the most interesting political commentary in our country today is not on mainstream television. Instead, it can be found in online programs like Amy Goodman’s Democracy Now, in social critics/comics on cable like Jon Stewart and Stephen Colbert, and in the vision of independent, engaged filmmakers. Independent documentaries have taken on political subjects which mainstream news has failed to examine. For example, Citizenfour reveals the complexity of the Snowden story. Historically PBS and film festivals have brought this kind of socially committed documentary film making to the public. But if PBS succeeds with their proposed changes, we may lose access to important voices. Some of this controversy may have been generated by the super-rich, check writing elite like the Koch brothers, who are also major donors to PBS. ITVS funded a documentary that was critical of the Koch brothers, and apparently all hell broke loose behind closed doors when they found out. The Koch brothers demanded that it be withdrawn from any public programing or they would stop writing checks. It took two years for the film to finally receive a theatrical release. If it had been an in-house PBS produced documentary, I don’t know if PBS could have resisted censoring it. Political clout and check book politics are just too strong right now. Documentary filmmakers have organized themselves into an indie caucus to fight this consolidation of power as well
as to fight against schedule changes that push documentaries to unfavorable time slots. I suggest strongly that you educate yourself at the website http://www.current. org/2015/01/filmmakers-push-for-common-carriage-at-first-stop-in-public-tvlistening-tour/. And take the appropriate action supporting true independence in the documentary film world.
Let’s Go to the Movies:
Live Ideas at New York Live Arts S K Y—FORCE AND WISDOM IN AMERICA TODAY April 15-19
I suggest this might be the most important event in April, combining the arts and social issues in synergistic ways. It asks: how do we live in world that is becoming nonsupportive of human beings and humanity and the earth herself? Featuring five days of musical performances, lectures, original dance works, panels, film and a late-night lounge and more, it has been curated by our neighbor, the world- renowned visual artist, inventor and performer Laurie Anderson in conjunction with New York Live Arts’ Artistic Director Bill T. Jones. It unites some of the world’s most celebrated innovators and provocateurs to build an explosive meeting of contemporary art and ideas. Hal Willner, Chloe Webb, Laurie Anderson, Julian Schnabel are just a few of the artists and social activists featured. Please go to the website http://newyorklivearts.org/liveideas/ and see the listing of discussions—held at noon and usually free, films and performances. ART OF THE REAL April 11-26
The Film Society of Lincoln Center is hosting a documentary series that asks a very serious question about what constitutes the boundaries of documentary filmmaking. The programing shows thoughtful and provoking curation at work. Includes The Actualities of Agnès Varda, an Agnès Varda retrospective.
NAOMI CAMPBEL directors Nicolás Videla and Camila José Donoso
The directors chose to cross the intersection between subjective storytelling and documentary “objectivity,” using different cameras to capture each strain. We meet Yermén, who wants to change his body so he will look like the woman he knows himself to be. Yermén, comfortable in this self-definition, wants to look as pretty as Yermén feels. Unlike the deluge of almost cliché trans-advocacy films, Naomi Campbel brings a whole person to the screen with a sensitive reality check showing how class determines choice. Not since the narrative film Different for Girls have I seen this subject presented with such complexity and sensitivity. LIONS LOVE director Agnès Varda
Varda’s 1969 film has been beautifully restored. Shot in Los Angeles and it features Academy Award winning filmmaker Shirley Clark dressed in a leopard skin coat and wrestling with the idea of making a Hollywood film. It also stars Warhol Superstar Viva (begging the question why was she not a major star with all that beauty and presence and intelligence on display?) and the writers and original stars of Hair James Rado and Gerome Ragni, like children in grown-up hippie bodies. It was surreal to watch people I knew very well back then lost in the Hollywood bubble while real world reality intrudes only via television reports on events like the Robert Kennedy assassination.
(cc) jimfouratt reeldealmovies@gmail. com jimfourattsreeldealmoviesthatmatter. blogspot.com
THE ROYAL ROAD director Jenni Olson
Olson has been hovering around cinema greatness for the last few years, but here she “femifests” the word “masterpiece.” The Royal Road is rigorous filmmaking with a visual discipline that seduces the viewer to almost step into the frame and travel at the pace and rhythm of the cinematographer as she follows the route of a historical California route—El Camino Real telling its story in a visual language that feels familiar (Robert Bresson tinctures). It is a very personal narrative in which a young, female, LA filmmaker speaks her normally silent thoughts.
JENNI OLSON: Director of The Royal Road
at Sundance Film Festival 2015. Photo by by Henny Garfunkle.
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26 WestView News April 2015
APRIL EVENTS by Stephanie Phelan of westvillageword.com
wv w for
WestView News SPECIAL EVENTS CITYWIDE n Sunday April 5, 10-4 pm: Easter Day Parade Parade goes up Fifth Av-
enue from 49th-55th Streets.
n Saturday April 11, 2 pm: Tartan Day Parade If you love bagpipes, you’ll love
the Tartan Day Parade, when hundreds of pipers in kilts march up Sixth Avenue from West 45-55th Streets. n April 15-26 Tribeca Film Festival
This important festival brings film, music and culture to Lower Manhattan. Tickets start at $10; to purchase, go to tribecafilm.com/festival.
STREET FAIRS n Saturday April 11: Waverly Place Festival Washington Square North
from University to Macdougal Street. n Saturday April 11, 2-5 pm: In Search Of The High Line hosts an
n Wednesday April 8, 7:30 pm: Hate Crimes in the Heartland A docu-
mentary of the media’s coverage of hate crimes spanning 90 years in Tulsa, Oklahoma, revealing the extremes of racial tension in America’s heartland. Alvin Johnson/J.M. Kaplan auditorium, 66 West 12th Street. Free, but reservations required through Eventbrite. n Thursday April 9, 2 pm: Plan 9 From Outer Space A 1959 movie with lots
of aliens and zombies at Hudson Park Library, 66 Leroy Street. Free.
n Monday April 13, 6 pm: The Sisters
Errol Flynn, Bette Davis and Anita Louise star in this 1938 film about three small town girls. Jefferson Market Library, 425 Sixth Avenue. Free. n Thursday April 16, 2 pm: This Island Earth A 1955 movie about aliens who
come to earth seeking help from our scientists. Hudson Park Library, 66 Leroy Street. Free. n Monday April 20, 6 pm: Kim The orphan of a British soldier poses as a Hindu and is torn between his loyalty to a Buddhist mystic and aiding the English secret service. Starring Errol Flynn, Dean Stockwell. Jefferson Market Library, 425 Sixth Avenue. Free. n Thursday April 23, 2 pm: Forbidden Planet Walter Pidgeon, Anne Fran-
cis, Leslie Nielsen star in this 1956 film about space travel. Hudson Park Library, 66 Leroy Street. Free.
tween Sixth Avenue and Grove Street.
future from 1940 to 2036. Hudson Park Library, 66 Leroy Street. Free. n Thursday April 2, 6:30 pm: Sweeney Todd Lincoln Center for the
Performing Arts brings screenings of live performances to Jefferson Market Library, 425 Sixth Avenue. Free. n Friday April 3, 7 pm: Her Wilderness Frank Mosley’s film will be
followed by a reception at Sheila C. Johnson Design Center, 66 Fifth Avenue. Free. n Sunday April 5, 3 pm: Dangerous Living As part of the Travelogues of Queer This documentary explores the
lives of gay and lesbian people in nonwestern cultures. Sheila C. Johnson Design Center, 2 West 13th Street. Free. n Monday April 6, 6 pm: The Private Lives of Elizabeth and Essex Errol Fly-
nn and Bette Davis star in this film about the love/hate relationship between Queen Elizabeth I and the Earl of Essex. Jefferson Market Library, 425 Sixth Avenue. Free.
n Saturday April 11, 1-3 pm: Parsons PLAYTECH New games and interactive
multimedia projects. Play games and eat pizza at Albert and Vera List Academic Center, 6 East 16th Street. For ages 8-18. n Sunday April 12 and 19, 11 am2:30 pm: The Magic Forest Penny
Jones & Company performs a puppet show for children aged 3-8, and puppet ballets with live music for audiences of adults, children or both. Tickets $10 for both adults and children. Westbeth, 55 Bethune Street. n Wednesday April 15, 3:30 pm: Under Pressure Kids ages 4 and older
learn about aerodynamics and the properties of air. Limit to 25 participants. Registration required; register in person or by calling 212-243-6876. Hudson Park Library, 66 Leroy Street. n Tuesdays at 3:30 pm: Afternoon Movietime Classic and current movies
for kids ages 3-12. Hudson Park Library, 66 Leroy Street. Free. n Wednesdays at 11:15 am: Toddler Time Interactive stories, action songs
and fingerplays for walking tots accompanied by parents or caregivers. Hudson Park Library, 66 Leroy Street. Free. n Wednesdays at 3:30 pm: Preschool Time Picture book stories,
n Wednesdays at 3:30 pm: Seussology— Oh the Places You’ll Go Kids ex-
n Saturday, April 18: Broadway Festival Broadway from 8th to 14th Streets. n Saturday April 25: Washington Place Festival Washington Place be-
n Thursday April 2, 2 pm: Things to Come A 1936 movie that predicts the
open to all, even if one doesn’t attend the service. St. Luke in the Fields garden, 487 Hudson Street.
songs and rhymes for children ages 2-5 at Jefferson Market Library, 425 Sixth Avenue. Free.
afternoon of music, matchmaking, tarot readers, and more. 14th Street Passage on the High Line.
FILM
n Sunday April 5, following 9:15 am Service: Easter Egg Hunt Free and
LASER VISION, 1951 STYLE Aliens threaten earthlings with destruction unless they can get their act together. Part of a month-long series of retro sci-fi films at Hudson Park Library.
n Thursday April 23, 7 pm: The Mask You Live In A documentary that explores
how the messages of masculinity in American society are impacting the mental health and socialization of boys. The New School, 66 West 12th Street. Free.
n Monday April 27, 6 pm: Earthquake
A 1970’s disaster movie. Starring Charlton Heston, Ava Gardner. Jefferson Market Library, 425 Sixth Avenue. Free. n Thursday April 30, 2 pm: The Day the Earth Stood Still A 1951 film about
aliens who come to earth to preach peace and love. Hudson Park Library, 66 Leroy Street. Free.
KIDS/TEENS n Wednesday April 1, 6 pm: Teen Author Reading Night Teens get to meet
their favorite teen authors at Jefferson Market Library, 425 Sixth Avenue.
plore the ideas illustrated in Seuss’s book and create their own three-dimensional landscape using Magic Noodles. For kids 6 and up. Hudson Park Library, 66 Leroy Street. n Wednesdays at 4 pm: St. John’s Choristers Free Musical Education Training in music fundamentals
and vocal technique for children 8 and up. Open to kids from all over the city, but is made up primarily of neighborhood children. As part of the program, they sing once a month at a Sunday Eucharist. St. John’s in The Village, 224 Waverly Place. n Thursdays at 3:45 pm: Owls and Otters Storytime Picture book stories
for children ages 5-6 at Jefferson Market Library, 425 Sixth Avenue. Free.
MUSIC n Thursday April 2, 8 pm: Uncharted—Traveling Riverside Blues Binky
Griptite performs at Greenwich House Music, 46 Barrow Street. To purchase tickets at $15, go to www.greenwichhouse.org. n Tuesday April 7, 1-2 pm: Mannes Downtown Chamber Music Concert
Theresa Lang Community and Student Center, 55 West 13th Street. Free.
EASTER TRADITION St. Luke in the Fields will have an Easter egg hunt in the garden, following the 9:15 church service on April 5. Open to all. Attendance at the service not required.
n Wednesday April 8, 7:30 pm: Young Artists Series Chelsea Wang, the Sec-
ond Prize Winner of the Sixth New York International Piano Competition, will perform at Salmagundi Club, 47 Fifth Avenue. Free. n Thursday April 9, 8 pm: Uncharted — Country Comes to the Village
Georgette, Queen Esther and Lee Ann Westover perform country music classics at Greenwich House Music, 46 Barrow Street. Tickets $20. To purchase, go to www.greenwichhouse.org. n Tuesday April 14, 1-2 pm: Mannes Downtown Chamber Music Concert
Theresa Lang Community and Student Center, 55 West 13th Street. Free. n Thursday April 16, 8 pm: Uncharted — Bria Skonberg 2013 Jazz Journal-
ists’ Association “Up and Coming Jazz Artist of The Year” nominee will perform at Greenwich House Music, 46 Barrow Street. Tickets $15. To purchase, go to www.greenwichhouse.org. n Saturday April 18, 8 pm: Maria Farantouri— Fifty Years of Song This legend-
ary Greek vocalist will perform in a rare concert at Skirball Center for the Performing Arts. Tickets range from $50-$100. For tickets, go to nyuskirball.org/events/index
n Wednesday April 22, 8 pm: Voices of Ascension Choral Celebration The
chorus will celebrate 25 years of concerts with the 15th Century Ave Maria by Josquin Desprez, Bach’s magnificent motet Singet dem Herrn, and much, much more. The Church of the Ascension, Fifth Ave at Tenth Street. Tickets range from $10-$75. To purchase, go to www. voicesofascension.org/concerts. n Thursday April 23, 8 pm: Uncharted— Cynthia Hopkins This internationally
acclaimed musical performance artist will premiere her new musical piece, The Alcoholic Movie Musical at Greenwich House Music, 46 Barrow Street. Tickets $15. To purchase, go to www.greenwichhouse.org.
n Tuesday April 28, 1-2 pm: Mannes Downtown Chamber Music Theresa
April 2015 WestView News 27
www.westviewnews.org Lang Community and Student Center, 55 West 13th Street. Free. n Thursday April 30, 8 pm: Uncharted: Inyang Bassey Classic jazz to raw
R&B and indie-pop will be performed at at Greenwich House Music, 46 Barrow Street. Tickets $15. To purchase, go to www.greenwichhouse.org.
essay, short story or report. Hudson Park Library, 66 Leroy Street. n Saturdays April 18, 25, May 2, 9 and 16 at 3 pm: Atlantic Ocean World History (1500s to 1800s) A five-session
LITERATURE
course covering topics such as Maritime Law, Sailors, Piracy and Whaling. Limited registration; sign up in person by April 11. Jefferson Market Library, 425 Sixth Avenue. Free.
n Saturday April 11, 10:30 pm: Book Discussion — The Hours Michael
n Friday April 24, 1 pm: Finding a Job Online Hudson Park Library, 66 Leroy
Cunningham’s book will be discussed at Hudson Park Library, 66 Leroy Street. n Saturday April 18, 1-6 pm: Where the Wild Books Are A celebration of
international picture books and their role in promoting global literacy and creativity. Alvin Johnson/J.M. Kaplan Hall, 66 West 12th Street. Free.
Street. Free. n Saturday April 25, 3 pm: Introduction to Soft Matter Research Sci-
entific inquiry at the interface between physics, chemistry, biology and engineering. Jefferson Market Library, 425 Sixth Avenue. Free.
n Tuesday April 21, 9 am: Juvenile Justice —Strengthening Police-Community Relations Alvin Johnson/J.M.
Kaplan Hall, 66 West 12th Street. Free, but RSVP required; go to events.newschool.edu/event. n Thursday April 23, 6:30 pm: Roof Explorer’s Guide A book talk and
slideshow about NYC’s rooftop gems. Jefferson Market Library, 425 Sixth Avenue. Free, but reservations required by calling (212) 475-9585 ext. 35 or email rsvp@gvshp.org. n Wednesday April 29, 6:30 pm: Affordable Housing — Rent and Reality What does the battle over rent
regulation in the state capital portend for turning de Blasio’s vision for affordable housing into reality? Theresa Lang
Street. Free. n April 10 1 pm: Computer Basics for 50+ Hudson Park Library, 66 Leroy
Street. Free. n April 17, 1 pm: Advanced MS Excel
Hudson Park Library, 66 Leroy Street. Free. n Saturday April 18, 2 pm: Writing Process Learn the process successful
writers use to create the perfect letter,
IT’S A LOCK Jeremy Hatch’s works in porcelain will be at Jane Hartsook Gallery, Greenwich House Pottery. The opening on April 10-May 8.
cases works by American artists during the Great Depression; Indian Modernism explores the art of India after the 1947 Independence from British rule. Grey Art Gallery, 100 Washington Square East. n Through April 7: Nancy Johnson
350 Bleecker Street Lobby Gallery. Works can be viewed when the doorman is on duty, 4-10 pm weekdays, 10 am-12 am weekends. n Through April 12: Under the Sea
n Through April 18: Group Show
Maccarone, 630 Greenwich Street. n April 21-May 3: From Point Zero
Zodiac signs by artist, humorist and astrologer Doug Johnston at Ivy Brown Gallery,
etry Month by strolling along the High Line for poetic performances. The High Line at West 14th Street.
n April 3, 1 pm: MS Word for Beginners Hudson Park Library, 66 Leroy
n Through April 4: Left Front and Indian Modernism Left Front show-
Aerial views of prison complexes and intimate portraits of incarcerated individuals as well as prisoner-made photographs. Anna-Maria and Stephen Kellen Gallery, Sheila C. Johnson Design Center, 2 West 13th Street.
n Saturday April 25, 6:30-9 pm: After Sunset Poetry Celebrate National Po-
LEARNING
Winners of a public competition for women-built sites on exhibit at Center for Architecture, 536 LaGuardia Place.
n Through April 17: Prison Obscura
Grahn Award for Lesbian Nonfiction, the Randy Shilts Award for Gay Nonfiction, the Audre Lorde Award for Lesbian Poetry, the Thom Gunn Award for Gay Poetry, and the Edmund White Award for Debut Fiction will be presented at Alvin Johnson/J.M. Kaplan Hall, 66 West 12th Street. Free.
India will be the book discussed. Jefferson Market Library, 425 Sixth Avenue.
n Through April 11: Built by Women
Paul Wirhun’s works on exhibit at Ivy Brown Gallery, 675 Hudson Street.
n Thursday April 23, 7 pm: The Publishing Triangle Awards 2015 The Judy
n Thursday April 30, 4:30 pm: Book Discussion E.M. Forster’s A Passage to
will include an installation where viewers will cast locks in porcelain and attach them to a ceramic chain link fence.
THE VOICE Contralto singer Maria Farantouri is sometimes referred to as the Joan Baez of Greece and will perform at Skirball Center for the Performing Arts on April 18.
DANCE n Thursday April 30 through May 3: WestFest Dance Festival Martha
Graham Theatre, Westbeth, 55 Bethune Street. For information and tickets, go to westbeth.org.
Community and Student Center, 55 West 13th Street. Free.
COMMUNITY MEETING n Wednesday April 29, 7 pm: The 6th Precinct Community Council Meeting
TALKS
Our Lady of Pompeii Father Demo Hall. Bleecker and Carmine Streets. Open to all.
n Thursday April 9, 6 pm: Talking Across Today’s Transformative Movements Chris Dixon, a longtime
HEALTH
anarchist organizer, writer, and educator will discuss recent movements in the U.S. and Canada at the New school, 80 Fifth Avenue. Free. n Thursday April 9, 6:30 pm: The Adipositivity Project —Fat Physicality and Body Positivity Substantia Jones, founder
of and photographer for The Adipositivity Project will lead a conversation about visual activism, size acceptance, body positivity, and intimacy at Alvin Johnson/J.M. Kaplan Hall. 66 West 12th Street. Free. n Wednesday April 15, 6 pm: Sustainable Agriculture and Challenges of Production in Cuba Agriculture will
remain a key issue for the future of USCuban economic relations, with opportunities for trade and sustainability. Alvin Johnson/J.M. Kaplan Hall. 66 West 12th Street. Free, but RSVP required; go to events.newschool.edu/event.
n Tuesdays at 3:30 pm: Yoga St. Luke
in the Fields, 487 Hudson Street., First come, first served. Free.
GALLERIES AND EXHIBITS n April 1-31: Reclaimed and Repuposed! Marty Kornfeld’s works done on
repurposed surfaces at Jefferson Market Library Little Underground Gallery, 425 Sixth Avenue. n April 10-May 8: Matter of Time
Jeremy Hatch’s works in porcelain will be at Jane Hartsook Gallery, Greenwich House Pottery. The opening on April 10
n Through May 23: Prague Functionalism Photographs of Prague’s functionalist
buildings, projects, and drawings at Center for Architecture, 536 LaGuardia Place.
ONGOING EVENTS OF NOTE n First Saturday of Every Month, 2-3:30 pm: Book Swap Bring books
and/or art you’re willing to trade with others to Jefferson Market Library, 425 Sixth Avenue. Snacks will be provided, but bring your own coffee. n Saturdays, 11 am: Hudson Park Book Swap Exchange books one
Saturday each month at Hudson Park Library, 66 Leroy Street. n Tuesdays at 3:30 pm: Arts and Crafts For kids ages 3-12 at Jefferson
Market Library, 425 Sixth Avenue. Free. n Thursdays at 5 pm: Hudson Park Library Chess and Games Chess,
Checkers, Battleship and other classic board and strategy games. Beginners welcome. Hudson Park Library, 66 Leroy Street. People can bring their own games or use what's available at the library. Chess lessons for new learners also available. Hudson Park Library, 66 Leroy Street. Free.