
As the readers who sent along this shot said, "Not weird, but still can't spell." And, as the copy reads, he won't streal any of your shit.
The Hamilton-Holly House is an 1831 landmarked, Federalist style building which has housed the clothing store Trash And Vaudeville since 1971 (and has sold spandex to famous and not so famous rock and rollers ever since.)
This building is most notably characterized by its unusual 26-foot width and 3-1/2-story height, long parlor floor windows, unique vermiculated, rounded entranceway, molded pediment lintels, peaked roof, and double segmental dormers.
The high-stoop and peaked roof also makes this a unique Federal-era construct.
This house, along with the entire block, was developed by Thomas E. Davis, who sold 4 St. Marks place to US Secretary of Treasury, Alexander Hamilton's Son in 1833, and lived here with his widowed mom and their immediate families for nearly a decade. (Alexander Hamilton was killed in a pistol duel with Arron Burr a few years prior.)
The Van Wyck family owned 4 St. Marks in 1855 when a classified ad appeared in The New York Times reading, ''Respectable middle-aged Scotch or German Protestant woman wanted to do the general work of a small family; apply immediately at No. 4 St. Marks Place.''
By 1870, the neighborhood was much less fashionable, and a census record shows the building was used as a boarding or lodging house.
It has been widely rumored that Last of the Mohicans author, James Fenimore Cooper lived here in the 1830s, but little evidence shows this is the case. At least not during this time period. (There were already two families of Hamiltons and Hollys occupying the space, among other discrepancies and lack of evidence.)
In the 1950's and 60's, this building hosted a variety of cutting-edge performance art spaces which ended up challenging the limits of the First Amendment in Vietnam War-era America.
The Tempo Playhouse and the New Bowery Theater were two notables, but The Bridge Theater really “pushed the limits” of freedom of speech and was eventually shut down.
The Bridge Theater was a Fluxus art house, and hosted the likes of Yoko Ono, The Fugs, and the Bread and Puppet Theater. Fluxus art is based on the work and philosophy of artist Allan Kaprow; and is mainly comprised of group-based, improvised, interactive, mixed-media performance art.
"Cafe Hanover is selling out their inventory at $1 a piece on folding tables on the sidewalk right now.
I just bought a box of melba toast and a big tray of Oreos for $2."
Fire marshals yesterday were trying to determine what caused a blaze inside an NYU building in the East Village. The fire broke out in a third-floor art studio in the six-story Barney Building on Stuyvesant Street near Third Avenue. The blaze was contained to a small sculpture- and jewelry-design studio. NYU officials said other studios on that floor are expected to be open for classes today. There were no injuries.
Please join me for a presentation and discussion with Lower East Side pioneer and photographer Marlis Momber as she takes us on her journey and a look back at the characters and culture of the Loisaida, and the cultural, physical, social and historical shifts which have taken place there over the last 35 years. It is a story of urban development, gentrification, affordable housing, homesteading, cultural identity, the arts, and the vibrant Puerto Rican community that once thrived there, and the invigorating, dynamic nexus of politics, music, art, and indomitable spirit of a community. Marlis Momber is a pioneer and long-time resident of the Loisaida since 1975. Formerly a successful fashion photographer, working for Elizabeth Arden, Gucci and Harpers shooting the likes of Grace Jones and Jessica Lange, her main body of work documents the struggle of the mostly Puerto Rican people in the Loisaida, and has been used to illustrate national and international publications on political and cultural topics. She is a living archive of information across 35 years.
To Marlis Momber, a German photographer who began roaming the neighborhood in the mid-1970s, that terrain provided a setting for decades of documentation. “People called it a war zone,” she said. “I grew up in Berlin after World War II, and it looked the same.”
On a recent evening, Ms. Momber strolled the streets near Umbrella House. The blocks that she photographed still exist, of course, but they have changed. The empty lots are no longer empty, and the abandoned buildings have been razed or rehabilitated. But not everyone can afford the thousands of dollars per month that the new apartments rent for. And, to Ms. Momber, the streets no longer look as compelling through a camera lens.
“Sometimes I miss it,” she said of her early days in the neighborhood. “We were all so much closer to each other back then.”