George has lived near the new market since June 2013 to learn about the neighborhood’s food mores. He shopped at markets, visited coffee shops and wine bars, and talked to residents about what they wanted in a community market.
Most of the Westside Markets operate around the clock, seven days a week. The inside of each store is designed by Big John with pencils, paper, a ruler and a few erasers.
As for the prepared foods, every dish is either made by Mrs. Zoitas, 57, or made with her recipes...
5-7 cops just piled on top protester in east village and arrested him in #NYC protest for #Ferguson pic.twitter.com/ZaZeY9eQ0k
— palina prasasouk (@visiitor) August 21, 2014Protest outside my window @visiitor: 5-7 cops just piled on top protester in #eastvillage and arrested him in protest 4 #Ferguson...
— Claudia Lucio (@RecruitingGeek) August 21, 2014
Lepkoff purchased her first camera, a Voigtlander, with money she scraped together from working as a dancer at the 1939 World’s Fair and turned her ravenous eye to street photography. Her photographs capture the bustle of the LES in the 1940s and 50s, depicting loiterers, butchers, shoemakers, mothers and especially, kids. As a modern dancer who took classes with Martha Graham, Lepkoff must have identified with the frenetic energy of the streets — a different kind of contemporary ballet.
"I went outside and at that time, people lived in the streets — everything happened in the streets," Lepkoff recalls. "People would go out and sit with baby carriages. They sat on the stoops."
"People ask me — how did you know what to take? I didn’t even have to think. I just went outside, and there were the streets of my mother, of me, and whatnot. Very alive, full of activity, with people."
Name: Jack Sal
Occupation: Artist
Location: New York Public Library, 10th between A and B
Date: 5:45 pm Thursday July 31
I’m from Connecticut. I moved to the city about two years after graduate school. I lived in SoHo from around ’81 to ’83. People would go to the local bars like Puffy’s in Tribeca or Fanelli’s – Fanelli’s only if you were a figurative painter. I remember at Puffy’s the idea was that you’d learn how to drink whiskey, smoke Camels and show your slides. There was only one local place where you would get food, and if you didn’t make it by 6 p.m., that was it — you’d have to walk all the way to Chinatown. There were a lot of artists but it was a mix of people. There were the wives and husbands of the artists and there were still factories.
I got bought out. I was a SoHo refugee. Someone bought the building and I had to leave and then I ended up buying a building in the neighborhood. It was affordable.
On 6th Street, when I moved in, all the storefronts used to be small shops, like aluminum, metalworkers or upholsterers of furniture. You used to be able to go to Canal Street and buy surplus equipment, surplus materials, and now you can’t find a local metal cutter or welder. Then the galleries happened. Literally it was like mushrooms. People were using storefronts. The galleries went with the boom and bust of the late ‘80s.
It got pretty rough down here with crack and all of that. When I was renovating the building with my partners, two of whom were photographers, William Wegman and Timothy Greenfield-Sanders. We would renovate and at night they’d come and steal the tools and you’d go back on the street in the morning and buy them off a blanket and get back to work. We had the lot line windows bricked up because they would just break through all the time. I remember if you left a pencil on your dashboard you’d find your window smashed. I had a friend who would leave his car open because he said it was easier to get a guy who was sleeping in it out than it was to buy a new window or lock, although after awhile I wouldn’t drive in his car because it was smelly.
I’m an artist. I do conceptual, installation. I began as a photographer tied up with The ICP. I’m one of the founders of the education department in the ‘80s. I often do work where I do research about the place and use that within the context of the work. I often use photographic materials or materials that change with time.
We’re actually leaving now. It has more to do with personal and building situations. I mean, there are still very interesting restaurants and places here, but it just doesn’t feel the same. Not that I’m not being nostalgic for finding crack vials, but you used to be able to discover a place, a restaurant or a store, and it would be interesting because someone was trying something, but now it feels like someone is just trying to find a formula.
New York is no longer the source place that it used to be. It’s essential to be here but it’s not essential to live here. I thought I’d never say that about New York. Now it’s very different. It’s very expensive. I don’t know how someone without a significant income, or who is not accumulating significant debt, can stay here. Anyone.
I have in the past rented some of my spaces out and there are young people who come and they work I don’t know how many hours a week and then they sort of blow off steam and then they go on vacation. That seems to be the cycle. I mean, everyone for their own, but it doesn’t seem very self-nurturing or self-generating. It’s not like a moral view but why now are brunches advertised as all you can drink? I don’t drink myself but I can imagine having one or two Bloody Mary’s at lunch, but the idea that you’d go out to get drunk on Sunday morning or Sunday afternoon is indicative of this culture of numbness.
Now there’s a bar next door to me that makes $23 dollar drinks. They have created this self-illusion of selectivity by not letting people in. They call you when they’re ready, so you feel even more like, ‘Oh I got in.’ It’s always full other than Monday night. There’s always a crowd outside waiting. As my girlfriend is saying, ‘What are these young people going to be like after years of drinking.’ What kind of effect physically and mentally is it going to have and also in terms of what their expectations are going to be, because if you’ve been numbing yourself for a long while, when you stop it’s not necessarily going to get better.
It says a lot about America. New York is and always has been a kind of experiment for the United States because unlike the rest of the country, by default it’s been a kind of forced mixed, immigrant, old, established, rich, poor, it has all the defects of American culture with all the benefits as well. So you get this kind of hotbed of both the triumph of what’s good and the hell and horror of what’s bad. You get people who are buying $1.3 million apartments in what used to be a $300 rent-stabilized place. That extreme is not healthy.
My MacBook Air is on its last legs and needs repair. Any sense where our neighbors are taking their machines in for repair now that Digital Society on East 10th Street has left us? They were so awesome. The folks at Tekserve can be obnoxious — a bit too much testosterone. And I'd rather take sandpaper to my [redacted] than go to an Apple store.
"I find it outrageous that one of the city's museums is currently celebrating graffiti and what a great impact it had on the city," Bratton said Monday during a meeting with Wall Street Journal editors.
Mr. Bratton further objected to "having New York City school kids at the impressionable age of 12 years old walking through looking at this stuff and having it advertised as 'Isn't this great?'"
Susan Henshaw Jones, City Museum's director, said the show is intended to show how graffiti became an art form, not to glorify vandalism. "We are not in the business of trying to encourage children, teenagers, grown-ups or elders to do graffiti," she said.
The New York City Department of Parks and Recreation has mismanaged the City’s street tree pruning program responsible for maintaining approximately 650,000 street trees citywide, increasing the risk of personal injury and property damage from falling branches.
“Auditors found that Borough Forestry offices in the Bronx, Brooklyn, Manhattan and Staten Island were paying contractors for pruning the wrong trees, for pruning that was never done and were not keeping accurate lists of trees that were properly maintained. Taxpayers deserve better management of our City’s trees,” Stringer said.
New York City’s street tree pruning program is run by the Department of Parks and Recreation’s Forestry Service, which oversees all street tree maintenance and operates an office in each borough. Private contractors that plant the street trees are responsible for maintaining them for two years. Thereafter, Parks prunes them, except for trees five inches or more in diameter, which are maintained by contractors hired by the Parks Department.
Based on a review of Parks’ operations and contracted street tree pruning services from July 1, 2012, to November 21, 2013, the Comptroller’s audit revealed weaknesses in the operations of all Borough Forestry Offices, except for Queens. The audit found that offices in Manhattan, Brooklyn, the Bronx and Staten Island had:
• Inaccurate lists, or no lists at all, of trees requiring pruning. Manhattan and Staten Island failed to give contractors specific lists of trees that needed maintenance and could not provide evidence that contractors’ work had been inspected.
• No evidence that required post-pruning inspections were performed. These inspections are meant to ensure that all contract terms are met and payments are only made for adequately pruned trees.
The retro cocktail list cribbed from Playboy's Host and Bar Book has been overhauled with a selection of actual boilmakers, including one combining Old Grand-Dad bourbon and Brooklyn Lager and another that teams up Ramazzotti amaro and Victory Storm King Stout. There will be four cocktails on tap, including a Zombie made with three kinds of rum ...
Yonekichi serves their crisp rice buns with a variety of made-to-order fillings: ginger mujifugi features sweet bites of pork shoulder ($8) and the saikyo salmon includes a fresh fillet marinated in miso ($9). For a more traditional burger, the tsukune, a chicken meatball patty topped with shishito peppers ($7.75), most resembles your average quarter pounder. Vegetarian options, like the Kinpira made of sautéed lotus root, carrot, sesame seeds and togarashi ($6.50), are also available.
Yonekichi's menu also includes Furi Furi, Japanese for "shake shake," which are crispy, thick-cut potatoes topped with your choice of salt, pepper, yuzu or wasabi, and served steaming hot, ready to be shaken in their thick paper bag for optimal seasoning coverage.
[T]he pressed white sushi-grain “buns” disappointed Daily News testers.
"This is a dough-zaster," said one member of the News’ formidable Taste Kitchen. The expert had imagined that the rice buns would be thinner, and therefore, crispier.
Instead, he found himself eating too much of the unhealthy Asian staple.
"This is just a thick layer of bland rice," he said. "And it keeps breaking up, like those mini-sandwiches from 'This is Spinal Tap.'"
And it’s not even homemade! The rice bun is made off-site then combined with Yonekichi’s made-to-order umami-bomb fillings, which are far more impressive than their container.
@evgrieve they used the jaws of life and the crowd cheered when it got free. So crazy!
— Eden Brower (@edenbrower) August 18, 2014
Ground Floor — 50 Beds leased to Joffrey Ballet School
First Floor — 82 Beds leased to Joffrey Ballet School
Second Floor — 98 Beds leased to Cooper Union
Third Floor — 98 Beds leased to Cooper Union
Fourth Floor — 98 Beds available for lease
Fifth Floor with Mezzanine — 109 Beds available for lease
University House is an exciting new state of the art college living experience with a grand opening for the 2016/17 school year in the heart of the East Village. The redevelopment and historic restoration of this century old landmark, former New York City elementary school, will be transformed into a modern, amenity-rich home designed, built and managed for 535 students for New York's participating colleges and universities. Ideal for all students with safety and amenities as the top priorities.
