![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpVGSX4_7bDI9v0JDx0Dh7ybAIheu0J98G3KrX9M03_VUC8yqKNMVb7nZB24Hn4B92DFPSj-QC8kEe92JH24wCxwOnQHocdFVNmM4bSeeDpZpO7GEApqXPOTpY7dvp20HeWtLFzWe6KZs/s400/0.jpeg)
Here's the latest NY See, East Village-based illustrator Grant Shaffer's comic series — an observational sketch diary of things that he sees and hears around the neighborhood and NYC.
It’s unclear what will happen to Facebook’s current NYC offices, including 758,000 square feet at 770 Broadway and 266,000 square feet at 225 Park Avenue. So.
Both Farley and 770 Broadway are owned by Vornado and its chairman Steve Roth, who has been wining and dining tech companies for years in an effort to lease them the top floors of the post office.
Roth, whose reps didn’t immediately return a request for comment, could cut Facebook a deal for Farley that also lets it off the hook for its current East Village lease, which expires in 2025.
Starting October 7th, we’re speeding up your ride. pic.twitter.com/VnH66s57Mp
— NYCT Buses (@NYCTBus) September 23, 2019
ABLE camera systems can capture evidence such as license plate information, photos and videos, as well location and timestamp information, of vehicles obstructing bus lanes to document clear cases of bus lane violation. The system collects multiple pieces of evidence to ensure that vehicles making permitted turns from bus lanes are not ticketed. This information will be transmitted to NYCDOT for review and processing, and the program will be administered in partnership with NYCDOT and the NYC Department of Finance.
Motorists who block bus lanes are first issued a warning with a 60-day grace period when no fines are assessed, beginning October 7. After the grace period ends, motorists who continue to block bus lanes will be subject to a fine of $50 for each violation, which also carries a $25 late fee.
Quintanilla said that the decision wasn’t easy for store ownership and a number of regular customers were upset by the news.
“A lot of people are crying and upset about it,” he said. “It especially affects a lot of elderly customers that we help with phone orders. They don’t know where else to go.”
Quintanilla said that he wasn’t involved in discussions with Associated’s ownership and Blackstone regarding why the store is closing but he said that business has been steadily decreasing every year.
On Thursday, Sept. 26 join MoRUS at La Plaza Cultural Garden on 9th Street and Avenue C at 7 p.m. for a screening of “The River and the Wall.” In addition, there will be three visual art installations on display, Ryan Legassicke’s immersive sculptures will be set up in in the garden in the screening area. Andrew Sturm will introduce the group exhibition “elcatsbO Obstacle” with Jill Marie Holslin. The exhibit is available for viewing at MoRUS through Oct. 26.
On Friday, Sept. 27, MoRUS will present a selection of shorts starting at 7:30 p.m. at the community garden on 6th Street and Avenue B followed by a dance party at the Museum. The dance party will also celebrate the opening of the ongoing art exhibit: elcatsbO Obstacle. This exhibit considers the far-reaching spatial, cultural, political, and environmental implications of the US/Mexico border and beyond.
“Both residents and destination diners in the East Village will be excited by this long-awaited expansion of a beloved brand,” Lee & Associates’ Jaime Schultz said in a statement. “Situated right where the East Village meets the Lower East Side, this new Roberta’s location is guaranteed to see lines every day of the week.”
[C]hef-owner Carlo Mirarchi has confirmed to Grub that they’ll be opening what he calls Roberta’s Wine Bar. In an email, he writes that there will be wines “from some of our favorite producers. Lots of mags, lots of fun.”
Abrons Arts Center is proud to present the world premiere of jazz singer, a theatrical exhumation of the first feature-length “sound film” The Jazz Singer, reinterpreted by director and performer Joshua William Gelb and composer and performer Nehemiah Luckett.
Set on the Lower East Side, the 1927 film tells the story of a “jazz crooner” forced to choose between his immigrant Jewish heritage and his aspirations of becoming a Broadway star. Though the film is historically significant for its integration of synchronized sound, it is most remembered for its controversial use of blackface. Gelb and Luckett’s musical rendering offers a contemporary take on this distinctly American story, one that interrogates appropriation, assimilation, atonement, and whether escape from the specter of blackface is possible.