Another stroll through some of (but by no means all of) my favorite places in New York City, this time spread out across Brooklyn, Manhattan, and The Bronx (we’ll get to you, Queens; as for Staten Island, I’ll see what I can do). Another of the many things I like about this city — and really, about most places — is that it’s basically one big, open-air museum. Between free exhibits and things that are just on the street there to be witnessed, you can take in a tremendous amount of history, both mainstream and obscure, simply by doing a little research and walking down the block.
I have a new Frolic Afield up at my usual corner on Alcohol Professor. In a rare moment of timeliness, The Bar that Launched Pride is a look at the history of the Stonewall Inn and how a scummy shithole of a bar that blackmailed its gay customers became the rallying point for and birthplace of the LGBT rights movement in America.
I walk a lot. Because I am cheap, and because New York is a city that rewards the walker. I walk a lot and take a lot of pictures, because this is also a city that changes with a breathless, frighteningly rapid pace. Sometimes for the best, sometimes for the worse, but either way what once was probably won’t be for long, so you can always stick around for the next iteration if you don’t like what you see today. So here’s thirty scenes, photographed with no particular skill on my part, in Manhattan and Brooklyn.
My introduction to New York’s underground film scene came in the form of the “cinema of transgression,” as movement figurehead (eh, more or less) Nick Zedd dubbed it. Specifically, it came in the form of Richard Kern, whose crude, short films and videos were widely circulated on VHS in the late 1980s and early 1990s. It was the work of Kern and Zedd that almost entirely formed my opinion of the movement, because that was basically all you could get. Film Threat magazine had taken an interest in Kern and released a number of his films on VHS. And so when it came to New York’s underground cinema, I knew what he and Zedd had done, which was sloppy, nihilistic, destructive, ridiculous, angry, and absurd. It wasn’t until I moved to New York some years later that I discovered the depth of my ignorance, that Kern, Zedd, and the Cinema of Transgression were the second wave of the New York film underground, that they had grown from a whole group of films and filmmakers who have preceded them in the late 1970s.
A light dusting of snow danced in swirling eddies across the sidewalk as we waited for the rumbling old elevator to arrive and admit us into its dark, wood-paneled interior. The operator nodded wordlessly to us, slid the door closed, and threw the lever that sent us upward in that creaking, moaning, shaking box. After what seemed an impossibly long and precarious ascent, the lift finally stopped and, just as wordlessly as he’d greeted us, the elevator operator bid us adieu and left us standing in a foyer lit by the yellow glow of incandescent bulbs. A row of wooden telephone booths lined one wall, and the sound of a little big band working their way through a Kay Kyser tune drifted to us on wisps of blue smoke coming from somewhere down a dark hallway.
Kentuckians grow up with Stephen Foster. He wrote “My Old Kentucky Home,” our state song, and The Stephen Foster Story has been playing at My Old Kentucky Home State Park for over fifty years. Although “America’s first composer” was born in Pennsylvania and later lived in Ohio (albeit in Cincinnati, which is just across the river from Kentucky), he is by right of his music an honorary Kentucky boy and a part of the fabric of the state. I’d been taught his songs since I was old enough to learn — “My Old Kentucky Home,” of course, but also “Hard Times Come Again No More,” “Oh! Susanna,” “Camptown Races,” and “Beautiful Dreamer.” They’re what we learned in elementary school music class when we weren’t mangling “Greensleeves” in accompaniment to a classmate awkwardly tooting it out on a recorder. I had no idea until recently that he lived — and died — just a stone’s throw from where I work now in New York City, on a block that is packed with New York history both glamorous and sordid.
New York is one of the oldest cities in the United States, and its most populous. So it’s no surprise that among our eight million residents are more than a few ghosts. Our ancient (well, for America) brownstones and Revolutionary War mansions, our cobblestone (or potholed to the point of seeming cobblestone) streets, and our occasional nightmarish gambrel rooftops host a number of spooks and specters, many of them famous in life, some famous only in death. From the ghost of a Ziegfeld Follies girl to Mark Twain’s House of Death, here are some of my favorite New York haunts.
Time for a spooky new Frolic Afield. Back again on The Alcohol Profressor, I’m taking you all on a gaslight tour of New York City’s most famous haunted bars and taverns. Booo-zy Tales of Spirited New York will bring you face to face with spectral sailors, poltergeist pirates, and at the ghost of at least one drunken poet. Or, if nothing else, you’ll get a decent pint and a dram of Tullamore Dew.
Brooklyn’s sprawling, historic Green-Wood Cemetery has fast become one of my favorite places in the city. This cemetery-as-park serves as the last resting place for many of the city’s most famous figures, as well as a few of its most infamous. On a recent walking tour of the cemetery, I visited some of the most notorious scalawags and tragic figures.
If you brave the tourist-chocked nightmare that is the Penn Station/Madison Square Garden area of Manhattan and manage to push your way through the throngs of dazed people waiting for the budget Bolt Bus lined up along 33rd Street, and look for the small sign next to the larger signs for psychics and porno videos, you will find 421 7th Ave — Fantasma Magic. Through the nondescript office building lobby, on the 3rd floor, you will find a phantasmagorically decorated hallway lined with posters and reflective wallpaper that leads you to Fantasma’s small but absorbing Houdini Museum of New York. Inside, clerks and local magicians hang out with visitors at the counter, showing off and sometimes even exposing the secret behind sleight of hand magic tricks. Lining the walls is a small wealth of Houdini memorabilia. More is stored in a couple glass display cases. And the far wall showcases, among other things, some of the props from Houdini’s greatest escapes and even includes an animatronic Houdini that will escape from a straight jacket for you.