Archive for the ‘Everyday Life in SoHo’ Category

SoHo Photos

March 31, 2018

Boys playing at Houston Street lot (image: Nancy Eder)

Ever since I put out a call for SoHo photos, I’ve received all kinds of images, of people, places, events from the 1970s through the present. I’ve included a selection below (click on any photo to view as slideshow), the beginning of what I hope turns into a much larger collection that encompasses as many SoHo stories as possible.

Please continue to send images to yukie@sohomemory.org, and please include a caption with place and date.

Enjoy! (more…)

Canal Street Artists and Fleas

March 3, 2018

Two Stores on Canal Street ca. early 1980s (photo: Susan Fortgang)

 

Today I would like to share a collection of photos I received recently. These photos and their captions by artist Susan Fortgang capture Canal Street in the 1980’s and 1990’s when it was a lawless flea market free for all. Her in-depth descriptions tell the story of a bygone era that straddled the old and new SoHos and shows us an up-close look at a street that had a culture all of its own, an invaluable addition to our image collection!

Thank you to everyone who has submitted photos to the SoHo Memory Project Photo Archive thus far. For those of you who would still like to submit photos, it’s never too late! Please send photos to yukie@sohomemory.org, or email me or share a Dropbox folder. (more…)

SoHo Guide

January 6, 2018

Happy new year!

As we enter year eight of The SoHo Memory Project, I thought we would revisit some of the many businesses that have come and gone from our community. This image gallery features a selection of advertisements placed in issues of the annual SoHo Guide, published by the SoHo Partnership. All of these advertisements date back to the mid-1990s.

The SoHo Partnership, founded by Henry Buhl, provided street cleaning services in SoHo from 1992 to 2016 and was the first collaboration between a community and a human services organization in New York City with the primary goal of providing job opportunities for the homeless. They also published an annual SoHo Guide, a handsome, spiral-bound book that contained listings for local businesses, as well as advertisements. More on the SoHo Partnership next month, but for now, take a look back at some of the businesses that made SoHo the shopping and dining neighborhood it is today. (click on any image to view as slideshow). (more…)

Let’s Talk About SoHo

December 2, 2017

“SoHo in Transition” at NYPL Mulberry Street Branch, October 23, 2017

On Monday, October 23, I led a Community Conversation at the Mulberry Street branch of the New York Public Library on “SoHo in Transition.” It was the first in a series of three such conversations to take place this fall that examine SoHo’s past, present, and future. The purpose of these conversations is to engage dialogue that creates a greater connection among old and new residents of our community. This first conversation focused on SoHo’s past. (more…)

Dunn’s Deals: Douglas Dunn and the Lofts of SoHo

November 4, 2017

Cassations rehearsal at Douglas Dunn Studio, 541 Broadway, 3rd Floor. Decor by Mimi Gross. 2012

Douglas Dunn, choreographer, dancer and long-time resident of SoHo, recently shared with me a letter he wrote to Wendy Perron, also a choreographer and dancer, who is currently working on a book about Grand Union. Grand Union, in Perron’s words, was “a pivotal improvisation group that was unforgettable for downtown dancers in the 1970s.”

In his letter, Dunn shares memories of moving to and around SoHo, from apartment to loft to larger loft. His story captures SoHo’s evolving real estate landscape at the time, and also reads as a who’s who in modern dance. A fascinating story with beautiful photographs!

click on photographs below to view slideshow with captions

(more…)

Small Town Rag

October 7, 2017

The other day, I was going through issues of The SoHo Weekly News for a research request and I came across the very first issue, Volume One Number One from October 11, 1973. I thought it merited a closer look, that it could tell us something about what our neighborhood looked like 44 years ago and also give us a glimpse of what the startup newspaper and its editor, Micheal Goldstein, had in mind at the very beginning.

The front page headline reads “SoHo Wins Landmark Fight,” announcing that SoHo had officially become the first commercial district in the world to become a landmark. The area is protected because of its large concentration of cast iron buildings dating back to the mid-19th century. Due to its landmark status, the exteriors of buildings in SoHo cannot be altered without permission from the Landmarks Preservation Commission. The article includes a humorous cartoon of what appears to be Abe Beame as Alice being asked by a faceless voice “Now let’s go over that part again, Alice, where you slipped and fell into the rabbit hole.” Beame, then City Comptroller, had reluctantly voted for landmarking the district, as he had many backers from the real estate industry in his bid for Mayor. (more…)

The Three Rs: Reminiscences, Reflections, and Ruminations

August 5, 2017

 

Jean-Michel Basquiat’s tag SAMO on a wall.

Happy summer everyone! Thanks to all of you who have filled out a “SoHo Profile” over the  years (those of you who have not yet filled one out, click on the “Your SoHo Profile” link to the right).  It’s been great to read your memories of old SoHo.  I thought I’d share some of them here anonymously.  Although I have received a wide variety of responses to each of the questions, I feel that I can somehow relate to all of them because my memories of SoHo, like yours, are so varied, bitter and sweet, dark and light, foul and fond. At the end of this post, I’ve included links to recent pieces on SoHo and old New York!

 

Playing on the platform in front of our building on Mercer Street

What do you miss most about SoHo in the 1970’s?

Feeling of discovery.

I still love the old buildings, the urban landscape. I’m sad it’s so commercialized. I loved the remoteness, the outlaw feeling. I remember going home from the bar at night, walking down the empty center of the street instead of the sidewalk, because it was safer.

The edgy, avante garde feel.

The deserted streets, the cobble stones, I remember the 18 wheelers.

The desolate feeling.  Soho was a neighborhood then. The Italians on Thompson Street. The kids all met at the park.

All the galleries and how remote it was from the rest of Manhattan.

508 Broadway, Saul Feifer Hats and Caps. (image: Ben Schonzeit)

Its spontaneity, the creative use of space, the community of artists, the vacant lots that we’d hang out in, too many things to list.

Art Galleries and the way everyone was involved in making art.

The quiet of the streets, the look of almost desolation on the weekends.  The feeling that we could go anywhere and do anything and explore any corner of the neighborhood as young children like you might expect in a quiet town in the suburbs.

The vast emptiness and community.  The light, the rents, knowing almost everyone, the creativity, the architecture, the empty cardboard fabric spindles put out as garbage that my brother and I would sword fight with.  Dean and DeLuca being a cheese shop.

Cheap space and privacy with a sense of ‘small town’ community.

Bleecker Street Cinema, the lack of chain stores, the feeling that this was real NYC, the Greek Restaurant on Bleecker, the fact that is was really a small town in a big city.

I miss how it was a real neighborhood and not just the pretentious commercial district it has become.

Tight knit community, space to walk and breathe.

(more…)

SoHo Swan Song

July 1, 2017

Today’s guest post is by my (former) neighbor Michael Gentile, who recently moved out of SoHo after being in, out, and around the neighborhood for the last 30 years. He expresses the sentiments of a growing number of long-time residents who lament the fact that SoHo has transformed to a point of being unrecognizable to them. I wrote about my own coming to terms with this fact a while back in my post “Where is New York?”  Here, Gentile weaves the neighborhood’s long history into his observations of present day in this swan song to the neighborhood he once called home.

Soho’s Not So Grand

A NYC neighborhood in flux

Soho’s current sugar high is a real buzzkill. This neighborhood, New York City’s birthplace of hyper-gentrification, originally called “Hell’s Hundred Acres,” houses the most breathtaking, fully restored 19th-century cast-iron building facades in the world. Fortunately, the successful efforts of architectural historic preservation and community boards have saved many buildings. However, Soho’s history has become diminished and lost with the results of the neighborhood’s ever-changing crossover, which gives comfort to the crowds seeking out sameness, but at a cost.

The enthusiastic transition to megastore retail, restaurants, hotels, and condominiums has claimed victims. Former loft residents, factory workers, artists, and political radicals vanished, and were not included in the neighborhood’s future.

A walk through Soho today is difficult. It’s an atmosphere of vulgarity: wayward tourists, distraught models, fist-bumping high-fivers, girly gigglers, techno design geeks, backward-cap bros, and vacuous throngs from all over, filling the streets.

Is creativity still at work in Soho? Sort of. On the steps of Prada, lifestyle and image are crafted. Supreme hoodie kids on Adderall snap iPhone selfies while sipping $17 hemp smoothies. At the Mercer Hotel across the street, anxious Twitter users wait, hoping to catch a glimpse of a fleeing Kardashian. On the sidewalks, fashion wannabe Snapchatters hurriedly clip-clop to double-parked, glossy-black, Suburban Uber-Lyfts. Flag-raised tour guide groups shuffle along, overflowing into the streets. Soho’s a playground for the wealthy, who look poor and shop rich.

Dystopian nightmare or growing pains? Depends on who’s talking. Soho’s present state could be perceived as a negative development in New York culture.

Business leaders, city planners, and politicians always get worked up over the idea of development. Real estate developers’ rote answers offer little comfort to the continuing gentrification problems, high rents, and empty storefronts. It’s disingenuous, hand-feeding the public a generic shopping experience structured at a marketing meeting by executives wanting to up their game. What’s the point? Money.

The daily crime scares some away. The setting is perfect. Picture any typical over-priced, high-end boutique. Enter a motley European couple—exit a pair of pricey Manolo Blahnik heels. The thieves blend into a sea of humanity.

When a grand larceny occurs, sometimes an ad-hoc protocol follows: the store empties, the staff blocks the sidewalk, the shop is put on lockdown, bummed-out employees light up and smoke. Everyone looks down, tapping away on their devices, calling the corporate office or making dinner reservations.

The NYPD set up a defensive move during peak periods: street patrols and a mobile processing “jail” station at Prince and Greene Sts. Supply and demand—where there are crowds, there are highly-organized criminals.

But crime is nothing new to Soho. During the 1860s, Mercer St. was part of the City’s “ten-cent houses” and the first red-light district, including Mrs. Van Ness’ number 149 brothel, filled with discreet prostitutes. On the same block, the recently closed, soon-to-be condo, the Mercer-Houston Street Garage, originally operated as a horse boarding stables. Then, in the 1930s as a parking garage, it housed Joseph “Black Lefty” Lapadura’s lively bootlegging operation until the FBI discovered it.

However, Soho’s most infamous moment might be the day young Elma Sands’ dead body was found underground, floating at the bottom of a Lispenard Meadow well. The well is still there, now at 129 Spring St.

It was the cold night of December 22, 1799, when Miss Elma planned on eloping with Levi Weeks. Mr. Weeks, a carpenter, was later charged and tried for her murder in 1800. His lawyers were Alexander Hamilton and Aaron Burr. It was the first recorded transcript murder trial in the United States, and the jury acquitted Weeks in only minutes. Some say the spirit of Elma Sands still roams the streets of Soho at night.

And then there are the many non-rent-paying “tenants” who’ve endured these changes and flourished: rats, estimated at 100 million citywide. One thing’s for sure, the rodents are enjoying themselves every night, running around and jumping on tied-up cardboard boxes.

Meanwhile, a sleepy Soho pauses and moans a collective sigh during the few precious moments before dawn. A walk at sunrise might turn your head for the wrong reason. Curled up in Tiffany & Co.’s elegant Greene St. doorway, a homeless person snores away. Garbage trucks barrel down the soot-stained Belgian block streets. Seafood, dairy, florist, and bakery vendors make deliveries. A dog walker silently passes a jogger in the brightening gray light. It’s all a reminder that there are no dead ends in Soho, just detours.

(more…)

Where Everyone Knows Your Name: Placemaking and SoHo

May 6, 2017

Ken Schol Mon Levenson and another artist at Fanelli’s. Beer and coffee for breakfast. (Horizon Magazine)

Over the past few years, “placemaking” has become a buzz word in unrbanist circles. The term seems to have supplanted “community building” and “neighborhood enhancement,” terms with somewhat similar definitions, as the key to (re)vitalizing and unifying neighborhoods. As defined by Wikipedia:

Placemaking is a multi-faceted approach to the planning, design and management of public spaces. Placemaking capitalizes on a local community’s assets, inspiration, and potential, with the intention of creating public spaces that promote people’s health, happiness, and well being.

Can you think of such a space that exists in SoHo? Do you wish we had more places like this to congregate and socialize? Karissa Lidstrand, who is completing her M.S. in Urban Placemaking and Management at the Pratt Institute, has kindly offered to write a guest post about placemaking and SoHo. The following is an extension of a finding from Chapter 3 of her thesis, Creating Seats at the Table: A Business Improvement District’s Methods for Evaluating Community Needs.

Figure 1: Food Restaurant on the corner of Prince and Wooster ca. 1973

The Struggle to Build Social Capital

When asked what community means to you, how would you respond? The term community can be very subjective. Some may think of their friends and family as their community while others may think more broadly. If you were to use that definition when thinking about community space would the result be a community center or something more private?  In SoHo community space has appeared in a variety of forms in part because of the neighborhoods land use.

Prior to World War I the manufacturing industry was booming in SoHo, as it was in many other cities across the United States. The cast iron architecture that lines the streets of SoHo was created in the late 1800s, influenced by the textile industry that located there. Legally these buildings were, and still are, zoned for manufacturing use. The manufacturing designation prohibited community facilities such as houses of worship, community centers, hospitals, and schools from being established.

It wasn’t until the textile industry gave way to foreign competitors after World War II that neighborhoods like SoHo began to see the effects of manufacturing leaving the inner city. Buildings occupied by factories in the 1800s later became vacant loft spaces post-1940. Not all manufacturing left SoHo at once, printing companies and warehouses moved into the upper floors, taking advantage of reduced rents and the large, open spaces.

The rapid decline of manufacturing in the neighborhood left the area inactive. The quick transition of SoHo to an artist community began in the early 1960s. A variety of artists saw the potential in the loft spaces as locations for their studios. Building owners rejoiced with the opportunity to rent their vacant spaces, even for a low price. As manufacturing declined and the artist community made this neighborhood their home, the lack of community facilities become more apparent.

In the twenty first century SoHo and New York City have experienced a significant amount of investment and population growth. This has impacted the composition of many neighborhoods, impeding efforts to strengthen “social capital,” the relationships between residents (old and new) and the people who work in the neighborhood.

Through interviews conducted with community stakeholders the lack of community space in SoHo was identified as a concern among a variety of stakeholder groups.

Yukie Ohta, a longtime resident of SoHo, reminisced of spaces where people used to come together when she was growing up and where she would take her children. Some of those spaces included Food and the Scholastic Store. Food was a restaurant on Prince Street where locals could grab a bite to eat, artists could find employment, and neighbors could converse. It was perfect for families because below the restaurant was a play group where parents could drop their children off to interact with other kids while they sat upstairs conversing with friends.

The Scholastic Store was a neighborhood staple where parents could take their children to read and hang out for hours without the looming pressure of purchasing anything in return. Finding places to take children has become a concern given that the only major outdoor space in the SoHo neighborhood is Vesuvio Playground. For those that live on the east side of SoHo closer to Lafayette Street, walking to Vesuvio Playground on Thompson Street is at least a 10 minute walk.

Interior of Mulberry Street Library (photo by New York Public Library)

Sherri Machlin, acting manager of the Mulberry Street Public Library Branch, discussed how community spaces are limited and that there needs to be more especially since the library is at capacity and has little room to grow.

Community space is more than just publicly assessable; it provides a level of comfort and facilitates interactions between community members. The lack of dedicated community space in SoHo has created a situation where residents have had to create their own.

When asked where people hang out today places like Broome Street Bar, Fanelli Cafe, Housing Works Bookstore & Café, and Elizabeth Street Garden come up. Parenting groups struggle to find places to meet and often choose the seating area atop Whole Foods on Houston Street.

Members of the SoHo community have adapted to the unique constraints of their neighborhood to build community space for decades. Now a renewed twenty-first century urbanism has thrown them a new twist. The current lack of community facilities results in little room for new and old residents to come together and converse. As a result, it makes the task of building social capital more difficult. Establishing spaces that provide a level of comfort and facilitate interaction between community members will go a long way towards strengthening that social capital.

 

 

Are There Still Artists Living in SoHo?

June 4, 2016
The Village Voice - April 9, 1964 issue about artists rallying for loft rights, back when you had to pay (10 cents!) for the paper.

The Village Voice – April 9, 1964 issue about artists rallying for loft rights, back when you had to pay (10 cents!) for the paper.

SoHo is currently zoned as a manufacturing district that basically allows for light manufacturing, wholesale business and commercial use only, with the exception of certified artists, who are allowed to live in commercial buildings, if they can prove that they need the space to produce their work.

In 1969, the Department of City Planning conducted a survey that resulted in rezoning of the SoHo area, which was then zoned strictly for manufacturing use. In 1971, the Board of Estimates made it legal for certified artists to live in joint living and work quarters (JLWQ) in the newly-zoned SoHo area.

Application for Artists Cer

Application for Artists Certification

This zoning law that governs the use of buildings still stands today and requires every SoHo household to include at least one certified artist. But what, exactly, is an artist? According to the city, an artist will be granted certification if he or she demonstrates a serious, long-term commitment to an artistic medium and demonstrates a need for space to make art. Aesthetic considerations and the number of shows an artist has had (or not had) are supposedly not taken into account.

The making of an artist's joint live-work quarters in the early 1960's (photo: Louis Dienes)

The making of an artist’s joint living and work quarters (photo: Louis Dienes)

There is one exception to the artists-only rule. New buildings constructed on vacant lots are exempt and therefore anyone can legally live in these buildings. Otherwise, buyers who are not certified artists sometimes sign what is called a “SoHo Letter,” a waiver that acknowledges that they are aware that they do not have proper certification and they will not hold the building liable if the city finds that they are living in their homes illegally. As the JLWQ zoning law is rarely enforced, potential residents have little chance of eviction and therefore generally sign the waiver.

25 West Houston Street, whose most famous artist-resident is Kanye West, is exempt from JLWQ because it was built on a lot AFTER the law went into affect.

25 West Houston Street (whose most famous artist-resident is Kanye West) is exempt from JLWQ because it was built on a lot AFTER the law went into effect.

In 1987, the city granted amnesty to all SoHo residents, regardless of whether or not they were certified. Since then, many artists and non-artists have moved in and out of the neighborhood. Nobody knows how many artists, certified and non-certified, live and work in SoHo today, and it is probably impossible to find out. There have been several past attempts dating back to 1970 to get an accurate count, but any survey is immediately flawed by the fact that people living in SoHo illegally, whether it is because they are artists that have neglected to become certified or because the are not artists and therefore cannot apply for certification, would not respond in fear of being evicted.

In recent years, some have questioned whether JLWQ is relevant anymore. Even in the early days, there were non-artists who managed to get certified and legitimate artists who were rejected. As time went on, many non-artists found ways to obtain certification under false pretenses.

In 2012, The SoHo/NoHo Action Committee announced that it would raise funds to hire an independent team from Baruch College’s Steven L. Newman Real Estate Institute to do a survey of SoHo. This team planned to confirm how many of the city-certified artists whose addresses were in SoHo were still living at their registered addresses. This committee advocates for the JLWQ zoning law to be revised to allow anyone, not just artists, to live in SoHo. They feel that the law is hindering their real estate valuation and that very few artists still live in SoHo, making the law obsolete. No survey by SoHo/NoHo Action Committee has been conducted to date, however.

Just recently, Councilwoman Margaret Chin proposed legislation to require owners of JLQW units to provide notice when a JLQW unit becomes vacant. It remains to be seen what will come of this proposal.

Artists' Lofts: 1960’s-1970’s — Many buildings in SoHo had been built as commercial lofts, which provided large, unobstructed spaces for manufacturing and other industrial uses. These spaces attracted artists who valued them for their large areas, large windows admitting natural light and low rents. Before loft living in SoHo was legalized, artists living in commercial buildings posted AIR (Artist in Residence) signs that indicated that someone was living in the building and on what floor in case of a fire or other emergency.

Artists’ Lofts: 1960’s-1970’s — Many buildings in SoHo had been built as commercial lofts, which provided large, unobstructed spaces for manufacturing and other industrial uses. These spaces attracted artists who valued them for their large areas, large windows admitting natural light and low rents. Before loft living in SoHo was legalized, artists living in commercial buildings posted AIR (Artist in Residence) signs that indicated that someone was living in the building and on what floor in case of a fire or other emergency.

Through my own personal experiences since beginning this project in 2011, I have met many many artists who still live in SoHo, many more that I thought existed. These artists live in the shadows of the bright and shiny boutiques and designer lofts, obscured but present. They tend to live quietly in their old-school lofts that have not changed since they moved in 45 years ago and watched their maintenance costs skyrocket due to the pricey demands of their new neighbors. Marble lobbies, roof decks, and other amenities are paid for by all coop members, even those who do not wish for such “improvements” and cannot afford them.

Regardless of exactly how many artists live in SoHo today, many SoHo old timers are in favor of keeping JLWQ zoning in place as a means of slowing down real estate development, although not all. I have heard that some people have trouble getting financing to purchase a loft due to zoning restrictions and some hoping to sell their lofts have to do so at a lower price because some buyers with deep pockets are scared off by it.

For many long-time SoHo residents, most of whom are artists and some of whom are non-artists grandfathered by the 1987 amnesty, however, the law is seen as a safeguard against being pushed out by escalating costs. At one time, they were the ones who were living in SoHo illegally, when nobody else wanted to live there. Now, they are the only ones who are legal residents. They see this protection as a birthright of sorts, dating back to the days when they were giving birth to a nascent SoHo.

 


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