For $25/month, you can soon have access to a network of guaranteed clean bathrooms in New York City through a new app called Looie. The service launches in July with seven bathrooms at cafes and restaurants in TriBeCa. Read the rest
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A 40th floor view of the crowd instantly filling NYC's Bryant Park on Sunday night for a free showing of Ghostbusters. Read the rest
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Some New Yorkers are upset about the shadows cast by the new supertower skyscrapers near Central Park and other public hang-outs. Above, the shadow of One57, an 85-story skyscraper currently under construction, on Central Park. At a community meeting on the issue, the president of Extell Development, the firm behind One57, responded that "the shadows cast by tall, slender buildings, which is what most of the buildings going up are, are very brief — maybe they're 10 minutes in any one place — and cause no negative effect on the flora or fauna of the park." According to City Councilman Corey Johnson, the apartments in the superpowers "are being sold to foreign investors, who have tens, if not hundreds of millions of dollars, who are not making this their primary home." Central Park receives 40 million visitors annually. "New Yorkers Protest Long Shadows Cast By New Skyscrapers" (NPR)
Here's a curious clip of Andy Warhol and William S. Burroughs having a chat at the iconic Chelsea Hotel in NYC. The topic is chicken fried steak. It's followed by the lovely Nico singing "Chelsea Girls." The video is from a 1981 BBC documentary about The Chelsea that you can watch in full right here. (via Dangerous Minds)
Balthazar is my favorite restaurant in New York City. Sometimes when I visit, I eat both lunch and dinner at the SoHo brasserie. It's good that I don't live in NYC because I'd be washing dishes there to work off my addiction to their steak frites. Apparently, one in 10 people order the steak frites. I learned this from Willy Staley's fascinating New York Times Magazine article this week, "22 Hours in Balthazar":
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BB contributor Mark Dery points us to a lovely New York Time video and article about "Subway Ballet." Mark says:
Like breakdancing, parkour, urban climbing, and Philippe Petit's tightrope walk between the World Trade Towers, this is my idea of the inspired wedding of art, sport, and what Hakim Bey called "temporary autonomous zones"---brief-lived pockets of anarcho-carnivalesque resistance to…call it what you will: the daily grind, the status quo, the "unitary urbanism" imposed on city life by capitalism.Subway Ballet
New York City is always bright. Street lights, business marquees, light from apartments and car headlights merge to light every corner of the city streets, even on the darkest nights. It is the night after NYC was decimated by Hurricane Sandy, downtown NYC is in the midst of a power outage that has plunged it into complete darkness. I felt the call to hit the eerily dark streets and show New York as it is rarely seen. Trekking around with my tripod I was able to get the long exposures necessary to see in the dark.
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New York's Grand Central Terminal, as it currently stands today, was built between 1903 and 1913. But it is the third Grand Central. Two earlier buildings — one called Grand Central Depot, and the other known as Grand Central Station (which remains the colloquial name for the Terminal) — existed on pretty much the exact same spot. But neither lasted nearly as long. The Depot opened in 1871, and was drastically reconstructed in 1899. The new building, the Station, only stood for three years before it began to come down in sections, eventually replaced by the current building.
That's a lot of structural shuffling, and at the Anthropology in Practice blog, Krystal D'Costa explains some of the history behind it. Turns out, the rapid reconfiguration of Grand Central had a lot to do with crowd control — figuring out how to use architecture to make the unruly masses a little more ruly. One early account that D'Costa quotes describes regular mad scrambles to board the train — intimidating altercations that could leave less-aggressive passengers stranded on the platform as their train left them behind.
The problem it seemed was that the interior of the depot did nothing to manage the Crowd—which could resume the same patterns of movement as they did on the street—and believe me, it was just as unruly out there. In the depot, where passengers were confronted with the unbridled power of locomotives, it was necessary to impose some sort of structure to the meeting: the Crowd had to be domesticated.
... A deadly collision in 1902 preceded public demand for an even safer, more accessible terminal. Warren and Wetmore won the bid for reconstruction, and the plan they produced included galleries, which added yet another transition area but, more importantly, rendered the Crowd into a spectacle. This design, which is the one visitors experience today, preserves the Crowd in a central area, providing raised balconies from which there are plenty of opportunities to people-watch. Being placed on display is not lost on the subconscious of the Crowd: what appears to be hustle and bustle are manifestations of many synchronizations happening at once. So what appears to be chaos to the casual observer is actually a play directed by design that makes the Crowd a key feature of the space even as it is minimized by the architectural elements that Grand Central Terminal is known for: the grand ceiling, the large windows, and the deep main concourse. These items add perspective to the Crowd and diminish its psychological power as an uncontrollable mass.
Brett Cohen pranked NYC on the night of July 27th, 2012, and he has video proof: he "came up with a crazy idea to fool thousands of pedestrians walking the streets of Times Square into thinking he was a huge celebrity," and succeeded.
He is not a celebrity—or at least, he wasn't before this video went viral. He's a 21 year old SUNY New Paltz student. Snip from the project description: