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Cooper Square Committee Chrono
Cooper Square Committee Chrono A listing of Cooper Square events and activities - including victories and defeats - from March 1959 through March 2005. Prepared by: Walter Thabit, March, 2005 Planners Network Cooper Square Committee Municipal Art Society 61 East 4thStreet Planning Center New York, NY 10003 212 228-8210 COOPER SQUARE CHRONOLOGY The Cooper Square Chronology was initiated by Thelma Burdick in March, 1959, and recorded significant events up to March, 1968. For years, it was the bible of the organization, allowing us to keep the important dates straight. Unfortunately, it has never been updated till now, and it might still be waiting to happen if there hadn't been a renewed interest in the Cooper Square story. Writers and advocate planners have interviewed old timers like myself and Frances Goldin, and after hearing of an interesting incident, then ask, "And what year was that?" Too often I didn't have a clue. So I finally decided to bring the chronology up-to-date. It has been hard work, but worth every minute. I'm not the only contributor to a chronology of events. Marci Reaven, doing a PhD. dissertation on Cooper Square has also put one together for her personal use, and I have used it to fill out some uncertain items as well as a few whose significance I missed. Also, Valerio Orselli, Cooper Square's Director for over 20 years prepared a specialized chronology of 40 membership meetings held around the issue of the rehabilitation program, the Mutual Housing Association, and the revised Cooper Square Plan. It is included here, starting in November, 1984, running through April, 1993. -
A Brief History of Occupy Wall Street ROSA LUXEMBURG STIFTUNG NEW YORK OFFICE by Ethan Earle Table of Contents
A Brief History of Occupy Wall Street ROSA LUXEMBURG STIFTUNG NEW YORK OFFICE By Ethan Earle Table of Contents Spontaneity and Organization. By the Editors................................................................................1 A Brief History of Occupy Wall Street....................................................2 By Ethan Earle The Beginnings..............................................................................................................................2 Occupy Wall Street Goes Viral.....................................................................................................4 Inside the Occupation..................................................................................................................7 Police Evictions and a Winter of Discontent..............................................................................9 How to Occupy Without an Occupation...................................................................................10 How and Why It Happened........................................................................................................12 The Impact of Occupy.................................................................................................................15 The Future of OWS.....................................................................................................................16 Published by the Rosa Luxemburg Stiftung, New York Office, November 2012 Editors: Stefanie Ehmsen and Albert Scharenberg Address: 275 Madison Avenue, Suite 2114, -
The Occupy Wall Street Movement's Struggle Over Privately Owned
International Journal of Communication 11(2017), 3162–3181 1932–8036/20170005 A Noneventful Social Movement: The Occupy Wall Street Movement’s Struggle Over Privately Owned Public Space HAO CAO The University of Texas at Austin, USA Why did the Occupy Wall Street movement settle in Zuccotti Park, a privately owned public space? Why did the movement get evicted after a two-month occupation? To answer these questions, this study offers a new tentative framework, spatial opportunity structure, to understand spatial politics in social movements as the interaction of spatial structure and agency. Drawing on opportunity structure models, Sewell’s dual concept of spatial structure and agency, and his concept of event, I analyze how the Occupy activists took over and repurposed Zuccotti Park from a site of consumption and leisure to a space of political claim making. Yet, with unsympathetic public opinion, intensifying policing and surveillance, and unfavorable court rulings privileging property rights over speech rights, the temporary success did not stabilize into a durable transformation of spatial structure. My study not only explains the Occupy movement’s spatial politics but also offers a novel framework to understand the struggle over privatization of public space for future social movements and public speech and assembly in general. Keywords: Occupy Wall Street movement, privately owned public space (POPS), spatial opportunity structure, spatial agency, spatial structure, event Collective actions presuppose the copresence of “large numbers of people into limited spaces” (Sewell, 2001, p. 58). To hold many people, such spaces should, in principle, be public sites that permit free access to everyone. The Occupy Wall Street (OWS) movement, targeting the engulfing inequality in the age of financialization and neoliberalization, used occupation of symbolic sites to convey its message. -
Press Release
LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s. -
A Retrospective of Preservation Practice and the New York City Subway System
Under the Big Apple: a Retrospective of Preservation Practice and the New York City Subway System by Emma Marie Waterloo This thesis/dissertation document has been electronically approved by the following individuals: Tomlan,Michael Andrew (Chairperson) Chusid,Jeffrey M. (Minor Member) UNDER THE BIG APPLE: A RETROSPECTIVE OF PRESERVATION PRACTICE AND THE NEW YORK CITY SUBWAY SYSTEM A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Emma Marie Waterloo August 2010 © 2010 Emma Marie Waterloo ABSTRACT The New York City Subway system is one of the most iconic, most extensive, and most influential train networks in America. In operation for over 100 years, this engineering marvel dictated development patterns in upper Manhattan, Brooklyn, and the Bronx. The interior station designs of the different lines chronicle the changing architectural fashion of the aboveground world from the turn of the century through the 1940s. Many prominent architects have designed the stations over the years, including the earliest stations by Heins and LaFarge. However, the conversation about preservation surrounding the historic resource has only begun in earnest in the past twenty years. It is the system’s very heritage that creates its preservation controversies. After World War II, the rapid transit system suffered from several decades of neglect and deferred maintenance as ridership fell and violent crime rose. At the height of the subway’s degradation in 1979, the decision to celebrate the seventy-fifth anniversary of the opening of the subway with a local landmark designation was unusual. -
“We Just Need to Go Egypt on Their Ass!” the Articulation of Labor and Community Organizing in New York City with Occupy Wall Street
“We just need to go Egypt on their ass!” The Articulation of Labor and Community Organizing in New York City with Occupy Wall Street John Krinsky and Paul Getsos DRAFT: PLEASE DO NOT CIRCULATE BEYOND THE WORKSHOP b/c no citations Introduction Most of the people who marched down Broadway on the afternoon of September 17, eventually claiming Zuccotti Park and renaming it Liberty Square, practice activism as opposed to base- building campaign organizing. The difference between these two approaches to social justice work is a crucial one for understanding the tensions and potentials in Occupy Wall Street, and for distinguishing the core of Occupy from the more institutional left, comprised of established labor unions and community-based economic justice organizations. Occupiers focus on direct action and tactics whose aim is to raise awareness about an issue, or to challenge the state and corporate power (most usually by challenging the police or by claiming and occupying both public and private space). The institutional left focuses on building issue-oriented campaigns and leadership development among communities directly and adversely impacted by economic inequality in order to deliver tangible results. One of the things that makes Occupy unusual is that it is one of the few times outside of the global justice demonstrations in Seattle and work around the party conventions, that groups which practice the discipline of organizing worked with activists. Even more unusual is that organizers and activists have worked together over a sustained period of time and have moved from issue to issue and campaign to campaign. Some are very localized, such as work against stop-and-frisk policing in the South Bronx where Occupy Wall Street works with local neighborhood activists, to the Bank of America Campaign, where Occupy Wall Street activists are part of a national campaign where partners include the community organizing network National People’s Action and the faith-based federation of community organizations, PICO. -
General Info.Indd
General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Radical Pacifism, Civil Rights, and the Journey of Reconciliation
09-Mollin 12/2/03 3:26 PM Page 113 The Limits of Egalitarianism: Radical Pacifism, Civil Rights, and the Journey of Reconciliation Marian Mollin In April 1947, a group of young men posed for a photograph outside of civil rights attorney Spottswood Robinson’s office in Richmond, Virginia. Dressed in suits and ties, their arms held overcoats and overnight bags while their faces carried an air of eager anticipation. They seemed, from the camera’s perspective, ready to embark on an exciting adventure. Certainly, in a nation still divided by race, this visibly interracial group of black and white men would have caused people to stop and take notice. But it was the less visible motivations behind this trip that most notably set these men apart. All of the group’s key organizers and most of its members came from the emerging radical pacifist movement. Opposed to violence in all forms, many had spent much of World War II behind prison walls as conscientious objectors and resisters to war. Committed to social justice, they saw the struggle for peace and the fight for racial equality as inextricably linked. Ardent egalitarians, they tried to live according to what they called the brotherhood principle of equality and mutual respect. As pacifists and as militant activists, they believed that nonviolent action offered the best hope for achieving fundamental social change. Now, in the wake of the Second World War, these men were prepared to embark on a new political jour- ney and to become, as they inscribed in the scrapbook that chronicled their traveling adventures, “courageous” makers of history.1 Radical History Review Issue 88 (winter 2004): 113–38 Copyright 2004 by MARHO: The Radical Historians’ Organization, Inc. -
Historic CD Actions.Pmd
A SELECTIVE LIST OF Historic Civil Disobedience Actions here have been 1917 U.S. countless acts of civil WOMEN’S SUFFRAGE Tdisobedience through- Inspired by similar actions in Britain, out history in virtually every Alice Paul and 217 others (including country by people opposed to Dorothy Day) are arrested for picketing oppressive laws, governments, the White House, considered by some to be the first nonviolent civil disobedience corporations, institutions, and campaign in U.S. history; many go on cultures. Below is a listing of hunger strikes while in prison and are just a few notable — because brutally force-fed sheer size or subsequent impact Gandhi during the “Salt March,” at the start of the massive civil disobedience campaign in — and disparate examples India, 1930. Photo via Wikipedia. (mostly in the United States) since Thoreau’s “Civil Disobe- 1936-1937 U.S. dience” essay. In bold are LABOR names of just a few of the Autoworkers (CIO) organized 900 sit- down strikes — including 44-day sit- organizers or participants, down in Flint, MI — to establish the right each of whom could merit a to unionize (UAW), seeking better pay separate study by students. and working conditions Suggragist pickets arrested at the White House, 1917. Photo: Harris & Ewing 1940-1944 India 1846 U.S. INDEPENDENCE / WORLD WAR II WAR / SLAVERY The Quit India campaign led by Gandhi 1918-1919 U.S. Henry David Thoreau refuses to pay defied the British ban on antiwar WORLD WAR I taxes that support the Mexican-American propaganda and sought to fill the jails War and slavery Draft resisters and conscientious objectors (over 60,000 jailed) imprisoned for agitating against the war 1850s-1860s U.S. -
Xfr Stn: Public Programs
XFR STN: PUBLIC PROGRAMS 7/25 | 7 PM | FIFTH FLOOR PANEL DISCUSSIONS LIZA BÉAR & MILLY IATROU, 7/18 | 6 PM | NEW MUSEUM THEATER COMMUNICATIONS UPDATE MOVING IMAGE ARTISTS’ The weekly artist public access Communications DISTRIBUTION THEN & NOW Update, later renamed Cast Iron TV, ran continuously on Manhattan Cable’s Channel D from 1979 to 1991. Filmmakers Liza Béar and Milly Iatrou present indi- An assembly of participants from the MWF Video Club vidual segments cablecast in the Communications and Colab TV projects includes opening remarks from Update 1982 series: “The Very Reverend Deacon b. Alan W. Moore, Andrea Callard, Michael Carter, Coleen Peachy,” “A Matter of Facts,” “Crime Tales,” “Lighter Fitzgibbon, Nick Zedd, and members of the New Than Air,” and “Oued Nefifik: A Foreign Movie.” Museum’s “XFR STN” team. Followed by an open dis- cussion with the audience, facilitated by Alexis Bhagat. 8/1 | 7–8 PM | FIFTH FLOOR MITCH CORBER, THE ORIGINAL 9/7 | 1 PM | NEW MUSEUM THEATER WONDER ALWAYS ALREADY OBSOLETE: MEDIA CONVERGENCE, ACCESS, Mitch Corber has dedicated his career to production for NYC public access cable TV, working closely with AND PRESERVATION Colab TV and the MWF Video Club. Corber will present a selection of early work, as well as videos from his Beyond media specificity, what happens after video- long-running program Poetry Thin Air. tape has been absorbed into a new medium—and what are the implications of these continuing shifts in format for how we understand access and preserva- 8/8 | 7 PM | NEW MUSEUM THEATER tion? This panel considers forms of preservation that have emerged across analog, digital, and networked CLAYTON PATTERSON: platforms in conjunction with new forms of circulation FROM THE UNDERGROUND AND and distribution. -
462 Broadway, Borough of Manhattan
October 20th, 2020 Name of Landmark Building Type of Presentation Month xx, year Public Meeting The current proposal is: Preservation Department – Item 2, LPC-20-08756 462 Broadway, Borough of Manhattan Note: this is a Public Meeting item. No public testimony will be received today as the hearing on this item is closed. 462 BROADWAY NEW SIGNAGE PBDW ARCHITECTS LANDMARKS PRESERVATION COMMISSION PUBLIC MEETING 462 BROADWAY – NEW SIGNAGE October 20, 2020 PAGE 1 SANBORN MAP HISTORIC DISTRICT MAP BLOCK: 43 LOT: 1 BOROUGH: MANHATTAN CONTEXT MAPS PBDW ARCHITECTS LANDMARKS PRESERVATION COMMISSION PUBLIC MEETING 462 BROADWAY – NEW SIGNAGE October 20, 2020 PAGE 2 CIRCA 1893 1940’S TAX PHOTO HISTORIC PHOTOGRAPHS PBDW ARCHITECTS LANDMARKS PRESERVATION COMMISSION PUBLIC MEETING 462 BROADWAY – NEW SIGNAGE October 20, 2020 PAGE 3 EXISTING CONDITION PHOTOGRAPH PBDW ARCHITECTS LANDMARKS PRESERVATION COMMISSION PUBLIC MEETING 462 BROADWAY – NEW SIGNAGE October 20, 2020 PAGE 4 PREVIOUS PROPOSAL: Vinyl Signage at Doors Canopies at Entrances on Broadway and Grand Street Yellow acrylic light strips Non-Illuminated Pin-Mounted Letters on Wide Vertical Metal Mesh PREVIOUSLY PROPOSED AT LPC PH 9/15/2020 PBDW ARCHITECTS LANDMARKS PRESERVATION COMMISSION PUBLIC MEETING 462 BROADWAY – NEW SIGNAGE October 20, 2020 PAGE 5 COMMISSIONERS' COMMENTS: Remove window perimeter lighting Modify metal mesh signage to meet dimensions and angle of previously approved master plan & restudy attachment of letters to vertically drop Restudy canopy on Grand Street NEW PROPOSAL PBDW