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YOUR WEEKLY COMMUNITY NEWSPAPER SERVING CHELSEA, HUDSON YARDS & HELL’S KITCHEN

Women’s Building Envisioned as ‘Vertical Neighborhood’ BY YANNIC RACK A place where women were once imprisoned will soon offer them a safe haven for advocacy. The former Bayview Correctional Facility in Chelsea is being turned into New York’s first Women’s Building, a new home for the global women’s rights movement, and activists and organizers working around the world came together this week to discuss its future. Continued on page 4

Opposition Sinks Pier 62 Beer Garden BY SEAN EGAN In a development sure to please the determined coalition of preservation-minded Chelsea residents who have consistently attended recent Community Board 4 (CB4) committee meetings, the Hudson River Park Trust (HRPT) has abandoned its plan to erect a beer garden on Hudson River Park’s Pier 62. Last week’s announcement comes with the cooperation of Merchants Hospitality, Continued on page 6

Dickens Done Right

Yes, Virginia, there IS a version of “A Christmas Carol” worth seeing this year — and it’s at Merchant’s House Museum through Dec. 24. See page 21.

Photo by Zach Williams

Harlem Church of Christ’s Richard Price spoke at a Washington Square Park rally, before activists marched through Manhattan on Nov. 25.

Taking What Matters to Macy’s and Beyond BY ZACH WILLIAMS Events a thousand miles away drove hundreds of #BlackLivesMatter activists from Washington Square Park to Macy’s Herald Square to Times Square, on the night before Thanksgiving. People of color had once again been on the receiving end of a nationally prominent shooting. This time, a group of white men in Minneapolis, Minn. allegedly shot five people who were part of ongoing protests sparked by the fatal Nov. 15 shooting there of 24-year-old Jamar Clark by police. Supporters quickly took the attack as an attempt to stifle the year-old movement against police brutality and institutionalized racism. They responded in New York City by highlighting their grievances in the most public way possible — by rallying,

marching and chanting through the streets of Manhattan. A feeling of uncertainty overshadowed the nighttime rally at Washington Square Park on Wed., Nov. 25. While reports of threats against the activists could not be confirmed, organizers acknowledged that new adversaries had emerged against their high-profile public actions. “We refuse to be intimidated. If they think these attacks will scare us away, let me just say they massively underestimate the power of the people,” Vienna Rye, a Millions March NYC activist, said to the crowd. The opposition includes a segment of American society represented by West Side resident Donald Trump’s

Continued on page 12 VOLUME VOLUME 07, ISSUE 07, ISSUE 40 | 22 DECEMBER | JULY 03 16 - 09, 22, 2015

HO HO GO: HOLIDAY ACTIVITIES

Photo by Ken Howard

The Rob Susman Brass Quartet provides music, The Washington Square Association supplies songbooks, and you lend your voice: Dec. 9 and 24.

BY SCOTT STIFFLER

WASHINGTON SQUARE TREE LIGHTING AND CAROLING From Charlie Hebdo to Black Lives Matter to last month’s Paris attacks, Washington Square Park has been a gathering place for expressions of grief, solidarity, and

resolve. As this violent year draws to a close, “Peace on Earth, Good Will to Men” is a sentiment that will ring out in grand, communal style — when The Washington Square Association hosts two carol singing sessions backed by the Rob Susman Brass Quartet. On Dec. 9, Santa Claus (candy canes in hand) will lead the illumination countdown, after which the switch will be flipped on a 45-foot tree under the Arch, and yuletide songs will be sung. The caroling takes place again on Christmas Eve. At the Washington Square Park Arch (Fifth Ave., one block south of Eighth St.). At 6 p.m. on Wed., Dec. 9 and at 5 p.m. on Thurs., Dec. 24. Call 212-252-3621 or visit washingtonsquarenyc.org. The tree will be lit for the season, daily, between 4 p.m. and 1 a.m.

23 DAYS OF FLATIRON CHEER The Flatiron Partnership’s list of riches puts “The Twelve Days of Christmas” to shame — without asking you to provide housing for

calling birds, pipers, and the other 10 gifts. The public plazas near the iconic Flatiron Building may have ample room for maids to milk and ladies to dance, but this 23-day event has more practical (and fun) uses in mind. Performances, social media contests, holiday-themed walking tours, fitness classes and hot beverages are among the quality freebies. Give back by donating to a drive, which supports the Food Bank For New York City. A Dec. 22 event invites you to create Solstice Stars, with the help of staff from the nearby MoMath (National Museum of Mathematics). Through Dec. 23, at the public plazas beside and across from the Flatiron Building (23rd St. at Fifth Ave. & Broadway). Access the schedule at FlatironDistrict.nyc. Facebook: FlatironDistrict.nyc/facebook. Twitter & Instagram: @FlatironNY. Use the hashtag #NovaFlatiron when posting holiday images on Twitter T:8.75” and Instagram to be entered into social media contests.

Photo by 3M, courtesy Flatiron Partnership

The crystalline “Nova” installation provides visual stimulation and creative photo ops for those attending “23 Days of Flatiron Cheer” events.

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Free-Flowing Ideas for Correctional Facility’s Future

Photos by Yannic Rack

An artist used images to record the conversation at the meeting, while activist Maura Bairley (background, center) moderated the discussion.

Continued from page 1 “It’s not often that we’re invited to dinner to dream, and to dream big and about something that will actually happen,” said Maura Bairley, an activist and anti-violence educator who moderated the December 1 event, one of two community conversations aimed at gathering ideas for the center’s use (the other was held the following day, in Brooklyn).

The occasion attracted dozens of women — and a handful of men — who were eager to share their thoughts on how the building should be transformed. “We are envisioning a sort of vertical neighborhood where women leaders can connect with each other in very powerful ways,” said Pamela Shifman, the executive director of the NoVo Foundation, which is leading the Women’s Building project. Originally built as a waterfront

Two women who attended the event discussed their ideas in front of a wall meant to reflect the “community conversation.”

YMCA in 1931, Bayview was shuttered before Superstorm Sandy hit New York in October 2012, and never reopened. Once completed in the next four to five years, it will host a range of nonprofit women’s organizations, and will likely also include a restaurant, an art gallery, and some additional offices for other tenants. Ideas for what the rest of the space

could be used for were anything but scarce at the community forum, which was held at the Agnes Varis Center for the Performing Arts, a dance school on Broadway in Lower Manhattan. The suggestions, collected in individual discussion groups, included building greenhouses or a farm on the roof, opening a childcare or wellness

Continued on page 14

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Hudson Yards Residential Tower Plan Enters Home Stretch BY YANNIC RACK The first residential tower going up at Hudson Yards got a big boost last week, with the developer closing on a $1.3 billion deal to finance the glassy high-rise. Fifteen Hudson Yards, under construction since last December, will top out at 70 stories when it opens in roughly three years. “Hudson Yards is transforming the west side of Manhattan, and this latest transaction represents a continued show of confidence from elite investors and lenders,” Jeff T. Blau, CEO of Related Companies, said in a statement. “We have already attracted business leaders in finance, fashion, beauty, consulting, law, tech and media to Hudson Yards; and in just a few short years we will welcome our first residents to the new neighborhood.” Related is developing the 28-acre project together with Oxford Properties Group. The entire Eastern Yard — the first half of the project between 10th and 11th Aves. and W. 30th and W. 34th Sts. — will be complete in 2018, but sales for the 960,000-square-foot building at 15 Hudson Yards are already set to launch next year. The tower, sitting at the northeastern corner of 11th Ave. and W. 30th St., includes 106 rental and 285 condominium units, and will face the newly created plaza at the

Photo by Yannic Rack

Seen here in Aug. 2015, foundation work is conducted for 15 Hudson Yards.

center of the new neighborhood. It is also adjacent to the High Line and will directly connect to the Culture Shed, a multi-purpose arts and entertainment venue. The eastern portion of Hudson Yards is roughly split into 80 percent commercial and 20 percent residential space, a concept that is essentially inverted on the Western Yard, which will be developed in a second phase, and should open by 2025.

Rendering courtesy Related Companies

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‘Family Friendly’ Beer Garden Hopes Go Flat

STEVE MCCURRY: INDIA This rendering, still on the Merchants Hospitality website over the summer, touted the Pier 62 project as “Coming April 2015.”

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Continued from page 1 the company scheduled to manage the beer garden, which has withdrawn its application for a full liquor license. This information was passed along to CB4 via a letter drafted by Madelyn Wils, the President and CEO of HRPT. It was addressed to CB4 Chair Christine Berthet and the co-chairs of CB4’s Waterfront, Parks & Environment (WPE) committee, and cc’d to Borough President Gale Brewer, Assemblymember Richard Gottfried, Councilmember Corey Johnson, and State Senator Brad Hoylman — all of whom have come out against the beer garden in recent months. Prior to the Wed., Nov. 25 decision by HRPT, Merchants had been scheduled to present their case for acquiring a full liquor license at CB4’s Dec. 2 full board meeting — despite the fact that both the WPE and Business Licenses & Permits (BLP) committees had drafted letters expressing their firm disapproval of the whole endeavor at their respective meetings last month. The item pertaining to Merchants’ liquor license has subsequently been removed from the full board meeting’s agenda. “We went through the public process. We had a lot of opposition from the community, as well as some support,” said Christine Berthet in a phone interview with Chelsea Now, noting that residents wanted to keep the area of the park as a refuge — “which was in conflict with the understanding of

Hudson River Park Trust, that really the park users wanted more animation and more activation. So I think there was a disconnect there,” she said. “Based on the feedback concerning the noise, concerning pedestrian traffic, concerning deliveries, concerning bathroom access, garbage access and other things, the residents had expressed that they didn’t feel this was in the interest of the community,” Berthet continued. “[HRPT] felt that it was best for, and more in line with, their commitment and mission that they would not force that issue, especially since it was not motivated by revenue. It was really motivated by programming.” In HRPT’s letter, Wils outlined the general progression of events regarding the beer garden’s development, beginning with the informal support it received from CB4 in 2013 that prompted them to seek a Request for Proposals. She proceeded to note “over the last several months, CB4 has made it clear that it no longer supports the project,” despite concessions made by Merchants that were made as a “direct response to community feedback.” However, Wils reiterated a stance that HRPT has taken throughout the last few weeks. “It was certainly never our intention to cause so much tension and controversy with what was intended as an amenity concession. All along, we believed a family friendly beer garden would be a desirable use in

Continued on page 10 .com

Stepped Up Security Calms Parade Concerns BY YANNIC RACK On the evening before the crowds for this year’s Macy’s Thanksgiving Day Parade started pressing up against the barriers, Mayor Bill de Blasio was addressing New Yorkers at another annual tradition: the inflation of the balloons. “This begins a season of appreciation, a season to focus on family and all our loved ones,” the mayor said on Central Park West near the American Museum of Natural History. “And yet, at the same time, there are some in this world who are trying to stir fear. They’re trying to make us afraid.” De Blasio, together with NYPD Commissioner Bill Bratton, was responding to concerns raised over the previous days about spectators staying away from the parade out of fear of a terrorist attack similar to the ones that recently struck Paris. Even though officials emphasized that there had been no credible threats against the city, the gruesome attacks were still fresh in many minds. Last week, a propaganda video by

the Islamic State –– which claimed responsibility for the Paris attacks –– seemed to imply New York as a future target, showing street scenes from the city that included Herald Square. But the mayor urged people to come down to the parade nonetheless. “They’re trying to make us change our lifestyle and change our values, lose our spirit, lose our values,” he said. “We refuse to do that.” De Blasio pointed to the city’s increased effort to provide security at the parade, with around 2,500 officers assigned to the event –– the largest number to ever line the parade route from Central Park West to Herald Square. In addition to helicopters, plainclothes cops, specially trained dogs, and counterterrorism officers carrying radiation detectors, the NYPD dispatched around 200 officers from its newly formed Critical Response Command. Talking to parade-goers and families on Thanksgiving, it seemed the extra security was having the desired effect.

Photo by Yannic Rack

Security set up in front of the Time Warner Building at Columbus Circle.

“I definitely felt it was gonna be safe,” said Renée Simmons, 45, who had come up from Brooklyn to watch the parade with her five-year-old son Gregory at Columbus Circle. “We’re New Yorkers –– we picked today to come because it’s probably the safest that it’s ever been,” she added, gesturing toward

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Continued on page 17

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Rhymes With Crazy THE WEST SIDE’S COMMUNITY NEWSPAPER

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Jennifer Goodstein

Editor Scott Stiffler

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Terrible Toys Not For Tots BY LENORE SKENAZY With the holiday season upon us and tots with their eyes all gosh-darn aglow, it is time to buy toys. This year, some are moving faster than others. And then there are the ones not moving at all:

Trumby: Bombastic, ginger-haired rubber figurine that will not let any toys from Syria into the playpen.

Arm-Os: Just like Legos, except shaped like arms. Kind of hard to snap together — and disturbing once you do.

Power-Hungry Rangers: These Rangers roam the Interstate issuing exorbitant traffic tickets for cracked brake lights and failing to signal a lane change.

Ouija Bored: Slightly testy tool for communicating with the dead, often spelling out, “He’s fine. Quit asking.” Or, “She’s busy…for eternity.”

Grown-Up Mutant Ninja Turtles: Still living in a sewer, but now plagued by back problems, wheezing, and “shell bunions.” (Don’t ask!)

Payola Crayons: Crayons that will draw anything for you, for a price.

Coolidge Logs: Modernized Lincoln Logs. But not that modernized.

Chutes and Bladders: Get to the bathroom at the top of the board as fast as you can! Hurry!

Spider Farm: Just like an ant farm, but with eight legs.

Bernie Babies: Bernie Babies don’t smile much, but they are earnest, they are angry, and they come with a plush copy of “Das Kapital.” Bernies are not available for sale — “Unlike our government!” as the Bernie motto goes.

Bryan Cranston Chemistry Set: “Hey kids. Clean up that meth you made!” Tickle Me and I’ll See You In Court, Elmo: A chastened Elmo neither tickles nor accepts tickling. He always has another adult Muppet present and wears a body camera. Mr. Pot-Head and his wife, Mrs. Pot-Head: Put eyes all over them! Add an upside-down mustache, and how about a hat for a nose? Sooooo funny! Oh my God, like, seriously, that is the funniest thing ever, ever, ever. Easy Break Oven: Half the price of the Hasbro models. Barbie’s Over-Mortgaged Dream House: Of course Barbie’s got a job! She’s got three: Astronaut, pop singer, veterinarian. And she’s still underwater (Ken is AWOL with some Bratz doll). Cabbage Patch Cabbage: Better than the old Cabbage Patch Kids, because you can boil these or serve stuffed with ground meat and rice. Skinky: Wrap these long metal coils around a friend’s wrists. Voila! Homemade handcuffs. Have fun!

Stomp Drones: One, two, three — stomp! Congratulations, you’ve launched your own personal attack drone. Watch it sail beyond your neighborhood, over the ocean and into the Middle East where who-knows-what mischief it may cause? Time to get out your Nerf Grenade Launcher! Rubik’s Cubicle: Twist this super-sized toy into a cramped and lonely workspace devoid of hope and cheer. Add a family photo! (But it won’t do any good.) Barrel of Monks: Now quite as much fun as its predecessor, and a very quiet toy. Mobbed-Up Chatty Cathy: Cathy isn’t so chatty anymore. In fact, she didn’t see nothin’ and she’s not sayin’ nothin’. See ’n Swear: Pull the string and see someone steal dad’s parking space! What does daddy say now? Lenore Skenazy is host of the reality show “World’s Worst Mom” on the Discovery Life Channel. She is also a public speaker who authored the book, and founded the blog, FreeRange Kids (freerangekids.com).

Happy Holidays from

Chelsea Now is published weekly by NYC Community Media

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POLICE BLOTTER THEFT OF SERVICES: 20 percent down not enough A bar employee called in the heavies after a 24-year-old Staten Island resident refused to pay for a $3,225 bill at No. 8 (357 W. 16th St., btw. Eighth & Ninth Aves.). The outstanding balance followed an $800 payment for $4,104.78 worth of bottle service at 4:20 a.m. on Sun., Nov. 29. The pony-tailed perpetrator refused to pay any more, and got a further charge in the end — this time for misdemeanor theft of services.

CRIMINAL POSSESSION OF STOLEN PROPERTY: Subway peddling arouses police interest Police say a 42-year-old East Harlem man piqued their interest on Sat., Nov. 28 as he conversed with several people, cell phone in hand, while inside the subway station located at W. 14th St. and Eighth Ave. They followed the man out of the station where he visited several stores asking people if they wanted to purchase a Samsung smartphone. The suspect walked onwards to W. 16th St. and Ninth Ave., where police arrested him. The suspect could not name an owner for the phone, which was reported lost by a Queens man who fell asleep on an E train, according to the police report.

THEFT OF SERVICES: Taking a stab at free fare Two young women opted to display a knife in lieu of paying the cabbie who took them to 445 W. 18th St. (btw. Ninth & Tenth Aves.) on Sat., Nov. 28. The 42-year-old driver told police that they threatened to kill him unless he

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opened the door. He complied, and the high-heeled perpetrators fled into the building — but only after slashing a car seat with the blade at about 5:30 a.m. Police searched for the suspects to no avail, according to a police report.

CRIMINAL MISCHIEF: Broken windows mystery A resident of W. 24th St. was left wondering “Why me?” after finding his windshield smashed on Sat., Nov. 28. He told police he has no beef with neighbors, nor anyone from work. Yet, he parked the car overnight and spent a quiet evening at home only to find the damage to his black 2006 BMW X3 at about 4 p.m. the next day. There was no video footage of the scene, according to a police report.

—ZACH WILLIAMS

THE 10th PRECINCT Located at 230 W. 20th St. (btw. Seventh & Eighth Aves.). Commander: Deputy Inspector Michele Irizarry. Main number: 212-741-8211. Community Affairs: 212-741-8226. Crime Prevention: 212-741-8226. Domestic Violence: 212-7418216. Youth Officer: 212-7418211. Auxiliary Coordinator: 212-924-3377. Detective Squad: 212-741-8245. The Community Council meets on the last Wed. of the month, 7 p.m., at the 10th Precinct or other locations to be announced. The next meeting is Dec. 30.

THE 13th PRECINCT Located at 230 E. 21st St. (btw. Second & Third Aves.). Deputy Inspector: David Ehrenberg. Call 212-477-7411. Community Affairs: 212-477-7427. Crime Prevention: 212-477-7427. Domestic Violence: 212-4773863. Youth Officer: 212-4777411. Auxiliary Coordinator: 212-477-4380. Detective Squad: 212-477-7444. The Community Council meets on the third Tues. of the month, 6:30 p.m., at the 13th Precinct. The next meeting is Dec. 15.

December 03 - 09, 2015

HRPT Concedes on Boozy Concession Bid Continued from page 6 an underutilized section of the park,” the letter reads, citing significant community support. “We still very much believe that. However, some projects are not worth pursuing.” The concluding paragraph begins, “With this issue behind us, we look forward to continuing our long and productive relationship together.” It’s worth noting that the letter remains ambiguous as to whether or not HRPT will be seeking to replace the proposed beer garden with some other concession on Pier 62 — though Berthet reports that there hasn’t been any talk of the Trust doing anything else with the space yet. “The community board and HRPT have talked about getting together early next year, and having a little bit of a community consultation about what would be best for that space, if anything,” said Berthet. “CB4 represents the community, so we need to have the community feedback to represent something.” When reached for further comment,

Photo by Sean Egan

Chelsea residents expressed their opposition to the proposed Pier 62 beer garden at the Nov. 5 meeting of CB4’s Waterfront, Parks & Environment committee.

Wils’ press contact declined to comment beyond the provided letter — highlighting a sticking point many have had with the Trust throughout the beer garden process. “Transparency has been a real issue with the HRPT,” commented Leslie Doyel, Co-President of Save Chelsea, a community advocacy group. Shortly before HRPT sent their letter, Save Chelsea, in conjunction with

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Chelsea Waterside Park Association and the Council of Chelsea Block Associations, drafted an online petition, which launched on Mon., Nov. 23. In it, the three groups, which have been active in the effort to stop progress on the beer garden and were well represented at community meetings concerning it, outlined their grievances against the proposed use of the park space, touching on

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many of the most common arguments against the beer garden — including its proximity to a children’s carousel and a skate park, the loss of a tranquil green area, and the privatization of public park space. Though it is unclear if there was any direct correlation between the petition and HRPT’s reversal, as of press time, the petition had managed to garner 143 signatures — with many of the signees leaving strongly worded oppositional comments. “Personally I feel really proud of the community for coming together like this,” Doyel said. “People need a place to go and stand by the river, and contemplate, or think, or be with their kids, or dogs. And so I think we all agree that this should be left. If it ain’t broke, don’t fix it — it’s very wonderful just as it is.” Still though, Save Chelsea is prepared to keep fighting, if necessary. “While on the one hand we’re very happy that the Trust heard the community on this issue, we feel that we’ll have to remain vigilant,” Doyel noted. “I think we’ll just keep our ears to the ground.”

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Photos by Zach Williams

Several hundred #BlackLivesMatter activists assembled at Washington Square Park on Nov. 25, following recent attacks against fellow protesters in other states.

An increasingly confrontational posture has accompanied New Y

Undaunted by Threats and Attack Continued from page 1 presidential campaign. Attendees at an Alabama rally supporting him attacked an activist who chanted “Black Lives Matter” on Nov. 21. Protests in New York City have been peaceful besides sporadic scuffles with law enforcement at demonstrations. But that could change, said Josmar Trujillo of the Coalition to End Broken Windows. “We are in a state of war. Self-defense is the minimum that we should be doing,” he told the crowd. “We need our communities, because these motherf----rs are going to shoot at us…it’s gotta be an escalation because

this sh-t is escalating all around us.” The success of the several hundred activists present that night depended on their ability to evade the dozens of police officers who followed them, aided by a helicopter and a cavalry of motorized scooters. In the West Village, they briefly blocked streets until the police caught up. They repeated such efforts by making abrupt turns left or right when police moved forward during the march, all the while deploying a harsher rhetoric than seen in protests months ago. The faces of people of color killed by police stared from photographs printed above words like “justice” and the eponymous slogan of the #BlackLivesMatter movement. With chants that infused profanity into the message,

Reasons were unclear during the Nov. 25 march, as to why police chose to arrest one protester over another.

December 03 - 09, 2015

some carried signs stating that police work hand-inhand with the Ku Klux Klan, while another sign linked acts of terrorism with opportunistic anti-immigrant sentiment and militarism (“Don’t use Paris as an excuse for racism and war”). A route along the East Side to Union Square arose from spontaneous decisions made at the front of the crowd. Wherever the cops weren’t, they went. There was little time for thinking when clashes would break out between the police and activists. Sometimes the marchers invited arrest, such as when an activist with the Chelsea-based Peoples Power Assemblies obstructed a policeman riding a scooter on St. Marks Place. The crowd rushed forward and police shoved them back.

The NYPD regularly deploys motorized scooters as a means to shepherd protesters off of city streets — but some resisted, including an activist from the Chelsea-based Peoples Power Assemblies (above), who was arrested on Nov. 25. .com

York’s #BlackLivesMatter protesters this fall.

Marchers responded to a recent police shooting in Minnesota and attacks on #BlackLivesMatter protesters by reiterating their belief that racial progress remains elusive nationwide.

ks, #BlackLivesMatter Marches On Other times, police ventured into the crowd to track down an activist who they intended to arrest. Such confrontations transformed the combined energy of the crowd into a frenzy of camera flashes, flailing limbs and an uncertainty of what exactly was happening. The ability to remain standing depended on deft footwork and levelheaded thinking. Pedestrians were not out in large numbers on the cold autumn night, but a few raised their fists in solidarity, while most simply viewed the spectacle with a certain dismissiveness. Marchers banged on the windows of restaurants and urged patrons to join them. A young black man claimed victory when he convinced a young woman to utter “Black Lives Matter” as he passed by.

That was what they said as they entered the Macy’s flagship store at Herald Square. There was nothing to stop them as they marched down the shopping aisles, although shoppers paid them little attention. The police accompaniment did not follow them into the store, but was waiting when the protesters emerged. At that point, the crowd of a few hundred had dwindled by at least a third. The remaining group continued onwards with the cat-and-mouse game until arriving at Times Square — about four hours after the march began in view of the Washington Square Arch. It was there, at the very beginning of the evening’s demonstration, that Harlem Church of Christ’s Richard Price spoke to the crowd.

Protesters took a tight police accompaniment on a march through Manhattan by swarming the Macy’s flagship store at Herald Square. .com

He noted that many among them had participated in local actions on numerous occasions in the past year, but progress continued to be slow. In that time, a national debate on police and criminal justice reform began. But the events of last month show that the overall goals of #BlackLivesMatter remain unfulfilled, Price said, adding that a disturbing phenomenon persists. “For those who come here tonight saying that we’re just here because we want to hear ourselves: you have not been here when we marched all year long,” he said at the rally. “We’re worried about what’s going on. We’re worried that black lives still don’t matter, and so what I want to say is that this is a systemic thread woven through the fabric of our United States.”

Activists linked law enforcement to white supremacy through signs and chants calling the NYPD “racist.” December 03 - 09, 2015

Women’s Building Brainstorming Session

Photo by Yannic Rack

Some of the discussion points were captured at the event with “graphic recording,” a process that turns words and ideas into images.

Continued from page 4 center, offering arts and performance spaces, and establishing a ground floor retail section that could employ victims of human trafficking. “We want to take away the darkness of this building,” one woman told the

audience. “This should be a safe space for women everywhere,” said another. Shifman cautioned that there was limited space available and that some features of the building, like an indoor pool, would have to be preserved. “We’re required to maintain some historical aspects,” she said, in a comment that should please many

local community leaders who have long pushed for landmark status for the building. Goren Group, a woman-owned and operated real estate development company, is developing the property, and a design competition was recently launched to find an architect for the project. The building, originally conceived as a YMCA for merchant sailors working on the Chelsea waterfront, features distinctive masonry work, terra cotta detailing, and nautical references. According to the listing for the competition, the design team will work closely with New York’s State Historic Preservation Office to preserve and restore the historical elements of the building. Shifman also noted that the foundation was “very committed” to keeping a part of the structure as a memorial to its past as a prison, even though the project was all about moving in the opposite direction. “We felt that it was an opportunity to turn a place which was about pain and confinement into a place that is about justice and liberation and free-

dom,” she said. One of the women at the event said she wholeheartedly agreed with the transformation of the prison — not least because she was once incarcerated there herself. “I just think this is very exciting,” said Janet Taveras, who spent several months at Bayview when she was temporarily transferred there from another upstate prison in 1992. “I remember being there, and I don’t know what floor I was on but I know that the cell I was in faced the highway. I remember looking out that window and saying, ‘God, how life goes on, and I’m locked up in here.’ So [I imagine] a way to lift that sad spirit that is in that building,” she said. Taveras now works for STEPS, which offers support for victims of gender-based violence, and said she hoped the organization could find a place in the Women’s Building once it was up and running. “Hopefully, when they build it, I will be able to look through a window in there,” she told Chelsea Now. “But it will be different, because there won’t be no bars.”

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Parade Security Continued from page 7 both lived through the recent attacks in the French capital. “In New York it’s very good, police is everywhere. In France, it’s not the same,” said Laplace, as the colorful parade floats were bobbing down Central Park West. The event ended up running smoothly and trouble-free, save for one father-son duo from Russia who reportedly flew a drone over the parade route at Central Park West and were subsequently slapped with a summons. The air of defiance against fear stretched all the way down to Herald

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ARTS&ENTERTAINMENT

Everything Was ‘Ella’ at the Caffe Cino

Magie Dominic recalls the birth of Off-Off Broadway

Photo by James Gossage

Tourists peeking through the Caffe door, in August of 1966.

BY DUSICA SUE MALESEVIC Learning the lingo of the famed Caffe Cino — for many the birthplace of Off-Off Broadway — is easy. Start with “phonaca.” Longtime Chelsea resident, author, artist and Caffe Cino chronicler Magie Dominic explained a “phonaca” is a person who is a real phony, or something that is real pretentious. Next up, “ella,” which could be either a person or a thing, Dominic recalled in a phone interview. “Everything was ‘ella.’ Bring the ella back and put the other one on ella’s table,” she continued. “His inflection probably helped you understand what he was talking about. For some reason, after awhile, it became understandable, and you know what the ella was and what ella to bring back.” Joe Cino, the man behind the influ-

December 03 - 09, 2015

ential and iconic Greenwich Village cafe of the ’60s, is the focus of Dominic’s upcoming presentation at the New York Public Library for the Performing Arts at Lincoln Center on Dec. 7, at 6 p.m. Cino ran away from home when he was 16 and came to New York City, Dominic said. “He worked for 10 years and saved every cent, because he had this dream of having a little art gallery and a little Italian café,” she said. “He wanted to show art. That was it. That was his dream.” Dominic met Cino through a friend of a friend. Originally from Newfoundland, Canada, Dominic first moved to Pittsburgh for her studies, and then to New York City sometime around 1964. She immersed herself in the city’s poetry scene, much of which was

Photo by James Gossage

The cast and crew of “Why Hanna’s Skirt Won’t Stay Down” (1965). Its playwright, Tom Eyen, at right in sports jacket; Joe Cino standing, left, with sleeve rolled up; stage manager Magie Dominic at center, in black.

intertwined with the peace movement. “I was writing a lot and reading a lot in coffeehouses, in churches, wherever people were congregating,” she recalled. Someone at a reading introduced her to La MaMa — the experimental theater started by Ellen Stewart. Dominic was working as a stage manager for a show at La MaMa when she encountered playwright Tom Eyen, now best known for “Dreamgirls.” Eyen introduced her to Cino. “We just got along really well, and I was there from that moment on, until the day it closed,” she said. Dominic acted, worked on sets and costumes, and was a stage manager and assistant director for productions. When Cino opened the Caffe in late 1958, he started by having his friends’ artwork on the wall while serving coffee and pastries. Then there

were poetry readings. Those led to staged readings of plays, and eventually to productions. “That happened really fast,” she explained. “It just took off because there was no place like it.” A lot of the playwrights were gay men that had no other place for their voice, she said. “People felt safe there,” Dominic noted. “It was a very troubled time. The country was exploding with the antiwar movement, the gay rights, civil rights, women’s rights. All these struggles were happening all at the same time.” Dominic said Cino only had one rule about the plays: they had to be under 30 minutes. “Joe said the seats were so uncomfortable no one would

Continued on page 19 .com

NYPL Talk Revisits Joe Cino’s ‘Magic Time’ Continued from page 18 sit any longer,” Dominic recalled. The tiny storefront at 31 Cornelia St. had small ice cream parlor chairs and tables, said Dominic. “It wasn’t even a stage, it was just, like, the space between tables,” she said. “The place was officially full when two people were sitting on top of the cigarette machine. That was it, door was closed.” The first original play performed at the Caffe Cino was the anti-war “Flyspray” in the early ’60s, said Dominic. The play’s poster is now part of the Magie Dominic Caffe Cino Archives at the New York Public Library. Discussing pieces from the archive will also be part of her talk. For instance, one of the items in the archive is the Caffe’s menu, which states on its back a $1 minimum per person for the shows. “For a dollar, you could get a coffee and an Italian pastry and see a show,” Dominic said. “That was a pretty good deal.” It was also a bargain because of the caliber of talent — actors and playwrights — on display. That list includes Sam Shepard, Lanford Wilson, Tom Eyen, Bette Midler, Edward Albee and Bernadette Peters. “The Cino was [a] very small place, but ended up being incredibly important ’cause so many people got their start there,” she said. Dominic said that at the Caffe Cino they were like family, and she is still in touch with many of them 55 years later. “I am stunned at how that little place that began with such a humble intention has turned out to be, historically, so important,” she said. “It really changed the face of modern theater. It gave voice to new people.”

Photo by James Gossage

Joe Cino, left, and the director Marshall Mason.

“Magic Time at the Caffe Cino” with Magie Dominic will be presented on Mon., Dec. 7, 6–8 p.m. at the New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, Bruno Walter Auditorium (111 Amsterdam Ave., btw. W. 64th & W. 65th Sts.). Admission is free. Reservations suggested via eventbrite.com/e/magic-time-at-the-caffe-cino-tickets-18824519645. For NYPL info, call 212-6420142. For artist info, visit magiedominic.blogspot. com. Twitter: @magiedominic

Courtesy Magie Dominic

This poster for the venue’s first original play is part of the Magie Dominic Caffe Cino Archives, open to the public for viewing at the New York Public Library for the Performing Arts at Lincoln Center. .com

Photo by James Gossage

Lanford Wilson in Claris Nelson’s “The Clown” (1967). December 03 - 09, 2015

‘Hitchcock/Truffaut’ is Fun, Inessential Fluff Impressive talking heads gush, but fail to illuminate BY SEAN EGAN Alfred Hitchcock was not always considered an exceptional director, let alone one of the all-time greats. Indeed, critics and audiences saw him as more of a popular entertainer than a serious artist. Much of the credit for rehabilitating his image from frivolous thrill-peddler to masterful cinematic artist goes to Francois Truffaut — the erstwhile French auteurist from Cahiers du Cinema turned New Wave director, who harbored a great deal of admiration and respect for the portly British filmmaker. In 1962, following the release of such celebrated films as “The 400 Blows,” Truffaut contacted Hitchcock to arrange a week-long interview, in order to publish a serious review of Hitch’s oeuvre. The result of this meeting between the two towering figures of film history — and the ostensible subject of the eponymous new doc from Kent Jones — was Truffaut’s “Hitchcock/ Truffaut,” a book-length conversation that outlined Hitchcock’s creative process, ingenuity behind the camera, and outlook on the world. Any semi-serious student of film is likely to know this book, which has become something of a sacred text for filmmakers — no less an authority than Wes Anderson pops up in the movie to admit to always having his beyond dog-eared copy (which he describes as just a stack of papers) with him while working on his own films. The main problem with “Hitchcock/Truffaut” is that it’s not

Photo by Philippe Halsman, courtesy Cohen Media Group

Alfred Hitchcock and Francois Truffaut strike a pose for a promotional picture.

really about the monumental work at its center — in fact, it’s not even really about the relationship between the two directors. Mostly, it’s an excuse to trot out a plethora of impressive talking heads in order to gush about Hitchcock’s impact on cinema and influence on them — with some archival photos from the Truffaut interview sessions, excerpts from the book, and audio recordings of the chat brought out to supplement their comments. For the type of film buff or schol-

ar likely to get excited by a documentary brandished with the title of one of the most famous written works on film, “Hitchcock/Truffaut” provides very little in the way of information that would not be common knowledge to them, nor does it prod its notable interviewees to delve into Hitch’s work in critical or illuminating ways. It seems doubtful that a casual Hitchcock fan, who might learn something from it, would have the drive to queue up a feature-length

doc on the man (they’d do better to simply watch more of Hitchcock’s films, or pick up any of the excellent biographies or critial surveys of his work). Anyone looking for a more revealing look at Truffaut would best look elsewhere, as the treatment of his life and creative output is looked at quickly and cursorily, and his process in prepping for and editing the central book remains largely unexamined beyond “he did it.” The movie, however, is quite enjoyable — a hagiographic fl uff piece, but one of the highest order. It’s fun to see luminaries like Martin Scorsese, Richard Linklater and Peter Bogdanovich earnestly geek out about one of their favorite directors. David Fincher, in particular, is hilariously candid with his straight-shooting language and dry sense of humor when expressing his admiration for (and debt to) Hitchcock. At a sprightly 80 minutes, “Hitchcock/Truffaut” doesn’t overstay its welcome, and integrates its film clips and archival material seamlessly. Still, for a man whose literary adaptations (“Rebecca,” “Psycho,” “The Birds”) repeatedly defied the axiom “the book is better than the movie,” it’s disappointing that Jones couldn’t produce a documentary that followed suit. “Hitchcock/Truffaut” runs 80 min. Written by Kent Jones and Serge Toubiana. Directed by Kent Jones. Through Dec. 15 at Film Forum (209 W. Houston St., btw. Sixth Ave. & Varick St.). Call 212-727-8110 or visit filmforum.org.

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No Humbug Here ‘Christmas Carol’ at Merchant’s House is Dickens done right BY TRAV S.D. I have verified empirically what we have all sensed instinctively: there are way too many versions of Charles Dickens’ 1843 story “A Christmas Carol.” It is a powerful, affecting tale and a brilliant piece of writing — but familiarity breeds contempt. If there is anything calculated to turn me into Scrooge, it’s Tinseltown’s plethora of “Christmas Carol” versions, certainly all of the ones made after 1971. That said, live theatre ain’t film. Theatre offers much that film can’t, no matter what’s up on screen. For those things on the screen are far away. They are not here. Whereas, at the 183-year-old Merchant’s House Museum, you step into an environment, really the only environment

for an evening of animated Victorian storytelling by a first-rate actor. The cozy old home of the wealthy Tredwell family is decked out for the holidays now, with holly and ivy, pine wreathes and garlands and poinsettias. This is the setting for John Kevin Jones’ solo version of “A Christmas Carol,” a brisk hour in which the spellbinding actor transports us to Dickens’ London, inhabiting at least a couple dozen diverse characters in the bargain. If you’re feeling grumpy (it’s been known to happen to New Yorkers at Christmas), this would be a good way to swing out of it. If you’re feeling jolly, it will make you jollier. As we used to say at theatre school, Jones has an excellent “apparatus” — a

terrifically resonant voice, and a practiced skill at deploying it. Those would avail nothing if he didn’t know how to entertain, but he does. The true measure: there were two little boys in attendance when I saw it, each under 10 — and Jones held their attention the entire time. With live solo theatre in an old house. In the age of electronic game addiction, this is the true Christmas miracle. Dec. 10–24 at Merchant’s House Museum (29 E. Fourth St., btw. Lafayette & Bowery). For schedule and tickets ($50–$60, with pre-show celebration option available), visit dickensinnewyork.brownpapertickets.com or call 800-838-3006. Venue info at merchantshouse.org.

Photo by Joey Stocks

John Kevin Jones’ acting and the setting will make you glad you saw this version of Dickens’ oft-told tale.

‘The Wannabe’ Aims for the Big Leagues Sandow’s first time at bat has reach, but stays in the park BY PUMA PERL Executive produced by Martin Scorcese, this is actor Nick Sandow’s first time out as both writer and director. Based on real-life events, it tells the story of Thomas Greco (Vincent Piazza), a Gotti-obsessed, unwelcome hanger-on. Desperate to find his “in” with the mob, Thomas concocts a delusionary and naïve scheme to fix Gotti’s trial. Along the way, he hooks up with Rose (Patricia Arquette), a much older, been-around-the-block (including the prison block) kind of gal. Their first meeting occurs at a Howard Beach block party outside the Gotti headquarters. He preens like John Travolta in his white suit. She flirts like a neighborhood Flamenco dancer, using her People Magazine as a fan. “Who the hell is he?” asks her friend, Annie. “The ice cream man?” Eventually, one of Gotti’s henchmen confronts Thomas, demanding to know who invited him. Rose steps in. “He’s with me,” she announces, shoving a sausage sandwich into his hand. And, from then on, he was. In a lifestyle where the greatest badge of success is to be “connected,” Rose and Thomas form an intense .com

Photo courtesy of the filmmakers

Thomas (Vincent Piazza) and Rose (Patricia Arquette) form an intense alliance, in Nick Sandow’s cinematic debut as a writer/director.

alliance, and bit by bit cast aside all traces of respectability. Both have despairing brothers who try to help in any way they can. Michael Imperioli,

decked out in an unlikely ponytail and large glasses, plays the small but pivotal role of Thomas’ soft-spoken brother, a florist continuing the fami-

ly business. Nick Sandow does a great job doing triple duty as Rose’s policeman brother, accurately conveying a mix of rage, frustration and intense familial love. Meanwhile, the couple not only continues their insane plan to free Gotti, but descends into a drug-filled haze, deteriorating before our eyes. A clinical diagnosis of this pair might be folie à deux — a madness shared by two. The Scorcese name brings up images of his gritty New York City films, and the actors in his original stable. This is not “Mean Streets,” and we do not see the likes of a young De Niro. But the acting is uniformly good, particularly from Patricia Arquette, who brings a ferocious blend of hilarity and heartbreak. Courtroom scenes, actual news footage, and depictions of city characters and events bring added authenticity to a film that doesn’t quite measure up, but is a definite wannabe. Written, directed and co-starring Nick Sandow. Runtime: 90 minutes. Opens Dec. 4 at AMC Empire 25 (234 W. 42nd St., btw. Seventh & Eight Aves.). For screening times, visit amctheatres.com. December 03 - 09, 2015

December 03 - 09, 2015

.com

Buhmann on Art

Richard Pousette-Dart: 1930s

Photo by Jose Andres Ramirez, courtesy The Drawing Center

“Richard Pousette-Dart: 1930s” is on view through Dec. 20 at The Drawing Center.

BY STEPHANIE BUHMANN A founding member of the New York School, Richard Pousette-Dart (1916-1992) is best known for his elaborate paintings. However, his career spanned several decades — and within that time, he explored various styles and media, including painting, poetry, and sculpture. This particular gem of an exhibition is solely devoted to Pousette-Dart’s early work, when he primarily created directly carved sculptures and related works on paper. It showcases about 80 works from the 1930s, including drawings, notebooks and brasses. Eastern philosophy and religion, as well as African, Oceanic and Native American art were among his most important early influences — and they can be easily traced here. The works on display embrace archaic forms that are often set against solidly colored backgrounds, generating a sense of iconographic importance. Many of these works contemplate the human figure, albeit in a manner that reflects Pousette-Dart’s interest in working three-dimensionally at this time. Surrounding space, orientation, volume and the linearity of planes are key aspects of this thorough investigation. Other studies allude to dance, animal forms, masks, as well as heads, or ponder various abstract and geometric elements. Through Dec. 20 at The Drawing Center (35 Wooster St., btw. Grand & Broome Sts.). Hours: 12–6 p.m. on Wed., Fri., Sat. & Sun. and 12–8 p.m. on Thurs. (free admission, 6–8 p.m.). General admission, $5 ($3 for students/seniors, free for children under 12). Call 212219-2166 or visit drawingcenter.org.

.com

Courtesy estate of the artist

“The Walking Man” (1930s / Gouache, ink, and graphite on paper / 15 7/8 x 11 7/8 in.).

December 03 - 09, 2015

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