This book examines the cultural and artistic awakening of New York City through a detailed look at the city's architecture and urbanism during the years '890 - 1925, when the city first acquired a distinct sense of itself as the representative American metropolis, comparable to London and Paris.

""This is the most brilliant epitome of Manhattan ever written." --Mike Davis Every morning, the architect and writer Michael Sorkin walks from his apartment in Greenwich Village to his office in Tribeca. Unlike most commuters, Sorkin isn't in a hurry, and he doesn't try to drown out his surroundings. Instead, he's always paying attention. As he descends the narrow stairs of his town house, Sorkin explains why New York doesn't have the grand stairwells so common in European apartment buildings. Stepping out onto his block, he imagines a better, more efficient, far less dirty way to dispose of garbage. As he crosses Canal Street, he remembers the mad proposals for tunnels, elevated highways, and mega-structures that threatened lower Manhattan and could have destroyed its urban fabric. Fifty years after Jane Jacobs's groundbreaking The Death and Life of Great American Cities, Sorkin's vision of city life is every bit as perceptive and fine-grained as that of Jacobs's classic. With important insights into history, architecture, and public policy, Twenty Minutes in Manhattan is an extraordinary, deeply personal look at a city undergoing--always undergoing--dramatic transformations"--

A history of the artistic movements in the East Village of New York in the early and mid 1960s, focusing on such individuals as Andy Warhol, Allen Ginsberg, and The Fugs.

Jews in Gotham follows the Jewish saga in ever-changing New York City from the end of the First World War into the first decade of the new millennium. This lively portrait details the complex dynamics that caused Jews to persist, abandon, or be left behind in their neighborhoods during critical moments of the past century. It shows convincingly that New York retained its preeminence as the capital of American Jews because of deep roots in local worlds.

The 1951 regular season was as good as over. The Brooklyn Dodgers led the New York Giants by three runs with just three outs to go in their third and final playoff game. And not once in major league baseball’s 278 preceding playoff and World Series games had a team overcome a three-run deficit in the ninth inning. But New York rallied, and at 3:58 p.m. on October 3, 1951, Bobby Thomson hit a home run off Ralph Branca. The Giants won the pennant. The Echoing Green follows the reverberations of that one moment–the Shot Heard Round the World–from the West Wing of the White House to the Sing Sing death house to the Polo Grounds clubhouse, where a home run forever turned hitter and pitcher into hero and goat. It was also in that centerfield block of concrete that, after the home run, a Giant coach tucked away a Wollensak telescope. The spyglass would remain undiscovered until 2001, when, in the jubilee of that home run, Joshua Prager laid bare on the front page of the Wall Street Journal a Giant secret: from July 20, 1951, through the very day of that legendary game, the orange and black stole the finger signals of opposing catchers. The Echoing Green places that revelation at the heart of a larger story, re-creating in extravagant detail the 1951 pennant race and illuminating as never before the impact of both a moment and a long-guarded secret on the lives of Bobby Thomson and Ralph Branca. A wonderfully evocative portrait of the great American pastime, The Echoing Green is baseball history, social history and biography–irresistible reading from any angle.

"An obsessive genealogist and descendent of one of the most prominent Jewish families since the American Revolution, Blanche Moses firmly believed her maternal ancestors were Sephardic grandees. Yet she found herself at a dead end when it came to her grandmother's maternal line. Using family heirlooms to unlock the mystery of Moses's ancestors, Once We Were Slaves overturns the reclusive heiress's assumptions about her family history to reveal that her grandmother and great-uncle, Sarah and Isaac Brandon, actually began their lives as poor Christian slaves in Barbados. Tracing the siblings' extraordinary journey throughout the Atlantic World, Leibman examines artefacts they left behind in Barbados, Suriname, London, Philadelphia, and, finally, New York, to show how Sarah and Isaac were able to transform themselves and their lives, becoming free, wealthy, Jewish, and-at times-white. While their affluence made them unusual, their story mirrors that of the largely forgotten population of mixed African and Jewish ancestry that constituted as much as ten percent of the Jewish communities in which the siblings lived, and sheds new light on the fluidity of race-as well as on the role of religion in racial shift-in the first half of the nineteenth century"--

The members of the literary circle known as the Violet Quill -- Christopher Cox, Robert Ferro, Michael Grumley, Andrew Holleran, Felice Picano, Edmund White, and George Whitmore -- collectively represent the aspirations and the achievement of gay writing during and after the gay liberation movement. This social history shows how the works of these authors both reflected and criticized the values, principles, and prejudices of the culture of gay liberation. In spinning many of the most important stories gay men told of themselves in the short period between the 1969 Stonewall Riots and the devastation of the AIDS epidemic during the 1980s, the Violet Quill exerted an enormous influence on gay culture.

Since its publication in 1984, Chants Democratic has endured as a classic narrative on labor and the rise of American democracy. In it, Sean Wilentz explores the dramatic social and intellectual changes that accompanied early industrialization in New York. He provides a panoramic chronicle of New York City's labor strife, social movements, and political turmoil in the eras of Thomas Jefferson and Andrew Jackson. Twenty years after its initial publication, Wilentz has added a new preface that takes stock of his own thinking, then and now, about New York City and the rise of the American working class.

As Times Square turns 100, New York Times Magazine contributing writer James Traub tells the story of how this mercurial district became one of the most famous and exciting places in the world. The Devil’s Playground is classic and colorful American history, from the first years of the twentieth century through the Runyonesque heyday of nightclubs and theaters in the 1920s and ’30s, to the district’s decline in the 1960s and its glittering corporate revival in the 1990s. First, Traub gives us the great impresarios, wits, tunesmiths, newspaper columnists, and nocturnal creatures who shaped Times Square over the century since the place first got its name: Oscar Hammerstein, Florenz Ziegfeld, George S. Kaufman, Damon Runyon, Walter Winchell, and “the Queen of the Nightclubs,” Texas Guinan; bards like A. J. Liebling, Joe Mitchell, and the Beats, who celebrated the drug dealers and pimps of 42nd Street. He describes Times Square’s notorious collapse into pathology and the fierce debates over how best to restore it to life. Traub then goes on to scrutinize today’s Times Square as no author has yet done. He writes about the new 42nd Street, the giant Toys “R” Us store with its flashing Ferris wheel, the new world of corporate theater, and the sex shops trying to leave their history behind. More than sixty years ago, Liebling called Times Square “the heart of the world”—not just the center of the world, though this crossroads in Midtown Manhattan was indeed that, but its heart. From the dawn of the twentieth century through the 1950s, Times Square was the whirling dynamo of American popular culture and, increasingly, an urban sanctuary for the eccentric and the untamed. The name itself became emblematic of the tremendous life force of cities everywhere. Today, Times Square is once again an awe-inspiring place, but the dark and strange corners have been filled with blazing light. The most famous street character on Broadway, “the Naked Cowboy,” has his own website, and Toys “R” Us calls its flagship store in Times Square “the toy center of the universe.” For the giant entertainment corporations that have moved to this safe, clean, and self-consciously gaudy spot, Times Square is still very much the center of the world. But is it still the heart?

"A down-to-earth, inspiring book about the American promise fulfilled." -President Bill Clinton "Fascinating . . . . Made me wish I had been born in the Bronx." -Barbara Walters A touching and provocative collection of memories that evoke the history of one of America's most influential boroughs-the Bronx-through some of its many success stories The vivid oral histories in Arlene Alda's Just Kids from the Bronx reveal what it was like to grow up in the place that bred the influencers in just about every field of endeavor. The Bronx is where Michael Kay, the New York Yankees' play-by-play broadcaster, first experienced baseball; where J. Crew's CEO Millard ("Mickey") Drexler found his ambition; where Neil deGrasse Tyson and Dava Sobel fell in love with science; and where local music making inspired singer-songwriter Dion DiMucci and hip-hop's Grandmaster Melle Mel. The parks, the pickup games, the tough and tender mothers, the politics, the gangs, the food-for people who grew up in the Bronx, childhood recollections are fresh. Arlene Alda's own Bronx memories were a jumping-off point from which to reminisce with a nun, a police officer, an urban planner, and with Al Pacino, Carl Reiner, Colin Powell, Maira Kalman, Bobby Bonilla, Mary Higgins Clark, and many other leading artists, athletes, scientists, and entrepreneurs-experiences spanning six decades of Bronx living. Alda then arranged these pieces of the past, from looking for violets along the banks of the Bronx River to the wake-up calls from teachers who recognized potential, into one great collective story, a filmlike portrait of the Bronx from the early twentieth century until today.

How a little-known industrial neighborhood in New York unintentionally became a nexus of creative activity for a brief burst of time. During the 1960s and 1970s in New York City, young artists exploited an industrial wasteland to create spacious studios where they lived and worked, redefining the Manhattan area just south of Houston Street. Its use fueled not by city planning schemes but by word-of-mouth recommendations, the area soon grew to become a world-class center for artistic creation indeed, the largest urban artists' colony ever in America--let alone the world. Richard Kostelanetz's Artists' SoHo not only examines why the artists came and how they accomplished what they did but also delves into the lives and works of some of the most creative personalities who lived there during that period, including Nam June Paik, Robert Wilson, Meredith Monk, Richard Foreman, Hannah Wilke, George Macuinas, and Alan Suicide. Gallerists followed the artists in fashioning themselves, their homes, their buildings, and even their streets into transiently prominent exhibition and performance spaces. SoHo pioneer Richard Kostelanetz's extensively researched intimate history is framed within a personal memoir that unearths myriad perspectives: social and cultural history, the changing rules for residency and ownership, the ethos of the community, the physical layouts of the lofts, the types of art produced, venues that opened and closed, the daily rhythm, and the gradual invasion of "new people." Artists' SoHo also explores how and why this fertile bohemia couldn't last forever. As wealthier people paid higher prices, galleries left, younger artists settled elsewhere, and the neighborhood became a "SoHo Mall" of trendy stores and restaurants. Compelling and often humorous, Artists' SoHo provides an analysis of a remarkable neighborhood that transformed the art and culture of New York City over the past five decades.

The Waverly Inn has been a landmark in New York’s Greenwich Village since the 1920’s. But since 2006, when Vanity Fair editor Graydon Carter bought and refurbished the restaurant, it has also been one of the most sought after destinations in the city. And while we can’t guarantee you a reservation there, we can bring you the wonderful, witty mural by Edward Sorel that graces its walls. Sorel--whose caricatures and drawings regularly appear in The New Yorker and on its cover--chose forty Greenwich Village greats from the past 150 years to cavort in bacchanalian splendor. Each of the 40 makes a solo appearance in these pages alongside a charming, telling vignette of his or her life by Dorothy Gallagher, then appears in a foldout of the entire mural at the back of the book. Here you will find Walt Whitman being attacked by a ferocious Truman Capote butterfly; Jane Jacobs, Gertrude Vanderbilt Whitney and Willa Cather playing ring-around the rosy; those famous denizens of the White Horse Tavern, Dylan Thomas--who breakfasted on beer and lunched on brandy--and Jack Kerouac, typing his long roll of a novel. Anais Nin appears nude, which, Gallagher points out, was her usual state. Norman Mailer admires himself in a reflecting pond. Here, too, are Djuna Barnes and Edna St. Vincent Millay, Jackson Pollack and James Baldwin, Thelonius Monk, Bob Dylan, and Joan Baez, Andy Warhol and Fran Lebowitz, Margaret Sanger, Marlon Brando, and many others. The Mural at the Waverly Inn is an enduring delight to treasure and to give.

In this first post-9/11 account of the career of the man who established himself as America's Mayor in the dark days after America was attacked, Fred Siegel shows how Rudy Giuliani's successes in New York--restoring law and order, cutting taxes and radically reducing the welfare rolls--demonstrated that Gotham was indeed governable (a matter of doubt until his election) and that our major cities might again become vibrant and dynamic places to live after thirty years of middle-class flight. Someone who has worked with Giuliani as well as studied him, Siegel describes this colorful figure as an immoderate centrist, who, like the city he came to embody, evokes contradictory emotions. For some, he was a ruthless autocrat during his years at city hall; for others, he was a heroic figure who took on the vested interests that had dragged the city down. Siegel regards Guiliani as a shrewd tactician and artist of the possible who could have stepped out of the pages of Machiavelli's THE PRINCE. A self-promoting, self-absorbed man, the mayor made his own enormous ego serve the city's well-being. He promoted the virtues of duty and sacrifice, but was sometimes unable to honor these values in his personal life. He was suspicious of those outside his immediate circle, but he also placed this tribal ethos in the service of ideals that transcended New York's ethnic politics and business as usual. THE PRINCE OF THE CITY is at once a fascinating character study, a history of New York over the last forty years, and a classic inquiry into the issue of how cities thrive or die. Siegel's story culminates with a dramatic account of September 11, 2001, revealing how Giuliani's s eight years in office had prepared him and the city to rise to this tragic occasion. Siegel concludes with a look at how Guiliani's successor, Mayor Michael Bloomberg, has handled his legacy and at what the future might hold for America's Mayor.

Mordecai M. Kaplan, the founder of the Reconstructionist movement, was the most influential and controversial radical Jewish thinker in the twentieth century. This book follows Kaplan from his earliest days as a member the New York Orthodox community, through his period of private estrangement, into his public divorce from Orthodoxy and ultimately through his many decades as reconstructionism's leader. The book is also a social history of American Orthodoxy and American Judaism over the last century.

In The Art of the Jewish Family, Laura Arnold Leibman examines five objects owned by a diverse group of Jewish women who all lived in New York in the years between 1750 and 1850: a letter from impoverished Hannah Louzada seeking assistance; a set of silver cups owned by Reyna Levy Moses; an ivory miniature owned by Sarah Brandon Moses, who was born enslaved and became one of the wealthiest Jewish women in New York; a book created by Sarah Ann Hays Mordecai; and a family silhouette owned by Rebbetzin Jane Symons Isaacs. These objects offer intimate and tangible views into the lives of Jewish American women from a range of statuses, beliefs, and lifestyles--both rich and poor, Sephardi and Ashkenazi, slaves and slaveowners. Each chapter creates a biography of a single woman through an object, offering a new methodology that looks past texts alone to material culture in order to further understand early Jewish American women's lives and restore their agency as creators of Jewish identity. While much of the available history was written by men, the objects that Leibman studies were made for and by Jewish women. Speaking to American Jewish life, women's studies, and American history, The Art of the Jewish Family sheds new light on the lives and values of these women, while also revealing the social and religious structures that led to Jewish women being erased from historical archives.

Stories abound of immigrant Jews on the outside looking in, clambering up the ladder of social mobility, successfully assimilating and integrating into their new worlds. But this book is not about the success stories. It's a paean to the bunglers, the blockheads, and the just plain weird—Jews who were flung from small, impoverished eastern European towns into the urban shtetls of New York and Warsaw, where, as they say in Yiddish, their bread landed butter side down in the dirt. These marginal Jews may have found their way into the history books far less frequently than their more socially upstanding neighbors, but there's one place you can find them in force: in the Yiddish newspapers that had their heyday from the 1880s to the 1930s. Disaster, misery, and misfortune: you will find no better chronicle of the daily ignominies of urban Jewish life than in the pages of the Yiddish press. An underground history of downwardly mobile Jews, Bad Rabbi exposes the seamy underbelly of pre-WWII New York and Warsaw, the two major centers of Yiddish culture in the late nineteenth and early twentieth centuries. With true stories plucked from the pages of the Yiddish papers, Eddy Portnoy introduces us to the drunks, thieves, murderers, wrestlers, poets, and beauty queens whose misadventures were immortalized in print. There's the Polish rabbi blackmailed by an American widow, mass brawls at weddings and funerals, a psychic who specialized in locating missing husbands, and violent gangs of Jewish mothers on the prowl—in short, not quite the Jews you'd expect. One part Isaac Bashevis Singer, one part Jerry Springer, this irreverent, unvarnished, and frequently hilarious compendium of stories provides a window into an unknown Yiddish world that was.

Stories abound of immigrant Jews on the outside looking in, clambering up the ladder of social mobility, successfully assimilating and integrating into their new worlds. But this book is not about the success stories. It's a paean to the bunglers, the blockheads, and the just plain weird—Jews who were flung from small, impoverished eastern European towns into the urban shtetls of New York and Warsaw, where, as they say in Yiddish, their bread landed butter side down in the dirt. These marginal Jews may have found their way into the history books far less frequently than their more socially upstanding neighbors, but there's one place you can find them in force: in the Yiddish newspapers that had their heyday from the 1880s to the 1930s. Disaster, misery, and misfortune: you will find no better chronicle of the daily ignominies of urban Jewish life than in the pages of the Yiddish press. An underground history of downwardly mobile Jews, Bad Rabbi exposes the seamy underbelly of pre-WWII New York and Warsaw, the two major centers of Yiddish culture in the late nineteenth and early twentieth centuries. With true stories plucked from the pages of the Yiddish papers, Eddy Portnoy introduces us to the drunks, thieves, murderers, wrestlers, poets, and beauty queens whose misadventures were immortalized in print. There's the Polish rabbi blackmailed by an American widow, mass brawls at weddings and funerals, a psychic who specialized in locating missing husbands, and violent gangs of Jewish mothers on the prowl—in short, not quite the Jews you'd expect. One part Isaac Bashevis Singer, one part Jerry Springer, this irreverent, unvarnished, and frequently hilarious compendium of stories provides a window into an unknown Yiddish world that was.

Arthur Schwartz knows how Jewish food warms the heart and delights the soul, whether it's talking about it, shopping for it, cooking it, or, above all, eating it. Jewish Home Cooking presents authentic yet contemporary versions of traditional Ashkenazi foods-rugulach, matzoh brei, challah, brisket, and even challenging classics like kreplach (dumplings) and gefilte fish-that are approachable to make and revelatory to eat. Chapters on appetizers, soups, dairy (meatless) and meat entrees, Passover meals, breads, and desserts are filled with lore about individual dishes and the people who nurtured them in America. Light-filled food and location photographs of delis, butcher shops, and specialty grocery stores paint a vibrant picture of America's touchstone Jewish food culture. The book includes stories, culinary history, and nearly 100 recipes for Jewish home cooking from the heart of American Jewish culture, New York City. It was written by one of the country's foremost experts on traditional and contemporary Jewish food, cooking, and culinary culture. - Publisher.

An overview of generations of Italians in the Big Apple, weaving together numerous stories from different epochs and different backgrounds. "If you want to learn something about Italian creativity, come to New York. Here, you will find the pride of flying the Italian colors at the Fifth Avenue Columbus Day Parade, the American patriotism of those who perished at Ground Zero, the courage of firefighters and marines on the frontline of the war against terrorism, the babel of dialects at the Arthur Avenue market, portrayals of social change in the writings of Gay Talese, stories of successful business ventures on the TV shows of Maria Bartiromo and Charles Gasparino, political passion in the battles of Mario Cuomo and Rudy Giuliani, creative imagination in the works of Gaetano Pesce, Renzo Piano and Matteo Pericoli, and provocation in the attire of Lady Gaga... The Midtown top managers, whoarrived in the past twenty years, operate in the XXI century, while on Fresh Pond Road in Ridgewood the panelle are still prepared according to the Sicilian recipes transmitted from one generation to the next." (From the "Introduction")

Described as “a continuous carnival” and “the crossroads of the world,” Times Square is a singular phenomenon: the spot where imagination and veracity intersect. To esteemed scholar and author Marshall Berman, it is also the flashing, teeming, and strangely beautiful nexus of his life. In this remarkable book, Berman takes us on a thrilling illustrated tour of Times Square, revealing a landscape both mythic and real. On the Town is a unique look through the lens of the ideas and works of art that inspired–or were inspired by–this landmark’s allure. Times Square pulses with life, drawing countless millions who long to be surrounded by too many in the midst of too much. Beyond the immense crowds, the intoxicating lights, the imposing architecture, and even the recent incursion of corporate headquarters that limn the Square’s present boundaries, there is an indefatigable humanity (and undeniable sexual tension) that, for more than a century, has nourished creative expression. Interleafing his own recollections with astute social commentary, Berman reveals how movies, graphic arts, literature, popular music, television, and, of course, the Broadway theater have reflected Times Square’s voluminous light to illuminate a vast spectrum of themes and vignettes. Berman shows us Times Square as it is seen in Alfred Eisenstadt’s iconic photography, the movies of Busby Berkeley, John Schlesinger, and Martin Scorsese, and the stage choreography of Jerome Robbins. Conversely, we see how Times Square’s distinctive aura finds its source in a stunningly diverse list of performers, writers, and impresarios, including Theodore Dreiser, Florenz Ziegfeld, Ethel Merman, Al Jolson, Bob Dylan, and Bruce Springsteen. Berman also celebrates the unsung heroes of Times Square–the artists, engineers, and hucksters behind the Square’s landmark signs that, throughout the decades, re-created raging waterfalls, blew smoke rings, bathed onlookers in the Square’s eerily welcoming light, and projected the image of what Americans want to be against a surface of who we really are. Part love letter, part revelatory semiotic exposition of a place known to all, On the Town is a nonstop excursion to the heart of American civilization, written by one of our keenest, most entertaining cultural observers.