Categories
Podcasts Politics and Protest Wartime New York

The Deadly Draft Riots of 1863: New York City and the American Civil War

This month we are marking the 160th anniversary of one of the most dramatic moments in New York City history – the Civil War Draft Riots which stormed through the city from July 13 to July 16, 1863.

Thousands of people took to the streets of Manhattan in violent protest, fueled initially by anger over conscription to the Union Army which sent New Yorkers to the front lines of the Civil War. (Or, most specifically, those who couldn’t afford to pay the $300 commutation fee were sent to war.)

Looting at Brooks Brothers. Harpers Weekly, August 1, 1863

In many ways, our own city often seems to have forgotten these significant events.

There are very few memorials or plaques in existence at all to the Draft Riots, a very odd situation given the numerous markers to other tragic and unsettling moments in New York City history. 

In particular, given the number of African-Americans who were murdered in the streets during these riots, and the numbers of Black families who fled New York in terror, we think this is a very significant oversight.

Harper’s Weekly, August 1, 1863

The riots place New York City not outside the significance of the Civil War battlefield, but squarely within it. The Union was not united, but an assortment of different viewpoints.  

In this episode, a remastered, re-edited edition of our 2011 show, we take you through those hellish days of deplorable violence and appalling attacks on abolitionists, Republicans, wealthy citizens, and anybody standing in the way of blind anger. Mobs filled the streets, destroying businesses (from corner stores to Brooks Brothers) and threatening to throw the city into permanent chaos.

That Abraham Lincoln and the Union Army succeeded is even more remarkable when you realize the dissension from within, dissension which we discuss in this show (a remastered, reedited version of a show we originally recorded in 2011).

LISTEN NOW: THE DEADLY DRAFT RIOTS

The burning of the Colored Orphan Asylum on Fifth Avenue: In a day of vile crimes that Monday, July 13th, this certainly stands out as one of the worst.
The mob burned the draft office at 3rd Avenue and 46th Street first thing on Monday morning. The destruction was but only a taste of the violence that was to come. By Friday, New York would be smoldering with dozens of structures in ashes — from factories and homes to armories and even bridges.

John A. Kennedy, the superintendent of police, who was savagely beaten and barely escaped with his life on the first day of rioting.

By Tuesday, rioters had cordoned off barricades along a couple key streets, including a mile-long makeshift fortification along Ninth Avenue, through today’s Chelsea and Hell’s Kitchen neighborhoods.

Illustrations courtesy New York Public Library digital image collection

The Illustrated London news

The other draft riots: Given the New York-centric nature of our program, I should note that draft riots occurred throughout the North that week, and even earlier. Yet none were of the intensity as those that occurred in Manhattan. In Boston, for instance, mobs stormed the famous Faneuil Marketplace and an armory on Cooper Street. But troops quelled the violence early, and only eight people died. [Read more about this even in the Boston Phoenix.]

And events were sparked in the future boroughs of Brooklyn, the Bronx, Queens and Staten Island as well. You can read more about them in this blog post.


Why are there no permanent memorials or remembrances of any significant kind in New York City to the Civil War Draft Riots? It was the most grave, the most tumultuous event in New York City history between the Revolutionary War and September 11, 2001. Doesn’t it merit some mention? Read Greg’s opinion piece which ran on the 150th anniversary — which more or less still applies today.


FURTHER READING

For more information on the Draft Riots, you can turn to several sources, based on your level of interest. My favorite is Barnet Schecter’s ‘The Devil’s Own Work’which gives a gripping chronological retelling of events. He really manages to tame a chaotic tale in a way that neither confuses nor oversimplifies. I used Schecter’s ‘Mrs. Hilton’ anecdote from this book, and his book is chockful of other individual tales like that one.

If you prefer something a bit more analytical, there’s Iver Bernstein’s ‘The New York City Draft Riots’ which tries to parse who exactly the rioters were. Of course ‘Gotham’ by Edwin G Burrows and Mike Wallace have a nice, compact recount with plenty of context. The City University of New York’s ‘Virtual New York’ web resource has a timeline with maps.

The Gangs of New York: Perhaps the most famous depiction of the riots occurs in Herbert Asbury’s classic ‘The Gangs of New York’. The film version, directed by Martin Scorsese, takes quite a few liberties with the facts of course. The placing of candles in windowsills and the fire at Barnum’s American Museum, for instance, did not happen during the riots. But those are based on true events that happened in New York a year later.

FURTHER LISTENING

There’s also the Broadway musical Paradise Square, set during the Draft Riots. Joaquina Kalukango won a Tony Award for Best Actress for her work in the musical: 

When this show was originally released in 2011, it was part of a three part mini-series on New York City and the Civil War. You might like to check out the other two parts — especially part three Hoaxes and Conspiracies of 1864

In this episode, Greg pays a visit to Weeksville, the Brooklyn community which became a haven for Black New Yorkers fleeing the city during the riots.

If there is a ‘prequel’ to the Draft Riots, it’s certainly the Astor Place Riot of May 10, 1849.

Categories
American History Politics and Protest The Immigrant Experience

The Making and Remaking of the Pledge of Allegiance


The Pledge of Allegiance feels like an American tradition that traces itself back to the Founding Fathers, but, in fact, it was only written in 1892.

And the version you may be familiar with from elementary school — featuring the most recent phrase “under God” — is less than 70 years old.

This is the story of the invention of the Pledge, a set of words that have come to embody the core values of American citizenship. And yet it began as part of a for-profit magazine promotion, written by a Christian socialist minister.

Listen to the pledge wording evolve throughout the years and discover the shocking salute that once accompanied it.

Featuring: Tom Meyers as the voice of Francis Bellamy, the inventor of the pledge. This is a reedited, remastered version of an episode of Greg’s spin-off show The First, originally released in 2017

LISTEN NOW: THE MAKING OF THE PLEDGE OF ALLIEGANCE

Francis Bellamy, known as the author of the Pledge of Allegiance:

What the Bellamy salute used to look like

Other forms of the salute had students lift their hands palms up, not down.

San Francisco, California, 1942: Flag of allegiance pledge at Raphael Weill Public School (Geary and Buchanan Streets). The original caption to this photo read: “Children in families of Japanese ancestry were evacuated with their parents and will be housed for the duration in War Relocation Authority centers where facilities will be provided for them to continue their education.”

Department of the Interior. War Relocation Authority. Courtesy US National Archives

Young scouts on a hike. Photo by Roy Perry, 1940. Most people were saluting the flag in other methods than the ‘Bellamy salute’ which remained in the Flag Code until the 1940s.

Courtesy Museum of the City of New York

Second graders pledge allegiance in an elementary school in Rockport, Massachusetts,  February 1973

Deborah Parks, photographer. Courtesy US National Archives

From the Youth’s Companion in September 1892, outlining the day’s ceremonies and the first use of the pledge.

A copy of the Youth’s Companion from 1899:

My beautiful picture

And yet WHY does an almost identical version of the pledge appear in the Ellis County News Republican on May 21, 1892? Did Francis Bellamy simply misremember when he wrote the pledge? Or did he really actually steal it from a 13-year-old boy — who happened to be named Frank Bellamy? Mystery!

The child Frank E. Bellamy graduated from high school and fought in the Spanish-American War. He died in 1915 from bone tuberculosis he contracted while fighting.

What is the real story between Francis Bellamy and Frank E. Bellamy?

Categories
Bridges Brooklyn History Landmarks

Deadly Rumor: The Brooklyn Bridge Collapse That Didn’t Happen

On May 30, 1883 — one week after it officially opened — 12 people were killed in a horrifying trample caused by the collapse of the Brooklyn Bridge.

Except of course, the Bridge didn’t actually collapse.

Photo_957

The prior week, the Brooklyn Bridge opened to terrific fanfare, with almost 14,000 people invited to cross this architectural behemoth which had sat in their harbor under construction for years.

The experience of crossing for the first time — to experience the sprawling city from a vantage in the harbor and at equal height of the tallest buildings of the time — must have been immense. And rather frightening.

One week later, on May 30th (Memorial Day that year), the path was still clogged with curiosity seekers.

Suddenly a woman fell on the stairs walking up on the Manhattan side, and her friend screamed.

Just this unnerving act alone created a rumor that the new bridge was about to collapse, that it couldn’t take the weight of all these people.

Panic ensued and people stampeded in every means possible to escape off the bridge. I feel the editorial from the Brooklyn Daily Eagle says it best:

“Two men tried to raise the prostrate woman and were instantly trampled and paid forfeit with their lives. In a few seconds human beings were piled four deep at the foot of the steps, and the crowd was hurried over them.”

Top story of the New York Times, May 31, 1883

From the report of a police officer on the bridge:

I was just above the stairs, at the side of the promenade. There was a crowd going in each direction and I was trying to keep them moving. A woman stumbled on the stairway below the landing and fell. Another woman at the head of the stairway saw her fall, and she screamed. The whole thing was caused by that woman screaming.”

“Then came the rush and the panic. I succeeded in getting up the woman who had fallen, but my hands were stepped on and my head kicked. I tried to drive back the crowd but could do nothing. It seemed as though the people didn’t see the stairs till they were pushed headlong down them by the rushing crowd behind.

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Under a grim heading ‘The Pile of Dead’ in the New York Sun sits some frightful descriptions by survivors:

I felt the pulse of a number of those who were taken out. The first was a woman, who lay on her back just below the steps, with one arm twisted under her and the other hand clenching the reman of a child’s shawl. She had gray hair. Her forehead had been cut by the fall and her face was stained with blood. I believe she died before they got her off the bridge.”

New York Tribune

In the bloody tussle, 12 people died and over 36 were seriously injured. The victims ranged in age from 15 to 60, according to the Tribune.

Brooklyn Daily Eagle, May 31, 1883

The bridge, of course, wasn’t in any danger of collapsing. But few who walked upon it had ever stepped upon such a thing and it must have been a disorienting experience for the uninitiated.

And newspapers were periodically filled with the news of collapsing bridges. Only a few years before, on December 28, 1879, seventy-five people were killed when Scotland’s Tay Bridge collapsed during a storm.

Closer to home, a railway accident upon a bridge in Little Silver, New Jersey, killed three and injured dozens. (One of the survivors was former president Ulysses S. Grant.)

Following this unfortunate disaster upon the bridge, Brooklyn beefed up the police presence upon the bridge. “The order had evidently gone forth to keep everything moving for officers were stationed on the broad platforms circling the middle pier of each tower — favorite resorts hitherto for loungers and for others who want a shady spot in which to rest.” [source]

A variation of this article originally ran in 2007.

Categories
Bridges

The story of ‘Painters On The Brooklyn Bridge’

The photograph above (officially called “Brooklyn Bridge showing painters on suspenders”) is perhaps the best-known image taken by Eugene de Salignac, a city employee who took municipal photography of most major New York structures during the early 20th century.

His work had never appeared in a gallery until 2007, almost 65 years after his death.

His exquisite eye rendered otherwise ordinary shots with a captivating grandeur; this was certainly beyond the call of duty of his responsibilities for the Department of Bridges (later named the Department of Plant and Structures) for which he worked from 1906 to 1934.  

In all, it’s estimated the city owns about 20,000 glass-plate negatives taken by de Salignac.

Another striking view of the Brooklyn Bridge, taken by de Salignac on May 6, 1918. / Municipal Archives of the City of New York

On September 22, 1914, de Salignac headed to the Brooklyn Bridge to observe workers painting the bridge’s steel-wire suspension. Perhaps a bit inspired by modern artistic photography of the day, the normally workaday photographer returned to the bridge a couple weeks later, on October 7.

To quote Aperture: “The image was obviously planned, as evidenced by the relaxed nature of these fearless men who appear without their equipment and are joined, uncustomarily, by their supervisor.”

It was, generally speaking, an unspectacular day for the 31-year-old bridge.

It’s believed that the original color of the Brooklyn Bridge was ‘Rawlins Red’ although by this time, the vibrant color might have been replaced with the less dramatic ‘Brooklyn Bridge Tan.’  

Can you imagine what this image would have looked like in color?

I would like to think de Salignac took some inspiration from photographers like Paul Strand who were beginning to see New York City as a set of geometric abstracts.  

The spirit of this photograph echoes into the work of Berenice Abbott and especially Charles C Ebbets. In 1932, while de Salignac was still employed by the city, Ebbets was hired by Rockefeller Center to document the construction of the RCA Building.

In one photo, workers were posed in a way that eventually became quite iconic:

Most likely, none of those other photographers saw de Salignac’s Brooklyn Bridge picture.  It was essentially lost among the thousands of archives pictures until the 1980s.  

For his first film for PBS, Ken Burns used the photograph  in his Brooklyn Bridge documentary which went on to snag an Academy Award nomination.  In 2007, de Salignac was belatedly honored with an exhibition at the Museum of the City of New York.

 De Salignac returned to the bridge to several times to catch more workers in the act of maintaining the bridge. Such as this photograph the following year:

Want to get lost for an hour or so? Check on the New York Municipal Archives vast trove of Eugene de Salignac photographs directly.

**This famous picture Lunch atop a Skyscraper was attributed first to Lewis Hine, then to Charles C Ebbets. Thank you to Michael Lorenzini for pointing this out!

Top photo courtesy New York Municipal Archives. Hine photo courtesy the George Eastman House

Categories
It's Showtime Podcasts

The Broadway Musical: A trip through American theater history

 

The Broadway Musical is one of New York City’s greatest inventions, over 150 years in the making! It’s one of the truly American art forms, fueling one of the city’s most vibrant entertainment businesses and defining its most popular tourist attraction — Times Square.

 But why Broadway, exactly? Why not the Bowery or Fifth Avenue? And how did our fair city go from simple vaudeville and minstrel shows to Shuffle Along, Irene and Show Boat, surely the most influential musical of the Jazz Age?

This podcast is an epic, a wild musical adventure in itself, full of musical interludes, zipping through the evolution of musical entertainment in New York City, as it races up the ‘main seam’ of Manhattan — the avenue of Broadway.

We are proud to present a tour up New York City’s most famous street, past some of the greatest theaters and shows that have ever won acclaim here, from the wacky (and highly copied) imports of Gilbert & Sullivan to the dancing girls and singing sensations of the Ziegfeld revue tradition.

CO-STARRING: Well, some of the biggest names in songwriting, composing and singing. And even a dog who talks in German!  At right: Billie Burke from a latter-year Follies. (NYPL)

This show, originally recorded in 2013, has been re-edited, remastered and even includes extra material which was cut from the original episode.

LISTEN NOW: THE BIRTH OF THE BROADWAY MUSICAL


A few images from Greg’s trip to the Museum of Broadway at 145 West 45th Street.

The Black Crook
Ziegfeld Follies
Showboat
Rent
The Phantom of the Opera

The original grid plan from 1811. As you can see, Broadway was not meant to extend further than the Parade Ground, the largest planned plaza from the Commissioner’s Plan. Years later, the Parade Ground was reduced (becoming Madison Square) and Broadway was allowed to break the grid, creating plazas conducive for transportation and public gathering. (NYPL)

New York Public Library

One of dozens of knock-off productions of HMS Pinafore, this one featuring children:

The facade of the Fifth Avenue Theater, once located at 1185 Broadway. Why was it called the Fifth Avenue Theater then? Possibly to just make the society ladies feel at home here!  This was home to three Gilbert & Sullivan original productions, including the premiere of The Pirates of Penzance.

The Florodora girls, from the hugely successful 1900 musical comedy which debuted at the Casino Theater. (NYPL)

The Casino Theatre at West 39th Street and Broadway.

One of the more fantastic creatures from Victor Herbert’s Babes In Toyland, which made its debut in Columbus Circle’s Majectic Theater. You can read my article here on the musical which inspired Herbert’s show, the musical version of The Wizard of Oz. (NYPL)

New York Public Library

George M Cohan singing “Over There”

Video of a Ziegfeld Follies from 1929, a bit past their heyday, actually. They would only last until 1931:

Sheet music from 1921 of one of the most famous songs from Shuffle Along (NYPL):

Dancing girls during the Actors Strike of 1919, which galvanized the industry and gave regular New Yorkers a window into the tough conditions faced by many background performers. (NYPL)

So the number ‘After The Ball’ — a huge hit song that made its stage debut in A Trip To Chinatown — made a return appearance to Broadway in 1927’s Show Boat!

Musical cues from this week’s show:
Give My Regards To Broadway and After the Ball performed by Billy Murray
A version of Make Believe recorded by Bing Crosby, and Ol Man River, performed by Paul Robeson, from a 1932 cast recording, featuring Victor Young and His Orchestra
Love Will Find A Way, from a 1921 recording by Eubie Blake
Selection from HMS Pinafore, from a 1914 recording by the Victory Light Opera Chorus

 And finally, a clip from the film version of ‘Show Boat’, featuring an iconic performance by Paul Robeson.
 

Categories
Landmarks

The Woolworth Building at 110: How they partied in 1913, with the “highest dinner ever held in New York”

This is how they turn on the lights at the tallest building in the world in 1913:

At some time after 7 pm, on April 24th, according the New York Sun the following day, “President [Woodrow] Wilson pushed a button in Washington last night, a bell tinkled in the engineer’s quarters far below the street level in the Woolworth Building and thousands of lights [80,000, by contemporary accounts] flashed out … to signal that New York’s newest heaven kissing tower was opened formally for service.”

As normal New Yorkers stared up in wonder at this glowing candle near City Hall, an electric vision that lorded over the dark hulk of the unloved Post Office across the street, a collection of wealthy men were gathered up on the 27th floor for a lavish banquet in honor of the building’s architect, Cass Gilbert (at right).

The Tribune called it “the highest dinner ever held in New York.” (The building is 57 floors; dinner could have been much higher but for tenants who had already moved in.)

Holding court this evening was, of course, Frank W. Woolworth, the man whose retail empire inspired the building’s construction.

Also presiding over the gala was Francis Hopkinson Smith, a close friend of Gilbert’s who, several years earlier, just happened to built the foundation for the Statue of Liberty.

People toasted a true American entrepreneur. They toasted his visionary architect and his world-class achievement. Many toasted the fact that both men, after years of arduous work, were still talking to each other.

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The Woolworth Building at night in 1913. This extraordinary photo is courtesy of Shorpy, my favorite website of all time. Click here to see the whole spectacular version and to search their their archive of cleaned-up vintage photos. (You can find the original picture at Library of Congress.)

It was a celebration of the filthy rich, possibly one of the most indulgent dinners of the Gilded Age.

In attendance were governors, dozens of congressmen and military men, judges, the police commissioner and at least seven of Woolworth’s early business partners. A letter from William Howard Taft, a month into his post-presidency, elicited enthusiastic applause.

But nothing like the reaction when Gilbert stood up to honor his benefactor, who paid for the entire building from his lucrative retail profits. “I asked his bankers about it and they told me that the Woolworth Building is a structure unique in New York, since it stands without mortgage and without a dollar of indebtedness.”

At this, the 37th floor erupted into “the big noise of the celebration.” Gilbert was then presented with a bronze foot-high cup — a literal trophy earned for building one for Frank Woolworth.

Following the dinner, Boy Scouts — patient ones, apparently — then raced downstairs ten floors to the Marconi wireless station, where an honored greeting was sent back to President Wilson.

Below: The Woolworth and lower Manhattan in 1919, lit from a building in Brooklyn.  Specifically this was the Sperry Spotlight. You can read my article on ‘the world’s most powerful searchlight’ here. (Picture courtesy Library of Congress)

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The Woolworth Building was an achievement of American capitalism and a fabulous symbol of limitless New York real estate. Its technical achievements, impossible to imagine a decade prior, only reinforced the themes of the day — money could defy gravity.

On the day of the official opening, the following ad ran in the Evening World (While April 24th was the ceremonial first day, May 1st was the beginning of the building’s leases.):

Nobody would “forget about you” — provided you took out a lease at the Woolworth — but most importantly they certainly wouldn’t forget the name affixed to this building. The Woolworth continued the trend of business owners who created skyscrapers as a show of business dominance.

Newspapermen popularized the trend — for instance, The World Building, offices for Joseph Pulitzer‘s New York World, was also a world’s-tallest at one point — and insurance companies and retailers would perfect it.

In fact, three decades later, the crown for world’s tallest building would be taken by a structure in midtown Manhattan named for a car company — The Chrysler Building.

The Woolworth was considered a vertical super-city, in an era before anybody ever dreamt of Rockefeller Center.

“You can deposit and draw money at the bank on the first floor; in the basement there are barber shops and a swimming pool, one of the largest in New York …. There is an arcade lined with attractive shops whose fronts are entirely of plate glass. Then there is a luncheon club, library and gymnasium on the 28th floor and an observatory station on the roof.”

Woolworth’s own businesses took up only two floors. The rest were filled with such premiere tenants as Fordham University (its law school and dean’s offices were here), Irving National Bank and even Columbia Records.

Below: A study for Woolworth’s private office in the Woolworth Building. Frank Woolworth was obsessed with the life of Napoleon Bonaparte, and his office was fashioned on a room from Napoleon’s castle in Compaigne, France.  (Pic courtesy LOC)

Today, we might consider the Woolworth Building to be a rather elusive monument. You can’t regularly tour it, and its style, before New York’s zoning laws, makes it a unique stranger within New York’s skyscraper population. You can’t interact with it like Grand Central, and it doesn’t have the personality of the art-deco Chrysler or the Flatiron.

But even if its nightly mystical posture on the skyline somehow fails to ensnare you, the Woolworth Building stands alone as an influence to almost every skyscraper that has come afterwards, from the Empire State Building to the Woolworth’s old neighbor the World Trade Center.

Of the many grand visions born in New York before the 1910s — the Erie Canal, Central Park, the Croton Aqueduct, the Brooklyn Bridge — the Woolworth Building is easily the most effortless in execution. And arguably the most duplicated.

Or as the Sun prophesied a week after the building opened: “The Woolworth Building is unique, it was explained. Its style of architecture is original in office buildings and there were no precedents or rules upon which to go. The proportions have now been ascertained and will be available for the guidance of architects in the future.”

Photo by Alan Miles/Flickr

————-
A couple other Woolworth Building themed posts in the past week: Cass Gilbert’s three stunning prequels to the Woolworth Building and Before Woolworth: The early towers of lower Broadway at the birth of the skyscraper boom.

Interested in learning about the history of the Woolworth Building? It’s our Episode 76. You can download it from here, find it on iTunes, or just play it below!

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And finally, I found this in a July 1919 copy of the New York Evening World — the Woolworth Building as a possible air dock for dirigibles! (This never happened of course.)

This article originally ran on the Woolworth Building’s 100th anniversary.

Categories
On The Waterfront

A short history of New York City’s various Titanic memorials

The South Street Seaport is the home for a great many nautical treasures. It’s also the location of a memorial to nautical tragedy.

The Titanic Memorial, a 60-foot white lighthouse, sits in the little plaza at Fulton and Water Streets.

This was no mere decorative lighthouse as it seems today.

For much of its history, it was an operational light source, a beacon over the East River.

The memorial’s first home, atop the Seamen’s Church Institute (Courtesy NYPL)

The Titanic sank on April 15, 1912, killing more than 1,500 people from all social classes.

The loss shook society to its core. Among the victims were prominent New York businessmen and benefactors such as John Jacob Astor IV and Benjamin Guggenheim.

As New Yorkers mourned the loss of loved ones, they immediately funneled their grief into the building of memorials, the physical remembrance of a disaster that left virtually no trace behind.

Mayor William Jay Gaynor gathered community leaders to City Hall in May 1912 to solicit ambitious ideas of the new memorial.

The Evening World attributes one idea for a lighthouse to engineer Carroll Livingston Riker, who suggested “the lighthouse should be located at some perilous point on the coast, illuminated by a most powerful light and with a great fog horn that may be heard many miles as part of its equipment.”

Meanwhile, a less dramatic lighthouse memorial (pictured above) was funded by J.P. Morgan and planned for the top of the new Seamen’s Church Institute at 25 South Street.

From a 1912 handbill, drumming up support for a proper memorial. (Courtesy Seaman’s Institute)

The lighthouse was equipped with a time ball which was lowered at noon to help distant sailors adjust their equipment. (This same sort of ball is affixed to the top of One Times Square in 1908, dropped every year at ring in the new year.)

The lighthouse memorial was dedicated on the first anniversary of the disaster with many family and friends of victims in attendance.

The New York Times claims the lighthouse and ball drop atop the Institute “were simply features of the existing plan, relabeled as a memorial.” [source]

However it became New York’s most prominent remembrance of the Titanic disaster after all when, over at City Hall, nobody could make up their mind on a truly grand memorial. (All you need to know about the city’s failed efforts is illustrated in this 1912 headline on one meeting — “One Man Made 18 Speeches.”)

Meanwhile, there were other Titanic memorials being planned in other parts of the city.

In Greenwich Village, in the Washington Square studios of Gertrude Vanderbilt Whitney, the artist began work on a sculpture for a national memorial in Washington D.C.

She displayed a model for the memorial in February 1916 that drew gasps from society women.

“[T]he present figure with its pedestal extends from floor to ceiling and catches interesting lights that add to the highly dramatic conceptions.” [source]

A study of the Titanic memorial which was displayed at Whitney’s Village studio. (Courtesy AAA/Whitney Museum)

Whitney’s triumphant statue –of a figure with arms outstretched (not unlike Kate Winslet’s pose in the film Titanic) — was completed in 1918 but not installed in Washington until 1930 due to waterfront construction delays

Yet another Titanic memorial was planned in June 1912 to honor philanthropists Isador and Ida Straus near their home on the Upper West Side. A competition was held in 1913 for aspiring sculptors, with Augustus Lukeman’s pondering nymph the eventual winner.

The statue and the newly named Straus Park were formally dedicated on April 15, 1915.

Featured at the dedication ceremony were 800 children who had been helped by Straus’ Educational Alliance on the Lower East Side.

Below: Dedication of Straus Square and its curious monument. (Courtesy Library of Congress)

As for the Titanic Lighthouse Memorial?

It sat dutifully atop the Seamen’s Institute for decades, its green light a welcome beacon to those entering the harbor.

By the 1950s, shipping no longer came through the area of New York’s waterfront, and the Institute eventually sold its building.

The lighthouse was donated to the South Street Seaport Museum in 1968, then a budding institution formed just a couple years prior to protect the historic structures of the area.

For a time, the lighthouse actually sat on the waterfront before relocating back to its present home in 1976, in a park partially funded by Exxon Oil.

There was one other memorial to the Titanic disaster — the Wireless Operators Memorial at Battery Park. This bronze cenotaph and fountain was dedicated in 1915 to nine intrepid employees — “wireless heroes” — who died on the Titanic and in other ocean disasters.

Wrote J. Andrew White in 1915: “It is an eloquent reminder of a tradition that has grown out of the brand of courage which seeks no precedent, which, founded on the heroic action of a mere boy, has been written in the indelible annals of the men who go down to the sea in ships.”

After sitting in storage for many years, the memorial can once again be found in Battery Park. 

Categories
Skyscrapers

The grand opening of the World Trade Center on April 4, 1973; Richard Nixon, labor strikes and “General Motors Gothic”

For our 350th episode, we looked at the history of the construction of the World Trade Center. After reading this article, listen to the show for a deeper dive into the story:


Let me take you back to a simpler time, back to a time where it might have been okay to hate the actual World Trade Center.

The World Trade Center was originally seen as a representation of New York’s own dreams and failures. The buildings represented progress to some, disruption to others.

An entire business district — Radio Row — was eliminated in its construction. Another neighborhood — Battery Park City — sprang up in its shadow. The monumental design by Minoru Yamasaki radically altered (distorted?) the skyline. Some of New York’s oldest streets were now blocked from sunlight. On the other hand, an area of Manhattan that would have been susceptible to rising blight was now renewed.

It was the apotheosis of post-modern design, the apex of New York City construction.

Everything grand and intolerable about New York City in the late 1960s/early 1970s was embodied here in these two impossibly tall shafts of metal.

Many saw a waste of resources and state governments with skewered priorities.  Business interests were hopeful the buildings would reinvigorate the Financial District. They would, eventually.  

But back in 1973 many openly wondered how its owner, the Port Authority of New York and New Jersey, were even going to attract tenants.

Below: The view of downtown Manhattan from a New Jersey marina

Courtesy Museum of the City of New York, Edmund V Gillon
Courtesy Museum of the City of New York, Edmund V Gillon

After years of construction that transformed lower Manhattan, the buildings were officially opened in a ribbon-cutting ceremony on April 4, 1973.  Far from a rapturous embrace, the opening of the world’s tallest buildings was met with relief, resignation and turmoil.

Few were in a mood to celebrate two shiny new symbols of wealth in a city slowly nearing bankruptcy.

Here are a few more details from its opening day and its aftermath:

People were already over it:  The opening was occasioned by severe rain. (It’s in good company; the opening of the Statue of Liberty was also met with a downpour.)  Even without it, however, the celebration would have been heavily muted.  

The ground was broken on the World Trade Center site almost seven years before, and New Yorkers had plenty of time to get used to the rising towers. The first tower had been completed by 1970, but by then, the city had become rather jaded to the expensive buildings.  As it was, lower levels of the second building were still not even completed.

Disagreements: The top luminaries at the opening were New York governor Nelson Rockefeller and New Jersey governor William T. Cahill.  The World Trade Center was a Port Authority project;  PATH trains to New Jersey were rumbling underneath (or were supposed to be, see below).

While the two governors seemed in playful spirits, Cahill openly resented the backseat his state took in the finished product.  According to author Eric Darton:  “Cahill implies that New Jersey’s commuter rail needs have taken second place to the trade center, and Rockefeller, still grinning, points towards the Jersey shore. ‘You see all those magnificent container ports,’ he says, ‘that took all those jobs away from New York.’ “

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In Absentia: Gone were the days when U.S. presidents showed up at the opening of New York landmarks, but President Richard Nixon did send a statement, hailing WTC as “a major factor for the expansion of the nation’s international trade.”  That very same month, the Watergate cover-up erupted into the scandal that would eventually lead to his resignation the following year.

STRIKE! Not only was Nixon not there, but the man he designated to read the speech — Peter J. Brennan — was not even there.  Three days earlier, the Brotherhood of Railway Carmen union began a strike against Port Authority.  Because of the strike, the PATH train — that glorious feature of the new World Trade Center — was closed for a total of 63 days.  Brennan was Nixon’s new Secretary of Labor, so it would hardly seem proper to break the picket line. Nixon’s speech was delivered instead by a Port Authority chairman.

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Critics, Part One: Noted labor leader and powerful mediator Theodore W. Kheel was violently against the states’ interest in the World Trade Center. Calling it “socialism at its worst,” he demanded the governors take the podium on ribbon-cutting day and sell the building to private investors “at the earliest possible date.”

Others were perhaps understandably concerned that the buildings, given special tax status, were now a quarter-filled with state offices and certainly destined to empty and bankrupt office buildings with no such tax breaks in the surrounding area.  Luckily, Kheel did live to see the building sold to private concerns in 1998.

Critics, Part Two: Somebody else was saving up some vitriol for opening day — noted architectural critic Ada Louise Huxtable.  Having years to craft some well-worded jabs, she did so in a column in the New York Times the following day. “These are big buildings, but they are not great architecture…..The Port Authority has built the ultimate Disneyland fairytale blockbuster. It is General Motors Gothic.”

Critics, Part Three:  Labor leaders were disgruntled. Critics dismissed it. But many New Yorkers outright loathed it. It’s a bit disturbing to read such outright disgust over structures that we have very different feelings about today.  From the Village Voice a week after the opening:  

“The ecology-minded and those who are concerned with the energy crisis are fond of predicting that the building will have to be torn down — or at the very least abandoned — on that not-to-distant day when the power it consumes puts an intolerable strain on our already-diminishing power reserves.”


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Nowhere to Eat: The World Trade Center could facilitate thousands of employees, but, on opening day, it had one restaurant, called “Eat and Drink,” where “the waitresses wear hard hats and its busboys wear vests inscribed “Ecologist” on the back.” 

In the second building, a makeshift sandwich shop opened on the unfinished 44th floor. Needless to say, outside food vendors in the area were not displeased.

Subversion The ribbon-cutting ceremony also marked the end of One World Trade Center’s dominance as the world’s tallest building. Chicago trumped it when Sears Tower topped out at 1,454-feet less than one month later.

In New York, the buildings quickly became a totem of excess, of something that could be symbolically overcome. You may be familiar with the daredevil Philippe Petit and his insane and unbelievably majestic (and illegal) tightrope walk between the towers. But you may not remember that it took place just sixteen months after the opening, on August 6, 1974.

Two years later, King Kong performed a similar sort of feat in the 1976 remake starring Jessica Lange.

But there was magic in the air.  On the very same day as the ribbon-cutting, in a hospital across the water in Brooklyn, a woman went into labor and gave birth to a child who would later become the nightclub-loving illusionist David Blaine. The World Trade Center and David Blaine — born on the same day!

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Photography on this page, from various periods, by Edmund V. Gillon, courtesy of the Museum of the City of New York.  Check out their online gallery for some more beautiful black-and-white shots. 

This article originally ran on September 11, 2014.

Categories
American History Podcasts The Immigrant Experience

When The Irish Came To New York: An Immigrant Story

One of the great narratives of American history — immigration — through the experiences of the Irish.

We just reedited and reworked our 2017 show on Irish immigration in time for St. Patrick’s Day and a celebration of all things Irish! So much has changed in our world since 2017 and this history feels more relevant and impactful than ever before. 

You don’t have a New York City without the Irish. In fact, you don’t have a United States of America as we know it today.

This diverse and misunderstood immigrant group began coming over from Ireland in significant numbers starting in the Colonial era, mostly as indentured servants. In the early 19th century, these Irish arrivals, both Protestants and Catholics, were already consolidating — via organizations like the Ancient Order of the Hibernians and in places like St. Patrick’s Cathedral.

Emigrants leaving Queenstown for New York / M.F. [Published] Photograph. Retrieved from the Library of Congress

But starting in the 1830s, with a terrible blight wiping out Ireland’s potato crops, a mass wave of Irish immigration would dwarf all that came before, hundreds of thousands of weary, sometimes desperate newcomers who entered New York to live in its most squalid neighborhoods.

The Irish were among the laborers who built the Croton Aqueduct, the New York grid plan and Central Park. Irish women comprised most of the hired domestic help by the mid 19th century.

The arrival of the Irish and their assimilation into American life is a story repeated in many cities. Here in New York City, it is essential in our understanding of the importance of modern immigrant communities to the life of the Big Apple.

PLUS: The origins of New York’s St. Patrick’s Day Parade!

LISTEN HERE: When The Irish Came To New York


The Bowery Boys: New York City History podcast is brought to you …. by you!

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We greatly appreciate our listeners and readers and thank you for joining us on this journey so far.


St. Patrick’s Old Cathedral, the embodiment of early Irish pride in New York. Below: A photograph by Edmund Gillon from 1975.

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Irish Emigrants Leaving Home — The Priest’s Blessing (dated 1851)

A lithograph by Maurer and Currier (of Currier and Ives) illustrating a rather stereotypical scene of Irish life.

An anti-Catholic illustration from 1855.

Library of Congress

In 1860, fear of foreigners inspired a San Francisco cartoonist to draw this image, imagining laborers from Ireland and China (responsible for building the railroads) ‘swallowing’ up the country. A mixed Irish/Chinese caricature completes the job.

Library of Congress

St. Patrick’s Cathedral on Fifth Avenue, a new signpost for the acceptance of the Catholic religion in America, sits alongside acres of hot real estate in 1905. Its neighbors would slowly transition from luxury manors to upscale shops and department stores.

Image courtesy Shorpy

By 1872, you were seeing much more thoughtful depictions of Irish Americans such as this one  by Duval and Hunter. “Print shows a mother pinning clover on her son’s suit lapel, on the right is a young girl standing at an open window waving a banner “God save Ireland.” A domestic scene in a palor with a sewing machine on the left.”

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The departure of the 69th Infantry Regiment, the ‘Fightin’ Irish’ brigade headed to the battlefields of the Civil War. Lithograph dated 1862.

The caption, dated 1866 — “Irish Emigrants Leaving Their Home For America — The Mail Coach From Cahirciveen, County Kerry, Ireland.”

From a Harpers Weekly article from 1874 — leaving Queenstown (today’s town of Cobh) for New York.

Library of Congress

The insanity of Castle Garden, the prime immigration station in New York in 1880, before the construction of Ellis Island. Below that, registering names at Castle Garden in 1871.

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The hazards of immigrants leaving Castle Garden, as vividly illustrated by Puck Magazine.

The flow of immigrants were better accommodated by Ellis Island, pictured here in 1907.

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Irish women line up at the Emigrant Savings Bank, withdrawing money to send back to relatives in Ireland. (1880)

Library of Congress

Irish vaudeville often poked fun at their own stereotypes — and promoted many others. This 1880 Harrigan and Hart sketch was called ‘Ireland vs Italy.’

MCNY

An 1886 cartoon by Bernard Gillam, illustrating the Tammany Hall tiger with Irish accoutrement.

Courtesy MCNY

‘Professor’ Mike Donovan, an Irish-American boxer who performed out west then became a boxing instructor in New York up until his death in the Bronx in 1918.

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A typical example of an Irish-themed song from the Gilded Age, of the type which is obviously playing with some stereotypes of Irish people.

By 1895 the St. Patrick’s Day Parade is a genuine event, drawing New Yorkers of all kinds. These pictures are along 57th Street.

The parade in 1909, featuring a banner for the Kerrymen’s Patriotic and Benevolent Association.

The St. Patrick’s Day Parade, between 1910-15

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A version of this podcast and page was originally released in March 2017.

Categories
Film History It's Showtime ON TELEVISION

When New York hosted the Oscars

Despite the Academy Awards being a celebration of all things Hollywood, New York has actually hosted the Oscar ceremony on more than one occasion. Or rather, they co-hosted the event — from 1953 to 1957 — in a rare and soon abandoned bicoastal ceremony that taxed the mechanics of television’s earliest production crews.

There were two reasons for this complicated arrangement. NBC, who was broadcasting the event, had most of their principal stages in New York. After all, the first NBC studios were at Rockefeller Center, where they still remain today. Even The Tonight Show, perhaps NBC’s first and most famous Burbank production, filmed in Manhattan until the early 1970s.

Just as important, many film stars were in New York, unable to get out of theatrical commitments on Broadway. And frankly, in the years before international television viewership, the Oscars simply did not have the same urgency as they do today. Thus, the award show came to them.

Judy Holliday gives Jose Ferrer a friendly squeeze — and Gloria Swanson bursts with joy — as Ferrer’s name is announced as the winner of Best Actor, at La Zambra in midtown. (Getty Images)


23rd Annual Academy Awards

Best Picture winner: All About Eve
March 29, 1951

Before splitting the broadcast, the Oscars once tried a very strange live radio remote from a New York nightclub.

For the 23rd Annual Academy Awards, held on March 29, 1951, many nominees like Judy Holliday and Gloria Swanson remained in New York. Both Swanson and Jose Ferrer, starring in the Broadway comedy Twentieth Century, were nominated that year.

Instead of disappointing a sell-out theater audience, Ferrer invited all the nominees to an after-theater party at the La Zambra (127 W. 52nd Street), a nightclub owned by Spanish guitarist Vincente Gomez. A live radio link was set up among the tables, and nominees wined and dined waiting for their categories to be announced out in Los Angeles.

The club was hopping that night. Ferrer won Best Actor (for Cyrano de Bergerac), and Holliday won Best Actress (for Born Yesterday), giving their speeches into a radio microphone as champagne corks popped in the background. (Swanson, who thought she might win for Sunset Blvd., was less enthusiastic for Judy’s win.)

It’s appropriate they were in New York, as Ferrer and Holliday both won for film adaptations of Broadway shows in which they had starred. And clearly underscoring the power that the New York stage still had on the film business, Best Picture went to the stage drama All About Eve.


Shirley Booth accepts her Oscar in New York, as the audience in Los Angeles watches on. (LIFE images)



25th Annual Academy Awards

Best Picture winner: The Greatest Show On Earth
March 19, 1953

While the Los Angeles crowd were entertained by host Bob Hope, the attendees to the first official bicoastal New York ceremony were met by co-host Fredrick March, a two-time Academy Award winner. The event was broadcast from 5 Columbus Circle, at the International Theatre.

In 1953, the International was a worn out, tired New York stage, having gone through a host of different owners and renovations since it first opened — as the Majestic Theatre — in 1903. At different periods of time, it was owned by Florenz Ziegfeld and William Randolph Hearst, and its stage played hosts to virtually every form of entertainment, from burlesque to ballet.

Definitely an odd setting for an awards program, especially given that this was also the first Oscar show to be broadcast on television. But the International was owned by NBC, who had agreed to fund the inaugural broadcast. And NBC’s fees to broadcast the program were especially valuable to Academy of Motion Picture Arts and Sciences, as the film studios had refused to fund an elaborate bi-coastal show.

The broadcast began 7pm PST and 10 p.m. here, to accommodate the Broadway stars just stepping off the stage. Due to staggered entrances, many of the seats at the International were empty for much of the ceremony.

Among the nominees sitting in the Columbus Circle theater was Best Actress nominee Shirley Booth (above), who was starring in the Broadway play The Time Of The Cuckoo on 40th and Broadway at the now-demolished Empire Theatre. She won the Oscar for the film version of Come Back, Little Sheba; she had won a Tony Award for the stage version in 1950.

Given the limitations of early television technology, it’s amazing they were able to broadcast simultaneously between two coasts at all. Glitches did cause a few amusing gaffes for television audiences. When the universally reviled film The Greatest Show On Earth somehow won Best Picture over the favorite High Noon, the camera switched to the New York audience, who sat there not clapping and in mild confusion.

There would not be another Oscar telecast at the International, or anything else for that matter. The very next year, NBC moved out, and the theater was unceremoniously torn down, replaced with one of Robert Moses’ pet projects, the ill-fated Coliseum convention center.


Audrey snatches off her blonde Ondine wig as her limousine races her to the Oscar ceremony uptown.

26th Annual Academy Awards
Best Picture Winner: From Here To Eternity
March 25, 1954

For the remainder of the Oscars’ short stay in New York, they were broadcast from the New Century Theater*, at Seventh Ave. and 58th Street, right off Columbus Circle and best known as the theater that Orson Welles and his spirited cast stormed in 1937 to perform his musical The Cradle Will Rock.

Film fans were set up in bleachers outside, just as they’re popularly done out in Los Angeles. But one New York nominee didn’t get there in time to meet her fans. Audrey Hepburn was down at the 46th Street Theatre performing the play Ondine, costumed in a blonde wig.

After the show, she raced to the Century in a limousine (with police escort, no less), ripped off her wig, rushed to the bathroom to wipe off her stage makeup, then settled into her seat for less than ten minutes before standing again to accept the trophy for Best Actress for Roman Holiday.

Here’s video of Audrey’s win. You can see the ‘switch off’ between the Los Angeles and New York feeds.

Audrey, off Columbus Circle: Hepburn sits in nervous anticipation at the New Century Theatre, moments before she wins for Best Actress.

The show, hosted in New York again by Fredric March, had another New York icon receiving an Oscar that year — Frank Sinatra, Best Supporting Actor for his role in the Best Picture that year. However, he was in Los Angeles to accept it.

(You can find tons of pictures of Audrey in her post-Oscar glow at the NBC Photo Bank.)

Claudette Colbert and Joseph Mankiewicz presided over a sedate New York audience, while out in Los Angeles, audiences were energized by young comedian Jerry Lewis. (Courtesy Oscars)



27th and 28th Academy Awards

Best Picture Winners: On The Waterfront, Marty
March 30, 1955; March 21, 1956

It became obvious to most viewers that the bicoastal productions were becoming lopsided. After all, it was early evening in Los Angeles, and most of the young, fresh talent was there. In New York, it was post-theater time, and attracted the older stars — some exhausted from stage productions. Nothing exemplifies this more than the 28th Oscar ceremony, hosted in New York by proper Claudette Colbert and Joseph Mankiewicz and in Hollywood by the hot new comedian Jerry Lewis, whose ribald antics made the New York cutaways seem drab.

But the awards were all about the East Coast. The Best Pictures these two years were for films set in Hoboken, NJ and the Bronx, respectively. Much of the cast of On The Waterfront were actually at the New York ceremony, including Best Supporting Actress winner Eva Marie Saint (pictured below), her pregnancy concealed by a jacket as she mounted the stage to accept her award. (Here’s the video of her win, again highlighting the difference between the New York and the L.A. ceremonies.) Best Director Elia Kazan was also here to accept his trophy. Marlon Brando, however, was out in Los Angeles, apparently where the fun was.

The following year, this time with Colbert going solo as the East Coast mistress of ceremonies, Best Picture went to Marty, another show originating from New York. But not from a Broadway stage. As a symbolic move towards the importance of the small screen, the Ernest Borgnine vehicle was based on a teleplay from the Goodyear Television Playhouse.

Below: Eva Marie Saint, in shock, approaches the podium to accept her Best Supporting Actress Oscar for On the Waterfront, her tasteful ensemble barely concealing her pregnancy. (Courtesy Life images)


29th Academy Awards
Best Picture Winner: Around The World In 80 Days
March 27, 1957

It was clear by this time that the two coast production was more trouble than it was worth. While Hollywood went with Jerry Lewis again, while New York opted for the elegant but comparatively unexciting Celeste Holm.

The New York Times called it ‘a colossally listless affair.’ One of the few shining moments was an honorary Oscar to New York vaudevillian and Macy’s Thanksgiving balloon inspiration Eddie Cantor.

This would be the last year New York hosted the Oscars. And this would be the last hurrah for the New Century Theatre as well. It would be torn down in 1962 and replaced with the rather sleek, curvy 200 Central Park South co-op.

NOTE: To make this story slightly confusing, New York also had a Century Theatre on the other side of Columbus Circle that was demolished in the 1930s. Hopefully I’ve gotten these theaters all straightened out!

ALSO: You might like to see the Life Magazine photographs of Audrey pictured above in the context of the original Life Magazine article.

This article originally ran in 2011.

Categories
Bridges

The odd bridge over Broadway vs. Knox the Hatter

The bulky and yet somewhat elegant contraption above is the short-lived Loew Bridge, which once hung over Broadway at Fulton Street back in 1867 and 1868, an early cast-iron pedestrian bridge at one of the busiest intersections in the city.

It was named not for its architect, but for the comptroller of New York at the time, Charles E. Loew.

Crossing the street was indeed a challenge then, in an era of no traffic lights and conveyances operated by horses. A couple blocks to the north lay the heart of city government and the publishing industry, not to mention St. Paul’s Church and the Astor House, New York’s finest early hotel. (Both are seen in the photo below.)

New York Public Library

The bridge, which opened in April 1867, provided a respite to New Yorkers frustrated with dirty streets and impossible crossing options for pedestrians. One fanatic was even inspired to pen a lengthy poem to its honor.

Unfortunately, it was not popular with surrounding business owners, particularly the one at 212 Broadway. That storefront, the hatter of one Charles Knox, was obscured by the bridge’s latticework and decreased business opportunities, he alleged.

It seems unusual that one businessman would be able to effectively crumble a new bridge to the ground, but Mr. Knox had the city’s sympathies.

Two years earlier, his original shop had been destroyed in the same fire that incinerated Barnum’s American Museum. However he managed to unite some business owners of the area and eventually “brought suit against the city for $25,000 damages.” [source]

Most likely, Knox was more concerned with the belief that he was losing business to a rival hat shop across the street. (After all, to paraphrase a popular cliche, the hats are always cleaner on the other side.) Thanks to his efforts, the city ripped the bridge down less than two years after first erecting it, and citizens went back to their filthy and treacherous street crossings.

Back to square one, it seems. I think the situation is very well summarized in this letter from ‘B.’ to the New York Times, published on December 20, 1868:

Taking down the Broadway Bridge appears to cause few remarks from the press, and when they have spoken they have rather been in favor of the removal.

“It appears to me the bridge, at certain periods was a great convenience, notwithstanding its needless height. When the snow slush is a foot thick, and the street blocked up with stages and trucks in a dead lock, it is a great accommodation to have a bridge to cross. It is almost impossible for women and children to cross Broadway, near Fulton Street, at such times; and if men get over it is at the risk of being covered with filth.

“Before the bridge was built, the writer has walked from Liberty Street to near Wall before getting across. At that time the papers were continually talking about ‘relief to Broadway”; but since the bridge was built, that has ceased. I think we shall hear it again on the first thaw after a heavy snowstorm, when crowds will be seen standing at the corners wondering how they will be able to get over the street.  

“If the bridge is an injury to private property, the owners should be remunerated for the damage; not that a few shopkeepers, because their business is injured, or they think it is, should be the means of inconveniencing the whole public by having it removed.  

“If that were the case with railroads, every farmer would have the power of stopping the road going over its land, because he thought it injured it — and there would not be a railroad in this country.”  

Images above from the New York Public Library digital collection

 
 

Article originally published in 2011

Categories
Landmarks Politics and Protest Preservation

Federal Hall: Now and Always An American National Treasure

Federal Hall National Memorial, currently administered by the National Park Service, has always been a popular landmark with tourists thanks to its position on one of the most photographed intersections in New York. Who can resist that noble statue of George Washington silently meditating on the financial juggernaut of Wall Street?

In 2015 Federal Hall was officially named an official American National Treasure, part of the ongoing Saving Places program by National Trust for Historic Preservation calling attention to endangered landmarks of national significance. (The following article was originally posted that year in honor.)

It joins an impressive hodgepodge of local landmarks such as South Street Seaport, the Lower East Side Tenement Museum and the Whitney Studio.

While this sounds like a distinction that might pique the interest of Nicolas Cage — after all, he broke into Trinity Church up the street in the first National Treasure film — the National Treasure program gives a boost to historic places that may be otherwise neglected or under-appreciated. When’s the last time you were there?

Here are a few facts about the history of Federal Hall that you may not have known:

1. This isn’t the real Federal Hall The original structure was built in 1699, built by the British who used materials from the city’s demolished north defense wall — aka the wall of Wall Street — to construct it. It was the center of most governmental functions, from city administration to later federal functions.

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2. That Federal Hall was remodeled by a controversial architect. Pierre Charles L’Enfant, a successful city contractor and former Continental Army engineer redesigned the structure in time for its use as the first national capital.

According to David McCullough, it was the first building in America designed to exalt the national spirit, in what would come to be known as the Federal style. Lâ’Enfant would later work on the creation of Washington DC from Maryland swampland and be fired from that project by George Washington.

Courtesy Nationaal Archief

Courtesy Nationaal Archive

3. George Washington was first inaugurated here on April 30, 1789. The King James bible he was sworn in with — property of a New York Freemason lodge — is still at Federal Hall.

4. The original Federal Hall was torn down in 1812 when city administration moved to the new City Hall.  Its materials were sold off to make other buildings in the city.

Below: Wall Street in 1825 without a Federal Hall, either old or new!

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5. The current Federal Hall is actually the original U.S. Custom House which opened in 1842, replacing a structure used for that purpose at 22-24 Wall Street.

Courtesy Museum of the City of New York
Courtesy Museum of the City of New York

6. The offices of the Custom House again moved in 1855, and the building was used as the U.S. Sub-Treasury building. In 1913 it became the first place in New York to buy the original buffalo nickel.

Below: Suffrage proponents Mrs. W.L. Prendergast, Mrs. W.L. Colt, Doris Stevens, Alice Paul stop in front of Federal Hall

Courtesy Library of Congress
Courtesy Library of Congress

7. In 1918 Charlie Chaplin and Douglas Fairbanks famously drew thousands to the steps of Federal Hall to promote the sale of war bonds. Later that year doughnuts were auctioned off from its steps as a war fund-raiser.

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8. In 1920 a wagon full of dynamite exploded across the street from the Sub-Treasury, killing 38 people in what is today still an unsolved mystery.

Courtesy Museum of the City of New York
Courtesy Museum of the City of New York

9. The Sub-Treasury had moved out by the 1930s, and the building was officially re-opened as the Federal Hall Memorial Museum in January 1940. It was inspired in part by America’s celebration of the 150th anniversary of Washington’s inauguration. The 1939-40 World’s Fair presented a replica of the original Federal Hall even after an earlier version of Federal Hall in Bryant Park failed to attract visitors. 

Courtesy New York Public Library
Courtesy New York Public Library

10. Federal Hall received a massive renovation in 2006 after the collapse of the World Trade Center in 2001 weakened the foundations of the building.

Check out the official announcement at the website for the National Trust for Historic Preservation.

Top image by the Wurts Brothers, taken in 1908. Courtesy Museum of the City of New York

Categories
Museums Podcasts Politics and Protest

The Guarded Smile: Mona Lisa at the Metropolitan Museum

The Mona Lisa, Leonardo da Vinci’s stoic portrait and one of the most valuable paintings on earth, came to America during the winter of 1963, a single-picture loan that was both a special favor to Jackie Kennedy and a symbolic tool during tense conversations between the United States and France about nuclear arms.

The first stop was the National Gallery in Washington DC, where over a half million people spent hours in line to gaze at the famous smile.

Mona mania: New Yorkers line up outside the Met for the hottest ticket in town in 1963. — Image by ©Bettmann/Corbis

Then, on February 7, 1963, she made her debut to the public at the Metropolitan Museum of Art in the medieval sculpture hall, for a month-long exhibition that would become one of the museums most attended shows in history.  

New York tourist Mona Lisa

In the second half of this week’s show, we’re joined by Patrick Bringley, a former security guard at the Metropolitan Museum and a current tour guide. His book All The Beauty In The World: The Metropolitan Museum and Me, published by Simon & Schuster, recounts a decade of purpose, sorrow and epiphany while working in America’s largest museum. 

He’s making the rounds! Read this excellent New Yorker profile A Museum Soup-Thrower’s Worst Nightmare and listen to him on NPR.


For more information on the history of the Metropolitan Museum of Art, check out our podcast from last fall celebrating the museum’s 150th anniversary:

And for some dazzling backstory on the Mona Lisa and just exactly why she’s so famous, check out the Gilded Gentleman’s podcast The Theft of the Mona Lisa, Paris 1911.


Here’s an excerpt of the article in which this week’s podcast is based:

On that first day, thousands lined up outside in the freezing cold to catch a glimpse of the iconic painting; the first in line, a taxi driver named Joseph Lasky, got there at 4:30 in the morning.

By week’s end, already a quarter of a million people had visited the museum to see the Italian masterpiece.

Accommodating such a famous painting required some unprecedented changes in protocol. As a favor to the two governments, no admission fee was charged to view the painting, and weekday hours were extended until 9 pm each night.

Thousands of schoolchildren crammed the museum every morning, funneling by the modest-sized painting in a daze.

Museum director James Rorimer told the New Yorker, “The dirt we expect, from them and everybody else! The accumulation of dust from scuffling shoes! We’ll have literally balls of dust.”

From reports, it sounds like they got the dust and air quality under control. The painting was secured by bulletproof glass and a couple Secret Service agents.  

A line down the block to see Mona. Courtesy the Metropolitan Museum

But the museum sprinkler system almost created an international incident by nearly destroying the painting in an unplanned shower.

According to a memoir by former museum director Thomas Hoving, he arrived at the museum storeroom one morning to find people frantically scurrying around with towels.

“No one ever discovered why, but some time during the night one of the fire sprinklers in the ceiling broke its glass ampoule….The Mona Lisa, according to the Louvre official, was ok.  He told me that the thick glass covering it had acted like an effective ¦raincoat.”

That incident was never leaked to the press.

Actually, this would have been a good time to conceal something from the media as there was a newspaper strike at this time, shuttering many publications.

By the time the painting was packed up aboard the US United States for her journey back to the Louvre, the Mona Lisa had been seen by well over one million people.

According to the New York Times, the museum was able to identify the one-millionth visitor — one Arthur Pomerantz of New Rochelle — who was given a reproduction of the painting and gifts for his children.

The final tally, according to the Times:

This article was originally published on this site in July 2013.

Categories
Parks and Recreation

Remember the Maine Monument!

On Memorial Day in the year 1913, one of New York City’s great war memorials was finally unveiled — the Maine Monument, at the southwest corner entrance of Central Park.

The monument pays tribute to the 266 American soldiers who perished on the USS Maine, which exploded in Havana, Cuba, on February 15, 1898.

Given the various wars which have involved the United States since then, this event is sometimes overshadowed, but it so horrified and angered Americans that emotions helped fuel the conflict known as the Spanish-American War later that year.

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This is often considered a war manufactured by New York publishers as anti-Spanish rhetoric in the papers — the seeds of so-called ‘yellow journalism’, featuring outlandish exaggeration or out-right fabrication to sell their product to New Yorkers — led directly into military engagement.

Newspapers were not only behind the causes of war; they were behind its monuments too. Within days of the explosion, William Randolph Hearst called for donations for a memorial to the Maine’s fallen crew.

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Just as Joseph Pulitzer had done a decade earlier for the Statue of Liberty, Hearst went directly to its readers, young and old, to help fund a tribute to the Maine.

Given the wall-to-wall coverage of the war that year and the ample profits from newspaper sales, it’s strange that Hearst couldn’t just fund the whole thing himself.

Less than a month after the disaster, people around the country were fund-raising for the Maine Memorial.

In March 1898, a traveling comic opera crew was raising money in Oklahoma when its lead actress killed herself.

The following month, a vaudeville benefit at New York’s Koster & Bial in Herald Square was overtaken by sailors who took to singing patriotic songs from the balconies.

Hundreds of special benefits were hosted in theaters and stages across the country over the next decade.

It’s unclear how much of the proceeds ended up funding the monument, as it took well over a decade for money to be raised and its design — by New Jersey architect Harold Van Buren Magonigle, America’s go-to memorial designer of the Gilded Age — to be approved.

Magonigle enlisted his frequent collaborator Attilio Piccirilli to create the bronze and marble sculptures.

Some of that earnest enthusiasm seems to have disappeared when the memorial was finally dedicated on Memorial Day 1913.  

According the New York Sun, leading New York artist erupted in “a storm of criticism” at the shiny, ostentatious design, with aesthetes calling the work a “misfit” and “a disgrace to the city.”

Many thought its relationship to the actual Maine was lost in vague theatrical symbolism.  

“Architecturally and constructively the whole thing is cheap and bad.”[source]

Picture courtesy Museum of the City of New York
Picture courtesy Museum of the City of New York

The memorial was unveiled with a grand military parade and the attendance of ten warships in the harbor, including one from Havana.

There was, of course, one great conflict on everybody’s mind that day when, in the official ceremony, sworn enemies Hearst and Mayor William Jay Gaynor met at the unveiling. (Among many grievances, Hearst had unsuccessfully run against Gaynor for mayor in 1909.)

 With utmost restraint, Gaynor managed to shake Hearst’s hand without punching him in the face.

Two years later, a second memorial to the Maine was placed in Arlington National Cemetery in Washington, D.C.  And in 1926, a lavish monument was placed in Havana, Cuba.

Taken 1920, courtesy Museum of the City of New York
Taken 1920, courtesy Museum of the City of New York
Categories
Podcasts Science

The First Woman Ever Photographed: Light and Magic in Greenwich Village

Dorothy Catherine Draper is a truly forgotten figure in American history. She was the first woman to ever sit for a photograph — a daguerrotype, actually, in the year 1840, upon the rooftop of the school which would become New York University.

The circumstances that got her to this position were rather unique. She was the older sister of a professor named John William Draper, and she assisted him in his success and fame even when it seemed a detriment to her. The Drapers worked alongside Samuel Morse in the period following his invention of the telegraph.

The legendary portrait was taken when Miss Draper was a young woman but a renewed interest in the image in the 1890s brought the now elderly matron a bit of late-in-life recognition.

LISTEN NOW: THE FIRST WOMAN EVER PHOTOGRAPHED

This episode originally appeared on Greg’s podcast called The First which had a respectable run a few years ago. The feed for that show will be going away soon so we wanted to present some of that show’s greatest hits over the next few months, in between regular episodes of the Bowery Boys as bonus stories about American history. 


For information on how to visit the Draper homestead, head over to the website for the Hastings Historical Society. And the site is right off the Old Croton Aqueduct Trail which we visited in a show last year. So why not make a day of it?


Dorothy Catherine Draper in the first portrait photograph ever taken (no previous test examples survive) and the first photograph of a female face.

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Draper in the 1890s, in a photograph taken by her nephew.

Courtesy MCNY
Courtesy MCNY
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The observatory attached to the Draper house in Hastings-on-Hudson.

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John William Draper

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Samuel Morse from an image taken of him in Paris.

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