Diy On The Lower East Side

The severe financial austerity imposed on New York City during the 1975 fiscal crisis resulted in a city falling apart. Broken windows, crumbling walls, and piles of bricks were everywhere. While, for many, this physical decay was a sign that the postwar welfare state had failed, for others, it represented a site of risky opportunity that could stimulate novel forms of creativity and community. In this book, Andrew Strombeck explores the legacy of this crisis for the city's literature and art, focusing on one neighborhood where changes were acutely felt—the Lower East Side. In what became a paradigmatic example of gentrification, the Lower East Side's population shifted from working-class people to Wall Street traders and ad agents. This transformation occurred, in part, because of high-profile local artists such as Jean-Michel Basquiat, Keith Haring, Jeff Koons, and Kiki Smith, but Strombeck argues that neighborhood writers also played a role. Drawing on archival research and original author interviews, he examines the innovative work of Kathy Acker, David Wojnarowicz, Miguel Piñero, Sylvère Lotringer, Lynne Tillman, and others and concludes that these writers still have much to teach us about changes in the nature of work and the emergence of a do-it-yourself ethos. DIY on the Lower East Side shows how place and politics shaped literature, and how New York City policies adopted at the time continue to shape our world.

Before the Lower East Side was one of the most expensive and heavily gentrified neighborhoods in New York City, it was infamous as a site of class conflict, abandonment, and open-air drug dealing. With a deep radical history and a thriving arts scene, it was also the incubator for a squatting movement that blended urban homesteading and European-style squatting into something never before seen in the United States. Ours to Lose by anthropologist and historian Amy Starecheski follows a diverse group of Lower East Side squatters as they occupied abandoned city-owned buildings in the 1980s, defended them for decades, and then, in 2002, began a long and difficult process of converting their illegal occupation into legal cooperative ownership. This book does not just tell an interesting story about housing in New York. It uses this case to shed light on how property is crucial to our sense of ourselves as social beings. Starecheski also draws out surprising lessons about homeownership and the morality of debt in post-recession America. This is a timely contribution to the literature on urban housing, inequality, and direct political action by socially marginalized New Yorkers living just a few blocks from Wall Street.

*A Kirkus Best Book of July* *An InsideHook Book You Should Be Reading This July* A fascinating history that examines how real estate, gentrification, community and the highs and lows of New York City itself shaped the city’s music scenes from folk to house music. Take a walk through almost any neighborhood in Manhattan and you’ll likely pass some of the most significant clubs in American music history. But you won’t know it—almost all of these venues have been demolished or repurposed, leaving no record of what they were, how they shaped music scenes or their impact on the neighborhoods around them. Traditional music history tells us that famous scenes are created by brilliant, singular artists. But dig deeper and you’ll find that they’re actually created by cheap rent, empty space and other unglamorous factors that allow artistic communities to flourish. The 1960s folk scene would have never existed without access to Greenwich Village’s Washington Square Park. If the city hadn’t gone bankrupt in 1975, there would have been no punk rock. Brooklyn indie rock of the 2000s was only able to come together because of the borough’s many empty warehouse spaces. But these scenes are more than just moments of artistic genius—they’re also part of the urban gentrification cycle, one that often displaces other communities and, eventually, the musicians themselves. Drawing from over a hundred exclusive interviews with a wide range of musicians, deejays and scenesters (including members of Peter, Paul and Mary; White Zombie; Moldy Peaches; Sonic Youth; Treacherous Three; Cro-Mags; Sun Ra Arkestra; and Suicide), writer, historian and tour guide Jesse Rifkin painstakingly reconstructs the physical history of numerous classic New York music scenes. This Must Be the Place examines how these scenes came together and fell apart—and shows how these communal artistic experiences are not just for rarefied geniuses but available to us all.

In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic essay captures some of them in candid moments before performances. Other pieces revise standard accounts of well-known jazz figures, such as Duke Ellington, and lesser-known musicians, including Jeanne Lee; delve into how money, class, space, and economics affect the performance of experimental music; and take up the question of how digital technology influences improvisation. People Get Ready offers a vision for the future of jazz based on an appreciation of the complexity of its past and the abundance of innovation in the present. Contributors. Tamar Barzel, John Brackett, Douglas Ewart, Ajay Heble, Vijay Iyer, Thomas King, Tracy McMullen, Paul D. Miller/DJ Spooky, Nicole Mitchell, Roscoe Mitchell, Famoudou Don Moye, Aldon Lynn Nielsen, Eric Porter, Marc Ribot, Matana Roberts, Jaribu Shahid, Julie Dawn Smith, Wadada Leo Smith, Alan Stanbridge, John Szwed, Greg Tate, Scott Thomson, Rob Wallace, Ellen Waterman, Corey Wilkes

Interprets popular art forms as exhibiting core anarchist values and presaging a more democratic world. Situated at the intersection of anarchist and democratic theory, Anarchism and Art focuses on four popular art forms—DIY (Do It Yourself) punk music, poetry slam, graffiti and street art, and flash mobs—found in the cracks between dominant political, economic, and cultural institutions and on the margins of mainstream neoliberal society. Mark Mattern interprets these popular art forms in terms of core anarchist values of autonomy, equality, decentralized and horizontal forms of power, and direct action by common people, who refuse the terms offered them by neoliberalism while creating practical alternatives. As exemplars of central anarchist principles and commitments, such forms of popular art, he argues, prefigure deeper forms of democracy than those experienced by most people in today’s liberal democracies. That is, they contain hints of future, more democratic possibilities, while modeling in the present the characteristics of those more democratic possibilities. Providing concrete evidence that progressive change is both desirable and possible, they also point the way forward. Mark Mattern is Professor of Political Science at Baldwin Wallace University. He is the coeditor (with Nancy S. Love) of Doing Democracy: Activist Art and Cultural Politics, also published by SUNY Press, and the author of Acting in Concert: Music, Community, and Political Action.

Loisaida as Urban Laboratory is the first in-depth analysis of the network of Puerto Rican community activism in New York City’s Lower East Side from 1964 to 2001. Combining social history, cultural history, Latino studies, ethnic studies, studies of social movements, and urban studies, Timo Schrader uncovers the radical history of the Lower East Side. As little scholarship exists on the roles of institutions and groups in twentieth and twenty-first-century Puerto Rican community activism, Schrader enriches a growing discussion around alternative urbanisms. Loisaida was among a growing number of neighborhoods that pioneered a new form of urban living. The term Loisaida was coined, and then widely adopted, by the activist and poet Bittman “Bimbo” Rivas in an unpublished 1974 poem called “Loisaida” to refer to a part of the Lower East Side. Using this Spanglish version instead of other common labels honors the name that the residents chose themselves to counter real estate developers who called the area East Village or Alphabet City in an attempt to attract more artists and ultimately gentrify the neighborhood. Since the 1980s, urban planners and scholars have discussed strategies of urban development that revisit the pre–World War II idea of neighborhoods as community-driven and ecologically conscious entities. These “new urbanist” ideals are reflected in Schrader’s rich historical and ethnographic study of activism in Loisaida, telling a vivid story of the Puerto Rican community’s struggles for the right to stay and live with dignity in its home neighborhood.

Describes points of interest in New York City, including museums, gardens, zoos, historic sites, and seasonal events, and recommends hotels, restaurants, and nightspots

What was your earliest childhood artwork that received recognition? When did you first consider yourself a professional artist? How has your studio's location influenced your work? How do you choose titles? Do you have a favorite color? Joe Fig asked a wide range of celebrated artists these and many other questions during the illuminating studio visits documented in Inside the Artist's Studio—the follow-up to his acclaimed 2009 book, Inside the Painter's Studio. In this remarkable collection, twenty-four painters, video and mixed-media artists, sculptors, and photographers reveal highly idiosyncratic production tools and techniques, as well as quotidian habits and strategies for getting work done: the music they listen to; the hours they keep; and the relationships with gallerists and curators, friends, family, and fellow artists that sustain them outside the studio.