Selling The Lower East Side

The Lower East Side of Manhattan is rich in stories -- of poor immigrants who flocked there in the late nineteenth and early twentieth centuries; of beatniks, hippies, and artists who peopled it mid-century; and of the real estate developers and politicians who have always shaped what is now termed the "East Village". Today, the musical Rent plays on Broadway to a mostly white and suburban audience, MTV exploits the neighborhood's newly trendy squalor in a film promotion, and on the Internet a cyber soap opera and travel-related Web pages lure members of the middle class to enjoy a commodified and sanitized version of the neighborhood. In this sweeping account, Christopher Mele analyzes the political and cultural forces that have influenced the development of this distinctive community. He describes late nineteenth-century notions of the Lower East Side as a place of entrenched poverty, ethnic plurality, political activism, and "low" culture that elicited feelings of revulsion and fear among the city's elite and middle classes. The resulting -- and ongoing -- struggle between government and residents over affordable and decent housing has in turn affected real estate practices and urban development policies. Selling the Lower East Side recounts the resistance tactics used by community residents, as well as the impulse on the part of some to perpetuate the image of the neighborhood as dangerous, romantic, and bohemian, clinging to the marginality that has been central to the identity of the East Village and subverting attempts to portray it as "new and improved". Ironically, this very image of urban grittiness has been appropriated by a cultural marketplace hungry for new fodder.Mele explores the ways that developers, media executives, and others have coopted the area's characteristics -- analyzing the East Village as a "style provider" where what is being marketed is "difference". The result is a visionary look at how political and economic actions transform neighborhoods and at what happens when a neighborhood is what is being "consumed".

The Lower East Side of Manhattan is rich in stories -- of poor immigrants who flocked there in the late nineteenth and early twentieth centuries; of beatniks, hippies, and artists who peopled it mid-century; and of the real estate developers and politicians who have always shaped what is now termed the "East Village". Today, the musical Rent plays on Broadway to a mostly white and suburban audience, MTV exploits the neighborhood's newly trendy squalor in a film promotion, and on the Internet a cyber soap opera and travel-related Web pages lure members of the middle class to enjoy a commodified and sanitized version of the neighborhood. In this sweeping account, Christopher Mele analyzes the political and cultural forces that have influenced the development of this distinctive community. He describes late nineteenth-century notions of the Lower East Side as a place of entrenched poverty, ethnic plurality, political activism, and "low" culture that elicited feelings of revulsion and fear among the city's elite and middle classes. The resulting -- and ongoing -- struggle between government and residents over affordable and decent housing has in turn affected real estate practices and urban development policies. Selling the Lower East Side recounts the resistance tactics used by community residents, as well as the impulse on the part of some to perpetuate the image of the neighborhood as dangerous, romantic, and bohemian, clinging to the marginality that has been central to the identity of the East Village and subverting attempts to portray it as "new and improved". Ironically, this very image of urban grittiness has been appropriated by a cultural marketplace hungry for new fodder.Mele explores the ways that developers, media executives, and others have coopted the area's characteristics -- analyzing the East Village as a "style provider" where what is being marketed is "difference". The result is a visionary look at how political and economic actions transform neighborhoods and at what happens when a neighborhood is what is being "consumed".

The Lower East Side has been home to some of the city's most iconic restaurants, shopping venues, and architecture. The neighborhood has also welcomed generations of immigrants, from newly arrived Italians and Jews to today's Latino and Asian newcomers. This history has become somewhat obscured, however, as the Lower East Side can appear more hip than historic, with wealth and gentrification changing the character of the neighborhood. Chronicling these developments, along with the hidden gems that still speak of a vibrant immigrant identity, Joyce Mendelsohn provides a complete guide to the Lower East Side of then and now. After an extensive history that stretches back to Manhattan's first settlers, Mendelsohn offers 5 self-guided walking tours, including a new passage through the Bowery, that take the reader to more than 150 sites and highlight the dynamics of a community of contrasts: aged tenements nestled among luxury apartment towers abut historic churches and synagogues. With updated and revised maps, historical data, and an entirely new community to explore, Mendelsohn writes a brand-new chapter in an old New York story.

"Life on the Lower East Side, the first monograph of Lepkoff's work, highlights the area between the Brooklyn and Manhattan bridges from the Bowery to the East River. Over 170 beautifully reproduced duotone photographs and essays by Peter E. Dans and Suzanne Wasserman uncover a forgotten time and place and reveal how the Lower East Side remains both unaltered and forever changed."--BOOK JACKET.

Life on the Lower East Side was bustling. Immigrants from many European countries had come to make a better life for themselves and their families in the United States. But the wages they earned were so low that they could afford only the most basic accommodations—tenements. Unfortunately, there were few laws protecting the residents of tenements, and landlords took advantage of this by allowing the buildings to become cramped and squalid. There was little the tenants could do; their only other choice was the street. Though most immigrants struggled in these buildings, many overcame a difficult start and saw generations after them move on to better apartments, homes, and lives. Raymond Bial reveals the first, challenging step in this process as he leads us on a tour of the sights and sounds of the Lower East Side, guiding us through the dark hallways, staircases, and rooms of the tenements.

“A startling, clear-eyed” memoir of an immigrant girl’s childhood in early 20th century NYC from the journalist and Tony-winning co-author of Kiss Me Kate (Booklist). Born in Transylvania in 1899, Bella Spewack arrived on the streets of New York’s Lower East Side when she was three. At twenty-two, while working as a reporter with her husband in Europe, she wrote a memoir of her childhood that was never published. More than seventy years later, the publication of Streets recovers a remarkable voice and offers a vivid chronicle of a lost world. Bella, who went on to a brilliant career write for stage and screen with her husband Sam, describes the sights, sounds, and characters of urban Jewish immigrant life after the turn of the century. Witty, street-smart, and unsentimental, Bella was a genuine American heroine who displays in this memoir “a triumph of will and spirit” (The Jewish Week).

Manhattan's Lower East Side stands for Jewish experience in America. With the possible exception of African-Americans and Harlem, no ethnic group has been so thoroughly understood and imagined through a particular chunk of space. Despite the fact that most American Jews have never set foot there--and many come from families that did not immigrate through New York much less reside on Hester or Delancey Street--the Lower East Side is firm in their collective memory. Whether they have been there or not, people reminisce about the Lower East Side as the place where life pulsated, bread tasted better, relationships were richer, tradition thrived, and passions flared. This was not always so. During the years now fondly recalled (1880-1930), the neighborhood was only occasionally called the Lower East Side. Though largely populated by Jews from Eastern Europe, it was not ethnically or even religiously homogenous. The tenements, grinding poverty, sweatshops, and packs of roaming children were considered the stuff of social work, not nostalgia and romance. To learn when and why this dark warren of pushcart-lined streets became an icon, Hasia Diner follows a wide trail of high and popular culture. She examines children's stories, novels, movies, museum exhibits, television shows, summer-camp reenactments, walking tours, consumer catalogues, and photos hung on deli walls far from Manhattan. Diner finds that it was after World War II when the Lower East Side was enshrined as the place through which Jews passed from European oppression to the promised land of America. The space became sacred at a time when Jews were simultaneously absorbing the enormity of the Holocaust and finding acceptance and opportunity in an increasingly liberal United States. Particularly after 1960, the Lower East Side gave often secularized and suburban Jews a biblical, yet distinctly American story about who they were and how they got here. Displaying the author's own fondness for the Lower East Side of story books, combined with a commitment to historical truth, Lower East Side Memories is an insightful account of one of our most famous neighborhoods and its power to shape identity.

From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians’ engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock—white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists’ attempts to cast themselves as revolutionary were often naïve, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements.