Earlier this year, Michael Stipe turned 51, and his band, R.E.M., released its 15th full-length album. In early March, we sat down at his kitchen counter in downtown New York City over sushi to talk about his career.
I came to New York for the first time with Peter Buck at age 19. We spent a week living out of a van on the street in front of a club in the West 60s called Hurrah. It’s where Pylon played. I saw Klaus Nomi play there. And Michael Gira’s band before he did Swans-they all wore cowboy boots and were so cool and had great hair. I was so jealous. I bought Quaaludes at the urinal for everyone and we all got stoned-I mean, totally fucked up-and we watched Klaus Nomi and Joe King Carrasco. I sat on a couch with Lester Bangs at this party someone threw for Pylon and the only thing to eat was jelly beans and cheesecake. (…)
What happened in 1983?
I stopped taking drugs. There were a lot of things that led up to it. One thing was that a lover died. An ex of mine died in a car wreck and I was really trashed when I found out about it and I couldn’t cry. I woke up the next morning and I said, “That’s it,” so I quit then. It was horrible. A bunch of people died around that time and she was one of them. I wrote a song about her-that was when I still did pull from autobiographical material. I didn’t really have my voice until after that. Also, AIDS had landed and I was terrified. I was very scared, just as everyone was in the ’80s. It was really hard to be sexually active and to sleep with men and with women and not feel you had a responsibility in terms of having safe sex. And this was the Reagan years, where they were talking about internment camps for HIV-positive people and people with AIDS. The straight community was freaking out because, in their minds, this was a “gay” disease, and bisexual people were passing AIDS from the gay community to the straight community.
Honey Space presents “Panties For Diamonds - A Psychodramatic Audition For Love In The Age Of Abandonment,” the New York debut of collaborative team INNER COURSE.
In this installation and three-act performance, Ms. Kleinpeter and Ms. Lopez flirt with antiquated methods of psychological inquiry within an environment generated by their analysis of the Other. Herein Actors/Audience become emotional accomplices in an unscripted narrative through role-play, interrogation and Softing. Participants will be guided through an assortment of exercises designed to cleanse the palate of perception - inviting new space to permeate.
INNER COURSE performs Tuesday through Saturday from 1-6 pm. Appointments may be booked at innercourse@honey-space.com.
related { Begging for change on Houston Street nude, browsing books at the NYU Library nude, buying a street hot dog nude – photographer Erica Simone created this series of self-portraits exposing herself all over New York City doing typical New York City things. | Animal NY | photos }
It was 1985. I was 12 and standing next to my mother in a police station in Greenwich Village. She was a pretty red-haired gal in her late 30s, but the three police officers she was talking to weren’t looking at her. They were looking at the bag of crack vials she had in her hands, confused about what they were. I wasn’t confused. We had a lot of crack vials in our apartment at that point. Hundreds of them. My brothers and I played with them in Washington Square Park. We carried them around in our pockets the way other kids carried marbles.
I didn’t know then that this encounter would inspire a movement; that a group of local mothers would decide to do what the befuddled police would not: reclaim Washington Square Park from the drug dealers. (…)
My parents moved into our apartment at 32 Washington Square West in 1975. Over the next decade we watched as an army of dealers and their customers took over the heart of Greenwich Village. As a kid, I knew you didn’t ride your bicycle into the park, because a junkie would take it from you. The park’s arch, built as an imitation of the Arc de Triomphe, was covered in graffiti. When the city painted over it in 1981, Mayor Ed Koch applied the last stroke of white paint, then remarked, “That’ll last about an hour.”
In 1846, an Irish immigrant named Alexander Turney Stewart opened a store in New York City unlike any that Americans had seen before. Located downtown, on the east side of Broadway, what became known as the Marble Dry Goods Palace was a huge emporium that offered luxury and everyday items alike. Stewart’s innovations as a retailer were numerous: He introduced what are believed to have been the first in-store fashion shows in America. He lavishly appointed his interiors, in striking contrast to the merely functional look of shops up to that point. And he was the first in the nation to use the street-level plate-glass windows as a display for merchandise.
Then there was A. T. Stewart’s most important innovation: His products came with price tags. At that time, in most stores, prices were set by haggling. The result was a frustrating dance between customer and salesperson, who parried back and forth until they managed to arrive at (in the words of one retail historian) “a price which neither party to the transaction considered robbery.” Stewart saw that this experience left buyers feeling taken advantage of, and it encouraged salespeople to squeeze the most from every transaction rather than build long-term relationships with customers. So he marked each product with a fixed price.
Customers embraced the new “no haggling” policy, and the Marble Palace became an enormous success. Sixteen years after the store’s debut, Stewart opened an even bigger one, the Cast Iron Palace at Broadway and 10th Street, which occupied a full city block and at the time was reputedly the largest retail establishment in the world. Stewart’s success—and his idea—did not go unnoticed by other merchants, and soon a plethora of other large stores, from Gimbels to Macy’s to Wanamaker’s in Philadelphia, abandoned haggling and adopted fixed prices. Within a generation, the price tag became ubiquitous; by the late 19th century, fixed prices seemed inseparable from the retail experience.
Almost a century and a half after Stewart’s innovation, a man named Pierre Omidyar opened another store unlike any that Americans had seen before: eBay.
In the first years of the twenty-first century, New York City police officers had six different siren noises at their fingertips to alternate and overdub as they attempted to bore through stagnant traffic. The “Yelp” is a high-pitched, rapidly oscillating, jumpy sound that suggests a small dog with large teeth has hold of your thigh and is not about to let go. The “Wail” is the classic keening noise that the Furies might release while pursuing vengeance. The “Hi-Lo,” or “European,” is whiney, forlorn—prone to depression, but undeniably civilized. The “Air-Horn” is vulgarity incarnate—a burp, a rasp, an all-out bursty blast. The “Fast” or “Priority” resembles a hysteric who’s just mainlined crystal meth. The “Manual” is an outcast loner raising its rifle in a solitary low-to-high pulse.
The summer of 2007 saw the first broaching of the possibility that a seventh instrument might be added to the ensemble.
In recent years, nightlife has been increasingly recognized as an important resource for the enhancement of the post-industrial profile of the city and for the promotion of gentrification in derelict neighborhoods. It projects an image of a vibrant social and cultural life, considered particularly appealing to the young professional labour force of post-industrial sectors, the members of whom are particularly apt to consider moving to the city. However, the advocates of this ‘nightlife fix’ thesis ignore tensions that have emerged between residents in gentrifying neighborhoods and nightlife businesses due to the nuisance effects of the latter. Using the example of New York City, this paper examines how conflicts over nightlife in gentrifying neighborhoods have resulted in the gentrification of nightlife and have thus transformed the nature of the city’s nightlife itself.
The number of violent crimes in the United States dropped significantly last year, to what appeared to be the lowest rate in nearly 40 years, a development that was considered puzzling partly because it ran counter to the prevailing expectation that crime would increase during a recession.
In all regions, the country appears to be safer. The odds of being murdered or robbed are now less than half of what they were in the early 1990s, when violent crime peaked in the United States. Small towns, especially, are seeing far fewer murders: In cities with populations under 10,000, the number plunged by more than 25 percent last year.
The news was not as positive in New York City, however. After leading a long decline in crime rates, the city saw increases in all four types of violent lawbreaking — murder, rape, robbery and aggravated assault — including a nearly 14 percent rise in murders. But data from the past few months suggest the city’s upward trend may have slowed or stopped.
Friday, August 12, 1988. On the sidewalk outside 57 Great Jones Street, the usual sad lineup of crack addicts slept in the burning sun. (…) In the months before his death, Basquiat claimed he was doing up to a hundred bags of heroin a day.
{ Map: A modern redrawing of the 1807 version of the Commissioner’s Grid plan for Manhattan, a few years before it was adopted in 1811. Central Park is absent. | Two hundred years ago on Tuesday, the city’s street commissioners certified the no-frills street matrix that heralded New York’s transformation into the City of Angles — the rigid 90-degree grid that spurred unprecedented development, gave birth to vehicular gridlock and defiant jaywalking. Today, debate endures about the grid, which mapped out 11 major avenues and 155 crosstown streets along which modern Manhattan would rise. | NY Times | full story | Interactive map: How Manhattan’s Grid Grew }
related { New York didn’t invent the apartment. Shopkeepers in ancient Rome lived above the store, Chinese clans crowded into multistory circular tulou, and sixteenth-century Yemenites lived in the mud-brick skyscrapers of Shibam. But New York re-invented the apartment many times over, developing the airborne slice of real estate into a symbol of exquisite urbanity. Sure, we still have our brownstones and our townhouses, but in the popular imagination today’s New Yorker occupies a glassed-in aerie, a shared walk-up, a rambling prewar with walls thickened by layers of paint, or a pristine white loft. | NY mag | full story }
A venomous Egyptian cobra went missing from New York’s Bronx Zoo, prompting the closure of the zoo’s reptile house until further notice. (…)
The Egyptian cobra is most commonly found in North Africa. Its venom is so deadly that it can kill a full-grown elephant in three hours — or a person in about 15 minutes, according to wildlife experts. The venom destroys nerve tissue and causes paralysis and death due to respiratory failure.
In late 1979, Debbie Harry suggested that Nile Rodgers join her and Chris Stein at a Hip hop event in a communal space taken over by young kids and teenagers with boom box stereos, who would play various pieces of music to which performers would break dance. The main piece of music they would use was the break section of “Good Times.”
A few weeks later, Blondie, The Clash and Chic were playing a gig in New York at Bonds nightclub. When Chic started playing “Good Times,” rapper Fab Five Freddy and members of the Sugarhill Gang jumped up on stage and started freestyling with the band; Rodgers allowed them to “do their improvisation thing like poets, much like I would play guitar with Prince.”
A few weeks later Rodgers was on the dance floor of New York club LaViticus and suddenly heard the DJ play a song which opened with Edwards bass line from “Good Times”. Rogers approached the DJ who said he was playing a record he had just bought that day in Harlem. The song turned out to be an early version of “Rapper’s Delight” by The Sugarhill Gang, which Rogers noted also included a scratched version of the song’s string section. Rogers and Edwards threatened The Sugarhill Gang with legal action, which resulted in them being credited as co-writers on “Rappers Delight”.
Three new lines will be added to the New York City subway system next fall, giving residents of Chelsea and the Meatpacking District direct transit service down to Soho and up to the Upper East Side.
Plans call for two rapid transit subway lines and one ultra-slow line: The BB, the K, and the RL–which respectively stand for Boone Boone, Koons, and Roy Lichtenstein. The three lines are expected to open October 15, 2011 in unison.
M.T.A. awarded the construction contract to Manhattan-based company Imp Kerr & Associates, NYC. Other projects the firm currently works on include the eradication of Science Limited, the maintenance of a jellyfish farm, and private lectures on Spinoza. Imp Kerr will serve as executive supervisor.
Tens of thousands of New York City employees who did not report for work during the snowstorm on Thursday could lose a day of leave — even though Mayor Michael R. Bloomberg sent out a predawn message that day saying that all city nonemergency offices and schools would be closed.
A memo went out to the heads of all city agencies on Monday saying that office employees will lose a day of vacation or comp time unless they write an acceptable excuse note.
You’re probably wondering how on earth microbes have anything to do with the 3 feet of snow you had to dig your car out from under last week…
I have two “believe it or not” statements for today:
First, believe it or not, microbes are ubiquitous in the Earth’s atmosphere (Bowers et al. 2009, and others). “Ubiquitous” is a fantastic word that simply means “absolutely everywhere” and it’s especially true with microbes. (…) Microbes are also extremely abundant in the air around us, above and beyond our reach, floating in the breeze and being carried thousands of miles on trans-oceanic trade winds. (…)
[Two]: many of those atmospheric microbes have been found to nucleate ice (Bauer et al. 2003). What I mean by “nucleate ice” is that they can serve as the starting point for ice crystals to begin to form.
