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East Side A New Study Faults Plazas as Public in Name, Private in Look
MICHAEL KEANE is not sure if any New Yorker, however brash and ill-mannered, feels comfortable walking into a restaurant, past the host’s podium and into the outdoor seating area, sitting down at a table set with silverware and unwrapping a brown bag lunch.
The question, for Mr. Keane, an urban planner, has less to do with dining etiquette and more with the fact that the outdoor seating area of the restaurant in question, Caliente Cab Company, at East 33rd Street and Third Avenue in Murray Hill, is a designated public space.
There are more than 500 privately owned public spaces in the city, mainly concentrated in Midtown and downtown Manhattan, where, since 1961, developers have been allowed to build taller buildings if they, in turn, agreed to have such spaces open to all.
But in a recent eight-month study of 77 privately owned public spaces on the East Side, Mr. Keane concluded that 30 of them, including the one at Caliente Cab Company, had obstacles to public access that included padlocked gates, piles of garbage and spikes on supposed seats. Mr. Keane called the Caliente Cab situation an example of “commandeering,” with the cafe’s customers monopolizing that particular outdoor space.
“There are plenty to choose from,” Mr. Keane said of the neighborhood’s public plazas. “Whether or not you can use them when you get there is another story.”
MICHAEL KEANE is not sure if any New Yorker, however brash and ill-mannered, feels comfortable walking into a restaurant, past the host’s podium and into the outdoor seating area, sitting down at a table set with silverware and unwrapping a brown bag lunch.
The question, for Mr. Keane, an urban planner, has less to do with dining etiquette and more with the fact that the outdoor seating area of the restaurant in question, Caliente Cab Company, at East 33rd Street and Third Avenue in Murray Hill, is a designated public space.
There are more than 500 privately owned public spaces in the city, mainly concentrated in Midtown and downtown Manhattan, where, since 1961, developers have been allowed to build taller buildings if they, in turn, agreed to have such spaces open to all.
But in a recent eight-month study of 77 privately owned public spaces on the East Side, Mr. Keane concluded that 30 of them, including the one at Caliente Cab Company, had obstacles to public access that included padlocked gates, piles of garbage and spikes on supposed seats. Mr. Keane called the Caliente Cab situation an example of “commandeering,” with the cafe’s customers monopolizing that particular outdoor space.
“There are plenty to choose from,” Mr. Keane said of the neighborhood’s public plazas. “Whether or not you can use them when you get there is another story.”
Julian Fox’s discussion of Annie Hall is primarily a summary of the film’s coming into being, its development by Woody Allen, and its ultimate impact on audiences worldwide. Calling it Allen’s first mature film, Fox (similarly to Ascione) argues that the film succeeds in reaching an entire generation through its combination of romance, humor, and deep thought. The piece contains such details as the particular locations of shooting, original pieces of plot which were cut, and an investigation of the three-color approach used to add mood to the film. While the piece does not directly focus on Annie Hall’s social impact, it does highlight its main themes as well as the ways in which, after coming together, the film succeeded in reaching the hearts of the audiences. Fox claims that Annie Hall’s main focus is on the relationship of Alvy and Annie and their respective abilities, or inabilities, to handle its intricacies. Supporting themes involve aspects of religion (particularly traditional Jewish humor) and psychoanalysis. Audiences in the 1970s (and still today) found it easy to relate to such themes, comparing the insecurities inherent in their romantic relationship to the occurrences in their own lives. Interestingly, though, Fox chooses to focus on the character of Annie, portrayed wonderfully by Diane Keaton, as the true reason for the film’s lovability. Not only is Keaton “perfect” for the role, but the character of Annie Hall is the key emotional component of the movie to which the audiences attached at the time of its premiere. When this element is combined with that of Allen’s artistic and comedic ingenuity, Annie Hall is obviously a significant film to the film industry and to the generation it first reached.
Fox’s summary of Annie Hall underscores the general themes of the film which have had a worldwide, lasting impact. Woody Allen’s smart combination of incessant humor, cultural contrast, and insecure romance truly brought a new level of comfort to audiences, in that these themes were themes easily found in the audience members’ own lives. Thus, Annie Hall majorly impacted the American film industry, but it more importantly made a lasting impression on its many viewers.
Redraft of the Castello Plan New Amsterdam in 1660
The Mayor's Ode to Earth Day
Published: April 23, 2007
Mayor Michael Bloomberg likes to talk about the big picture, even if it might not be pretty. Yesterday, he warned New Yorkers how their city could suffer by 2030 without his plans for the future. With a million new people coming into town, housing needs would soar. The sky could be as gray and toxic as London in the '50s. Every road into Manhattan would be above capacity - a gridlock nightmare that would make today's traffic jams look tame.
April 22, 2007
Mayor Proposes a Fee for Driving Into Manhattan
By MARIA NEWMAN
Saying that he would not spend his final term in office "pretending that all is fine," Mayor Michael R. Bloomberg made a series of Earth Day proposals this afternoon to improve the environment of New York City, including charging a new congestion fee to drivers who come into parts of Manhattan during peak hours during weekdays.
The $8 congestion fee was one of 127 initiatives included in a sweeping plan by the mayor to help the city of currently 8.2 million people cope with an expected surge in population that he said is sure to put a strain on its transportation, housing and energy systems.
"Let's face up to the fact that our population growth is putting our city on a collision course with the environment, which itself is growing more unstable and uncertain," the mayor said.
A key objective is to reduce greenhouse gas emissions by 30 percent by 2030, by which time the population is projected to grow by at least a million people, he said.
The proposal that is sure to attract the most attention, and possibly objections, is one to impose the $8 fee on car drivers, and $21 for truck operators, to drive in Manhattan south of 86th Street.
Bloomberg: ‘It's Called Capitalism'
By Ray Rivera
On his weekly radio appearance on WABC this morning [listen], Mayor Michael R. Bloomberg spoke hypothetically about the congestion pricing proposal he is all but assured to announce on Sunday. One plan under consideration would charge drivers $8 to enter the busiest parts of Manhattan during the workweek as a way to reduce traffic and air pollution.
Mr. Bloomberg said he expected a fight in Albany to impose the plan. "I've always thought, it's a difficult political lift," he said, "but it's getting to the point of, what do you want? You can't have it both ways."
The mayor also said the charge would not be onerous, considering the costly price of parking in Manhattan, and that most, though not all, people who commute by car tend to be "people who can afford it." Asked if it was a new tax, he described it as a reasonable cost for a service the city provides. He compared the cost to the $12 people pay to attend a movie. Of course, few go to the movies daily.
Bloomberg to Unveil Long-Term Vision for City
By DIANE CARDWELL and CHARLES V. BAGLI
With New York's population expected to grow by one million in two decades, Mayor Michael R. Bloomberg will call on Sunday for a raft of ambitious and sometimes contentious proposals that are intended to ease traffic congestion, reduce air pollution, build housing, improve mass transit and develop abandoned industrial land.
The speech, which mayoral aides have described as the centerpiece of his final 32 months in office, will outline his vision for the city over the next quarter century, setting priorities for refurbishing the city's aging bridges, water mains, transit system, power plants and building codes. And in the talk on Sunday - Earth Day - the mayor will propose doing so in a way that reduces the strain on natural resources like water, clean air and land.
Toward that end, Mr. Bloomberg is expected to advocate more than 100 proposals, including charging drivers to enter the busiest sections of Manhattan, and using zoning and tax incentives to encourage the construction of 250,000 homes.
Congestion Pricing Could Be Used To Help Sustain City
BY ANNIE KARNI
Mayor Bloomberg this Sunday will unveil a wide-ranging plan intended to make the city healthier and cleaner as it prepares for an expected influx of 1 million new residents by 2030.
The sustainability plan, 18 months in the making, is likely to include more than 100 specific initiatives addressing the city's energy and infrastructure goals, including: creating incentives for green development, implementing caps on building emissions, and charging drivers a fee to use the city's most congested streets, according to multiple sources who have been briefed on the initiative.
The mayor's Earth Day announcement is expected to include some form of congestion pricing, charging drivers a fee for using the city's most crowded roads during peak hours. If approved, the fees could bring in up to $500 million annually to fund mass transit infrastructure expansion and improvements, according to multiple sources. They said the road-pricing initiative that is likely to be implemented would be similar but "more moderate" than London's model of congestion pricing, instituted in 2003.
One possibility being tossed around is that drivers entering Manhattan's central business district below 86th Street would pay $8 during peak hours, which would be offset by any tolls paid to enter.
In this article printed in the Chicago Sun-Times, renowned film critic Roger Ebert offers his two cents on the movie Manhattan. Directed by and starring Woody Allen, this romantic comedy is the tale of two lovers trying to find romance in New York. One would question the relevance of this film to The Godfather, but it is not hard to find. Both films were done by legendary cinematographer Gordon Willis, also known among his colleagues as ‘The Prince of Darkness.’
Willis is famous for his use of light and darkness in the films he has worked on. In both Manhattan and The Godfather Willis sets a very unique tone for every scene. His use of dark imagery and shadowy settings collides perfectly with the mysterious feel of each scene and character. For example, in The Godfather Willis made a distinct point to cast a shadow over Michael’s and Vito’s eyes throughout many of their scenes. One will notice that when Vito Corleone addresses the Mafia Commission after the death of his son, Santino, his eyes are rarely seen. This adds a threatening mood to his presence, and hints at a calculating man behind the mask.
The entire film is engulfed by the presence of darkness or light. Every scene is masterfully tinted as to provide a subconscious emotion to each action. The wedding is bright and colorful, whereas moments later, Don Corleone’s office is gloomy and bleak. Sicily is sunny and beautiful, whereas Bonasera’s funeral parlor is hardly visible through the shadows.
The Godfather is a masterpiece in itself, but without the cinematography of Gordon Willis, a.k.a. The Prince of Darkness, it would be an entirely different movie altogether.