Behind The Music

FJ Music

FJ Music

“For me, pipa is not just an instrument,” said Jiaju Shen of FJ Music, a cutting-edge duo dedicated to integrating Chinese musical language with other genres.  “It’s my friend, my life, and my soul mate.  I cannot live without it.”

The Tenement Museum’s 2016 gala, Celebrating Our Immigrant Past and Our American Future, will take place on June 7 at Spring Studios in Tribeca.  The Museum’s gala is our largest and most exciting annual benefit event, attracting over 500 guests from New York’s business, civic, educational, and philanthropic communities, and is currently on track to raise over a million dollars towards the Museum’s work.

What makes the event so special is the fantastic opportunity to showcase the Tenement Museum’s success to our most dedicated supporters—and the chance to work with talented people who have unique immigrant stories of their own, such as this year’s entertainers FJ Music and João Kouyoumdjian.

“My paternal grandfather used to play violin as a hobby,” said Kouyoumdjian, a Julliard-trained classical guitarist with mixed Brazilian and Armenian ethnic heritage.  “He was an immigrant from Armenia and orphan from a genocide that victimized millions of Armenians.  I will never know whether his cultural background was connected to an arts tradition.”

Joao Kouyoumdjian

Joao Kouyoumdjian

Born and raised in Brazil, Kouyoumdjian has played guitar for over twenty years, drawing inspiration from his mentor, Brazilian guitarist Paulo Martelli.  Kouyoumdjian first moved to America to study at Julliard in 2007, and balances a performing career with teaching music at Newark School of the Arts.  His rich heritage has provided a complex dimension to his career, giving him the opportunity in 2012 to perform with the Armenian Philharmonic Orchestra in Yerevan, Armenia for the 20th anniversary celebration of diplomatic relations between Brazil and Armenia.

However, from very early on, his greatest passion has a more familiar name: the music of Johann Sebastian Bach.

“(Bach’s) music really transcends you to a higher state mind and spirit,” Kouyoumdjian said.  “When I was starting classical guitar lessons, my teacher recorded a few tapes that he thought should serve as reference for my studies. I had to travel for 3 hours by bus to take lessons and during those travels I listened to those tapes…without great enthusiasm, to be honest. However, in one of those trips one of the recordings caught my attention. I didn’t have the tape cover with me on the bus so I didn’t know what it was. I kept listening to the same track over and over and over, rewinding the cassette tape continuously. I couldn’t get enough of its beauty. When I got home I found the tape’s cover and track list: it was Göran Sollscher performing music by J. S. Bach. It was a completely transformative experience, and I was never the same.”

Rather than re-interpret beloved classics, FJ Music—Chinese virtuosos Feifei Yang on erhu and Jiaju Shen on pipa—has a different goal: to forge new ground.

“I have tried jazz, pop, rock, funk, and bossa nova with my erhu, so I would say that I like playing fusion music the most,” said Yang.  Shen agreed: “Traditional pieces let the audience know what Chinese music sounds like.  Since fusion is a combination of eastern and western elements, it’s a key for American audiences to open the door to Chinese instruments, music, and culture.”

Both the erhu and the pipa have incredible significance for Yang and Shen.  The pipa, similar to a lute, originated two thousand years ago and became popular during the Tang dynasty.  For Shen, it represents her Chinese culture.  While Yang first chose a liuqin to learn at age 9, her mother switched her to an erhu—which is two-stringed and bowed, sometimes called a Chinese violin—because there were more opportunities to play solos.  Later, she learned that her great-grandfather used to play the erhu when her mother was young.

Though they met in America, Yang and Shen moved here from China for similar reasons—curiosity and a thirst for broader experience—with both leaving behind job opportunities in China.  Shen came to New York City to get her master’s degree in arts and culture management at Pratt Institute, and Yang chose the city because of its prominence in American TV shows.  They have eagerly explored new opportunities and thrived in their cultural environment.

“Musicians here really play music with heart, instead of just studying,” Shen said.  “They use music to express themselves…People here like to share the music, life, and happiness with the community.  That’s what music should seem like, not just a business or commercial interest.  Live performance is my opportunity for a dialogue with the audience.”

Shen recently collaborated with designer Xi Zheng to develop the “E-pa,” a modern electronic version of the pipa, but Yang prefers the original sound of her instrument, unchanged by any electronic equipment.  Both have performed at Lincoln Center, Carnegie Hall, New York Fashion Week, and the United Nations, among many other venues.  While Yang still dreams of playing at Madison Square Garden someday, her performances are “all special to me,” she said, “because it shows that my efforts are all valuable—letting more people know this instrument in the United States, changing people’s impression of the erhu as a ‘subway instrument,’ and exploring the infinite possibilities of the future trend of this instrument.”

“My parents picked this great and difficult instrument for me,” Shen added, “and it gave me strength to overcome all the things.  And now I enjoy life with music.”

To learn more or to purchase CDs, visit the websites of João Kouyoumdjian and FJ Music.

Reserve tickets or make a contribution to the Tenement Museum’s 2016 gala here.

 

 

Part II: The Fight Against the Ellis Island Museum

Ellis Island Museum

Ellis Island Museum

Part I of this blog can be read here.

The plan to sell Ellis Island to the highest bidder didn’t exactly work out as well as government officials had hoped.  Private citizens and elected officials alike quickly spoke out against the sale.  President Dwight D. Eisenhower’s office was suddenly flooded with letters from immigrants who had entered the United States through Ellis Island, pleading with the President to preserve the Island as a memorial.  New York City Mayor Robert Wagner sent a telegram to Eisenhower expressing his disapproval, while one congressmen who had been involved in the push to make Ellis Island a national shrine facetiously suggested that the Statue of Liberty should be next on the auction block.  The sale quickly failed in the wake of these complaints, but for a more pressing reason; none of the sealed bids came anywhere close to the $6 million price tag the General Services Administration (GSA) had suggested for the Island and all of its buildings.

While the letter writers and politicians got their wish, not everyone was pleased when the GSA cancelled the sale.  The sale has been a welcome development for the founders and funders of the American Museum of Immigration (AMI) on Liberty Island, who were afraid that an Ellis Island museum would draw money and attention from their plans.  Conceived in the 1950s as the nation’s first historic site dedicated to immigration, the AMI was designed to highlight the success of the American melting pot.  The original plans included a series of dioramas tracing American immigration from the 18th century to the mid-20th, including a life-size model of a Lower East Side tenement recreated from Jacob Riis photos.  The founders imagined the Museum as a donor-driven project and with minimal government support, expecting American immigrant groups to embrace the Museum with donations of both personal artifacts and money.  Instead, when donations failed to materialize, and the AMI opened in 1972 with a scaled-down exhibit that relied heavily on smaller models and photography.

The AMI leadership was so threatened by the resurgence of the Ellis Island Museum idea that they took every opportunity to block its creation, from bad press to political sabotage.  AMI leadership painted Ellis Island as a place of sadness and horrors, while suggesting Liberty Island as a more suitable memorial location, “a happy place of continuing inspiration, not a depository of bad memories.”  While the press wars continued unabated for decades, political machinations were even more effective.  During one major meeting to determine the Island’s fate, the first mention of a museum project sent AMI leaders scattering to quickly deliver a package of anti-museum materials to the committee staff behind the scenes.  There was no further conversation on the topic.

Despite these attempts, efforts continued to officially recognize the Island’s historic value.  Arguing that the story of American immigration was not appropriately commemorated through the National Park System, NPS declared Ellis Island a part of the Statue of Liberty National Monument in 1965.  The next year, it was listed on the National Register of Historic Places.  By 1968, the NPS was even cautiously promoting the idea of an Ellis Island Museum, but was careful to note that the museum would tell only the stories of the immigrants who landed on the Island, not the “broad, general” story that could be found at AMI.

Even as the National Park Service and the AMI board grudgingly agreed to let the Ellis Island museum project proceed, the struggle to determine the symbolic meaning and use of the Island continued.  In March of 1970, enabled by the Island’s lack of security, a Native American group launched a plan to occupy Ellis Island.  Following on the heels of several Native American takeovers and demonstrations for the right to self-determination, including a year-long occupation of Alcatraz, 38 people, representing 14 tribes, set out to reach Ellis Island by boat from Jersey City.  The occupation attempt proved unsuccessful, however, when the boat’s motor failed.  None of the protesters ever made it to the Island, which quickly received a Coast Guard security detail.

Despite the Coast Guard presence, the next attempt to occupy the Island came only months later.  Thomas W. Matthew, the head of the National Economic Growth and Reconstruction Organization (NEGRO), petitioned President Nixon for permission to improve and use the Island as a home for a self-sustaining black community.  With no response from the White House, Matthew and 60 of his followers quietly moved onto the Island and began improving it.  They were ignored by the Coast Guard, and their work only came to light when they were discovered by the press several months later.  In 1971, the National Park Service granted them five years to execute their plan, but most members left in the cold winter months.  In 1974, Matthews was convicted of Medicaid fraud, and the NEGRO project came to a definitive end.

Realizing that they needed to take control of the Island, the National Park Service began giving small group tours of the ruined buildings in 1977.  The hour long ranger-led tours, which came complete with disclaimers about weak floorboards and falling plaster, were overwhelmingly popular, making it clear that there was demand for stabilized and restored buildings.  Unfortunately, according to a National Parks Service estimate, repairing and stabilizing the buildings would cost at least $25 million, with a full renovation costing up to $100 million.

Funding came in fits and starts from federal and state governments as well as private donations; the 6-year renovation project ultimately cost $160 million. The main building was reopened to the public on September 10, 1990, as the Ellis Island Immigration Museum with an exhibit closely tied to the history of the Island.  As the AMI leadership had feared, their museum officially closed in 1991.  Without the specter of the AMI to curtail its story, Ellis Island’s newest exhibit opened in 2015, covering the breadth of American immigration history for the first time.  The Island now welcomes over 2 million visitors a year.

Info on the history of Ellis Island and the AMI was drawn primarily from contemporary press, as well as Joan Fragaszy Troyano’s upcoming book, Seeing a Nation of Immigrants: Photographs and the Making of American Identity, and Barbara Blumberg’s 1985 Administrative History of the Statue of Liberty National Monument.

Part I: The Story of Ellis Island… As a Museum

EllisIsland

Today, Ellis Island is one of the most popular destinations in the National Park system, with over 3 million visitors each year who come to see the rooms and halls where twelve million immigrants took their first steps on American soil. But in 1924, when the last great waves of immigrants filed onto the ferries that would take them to New York City and points beyond, Ellis Island wasn’t considered a particularly valuable, or even interesting, place. The Island and its buildings went through a variety of incarnations before being ultimately abandoned, and were only refurbished and reopened to the general public as a museum in 1990.  How did an island full of run-down buildings become a shrine to our nation’s immigrant past, and a place to remember those who made the difficult journey to start anew on American shores?

Before years of landfilling increased its size tenfold, Dutch and English settlers called the small tidal flat in the middle of New York Bay’s oyster banks Oyster Island. Purchased and named by Welsh merchant Samuel Ellis around the time of the American Revolution, the United States government soon took the Island over for use as an arsenal. Shortly after the War of 1812, the War Department turned the Island into Fort Gibson, which remained a military post until 1890.

In the years before the Federal government began regulating immigration in 1890, individual states were responsible for processing and admitting newcomers. In 1855, New York State opened Castle Garden (today called Castle Clinton), an immigration station at the tip of Lower Manhattan.  Castle Garden welcomed eight million immigrants, mostly from Northern and Western Europe, before it was shut down in favor of Ellis Island in 1890. Although Ellis Island later eclipsed Castle Garden in the popular memory, at the time, Castle Garden was so synonymous with the experience of entering the U.S. that Yiddish-speakers adopted the adjective “Kesselgarden” to describe “noisy chaos.”

The Ellis Island federal immigration station opened on January 1, 1892. The campus housed the main arrivals hall, baggage rooms, hearings rooms, a library, dormitories, a hospital, laundry, gardens, and a massive dining room that seated 1,000. Annie Moore, a teenager who arrived from Ireland with her two brothers, became the first immigrant to pass through the station, receiving a gold coin and a handshake from the Commissioner of the Island in recognition.  In the course of the next 60 years, twelve million immigrants would enter America through Ellis Island.

But the heyday of Ellis Island as an immigrant processing center would end quickly; the restrictive Johnson-Reed Immigration Act of 1924 stemmed the unrelenting tide of immigrants and rendered the massive inspection station obsolete. After 1924, the few prospective American immigrants accepted for entry would be processed at American embassies in their home countries, and Ellis Island’s roll was limited to a detention center for illegal immigrants awaiting deportation. During World War II, the Island’s hospital was used to house disabled American servicemen, while the main buildings were used to intern Italian and German prisoners of war, as well as “enemy aliens,” Axis nationals in the U.S. accused of attempts at sabotage and spying. At the end of the war, Ellis Island continued to hold foreigners and immigrants who were under investigation for communist and fascist views; at one point as many as 1,500 individuals were detained on the Island.

The detention center closed in November 1954, as changes to immigration policies led to a sharp decline in the number of detainees. The Island was officially abandoned by the Coast Guard and the buildings, declared surplus property by the Federal government, fell into disrepair. Unsure of what to do with the site, the government asked state governments and non-profits to submit proposals for its use. Suggestions ranged from a homeless shelter and retirement home to a clinic for alcoholics, a school for the disabled to a public university. One of the strongest voices, however, came from members of the New Jersey state Senate, who proposed connecting the Island to New Jersey and creating a park and museum commemorating the immigrants who had passed through the Island.

While the grand buildings, giant murals, and historic location might have naturally lent themselves to a memorial or historic site, the suggestion to create a museum on the Island was surprisingly controversial; debates over the possibility of an Ellis Island museum would shape the Island’s fate through the latter half of the 20th century. The biggest stumbling block to its creation was the plan for the American Museum of Immigration (AMI), set to be built in the base of the Statue of Liberty and supported by some of America’s leading philanthropists, including the DuPont family, and descendants of both Alexander Hamilton and Ulysses S. Grant. Concerned that a museum on Ellis Island would jeopardize their ongoing fundraising, the leadership of the AMI set out to foil any plans for Ellis Island’s historic redevelopment.

In 1956, after folding to pressure from the leadership of the AMI, the government announced that Ellis Island would be put up for sale for commercial development. Ads were placed in the Wall Street Journal listing the sale of “one of the most famous land marks in the world.” Ellis Island was advertised as an excellent location for an “oil storage depot, import and export processing, warehousing, [or] manufacturing.” The sale would include 27.5 acres of land, 35 buildings, and, as a bonus, the ferry boat “Ellis Island,” suitable for shuttling workers to and from the Island site. By September, the government was collecting bids.

Will the gardens that once welcomed weary immigrants soon be stacked with shipping containers?  How far will the AMI board stoop to block an Ellis Island Museum?  Will New York and New Jersey fight to the death over rights to the Island? Tune in next week to find out . . .

Tenement Museum Program Highlights for May

Melissa Clark of The New York Times

Melissa Clark of The New York Times

Every month, the Tenement Museum offers terrific programming to the general public. But rarely has there been a month so jam packed with so many terrific events that we decided to devote a whole blog to highlighting them. This May has a little bit of something for everyone, and we don’t want you to miss any of these terrific programs.

Right off the bat, the month gets started with a special treat. On Sunday, May 1 at 6:30pm, there will be a screening of the rarely-seen documentary Red Shirley (2010). On the eve of her 100th birthday, activist and immigrant Shirley Novick sat down with her cousin – her very famous cousin – the late, great music icon Lou Reed, for an interview. After we screen the film, there will be a special conversation with the artist Laurie Anderson, Lou Reed’s partner for 21 years, Ralph Gibson, the film’s co-director and cinematographer, Tony Michels, historian and editor of Jewish Radicals, and Merrill Weiner, Lou Reed’s sister, to reveal more stories about politics and families. This program is part of the Digital Storytelling Workshop, sponsored by the National Endowment for the Humanities.

On Wednesday, May 11 at 6:30pm, the award-winning writer Rebecca Traister will return to The Tenement Museum to discuss her new book, All The Single Ladies: Unmarried Women and the Rise of an Independent Nation. The work has been heralded by the New Republic as “a monumental study of the political, economic, social and sexual consequences of the rise of unmarried women.” Alice Kessler-Harris, pre-eminent United States women’s historian, will join Traister to discuss the history of single women, with a special emphasis on the “unconventional” women active in the Progressive Era.

For food lovers, mark these next two programs down on your calendar. First, on Wednesday, May 18 at 6:30pm we will be hosting Tenement Kitchens: Adaptation in America. Make a mess in our kitchen with a hands-on cooking class! First, tour the Tenement at 97 Orchard Street and explore the kitchens of two neighbors in the year 1916. You will meet the Confino family, who immigrated to the Lower East Side from present-day Greece; and the Rogarshevsky family who immigrated to the United States from Lithuania. After seeing the spaces, you will then join culinary historian Sarah Lohman and learn how to prepare traditional baklava and an Americanized recipe from one of our 97 Orchard families. We’ll explore the diversity of Jewish cuisine on the Lower East Side and make present-day connections with your own family traditions. Purchase tickets for this event through our website or by phone at 877-975-3786.

Just when you finished getting over the delicious baklava you just made, the following week, on May 25 at 6:30pm, we will host another fascinating food related program, The Culinary Mystery of Hinde Amchanitzky. New York Times food critic and cookbook author, Melissa Clark, will help us untangle a century-old gastronomic mystery. In 1901, an enterprising Lower East Side restaurant keeper named Hinde Amchanitzky published America’s first Yiddish-language cookbook. Mysteriously, eight years after Hinde’s death, a “new and augmented edition” of her cookbook, a departure from the original in both tone and content, appeared in neighborhood bookstores. From schmaltz-laden noodle puddings and stuffed breast of veal to “hygienic” bread and celery cutlets, the two cookbooks could hardly be written by the same woman. Or were they? Jane Ziegelman, author of 97 Orchard and Annie Polland, the Tenement Museum’s Senior Vice President of Education and Programming, present the culinary clues. These clues will include translations of the recipes, newspaper ads, and food samples from the cookbooks as they try to solve the mystery, and at the very least, learn more about the immigrant women and cooking.

If you have questions about any of these programs, feel free to contact Laura Lee in our Programming department at LLee@tenement.org or at 646-518-3032.

  • Post by Jonathan Pace, Communications Manager at the Lower East Side Tenement Museum

Remembering the Streit’s Matzo Factory

The Streit's Matzo Factory on Rivington Street. Photo: Edmund Gillon

The Streit’s Matzo Factory on Rivington Street. Photo: Edmund Gillon

The spring of 2015 marked the end of an era on the Lower East Side. With much fanfare, the Streit’s Matzo Factory – a staple of the neighborhood since 1916 – permanently closed its doors. The company decided to move its manufacturing from the Lower East Side to a new plant in Rockland County. For many, the Streit’s Matzo Factory was a lasting vestige of a different time in Lower East Side history, representing a Jewish immigrant culture that has come and gone. In fact, the factory was called by several scholars, “the Jewish Plymouth Rock.”

The terrific new documentary, Streit’s: Matzo and the American Dream, which concludes its week-long run at the Film Forum tonight, tells the story of Streit’s and its significance to the Lower East Side. Directed by Michael Levine, it is a must-see for anyone interested in immigration, food, or New York history. If you aren’t able to see the film, you can check out the film’s website to get information on other screenings.

Before we go into specifics, let’s first explain – for those who are not familiar – what exactly matzo is. Matzo is an unleavened flatbread made from flour and water. The flour can be from whole or processed grains, but it must be either wheat, spelt, barley, rye, or oat. Matzo plays a significant role during the Passover festival when chametz (which is leaven and five grains that, according to Jewish Law, can be leavened) is forbidden. The tradition refers to the story of the exodus of the Jews from Egypt, when the departing families had to leave their homes before their bread had time to rise.

Aron Streit, the founder of Streit’s, was in the matzo business most of his life. Aron and his wife, Nettie, arrived in the United States from Austria in the 1890’s. Like many Jewish immigrants, Aron and Nettie maintained the Old World traditions in their new homeland, hosting Friday night Shabbos dinners. Another tradition Aron brought with him was his knowledge and ability to make matzo.

Aron founded his first matzo company with a business associate, Rabbi Weinberger, in 1916. The location of Aron’s first matzo company was actually on Pitt Street in the Lower East Side. In the Pitt Street location, Aron and Rabbi Weinberger made each piece of matzo by hand. By 1925, there was a massive Jewish population in the Lower East Side (they made up about 60% of the neighborhood) and the demand for matzo was increasing. So much so, that Aron opened a new matzo factory with one of his sons a few blocks away on Rivington Street. His second son would soon after join the family business, and the company prospered. They would remain in the Rivington Street space until 2015.

The factory was 47,000 square feet. It usually produced about 16,000 pounds of matzo each day. By the time the factory closed, it had two 75-foot ovens which baked 900 pounds of matzo per hour. The factory did adhere to strict kosher laws, allowing only Shomer Shabbat Jews to touch the matzo dough before being baked. The whole matzo baking process was under the supervision of a Rabbi, who would time the baking process to ensure that it did not exceed eighteen minutes. If it did go beyond the eighteen minutes, the matzo was discarded.

Aron Streit died in 1937, but his family continues to operate the business. Streit’s is the only family-owned and operated matzo company in the United States. The company also sold more than just matzo; they also had noodles, soup mixes, potato products, and cake mixes, among others. Today, Aron’s granddaughters and great-grandsons now run the company.

With the rich history of Streit’s Matzo Factory and all that it represented, it is easy to understand why there was a lot of publicity when the family decided to close the Rivington Street location last year. Today, not much remains in the Lower East Side of the time when it was a predominately Jewish neighborhood (though restaurants like Katz’s Deli and Russ & Daughters have managed to stay alive and well). The Streit’s Matzo Factory reminded many people – and may have given them a brief glimpse – of what life was once like here in the Lower East Side.

 

Refugee Blues: Hannah Arendt

Hannah Arendt a refugee of Facism who helped to shape Post-War thought about the violence of the twentieth century. Image courtesy of the Hannah Arendt Center at Bard College.

Hannah Arendt: a refugee of Fascism who helped to shape Post-War thought about the violence of the twentieth century. Image courtesy of the Hannah Arendt Center at Bard College.

Saw a poodle in a jacket fastened with a pin,
Saw a door opened and a cat let in:
But they weren’t German Jews, my dear, but they weren’t German Jews.

–From “Refugee Blues” by W.H. Auden

Immigration to the Lower East Side has been a complex tug of war. Each wave of immigrants has negotiated their share of push and pull factors depending on their country of origin and the time of their departure. In the late 1930s, violence in Europe and Asia caused shockwaves of tension in many corners of the globe. Many immigrants attempted to flee Fascism just as military measures made boarders impenetrable.

One of the luckier refugees of the violence was a brilliant German-Jewish philosopher named Hannah Arendt. In order to become “lucky”, Arnedt had to have the resources to recognize the seriousness of fascism in Germany and to find a way to arrive first in Prague and then Geneva and then Paris. Finally in 1941 she found a way to enter the United States: New York City. Arendt brought with her some of the most lasting analysis of Fascism and Stalinism to arise in the post-war period. As a result, theorists, historians, professors and film-makers continue to honor Arendt to this day.

Arendt was born in Hanover, Germany in 1906 to a family of ‘secular’ German Jews. Her education reads like a who’s who of preeminent German philosophers at the time.  In 1926, after completing high school she attended Marburg University where she studied under Martin Heidegger, one of the most highly-regarded minds of German philosophy. Heidegger recognized in Arendt another bright mind and their relationship quickly became a “brief but intense love affair.” Arendt was just getting started. Soon she moved to Freiburg and spent a semester attending the lectures of Edmund Husserl another widely respected philosopher. After Freiburg, Arendt moved to Heidelberg to study with Karl Jaspers in the spring of 1926 and began an important intellectual relationship which lasted for years.

After completing her doctoral dissertation on St. Augustine’s ideas of love in 1929, she worked for a German Zionist organization in a climate of increasing toxicity for Jewish Germans. That same year Arendt married Günther Anders who wrote under the name Stern, a fellow philosopher and thinker whom she met at Heidegger’s lectures. At the time, Arendt only had eyes for Heidegger, but when they met again at a ball in Berlin, Stern whispered a sweet treatise on love to marvelous effect [1]. Arendt was arrested and forced to flee Germany in 1933. When Arendt finally arrived in Paris she worked for six years for several Jewish refugee organizations. She had divorced Stern in 1937 and began a relationship with Henriech Blücher whom she met while working for Youth Aliyah an organization which helped Jewish youth escape internment in Europe.

Arendt deep in thought. Image courtesy of the Film Forum.

Arendt deep in thought. Image courtesy of the Film Forum.

She was imprisoned at Gurs detention center for her political ideas but escaped, walking and hitchhiking to as yet unoccupied territories of France where she encountered Blücher by chance.  Hard work and brilliance had helped win her a certain renown and she had made the list of Varian Fry’s Jews to be saved. (Fry was an american journalist who, through forgery and Black Market maneuvers managed to get around 2,000 people out of Nazis occupied territories where they were wanted by the Reich.) In 1941 Arendt and Blücher managed to board a ship leaving from Lisbon and became two of the last Jews to leave France.

Once settled in the United States, Arendt lived on Riverside Drive in New York and worked as a writer, scholar and editor writing frequently on refugees and anti-Semitism through the 1940s. In the 1950s Arendt published two of her most important works, The Origins of Totalitarianism and The Human Condition which discussed the impact of modernity on the human condition and the impossibility of understanding tradition after the savage acts of Nazism and Stalinism.

In 1961, she covered the trial of Adolf Eichmann, a high-ranking Nazi commander for The New Yorker. When she concluded that Eichmann had committed millions to death not out of raging malice but out of a bureaucratic devotion to the regime, both Arendt and The New Yorker were at the height of their powers.

With her ever present cigarette. Image courtesy of the Hannah Arendt Center at Bard College.

With her ever present cigarette. Image courtesy of the Hannah Arendt Center at Bard College.

Arendt was honored in the United States as a visiting professor at Berkeley, Princeton, Columbia and Wesleyan. After the death of her husband, the acclaimed poet Wystan Hugh (W.H.) Auden – who was openly gay – proposed marriage to Arendt as a display of their firm friendship. She did, however, refuse.

It is a testament to Arendt’s incredible intellectual powers that an extensive study in recent years have both undermined her theories about Eichmann, and reified her thoughts on modernity. Years after Eichmann’s trial, archives she could not have accessed have showed that Eichmann was much more intentional than Arendt at first believed, bringing her controversial claims to life again. Even popular audiences have welcomed portraits of Arendt. A feature film, Hannah Arendt, and a documentary have charted her dramatic and rich intellectual life. Vita Activa is the newest documentary about Arendt currently showing at the Film Forum through tomorrow, April 20.

–Posted by Julia Berick, Marketing and Communications Coordinator

Research for this blog was aided by the Hannah Arendt Center at Bard College , Stanford Encyclopedia of Philosophy and Humanities the Magazine for the National Endowment of the Humanities. Much more in-depth discussion of Arendt’s philosophies can be found at these sites and others.

[1] “I won Hannah [Arendt] at the Ball with a comment made while dancing, that loving is that act by which something aposteriori–the by-chance-encountered other is transformed into an apriori of one’s own life. –This pretty formula naturally has not been confirmed.” – Anders in his book The Cherry Battle, this quote was harvested from the blog of the Hannah Arendt Center at Bard College.

What Lies Beneath: A History of Collect Pond

A rendering of what the island of Manhattan looked like in 1609. Image courtesy of the New York Public Library.

A rendering of what the island of Manhattan looked like in 1609. Image courtesy of the New York Public Library.

Apocalyptic movies (and a few more scholarly sources) suggest that New York’s future may be under water. But there is more poetic justice in this end than you might think, considering New York’s past was also submarine. Before there were skyscrapers and taxicabs, New York City was made up of lush vegetation fed by a large network of waterways. When the Dutch joined  the Lenape on the island in the 1600s, there were more than two dozen streams and four dozen ponds in Manhattan. Early residents would tap into those water sources through privately-owned wells that would provide fresh water for drinking.

As the city’s population grew, the government constructed the first reservoir downtown where Broadway and Pearl Street currently stand today. During the Revolutionary War, water from the reservoir and from Collect Pond, which was located in what is today Chinatown, was distributed to most of the city’s 22,000 residents through hollowed out logs. “Collect” originated from the Dutch word “Kolch,” meaning “small body of water.”

Residents would spend time by the pond, picnicking in the summers and ice skating in the winter. This idyllic scene did not last long though, as the rise of industry started to affect New York City’s natural resource; the neighboring slaughterhouses, tanneries, breweries and other local shops began dumping their waste into Collect Pond. By 1800, the Pond was completely polluted, spreading cholera and other diseases to the city’s residents.

An 1887 map depicting Collect Pond. Image courtesy of the NYPL.

An 1887 map depicting Collect Pond. Image courtesy of the NYPL.

Eventually, city leaders decided to drain the water and backfill the pond with debris, dirt and trash. Because the land surrounding Collect Pond was marshy, in 1807 the city started construction on a canal that would drain the polluted water into the Hudson River. The water was eventually drained in 1811, but New Yorkers complained about the smells emanating from the canal. Workers began to cover the canal, and in 1821, they completed a 100-foot wide street surrounded by trees, and Canal Street was born.

 

This newly constructed land was owned by rich businessmen, who capitalized on this opportunity to build brand new apartments over the former pond. The area was dubbed Paradise Square, though over time, it failed to live up to its name. Built over marshland and landfill, Paradise Square began to sink and the foul odors from the canal began to rise to the surface. Affluent residents moved out, opening up housing for poorer residents, who at the time, were comprised of the newly arriving immigrants. As the area fell more and more into neglect, what was once Paradise Square became known as the Five Points, one of the most well-known immigrant slums in the city.

An early photograph of the neighborhood known as Five Points taken in 1875. Image courtesy of the NYPL.

An early photograph of the neighborhood known as Five Points taken in 1875. Image courtesy of the NYPL.

The city eventually turned to reservoirs farther north; in what today is Westchester County and the Catskills region. Yet, evidence of these early waterways still exists in some shape or form underneath tons of concrete and steel. Basements and sub-cellars around the city flood with water from these underground springs, providing a constant reminder of New York’s past landscape and revealing the layers of a constantly changing metropolis.

 

–Posted by Tricia Kang, Marketing Manager

Remembering… STICKBALL!

The great Willie Mays playing a game of stickball in NYC.

The great Willie Mays playing a game of stickball in NYC.

This week, millions of sports fans will come together once again to participate in America’s favorite pastime, as the 2016 Major League Baseball season gets underway. Expectations are particularly high for both New York teams.  With the acquisition of the overpowering closer Aroldis Chapman, the Yankees have created a terrifying triumvirate in their bullpen; fellow relievers Andrew Miller and the Lower East Side’s own Dellin Betances round out the pitching team that Yankee fans think could be their ticket to the playoffs. Meanwhile, Mets fans (like me) simply want to see a repeat of what the Mets did last year and go back to the World Series… only this time win it. Come on, this year marks 30 years since the Mets actually won a World Series title. We are due!

As passionate as New York baseball fans are, one tribute we probably won’t see this year is a renewed interest by the city’s youth in stickball. Stranger things have happened, but these days when we think of stickball (and I bet you not many people do), we tend to think of it as an extinct game that has more in common with the dinosaurs on display in the Museum of Natural History than it does with the sport of baseball. Yet, there was a time – and not too long ago, mind you – when stickball roamed the earth. More specifically, there was a time when witnessing a game of stickball in a neighborhood such as the Lower East Side was as common as witnessing a game of pickup basketball today. It was ubiquitous and popular. So where did stickball come from? And what exactly happened? And finally, is there any chance it could come back? Or is it doomed to end up in the Human Memory Dump and tragically fade away into oblivion like Bing Bong from Inside Out?

First, what exactly is stickball? Well, simply put, it is a street game –usually formed as a pick-up game- that follows the rules of baseball despite using different forms of equipment. Typically, a broom handle is used for a bat and a rubber ball (often a Pinky ball, which we sell in our Museum Shop replaces the traditional baseball. One of the cool elements of stickball is the adjustment made to the rules of baseball to fit the street location of where the game is being played. A manhole cover may be used as a base (or home plate) and buildings for foul ball lines. A square rectangle representing the strike zone would often be drawn in chalk on a building wall to provide a target for the pitcher. The batter is out when the ball is hit and caught on a fly or if the ball is hit on the ground and caught on a single bounce. If the ball hits a roof, porch, or breaks a window from afar, it is often ruled a home run. Rules and variations change depending on the location, but often the game involves the hitter running to a base (though there are variations where there is no running).

From the description of stickball, you can understand why it would have been a popular game in New York City and especially the Lower East Side (though make no mistake, it was popular across the country, especially in cities like Boston and Philadelphia). It lent itself perfectly to the neighborhood layout, and it was a cheap game to play. Balls only cost a few cents, and most homes had a broom stick that could be converted to a bat. Stickball’s rise in popularity – which peaked in the 1950’s and 1960’s – was also a reflection of what was available to kids during that time period. In the pre-Internet, pre-video game, pre-Cable world of 1950’s and 60’s New York, a cheap game like stickball had an immediate appeal. It was easily accessible, and a way to be with your friends and stay outdoors.  It also helped stickball’s popularity that the iconic centerfielder for the then New York Giants (and arguably one of the most popular athletes in the United States at the time), Willie Mays, would often be seen playing the game outside his New York apartment with the local kids. While New York is still a baseball-crazed town, during the 1950’s when the city had three Major League teams (Yankees, Dodgers, and Giants), baseball was easily the most popular sport in town.

Stickball remained a common and frequent sight in various areas of the city up until the 1980’s (here is a video of actor Khalil Kain visiting his childhood neighborhood in New York and describing his memories of playing stickball). But popularity in the game dropped dramatically come the late 1980’s as youths had alternatives to turn to, including video games, cable television, and skate boarding, among other things. Also, while Major League Baseball was – and remains – popular, interest among youths in the NBA and NFL skyrocketed.  By the 1990’s, you would have had a better chance of finding a three-legged ballerina than a pickup stickball game in New York City.

However, this blog does not end with the death of stickball. Stickball does, in fact, still exist in New York City in a certain capacity. The New York Emperors Stickball League, formed in the Bronx in 1985, is an eight team adult stickball league (though they do have a youth division) that plays 180 to 240 games a year! It even hosts an annual tournament every Memorial Day weekend that attracts teams from California, Florida, and Puerto Rico. So who knows, perhaps there is some hope out there for the long term future of stickball? In that case, stickball enthusiasts and supporters would agree with the late, great Mets reliever Tug McGraw’s saying: Ya Gotta Believe!

Eat Up: A New Bookstore Cafe with Old World Roots

Kids these days… aren’t so bad after all??

Sometimes a story of immigrant success can have a hidden lining that is more grey than silver. What happens when one generation arrives in a new country, works hard, and sends their kids to school, who then gain opportunity and a foothold in their new home? That sounds like success and it is. However, after a generation or two, maybe these descendants are more comfortable ordering from Seamless than whipping up their own tacos.  Maybe Aziz Ansari doesn’t keep enough Tamil to talk to his grandmother.  This is the oldest tale – some things change and some stay the same.

An array of cookbooks at Archestratus. Photo courtesy of the very entertaining Archestratus Instagram account.

An array of cookbooks at Archestratus. Photo courtesy of the very entertaining Archestratus Instagram account.

Paige Lipari seems to have answered some part of the riddle of immigration. She is a talented, young American woman who has opened a great cookbook shop and café: Archestratus. While the shop is obviously a great idea it is less obviously a quiet homage to a part of Paige’s heritage that isn’t so many generations away.

The cookbooks and food related books the shop features include new titles as well as rare, old, and out-of-print treasures. Lipari has worked with rare books before and the mix is invigorating and means a visitor gets to happen upon an older gem or secure the latest beautiful full color edition of a star New York chef.  The interior of the shop also strays far from the firmly nostalgic take of many Brooklyn establishments. In recent years, new establishments have imported worn-out floorboards and elderly light fixtures to give their spaces a pedigree. It is perhaps because Lipari has nothing to prove that she leaves distressed wood and vintage liquor bottles for a different version of that borough. But one Wednesday night a month, Archestratus hosts an Italian table, a comfortable environment for Italian speakers of all abilities to connect or reconnect (the next one is April 20th).

One of many dynamic Thursday night Sicilian Blue Plate Specials. Photo courtesy of Archestratus.

One of many dynamic Thursday night Sicilian Blue Plate Specials. Photo courtesy of Archestratus.

And of course there is the food. Every Thursday night is a Sicilian Blue Plate Special. For a set price, visitors taste one of Paige’s Nona’s recipes or some other deliciously authentic Sicilian dish. Her grandmother is in her 90s, but she hasn’t missed a Thursday night yet. Paige is trying to get all the recipes down before it is too late and is trying to learn some Sicilian dialect as well.  Daily, Paige puts out several treats to complement her beautifully simple coffee and tea offerings, and the café has secured a wine and beer license for after hours.

Perusing the bookshelves can lead even the most blue-blooded “American” into a reverie about the importance of regional identity and cultural exchange. There are cookbooks of Polish cuisine, Moroccan cuisine, and then the “Jewish” cookbooks which could easily contain recipes from both regions. There are cookbooks for recipes from New England and ones from Scotland with all their similarities. And “health and diet” cookbooks, some of which more or less obviously hunt and gather low fat meals native to Sri Lanka, Jamaica, and Brazil. Also present are the thoughtful anthologies of a new fusion movement that has hit the culinary scene. Where is it more apt than at Archestratus to buy David Chang’s Momofuku cookbooks, including Chang’s empire-building recipes of Japanese, American, and Mexican dishes all influenced by his Korean-American childhood.

Tea at Archestratus. Photo courtesy of Archestratus.

Tea at Archestratus. Photo courtesy of Archestratus.

After happily browsing, one is tempted to sit down, have a cup of Russian Caravan tea and an Italian cookie, and think, “the kids are alright.”

 

–Posted by Julia Berick, Marketing and Communications Coordinator

The Great Escapist: A Story of an Immigrant and a Showman

America has long been known as the land of opportunity. The country welcomed people looking for jobs, religious freedom, and a better future. But while most immigrants in New York City entered the traditional workforce, some paved their own, more unique paths to the American Dream.

One such individual was Erich Weisz. We’ve all heard of him… Born on March 24, 1874 in Budapest, Hungary. He was one of seven children born to Rabbi Mayer Samuel Weisz and his wife Cecilia. In search of work, the family settled in Appleton, Wisconsin. They continued to struggle, and Erich and his father eventually moved to New York City in 1887. While working in a necktie factory, Erich partnered with a friend, Jacob Hyman, to create a magic act, and soon after they hit the road. A fan of the ground-breaking French magician Jean Eugene Robert Houdin, Erich took on a professional name that both played upon his nickname Ehrie, and paid tribute to his idol. Before long, Erich Weisz was being welcomed to the stage as Harry Houdini.

Dubbed “The Brothers Houdini,” Harry and Jacob performed in dime museums and small theaters in New York and throughout the Midwest, making a stop at the 1893 World’s Columbia Exposition in Chicago. In the summer of 1894, while Harry and his younger brother (who eventually replaced Jacob at his side) were performing in Coney Island, Harry met 18-year-old Wilhelmina Beatrice Rahner – or“Bess”. Three weeks later, they married, and Bess joined the act.

Harry and Bess and the bonds of love. Photo courtesy of the NYPL.

Harry and Bess and the bonds of love. Photo courtesy of the NYPL.

Harry and Bess caught their first big break in 1899, when they met Martin Beck, who incorporated Harry’s handcuff escapes in vaudeville shows around the country. Harry, not only a master performer but also a skillful promoter, would perform escapes for free in public spaces in order to sell tickets to his shows. The public spectacles would draw tens of thousands of people, and Harry would make sure to add dramatic flair. Audiences were amazed, and as vaudeville gained in popularity, Harry Houdini became a star.

The man, the legend. Image courtesy of the NYPL.

The man, the legend. Image courtesy of the NYPL.

After building his reputation in America, Harry spent five years touring Europe before returning to the States where he continued to reinvent himself. He performed more challenging escapes, including his signature Milk Can escape and Chinese Water Torture trick. His tricks became more dangerous – mid-air suspensions and underwater escapes – relying more on his physical strength and technical abilities.

The early 20th century brought on new challenges for Harry, who began starring in films. In his first film, The Master Mystery, which came out in 1918, Harry brought his magic to the big screen. He founded two film companies – which never gained success –  and in 1923 took over as president of Martinka & Co., America’s oldest magic company. Throughout the 1920s, Harry also became a leading critic of spiritualists and psychic mediums; he did not believe their claims of being connected with the spiritual world, but viewed them as skilled performers much like himself.

One of Houdini's most famous escapes. Photo courtesy of the NYPL.

One of Houdini’s most famous escapes. Photo courtesy of the NYPL.

Harry continued to perform until 1926, when he took his successful Broadway show on the road. While backstage at a stop at McGill University in Montreal, a student challenged Harry’s claim that he was strong enough to handle any blow, and punched him three times in the abdomen. Harry continued with two more days of shows, but died a few days later in Detroit of peritonitis from a ruptured appendix. He was 52.

As Harry Houdini’s birthday approaches this Thursday, let’s remember him not only for his physical strength and masterful sleight of hand, but also as an immigrant. In many ways Houdini’s is just another  immigrant success story. With hunger for acceptance and financial stability he worked hard to find a niche in his new home. Unlike some, Houdini ‘s niche turned out to be escaping from a straitjacket while hanging from his feet  four stories above the ground. On March 24th remember to pay tribute to immigrants who thought outside the box!

A star in his own right, Houdini would later be the subject of many biographies and films. Image courtesy of the NYPL.

A star in his own right, Houdini would later be the subject of many biographies and films. Image courtesy of the NYPL.

 

—Posted by Tricia Kang, Tenement Staffer