Today, the Harlem River Drive is a highly trafficked north-south reference route for cars along the Harlem River, but few people know its history. Originally built as the Harlem River Speedway in 1894, the road was used as a horse carriage race track by New York City’s elite.
In the late nineteenth century, speeding through the streets was a common sport for the wealthy. However, New York residents were alarmed at the dangers of speeding carriages, and rich drivers did not want to share the road with trolleys and traffic. This put pressure on the mayor to build a speedway going through Central Park for fast horse-drawn carriages. In 1883, a compromise was reached: a 2.3-mile long speedway would be built along the Harlem River.
Image courtesy of Duane Bailey-Castro
The Harlem River Speedway was a subject on the virtual talk we hosted, “The Forgotten Harlem River,” by photographers Nathan Kensinger and Duane Bailey-Castro. Bailey-Castro, a lifelong Bronx resident who has focused much of his work on the Harlem River bridges, showed these vintage postcards he had acquired and the short silent film below from 1903 entitled “Parade of Horses along the Speedway” from the American Mutoscope and Biograph Company.
Construction of the Harlem River Speedway began in 1894 with the carving of the bluffs overlooking the river. After its opening in 1896, it quickly became a tourist attraction where people could watch horse races on the track as well as boat races on the river. The track was as wide as one-hundred feet in some areas, allowing for several carriages to compete at once. The natural beauty of the surrounding scenery attracted spectators from all social classes. Thousands from around the country visited to watch planned parades and competitions, and rich sportsmen were satisfied with their exclusive speedway, using it heavily to train and display their horses.
Image courtesy of Duane Bailey-Castro
There was backlash about the cost of the speedway shortly after its opening. Around $5 million were spent on construction and court cases, exceeding the original estimate of $1 million. Though newspapers acknowledged it to be a great work, they also noted the other ways in which the mayor could have spent the money, with reporter Charles C. Sargent of Munsey Magazine writing, “the sapient rulers of New York have spent in making the Speedway money that would have built thirty school houses, and would have provided twice over for the twenty-five thousand children turned away last September from the overcrowded primary schools of the metropolis.”
As the city grew and automobiles became widely used, New Yorkers began to push for the opening of the speedway to the public around 1909. Aristocrats turned their attention to motorcars, and in 1916 The New York Times reported that there were fewer than 100 carriages on the speedway a day. With the gradual decline in interest, the speedway was opened to automobiles in 1919, and in 1922 it was paved and opened to general traffic. It was then renamed the Harlem River Driveway.
Parks Commissioner Robert Moses played an integral role in connecting Harlem River Drive to the rest of Manhattan. In 1940 he began construction on linking the Harlem River Drive to the Henry Hudson Parkway, the George Washington Bridge, and the East River Drive (now the FDR Drive). The Triborough Bridge and several bridges joining the Major Deegan Expressway would provide a flow of traffic into the Drive. Completed in 1964, the project cost around $38 million.
Image courtesy of Duane Bailey-Castro
Today, you can drive or bike along the track where horse-drawn carriages once raced to the cheers of lively spectators. Though the world has drastically changed since then, the road and the scenic view of the Harlem River still remains.
NINA LUBLIN HIT A HOME RUN! BASEBALL GREAT ROY CAMPANELLA
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EARLY VOTING TIMES EXTENDED
FRIDAY, SATURDAY 7 A.M. TO 5 P.M. SUNDAY 7 A.M. TO 4 P.M.
OUR SITE IS WAGNER MIDDLE SCHOOL 225 EAST 75 STREET BE PREPARED TO WAIT ON A LINE
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff Roosevelt Island Historical Society MATERIALS USED FROM:
Constance Tanner (c)
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Ebbets Field was a Major League Baseball stadium in the Crown Heights section of Brooklyn, New York. It is known mainly for having been the home of the Brooklyn Dodgers baseball team of the National League, from 1913 to 1957, but was also home to three National Football League teams in the 1920s. Ebbets Field was demolished in 1960 and replaced by apartment buildings.
Game action at Ebbets Field, Brooklyn between the Dodgers and Piartes on May 30, 1955
“Wait ’til next year!” After the wilderness years of the 1920s and 1930s, the Dodgers were rebuilt into a contending club first by general manager Larry MacPhail and then the legendary Branch Rickey. Led by Jackie Robinson, Pee Wee Reese, and Gil Hodges in the infield, Duke Snider and Carl Furillo in the outfield, Roy Campanella behind the plate, and Don Newcombe, Carl Erskine, and Preacher Roe on the pitcher’s mound, the Dodgers won pennants in 1941, 1947, 1949, 1952, and 1953, only to fall to the New York Yankees in all five of the subsequent World Series. The annual ritual of building excitement, followed in the end by disappointment, became a common pattern to the long suffering fans, and “Wait ’til next year!” became an unofficial Dodger slogan.
While the Dodgers generally enjoyed success during this period, in 1951 they fell victim to one of the largest collapses in the history of baseball.[31] On August 11, 1951, Brooklyn led the National League by an enormous 13½ games over their archrivals, the Giants. While the Dodgers went 26–22 from that time until the end of the season, the Giants went on an absolute tear, winning an amazing 37 of their last 44 games, including their last seven in a row. At the end of the season the Dodgers and the Giants were tied for first place, forcing a three-game playoff for the pennant. The Giants took Game 1 by a score of 3–1 before being shut out by the Dodgers’ Clem Labine in Game 2, 10–0. It all came down to the final game, and Brooklyn seemed to have the pennant locked up, holding a 4–2 lead in the bottom of the ninth inning. Giants outfielder Bobby Thomson, however, hit a stunning three-run walk-off home run off the Dodgers’ Ralph Branca to secure the NL Championship for New York. To this day Thomson’s home run is known as the Shot Heard ‘Round The World.
In 1955, by which time the core of the Dodger team was beginning to age, “next year” finally came. The fabled “Boys of Summer” shot down the “Bronx Bombers” in seven games,[32] led by the first-class pitching of young left-hander Johnny Podres, whose key pitch was a changeup known as “pulling down the lampshade” because of the arm motion used right when the ball was released.[33] Podres won two Series games, including the deciding seventh. The turning point of Game 7 was a spectacular double play that began with left fielder Sandy Amorós running down Yogi Berra’s long fly ball, then throwing to shortstop Pee Wee Reese, who relayed to first baseman Gil Hodges to double up a surprised Gil McDougald to preserve the Dodger lead. Hank Bauer grounded out and the Dodgers won 2–0.
Although the Dodgers lost the World Series to the Yankees in 1956 during which the Yankees pitcher Don Larsen pitched the only World Series perfect game in baseball history and the only post-season no-hitter for the next 54 years, it hardly seemed to matter. Brooklyn fans had their memory of triumph, and soon that was all they were left with – a victory that was remembered decades later in the Billy Joel single “We Didn’t Start the Fire”, which included the line, “Brooklyn’s got a winning team.”
THE SCENE OUTSIDE OF WAGNER JHS WITH VOTERS WAITING TO DO EARLY VOTING
MEMORIES
All I remember of the 1955 World Series was my brother and friend watching it and the moving men waiting to take the TV to the moving van. They held off and we celebrated the Dodgers victory in the basement of our house at 36 East Voss Avenue, East Rockaway!!!!
CLARIFICATION WE ARE HAPPY TO GIVE WINNERS OF OUR DAILY PHOTO IDENTIFICATION A TRINKET FROM THE VISITOR CENTER. ONLY THE PERSON IDENTIFYING THE PHOTO FIRST WILL GET A PRIZE. WE HAVE A SPECIAL GROUP OF ITEMS TO CHOOSE FROM. WE CANNOT GIVE AWAY ALL OUR ITEMS,. PLEASE UNDERSTAND THAT IN THESE DIFFICULT TIMES, WE MUST LIMIT GIVE-AWAYS. THANK YOU
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All image are copyrighted (c)
THE GLORIOUS WORKS BY PROFESSIONALS AND SELF-TAUGHT QUILTERS
Unidentified (American), Crazy Quilt, ca. 1901-1929, wool and mixed taffetas, Smithsonian American Art Museum, Gift of Raymond Vlasin and family, with deepest appreciation for the many friends with whom Claire Vlasin quilted, 2017.24.35
Clementine Hunter, Melrose Quilt, ca. 1960, fabric, Smithsonian American Art Museum, Museum purchase through the Barbara Coffey Quilt Endowment, 2014.5 Clementine Hunter was born on a Louisiana plantation where her grandparents had been slaves. When she was twelve, her family moved to Melrose Plantation in Natchitoches Parish to work as sharecroppers. Clementine worked as a field hand, cook, and housekeeper. The Henry family bought Melrose in 1884; they restored architectural structures on the property and moved historic log cabins from the area onto the property. When John Hampton Henry died, his wife Cammie made Melrose a retreat for visiting artists. Hunter’s exposure to artists and some leftover paints led her to own artistry. She painted quotidian stories she felt historians overlooked—primarily the activities of the black workers. She also made pictorial quilts. This one depicts several notable buildings at Melrose, including the Big House, Yucca House, and African House, in which Hunter painted a now-historic mural of plantation life in 1955.
Unidentified (American), Untitled (String Quilt with Diamond Pattern), 1950s, cotton, Smithsonian American Art Museum, Gift of Corrine Riley and museum purchase through the Barbara Coffey Quilt Endowment and the Luisita L. and Franz H. Denghausen Endowment, 2016.5.37 The themes of protection and shelter are central to many traditional African American forms, but are perhaps most powerful in the improvisational quilts made by African American women across the South. Quilts are inherently a folk form–most quilters learned from their mothers or grandmothers. Yet, when the patterns and color combinations must take their cues from what clothes are too worn to wear, the maker’s inventiveness takes center stage. Salvaged fabrics from family members were essentially scrapbooked into the quilts, and the astonishing result showed both the artistry of the maker and a larger, communal aesthetic. Mary Lee Bendolph, a quilter from Gee’s Bend, Alabama, explained, “A woman made utility quilts as fast as she could so her family wouldn’t freeze, and she made them as beautiful as she could so her heart wouldn’t break.”
Unidentified (American), Untitled (String Quilt), 1920s, wool, Smithsonian American Art Museum, Gift of Corrine Riley and museum purchase through the Barbara Coffey Quilt Endowment and the Luisita L. and Franz H. Denghausen Endowment, 2016.5.41
Top: Detail, The Holen Boys Ties Quilt, about 1935, silk, Lent by The Nebraska Prairie Museum of the Phelps County Historical Society, Holdrege, NE, with permission of the Holen Family. Bottom: The Holen family in front of the Renwick Gallery last December. When I was a young kid in grade school, I had to wear a gold tie and a pressed white shirt each Thursday for “assembly,” when all the students would gather in the auditorium for a special program, a spelling bee (when I was in third grade received did me in), or a concert. On those mornings my father would tie a tie for me around his own neck, then slip it off and place it on the handle of my bedroom door. All I had to do was take the nearly-finished tie, slip it over my head, then tighten it around my neck to fit. So much better than one of those clip-on numbers, or even something with an elastic back that could be snapped by a mischievous friend. Those are my first memories of having to wear a tie and I’ve been a reluctant tie-wearer ever since. When I heard there was a quilt on display at the Renwick made mostly of men’s ties from one family, I had to check it out for myself…if not for men-kind everywhere. I visited the tie quilt on no ordinary day in its own life or in the life of the Holen family. On that day in late December all ninety-two of the Holens, who planned their annual family reunion in D.C., to coincide with the exhibition of nineteenth- and early twentieth-century quilts, Going West! Quilts and Community. In 1935, their relative Ellen Holen of Nebraska decided to collect ties from the men in her family—her six sons and her husband—and make a quilt. Having eight children left Ellen with little time to work on the quilt except for late at night when all the children were asleep. Her only surviving child, her ninety-two year old daughter Rachael made the trip to D.C. and remembered that her mother always wanted to work on the quilt, “but never seemed to have time till late evening after she had taken care of the needs of the family: that always came first.” It turned out that Ellen never finished the quilt. Only after her death in the mid-1980s was the unfinished quilt found, damp and musty, in an old trunk in a basement.” According to Rachael, she and other relatives contacted the quilting ladies at the local senior center for advice on treatment for the quilt. They advised Rachael to roll the quilt in newspapers to take away the musty smell, and several days later—much to their surprise—the smell was gone. Then it was time to finish the quilt. On February 15, 1986, Rachael gathered nearly twenty relatives for “tieing day” including her brothers, Milford and Norris who “put up the quilting frames at my house. We made a full day of it with a pot-luck at noon. Mother would have been proud to know that her children finished what she didn’t quite have time to finish before she left us.” Then on a cold winter morning, one of the last days of 2007, two fully loaded buses pulled up near the Renwick and within minutes, more than ninety members of the Holen family, in identical red and white scarves, were heading up the street. They stopped to pose on the museum steps before entering. Click! They also posed for photos inside the gallery in front of The Holen Boys Ties Quilt which will be on display at the Renwick through January 21. Then it returns to its home at the Nebraska Prairie Museum of the Phelps County Historical Society, Holdrege. I hope you have a chance to see it. The circular shape of the ties forms a spoked pattern reminiscent of the wagon wheel motif that repeats itself in quilts throughout the exhibition. Every quilt tells a story: there’s only one tie quilt, however. And I, for one, though a reluctant wearer of ties, thank Ellen Holen for making me think twice about the patterns and fabric of my own family history.
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Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Google Images (c)
ALL IMAGES ARE SUBJECT TO COPYRIGHT (C)
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In 1925, the Brooklyn-born entrepreneur Clarence Birdseye invented a machine for freezing packaged fish that would revolutionize the storage and preparation of food. Maxson Food Systems of Long Island used Birdseye’s technology, the double-belt freezer, to sell the first complete frozen dinners to airlines in 1945, but plans to offer those meals in supermarkets were canceled after the death of the company’s founder, William L. Maxson. Ultimately, it was the Swanson company that transformed how Americans ate dinner (and lunch)—and it all came about, the story goes, because of Thanksgiving turkey.
According to the most widely accepted account, a Swanson salesman named Gerry Thomas conceived the company’s frozen dinners in late 1953 when he saw that the company had 260 tons of frozen turkey left over after Thanksgiving, sitting in ten refrigerated railroad cars. (The train’s refrigeration worked only when the cars were moving, so Swanson had the trains travel back and forth between its Nebraska headquarters and the East Coast “until panicked executives could figure out what to do,” according to Adweek.) Thomas had the idea to add other holiday staples such as cornbread stuffing and sweet potatoes, and to serve them alongside the bird in frozen, partitioned aluminum trays designed to be heated in the oven. Betty Cronin, Swanson’s bacteriologist, helped the meals succeed with her research into how to heat the meat and vegetables at the same time while killing food-borne germs.
“Eating off a tray in the dusk before a TV set is an abomination,” the columnist Frederick C. Othman wrote in 1957. (Advertising Archive / Everett Collection) FRIOM THE SMITHSONAIN MAGAZINE, NOV. 2020 (C) The Swanson company has offered different accounts of this history. Cronin has said that Gilbert and Clarke Swanson, sons of company founder Carl Swanson, came up with the idea for the frozen-meal-on-a-tray, and Clarke Swanson’s heirs, in turn, have disputed Thomas’ claim that he invented it. Whoever provided the spark, this new American convenience was a commercial triumph. In 1954, the first full year of production, Swanson sold ten million trays. Banquet Foods and Morton Frozen Foods soon brought out their own offerings, winning over more and more middle-class households across the country.
Whereas Maxson had called its frozen airline meals “Strato-Plates,” Swanson introduced America to its “TV dinner” (Thomas claims to have invented the name) at a time when the concept was guaranteed to be lucrative: As millions of white women entered the workforce in the early 1950s, Mom was no longer always at home to cook elaborate meals—but now the question of what to eat for dinner had a prepared answer. Some men wrote angry letters to the Swanson company complaining about the loss of home-cooked meals. For many families, though, TV dinners were just the ticket. Pop them in the oven, and 25 minutes later, you could have a full supper while enjoying the new national pastime: television.
In 1950, only 9 percent of U.S. households had television sets—but by 1955, the number had risen to more than 64 percent, and by 1960, to more than 87 percent. Swanson took full advantage of this trend, with TV advertisements that depicted elegant, modern women serving these novel meals to their families, or enjoying one themselves. “The best fried chicken I know comes with a TV dinner,” Barbra Streisand told the New Yorker in 1962.
By the 1970s, competition among the frozen food giants spurred some menu innovation, including such questionable options as Swanson’s take on a “Polynesian Style Dinner,” which doesn’t resemble any meal you will see in Polynesia. Tastemakers, of course, sniffed, like the New York Times food critic who observed in 1977 that TV dinner consumers had no taste. But perhaps that was never the main draw. “In what other way can I get…a single serving of turkey, a portion of dressing…and the potatoes, vegetable and dessert…[for] something like 69 cents?” a Shrewsbury, New Jersey, newspaper quoted one reader as saying. TV dinners had found another niche audience in dieters, who were glad for the built-in portion control. The next big breakthrough came in 1986, with the Campbell Soup Company’s invention of microwave-safe trays, which cut meal preparation to mere minutes. Yet the ultimate convenience food was now too convenient for some diners, as one columnist lamented: “Progress is wonderful, but I will still miss those steaming, crinkly aluminum TV trays.” With restaurants closed during Covid-19, Americans are again snapping up frozen meals, spending nearly 50 percent more on them in April 2020 over April 2019, says the American Frozen Food Institute. Specialty stores like Williams Sonoma now stock gourmet TV dinners. Ipsa Provisions, a high-end frozen-food company launched this past February in New York, specializes in “artisanal frozen dishes for a civilized meal any night of the week”—a slogan right out of the 1950s. Restaurants from Detroit to Colorado Springs to Los Angeles are offering frozen versions of their dishes for carryout, a practice that some experts predict will continue beyond the pandemic. To many Americans, the TV dinner tastes like nostalgia; to others, it still tastes like the future.
BOW BRIDGE IN CENTRAL PARK ARLENE BESSENOFF WAS THE FIRST CORRECT ANSWER
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EDITORIAL
I am a little behind this week as I am working early voting at Wagner JHS on East 75th Street. We have had thousands of voters coming in daily to early vote. At times the waiting time has been up to to 4 hours. Even though the waits are long most voters are grateful we are there and having a great time meeting others in the lines.
We will have voting at PS 217 next Tuesday from 6 a.m. to 9 p.m.
See you at the polls,
Judith Berdy
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Wikipedia for both
THIS ISSUE COMPILED FROM WIKIPEDIA
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Our Bridgemaster Henry has constructed a three bridge system to master all the traffic in the Big Apple. Henry will be consulting with agencies to design NYC 2040!!
Henry has consulted with Jr. Engineer Crosby to advance more designs for the Bridgemasters!!!
ALL THREE BRIDGES AREA AVAILABLE AT THE RIHS VISITOR CENTER KIOSK.
THE ROOSEVELT ISLAND BRIDGE IS $ 28.00 HELLGATE BRIDGE $40.00 BROOKLYN BRIDGE $75.00
ALL BRIDGES ARE MADE IN THE USA BY MAPLE LANDMARK AND ARE CERTIFIED CHILD SAFE.
STOCK OF THE BROOKLYN BRIDGE ARE LIMITED. E-MAIL YOUR ORDER TO US TODAY AT ROOSEVELT ISLANDHISTORY@GMAIL.COM
HERE ARE SOME CLASSIC IMAGES OF THE BROOKLYN BRIDGE TO ENJOY
Berenice Abbott, Brooklyn Bridge, Water and Dock Streets, Brooklyn, 1936, gelatin silver print, Smithsonian American Art Museum,
Transfer from the Evander Childs High School, Bronx, New York through the General Services Administration, 1975.83.10
Berenice Abbott returned home in 1929 after nearly eight years abroad and found herself fascinated by the rapid growth of New York City. She saw the city as bristling with new buildings and structures that seem to her as solid and as permanent as a mountain range. Aiming to capture “the past jostling the present,” Abbott spent the next five years on a project she called Changing New York. In Brooklyn Bridge, Water and Dock Streets, Brooklyn, Abbott presented a century of history in a single image. The Brooklyn Bridge, once a marvel of modern engineering, seems dark and heavy compared with the skeletal structure beneath it. The construction site at center suggests the never-ending cycle of death and regeneration. And the Manhattan skyline, veiled and weightless, hangs just out of reach, its shape accommodating the ambitious spirit of American modernism.
Howard Cook, George C. Miller, Brooklyn Bridge, 1949, lithograph on paper, Smithsonian American Art Museum, Gift of Barbara Latham, 1980.122.6
Stow Wengenroth, Brooklyn Bridge in Winter, 1959, lithograph on paper, Smithsonian American Art Museum, Bequest of Frank McClure, 1979.98.241
Martin Lewis, Dock Workers Under the Brooklyn Bridge, ca. 1916-1918, printed 1973, aquatint and etching on paper, Smithsonian American Art Museum, Gift of Frank McClure, 1975.82.2
MONDAY PHOTO OF THE DAY
SEND YOUR SUGGESTION TO ROOSEVLTISLANDHISTORY@GMAIL.COM WIN A SMALL TRINKET FROM THE RIHS VISITOR CENTER KIOSK. WE CAN ONLY ACKNOWLEDGE 3 WINNERS EVERY DAY. THANKS, EVERYONE WHO IS NOT MENTIONED. WE APPRECIATE YOUR INTEREST
WEEKEND IMAGE
WAS THE LA GUARDIA ORIGINAL TERMINAL, NOT THE MARINE AIR TERMINAL. LOTS OF YOU GUESSED LGA!!! THANKS FOR YOUR SUBMISSIONS
CLARIFICATION
WE ARE HAPPY TO GIVE WINNERS OF OUR DAILY PHOTO IDENTIFICATION A TRINKET FROM THE VISITOR CENTER. ONLY THE PERSON IDENTIFYING THE PHOTO FIRST WILL GET A PRIZE. WE HAVE A SPECIAL GROUP OF ITEMS TO CHOOSE FROM. WE CANNOT GIVE AWAY ALL OUR ITEMS,. PLEASE UNDERSTAND THAT IN THESE DIFFICULT TIMES, WE MUST LIMIT GIVE-AWAYS. THANK YOU
Today was day 1 of 9 days of early voting In New York State. I am working at Wagner JHS on East 75th Street. Wagner is the Early Voting site for Roosevelt Island residents. On November 3rd, you can vote at PS 217.
We had over 1700 voters in our 10 hours. We were scheduled to be open 8 hours but took everyone who was on line at 4 p.m. We had enough voters to stay open 2 more hours. It is thrilling to see people eager to vote and waiting up to 4 hours to do so,.
For details go early and regular voting go to vote.NYC!!
I remember riding in the car with fins. It was turquoise and white I believe. There was enough room in the ledge behind the back seat that my brother and I could lie down on it. I liked the windows that the Dodge had for decades, and other cars too. It was a triangular window in the front that you could open to get fresh air without it whipping around. Those would be good to bring back.
STATION WAGONS
FROM OUR READERS
I don’t remember the first car my family had, but I do remember the mid-1970’s Ford Country Squire Station Wagon. It had the wood paneling on the sides and the backwards facing rumble seat in the back. It was so much fun riding in that seat and making faces at the drivers behind us. The one thing I don’t recall from that rumble seat is seatbelts. Amazing us kids are still alive.
John Gallagher
A used Ford Country Squire station wagon with faux wood panels on the side! It was driven from Minnesota to California, where I grew up. Clara Bells
FROM OUR READER …MATT ALTWICKER
FROM OUR FRIEND ROBERT
My dad had a fire engine red VW bug!
TWO FRIENDS FIRST RESPONSE WAS “FORD FAIRLANE”
1960 Ford Fairlane 500 sedan
MY TEACHER HAD A RED CORVETTE IN 1958
For Sale: 1958 Chevrolet Corvette in Anaheim, California $79,900
1958 LINCOLN CONTINENTAL WITH WEIRD REAR WINDOW
My father had this car when I was a pre-teen. It had the inverted rear window. and modified fins.
OLDS 442
My brother’s first car was an Olds 442, probably 1968.
FROM ITALY…ROSSANA REPORTS ON HER DAD’S LOVE OF CARS
FIAT TOPOLINO AND FORD CORTINA WERE TWO OF MANY HE HAD
CAR DIES OF BROKEN HEART
When I was a kid we had a 1948 Pontiac. But I can’t think of any stories about it. The only thing that comes to mind is that in 1955 my father decided to trade it in for a Buick. Between the time he actually purchased the Buick and the time it was delivered, the Pontiac developed a cracked cylinder block—or a broken heart, depending on how you look at it. Bobbie Slonevsky
CARS, CARS, CARS
This week I have been working the Javits Center training Election workers…….Javits is better known as the home of the AUTO SHOW.
Riding down 11th Avenue from 57th Street to 44th Street, these are dealerships that I spotted: BMW VW TOYOTA RANGE ROVER PEUGEOT VOLVO PORSCHE MERCEDES BENZ JEEP RANGE ROVER CHRYSLER LEXUS JAGUAR These are definitely the high end dealers……………….HAPPY WINDOW SHOPPING…………..A GREAT WAY FOR AFICIONADOS TO SPEND A SOCIALLY DISTANCED SATURDAY!
Thanks to our friends and neighbors who shared their memories with us.
SPECIAL EDITION THIS WEEKEND SEND US STORIES ABOUT YOUR FAMILY CAR “THE CARS OUR PARENTS DROVE” DEADLINE IS FRIDAY AT 6 P.M.
FRIDAY, OCTOBER 23 , 2020
The
190th Edition
From Our Archives
THE SOHMER
PIANO FACTORY
&
THE ELEGANT SHOWROOMS
THAT
PROUDLY SHOWCASED
THE
INSTRUMENTS
Hugo Sohmer – founder of Sohmer & Co. – relocated his manufacturing premises from 149 East 14th Street in 1886 after building a new land-mark building on the Astoria coast of East River.
He had founded the company few years earlier together with his partner Joseph Kuder from Vienna, who was also a former Steinway and Sons employee.
The new building of Sohmer & Co was designed by Berger & Baylies architecture firm. Entering in piano building business in NY in the end of 19th century was not a hard thing to do as there were many skilled emigrants coming from Europe (mostly Germany) and the demand for the instrument was growing fast.
The building was expanded by Baylies & Co architecture firm in 1906–7. After 1924 year’s collapse of piano industry Sohmer’s production rates fell. In the time of Great Depression parts of the building were leased out to other manufacturers. However the company survived the Great Depression and maintained production in its Astoria factory till 1982 when the grand son of Hugo Sohmer sold the company to Pratt-Read company – producers of piano pieces and furniture.
The plant was then relocated to Ivoryton, Connecticut, and the building sold to Adirondack Chair Company. Between 2007 and 2013, the building was converted for residential use with new penthouse additions above the sixth floor.[5] Currently Sohmer pianos are produced in Korea.
WIKIPEDIA
Architecture
The building is one of the most prominent in the coast of Astoria on the East River. The building is specially distinguished by its mansard roofed clock tower over the top of its impressive scale. Designed by Berger & Baylies architecture firm this 6 story L-shaped factory building was a typical wealthy factory of New York’ s piano manufacturing scene. It is built in red bricks and designed in German Romanesque Revival Style or Rundbogenstil. Characteristic to this style was the usage of curved edges and surfaces on the roof. Thus segmentally-arched brick lintels. Band courses surmount the first, second and fifth floors.[7]
This factory building is one of the few surviving factories in Queens. It represents many characteristics of 19th century factory building. typically to the age these principles were always rooted in functionality and practical needs. According to architecture historian Betsy Hunter Bradly “the aesthetic bases of American Industrial building design was an ideal of beauty based on function, utility and process”.[10]
Basic characteristics of Sohmer factory – its narrow width and L-shaped plan was due to the need for natural light as the factory was built before the advent of electric lighting. The need for good light for the interior dictated the narrow shape of the floor plan, but the land plot size did not let to build it in I shaped formation. thus L-shape was chosen. Often factory buildings were in I, L, U, H, E configurations. Flat roofs were also a practical need for a factory. They were mostly used after 1860s. It was due to the fire safety.[10] Flat roofs let to eliminate the attic space – a place that could get dusty and easily catch on fire. Bricks were used for factory walls because they were the most fire resistant material.[7] Brick work decorations was a popular method of livening up large wall surfaces – displaying dogtoothing, recessed panels, channeling, pilasters, corbelling were among most popular forms of decorative brickwork.
Positioning the building on the edge of the street let the owners of the factory preserve larger back side space away from public eyes, thus buildings well organized and regular facade was the only public face of the company. The physical aesthetics played important role in marketing the company. Factory’s image was used on letterheads, catalogs, business directories and in advertisements. Typically they were bird’s eye views of the factory with smoke coming out of the chimneys thus rendering image of energy, dynamics and organization of the work.[7]
The building’s prominent location on the river front also served as an attraction of new customers. It was seen from long distances, even from across the East River. As the Sohmers were producing product for popular consumption it was important that his factory was seen by as many people as possible, thus this location served not only as a display for inhabitants of Manhattan, but also those who passed by on the boats. The building served excellent as an eye catcher because of its scale and proportions. But the most focal point of the building of course remained the clock tower elevating above the 2 wings of the factory. This clock tower remains the most significant feature of the building. It is also most elaborately decorated part of the building. Mansard roof with curved dome is covered with decorations expressing this as the most focal part of the building. From the corner side the building was seen the best thus architects have chosen to express this part of it the most. For factories usually most decorated parts were entrances and clock towers.[10]
The clock towers had their roots in cupolas of New England Mills. Clocks organized the daily lives of local community. It was long before the affordable watch had made its first appearance, when need for strictly organized daily rhythm was established. By late nineteenth century clock was one of the main tool to organize the daily lives of New Yorkers. Living synchronized was becoming a necessity. They delivered this function to the network of public clock towers, factory whistles and bells. But clock tower was more than that. it was also a fire sealed staircase for factory that prevented the fires to spread vertically in the building. Thus tower was not only aesthetically most prominent place in the factory, but also most socially important and functional one.
The clocktower that is still maintained
SOHMER PIANO SHOWROOM AT 22 STREET
The Sohmer Piano Building, or Sohmer Building, is a Neo-classical Beaux-Arts building located at 170 Fifth Avenue at East 22nd Street, in the Flatiron District neighborhood of the New York City borough of Manhattan, diagonally southwest of the Flatiron Building.
Designed by Robert Maynicke as a store-and-loft building for real-estate developer Henry Corn, and built in 1897-98 It is easily recognizable by its gold dome, which sits on top of a 2-story octagonal cupola. The building is located in within the Ladies’ Mile Historic District, and, according to the New York City Landmarks Preservation Commission, is “characteristic of the later development phase of the District”
.It was named for the Sohmer Piano Company, which had its offices and showroom there early in the building’s history. Other tenants included architects, publishers, and merchants of leather, hats, perfume and upholstery.
SOHMER SHOWROOM AT 315 FIFTH AVENUE
SOHMER SHOWROOM AT 31 WEST 57 STREET
31 West 57 Street Showroom
On April 4, 1911 the 68-year old millionaire died in the house following a severe stroke. His death coincided with changes that were already being noticed in the neighborhood. It had all started a decade earlier when John Jacob Astor demolished mansions at the southeast corner of Fifth Avenue and 55th Street for his high-end St. Regis Hotel. As millionaires avoided the encroaching commerce, fleeing northward along Central Park, their mansions were altered or razed for business buildings. The Rothschild mansion would soon join them. On November 20, 1913 The New York Times reported that Dunstan, Incorporated “one of the oldest dressmaking concerns in the city,” had taken a long-term lease on the house. The firm announced it would make “extensive alterations.” In the meantime Sohmer & Company was following the northward trend, as well. The long-established piano firm had started on 14th Street; then moved to No. 170 Fifth Avenue in 1898; then to No. 315 Fifth Avenue in July of 1909. The highly-competitive piano business in New York City kept the company’s directors constantly aware of the need to change business practices—or location. In 1919 the need to move once again was evident. Before long the piano and organ district would be centered along West 57th Street and Sohmer would be one of the pioneers in the movement. On May 3 the Real Estate Record and Guide reported that “Sohmer & Co. make the announcement that negotiations have just been completed for the leasing for a long term of years, the property at 31 West 57th Street.” It signaled the end of the line for the Rothschild residence. “The present building will be razed and there will be erected by Sohmer & Co. a six-story building, all of which will be occupied in the conduct of their piano business.” On June 7, 1919 The Music Trades reported that Harry J. Sohmer and his wife were “compelled to return to New York last Monday on account of matters pertaining to the new building now being planned by Sohmer & Co. for early erection on West Fifty-seventh Street, that required his attention. Mr. Sohmer said they were making good progress with the plans and sketches and work on the new building would be started soon.” Indeed, work got started soon. Two months later, on August 30, The Music Trades noted “Demolition of the building occupying the site of the new Sohmer structure was begun last week, and the work of construction will be pushed rapidly from this time on.” Sohmer & Co. had chosen architect Randolph H. Almiroty for its $100,000 home. “The building will have an Italian façade and will be constructed throughout with the idea of making it one of the most complete piano salons in the country,” said the Record and Guide. “The top floor will house the executive and accounting departments, both wholesale and retail.” In reporting on the planned structure, the Real Estate Record and Guide noted the changes on West 57th. “Real estate experts and those competent to know are all agreed that 57th street is destined to become one of the famous streets of the world—the ‘Bond Street’ of America.” Construction was completed within the year and Sohmer & Co. opened its doors for business in October 1920. Almiroty’s handsome Italian-inspired façade retained the proportions of the surviving former residences that surrounded it, creating a harmonious flow. The double-height, rusticated ground floor base supported four floors of understated and dignified design that demanded little attention. An 32-foot arched opening at ground floor however presented a dramatic introduction to the showrooms.
The firm’s opening announcement on October 9 said “The building was especially designed and erected” for the display of “Sohmer Pianos–Grands, Uprights, Player-Pianos–and Victor Victrolas.” “Every detail has been planned to afford a perfect environment in which to display the exquisite beauties of the Sohmer Piano.”
Before long other piano dealers would follow the lead to West 57th Street. Further west was the handsome Steinway Building which included Steinway Hall, and in 1924 the Chickering Piano firm opened its 13-story Chickering Hall next door to Sohmer & Co. at No. 29. Then in 1934 Hardman, Peck & Co. moved into the old Edward Rapallo house on the other side at No. 33 West 57th Street. Following Almiroty’s example, the street level was renovated to a similar double-height glass-paned arch.
A clever marketing scheme devised by Sohmer in 1933 was its annual National Piano Playing Tournament. School-aged pianists from New York and the vicinity entered the three-day contest, vying for national, state or district certificates of honor. The children were graded according to their excellence as compared to their age and length of time they had studied. The stark difference in the youthful attire of the 1930s and today is evident in The New York Times report on the competition on June 9, 1939. “Immaculate in starched white frocks and natty blue coats, the girls and boys, respectively–with the former outnumbering the latter by three to one–were nervous at first, but soon lost themselves in the spirit of the occasion. Although both judges and parents were forced by the rules of the tournament to sit behind screens, the players knew they were there and did their best to prove their knowledge of the piano and its part in music.” After manufacturing pianos in New York for 110 years, Sohmer & Co. moved its factory to Connecticut in 1982. The company was making at the time about 3,000 instruments per year. In announcing the move, the Sohmer management promised that the 57th Street showroom would remain. But only two years later it was gone. In December 1984 the Rizzoli International Bookstore announced its plan to move into the former Sohmer Piano Building. Like Sohmer, Rizzoli intended to use the entire building—the lower three stories being used as the main bookstore while the upper floors were reserved for imported books, stationery items and related products. Three months later the Rizzoli bookstore was opened with a grand champagne reception. Along with the facade, the firm’s architects sensitively preserved the original elegant Italian interiors. The delicate, carved-in-place plaster ceiling ornamentation was gently updated by adding a Italian fresco glaze. A few vintage fixtures from Rizzoli’s old Fifth Avenue location were integrated; including four hand-crafted chandeliers, cherry woodwork, and the hand-carved marble doorframe. Within a generation New Yorkers had forgotten that the beautiful building at No. 31 West 57th Street had not always been the Rizzoli Building. The vaulted ceilings, the old world atmosphere and the warm racks of books were as familiar to some Manhattanites as their own living room. As the 20th century came to a close, the Schieffelin mansion had lost its lower floors to be replaced by a flat-faced commercial façade; the Rapallo mansion held on to its 1930s storefront and Victorian upper floors; but the Sohmer Building was virtually intact, inside and out. By now the West 57th Street block had drastically changed and the three survivors were essentially the last relics of a far more elegant era. Then as 2013 drew to a close the LeFrak real estate family and Vornado Realty Trust, owners of the three structures, announced plans to demolish the buildings for an unspecified project. The Landmarks Preservation Commission considered the Sohmer & Co. Building and decided it “lacks the architectural significance necessary to meet the criteria for designation as an individual landmark.” The hearts of preservationists, historians, and lovers of Manhattan in general dropped. Interestingly, the three picturesque structures represent the three rapid-fire developments of the block: The Rapallo house is a surviving example of the first period of rowhouse construction; the Schieffelin mansion represents the second, fashionable period; and the Sohmer Building the commercial period. Look fast, though. It appears fairly certain that the charming buildings will not last much longer. Posted by Tom Miller at 3:27 AMEmail ThisBlogThis!Share to TwitterShare to FacebookShare to Pinterest
I happened to drive on West 57th Street today. All that is left is 37 West. The buildings that are mentioned are only memories now.
The new fieldhouse in Queensbridge Park, just north of the Queensboro Bridge.
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The stories behind the buildings, statues and other points of interest that make Manhattan fascinating.
In the first decade of the 20th century what had been the carriage-making district of Broadway from Times Square to approximately 72nd Street was becoming known as “Automobile Row.” The horseless carriage was rapidly taking over America’s roads with manufacturers cranking out around 200,000 automobiles a year. By 1910 the industry-related buildings would stretch as far as 110th Street. Among the smart carriage builders had been Demarest & Chevalier whose high-end showrooms were located in the fashionable 5th Avenue and 33rd Street neighborhood, across from the Waldorf Hotel. Around 1902 the firm cautiously began manufacturing automobile bodies as well. The elderly Aaron T. Demarest died on July 13, 1908 after having eaten tainted clams. His partner, Gabriel C. Chevalier, recognized that the age of the carriage was quickly passing away and that same year decided on a move to Automobile Row. Simultaneously the Peerless Motor Car Co. of New York, a branch of the Cleveland automobile manufacturing firm, planned its new showroom and headquarters. Peerless Motor Cars were the top of the line—luxury automobiles built for discriminating and wealthy consumers. On December 8, 1908 The New York Times reported that A. T. Demarest & Co. had leased a nine-story building—yet to be erected—on the southeast corner of Broadway and 57th Street. “The United States Realty and Improvement Company,” said the article, “will erect the building from plans by Francis H. Kimball.” The Times remarked that “Originally in the carriage building business, the Demarest concern now finds it advantageous to be north of Times Square.
ABOVE- Broadway Tabernacle on 57th Street
Demurest signed a 20-year lease with a staggering aggregate rent of $1 million. In a somewhat “and by the way” note, article added that “An ‘L’ –shaped parcel adjoining this Broadway and Fifty-seventh Street corner was sold recently to the Peerless Motor Car Company through the same brokers.” A month later Francis H. Kimball filed plans for the new building, a “nine-story garage,” for A. T. Demarest & Co. The projected cost of the structure was $150,000. The Times remarked in February 1909 on the rapid building along what it termed the “automobile belt.” The newspaper remarked on the proposed buildings of Peerless and Demarest saying “the one to be built and owned by the future occupants, and the other controlled under a long lease that for all practical purposes amounts almost to ownership.” The automobile had changed the complexion of Broadway. The article noted that developers, a decade earlier, had other plans for the real estate, “…but at just about that time came the remarkable expansion in the automobile industry, and these Broadway concerns have become the sites, not of apartment houses, but of salesrooms and garages…To-day the automobile business has become so firmly established in this section that it is not likely to be displaced easily.” Architect Francis Kimball paid deference to the hulking Gothic-style Broadway Tabernacle adjacent to the building sites and planned both to complement it. Designing the two structures so harmoniously that they are most often mistaken for a single building, he frosted the facades with Gothic- and Romanesque-inspired motifs. Plans moved ahead in a blurring pace with construction on both structures commencing early in March 1909. Within three months the Demarest was completed, followed by the Peerless building in September. The remarkable façade, produced by the New York Architectural Terra Cotta Co., was praised by Architects’ & Builders’ Magazine.
“Carried out in white terra cotta, the Gothic treatment is suitable in keeping with the design of the church, and makes a bond between the business structure and the house of worship, which would hardly seem a possibility were it not before our eyes.”
Peerless immediately published a description of the showrooms as a reflection of its high-end product. “The salesroom occupies the ground floor, and is designed to be in keeping with the Peerless cars, in dignity and richness. The walls and columns are of Botticino marble. The panels and side walls are of Greek Skyros, and the base of Pennsylvania Serpentine marble. The border of the floor is in Verde Antique and Old Convent Sienna. The Mosaic floor is of Sienna marble sawed in slabs and broken by hand, to get a novel effect. “
In order to prevent an unwanted glare of electric lights, the lamps were concealed behind marble caps to diffuse the light. The entire ceiling of the showroom was gold leafed. Two huge elevators moved automobiles between floors and a turntable at the 57th Street entrance easily changed the direction of the cars.
A Peerless automobile leaves the 57th Street entrance in 1910 — from The New York Home of the Peerless (copyright expired) Unlike its neighbor, Demarest & Co. did not manufacture complete automobiles, but luxury car bodies. In 1911 The New York Times reported on the luxurious and colorful bodies being shown. “Demarest & Co. will place the 38 horsepower English Daimler Silent Knight show chassis in the space this morning. The other cars they are displaying are three Italas and three Renaults. All the bodies having been built in their own shops. One Itala is a 30 horse power with a green limousine body, another is a 20 horse power show chassis, and the third is a 15 horse power dark blue folding front landaulet. “The Renaults shown in the Demarest space are a 12-16 horse maroon extension front landaulet, with one-fourth windows at each side in front; a 14-20 horse power green landaulet, with a detachable top over the driver’s seat and folding window pillars arranged so the body can be changed into an open one for touring, and a 20-30 horse power maroon limousine.”
PHOTO ABOVE To emphasize the exclusive nature of the Peerless automobile, the company would often advertise it parked in front of a mansion or other high-end setting, as in this 1909 ad — NYPL Collection
Around 1915 Peerless Motor Car left its L-shaped building and two years later A. T. Demarest & Co. did the same. In May 1917 Chevrolet Motor Co. of New York leased the Demarest building, only to purchase it the following year. Chevrolet became a division of General Motors that year, in 1918, transferred the property to GM. Almost simultaneously, General Motors purchased the Peerless building next door. Architect Henry J. Hardenbergh was commissioned to combine the two buildings into one. While the exterior remained unchanged, the two structures became the headquarters of General Motors Corporation. Although GM erected another headquarters building in Detroit in 1922, it retained the 57th Street building as its New York headquarters until 1927. The street level showrooms continued to be used to showcase its many makes—Cadillac, LaSalle, Chevrolet and Pontiac among them—until the early 1970s.
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MEMORIES
Your photo of the Erector Set in the RIHS newsletter today reminder me of the many hours of pleasure I got from building objects with my Erector Sets (I had several). I thought you might be interested in the attached photo of me (c. 13 yrs. Old) looking with pride of my just completed parachute jump—the ultimate Erector Set construction. IVAN STEEN is a professor at SUNY Albany and historian on UDC, Ed Logue and the development of Roosevelt Island.
Now this one sure did bring back memories. Every one of these toys were in our home in Kearny, NJ when we 4 were little. And although I couldn’t play with my train set I still have that set here in my apartment. My erector set was a special gift from my grandmother. My sisters had the kitchen cabinets with china dishes. Chinese checkers. Candy Land. Monopoly…we had it all. Pin the tail on the donkey…put it up on a door with tape. Memories. Bill Weiss
EDITORIAL
From DNA INFO:
“The Sunbather,” a 4,000-pound bronze work by artist Ohad Meromi, was installed on a traffic median at the intersection of 43rd Avenue and Jackson Avenue.
A controversial bright pink sculpture that drew criticism for its color and $515,000 price tag now has a permanent place on Jackson Avenue. “The Sunbather,” a 4,000-pound bronze work by artist Ohad Meromi, was installed over the weekend on a traffic median at the intersection of 43rd Avenue, according to city officials.
The bubble-gum pink sculpture, which the city calls an “instant icon for the Long Island City neighborhood,” stands more than 8 feet tall and 10 feet wide, and depicts a reclining human figure described by the artist as a “generalized body at rest.”
Paid for with funding from a street improvement project completed in 2010, the sculpture was commissioned under the Department of Cultural Affairs’ Percent for Art program, which uses one percent of the budget from certain city construction projects for public art.
But plans for the work were initially met with some online criticism, particularly about the sculpture’s color. Someone erected their own wooden sculpture on Jackson Avenue, with a sign calling The Sunbather’s $515,000 budget a “misuse of our tax dollars.” The controversy over the piece prompted City Councilman Jimmy Van Bramer to introduce a bill that would require more public input on Percent for Art projects.
In a statement sent out Monday, Cultural Affairs Commissioner Tom Finkelpearl praised the work. “Public art is so important to New York City,” he said. “Whether it’s joyous or somber, large or small, traditional sculpture or an innovative, interactive work, public art has the power to enhance our civic space and make us see our city with new eyes.”
As I passed by this morning and was shocked to see the work of art in the middle of the street. My personal opinion was that it looked like papier mache work we did as kids wrapping the paper around clothes hangers,
That is my opinion and I am glad not to have to pass by this object often.
Judith Berdy
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Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All image are copyrighted (c)
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Joseph Papp Public Theater The building was the home to THE HEBREW IMMIGRANT AID SOCIETY Joan Brooks was the winner
EDITORIAL
Let’s think of toys of our youth, instead of the world today. Many parents pulled out the old games this year and showed the kids how we spent our time white watching Howdy Doody, Miss Francis, Lambchop and Soupy Sales!!
JUDITH BERDY
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WE ARE HAPPY TO GIVE WINNERS OF OUR DAILY PHOTO IDENTIFICATION A TRINKET FROM THE VISITOR CENTER. ONLY THE PERSON IDENTIFYING THE PHOTO FIRST WILL GET A PRIZE. WE HAVE A SPECIAL GROUP OF ITEMS TO CHOOSE FROM. WE CANNOT GIVE AWAY ALL OUR ITEMS,. PLEASE UNDERSTAND THAT IN THESE DIFFICULT TIMES, WE MUST LIMIT GIVE-AWAYS. THANK YOU
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
