Jeremiah Moss's #SaveNYC

One of my regular blog reads is New Yorker Jeremiah Moss's Jeremiah's Vanishing New York. Since 2007 through today he has relentlessly chronicled the changes to the city's social, political and economic ecology, noting the disappearance of longtime businesses, the increasing waves of hypergentrification, and the homogenized cityscape that has resulted. While it's true that gentrification in New York is hardly new, or that the city has never been static, the pace of the changes (towers rising, small businesses vanishing) has become dizzying, as Moss shows again and again. Also, while too much nostalgia dissolves in sentimentality and the blame for the city's changes lies at no one doorstep, it is nevertheless important to document, as Moss does, how the absence of laws or a system to counter the pro-elite zoning that began under former mayor Rudy Giuliani and accelerated into hyperdrive under billionaire plutocrat Michael Bloomberg, has deleterious effects on many aspects of what people think of as New York (distinctive, economically diverse neighborhoods, particular sub-cultures, and so forth). When every neighborhood in Manhattan increasingly becomes a combo high-end condo district coupled with luxury outdoor mall, what kind of city remains?

Moss has decided to launch a project, with a website, entitled #SaveNYC. As he says on the website:

#SaveNYC is a grassroots, crowd-sourced, DIY movement to protect and preserve the diversity and uniqueness of the urban fabric in New York City. As our vibrant streetscapes and neighborhoods are turned into bland, suburban-style shopping malls, filled with chain stores and glossy luxury retail, #SaveNYC is fighting for small businesses and cultural institutions to remain in place. Our mission is to bring attention to the plight of Mom and Pop, and to lobby state and city government to implement significant and powerful protections for small businesses and cultural institutions across the five boroughs of New York City. The devastation has been overwhelming. Protecting what remains will require a multi-pronged approach. 

The projects first steps including raising awareness by collecting video and photographic testimonials from people everywhere who love New York and want to see its diverse culture and heritage protected. One component involves using social media, via the hashtag #SaveNYC, and a concomitant Facebook group. On the political front, Moss is pushing to pass the Small Business Jobs Survival Act (0402-2014), which he says "will make it possible for small businesses to negotiate fair lease renewals with landlords, thus stemming the tide of mass evictions and catastrophic rent hikes." Currently, landlords' ability to hike up rents, by doubling or tripling the going rate, has meant that businesses that had survived for decades or even a century have been shoved out in favor of chains.

Of course anyone paying attention to the asset-based economic logic of Wall Street, whose power and goals fuel these changes, will grasp what's happening here, as there's always more money to be made by expanding private and publicly traded corporations than in an environment in which there are lots of small businesses and well-rewarded labor. Money, for a very few people, is all Wall Street cares about. Another issue is the rising cost of real estate, and laws that favor certain kinds of elite and corporate investors and spur appreciation, to the disadvantage of the vast majority of renters and homeowners. Although New York mayor Bill de Blasio campaigned on behalf of the city's majority, his actions to save small businesses have been not matched the rhetoric, nor have those of the City Council. Meanwhile, chain stores, businesses like bespoke barbershops, frou-frou restaurants and spinning (not of yarn but weight-focused wealthy people) proliferate.

I urge J's Theater readers to explore Jeremiah's main site, linked above, and #SaveNYC. If you're a New Yorker, you can:

Pass the Small Business Jobs Survival Act (SBJSA) to create fair negotiations of commercial lease renewals, so landlords can’t use insane rent hikes to evict dependable and beloved business people.

• Sign the petition for the SBJSA here
• Read more about the bill here
• Click here to find your local council members — call and write, tell them to pass this bill now
• Tweet your local council member, @NYCCouncil, and @MMViverito as often as possible and tell them to pass the SBJSA

Jeremiah outlines other steps as well for those in NYC. Even if you don't live in the city, you can add a video or a photo showing your support for Jeremiah's initiative and offering visual support on behalf of the New York that is being subsumed by a shiny, super-expensive new and increasingly dull version. The more Mayor de Blasio and the New York City Council hear from New Yorkers and those who participate in this initiative, the more likely the SBJSA, as well as other approaches, like emails and daily tweets to public officials to control the spread of chains (as has been done in San Francisco), taking away the over-generous tax breaks for megacorporations and aid small businesses; and penalize landlords to maintain empty storefronts to gain the highest commercial rents possible (i.e., from chains or luxury boutiques).

One need only look at the evisceration of the West Village's 8th Street between 5th and 6th Avenues, once Bookstore and later Shoe Row, but which is now a dull, depopulated street dotted with a few high-end restaurants and boutiques, a fancy hotel, and empty storefronts, that could be anywhere, to see the direction things are going. Now I need to post a photo, since I'm not so adept at making and editing personal videos!

American Academy of Arts and Letters Ceremonial

I have heard of the American Academy of Arts and Letters, which is headquartered in New York City, but until I ventured up to its annual ceremonial, as the guest of a guest (+1 of scholar and critic Dorothy Wang) of a recent prize recipient, I had no idea where it was located or what its programs entailed. To put it simply, it's a big deal, or rather, a big financial deal, as it annually awards many thousands of dollars (this year, I believe I heard the figure in the hundreds of thousands), in prizes and ceremonial awards to artists working in the fields of literature, the visual arts and sculpture, European art music (and perhaps other genres), and architecture. It's an august institution too: a closed honor society of 250 members selected and elected by standing members without outside nomination, it grew out of the National Institute of Arts and Letters, founded in 1898, consisting eventually of 200 members, from which the American Academy of Arts and Letters, a smaller and more elite sub-organization of 50 of the most eminent figures in their fields, emerged in 1904. US President William Howard Taft signed a Congressional act that incorporated the Institute of Arts and Letters in 1907, and the Academy in 1916. In 1976 the two organizations merged, and in 1993, all 250 members merged into one entity now known as the American Academy of Arts and Letters.

The seating chart

Who belongs to the American Academy, which operates like an Academie Française only without the single focus on language and with a far broader narrower mandate, at least ideally? The president is architect Henry Cobb, Vice Presidents for Literature include writers Ann Beattie, Yusef Komunyakaa and Tony Kushner, Vice Presidents for Music include composers John Corigliano and John Harbison, the secretary is architect Billie Tsien, and the Treasurer is composer Charles Wuorinen. Members include a number of major scholars and artists, ranging from Daniel Aaron, Edward Albee, Kwame Anthony Appiah, and Isabel Allende to Gary Wills, Olly Wilson, Terry Winters, and Ellen Taaffe Zwillich. Every year in the spring, a subset of these members, constituting committees in various fields, award lucrative prizes to selected artists without nomination, and present them at the annual "Ceremonial"--awards ceremony--at the Academy's building at Aububon Terrace, in Washington Heights, across a courtyard from the Hispanic Society of America, and next to what used to be the old headquarters of the national Museum of the American Indian, which is now located at Bowling Green in downtown Manhattan, and which Boricua College has replaced.

The stage, with numbered seats

Having never been to one of these shindigs I had no idea how it operated, but it appears that a certain number of members show up, along with the prize recipients, and are seated in a set order onstage, in order that an annual photograph be taken, and so that family members and friends can figure out who's who if you don't know them by sight. Also, distinguished figures in a given field hand out awards to peers and up-and-comers, so it was the case that Louise Glück, the Pulitzer Prize-winning poet, gave out awards to many of the literature awardees. There a few awards I'd heard of before, like the Rome Prize, which went to poet Peter Streckfus, and a number of others, including one for distinction on the radio, that went to Ira Glass, who gave one of the best brief speeches I've heard in a while, yet there were many others, with hefty awards attached, that went to creative people I'd never heard of. (No surprise there.) Also unfortunately, and unsurprisingly, as I commented to a friend, critic Dorothy Wang, and later to other writers and artists, very few winners were people of color; I think two black people (one writer, one artist), two asian-americans (both musicians), and a few latinos received awards, but most of the awardees were white, though at least half or more, like the presenters, were women, which is always a positive sign. I'm not sure if the proceedings are always so monochrome, because the membership does appear to be diverse, at least in certain fields, so I hope in other years a wider range of artists, reflecting the rich tapestry of this country, benefit.

Francine Prose and Garrison Keillor

Michael Chabon delivered the Blashfield Address, a smart, sometimes funny lecture that explored the relationship between literature and rock and roll. It even invoked both Bob Dylan, who was slated to receive a major award but could not attend, Frank O'Hara and Rakim, among others. A friend, poet Joanna Klink, received one of the literature awards, and a fiction writer whose first novel unfolds like poetry, Briton Adam Foulds, received a prize given specifically to writers from Britain and Ireland. The highlight of the event was witnessing the awarding of the Gold Medal for Literature, which Paul Auster presented to one of my former and very best professors, E. L. Doctorow. One of the leading contemporary American fiction writers, recipient the National Book Award for Fiction, three National Book Critics Circle Awards for Fiction and the PEN/Faulkner Award, a longtime teacher at New York University and a former professional editor, Doctorow is perhaps best known for his inventive novelistic treatment of the life, trial and execution of Julius and Ethel Rosenberg, titled The Book of Daniel (1971), which pushed him to the front rank of American writers, and for his innovative, controversial novel Ragtime (1975), which later became an acclaimed film and a highly praised musical. Though mainly known for his novels that explore key historical moments through the depiction of society at multiple, overlapping levels, he is also a perceptive, suasive, politically pointed critic, and a superb short fiction writer. His speech, which concluded the event, was succinct and profound, and the perfect ending a ceremony of this type. 

The members, prize recipients and guests assembling

After the awards, there was a tented reception behind the main building, and in an adjoining one, an exhibition of artworks and other materials, including scores, manuscripts, and much more, by award recipients. I did not get an opportunity to offer my congratulations to Doctorow, but I did get to chat briefly with composer T. J. Anderson II and his wife, whom I met aeons ago when the Dark Room hosted and feted him, artist Richard Hunt and late writer Leon Forrest, at the African Meeting House in Boston. I also got an opportunity to say hello to Olly Wilson, another African American composer who ought to be better known. I did not, however, meet Darryl Pinckney, who received one of the literature prizes; I'm a fan of his criticism, so I hope one of these days to meet him in person. Below are some photos from the day.

Nearly full section (l-r) unknown man, dancer Edward Villella, Meryl Streep,
Lydia Davis (speaking with Francine Prose), E. L. Doctorow, Damon Galgut

The stage, filling

The photographer

Posing for the group photo

Louise Glück hugging recipient Joanna Klink

Composer Tania León, announcing awards in music

Meryl Streep, who subbed for Steven Sondheim
and also presented an award to Edward Villella

Artist Njideka Akunyili, receiving her award

Michael Chabon

Author and translator Lydia Davis receiving
the Award of Merit for literature

Ira Glass, receiving his award
and delivering a hilarious speech

Meryl Streep, honoring Edward Villella

Paul Auster, reading his introduction
and citation for E. L. Doctorow
(Garrison Keillor at left, in red tie,
Chuck Close at right, Alison Lurie behind him)

The statue of El Cid, at Audubon Terrace

The exhibition, with the works of
artist Njideka Akunyili on display

In the 157th Street station, Ira Glass, chatting
with Calvin Trillin