This post is excerpted from One World Trade Center: Biography of a Building (Little, Brown & Co., 2016).
By Judith Dupré
To fully appreciate One World Trade Center, one must begin at Seven World Trade Center, simply called Seven. Completed in 2006, Seven was the first tower to be rebuilt after September 11. Its construction was catalytic, refocusing prolonged discussions from what should be done at the World Trade Center to actually getting it rebuilt. Seven’s design, safety measures, and civic generosity established a benchmark that set the tone for the rest of the World Trade Center site.
Its innovations would be incorporated into every subsequent Trade Center tower — and towers built around the globe. Designed by Skidmore, Owings & Merrill (SOM), engineered by WSP | Parsons Brinckerhoff and Jaros Baum & Bolles, built by Tishman/AECOM, and developed by Silverstein Properties, Seven also saw the creation of a team of experts, all of whom would go on to work on One World Trade Center, bringing their skills and close working relationships to that project.
By Karen Karbiener
Walt Whitman is the world’s first New Yorker. Declaring himself as both a “Brooklyn Boy” and a “Manhattanese” at the same time Emerson described the Big Apple as a “sucked orange,” Poe denounced its noise and too-rapid development, and Thoreau felt “sick ever since I came here,” Whitman celebrated the urban roots of Leaves of Grass in many of his greatest poems. “Walt Whitman, a kosmos, of Manhattan the son” named the city his spiritual forefather in “Song of Myself,” and “Crossing Brooklyn Ferry” is just about everyone’s pick for the greatest New York poem ever written. “Proud and passionate city! mettlesome, mad, extravagant city!” he sings in “City of Ships.” “I chant and celebrate all that is yours.”
But 165 years before this blog post on summer city getaways was scribed for Gotham readers, Walt published his own versions of such pieces in the New York Evening Post and the New York Sunday Dispatch. “Swarming and multitudinous as the population of the city still is, there are many thousands of its usual inhabitants now absent in the country,” he wrote in 1851. “Having neither the funds nor disposition to pass my little term of ruralizing at the fashionable baths, or watering places, I am staying awhile down here at Greenport, the eastern point of the Long Island Railroad.”
“Invaders”: Black Ladies of the ILGWU and the Emergence of the Early Civil Rights Movement in New York City
By Janette Gayle
Black female industrial workers are strikingly absent from literature on the Great Migration and black industrial labor in the twentieth century. Studies like Joe William Trotter Jr.’s Black Milwaukee, James R. Grossman’s Land of Hope, Richard W. Thomas’s Life for Us Is What We Make It, and Peter Gottlieb’s Making Their Own Way have advanced our understanding of black industrial workers and their importance in the making of black communities in the Midwest and northern urban industrial cities, but they focus almost exclusively on the experiences of skilled men. Skilled women are virtually absent from these studies. But women were there. If we look closely at the sources, another picture comes into focus, one in which women such as Maida Springer Kemp, Eldica Riley, Edith Ransom, and thousands of others were indeed part of the black industrial workforce in New York City. If we look closely we will also see that the Great Migration was not a completely unskilled migration. Many migrants -- men as well as women -- were skilled workers. The ones who caught my eye were the dressmakers.
The following is an excerpt from the forthcoming Drop Dead: Performance in Crisis, 1970s New York (October 2016),
published courtesy of Northwestern University Press. A book launch and panel discussion of theater in New York City during the 1970s will take place at the Martin E. Segal Theatre Center on Monday, October 31. Full event information here.
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