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Howard Street

Emily Hobson

7 December 2011

Media History of New York

Professor Wallace

Howard Street Final Post

A Look Down Howard

In the Zukin piece, “Whose Culture,” Zukin describes, “Anyone who walks through midtown manhattan comes face to face with the symbolic economy.  A significant number of new public spaces owe their particular shape and form to the intertwining of cultural symbols and entrepreneurial capital”([11],3).  Zukin describes the current society as a generation consumed with the visual and the cultural interpretations of our world’s symbols.  The mass market’s and the media’s created symbols make up how we see and how we live in the city, and that is our current economy.  Howard Street and I have developed quite a relationship over the past semester.  Walking up and down the street, which runs from Mercer to Centre, and between Grand and Canal, I found a street that had not been completely consumed with the new symbolic economy.  Don’t get me wrong, Howard Street still plays into some of the artsy stereotypes of Soho with its loft apartments, and it even carries a few chain locations.  However, Howard Street is well represented by a few businesses on its street who still produce their own product in the place they sell it, showing that they have not thrown out their past economy and society.     These businesses care about the community, and well represent the people.  After reading Zukin’s article, “Whose Culture,” what most stuck out to me about the atmosphere of Howard Street were the small businesses that are not conforming to the capital.  These are businesses where the creators our present, and the product and process is unique to its individual location.  Howard Street combines the industry and labor economies of the past with the symbolic economy of the present in the businesses that inhabit the street.

In examining the history of Howard, one will find that Howard has always represented a labor economy.  Howard Street was named after Henry Howard, a New York City fire fighter, who was chief of the fire department between 1857 and 1860.  Until 1865, firefighting was based on a purely volunteer basis, so just being a fire fighter back then was an especially heroic act.  Howard Street’s namesake illustrates just how important hands-on labour and attention to the people around you is for the community of the street. [7]

The architecture on Howard Street represents the economy of not only the street, but much of Soho in the 1800’s.  Howard Street is filled with cast-iron architecture, and when you arrive on the street you are met with a brown street sign, showing Howard Street as a member of the “Soho Cast Iron District.”  The meaning of Soho as a cast iron district has to do with the fact that Soho, including Howard Street, was the capital of trade and dry goods in the 1800’s([8]).  This involved manufacturing fabrics and merchandise on the street and using Cast Iron as a prettier facade to showcase these goods and materials([3]).  Howard Street even in the 1800’s represented a symbolic economy, in its use of cast iron for a symbol of exquisite silks and lace.  However, mainly  it embodied a manufacturers economy in its pride of locally made products, where goods were sold where they were produced.

In Zukin’s article, she states that “in the 1970’ and 1980‘s, the symbolic economy rose to prominence against the background of industrial decline and financial speculation.  The metamorphis of American-made products into Mexican blue jeans…emptied the factories where those goods had been made([11],8).”  Located at 19 Howard Street is “E. Vogel Custom Made Shoes and Boots,”  a business that represents “industrial decline” did not have to affect all of “American-made” products.  E. Vogel is a brand that combines the previous manufacturing economies with today’s symbolic economy to make a name for itself on Howard Street.  The store was built in 1879, right after Howard became a street, and it celebrated its one hundred and twenty-fifth year in 2004([5]).  The equestrian shop was started by Egidius Vogel, a German immigrant, and was originally located on Grand Street, one street over.  Today E. Vogel is on its fourth generation of Vogel men with Dean Vogel and Dean’s cousin Jack Lynch as it’s owners([5]). Not only is E. Vogel impressive because of how long it has been in lower manhattan, but also the business itself is impressive.  The store is specifically for riding boots and men’s dress shoes, and known as one of the best places to get these shoes, pulling people from all over the world.  World’s Luxury Guide’s article on “The Best Hand-Made Shoes and Their Makers” said of E. Vogel’s shoes that “Traditionally, hand-made shoes are at home in Europe, above all Austria and England.  E. Vogel strides against this current, however, and truly understands the art of the hand-made shoe” ([6]).  With the machinery above the shop, E. Vogel still practices labor and has kept up with the shoe making industry for generations and generations.  People know from who they are buying their shoes, and exactly where their shoes are coming from.  This also doubles as the companies evolution into the symbolic economy, as this has become their trademark.  E. Vogel, in being around for so long is represented by a name people have trusted for over a century.  The sign for the store is rustic and old fashioned, creating a visual representative of what the store stands for.   E. Vogel is one of the many businesses on Howard, but it most stands out in relation to Zukin’s article as a business that has not completely conformed to the symbolic economy.

It is undeniable that “Opening Ceremony” has kept up with the hip and artsy vibe that Soho is stereotyped by.  However, the store, located at 35 Howard Street, is actually another example of the nineteenth and twentieth century economy in how the store runs its business.  Opened in 2002, the owners, Carol Lim and Humberto Leon, have created their own fashion line within the store.  In addition to selling other brand names, the owners have their own collection.  In a New York Times article, one person said, “There is such a uniqueness and also a non-competitiveness to what they do that it comes across as being what it is, really natural….It’s an expression of them[Lim and Leon([10]).” The product is created in the same place that it is sold, just not necessarily manufactured.  It is a different kind of labor but the same kind of merchandizing industry that could be found back in the 1800’s, where the creators are right in front of you.  The type of clothing fits the Soho aesthetic with their “avant-garde” and hip design, becoming a part of the symbolic stereotypes of this manhattan area.  However, the extremely modern store manages to stay true to its character, a character known to the consumers, because the owners are so hands-on. [10]

While celebrities endorsing products is essentially what has created our consumer economy, on Howard Street, a group of celebrities have now brought us back to why our nation was founded by people laboring together to build something.  In April 2011, Adobe and The Black Eyed Peas Peapod Foundation founded the Youth Voices Music and Multimedia Academy at 21 Howard Street.  The Academy is dedicated to providing underprivileged youth with technology for dance, art, music, and film.  Neither the youth of the academy, or the Black Eyed Peas built the school themselves, but these children will now be faced with the opportunity to build their own careers and music with the equipment and technology given.  The Black Eyed Peas choosing to put their name with this academy combines the symbol of an inspirational group and media phenomenon with real people living on the streets of New York who are now being given the opportunity to build their careers.  We forget how important it is to go beyond symbols and actually be physically present in the industry and throughout the labor.  The Black Eyed Peas were there to meet the children and found the school, putting work into the cause, which is something I see a lot of on Howard Street.  Products are a result of people meeting with people.  I agree with Zukin’s claim that “Building a city depends on how people combine the traditional economic factors of land, labor, and capital”([11],7).  The Black Eyed Peas combined labor, with their celebrity status, and physically made something happen.  Instead of just supporting a cause, they built a cause and created a new aspect of the city.  [2]

Finally, Putnam Rolling Ladder Company is an excellent example of how industry and labor are still around in the best possible way on Howard Street.  Putnam was established in the 1905 and moved to 32 Howard Street in the 1930’s.  It was passed down originally from Samuel Putnam, now being owned by Greg Monsees.  Putnam is a  location for buying and manufacturing, as the ladders can be bought right where they are made.  A New York Times article, “Ladders of Memory,” describes how “on entering the Putnam Ladder Company, one senses some faint climate change, not in temperature, so much as time.  It’s dim in here, slightly lighted, and smelling of maple, oak, and cherry([4]).”  This is proof as to the production of the product in these very buildings, and the aura this manufacturing provides.  With such a strange product, Putnam has some how managed to make their ladders a fine and well-known product, selling to clientele like the Bushes.  This is a product that has received such high praise from the companies work on the ladders and the people’s trust in where the product is coming from.  I could not of asked for a better representative of Howard Street’s unique reliance on the manufacturing economy, than the description of the inside of Putnam Company.  In going up the stairs, one will find a man drilling on the second floor, stacks of ladders on the third floor, barrels of nuts and bolts on the forth floor, and ladders in need of repair on the fifth floor, proof that this building is doing the building.  Putnam has not relied on a symbolic economy to sell and mass produce their product, but instead relied on the good old fashioned manufacturing of their own product in their own American location. [4]

Census Data for Howard Street confirms that it is far more a street for business than for residents.  This plays into the buildings I have described being much more centered around manufacturing than around living.  Looking at the Department of City Planning’s statistical information on Quadrant 45, the Quadrant containing most of Howard Street, for the year 2000, there are only 1,066 people living in this area.  Howard Street is about one third of the quadrant, so only around three-hundred of the 1,537,195 people living in New York City lived around Howard Street.  Walking down Howard Street, I see all stores and businesses.  One does not see a lot of family life at all.  Discovering what I did about the amount of creation that goes on on the street, it makes sense that the street would have far less people on it.  This supports Howard as an industry rather than residential street, and that these buildings are also being used for labor.  [1]

Spending so much time on Howard Street has introduced me to a street that reminds me that we can still produce and build.  The businesses of Howard Street illuminate that a manufacturing economy still exists in hidden places, but there are always the influences of symbolic still at play.  Howard Street is unique in that it still plays into the old-fashioned industrial society it was in the past by having its businesses build their own products.  If you go to Howard Street, there are artsy lofts to rent, and chain stores to find, but pay attention instead to the small businesses that have survived based on their product and their people.  I will greatly miss discovering the hidden gems of Howard.

Work Cited

 [1]“35 Howard Street.”  New York City Census Factfinder: 2000 Census Profiles for New York City.  Department of City Planningnyc.gov.  2000. 7 October 2011. Web.

[2]“Adding Multimedia: The Black Eyed Peas Peapod Foundation and Adobe Foundation Launch Youth Academy in New York.” Adobe.  2011.  Web.

[3]Dunning, Jennifer.  “An Architectural Tour of Soho’s Cast-Iron Heritage.”  New York Times.  Proquest.  5 May 1978.  1 October 2011. Web.

[4]Dworin, Caroline H.  “Ladders of Memory.”  The New York Times. LexisNexis. 29 June 2008.  1 December 2011. Web.

[5]“E. Vogel Custom Made Boots & Shoes Celebrates 125 Years in Business.”  Equine Resources.  2004. 18 September 2011. Web.

[6]“E. Vogel, New York: The Best Hand-Made Shoes and Their Makers.”  World’s Luxury Guide. 2011. 18 September 2011.  Web.

[7]Feirstein, Sanna.  Naming New York.  New York: New York University Press, 2001. Print. 69.

[8]Ranzal, Edward.  “So Ho Made a Historic District.” New York Times.  Proquest.  Aug 17 Aug 1973.  1 October 2011.  Web.

[9]Walker, Sarah.  “E. Vogel Custom Boots and Shoes.”  NYMAG.  2011.  18 September 2011. Web.

[10]Wilson, Eric.  “Be a Fashion Insider or Just Look Like One.”  Nytimes.com. New York Times, 2008. 12 September. 2011. Web.

[11]Zukin, Sharon.  “Whose Culture? Whose City?” The Cultures of Cities.  Cambridge: Blackwell, 1995.  Print.

Entry #1:Introduction to Howard Street-A Walk Down The Street

A Map of Howard Street-Extending from Mercer to Centre Street
A Look Down Howard
A Look Down Howard Street

Howard Street may be small, but it represents New York City perfectly in that it is a hodgepodge of places and people.  Howard Street, one of the much smaller streets in the city runs only from Mercer Street to Centre Street with only Broadway, Crosby, and Lafayette in between.  Despite how short of a distance the street actually is, it takes you from Soho to China Town delivering its residents and visitors a variety of food and fashion.  There is a variety of architecture but a theme I saw a lot of 1800‘s cast-iron renaissance buildings.  From the hip boutique Opening Ceremony to the Holiday Inn, Howard Street is definitely a street to take a walk down.

Why Howard?

It is still being debated how exactly Howard Street got it’s name, but the most promising evidence points to a man named Henry Howard.  Henry Howard was a firefighter in New York City around the the 1850’s and 1860’s.  Until 1865 firefighting was based on a purely volunteer basis, so just being a firefighter back then was an especially heroic act.  Not only was Henry Howard a volunteer for the fire department, but he was chief of the fire department from 1857-1860.  He even came up with the ideas of constant alerts and sleeping quarters in the fire stations, improving fire safety all over the city.  He was clearly a man of the people, making him a great choice for a city that is all about the variety of people who live in it. (1)

Opening Ceremony: A New Landmark for Howard Street

In looking up Howard Street online and when walking down Howard Street on any day their is one thing you cannot escape: the constant buzz about the store “Opening Ceremony.” Fashion is something you cannot escape in New York, which is why I thought it was important to take a look at what aspects of fashion I could find on Howard Street.  While their were other stores such as “OMG” and “Jil Sander,” “Opening Ceremony” stuck out not only on the street but in New York.  Owned by Humberto Leon and Carol Lim in 2002, the New York Times described the store as “A destination for fashion insiders and the people who wish to dress like them, this may be the most influential place in retail at the moment”(2).  The store has an “avant-garde” mix of the store owner’s own collection, along with designs by chloe sevigny, topchop, and even target designers.  One brand of jeans at the store, “Cheap Mondays,” sold 6,000 in one month.  One person the New York Times interviewed said while describing the store and its success that, “There is such a uniqueness and also a non-competitiveness to what they do that it comes across as being what it is, which is really natural, It’s a fun store to shop in. It’s an expression of them(2).  I found that this could be said of Howard Street in general.  There is something “non-competitive and unique” about a very small street that manages to bring the fun and fashion of soho in combination with the culture of china town.  The two worlds somehow flow and it seems very down to earth and natural.  Aside from the fashion there is definitely chinese food theme as you get to the end of the street connecting to Centre.  There was even a chinese pastry shop called “Lucky Bakery”. (2)

A Look Into China Town

One more thing there was a lot of on Howard Street was construction.  For what is an already small street, there is a huge lot of construction on the corner of Howard and Broadway.  I was curious, because it was a distraction from what could be a very nice looking street and a street that after looking at an apartment for sale costs into the millions to live on.  Broadway and Howard was supposedly “Number 19 on the “Best Blocks” list, before it was gutted(3).  It has been a flea market at the edge of soho.  It was going to be a luxury hotel at one point but with the recession the ideas of what to do with it keep changing.  The latest article I found said that it is all set to become a seven story building for “shoe king Eddie Omari”(3).  However, the article is dated 2009.

What was a flea market….

Aside from the bit of construction interruption, walking down Howard Street was a treat and I cannot wait to see what more I uncover in the coming weeks.

Work Cited

[1] Feirstein, Sanna.  Naming New York.  New York: New York University Press, 2001. Print. 69.

[2] Wilson, Eric.  “Be a Fashion Insider or Just Look Like One.”  Nytimes.com. New York Times, 2008. Web. 12 September. 2011.

[3]Pete. “Soho’s New Broadway Banksy Replacement Revealed.” Curbed.com. 2009Web. 12 September 2011.

Entry #2: The Signs of Howard Street

Sign for E. Vogel Shoes

Walking down Howard Street, I was looking for a piece of text that really caught my eye.  Between construction, Soho, and Chinatown, Howard has a lot going on, so for something to catch my eye, it had to be different than anything on the street.  I was immediately drawn to a little oval sign at 19 Howard Street.  It was different than any other sign on the street, because it was rustic and old fashioned.  Almost all the other signs on the street were either metal or just plain flags so the wooden dangling sign seemed a little out of place.  The sign read “E. Vogel Custom Custom Made Shoes & Boots.”  E. Vogel looks to be a tiny little shop but, once I read into it I found it to be instead a beloved Equestrian shoe shop that is regarded highly to people far and wide.

E. Vogel was build in 1879, celebrating its 125th year in 2004.  The equestrian shop was started by Egidius Vogel, a German immigrant, and was originally located on Grand Street, one street over.  Today E. Vogel is on its fourth generation of Vogel men with Dean Vogel and Dean’s cousin Jack Lynch as it’s owners.  When I saw on the sign that it had been there since 1879, I barely paid attention.  However, after finding out the store has been in one family for four generations and has been in lower manhattan for 132 years the sign seemed that much more personal and significant.  I think it is something important to put on the sign to invite costumers in and know they can trust the store. (5)

Dean Vogel-4th Generation to Run Vogel Shoes ( 8)

Not only is E. Vogel impressive because of how long it has been in lower manhattan, but also the business itself is impressive.  The store is specifically for riding boots and men’s dress shoes, and known as one of the best places to get these shoes pulling people from all over the world.  World’s Luxury Guide’s article on “The Best Hand-Made Shoes and Their Makers” said of E. Vogel’s shoes that “Traditionally, hand-made shoes are at home in Europe, above all Austria and England.  E. Vogel strides against this current, however, and truly understands the art of the hand-made shoe” (6). The shoes start at $1,375 and because of the store’s talent for shoe making, the Vogels have a most impressive list of clientele(8). These clients include Paul Newman, Henry Kissinger, Sylvester Stallone, Sigourney Weaver, and Jackie Kennedy.  It is hard to get more impressive then that list of costumers.  As for their riding boots, they provided boots for the whole U.S. Equestrian Team.  (5).

Looking at the store it looks small, the sign is wooden and inviting, but I never would have expected what I found inside.  Not only is their store located at 19 Howard but also “four stories of leather, polish, and vintage shoemaking machinery”(7).  In class we talked about how much influence street signs have on a city.  The E. Vogel sign stands out, but in an inviting way.  Right near Crosby Street and “Opening Ceremony” E. Vogel is just another little treasure in a city where there are always things to find.  Street signs are how you find things, and this specific sign led me to an old little store with a great history.

Where to Find E. Vogel(4)

[4] “E. Vogel.” E.Vogel. 2004. 18 September 2011. Web. http://vogelboots.com/index.asp

[5] “E. Vogel Custom Made Boots & Shoes Celebrates 125 Years in Business.”  Equine Resources.  2004. 18 September 2011. Web.  http://equineresources.com/ vogel- boots-shoes/59-e-vogel-custom-boots-a-shoes-celebrates-125- years- in-business

[6] “E. Vogel, New York: The Best Hand-Made Shoes and Their Makers.”  World’s Luxury Guide. 2011. 18 September 2011.  Web. http://www.worlds-luxury-guide.com/Fashion/Shoes/E-Vogel-New-York

[7] Walker, Sarah.  “E. Vogel Custom Boots and Shoes.”  NYMAG.  2011.  18 September 2011. Web.  http://nymag.com/listings/stores/e_vogel_custom_boots_and_shoes/

[8] Welsh, Jean.  “Bespoke Shoes Since 1879.” BusinessWeek.  16 July 2011.  18 September 2011. Web.  http://www.businessweek.com/magazine/content/ 11_26/ b4234081688829.htm

Entry #3 A Stroll Down Howard w/ Certeau and Morris

Looking down Howard Street From Mercer Towards Centre

It is 12:30 p.m. on Tuesday, September 27th and I am walking down Howard Street, looking like the biggest tourist, for about the fourth time now.  I have class at 194 Mercer from two to five on Tuesdays, so I like to go to Howard beforehand and take in the street.  Despite the fact that I have walked up and down the street numerous times now, I cannot help but still feel discomfort on Howard and a little bit of confusion.   De Certeau and Morris allow me to discover just why I was feeling this way “walking in the city.”

In De Certeau’s piece “Walking in the City” he describes that “walking affirms, suspects, tries out, transgresses, respects, etc.  The trajectories of it ‘speaks.’ All of the modalities sing a part in the chorus, changing from step, stepping in through proportions, sequences, and intensities according to time, the path taken, and the walker(9).  Walking down Howard Street, I find De Certeau to be correct in that walking does all of these things depending on when you go, the path you take, and the mood I am in.  I take the same path to get onto Howard Street every time.  I walk down Mercer Street to get to Howard and then travel West to East.  Why do I choose the same path each time? I love Mercer street.  The cobblestone streets of Soho are probably my favorite area of New York with these back roads containing boutiques instead of department stores and cafes instead of chain restaurants.  If you are looking for a more quaint, more chic part of the city, the back streets of Soho are just that. Relating walking to language De Certeau states “The walking passers-by offers a series of turns and detours that can be compared to turns of phrase or stylistic figures.  There is a rhetoric of walking”(9).  Just like the way I choose to speak expresses who I am, the way I walk and the turns I take help me to understand why I feel the unease I do when walking down Howard.  Abandoning Soho and turning onto a street filled with construction, plainly paved streets, and an entrance into china town overwhelms me in that I am venturing into a completely new space in the city.  I do not feel as at home comforted by cobblestone but more pulled into the chaos that is Howard Street.  There is no method to Howard but instead an everything goes policy where there is one of New York’s most exclusive stores right next to a Holiday Inn.  Howard is jumbled and seeing the hodgepodge of locations and architecture after a prim and proper Soho does not look nearly as inviting.  I find Howard Street to be too open for my liking.  None of the buildings on Howard are that tall and the streets are much wider than those in Soho.  Looking towards Centre from Lafayette, you see we are nearing the Brooklyn Bridge.  There is this openness that was not there when I first turned onto Howard and while it is a nice change of pace it creates an unfamiliarity.

Being it is twelve-thirty on a Tuesday, the streets should be pretty dead with people at work and kids at school, but on Howard there is a steady bustle of construction workers and tourists.  I found no one enjoying Howard, but instead either buying food or reading a map.  No one is willing to help me uncover the area, but instead everyone is doing their own thing.  With the variety of types of space on Howard from Soho to Chinatown there are never a big group of people going to one place, but everyone splitting up and helping themselves to their own needs.  Howard is one of those streets in which you are never alone, but you can easily feel lonely on.

A Look Down Crosby

I believe De Certeau was correct in saying that the walking experience depends on “the walker” as well as the path and the time.  My discomfort for Howard Street is all about my preferences and thoughts.  When I walk down the street I am usually looking down or forward with my Ipod plugged in.  Walking down Howard, being asked to describe my experience I am forced to look up, take pictures, listen, and all of these elements seem bizarre now that I live in the city. Morris’ article does not completely agree with De Certeau’s in that he does not believe the streets necessarily have these “emotional signifiers” on their own: “It is worth noting here that while there is certainly often a series of emotions signified through walking to/from the stadium, these are often secondary to affect”(10).  He uses the example of a baseball stadium, but I find Morris’ metaphor to be true in that when something happens on a street you have a new understanding and specific emotions.  Over the summer, I stayed at the Mondrian hotel over on Crosby and Howard.  Crosby is between Broadway and Lafayette and is a little cobblestone block intersecting with Howard.  I spent a wonderful weekend on the street of Crosby with my best friends often enjoying the little street at night lit up perfectly.  The street reminded me of an episode of Gossip Girl where Serena and Dan had their first date venturing the cobblestone streets.  Every time I am on Howard I feel drawn to the little corner of Crosby and once again discomfort that I am leaving this memory behind as I walk to a more populated Chinatown with less of the quaint feel and less attractive buildings.

Despite the unease I tend to feel one thing that I truly love when walking down Howard is the connection to so many lifestyles of people, so many languages, and so many types of culture.  In that way Howard Street can almost be considered a Synecdoche for the city, a part that can represent the whole.  Howard Street does place “Opening Ceremony” a one of a kind celebrity hot spot next to a chain Holiday Inn.  This Holiday Inn then connects to China town with its own chinese restaurant at the bottom.  This is what New York is, a mix of everything, and Howard represents this well.

[9] De Certeau, Michel.  “Walking in the City.” The Practice of Everyday Life.” Berkley: University of California Press.  Print. 91-106.

[10] Morris, Brian.  “What We Talk About When We Talk About Walking in the City.”  Cultural Studies. Print.

Entry #4 A New York Times Reading of Howard Street

In the Crang piece we read this week, he uses the idea of Palimpsests to discuss the idea of historical events, time, and place.  Crang describes, “In terms of experiencing the city, a palimpsest suggests rootedness amid the flow of capital, while bearing testimony to past flows.  It is often suggested, reprising the terms of humanist arguments, that it lends a ‘time thickening’ to the locality which leads to it becoming a place that has significance and affective connotations over and above having merely special coordinates”(11).  I found while looking in the New York Times that the architecture of Howard Street and all of Soho act as a Palimpsest in this way creating a history and significance in Soho as it becomes the Cast Iron Historic District of New York City.

I could not find many detailed news articles on just Howard Street, so I began to do a broader search of Soho and found just what the architecture I see so much of on Howard Street means to the History of this Area.  When I first arrive on Soho from Mercer I notice that there are two street signs.  One of the street signs is brown, while the others are green.  On the brown sign reads “Soho Cast Iron Historic District,” and in searching the New York Times I finally found what this means.   I found an article, “So Ho Made a Historic District,” written the day after Soho was made one.  It was made a historic district on August 16, 1973 and this “designation by the Landmarks Preservation Commission means that no structure in the area can be torn down or altered externally without the approval of the commission”(13).   Soho was the capital of trade and dry goods in the 1800’s and it was at the time of these merchants that the concept of cast iron came about.  (13)

"SoHo Made a Historic District"

Another article I read “An Architectural Tour of Soho’s Cast Iron Heritage” gave a clearer history of cast iron and brought to light the use of Cast Iron on Howard Street.  Soho became the dry goods and fabric center after the civil war.  The merchants wanted prettier facades to showcase their silks and lace, and cast iron turned out to be the perfect invention.  As the Soho was becoming the fabric center, “Iron was being introduced as a new building material for facades…You could have decoration created molds mass produced by nearby factories brought back up to the site ready to be bolted in place”(12).  Stone carvings did not have the same ability and iron was cheaper and faster.  The cast iron was used until the 1880’s when steel construction began as a way of creating higher buildings.  (12)

"An Architectural Tour"

So What about Howard?   On Howard Street there is one excellent example of this technique on 427 Broadway, right on the corner of Howard., along with many other examples near by.  The architecture reminds us of exactly what Soho was used for in the past.  It ties the Victorian era to today perfectly.  427 Howard is today American Apparel, an extremely popular store in the artsy hipster area of Soho.  Jennifer Dunning who wrote the article “An Architectural History” stated that Soho had the “highest concentration of iron architecture dating from the 1860’s through the 1880’s.  And to know the architectural history of its streets is to get a vivid glimpse of the city’s past”(12).   In class we discussed photographs and their ability to provide some proof of the past, but nothing can compare to the buildings that are 3-dimensional, still-standing reminders of another time and another function of Soho.

427 Broadway

[11]Crang, M.  “Envisioning Urban Histories.”  Environment and Planning.  1996.  Print.  493.

[12] Dunning, Jennifer.  “An Architectural Tour of Soho’s Cast-Iron Heritage.”  New York Times.  Proquest.  5 May 1978.  1 October 2011. Web.

[13] Ranzal, Edward.  “So Ho Made a Historic District.” New York Times.  Proquest.  Aug 17 Aug 1973.  1 October 2011.  Web.

Entry #5: A Statistical and Visual Look at Howard

I am glad that this week we looked at non media sources for our streets because it allowed me to learn a lot more about the statistics of Howard Street and see the street over the years.  I chose to look at nyc.gov because I knew that the Department of City Planning would have some kind of statistical information.  In order to get statistics from the website you need to do a census tract.  I plugged in the address 35 Howard Street because i knew that it was an address in the center of the street and it would give me a quadrant with as much of Howard included as possible.  This lead me to Manhattan 45(14).  Quadrant 45 is one of the smaller quadrants in New York.  It includes almost all of Howard Street extending from Broadway to Centre, but it does leave the section between Broadway and Mercer out.  My quadrant extends from Canal to Spring Street, but since it does not cover all avenues of Howard Street extends the statistics are probably as close as possible(14).  The data was taken in the 2000 census so it is not completely up to date, but gives an idea of what the city was like at the start of this century.

Manhattan is a city of 1,537,195, the census tract for Manhattan 45 only had a population of 1,066(14).  Howard Street is about one-third of this size, so the population is smaller.  The census told a lot about the type of people living in this part of Manhattan.  Walking down Howard Street, I see a ton of diversity, but oddly at this time 69% of the area is white(14).  The second highest percentage was 22.5%(14).  This was the Asian population, which makes a lot of sense considering Howard Street dips into Chinatown.  Howard Street seems to lose it’s diversity when you look at the statistics.

Another element of Howard Street brought to my attention by the census was how people on the street were living.  Only 60.7% of the people living in this area live with family(14).  Four-hundred and nineteen people live alone(14).  There were also only one-hundred and seventy-seven married couples and one-hundred and forty-nine families with children(14).  Walking down Howard Street I saw all stores and businesses.  I did not see a lot of family life at all so it was interesting to actually read that there is not a large residential population and there are not in fact that many families at all living on Howard and around it.

2000 Census Tract of Manhattan 45 and 35 Howard (14)

35 Howard Street has been my go to address for Howard Street because it is right in the middle of the street between Broadway and Crosby, and it is probably the most well known location on Howard Street for the business it houses, the store Opening Ceremony.  However, nyc.gov does not look at the media surrounding places but instead the facts surrounding the places, the actual buildings, and the statistics of where you are in the city.  The website allowed me to look at 35 Howard as just another New York building.  It was built in 1915 and is owned by Harry Spitzer(15).  It is a part of block 209 and lot 7(15).  There are five floors to the building and it covers 2,500 square feet(15).  It does have four residential units which you would never know from walking down the street because everyone is focused on the one nonresidential unit in the building Opening Ceremony(15).  I was interested to read that under land use it read “industrial” showing that Howard Street is a street for business, much less for family(15).

CityMap of 35 Howard with Information About Building and Property (15)

CityMap of 35 Howard with Information About Building and Property (15)

In the New York Public Library Digital Gallery I was lucky to find a picture of Broadway and Howard Street from 1915, coincidentally the year 35 Howard was built.  35 Howard Street is on Howard Between Broadway and Crosby so it is extremely close to the location in the picture.  Even back then you can see store signs, and people going about business on the street.  Little sign of family is in the picture.  This connects with everything I have learned and seen regarding Howard Street.  Even in the 1800’s when Howard Street first got it’s name and when Cast Iron first became a trend Howard Street was about industry.  Howard Street was about fabric and fashion and making money, as I learned in my last entry.  35 Howard Street today is Opening Ceremony a store that stands for the same three things.

A 1915 Look at Howard and Broadway (16)

Looking at the Corner of Howard and Broadway Today

[14] “35 Howard Street.”  New York City Census Factfinder: 2000 Census Profiles for New York City.  Department of City Planning. nyc.gov.  2000. Web.

[15] “35 Howard Street.”  NYCityMap. nyc.gov.  Web.

[16]  “Broadway-Howard Street (3/16/1915).” Photographic View of New York City.  NYPL Digital Library.  2006.  Web.

Entry 6: Dee Davis and her Seemingly Accurate Portrayal of Soho

Set Up in Soho-Dee Davis Amazon Preview

I’ve spent a lot of time talking about Howard Street in relation to Soho.  I wrote my whole “Walking on Howard” post about how much I loved Soho and the atmosphere of the Cast Iron District.  I had never really spent a lot of time in Soho until last year, but I had always had an appreciation for this part of Manhattan and that has come from what I have learned from fiction.  Dee Davis’s book “Set Up in Soho” is a prime example of how fiction creates a vibe and personality to go along with a place.

“Set Up in Soho” is about a woman named Andrea who basically lives by the Soho fictional stereotypes.  In the novel, her boyfriend, Dillon, breaks up with her for a far more materialistic and snobby woman.  In describing how the break up went down Andrea describes, “But the commonalities didn’t end with our lack of familiar support or our love for the city.  We both loved breakfast at all hours of the day.  We hated the trappings of society, but not so much the amenities money could buy.  We loved modern art, long walks in the Village, and little pubs and shops where people knew our name.

In Short, we loved Truly, Madly, Deeply. (A movie we both adored.)

And now, suddenly, without any warning, I was questioning all of it.  I mean not only had he fallen for someone else, he’d fallen for Dianna Merreck.  She was the epitome of everything he’d purported to despise.  She was old money with attitude and no tolerance for anything beyond the ermine-lined comfort of her Upper East Side World”(17).

This passage shows so much of how I envision Soho and connected a lot to how I felt while walking down Howard Street.  When I think of Soho, I think of the artsy New York, the nonconformists that care much less about the hierarchy of the Upper East Side.  Andrea mocks Dianna for being an Upper East Side princess  with an attitude.  I feel like when thinking about Soho versus the Upper East Side there is always a battle between those social climbing and those who are going with the flow and care free.  When Andrea states how much she loves modern art and getting breakfast at any time of the day she represented the bohemian vibe so often connected to Soho, the stereotype associated with it.

One line that really stuck out to me about the fictional passage was when Andrea admitted how her and Dillon “hated the trappings of society, but but not so much the amenities money could buy”(17).  When you think of the generalizations made about the village one usually thinks of starving artists, those living the lives completely opposite of the Upper East Siders.  Soho is full of artists, but I’ve never thought of the people of Soho having no need for money.  Soho is full of stores and cute restaurants, mostly expensive ones. Davis illustrates how the people of Soho are against the hierarchy, the sky scrapers, and the showiness of the Upper East Side, but not so against living very comfortably and enjoying living  a chic lifestyle.  However, as Andrea pointed out she really does not need the perfection associated with the Upper East Siders and their lack of “tolerance for anything beyond the ermine-lined comfort of Upper East Side World”(17).  I have never thought of those in Soho having harsh attitudes and opinions to the people around them, a stereotype very often associated with the Upper East Side.

Davis’s passage reminded me a lot of what I see and assume by walking on Howard Street.  Besides the fact that I see the various little shops and art galleries that Andrea references, the attitude of the people on the street seem a lot like hers to me.  There are many little stores on the street such as Opening Ceremony and Vogel Shoes that are small but actually very expensive.  The owners of the stores are approachable and easy to talk to according to store reviews.  There is such a collection of people on Howard Street, such a diversity of people and cultures, that no hierarchy exists and there is little regard for the opinions of anyone venturing from the Upper East Side.  I found this book to be very true to how I see Soho, but I also think it is because I have seen it portrayed so many times as the artsy carefree but still chic individuals.

[17] Davis, Dee.  Set Up in Soho.  New York: St. Martin’s Griffin, 2009.  Print. 109.

Entry 7: An After Hours Interpretation of Howard Street

When Paul is Told to Come to 28 Howard (18)

Steve Pile’s article “The Problem of London” states that with film’s interpretation of cities, “histories and geographies are imaginatively reconstructed using certain techniques, which  have been referred to as ‘exercises in psychic landscaping, drifting, and free association’…These exercises become ways of understanding the dream-like quality of cities”(21).  This idea holds true for the film After Hours and its 1980’s interpretation of Soho, in particular its interpretation of life on Howard Street.  After Hours is a 1985 Martin Scorsese film about a man who in the interest of abandoning his boring life as a computer programmer decides to pursue a woman he met in a coffee shop, a decision that turns his night into a disaster(19).  The scene that expresses the most about Howard Street in particular is at the beginning of the film.  After work Paul goes to a coffee shop to read and meets Marcy, an intriguing, kind of odd blonde.  She gives him her number, and in the quest to live a more interesting life Paul decides to call later that night.  The next few minutes of the film are when Scorsese begins to do exactly what Pile was talking about and creates a “dream-like quality” of Soho and Howard Street that “imaginatively reconstruct the histories and geographies of the street.”

The Corner of Howard and Crosby Where Paul is Let Out (18)

Paul calls the number that Marcy gave him,  which is actually her friends loft that she is staying at.  When Marcy gets on the phone they discuss the fact that the loft is located at 28 Howard Street on the corner of Crosby Street, and Marcy invites Paul over.  You can tell that Paul is an outsider from the Upper East Side looking into Soho, because when he gets in the cab it is a long, bumpy, and bizarre road to get to Howard Street, a street that seems to be very unfamiliar territory to Paul.  In just the transition from phone to cab we get a dream-like and imaginative sequence regarding Soho and what people perceive Soho to be like who do not live in the area. Paul finds it eery and the cab ride altogether frightening, foreshadowing his venture into Soho.  On the New York Film Academy’s website, they describe the movies that were filmed in each borough of New York and what the area was thought to be like at different decades in history.  After Hours is a 1985 film.  The Academy describes, “Soho’s lofts were especially appealing to artists because they could use their work.  During this period, which lasted into the 1980’s, living in Soho was dubious legality, as the area was zoned for light industrial and commercial uses rather than residential, and many residents had to convert their apartments into livable spaces of their own, with little money”(20).    When people imagine Soho they imagine lofts in an artsy community.  It is important that Paul is taken from an Upper East Side lifestyle down to Soho, where he is clearly unfamiliar.  This portrays the barrier between Uptown and Downtown by expressing the long frightening road that eventually gets Paul to Soho. (18)

I think it is extremely important that Paul asked Marcy on the phone if her friend owned a loft.  The whole time the movie is not only imaginative to us about Soho, but also to Paul.  Paul immediately pictures a loft when Marcy says Soho. As the  New York Film Academy describes lofts were a trademark of Soho in that they were the perfect place for an artist to live an artsy lifestyle of providing little furniture and having plenty of room for easels and art projects.  Scorsese is creating a realistic but imaginative and dream-like world for Soho by providing us with the Stereotypes of Soho in the 1980’s. (18)

In the next scene Paul finally arrives at the apartment on Howard Street.  Marcy is not there at the time only her homeowner KiKi.  It is not much of a shock to discover that Kiki lives in a big, open, barren, apartment.  Paul walks in to find her sculpting and plastering a Statue in just a bra and skirt with a funky short haircut, smoking.  If this does deliver the perfect Soho artsy fantasy that so many people have envisioned.  When I walk onto Howard Street today I feel like it is a normal Street of small businesses.  I do not know for sure what goes on in any of the apartments or lofts upstairs.  After Hours does show you what goes on and it is a scene that can be straight out of a dream of someone’s imagination.  Kiki is covered in plaster and sculpting materials and toplessly asking for Paul’s help.  The remainder of the movie takes place in Soho, but I thought it was essential to look at the first few scenes, An outsiders dream or imagination of Howard Street and Soho is played out perfectly in the first few minutes of the film, by using a character unfamiliar with the territory, but familiar enough to expect an artsy atmosphere. (18)

[18]After Hours. Dir. Martin Scorsese. Perf. Griffin Dunne and Rosanna Arquette.  Geffen Company, 1985. Film.

[19]”After Hours.”  IMDB.  imdb.com 1990. web. 22 October 2011.

[20]”New York City’s Best Film Locations.”  New York Film Academy.  nyfa,com.  Web.

[21]Pile, Steve.  “‘The Problem of London,’ or how to explore the moods of the city.” The Hieroglyphics of Space. London: Routledge. Print.

Entry 8: Howard At Night

Howard and Mercer

In Joachim Schlor’s Nights in the Big City, Schlor describes “As the journal Le Monde Moderne put it in 1895, streets change their character suivant les heures de la journee: their appearance and reputation-change with the changing hours.  The image of the street changes with its functions”(22,236).  Walking down Howard Street during the day, one sees a plethora of different shops and different people shopping, working, and eating.  Visiting Howard at 10:30 at night was a completely different experience, visiting Howard at 10:30 was like visiting a small town street.  Everything was closed, people were rare, and it was shockingly quiet for New York City.  The street’s function and appearance were extremely different then during the day.  The functions of the street that mattered during the day were no longer relevant at night, and this showed through the abandoned street.   In trying to find activity, the only thing I saw were those walking past Howard, usually on Broadway, and a garbage truck cleaning up after the street.  It was as if the street was sleeping along with the people on it.  Schlor mentioned that “Night sends each to his home, to his own place.  Only he who sets out on a walk through the streets will discover that”(22,270).  I discovered that with only stores and restaurants on the street, the life on the street went back to their “own places.”  Howard is a street full of workers, shop owners, restaurant employees, construction workers, all who finished their day to return to their own private night lives.  Visitors of the street had no reason to come once these people abandoned Howard for the night.  The street itself was enough to observe as I was literally seeing it in a new light.

Walking down the street with only the light to keep me company I thought a lot about what Schlor regarding the conquering darkness even with the power of street lights: “Rather, the old darkness and the new brightness combine to produce their own, special atmosphere, in which  light does not necessarily triumph.  However, aggressively the ‘glow of light’ may flaunt itself, it gains its effect only through darkness, which it fights but never conquers”(22,239).  Without any action on the street, one only has the street lights to keep them company at night.  They provide a warm glow that allows one to explore the street at night.  In a city like New York they are essential in creating the city that never sleeps atmosphere.  They create an atmosphere that allows the city to keep going and for people to use the city throughout the night.  Schlor was not talking about New York and he was not talking about the same street lights that we see today, but he was right in that the darkness dominates especially on a street like Howard.  The lit empty street reminds us of the inescapable darkness that is above us at this time of night.  Darkness that creates an eery, mysterious, and also scary vibe on the street.  It is like you are in no way in the same place you were that day, when American Apparel was packed, people were eating chinese, and workers were busy improving the streets.

Howard Street brings a smaller town feel, to one of the biggest cities in the world.  Rather than having a night life, Howard Street has a more conventional schedule that allows the city to sleep.  Howard Street is a street that can be compared to the East End of London at night that Schlor writes about.  Schlor reveals that “It is a strange, eerie experience to spend a night walking the streets of the East End.  You are alone, as if it were with the dead, until the alarm clocks begin to go off”(22,270).  East End, as well as Howard Street begins and ends with the work day defined by the stores and restaurants that form the street.  There are no bars and there are no clubs.  Through the census data, I discovered that Howard is not at all a residential street, but instead its inhabitants are either temporary guests of the Holiday Inn or those who live above the stores and restaurants.  This provides little possibility for a heavy nightlife and that was proved during my visit to Howard Street in the late hours.  I had only visited Howard Street during the day, and to compare the two times of day is comparing two different streets.  Schlor may not have wrote of New York, but he did write of Night life which guided a lot of my experience on Howard Street at a time when there were few experiences to be had.

[22] Schlor, Joachin.  “Night-walking.” Nights in the Big City.  235-274.  Print.

Entry 9: Television Near Howard

In Season four episode five of Sex and the City, Steve, Miranda’s future husband, opens a bar in Soho called Scout.  Coincidentally this bar is actually located right next door to Howard Street on Grand between Centre and Baxter.  Sex and the City is an extremely iconic show that has taken over New York City in its filming, so it is only fair that it gave the Soho and the area around Howard a fair chance.  In real life Scout is actually called Onieals’s Grand Street Bar and Restaurant with a four out of five star review on Yelp.(23)

(25) Opening the Door To Scout

Scout Bar on the Inside (25)

(25)

In the article “Metonymy and Metropolis” by Sadler he discusses the influence of bars and restaurants in shows like Sex and the City.  He discusses that “The bars and restaurants in Sex & the City constitute the primary nodes of the image of the city…Therefore, nodes are the most important element of the city image for Sex and the City, and they are the primary way that the city becomes a marketing tool. Fans will want to come to New York to eat in a nice restaurant and gossip, just like the four protagonists on Sex and the City”(24,209).  This is completely true and proven by the fact that Onieal’s (Scout in Sex and the City) is one of the destinations on the Sex and the City tour.  After seeing episode five of season four of sex and the city, fans want to experience the New York they see.  In this case it is a bar that they believe provides a perfect example of night life in the city and also working life in the city, since one of the main characters makes a living off of running a bar.  The opening of the restaurant signifies the reconnection of two of the main characters relationships Carrie and Aiden and Miranda and Steve.  This signifies the life that Sex and the City shows.  The life where women go out every night to meet their suiters in bars.  Bars are a definite starting point for relationships in the show, and it is exciting to see that these bars actually exist.  Bars are an essential node to she show and this episode emphasizes just that.  Sadler’s article also states, “We argue that television’s representations of cities create a “postcard effect” that affords the viewer the pleasure of a tourist gaze,4 a dis- position that both reflects and legitimizes a fragmented experience of visiting a location without immersing oneself in the intricacies of its politics and geog- raphy”(24,196).  Watching this episode of Sex and the City gives you a supposed look into New York and aside from the false name and street of Scout (the episode states that the bar is located on Mulberry), you do get a glimpse of what a real New York City bar looks like.  I always enjoy when television uses real sets, and Sex and the City does just that.  However, it is a “postcard effect” in that the people located in the bar and the events that occurred in the bar were not true to the area around Howard Street.  They were not people who lived on the street, and living in the city you do not necessarily find all your relationships beginning in these places.  These bars however, are essential in marketing and selling the city as a place to visit.  Seeing this interpretation of the area around Howard Street displayed a more glamourous view of the life of the inhabitants, but still showed a side of New York we cannot escape, the night life. (25)

Scout at Night (25)

[23] Moker, Molly.  Tour the Top 25 “Sex and the City” Locations.  Fodor’s Travel Intelligence.  2011. Web.

[24]Sadler, William. and Haskins, Ekaterina.  Metonymy and the Metropolis: Television Show Settings and the Image of New York City.  Journal of Communication Inquiry.  195-216.  Print.

[25]Sex and the City.  Creat. Darren Star. Perf. Sarah Jessica Parker and Kim Cattrall.  HBO.  1998-2004.  Television.

Entry 10: Discovering the Inner Sounds of Howard Street

Corbould’s article focuses on how sound in the early twentieth century brought attention and recognition to groups of people.  Sound is essential to illuminating voices and aspects of people and places that visuals could never convey.  In the Corbould piece, she states that “while the reporter had a keen eye for the vignette, it was the sound, not the sight, of the parade that indicated to her its success”(27 859).  One sound that indicates success sight could never demonstrate is the sound of song, of music.  Walking down the streets of Howard, I have had less of an opportunity to go inside the buildings, to hear what goes on inside the buildings.  Song is one sound that can be heard on the inside of 21 Howard Street, a sign of the success of the newly founded Youth Voices Music and Multimedia Academy.

In April 2011, Adobe and The Black Eyed Peas Peapod Foundation founded the academy, already in Los Angeles on 21 Howard.  The Academy is dedicated to provided underprivileged youth with technology for dance, art, music, and film.  These forums are the sounds of the twenty-first century.  I chose to use the sound of the Black Eyed Peas and the children singing “I’ve Gotta Feeling” at the launch of the event, because it embodied the success that Corbould writes about that sound provides.  These artists are being given an opportunity to express themselves and express their sound, when they may not have the means to otherwise.  Sound gave the african americans of 1930 Harlem a voice to speak our and today that is what the Academy is also doing.  The executive director of the Adobe foundation described that “Not only are these teens building self esteem and exploring creativity with leading-edge technologies, they are bringing change and awareness to social issues affecting their communities and acquiring the critical, real-world skills they need to prosper in the global 21st century economy”(26).  This academy is providing and aiding the sound of Howard Street, and links with the importance of sound in Corbould’s article.  (26)

Corbould claims that “new notes and accents are varied competitive, and sometimes fiercely at odds.  To be sure, sound provided a way to unite disparate individuals to define.  We live at a time when sounds are competing for one another, when everyone wants to be heard and few people actually are.  The Black Eyed Peas singing with the children provides an example of a united sound.  They are banding together with the teens to pull out everyone’s sound and to begin these children’s journey to be heard.  The clip of their happiness while singing “I’ve Gotta Feeling” provides the beginning for their start to expressing their sound.  The foundation has so far aided over one thousand teens.  (26)

Finding this particular sound allowed me to finally go inside the buildings on Howard Street and find what I did not know existed.  I uncovered the sounds that are not heard on the street, and the sounds you have to look for, but are just as equally important in expressing life in New York City.

[26]”Adding Multimedia: The Black Eyed Peas Peapod Foundation and Adobe Foundation Launch Youth Academy in New York.” Adobe.  2007.  Web.

[27]Corbould, Clare.  “Streets, Sounds, and Identity.” Journal of Social History.  2007, University of Sydney.  859-894.  Print.

[28]”The Black Eyed Peas’ Peapod Foundation and Adobe Foundation Launch Youth Academy.” Youtube. 2011. Web.

Entry 11: Technology’s Impact on Howard Street

Over the last ten weeks, I have visited Howard Street in many ways.  Two ways that I have done so are in person and digitally.  Visiting Howard Street online versus in person gives me a different type of knowledge of the street, in some ways sharing more information and in others sharing less.  In Anne Galloway’s article “Imitations of Everyday Life: Ubiquitous computing and the City,” she offers the perspective that “Where ubiquitous technologies might fall short is if they prevent of inhibit the ability of a person to experience the city on his own terms; if they start from a premise of what the city is rather than allowing it to emerge through the movements of people”(29, 403). The knowledge that I got from going to Howard Street gave me a good parallel of information to go along with what I found digitally, but in order to gain the full experience of the street I had to put the two together because as Galloway also said, “technologies may act as critiques of everyday life”(29,403).  Jobee’s Orient and Opening Ceremony are two big business’s on the block.  One a chinese restaurant at the corner of Howard and Centre and the other a store located at a 35 Howard Street.  In this case, the digital interpretations of these sites give a great review.  In looking up Howard on “NYC Shopping Crawl” Opening Ceremony got rave reviews being called the “Epitome of all that is hip about New York City”(30).  With digital accounts of locations.  You are no longer walking and discovering, but researching and planning.  While this “critique of Howard’s everyday life” is a good one it still takes away from stumbling across the store on the street and coming across a hidden gem.  This aids the store and street with its business displaying how essential digital representation has become in our lives.

Opening Ceremony on NYC Shopping Crawl (30)

Looking up Jobee’s online and finding a review session on “Menupages.com” goes along with the idea that people “start from a premise of what the city is rather than allowing it to emerge through movements of people.”  Looking at the Jobee’s section on “Menupages.com” reveals what Jobees instead of having it emerge on the street.  You will discover just from a quick review of the restaurant that Jobee’s is Chinese.  It is not too expensive, so you should not really spend over twenty dollars for a meal, represented by the $$.  It has great food and service, food at an excellent value, and a pretty good atmosphere.  These things are  revealed by its star ratings that is an average of everyone who rated the restaurant.  Finally you can even plan exactly which card you are going to pay with.  While this does take away from the experience of “emerging through that people” and randomly discovering the restaurant, it does allow you to converse with people.  There is an entire user review section online that does provide communication and feedback.  (31)

Jobee's Menupages.com Review (31)

In Galloway’s article she states that “everyday life is understood in terms of spatialization, temporization, and embodiment”(29,405).  Digital allows us to break barriers in that it takes us to places and shows us people that are where we want to go.  With sites like “Foursquare” you can discover who has visited where you are, who goes there the most, getting an idea of the crowd.  With websites like “The Sartorialist” you can see pictures of certain streets, such as Howard Street, and the people who are on them, giving you an idea of what those walking down that street looks like.  Digital Representations may take away the aspects of physically traveling on a street, but they can give you just as much information and new types of information that have become essential to our current culture.

Who has been at 38 Howard? Ask Foursquare (32)

The Sartorialist visits Howard Street (33)

[29] Galloway, Anne.  “Intimations of Everyday Life: Ubiquitous Computing and the City.” Cultural Studies.  Print.

[30] Feiereisen, Sharon. “NYC Shopping Crawl: Howard Street.” Clubplanet.com.  22 July 2008.  19 November 2011. Web.

[31] “Jobee’s Orient.” Menupages.com. Slick City Media.  2002. 19 November 2011. Web.

[32]

“38 Howard Street NYC.” Foursquare. 2011. 19 November 2011. Web.

[33]”On the Street…Howard St., New York.” The Sartorialist.   1 November 2011. 19 November 2011. Web.

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