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Melissa Wigglebenny and her husband Mike seem to have an idyllic life. Both are affluent and live in an expansive loft in trendy Soho, New York. She's voluptuous and stylish. He's successful in his business. However exteriors lie. She's tormented by a freakish accident when she caused the death of another woman. She's resorted to liquor and pills to make it through each day. But things are about to get worse. A suspicious vehicle is seen outside her loft. Who's inside behind the tinted glass? Then there's a series of very strange break-ins at her loft where macabre items are left behind. She's convinced somebody's trying to drive her into the arms of another man or an asylum. Could it be her mysterious maid? The sugar sweet blonde college student she hired to do some typing? The chef across the hall who bakes strange creations? The grumpy landlord who wants them out of the rent controlled loft? The tough teen across the street that harbors a grudge? Maybe it's her own husband! Is there a link to the accident? She embarks on a quest to find out the truth. But can she find the truth in time?
A groundbreaking look at the transformation of SoHo. American cities entered a new phase when, beginning in the 1950s, artists and developers looked upon a decaying industrial zone in Lower Manhattan and saw, not blight, but opportunity: cheap rents, lax regulation, and wide open spaces. Thus, SoHo was born. From 1960 to 1980, residents transformed the industrial neighborhood into an artist district, creating the conditions under which it evolved into an upper-income, gentrified area. Introducing the idea—still potent in city planning today—that art could be harnessed to drive municipal prosperity, SoHo was the forerunner of gentrified districts in cities nationwide, spawning the notion of the creative class. In The Lofts of SoHo, Aaron Shkuda studies the transition of the district from industrial space to artists’ enclave to affluent residential area, focusing on the legacy of urban renewal in and around SoHo and the growth of artist-led redevelopment. Shkuda explores conflicts between residents and property owners and analyzes the city’s embrace of the once-illegal loft conversion as an urban development strategy. As Shkuda explains, artists eventually lost control of SoHo’s development, but over several decades they nonetheless forced scholars, policymakers, and the general public to take them seriously as critical actors in the twentieth-century American city.
Behind the dirty, cast-iron facades of nineteenth-century loft buildings, an elegant style of life developed during the 1960s and 1970s. This style of life -- of using the city as a consumption mode -- was tied to the presence of artists, whose "happenings," performances, and studio spaces shaped a public perception of the good life at the center of the city.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
"Part architecture, part history, and part anthropology, this encyclopedic book limns the story of housing around the world from the pre-urban dwellings of nomadic, semi-nomadic, and sedentary agricultural societies to the present. Ancient urban dwellings were inward looking, ranged around a courtyard. Until fairly recently, these dwelling types survived in indigenous urban house forms in the Islamic world, India, China, and the Iberian peninsula and Latin America. After the collapse of the Roman Empire, however, outward-looking house forms replaced the ancient form in most of Europe and the New World.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Although the venue Off Broadway has long been the birthplace of innovative and popular musicals, there have been few studies of these influential works. Long-running champs, such as The Fantasticks and Little Shop of Horrors, are discussed in many books about American musicals, but what of the hundreds of other Off-Broadway musicals? In Off-Broadway Musicals since 1919, Thomas Hischak looks at more than 375 musicals, which are described, discussed, and analyzed, with particular attention given to their books, scores, performers, and creators. Presented chronologically and divided into chapters for each decade, beginning with the landmark musical Greenwich Village Follies (1919), the book culminates with the satiric The Toxic Avenger (2009). In this volume, any work of consequence is covered, especially if it was popular or influential, but also dozens of more obscure musicals are included to illustrate the depth and breadth of Off Broadway. Works that introduced an important artistic talent, from performers to songwriters, are looked at, and the selection represents the various trends and themes that made Off Broadway significant. In addition to essential data about each musical, the plot and score are described, the success (or lack of) is chronicled, and an opinionated commentary discusses the work's merits and influences on the musical theatre in general. The first book of its kind, this highly readable volume will please both the theatre scholar and the average musical theatre patron or fan.
Uniquely well suited for teaching, this innovative text-reader strengthens students’ critical thinking skills, sparks classroom discussion, and also provides a comprehensive and accessible understanding of gentrification.
What does it take to make it in Manhattan? Cynthia Scott will do almost anything for a chance to work in New York City’s fashion industry, even if that means becoming the live-in maid to three spoiled roommates just to make ends meet. While struggling to make an impression on Fashion Avenue and scrubbing her way to the stiletto-clad lifestyle she desires, Cynthia catches the eye of handsome Evan Hewitt II, prompting roommate rivalry, hilarious high jinks and a happily ever after that can only be the work of a very chic fairy godmother.
A compulsively readable behind-the-scenes memoir that takes readers inside the weddings section of The New York Times--the good, bad, and just plain weird--through the eyes of a young reporter just as she's falling in love herself. Growing up in the south, where tradition reigns supreme, Cate Doty thought about weddings . . . a lot. She catered for them, she attended many, she imagined her own. So, when she moved to New York City in pursuit of love--and to write for The New York Times--she finds her natural home in the wedding section, a first step to her own happily-ever-after, surely. Soon Cate is thrown into the cutthroat world of the metropolitan society pages, experiencing the lengths couples go to have their announcements accepted and the lengths the writers go in fact-checking their stories; the surprising, status-signaling details that matter most to brides and grooms; and the politics of the paper at a time of vast cultural and industry changes. Reporting weekly on couples whose relationships seem enviable--or eye-roll worthy--and dealing with WASPy grandparents and last-minute snafus, Cate is surrounded by love, or what we're told to believe is love. But when she starts to take the leap herself, she begins to ask her own questions about what it means to truly commit... Warm, witty, and keenly observed, Mergers and Acquisitions is an enthralling dive into one of society's most esteemed institutions, its creators and subjects, and a young woman's coming-of-age.